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diff --git a/42982-0.txt b/42982-0.txt index 07f7ce3..cd63fb2 100644 --- a/42982-0.txt +++ b/42982-0.txt @@ -1,38 +1,4 @@ -The Project Gutenberg EBook of Photography in the Studio and in the Field, by -Edward M. Estabrooke - -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/license - - -Title: Photography in the Studio and in the Field - A Practical Manual Designed as a Companion Alike to the - Professional and the Amateur Photographer - -Author: Edward M. Estabrooke - -Release Date: June 18, 2013 [EBook #42982] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - - - - -Produced by Albert László, RichardW, P. G. 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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/license - - -Title: Photography in the Studio and in the Field - A Practical Manual Designed as a Companion Alike to the - Professional and the Amateur Photographer - -Author: Edward M. Estabrooke - -Release Date: June 18, 2013 [EBook #42982] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - - - - -Produced by Albert László, RichardW, P. G. Máté and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - -TRANSCRIBER'S NOTE. - -Original spelling and formatting has been mostly retained. Further -details are provided in the TRANSCRIBER'S ENDNOTE. - * * * * * - - - - ---Anthony's Photo. Series, No. 20.-- - -PHOTOGRAPHY - ---IN-- - -THE STUDIO AND IN THE FIELD, - ---BY-- - -E. M. ESTABROOKE, - -_Author of_ - -"_THE FERROTYPE AND HOW TO MAKE IT._" - -A PRACTICAL MANUAL DESIGNED AS A COMPANION ALIKE -TO THE PROFESSIONAL AND THE AMATEUR -PHOTOGRAPHER. - -NEW YORK: -E. & H. T. ANTHONY & CO., -591 BROADWAY. -1887. - - - - -Entered according to Act of Congress, in the year 1886, by -E. & H. T. ANTHONY & CO., -In the Office of the Librarian of Congress, Washington, D. C. - - - - - CONTENTS. - PAGE - - INTRODUCTION, 7 - - - PART I. - - GLASS, 10 - Quality--Preparation--Albumenizing. - - COLLODION, 14 - Positive Process--Formula for Positive--How to - Coat Plates With--Exposure of the Plates-- - Development of Plates--Developer-- - Fixing Solution--Dry Plate Ferrotypes. - - COLLODION PROCESS FOR NEGATIVES, 24 - Negative--Formula A--Formula B--Formula C. - - COLLODION COTTON, 28 - Formula for Making Collodion with Above. - - NEGATIVE SILVER BATH, 29 - Preparation of--Contaminations of--Renovating, - &c. - - THE NEGATIVE DEVELOPER, 33 - Formulæ for Developing Solution. - - FIXING SOLUTIONS FOR NEGATIVES, 35 - - INTENSIFYING NEGATIVES, 36 - - THE BROMO ARGENTIC DRY PLATE PROCESS, 37 - - GELATINO EMULSION, 38 - Emulsion A, Paget Prize--Emulsion B, - Jarman--Emulsion C, Ever--Emulsion D, - Ever--Apparatus for Making--Preparation of - Glass--Coating Plates. - - APPARATUS USED IN MAKING EMULSIONS, 44 - Cooling Table--Drying Room. - - DEVELOPING ROOM FOR DRY PLATES, 48 - - DEVELOPMENT OF DRY PLATES, 54 - - DRY PLATE DEVELOPERS, 55 - Alkaline Pyro--Developer, a Sal Soda. - - FIXING SOLUTION, 57 - - CLEARING SOLUTION, 58 - - DRY PLATE DEVELOPMENT, 58 - Ferrous Oxalate--Ammonia Pyro-- - Intensification--Solution A--Solution B. - - PRACTICALITIES, 63 - - RETOUCHING NEGATIVES, 63 - Apparatus Furniture. - - SILVER PRINTING, 70 - Printing Room--Silvering Room--Silver Solution - for Paper--Sensitizing Paper--Fuming - Paper--Toning the Prints--Toning - Solution--Fixing the Prints--Mounting the - Prints--Spotting the Prints--Preparation for - Burnishing. - - THE PHOTOGRAPHIC STUDIO, 80 - - THE CAMERA LENSES, 84 - Optics of Photography. - - CAMERA BOXES, 99 - For Positives, the Multiplyer--For Negatives, - Wet or Dry. - - THE BENSTER PLATE HOLDER, 109 - - CAMERA BOXES, 110 - For Copying and Enlarging--For Viewing and - Out-Door Work--The Novel View Camera--The - Klauber Camera. - - CAMERA STANDS, 116 - The Lever Stand--The Knickerbocker Stand--The - Balance Stand--The Bowdish Stand--The - Automatic Stand--The Gem City Stand--The Handy - Stand--The Magic Stand--The Iron Centre Stand. - - PNEUMATIC SHUTTERS, 124 - The Cadett Shutter--The Lightning Shutter--The - Garland Shutter--The Invisible Shutter. - - HEAD RESTS, 130 - Success Head Rests--The Rigid--The Spencer. - - POSING CHAIRS, 133 - The Bowdish Chair--Other Chairs. - - - PART II. - - FIELD PHOTOGRAPHY, 140 - Amateur Outfit--Constituents of Viewing - Outfit--Dry Plates--Handling Dry Plates--Dry - Plate Holder--View Cameras--Detective - Camera--Satchel Detective Camera--Bijou - Camera. - - AMATEUR EQUIPMENTS, 153 - Equipment No. 1--The Fairy Camera--The Novel - Camera--The Novelette Camera. - - THE VIEW LENS, 157 - Single Combination Lenses--Double Combination - Lenses--The Platyscope--Dallmeyer's Rapid - Rectilinear--Wide Angle Lenses--Dallmeyer's - Wide Angle. - - THE TRIPOD OR VIEW CAMERA STAND, 162 - - THE INSTANTANEOUS SHUTTER, 164 - The Drop Shutter--The Prosch Shutters. - - THE CARRYING BOX, 167 - - DEVELOPING OUTFIT FOR AMATEURS, 167 - Chemical Constituents of--Ferrous Oxalate - Development--Cooper's Developer. - - EASTMAN'S IMPROVED NEGATIVE PAPER, 179 - - THE ROLL HOLDER, 181 - How to Use them. - - THE ROCHE PAPER FILM, 187 - - ENLARGING AND DUPLICATING SMALL NEGATIVES, 188 - The Copying and Duplicating Camera--Duplicate - Negatives by Contact. - - PRINTING PROCESSES, 192 - On Anthony's Gelatino Bromide Paper--Anthony's - Collodio Chloride. - - THE ENLARGING CAMERA, 203 - - PRINTING WITHOUT SALTS OF SILVER, 207 - The Blue Process--Another--The Cyanotype - Process with Salts of Uranium--Process for Red - Pictures--Process for Green Pictures--Process - for Violet Pictures. - - TRANSPARENCIES ON GLASS OPAL, 212 - Development of--Ferrous Oxalate - Development--By Wet Collodion. - - BICYCLE CAMERA, 222 - - PHOTO MICROGRAPHY, 224 - - * * * * * [p007] - - - - -INTRODUCTION. - - * * - - -The most important improvement in photographic processes that has -been introduced since Maynard first made collodion, and Archer -discovered its adaptability to the production of photographic -negatives, is the gelatine bromide dry plate. - -Wet plate photography had reached its utmost point of adaptability -to the demands of the times. - -A few men of marked ability, and the skill of long study and -practice, had reached the point of highest excellence in working -with collodion, and the great multitude were pressing on toward that -designated height to which it was given to but few to attain. - -It had been demonstrated that wonderfully beautiful effects could be -produced by the collodion process, but that there was a limit beyond -which progress could not be made. The great range of subjects in -still and animate life requiring very rapid exposures, were -practically out of the power of collodion, to compass satisfactory -results. At this time, when there seemed to be a very constant and -increasingly urgent demand for more rapid acting lenses and for -"lightning processes," there appeared the wonderful argentic bromide -Gelatine Emulsion, which, in four short years, has superseded the -collodion process almost, if not altogether, and besides -(notwithstanding the opposition of the elite of the profession, whom -for a time it [p008] leveled with the rest of the workers, but -who were quick to see and acknowledge the extraordinary merits of -the new candidate) it has caused such a quickening of the pulses of -the business, and such an increase in its range and adaptability as -never before was known, and which, in the year or two past, has -caused such an activity in invention and in other ways, as to make -that period of time so remarkable for the many new things that have -been brought out, and the many new processes that have been adopted, -as to render a detailed account of such for the profession, and also -for the amateur, most desirable. - -It is with such a view that this book is offered to the photographic -public, and that numerous and still increasing army of amateurs, who -have taken up photography as an amusement, to while away a leisure -hour. - -For to these latter a few hours' study of a good hand-book is about -all that is necessary to enable them to expose and develop a dry -plate, a little practice only being requisite to the successful -performance of the same. - -There may be many, however, who, having made a promising -commencement, would like to proceed farther and acquire a knowledge -of former photographic processes, as well as those which succeed the -making of the negative, such as printing, toning, fixing, etc., and -in fact, learn how to make a finished photograph. - -To such, particularly, and to all photographers, this book is -offered, in full confidence that it will be a useful companion in -the studio and in the field. - -To accomplish this end we will take the reader as an apprentice, and -commencing at the beginning, instruct him in that knowledge he would -have to acquire were he an actual apprentice in a photographic -studio, [p009] working the wet collodion process, after which an -equally full course of instruction will follow for the dry plate and -other new processes, both for negative making and for printing. - -In the following pages, also, will be found many useful formulæ that -have been carefully culled from a mass of published contributions, -from many of the leading spirits in photography, most of which have -been verified practically by the author, and others bear on their -faces so plainly the impression of their practicability as to need -no assurance that they are reliable. - -In getting up this work I have availed myself of information from -any and all sources at my command, giving credit where possible, and -endeavoring to make everything clearly understandable, and -neglecting no details necessary to the successful working of every -formula, even by the youngest learner. [p010] - - -GLASS. - - -QUALITY OF GLASS SUITABLE FOR PHOTOGRAPHIC PURPOSES AND HOW TO -PREPARE IT. - -Mr. Hardwick, than whom there can be no more faithful or competent -guide, says that much care should be taken in the selection of glass -to be used in the production of photographic negatives. - -Window glass is always unsuitable, because of its inferior quality, -having scratches upon its surface and air bubbles in its substance, -each of which causes irregularities, as well in the negatives as in -the subsequent printing; also the squares are seldom flat so that -they do not lie true in the holder, and hence a part of the image -may be out of focus; and also they are extremely liable to be broken -by compression in the printing frames. - -Formerly many photographers used a thin plate glass of very fine -quality, but of late years the great demand for glass suitable for -such purposes has made it possible for the manufacturers to prepare -a cheaper quality, well adapted to the uses of photography. - - -TO PREPARE THE GLASS FOR USE. - -Before proceeding to wash the glass, each square should have its -edges roughened, by means of a file or a coarse stone, or the edges -of two pieces of glass may be abraded against each other in such a -manner as to remove the sharpness, which is so liable to injure the -fingers in the various manipulations. - -In the process of cleaning the glass it is not sufficient [p011] -to wash it with water. Other means are necessary to remove grease, -rust and dirt, which would not yield to the influence of water -alone, and for this purpose a solution of caustic potash is most -generally used. - -The glass is immersed in the potash solution, each piece separately, -and when the dish is full, it should be left not longer than is -necessary for the potash to have its proper action, for when left -for a considerable time the solution of potash (if strong) will -attack the surface of the glass, to its injury. - -When a suitable time has elapsed (which in the case of new glass -should not be more than one day or night, and in the case of old -negatives not longer than to cause the film to slip off), the glass -should be removed and washed with water, after which it should be -immersed in the same manner, in a solution composed of four parts of -water to one of commercial nitric or sulphuric acid, or the two -mixed, as may be the most convenient. - -This latter solution removes rust or other metallic blemishes, that -have not been affected by the potash, and also effectively -neutralizes all traces of the potash that have remained on the -surfaces of the glass. - -The glass may be permitted to remain in the acid an indefinite time, -as it can have no injurious effect on it, as might the potash, and -when required for use, it should be carefully washed and immediately -albumenized and set up in racks to dry. - - -ALBUMENIZING THE GLASS. - -While the glass is still wet from the washing, after being taken -from the acid, it should be coated with a preparation of albumen, -prepared as follows: [p012] - -To the albumen or white of a fresh egg, add eight ounces of water; -put it in a bowl and thoroughly beat it with an egg beater, or in -any manner that may be convenient, until the fibre or structure is -completely destroyed, when it should be filtered through loose -cotton, and after the addition of a few drops of strong ammonia, it -is ready for use. - -Many prefer to beat up the albumen before adding the water, in which -case it should be beaten into a stiff froth, when the proper amount -of water is added, and after the froth has subsided the whole is -filtered and the ammonia put in last. - -The albumen being prepared and the glass ready, a square is taken in -the left hand, and clean water flowed over it, until no particle of -dust can be seen adhering to either surface, when a small portion of -the albumen is flowed on it, and after covering every part of the -surface the excess is allowed to drain off the right hand lower -corner, after which, if running water is at hand, the back of the -same portion of the plate should be passed under the faucet, and the -water will carry off any excess of albumen which might return or -crawl, as it is termed, up the back of the plate from the point -where it is drained. - -The greatest care should be taken to avoid dust settling on the -plate during the coating and afterwards while drying, and after the -glass has been coated, if it is found that any dust adheres to the -albumenized surface, it should be again washed and recoated. - -It is important that the back of the glass should be kept free from -the albumen, so that when the plate is afterward collodionized and -immersed in the silver solution, there should be no albumen -uncovered to [p013] contaminate the bath, and as most of the -glass used has some slight inequalities of surface, the albumen -should always be flowed on the concave side, for two reasons: - -The first is, that when sensitized and placed in the holder, the -pressure, being against the convex side, may have a tendency to -counteract the curve and make the plate flatter and more perfectly -adjusted to the focus. - -The other reason is that the pressure of the printing frame has a -less tendency to break the glass when against the concave side. - -The amount of glass required having been albumenized and set up in -racks, it should be carefully covered with paper to exclude dust, -and it should be set away to dry, after which it should be placed in -its proper receptacle in the dark room, ready for use. - -The reasons for albumenizing the glass are important. - -Before this process was adopted, all glass used for photographic -purposes, after being subjected to the action of potash or acid, or -both, had to be finely polished with rottenstone or some other -polishing substance, to render its surface sufficiently free from -all traces of acid, organic matter, rust, etc., which would -injuriously affect the collodion or the deposit of silver iodide -derived from the bath. - -This polishing was very laborious, and in consequence it was often -very imperfectly done, causing much loss of time and material; also -the glass thus prepared did not offer to the collodion a surface to -which it could adhere with much tenacity, and in consequence it -would frequently slip from it in the subsequent manipulations. [p014] - -The first reason for Albumenizing then, is to cover the surface with -a substance chemically pure, and when dry of a crystaline nature and -impervious to, or at least not soluble in the silver solution, thus -saving the labor of polishing. - -Another reason is that the albumen offers a surface to which the -collodion will adhere with extreme tenacity, thus saving and -preventing the film from slipping. - - -COLLODION. - -"The discovery that explosive cotton was soluble in ether, was made -by Mr. Maynard, who gave it the name of Collodion, and later, in -1848, published in the American Journal of Medical Science the -formula for its preparation." - -"This ethereal solution, having a certain proportion of alkaline -iodides, and iodides of silver added thereto, constituted the -collodion first employed by Mr. Archer," who thus shares with Mr. -Maynard, and with a Mr. Legray (who first published an account of -its use as a photographic agent) the honor of having given to the -world the collodion process in photography. - -The progress that has been made since Mr. Archer's time in -perfecting the adaptability of collodion to photographic uses could -not be better illustrated than by comparing the formulæ for -collodion first published with those in use at this time. - -The practice of photography in the present day by the collodion -process is divided into two branches, the positive and the negative. - -In the first the object is to obtain in the camera a [p015] -direct image, which is to be viewed by reflected light, and as it is -desired that the pictures so produced should possess pure blacks and -whites, certain modifications of the collodion, silver solution and -developer are resorted to, which cause these preparations to differ -somewhat from those prepared for the production of superior -negatives, consequently the formulæ given hereafter will be -designated as positive or negative. - -These modifications, however, are not of such a character as to -render either of the solutions prepared for one process totally -unfit to be used for the other, for in fact, many photographers at -this day use the same collodion bath and developer for making both -positives and negatives. - - -THE POSITIVE COLLODION PROCESS. - -In the first place, we will take up for consideration the positive -process. - -The first positives on glass were called ambrotypes, and were the -successors to the daguerreotype, which they superseded and displaced -by the superior facility of their production. - -For the same reason the ambrotype was succeeded by the ferrotype, -which was a positive collodion picture, made on a thin iron plate -with a black japanned surface. - -The ferrotype or tintype is now about the only product of the -positive collodion process of considerable importance, and is the -only one that will receive consideration in these pages. - -Ferrotype plates are sold by all dealers in photographic materials; -they are mostly manufactured by two large concerns in Worcester, -Mass. [p016] - - -COLLODION FOR POSITIVES. - -As has before been stated, to produce the finest results in positive -photography requires certain modifications of the collodion bath and -developer, which, while not unfitting them altogether for negative -work, yet would render them quite unsuitable for high class work. - -The formula for positive collodion here given has many merits, and -among those is a certain quality of film, which might be termed -opacity, but not in the strict sense of the word; it is that quality -in the film which enables it to cover up any small scratch or water -mark on the surface of the plate that would infallibly spoil the -picture, if almost any other collodion were used. - -This quality, with great clearness or transparency in the shadows, -and a beautiful gradation of light and shade, make it unique as a -positive collodion. - -There may seem to be a contradiction between the terms opacity and -great transparency of shadows, which may need further explanation. -As the shadows of a positive collodion picture are produced by the -black surface of the plate showing through the collodion, any defect -on that portion of the surface would be expected to show very -plainly, and it does so with the use of the ordinary collodions sold -by the dealers, but not so with the collodion under consideration, -which may be because it is less permeable by the silver solution, -and that consequently the deposit of iodide of silver lies more on -the surface and less within the texture of the film, and is thus -kept from contact with organic matter or other defects on the -surface of the plate; in some such manner only, can I account for a -very valuable quality that has saved thousands of [p017] plates, -that would under other usage have been thrown away. - -This formula has never before been published, and must be prepared -as directed. - -Alcohol and ether equal parts; gun cotton sufficient to make a -moderately thick film, say 5 or 6 grains to the oz.; put the cotton -in the ether first; when it is well saturated, pour in the alcohol. -To which add: - - Iodide of Ammonium 4 grains to oz. - Iodide of Cadmium 2 " " " - Bromide of Cadmium 1 " " " - Bromide of Copper 1 " " " - -The latter ingredient can only be had in aqueous solution, I -believe, and requires close calculation to get at the right -quantity. - -This formula gives 8 grains of salts to the ounce of collodion, and -would require a silver solution of 50 grains to the fluid ounce to -balance properly. - -The silver solution may be prepared as per directions on page 29, -under the heading--The Negative Bath. - - -HOW TO COAT PLATES. - -The ferro-plate is held between the thumb and first two fingers of -the left hand. The collodion bottle is held in the right hand, and -the collodion is poured on the right upper end of the plate, flowed -to the left upper corner, by deflecting the plate in that direction, -and then down the left side toward the hand, and the excess run back -into the bottle from the right lower corner, when it has all run -off, the plate should be gradually brought to a perpendicular -position and rocked from right to left, that is, perpendicular to -the end, [p018] then to the side, until the film has set or -become fixed, which may be ascertained by touching the film at the -lower corner of the plate, when, if it breaks and does not run -farther, it has set and should, without delay, be immersed in the -silver solution, where it should remain until it has become fully -sensitized, which will be in from 2 to 5 minutes. - -The plate should be lowered into the bath by one continuous motion; -any stoppage will cause a line and spoil the plate. - -The plate is sensitized when on removing it from the bath it -presents a smooth, yellowish surface; if it shows lines as of water -running off a greasy surface, it is not coated; return it to the -bath. - - -EXPOSURE OF THE PLATE. - -The plate having become sufficiently coated is taken from the bath, -well drained, and placed in the holder or shield, and a piece of -glass of the same size put behind it, which is to receive the -pressure of the spring on the door of the holder, and force the -plate into its proper position evenly, so that all parts will be in -focus. - -The holder containing the plate is then taken to the studio, or -light room, where the subject, we will say, has already been posed; -the camera set and focused, the exposure is then made, after which -it is returned to the dark room for development. - - -DEVELOPER AND DEVELOPMENT. - -In the preparation of a developing solution for plate pictures, we -must consider that we desire to produce a picture, which, to be -admired, must have [p019] pure whites, clear shadows, be full of -detail and have an easy gradation of light and shade. - -That you may succeed in this object, use the following formula, and -persist until you have learned its every modification: - - -DEVELOPER. - - Water 64 ounces f. - Protosulphate of iron 4 " - Acetic acid 4 " - Alcoholic solution of tannin, 10 grains - to the ounce 4 " - -The four ounces of iron should be dissolved in the sixty-four ounces -(fluid) of water, and the acetic acid and tannic alcohol added. - -In using this solution, develop your plate over a large filter, -which will receive all your surplus developing solution, and conduct -it into a bottle for use again; drain the plate into this filter -before washing, wash carefully and then place it into the fixing -solution--the developing solution which has filtered through into -the bottle is afterwards used in the proportion of one-half of old -to one-half of the new or fresh solution. This greatly improves the -high lights of the picture, and by using more or less of the old -solution, effects can be produced that are impossible by any other -means. - -Great care should be taken to cause the developing solution to flow -evenly and with one sweep, as it were, over the whole surface, so -that the action may be as near as possible equal on all parts of the -surface. - -In a very few seconds after the action of the developer has -commenced the picture will show up. The plate meanwhile should be -kept in motion and the [p020] solution caused to flow from side -to side and from one end to the other, in order that the development -may progress evenly and with the same speed on all parts. - -The picture will gradually grow and brighten, until all the detail -that might be expected is seen in the shadows; then pour off the -remaining solution into the filter and proceed to wash the plate -until all traces of greasiness disappear; when the plate is -sufficiently washed and is ready to be fixed or cleared. Another -developing solution is prepared as follows: - -Make a 64-ounce saturated solution of protosulphate of iron, into -which drop tannin solution enough to cause a precipitate, which -remains undissolved after shaking, then add drop by drop pure nitric -acid, until the precipitate is taken up and the solution becomes -clear. To one ounce of this add water, until it tests 18 to 20 -grains to the ounce by the hydrometer, then add one ounce acetic -acid, which perfects the formula and constitutes the developer. - - -FIXING SOLUTION. - -The solvent most generally used for fixing or clearing positives is -cyanide of potassium. - -By the term "fixing" is meant the dissolving from the collodion film -all the iodide of silver not acted on by the developer; the -remaining portion of the silver is in a metallic state and -constitutes the image; the cyanide very readily dissolves the -iodide, but acts very slowly on the metallic silver. - -This fixing solution should be contained in a glass upright dish, -enclosed in a wood case, with a tight or close-fitting cover, this -in order that as little exposure to the air as possible may be had, -as the fumes [p021] arising from the evaporation of the solution -are injurious. - -Two ounces of cyanide to 64 ounces of water will make a suitable -fixing solution for plate pictures; if, however, its action is -thought to be too slow, add more. - -The plate picture having now been developed and fixed, it only -remains that it should be dried, varnished, cut into shape, placed -in the proper envelopes and it is ready for delivery. - -Those desiring more extended instructions in the making of plate -pictures are referred to the work on that subject, entitled, "The -Ferrotype and How to Make it," published by E. & H. T. Anthony & -Co., of New York. - - -ARGENTIC DRY PLATES FOR POSITIVES. - -The Phenix Plate Co., the largest manufacturers of ferrotype plates -in this country, and whose name is familiar with every ferrotypist, -as well as most photographers, have lately placed on the market -ferrotype plates, with surfaces coated or sensitized with gelatine -emulsion, which they, offer as a substitute for the ordinary -collodion positive or tintype. - -The plates are cut to sizes and packed in much the same manner as -the Stanley or any other dry plates are, and being extremely -sensitive to light, they must be handled with the same care. - -The manufacturers claim, that "the 'Argentic Dry Plate' will be -found far superior to any other form of positive plate, giving as it -does the maximum of beautiful effects with a minimum of labor, -producing a rich and brilliant picture with a rapidity and -cleanliness never before attained, doing away as they do [p022] -with the use of the silver bath and all its concomitant evils, -pinholes, stains, fog, etc., not forgetting the vast saving in time -and temper. The argentic plate is always ready-at-hand, and the -working of it is simplicity itself. Their permanency and reliability -is beyond question. These plates are extremely rapid. An exposure of -from 1 to 3 seconds will suffice with a good light, 2 minutes to -develop, 3 to fix, wash, dry and varnish, and the operation is -complete, ready within ten minutes for delivery. For out-door views -these plates work well with a drop shutter exposure, and the -results, both for portrait and view work, are remarkable for -fullness of detail, and great delicacy and softness of tone." - -While these plates may be developed by the common ammonia pyro -developer, the manufacturers claim, that "much finer effects may be -produced by using the Phenix Stock Solution," that accompanies the -plates, put up in 12 oz. bottles. By its use, greater rapidity of -development, purer white, extreme brilliancy and finer detail can be -obtained, the result being far superior to that produced by any -other developer. - -The following formula can be relied on to give excellent results, -and by simply modifying the proportions, to "suit circumstances," -will answer every purpose. As these plates are very rapid, six times -more rapid than wet plates, guard well against white light. - -Formula for development: - - NO. 1. - - Pyrogallic Acid 1 oz. - Water 12 oz. - Citric Acid 20 grs. [p023] - - NO. 2. - - Phenix Stock Solution. - Keep the Stock Solution securely corked. - - NO. 3. - - Bromide Potass. 1 oz. - Water 12 oz. - - -DEVELOPER. - - Water 4 oz. - No. 1 4 drams. - No. 2 4 drams. - -If the plate be over exposed, add a few drops of No. 3. Should the -plate, however, be under exposed, add one dram more of No. 2. When -the plate is placed in the developer, the image will begin to appear -in from 5 to 10 seconds. Continue the development until the details -are all out. _But be careful not to over-develop_, and thereby -obscure the shadows. Wash thoroughly after development, and fix in -the following solution: - - -FIXING SOLUTION. - - Cyanide of Potass. 120 grains. - Water 10 oz. - -"Let the plate remain in the fixing basin until every trace of -Bromide of silver disappears. Wash well after fixing, and dry with a -gentle heat or flow the plate with alcohol for a few seconds. Set it -aside, and it will dry in a few minutes without the aid of heat. For -varnishing any good negative or positive varnish will answer. Apply -a little heat to prevent chilling." - -Directions accompany each box. [p024] - - -THE COLLODION PROCESS FOR NEGATIVES. - -We now take up that more important branch of the collodion process, -vis., that for negatives. - -The formulæ and instructions already given for positives might -enable one to make a negative, but the negatives so made would bear -even a remoter relation to one made by the formula about to be given -than would a positive made according to these formulæ bear to a good -one made by the appropriate means. Important modifications are -necessary to reach the highest excellence in either process. - - -NEGATIVE COLLODION. - -To produce a good negative a collodion is necessary, the film of -which is more permeable than that for positives, so that a heavier -deposit of iodide of silver may be carried in the film, to the end -that in the development a denser deposit of metallic silver may be -secured on all parts of the image, but especially on the high -lights, which should be sufficiently dense to prevent the -transmission of light almost altogether, or at least to exclude the -light sufficiently to allow the shadows and intermediate shades to -print to the proper depth, while the high lights of the face and -such parts of the clothing as are white shall be only slightly -discolored. - -There are very many formulæ for such collodions, some of which have -proved to be eminently satisfactory, and among the best are classed -the following: - - -NEGATIVE COLLODION. A. - -Ether and alcohol, equal parts. Climax cotton (Anthony's), 3 grains -to the oz. Negative cotton [p025] (Anthony's), 1 grain to oz. -Place the cotton in the ether first, then add the alcohol and -sensitize with - - Iodide of Ammonium 3 grains to ounce - Iodide of Lithium 1 " " " - Bromide of Cadmium 2 " " " - -Collodion prepared after this formula gives very pleasing results -and is rather more rapid than the average. - -In many cases it is well to have two samples of collodion differing -in formulæ, mixing them in varying proportions, according to the -effect desired. - -A good formula for mixing with the above is as follows. It can be -used separately if desired, but is not primarily intended to be used -alone: - -Plain collodion, prepared as in the preceding formula, but with a -different cotton, Anthony's snowy Cotton, for instance, to each -ounce of the plain collodion add: - - Iodide of Potassium 2-1/2 grains - Bromide of Cadmium 2 " - Iodide of Cadmium 2-1/2 " - -The iodide of potassium is insoluble in absolute alcohol and ether, -therefore it must be first dissolved in the smallest quantity of -water possible and then added to the collodion. A portion will even -then most probably be precipitated; if it is not, it would be an -indication that the alcohol or ether used were either one or both of -a higher specific gravity than they should be. - -It is more important that the ether should be pure than the alcohol, -as the former is often contaminated or adulterated with water as -well as with alcohol, and sometimes contains impurities of an acid -nature. - -Ether, for photographic purposes, should not have a [p026] higher -specific gravity than 720, and the alcohol should never be used for -collodion when below 95 per cent., as the presence of water in the -collodion makes the film weak and glutinous. - -Most formulæ for collodion prescribe alcohol and ether in equal -parts, but these may be varied with advantage during the hot season; -for instance, the alcohol may be used in somewhat larger proportion, -as the tendency to evaporation is much more with a high temperature, -and alcohol evaporates less rapidly than ether. Consequently the -flowing quality of the collodion and the evenness of the film would -be promoted by a not too rapid congelation or setting of the film. -And again, during the cold season, the ether may be used in larger -proportion, to promote a more rapid evaporation and setting of the -film. By a moderately close observation of the action of collodion -under varying temperatures, the operator might soon learn how to -modify his formulæ to suit all conditions of heat and cold. - -It should be mentioned that it would not be correct to vary the -proportions of ether and alcohol very greatly, as an over proportion -of alcohol would render the collodion weak and glutinous, and, being -very soluble in water, would the sooner injure the silver solution. -On the other hand too great a proportion of ether would make the -collodion less sensitive. - - -NEGATIVE COLLODION. B. - -Alcohol and ether, equal parts. - - Anthony's Negative Cotton 3 grains to ounce - Anthony's Climax Cotton 1 " " " - -Put the cotton into the ether and let it become saturated, then add -the alcohol. Excite with [p027] - - Iodide of Ammonium 3-1/2 grains to ounce - Iodide of Cadmium 2 " " " - Bromide Cadmium 2-1/2 " " " - -Collodion sometimes, from long keeping, loses sensitiveness and -becomes of a deep red color. When such is the case, it should be set -aside and fresh samples prepared, which would be improved in working -quality by the addition of small quantities of the old, and thus old -stock may be used up without deterioration in the work. - -Negative collodion should not be so heavy bodied or thick as that -for positives; neither should it be so highly excited. Good positive -collodion should have as many as 8 grains of the iodides and -bromides to the ounce, requiring a silver solution not lower than 50 -grains strong and going somewhat higher in cold weather. - -The standard silver solution for negatives is 45 grains of silver -nitrate to the ounce of water and the collodion from 5-1/2 to 6-1/2 -grains to the ounce, with a tendency to less in cold weather. - -Collodion for negatives should be permitted to ripen a day or two -before using, unless it is brought to that state by mixing with old. - - -NEGATIVE COLLODION. C. - - Iodide Ammonium 192 grains - Bromide Cadmium 128 " - Bromide Potassium 96 " - Ether and Alcohol 32 oz. each - Cotton 320 grains - -The preceding formulæ are for portrait work in studio. For other -work, such as outdoor views, [p028] landscape or architectural, -or for copying engravings, etc., certain modifications of the -collodion, to produce greater intensity or more contrast, are -desirable. Collodion suitable for such purposes can always be -purchased from the photo stock dealer, in quantities desired, and -for that reason it is not best for the amateur nor the professional -photographer either, to prepare small samples for special purposes. -If it should, however, be found at any time necessary to prepare -such a collodion, the second formula of Negative Collodion A will be -found suitable for views of buildings, copies of engravings and such -like work. - -It was at first thought to be unnecessary to give a formula for the -preparation of pyroxiline or gun cotton, as no individual not in the -business can possibly produce an article that can be in any way -compared to that made by manufacturers of skill and experience. - -For the benefit of any one wishing to experiment, this formula is -given: - - -FORMULA FOR MAKING COLLODION COTTON. - - Sulphuric Acid 6 oz. - Nitric Acid 4 " - Water 2 " - -Mix and the temperature will rise to 170° F. - -Inmerse dry cotton wool (best long fibre), be sure wool is dry, draw -it in long flakes and pull it under acids with a stout glass rod; do -not crowd in too much, take care that each tuft is well wetted with -the acids before putting in a fresh tuft. Carefully cover the vessel -and put it where any slight fumes may escape; leave it for at least -12 hours--20 hours will not spoil it. When ready, lift cotton out -and plunge it [p029] into a large quantity of water, quickly -separating the tufts with glass rods, wash in changes of water, -until no acid is left, then wring the cotton in a coarse towel until -dry as possible and pull it all apart and place in the air to dry. - - -COLLODION WITH ABOVE. - - Alcohol 5 oz. - Ether 10 " - Cotton 100 grains - -TO IODIZE: - - Alcohol 5 oz. - Iodide Ammonium 60 grs. - Iodide Cadmium 30 " - Bromide " 20 " - -Dissolve the iodides in the 5 oz. alcohol or in the whole 10 oz., if -desired, then put in the 100 grains cotton, shake well, then add the -10 oz. ether and shake till the cotton is all dissolved; it will be -ready for use in a few hours, and will improve with age. - - -THE NEGATIVE BATH. - -The silver solution for a negative bath is prepared in substantially -the same manner as for a positive. - -Two thirds of the amount of silver nitrate intended to be used, -should be dissolved in the quantity of water required to make the -bath, and a grain or two of iodide of potassium added and placed in -the sunlight until the solution has changed color, become turbid, -and again clear and colorless. This change is caused by a minute -portion of the silver combining with the organic matter and with -other impurities in the water, if there are any; a molecular change -then takes [p030] places, oxygen is evolved and the infinitesimal -portion of silver changes to a metallic state and sinks to the -bottom, carrying with it the impurities, which induced the chemical -action or change. - -The solution may now be filtered, the remaining portion of the -silver nitrate added, and with a few drops of pure nitric acid, the -solution will be ready for use. But if on trial it is ascertained -that it will not give satisfactory results, it will be found that it -has not been sufficiently excited, or an acid reaction has not been -induced. - -If the first supposition is true, more iodide of potassium must be -used, as a silver solution must receive as much or nearly as much of -the iodide as it will hold in solution, before it will work -harmoniously with the collodion; the grain or two put in the -solution with the first portion of nitrate of silver have not been -sufficient. - -A very little more may be added, which will combine with the silver, -forming a white curdy precipitate, which, on shaking the bottle, -will in a short time redissolve. If any remains, it should be -filtered out, as no more can be held in solution. - -An other plan is rather more convenient, but requires more time. It -is to coat with collodion as large a plate as the bath will receive; -immerse it in the bath, leaving it there some hours, usually all -night. - -After trying one of these remedies, if the bath refuses still to -yield good results, more nitric acid should be added, until the -solution will turn blue litmus paper slowly red. - -I have never known a silver bath to fail to come to terms under this -treatment. [p031] - -The silver solution, when in constant use, rapidly deteriorates, and -unless there is a very large quantity, it will soon become unfit for -use, and however much or little there may be, it is only a question -of time as to when it will cease to act satisfactorily. - -This result is caused partly by the gradual contamination of the -solution by the alcohol and ether washed from the collodionized -plates that have been sensitized in it. When the bath is seriously -affected in this manner, it is indicated by the difficulty -experienced in getting the developer to flow evenly over the plate, -and also by the strong alcoholic odor of the silver solution. - -The necessity for a change of the bath may be delayed for a time by -the addition of alcohol to the developer, which causes it to flow -more evenly. - -Another source of evil to the bath is the continual absorption from -the surfaces of the plates immersed of minute portions of the salts -with which the collodion is excited. After the silver solution has -taken up all it can dissolve or assimilate, the surplus is held in -suspension and is called free iodide, which deposits itself on the -surfaces of the plates, and when in quantity causes the plate when -taken from the bath to appear as if fine sand had been sprinkled -over it. These small crystals prevent the action of the light on the -parts they cover, and when the plate has been developed and fixed, -every crystal has produced a small transparent spot or pinhole, as -it is termed, and many a lovely negative has been ruined by -pinholes. - -This trouble may be cured by increasing the quantity of the solution -and adding more silver nitrate, which, if in sufficient quantity, -will dissolve the free [p032] iodide. But if it may not be -convenient to do this and no other solution is ready for use, then, -after immersing your plate, tip the bath dish back so that the face -of the plate may be inclined downwards, when the crystals will be -deposited on the back of the plate and do no harm. - -The silver bath is also contaminated with organic matter, taken up -from the edges and backs of the many plates used, of which some -portion of the albumen is likely to be exposed to the action of the -solution, and also from dust, etc., falling into the bath dish, -which will be taken up and held in solution by the acid in the bath, -but when the acid can hold no more in solution, its presence will be -indicated by a greyish white vail forming on the surface of the -plate when developed; this is called fog, and may only partially -obscure the image, or it may completely veil it. - -The fogging of the plates in this manner may be prevented for a time -by adding more nitric acid to the bath, which will dissolve the -organic matter and prevent its deposition on the plate. - -When the silver bath has, from long or much use, become seriously -affected by any of these evils, it should be set aside and a fresh -bath put in use, until an opportunity offers to thoroughly cleanse -and renew the old solution, which can be done by one series of -manipulations, as thus: - -Into a large bottle, which will hold the solution to be treated, and -somewhat more, put from a pint to a quart of water, according to the -quantity of the solution; into this bottle containing the pint of -water, pour in a small stream the whole of the old solution, when it -will be found to have turned to a milky whiteness [p033] or -opalescence, which is the iodide of silver set free by reducing the -strength of the solution; this must be filtered out, and the -solution neutralized with bi-carbonate of soda, which should be put -in, in small quantities until a deposit of carbonate of silver -begins to be formed; then place the solution in an evaporating dish, -and subject to heat until the bulk is reduced about one-half; test -it with litmus paper, and if acid, give it more bi-carbonate of -soda; add water and silver nitrate to bring to the required bulk and -strength, set in the sunlight for a time or until required for use, -then filter, and it will be found to be as good as new, but it may -require a few drops of nitric acid. - -Pure water may be always had ready for use, by keeping a large -bottle full of the common water standing out-door in the sunlight, -adding a grain of silver from time to time as the bottle is emptied -and replenished. - -The new "agate iron ware" pots are the best for use as evaporating -dishes. They will not break or crack, and they are not nearly so -expensive as porcelain dishes. - - -THE NEGATIVE DEVELOPER. - -There are a thousand and one formulæ for developing solutions for -the wet plate, but they are all composed of protosulphate of iron or -a compound thereof, acetic acid, and water, with the addition of -some organic substance, such as sugar, rock candy, glycerine, etc. -etc. - -The development of a negative is nothing more than the deposition of -metallic silver in a state of fine sub-division upon a base of the -same metal, which is the image latent in the collodion film after -exposure in the camera. And it is supposed that the finer the -deposit [p034] secured in the development the better will be the -chemical effect and printing quality of the resulting negative. -Therefore, the use of organic bodies in the developer is supposed to -effect or induce a finer deposit. The careful observer, however, -will soon discover that the success of the development depends more -on the time of exposure, the temperature of the developing solution -and the condition of the bath, than upon any adventitious aids, such -as rock candy, etc. - -A developing solution, composed alone of an aqueous solution of -protosulphate of iron and acetic acid, can be made to produce the -finest effects possible to the process. - - -DEVELOPING SOLUTION - -Half fill with protosulphate of iron a wide mouth 64 oz. bottle, -fill up full with water, set aside to dissolve, shaking the bottle -once in awhile, so that the water may become saturated. Put a small -glass funnel on a stand, so that you can place under it a 16 oz. -bottle; fill the 16 oz. bottle with water and enough of the strong -iron solution to make a twenty grain to the ounce solution, add one -ounce of acetic acid, pour all into the filter and place the bottle -beneath the funnel to receive it. This filtered solution is the -developer for negatives. - -Some experience is necessary to enable one to develope a negative -properly and secure the best results. - -Holding the plate in the left hand, take the developer bottle in the -right, hold it over the plate near the left hand, let the first -finger of the right hand rest against the edge of the plate, tilt -the bottle so that the developer will run on the plate; at the same -time move [p035] the right hand toward the other end of the plate -rather quickly, letting the developer run in a steady, but not -copious stream; deflect the plate with the left hand at the same -time, so that the solution will flow from you in such a manner that -the whole surface of the plate may be covered with the liquid at -nearly the same time as possible. Now set down the bottle and keep -the plate in motion, so as to cause the solution to have an equal -action on every part of the surface. Very soon the image will appear -and brighten, until every part of the detail comes out, and when it -begins to look as if fading away or becoming less distinct the -development is finished. - -This can be ascertained with more certainty at this time by holding -the plate so as to be able to look through it toward the light, so -as to examine its density, remembering that the high lights should -be quite dense and the medium shadows be full of detail. One very -soon learns to know the proper density. - -The plate should be now very thoroughly washed, to free the surface -from the iron before fixing. - -Great care should be taken in this manipulation to cover the plate -quickly with the solution, holding it all on the plate. As the -development is made by the precipitation of the free silver on the -surface of the film upon the latent image, none of the free silver -should be washed from the plate by a flood of developing solution -carrying it off the surface. - - -FIXING SOLUTION - -Hyposulphite of soda is generally considered to be the most suitable -fixing agent for negatives, although some prefer cyanide of -potassium. [p036] - -The hyposulphite, however, is the safest, both for the plate and for -the operator. One pound of hyposulphite of soda to a gallon of water -will make a solution of a suitable strength to clear a negative as -rapidly as is necessary, and it should be contained in a flat dish. -When from much use the fixing solution becomes muddy, it should be -thrown into a suitable receptacle for liquid wastes, as it is rich -in silver. - -Leave the negative in the fixing solution until all the iodide of -silver is dissolved from the film, and no trace of the yellowish -deposit can be seen by transmitted light. - -When the negative is thoroughly cleared, if it is found that it -lacks density or, in other words, is not intense enough, wash it -very carefully to free it from every trace of the soda solution, and -then proceed to strengthen it in the following manner: - - -INTENSIFYING THE NEGATIVE. - -Keep near at hand in a 64 oz. bottle this solution: - - Protosulphate of iron 2 oz. - Citric acid 1 " - Water 64 " - -and in a small bottle a ten-grain-to-the-ounce solution of silver -nitrate. - -When a negative is to be strengthened, from the large bottle take -enough of the solution to cover the surface; to this add a half dram -of the silver and flow it over the negative. - -A change of color will at once take place in the film, which will -become darker as the silver deposit becomes heavier; if one -application is not enough to secure the required density, wash the -plate and proceed again, as before. [p037] - -Negatives may be strengthened before fixing, if it is found -necessary, by flowing the surface with the weak silver solution and -afterwards using the ordinary developer. - -When one has become accustomed to the work, and can tell that the -negative is not dense enough before fixing, it is the best plan to -re-develop before fixing. - -The mercurial intensifying solution for dry plates is very nice for -wet plates. - -Having described the positive and negative collodion process, there -remains to give an account of the latest and greatest achievement in -photographic progress. - - - * * * * * - - -THE BROMO ARGENTIC DRY PLATE PROCESS. - -The history of dry plate photography comes within the last ten or -fifteen years, and being so recent and so fully written up in -current photographic literature, space in this work will not be -taken for a full account of the rise and progress abroad and at home -of this wonderful improvement in photography, but instead will be -given some formulæ for the preparation of Gelatino Argentic -Emulsion, and the most approved methods of working it. - -The shortening of the time of exposure for sittings in the studio -from one-tenth to one-twentieth of the time required for the old wet -plate process, at its best, has rendered the dry plate such a power -in the hands of the photographer as to have caused it to be almost -universally adopted in the studios of this country, and has -practically displaced the wet process in the field and for all -out-door photography. [p038] - - -GELATINE EMULSION. - -Since the introduction of the new process into the United States, -the preparation of rapid dry plates has been and remains now in the -hands of certain prominent firms, who, from the skill they have -acquired and the advantages they derive from all the machinery and -conveniences that large capital enables them to procure, are enabled -to supply fully the demand with a much better article than could be -had were each consumer to manufacture for himself. In fact, if the -photographer were compelled to manufacture his own dry plates there -would be a very different condition of affairs at the present time. - -Gelatine is a substance so susceptible to change from the action of -our climate, with its varying temperature, that of a large number -who have attempted to make dry plates for the trade, many have -completely failed, some of them after a partial success; and others -after spending thousands of dollars never could make two batches of -emulsion alike; and then again the keen competition of the -successful concerns has reduced the profits to not more than fair -returns to a precarious business. - -There are many, no doubt, who would be glad to experiment in this -field, especially among amateurs, and it is for the benefit of such -that certain hints and formulæ are given in this connection to -enable them to make, if successful, their own plates. - -The formulæ herewith given are selected from a large number -published in the German, English and American journals, and while -good dry plates may be made by either of them, yet it is doubtful if -the highest success would repay the outlay. [p039] - -A careful study of the published formulæ and the current literature -on the subject of Gelatino-Bromide Emulsion will disclose the -general principles on which they are based. - -A certain amount of bromide of ammonium or potassium (preferably -ammonium, on account of its greater uniformity and purity) and -nitrate of silver are dissolved separately, and mixed together in a -thin solution of gelatine, at a moderately warm temperature. Great -sensitiveness is obtained by a long exposure to the same warm -temperature, or by the addition of a small amount of ammonia, and -raising the heat to the boiling-point for from a half to a full -hour; when it is cooled more gelatine is added and the whole allowed -to congeal or set, when it is reduced to shreds, and washed in cold -water to remove the excess of the preponderate salt. - -The sensitiveness of the emulsion is said to depend upon the -fineness of sub-division of the grain of the bromide of silver in -the presence of the gelatine. This extreme fineness is secured by -long emulsification, or by the use of ammonia and a boiling heat. - -The strength and tenacity of the emulsion depend on the quality of -the gelatine, and its freedom from deterioration during the process -of emulsification and the subsequent washing. A soft gelatine is -suitable for the process of emulsification; afterwards a hard -quality is used to give body and resistance. - -The presence of free bromide or of free nitrate of silver in the -finished emulsion would be fatal to its usefulness; therefore, as -both of those salts are easily soluble in water, they must be got -rid of by washing; consequently, before washing, the mass of jelly -should [p040] be induced by the use of a refrigerator to set firm -and hard, so that it may be broken up into shreds for washing, and -the smaller the shreds the less washing they will require. - -Of the following formulæ the first two are copied from English -photographic year books, and are believed to be reliable; the others -are by Dr. Eder, the greatest German authority on gelatine emulsion, -and they are comparatively simple. - -GELATINE EMULSION. A. - - PAGET PRIZE. - - NO. 1. - - Hydrochloric acid 1 drachm - Distilled water 12-1/2 oz. - - NO. 2. - - Distilled water 3 oz. - Bromide Ammonium 210 grains - Gelatine 50 " - -Twenty minims of No. 1 solution are introduced into the whole of No. -2, and the Gelatine is left to swell. - -In another glass vessel 330 grains of nitrate of silver are -dissolved in 3 ounces of distilled water; a small quantity, about -two fluid drachms, of the latter is poured into a test tube and -diluted with an equal bulk of distilled water. - -The solution of the bromo-gelatine is then rendered complete by -immersing the bottle in hot water, and the dilute silver nitrate is -added all at once. - -The bottle is then shaken and the remainder of the strong silver -solution added in quantities of half an ounce at a time, shaking the -bottle as before after each addition. [p041] - -The emulsion is then boiled for fifty-five (55) minutes, and when -cooled down to 90 degrees F., one ounce of gelatine, which has been -previously swelled and dissolved in water so as to measure four -ounces, is added and put away in a cold place to set. - -When set, squeeze through coarse canvas into cold water one half -gallon and 1/4 lb. salt; let it remain for five minutes, then wash -thoroughly. - -The addition of two ounces of alcohol and enough water to make up to -twenty ounces completes the process. - -In the preparation of this or any gelatine emulsion the work may be -carried on in daylight as far as the mixing of the bromide and -silver, which must be done in a dark room by the aid of a lamp or -gas light shaded by orange or ruby glass. Sufficient of this -non-actinic light may be admitted to enable the work of washing the -emulsion, and afterwards the coating of the plates, to be carried on -with ease and comfort, as the emulsion when wet is only half as -sensitive as when dry. - -GELATINE EMULSION. B. - - JARMAN. - - Picked white Gum Arabic 75 grains - Bromide Ammonium 200 " - Gelatine 150 " - Water 10 oz. - - Nitrate of silver 300 grains - Water 7-1/2 oz. - -Dissolve in two jars in a vessel of water heated to 140 degrees F., -stir each solution well with a separate rod or strip of glass, and -when equally heated to 140 [p042] degrees the silver may be -poured in a gentle stream into the gelatine gum solution by the aid -of a safe light. - -When all has been mixed and thoroughly stirred, cover the top of the -dish and allow the temperature to be at 140 degrees for eight hours, -occasionally stirring the emulsion during that time, which should be -done in the dark. - -At the end of that time there should be weighed out, of Nelson's -soft gelatine 250 grains, and of French hard gelatine 150 grains. - -This 400 grains of gelatine must now be added to the emulsion, and -occasionally stirred until all of it is thoroughly dissolved and -incorporated with the emulsion, which will take about a quarter of -an hour; it is then poured out in a clean 12×10 deep porcelain dish -to set, and should be allowed to set for forty-eight hours, when it -may be wrung through a piece of coarse canvas and allowed to fall -into a solution of - - Common salt 1/2 lb. - Water 1 gallon - -Let it remain in this for five minutes, then strain through a horse -hair sieve and wash it well for an hour and a half. Allow the -shreddy emulsion to drain well in the sieve for about a quarter of -an hour; at the end of that time place it in a clean stone-ware jar -to melt, with the addition of four drachms of saturated solution of -nitrate of potash upon melting, which may be done by setting the jar -into a dish of water at a temperature of about 120 degrees F. - -It will be found on measurement to be nearly 25 ounces of emulsion; -as soon as it is ready for filtering four ounces of methylated -spirit may be mixed with it, [p043] to which have been added four -drachms of an alcoholic solution of tannic acid, made by mixing ten -grains of tannic acid with one ounce of alcohol; this is to prevent -frilling. - -The rapidity of the plates will be about eight times that of a wet -collodion plate, which for all ordinary purposes will be as rapid as -could be desired. - -Dr. Eder, the distinguished German scientist (who is a great -authority on gelatine emulsions, and has published a book on this -subject), gives the two following formulæ: - -GELATINE EMULSION. C. - EDER. - Bromide potassium 4 grams, equal to 61 grains. - Gelatine 7-1/2 to 8 grams, " 115 " - Water 50 c. c. " 1 ounce. - Nitrate of silver 5 grams, " 77 grains. - Water 50 c. c. " 1 ounce. - -Dissolve the silver in water and precipitate it with ammonia. -Continue the addition a few drops at a time, until the brown oxide -of silver re-dissolves and the liquid looks as bright as pure water; -the strength of the ammonia is immaterial. - -The nitrate of silver may be warmed to 93 degrees F., and poured -into the bromized gelatine a little at a time, continually stirring -with a glass rod. Rinse the silver bottle with 10 c. c. about 1-1/2 -drachms of water and add it to the emulsion, place the bottle -containing the emulsion in a basin or saucepan of water heated to 90 -degrees F., leave it therein from 15 to 30 minutes without further -heat; after 30 minutes the emulsion is ready to be congealed -previous to washing. - -This emulsion never fogs, but it is imperative that [p044] in no -part of the progress the temperature should exceed 100 degrees F., -and it is a safe rule not to go beyond 90 degrees F. It is -recommended to use French gelatine. - -GELATINE EMULSION. D. - EDER. - Bromide of potassium 61 grains. - Gelatine 115 " - Water 1 oz. (plus) - -The bromide of potassium must be pure and not alkaline, ditto the -gelatine. - -The bromized gelatine must be melted at 140 to 160 degrees, and then -add 77 grains of silver nitrate in one ounce (plus) of water. The -silver may be warmed to the same temperature as the gelatine, but -this is immaterial. Rinse the silver bottle with three drachms of -water and add it to the emulsion. The bottle with the emulsion is -now put in a saucepan partly filled with hot water, covered to -exclude all light, and the water in the saucepan set boiling, which -should be continued for 25 to 30 minutes, then both water and -emulsion cooled down to 90 degrees F., then add 340 minims of -ammonia, stirring it thoroughly through the emulsion, which should -be left for from 30 to 40 minutes at a heat of 90 degrees F., then -it is ready to set and wash. - -Dr. Eder says this last is quicker and better for portraits. - - -DESCRIPTION OF APPARATUS USED IN MAKING AND WASHING EMULSIONS. - - -THE DARK CHAMBER. - -Any form of room that has running water in it, if there is a window, -the better, unless the work is done [p045] at night. If in the -daytime, shade the window with heavy red orange paper; if gas is -used, shade the flame with a ruby globe or chimney, and cut a piece -of tin to fit in the pipe below the burner to cut off rays of light -falling through bottom opening of globe or chimney. - -If there is no gas purchase a dry plate lantern. - -Emulsion in the jelly and when wet on the plates is only half as -sensitive as when dry, so that it is not necessary to distress one's -self working in the dark. - -When the silver and bromide are brought together and mixed, it -should be done in this dark room. The solutions are poured into a -glazed earthenware bottle, which can be tightly corked. When it is -required that the emulsion should be heated, put the bottle into a -tin pail, fill the pail with hot water and put on the cover and heat -in any convenient manner; when it is necessary to examine the -emulsion, remove the pail and contents to the dark room. - -A thermometer for testing heat in liquids should be used to regulate -the temperature. - -A deep porcelain tray is the best dish for holding the emulsion, -while it sets previous to washing. To prevent the emulsion from -adhering to the tray it may be waxed carefully, but leave no -surplus; when the emulsion has set as firmly as it will, it may be -cut up into very small squares for washing, but probably the best -way is to squeeze it through the meshes of very coarse canvas, such -as ladies use for embroidering on with wool. The shreds may be -permitted to fall into a fine horsehair sieve placed in a pan of -very cold water and allowed to soak for a time, when the sieve may -be raised, and the water will in a short time drain away [p046] -from the shreds. This may be repeated until the water, when tested -with silver solution, gives no precipitate of bromide. - -After the emulsion is washed it must be melted and filtered before -it can be used to coat plates. These manipulations must be performed -in the dark room. For melting the emulsion use a small oil stove -placed in a tin box, the open side placed to the wall; set the dish -containing the emulsion on the tin box over the heat; or, a more -perfect arrangement is to take a tin or sheet iron bake-pan, make a -hole through the bottom near one end, and into the hole fix and -solder a tin funnel, into which you can put a glass funnel that will -hold a pint or more; set this pan on the tin box containing the oil -or gas stove, the end of the pan containing the funnel projecting -over the tin box towards you; fill the pan with hot water, which the -heat of the stove beneath will keep hot; into it set the dish -containing the emulsion to be heated or melted; when that has taken -place pour into the funnel to filter, through loose absorbent cotton -or a thin piece of chamois skin or flannel, as you prefer; the -funnel will be kept warm by the hot water in the pan surrounding it. - -Filter into a pitcher with a lip suitable for pouring from, or a -small earthenware teapot would be better. You would be using the -emulsion from the bottom, and thus avoid air bubbles; when all is -filtered set the pitcher or pot into the hot water to keep of an -even temperature. - - -TO PREPARE THE GLASS. - -Soak the glass in strong lye or potash for a time, then wash -carefully and put into acid, then wash [p047] again and -albumenize with the white of one egg to six ounces of water without -ammonia. The plates should be slightly warm when being coated. - - -COATING THE PLATES. - -Hold the plate in the left hand, as you would for coating with -collodion, flow with emulsion as you would with collodion, letting -the surplus flow off the right hand lower corner, but do not let -more than the gross surplus run off; retain enough to make a rather -thick film; now move the plate so as to facilitate an even -distribution of the film, then set the plate on the leveled cooling -table. - - -THE COOLING TABLE. - -This table should be a large slab of marble or slate with a -perfectly plain and level surface; before using it should be cooled -by placing ice or a refrigerating solution on it. The coated plates -are laid on this level table, where the cold soon chills the -emulsion, causing it to set, when they may be set up in racks and -placed in the drying room or box, where in the course of a few -hours, if the conditions are favorable, they will dry and are then -ready for use. - - -THE DRYING ROOM. - -The drying room, or box, as the case may be, must be kept cool, and -if any current of air is induced it should be cool and constant, so -that the drying may proceed with perfect regularity until the -process is complete. Should the drying by any means be checked a -line will be formed on the plate, showing where the drying stopped -for the time. - -Plates may be dried by a current of warm air, but [p048] they are -much more likely to frill during development; and a very little heat -will melt the coating. - -If the plates are dried by an induced current of air, the process -may be hastened by placing dishes, filled with chloride of calcium, -in the air passage to the drying box or room. The chloride will -absorb all the moisture from the air passing over it, and the dry -air will take up the moisture from the plates. - -When the chloride of calcium becomes too damp for further use, place -the dishes containing it in an oven and drive off the moisture by -heat, when the dry calcium may be again used. By employing such -means the plates may be dried in a few hours. - -After the plates have become dry, they should be packed in good -light-tight boxes and kept in a dry room until wanted for use. - - -DEVELOPING ROOM FOR DRY PLATES. - -Dry plates, ranging in rapidity from one-tenth to one-twentieth the -time necessary for a wet collodion plate, are now commonly used in -the studios of this country. Of course, plates of such extreme -sensitiveness require great care in handling, and absolute freedom -from any umpremeditated exposure to white light is necessary to -their successful use. - -It is therefore necessary that the dark room should be remodelled to -suit the requirements necessary to the successful handling of such -extremely rapid plates, and in this connection it is proposed to -describe the necessary changes and alterations. - -Any ordinary dark room may with little expense be fitted for dry -plate work. First see that every chink or crevice which might admit -white light is stopped or [p049] filled up, then fit the door or -doors so that they will shut tight and remain closed. - -For convenience of access to the room while work is proceeding, and -for greater safety, it is well to erect a small porch or ante-room -at each door, the entrance to which should be at right angles with -the dark room door. The door to this porch and the dark room door -should be fitted with springs to keep them closed. With this -arrangement one can have access to the dark room at any time by -closing one door before opening the other. - -If the dark room is lighted by a window, it should be glazed with -dark red orange glass, and if the exposure is toward the sun, it -should be shaded with a green or ruby colored shade on a spring -roller. If the sun never shines in the window, the shade is not -necessary. - -If the room is lighted by artificial light, the best way is to cut -an opening in the wall or partition at the most convenient place, -make a frame to fit or cover this opening, that will raise or slide, -glaze it with red orange glass. On a shelf outside the opening place -your gas-burner or lamp, with a large reflector behind, so as to -reflect all the light through the glass into the room. If gas is -used on the outside an argand burner will be the best, with a common -white glass chimney for ordinary work, but for the most sensitive -plates a light green or thin ruby chimney will be absolutely safe. - -If a kerosene lamp is used, the common white chimney with full flame -will be safe; and being outside, the room will not be heated by its -flame, nor rendered offensive by its smoke and odor. - -In front of the window or of the artificial light, [p050] erect a -shelf or place a small table with a level top, which will support -the developing dishes and bottles of developing solution, and on -which the work of development may be carried on. - -If the room is so situated that neither window nor gas may be used -in the manner suggested, then procure Carbutt's Developing Lantern, -which is a most convenient lantern, not only for developing, but for -other purposes. See figure. - -The dark room should be supplied with running water, and the more -generous the supply, the better, as a dry plate requires much -washing, and a large stream will do the work much quicker than a -small one. - -[Illustration: WASHING BOX.] - -In many instances, however, where running water may not be had, the -washing box may be used with advantage. If running water is used, be -careful not to use too much pressure; by attaching a rubber hose to -the faucet and passing it over a nail or hook above, the pressure -may be reduced so that a full but gentle stream falls upon the -plate. - -Safe closets should be provided to contain all sizes of plates; or -the new [p051] made by Anthony & Co., may be used instead, both -for unexposed and for exposed plates awaiting development. - -[Illustration: NEGATIVE BOXES,] - -[Illustration: JAPANNED IRON DEVELOPING TRAY,] - -[Illustration: ANTHONY'S GLASS TRAYS,] - -[Illustration: GLASS BOTTOM DRY PLATE DEVELOPING TRAYS.] - -The dark room should be supplied with the necessary apparatus, such -as developing trays, which are of japanned tin, of glass or india -rubber; see cuts, JAPANNED IRON DEVELOPING TRAY, ANTHONY'S GLASS -TRAYS, or the patented article, the GLASS BOTTOM DRY PLATE -DEVELOPING TRAYS, [p052] and also the dishes to contain the -fixing solutions, which may be trays or upright, like silver-bath -dishes. - -THE COMMON SENSE TRAY is a capital dish to contain the hypo and -clearing solutions and is not expensive, and can be had of all -sizes. All these dishes should be kept scrupulously clean when not -in use. - -[Illustration: THE COMMON SENSE TRAY.] - -[Illustration: TN: Graduate.] - -There should be Graduates of the 16 oz. and the 8 oz. sizes, and -also a minim glass measuring up to [p053] one fluid ounce, also -one or more of Anthony's Combined Funnel and Filter, for filtering -the various solutions. - -[Illustration: ANTHONY'S COMBINED FUNNEL AND FILTER.] - -[Illustration: FOLDING NEGATIVE RACK.] - -There should be glass-stoppered bottles for containing the -developing solutions, especially the pyro; also racks to hold the -plates while drying; one finely adjusted scale with apothecary -weights weighing to a 1/4 lb.; one camel's hair-brush, 3 inches -wide, for dusting the plates before [p054] putting them in the -holders for exposure, and also for removing sediment from the -surface of the film after fixing and washing. - -[Illustration: CAMEL'S HAIR DUSTERS.] - -Thus fitted and furnished, the dark room is ready and well adapted -for the most difficult dry plate work, and we will now proceed to -the consideration of the - - -DEVELOPMENT OF DRY PLATES. - -Every manufacturer of dry plates encloses in each box of plates -packed for the market a formula for the development of the same. - -The various manufacturers of dry plates, whose names will be found -in the advertising pages in this book, each have a formula which in -some respects differs from all the others, and it is but fair to the -maker of the plate, that his formula should be used, unless the -operator is of much experience and understands the requirements of -each particular kind of plate. - -Therefore, while formulæ are given in this connection, although they -are known to be of the best, yet in the hands of inexperience they -may result to no better advantage than the formula appropriate to -the plate used; consequently, we do not urge their use above any -other, but rather that to which the operator is most accustomed. - -The alkaline pyro developer is now in general use among professional -photographers in this country, and there remains no doubt that it is -the best developing agent for dry plates that has yet been brought -into use. - -This developer is composed of pyrogallic acid and [p055] an -alkali, either ammonia, sal soda, or carbonate of potash, which, in -solution and of proper strength, forms the medium through which the -pyro is applied. - -To these is added bromide of potassium or ammonium, which is the -restrainer, and occupies about the same position or performs the -same function as acetic acid in the wet plate developer, and besides -being a restrainer it greatly aids in securing intensity and -printing quality; and when plates are overtimed in exposure its -prompt use may result in securing a good negative. - -Some plates require double the quantity of pyro that others do to -produce the same quality of negative. After ascertaining the normal -amount of pyro necessary to develop plates of a certain make, if it -is desired to increase intensity add more pyro, if your plate is -developing too intense or hard add more of the alkali. - - -DRY PLATE DEVELOPER, A. - - No. 1. - - Carbonate of Soda (Sal) 1 lb. - Carbonate of Potash 1 lb. - Yellow Prussiate of Potash 1 oz. - Bromide of Ammonium 1 oz. - Water 64 oz. - - No. 2. - - Pyrogallic Acid 1 oz. - Saturated Solution Sulphite Soda 15 oz. - -Keep No. 2 in glass-stoppered bottle. - -To develop one 8×10 plate, take of - - No. 1 1 dr. - No. 2 1/2 dr. - Water 6 oz. - -Put the exposed plate into the developing tray and [p056] pour -the solution upon it, making sure that all parts of the plate are -covered, and no air bubbles fixed to the surface; keep the dish in -motion and in a short time the image will begin to appear; if -properly timed the high lights will show up promptly, and in due -time all parts will appear, and when detail is seen in the shadows -take the plate from the dish and examine it by transmitted light. -Note the gradations of light and shade; if they appear properly -balanced, the plate has been properly timed in exposure. Return the -plate to the dish and let the development proceed until the image -sinks well into the film and you see nothing very clearly as it lies -but the blacks. - -Time is necessary in this process to secure enough intensity, and -this stage is the most difficult in the process, there being no -means by which to judge with any degree of certainty the density of -the image before you. It is better then to proceed too far than not -far enough, as a slow printing negative is far better than one that -is too thin and weak.[1] - -[1] These directions apply to all dry plates except the Stanley, -which can be developed to any required density at sight, and loses -none in the fixing solution. - -When the image has sunk pretty well into the film examine it again -by looking through it, and note well its appearance, so that if it -is about right when fixed you may remember how it appeared if you -wish to increase or diminish the intensity of your next plate. - -If the plate has been overtimed it will show up quickly, almost at -once; when such is the case quickly pour off the developer and flow -the plate with water, washing it well, then prepare more developer -with nearly double the amount of pyro and a few drops of a [p057] -strong solution of bromide of ammonium, which add to the 6 oz. of -water and pour on the plate; then take half the usual quantity of -the No. 1 solution in a graduate and pour it, a few drops at a time, -into the developing tray, watching the action closely and keeping -the solution in motion. - -The negative at this time probably shows all the detail of the -subject, but without any gradation of intensity. If the changes just -described have been made promptly you will soon observe that the -high lights will begin to gain in strength. Keep up the action by -adding more of the alkali, drop by drop, until you can proceed no -farther. - -The chances are that you will secure a printable negative, but not a -very good one; and if it is a portrait the best thing to do is to -throw it away and make a new one. - -The plate should now be very carefully washed previous to fixing. - -Should the film show signs of loosening from the edges of the glass -and swell so as to form folds or frills, take it from the water and -immerse it in a solution of alum, which will harden the film and -stop the frilling. Then wash the film again and put it in the - - -FIXING SOLUTION. - - Hyposulphite of Soda 1 lb. - Alum 1/4 lb. - Water 1 gal. - -When the soda and alum are dissolved let it stand until all sediment -settles to the bottom, then pour off the clear solution and use it -to fix until from much use it becomes black and turbid, then make up -and use a fresh solution. [p058] - -The plate should be left in the fixing solution for fully five -minutes after it appears thoroughly cleared, then take it out and -wash until all traces of hypo are removed. - -If the plate has not previously been in the alum solution it may now -be put in the - - -CLEARING SOLUTION. - - Alum 1/2 lb. - Citric Acid 2 oz. - Water 1/2 gal. - -Keep this solution in a flat dish, and after the plate has been -washed from the hypo put it in this solution for two or three -minutes; if there are any remaining traces of hypo in the film it -will be decomposed, the film will be hardened and freed from color; -when this is accomplished wash again and set the plate up to dry. - -While the alkaline pyro developer is the best and gives the finest -printing quality to negatives, there are many who prefer (for other -reasons) the - - -FERROUS OXALATE DEVELOPER. - - No. 1. - - Neutral oxalate of potash 1 lb. - Water 5 pints. - -Acidify with oxalic acid and filter. - - No. 2. - - Protosulphate of iron 1 lb. - Water 2 quarts. - -Filter and add 60 drops sulphuric acid. - - No. 3. - - Bromide of Ammonium 1 oz. - Water 10 oz. - -The developer is prepared by mixing together in a [p059] graduate -the quantity necessary to cover the plate in the following -proportions: - - Oxalate solution 3 parts. - Iron solution 1 part. - Bromide solution 1/8 part. - -For instance, it will take about 8 ounces to cover an 8x10 plate in -a flat dish; to make this quantity take of the - - Oxalate 6 oz. - Iron 2 oz. - Bromide 2 drs. - -Always pour the iron into the oxalate solution, then add the -bromide, and having placed the exposed plate in the dish pour the -developer upon it, covering the surface of the plate as quickly as -possible and removing any air bells that may stick to the surface. - -Keep the solution in motion on the surface of the plate and in a -short time the image will begin to appear, the high lights first, -then the intermediate shades, last of all detail will be seen in the -shadows. Now pour the developer off, take the plate out of the tray -and look at the back of it. If the subject or image can be -distinctly seen it may be considered finished and only needs to be -washed and fixed. - -If the plate has been over-exposed, which will be indicated by the -image appearing quickly, wash off the developer with water, add more -bromide to the solution and immerse the plate again. - -If, on the contrary, the plate has not had enough time, it will be -indicated by developing very slowly and with a very thin and weak -image; when such is the case add more of the iron solution, however, -not more than to make the proportion of the iron nearly [p060] -one-fourth of the whole solution. More than this proportion will -cause a yellow precipitate, which will settle on the surface of the -film and destroy it. If by this course you succeed in securing -sufficient detail in the shadows, the negative may afterwards be -strengthened. - -It is as well, however, when a plate is found to be undertimed (and -it is possible to make another from the same subject) to throw it -away; it will scarcely repay further attention. - -It will be seen that a considerable margin in time of exposure can -be allowed and provided for. Yet none the less it is of the utmost -importance to learn to give the correct and proper exposure to -secure the finest results. - -This, it is true, is not always possible, and as an under-exposed -plate is lost, any error in exposure would better be in too much -rather than in too little time. - -It is said by some that by the use of citrate of soda almost any -degree of over-exposure may be remedied, but there remains the fact -that for a restraining agent to be of any value its application to a -negative in development must be almost instantaneous upon the -earliest discovery of the over-exposure. - -When a large number of plates have been exposed and the first -developed indicates that all have been overtimed, then a 50 per -cent. solution of citrate of soda, used with judgment, might result -in saving the lot. - -When over-timing makes itself visible unexpectedly and it is feared -that the development will have proceeded too far before the retarder -can act, a good plan is to take the plate out of the dish and flow -over it a solution of citric acid, containing a little chrome alum, -[p061] which will immediately stop the action of the developer and -give time to make other arrangements. - - -AMMONIA PYRO DEVELOPER. - - No. 1. - - Pyrogallic acid 1 oz. - Alcohol 4 oz. - - No. 2. - - Water 60 oz. - Bromide of ammonium 60 grs. - Strong liquor ammonia 2 drs. - -To use, take of - - No. 1 or pyro solution 1 dr. - No. 2 or ammonia solution 10 oz. - -This will be enough to develop three or four 8×10 plates, if they -are properly timed. - -The above is one of the best forms of ammonia pyro developer; it -gives negatives of very fine quality. - -Many dry plates, on development with ammonia and pyro, show a green -fog by reflected light, and a pink or red fog by transmitted light; -this fog does not materially injure the printing quality of the -plate, but spoils its appearance to the eye, and for that reason -many establishments have given up the use of ammonia and in its -place use soda or potash. - - -INTENSIFICATION OF DRY PLATE NEGATIVES. - -From the difficulty of judging when the development has reached the -right point, in consequence of the opacity of the gelatine film, -many negatives are finished before they have acquired sufficient -density in development. As a result of this, much attention has been -given to the discovery and preparation of redeveloping or -intensifying solutions, many formulæ [p062] for which have been -published; among the best are the following: - - -INTENSIFYING SOLUTION. A. - - Bichloride of Mercury 120 grains. - Dissolved in hot water 16 oz. - -Add to this a strong solution of Iodide of Potassium drop by drop, -until the red precipitate begins to redissolve, then add a few -grains of hyposulphite of Soda, or enough to clear the liquid. - -When required for use pour part of this solution into a tray of a -suitable size for the plate, add an equal amount of water, then -immerse the plate and keep the solution in motion. You will -immediately notice a change in the color of the film; take the plate -out, and if it has gained enough strength, wash it and set it up to -dry; if not, give it more. - -It is proper to state that this process is more effective if the -plate has been dried after development. - -When the plate has been thoroughly fixed and fully washed, it will -intensify by this method, without change of color by transmitted -light, and it will have secured a lovely printing quality rarely -seen even in the most perfect negatives. - -This solution may be used until it is exhausted. - - -ROCHE'S INTENSIFIER. B. - - Water 10 oz. - Sulphate of Copper 100 grains. - Bromide of Potassium 100 " - -When dissolved, this solution is ready for application and can be -used repeatedly. - -The negative, after fixing and washing, is immersed in the solution -until it turns white. [p063] - -Now remove it and wash slightly, then immerse it in old ferrous -oxalate developer and allow it to remain until it becomes black -entirely through the film. This method gives fine results and good -printing color. - - -PRACTICALITIES. - -Form the habit of noticing carefully the intensity of the -illumination of the subject on the ground glass of the camera, so as -to judge correctly the time of exposure, as much of the successful -working of dry plates depends on the exposure; for although slightly -under-exposed or much over-exposed plates may by suitable -modification of the developer be saved and print good pictures, yet -they will lack the glow and balance that are characteristic of the -most perfect work. - -Use a flat camel's-hair brush to remove any dust from the plate, -before putting it in the shield for exposure. - -Always keep your developing solution in motion on the plate. - -Fix your negative very thoroughly; leave it in the hypo 5 or 6 -minutes longer than it is apparently necessary. - -Never use hypo after it becomes discolored or turbid and deposits a -sediment. - -Develop longer than you think necessary; a slow printing negative is -preferable to a weak one. - -Keep your dark room and its contents very clean and free from dust, -and well ventilated. - - -RETOUCHING, OR STIPPLING THE NEGATIVE. - -No photographic establishment in these days is considered to be well -equipped that does not employ a skillful retoucher and provide all -the apparatus and [p064] conveniences for the proper performance -of this very important branch of the art. - -It is within the memory of many photographers when this work of -retouching was done on the positive, and some establishments were -compelled to employ a large force of skilled hands to work up and -finish the crude productions of the camera and the printing frame. - -After the introduction of the carte de visite portrait, and later -the Imperial card, and the consequent reduction in price, the -expense of this work became such a burthen to photographers that -they were compelled to perfect their mechanical operations to the -utmost extent, and by every means to endeavor to avoid it. - -It occurred then to some one of the retouching artists to do this -work upon the negative once for all, and from this beginning the art -of retouching the negative has reached its present high position. - -Retouching, like stippling or hatching in miniature, is a work of -art, skill in which is gained only by assiduous practice controlled -by good taste, and it is the special work of the artist and not of -the photographer. - -While then it is not considered wise for the photographer to be his -own retoucher any more than it is for every man to be his own lawyer -or doctor, yet every photographer should know enough about the art -and practice of retouching to appreciate good work and to detect the -bad. And for that reason he should make a study of it both from the -artistic and the mechanical points of view. - -By such a course of study he will learn to produce that quality of -negative that will require the least amount of improvement at the -hands of the retoucher. [p065] - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -The work of retouching requires certain appliances to facilitate it, -and its own special room or atelier. A small well-ventilated room -having a window with a northern exposure is the best adapted for -this work. This room should be supplied with the necessary -conveniences, such as the retouching stand or frame, which in its -earlier form is as represented in Fig 1, but which, after a time, -became much improved upon; one form of improvement is shown in Fig. -2, but neither of these forms became universally used, as many -artists fashioned their stands or frames to suit their individual -[p066] taste or the requirements of their room or light. The march -of improvement, however, is never delayed by such a condition of -affairs, and was not in this case. - -It became necessary on the part of those interested in the -manufacture of such apparatus to produce something that should meet -all requirements, and this has indeed been accomplished by the -production of the desk represented in Fig 3, which is called the -Novel Retouching Desk and is suitable for any size of negative under -25×30; it has a false top which can be pulled down to darken the -space in front of the ground glass cut out. - -[Illustration: FIG. 3.] - -The bed on which the negative is laid can be set at any inclination -to suit the convenience of the artist. - -By means of the slide-rest the negative may be moved up or down to -any desired position. - -It is handsomely made in hard wood, and would be quite an ornament -to any retoucher's room. [p067] - -Next in importance would be a varnishing table, a small table or -bench supplied with a gas or oil stove. See Figs. 4 and 5. - -[Illustration: FIG. 4. COMMON GAS STOVE] - -[Illustration: FIG. 5. OIL STOVE.] - -Also Anthony's retouching varnish and varnish pot. See Fig 6, page -68. - -A tin pot as shown in cut, with a filter and funnel in top; rubber -stopper in spout. - -The retoucher's room should also be supplied with - - Faber's Siberian leads, full set, - Eagle lead pencils, - Metallic leads, - Camel's hair pencil brushes, - Camel's hair blender, - Guenther Wagner's retouch colors, - India ink, - Water colors, blue, white and red, - A coarse sharpening stone, - Fine emery paper. [p068] - -The principal work of retouching, the stippling of the face, neck -and shoulders when bare, and the hands, is done with Graphite or -metallic leads, and directly upon the varnished or film surface. - -[Illustration: FIG. 6. PEERLESS VARNISH POT AND FILTERER.] - -The gelatine emulsion film is strong enough to take the pencil -without varnish, and many prefer to retouch and even to print them -before varnishing; but it is pretty generally conceded that -gelatine negatives will receive the pencil better when varnished. -[p069] - -Before varnishing a gelatine plate, heat it as much as it will -bear, so as to drive off all moisture from the film, then let it -cool to the proper temperature before applying the varnish. - -If the varnish used is too smooth or hard to take the pencil, a -better tooth may be given it by the application delicately, to the -parts to be retouched only, of a solution of rosin in turpentine, -which should be allowed to stand and dry an hour or so before the -retouching is done. - -The work of retouching is very trying to the eyes; great pains -should therefore be taken to ascertain the most favorable -conditions of light and distance under which to work. - -A negative should be kept at one angle and stationary while being -retouched. - -There should be as little lead used on a negative as is consistent -with good work; make every touch tell to some purpose. - -Note carefully the way the subject is lighted, and let the effect -of the stippling be in that direction; you will thus be less -likely to change the character or likeness of the face. - -The lights and shadows should be caused to blend imperceptibly; -this will give a harmonious effect. - -Let the grain or stipple be seen in all parts suitable in fineness -to the size of the head. - -The refinements of negative retouching cannot be taught in books, -although much has been written concerning the same. - -Try to light your subject and develop your negative so as to get -the utmost roundness or relief; then be careful not to destroy -this modeling, but improve [p070] it by retouching, only doing -so much work as to give a soft, clean-looking complexion. - -Patient perseverance, close observation and trying again, will -bring a certain degree of success, and while only the few can -become first-class retouchers all may learn to improve their work -by this great help to photography. - - -SILVER PRINTING. - -It was long ago said that silver printing was doomed, that in a -few more years it would be among the things that were. - -Other processes have been introduced, have had their little day -and have passed off, some of them of much merit, and, it was -supposed, possessed of every element of permanency, but they were -found wanting in some very important respect, and so not being -able to hold their ground they passed into the limbo of neglected -things. - -Silver printing, however, still maintains the field against all -comers, and does so by its intrinsic merits alone. No other -process has equalled it in ease of production and in beauty of -finish, and it is doubtful if any process has results of greater -permanence, taking the best products of the process as samples. - -The one defect of the process is the possibility of its products -fading, but we must not judge of a process by its poorest -examples, but rather by its best; if such should be the decision, -there are at this day thousands of silver prints that are -co-existent with the process and remain as perfect as it is -possible for anything on paper to be after such a lapse of time. - -A process that is so simple and easy that it can be [p071] -acquired in a few hours, is predestined to careless working, -slovenly manipulation, and to endless scamping at the hands of -careless workers. What wonder then if prints fade which were only -half made. - -Suffice it that the process, intelligently and conscientiously -worked, would never suffer from such an imputation. - - -THE PRINTING ROOM. - -All professional photographers practice the silver printing -process with more or less of success, as they bestow care and -intelligence in the working and are zealous for the reputation of -their work. - -The proper handling of a negative by the printer requires as much -study and skill on his part as does the posing and lighting of the -subject in the studio; and the printing room should be as replete -with every convenience for forwarding and improving the operations -therein conducted, as any other department of the establishment. - -This room is generally situated at the top of the house, and -wherever situated, should be so arranged that the east, south and -west sides may be opened to the sun, that his direct rays may be -utilized from the earliest to the latest working hours. Part of -the room should be partitioned off in such a manner, and -illuminated in such a moderate degree, that the sensitized paper -may not suffer from excess of light while the frames are being -filled and the changes made. - -The printing room outfit consists of the various sizes of printing -frames, cardboard, tissue paper and cotton-wool for vignetting, -and knives, long-blade scissors, and glass forms for cutting the -paper to various sizes, [p072] light tight drawers to hold the -prepared paper, shelves, and racks for the negatives. - -Mucilage or paste and brushes. - -Flat brushes for removing dust from negatives. - -India ink and Opaque, with pencil brushes and lead pencils for -spotting negatives. - - -THE SILVERING ROOM. - -The silvering room may be also used for other manipulations in the -process, such as fuming the paper and washing the prints, and -should be furnished with all the conveniences for such work, which -consist of - - Nitrate of Silver. - - Albumenized and plain paper. - - A flat dish to hold the silver solution, of the size of - the largest paper to be floated. - - A fuming box. - - A bottle of concentrated Ammonia. - - A gas or oil stove for drying the paper. - - A dozen or more of Lockwood's patent photo clips. - Bi-Carbonate of Soda. - - An Argento meter. - - A 16 oz. Graduate. - - A clock. - - One agate evaporating dish, and 2 or 3 wide-mouth - glass bottles, that will hold the full quantity of silver - solution in use. - - -THE SILVER SOLUTION FOR PAPER. - -A plain silver solution, of a strength of 30 grains of nitrate of -silver to the ounce of water in hot weather, increasing to 60 -grains in the coldest, with enough bi-carbonate of soda added from -time to time to keep a small sediment of carbonate of silver in -the bottom of [p073] the bottle or dish, is all that can be -desired as a silvering solution for albumen paper. It only needs -to be kept up to the proper strength by the addition of silver -nitrate and water, when required; and when it shows signs of -discoloration a little more soda and an hour's sunlight will keep -it in good order the year round. - - -TO SILVER THE PAPER. - -Albumen paper is sensitized by being floated for a time on the -surface of this silver solution, albumen side down. For this -purpose it is necessary that the solution should be held in a flat -dish, like a tray, with sides from 1-1/2 to 2 inches high, and of -a size suitable to the size of the sheet of paper to be floated; -if a full sheet, then the dish should be 19×24, and may be of -porcelain, agate ware, hard rubber, or any other kind that will -resist the corrosive action of the silver solution. - -Pour the silver solution into the dish; there should be enough to -give a depth of at least half an inch. If there is any scum or -dust on the surface after the air bubbles have subsided, take a -long strip of tissue paper and draw the edge over the surface of -the solution, which will remove the scum or any floating dust or -air bells that may remain. - -Place your paper on a bench or table, albumen up, and with a large -tuft of cotton rub the surface, using a light friction over the -whole; then turn the sheet of paper over and take between the -thumb and first finger of each hand opposite corners diagonally -across the paper, holding the corners up and near together; let -the sag of the paper sink one end first, until it touches the -solution, which can be plainly seen; then let the hands fall until -the other end has reached the [p074] surface of the silver; -then lower the corners gradually, until the paper lies flat on the -solution, care being taken that none of the silver solution runs -over the edge of the paper to the back. - -The corners of the paper may now be gently raised to see if any -air bubbles have attached themselves to the surface of the paper; -if so, remove them and let the paper fall again to the solution. -It will now be seen that the edges of the sides of the paper will -begin to curl back, as if repelled from the solution. This may be -permitted to a certain extent, but not so far as that the wet -surface shall curl over against the back of the sheet. After a -short time this action ceases and the rolled edges unroll and fall -again upon the solution, which, when they have reached and lie -flat, may be taken as an indication that the paper is sufficiently -silvered, when it should be removed. With a small pointed stick -raise the left corner farthest from you from the solution, take it -between the thumb and first finger of the left hand and raise it -very slowly, until the right hand far corner is off the solution. -Take that corner between the right hand thumb and finger and -continue to raise the paper, still very slowly, until it is clear -of the solution; then hang it up to dry in a moderately dark -place, or better still, place it face down, on a sheet of clean -blotting paper, put another sheet over it and on that the next -sheet that is silvered, and so on alternate sheets, until you have -floated as many sheets as may be needed. - -When this is done turn the papers over, bringing the sheet first -silvered to the top, which on removing the blotting paper will be -found surface dry at least, and may now be completely dried by -artificial heat, or by [p075] hanging it up two sheets -together, back to back, on lines with spring clips, until they dry -spontaneously, when they are ready to be fumed. - - -FUMING THE PAPER. - -The fuming box is usually a light-tight box with two compartments; -the upper part has a door and should be sufficiently large to hold -the amount of paper necessary for a full day's work, without -crowding the sheets together or preventing a free circulation of -the fumes between their surfaces. - -The paper is taken from the lines, each two sheets back to back, -the corners fastened with clips and set up on end in this -compartment or hung on lines, as the case may be. When all the -paper is in, shut and fasten the door and into the bottom -compartment (which is usually a shallow drawer, and separated from -the upper only by a lattice work of wood) place a saucer -containing an ounce or two of strong liquor of ammonia, push the -drawer in, thus closing the compartment, and leave for fifteen or -twenty minutes, or until you are ready to use the paper. - -When you remove the paper from the fuming box do not expose it to -strong light until you have it in the printing frames, nor after -that, until you have toned and fixed it. Take the spent ammonia -from the box and pour it into a bottle; it is useful for other -purposes. Many printers cut the paper to size before printing, -others simply tear each sheet into halves, quarters, eighths or -twelfths, and print them thus, trimming them afterwards, some -before toning, others after they are finished and before wetting -them for mounting. The most economical method is to trim before -printing; [p076] all the trimmings should be carefully saved -for the silver they contain. - - -TONING THE PRINTS. - -A toning solution is composed of chloride of gold in water with -enough carbonate of soda to make it slightly alkaline, and a pinch -of common salt. The action of toning is merely the deposition upon -the metallic silver in the print of a certain minute quantity of -metallic gold from the solution, which deposit causes the change -of color that may be seen while the toning is taking place. - -The normal toning solution is varied endlessly by the addition of -acetates, chlorides and nitrates of various metals and salts and -of borax and chalk and such, the object being to produce unusual -tones, such as sepia, blue, blue-grey, brown and black, but the -richest and most agreeable tones may be produced as well by the -simplest means. - - -THE TONING SOLUTION. - - Water 1 quart. - -Into this put half as many grains of pure chloride of gold as you -have sheets of paper to tone; after adding the gold make the -solution alkaline by adding enough of a strong solution of a -carbonate or bicarbonate of soda to turn red litmus paper just -blue; then add a pinch of salt, and the toning solution is ready -for use. When half your prints are toned, or the toning proceeds -too slowly, add more gold, allowing not over 1 grain of gold for -each sheet of paper. When all the prints are toned, put the toning -solution into a bottle to keep for the next time, when it will -probably work better than at first; [p077] use it until it -becomes badly discolored, then put it into a large bottle to save -the waste gold. - -The toning must be done in a flat dish that is as large as the -largest print that requires to be toned. - -Your toning solution being ready, the prints are now to be -prepared for toning by being deprived of all excess of silver and -free chloride not acted on by the light; in order to do this, put -them one by one in a large dish full of water, in this dish keep -them in motion for some little time, then prepare another dish -containing the same amount of water slightly acidified with acetic -acid, and remove the prints into this one by one as before, -keeping them in motion; they will at once commence to turn red, -and when they are so they may be taken out, the waters of these -two washings must be saved for the silver contained therein. - -The prints require two more waters after the acid, when they are -ready for toning. - -Immerse half a dozen or more of the prints, one at a time, in the -toning solution and watch the change of color. - -They may at first become a little redder from the action of the -salt in the solution, but they will soon change to a brown and -then to a bluish or grey brown. And when the faces have become as -clear and white as to suit as finished pictures, remove them to -fresh water and proceed with another batch until all are done. - - -FIXING THE PRINTS. - -Hyposulphite of soda, about 1 lb. to a gallon of water, -constitutes the fixing solution; its function is to dissolve all -the chloride of silver that may remain in the prints after their -previous washing and toning. [p078] - -The prints should be immersed one at a time, and kept in motion so -that the solution may have an equal action. When there are a large -number of prints the dish containing the fixing solution should be -correspondingly large, so that the prints may not be massed -together but kept separate and free for the more perfect action of -the fixing solution; they should be kept in motion until the -fixing is completed, which will be in about 15 or 20 minutes. Some -printers ascertain that the action is complete by holding the -print up and examining it by transmitted light; if it looks -mottled and uneven it is not fixed, but if you can see the fibre -of the paper and all is clear, then remove the prints from the -hypo into a dish containing brine or common salt and water, one by -one as before, and keep them in motion in this brine until all are -well saturated with it; then let fresh water run into the dish, -which will gradually change the brine to clear water. - -The prints are put into the brine, and this gradually changed to -clear water to prevent blisters or a separation of the albumen -from the paper in the form of blisters. The water may be allowed -to run into the dish, the prints being kept in motion, and in the -course of an hour they will be sufficiently washed; they may then -be taken out and placed between the sheets of blotting paper to -remain until next morning, when they can be overlooked, the -blemished prints thrown out, and the perfect may be mounted. - -The fixing solution should not be used a second time, but should -be thrown into a large barrel with the washings, that at some -future time the silver may be recovered; when the barrel becomes -full, a small amount of saturated solution of protosulphite of -iron [p079] may be thrown in, the water stirred well, and when -the sediment has settled to the bottom the clear liquid may be -drawn off and the barrel is ready to receive the next washings of -hypo. - - -MOUNTING THE PRINTS. - -The selected prints are again placed in water and permitted to -remain until they become saturated; in the meantime some starch -paste should be prepared. The prints are then removed from the water -and placed on a sheet of glass, face down; when all are thus placed, -squeeze out all the water and they are ready to mount. Now with a -wide bristle brush spread the paste evenly on the back of the print, -carefully removing any lumps or dust or fibre of any kind, then -insert under the edge of the print the point of a knife-blade, raise -it until you can take it in the fingers, then place it pasted side -down on the face of your mount, adjust it evenly and lay it on the -table; now cover it with a piece of clean white paper, and with the -palm of the hand rub it down until all parts are in contact and all -air is expelled from between the print and mount. As the prints are -mounted they should be placed in rows on clean white or blotting -paper, one layer over the other; on the top place a clean sheet of -paper and over that a board of the proper size with a weight on it -to press the mounted picture flat; in the course of an hour they -will be dry enough to spot. - - -SPOTTING THE PRINTS. - -With a fine pencil brush and Indian ink, go over the prints and -carefully touch up all the white spots and other blemishes that may -be found on the surface, so that they harmonize in color with the -surrounding [p080] parts. When this is done the pictures may be -lubricated for burnishing. - - -LUBRICATING THE PRINTS. - -Make a pad of Canton flannel, get a piece of white castile soap, rub -the pad on the soap until it is well covered, then with this soaped -pad rub the surface of each print separately, carefully covering -every part of the surface; keep the pad well soaped by rubbing it on -the soap after every 2 or 3 prints. While this is being done the -burnisher may be heated; when the tool is hot enough to hiss when -touched by a wet finger, proceed to burnish. Do not use much -pressure; too great pressure will degrade the whites of the picture. - -When they are all burnished go over them again with a moderately -soft lead pencil, touching up and blending any streaks or spots that -may be found; if any streaks or dirty lines are discovered in the -direction of the draw of the burnisher, they may be removed by light -friction with a piece of Canton flannel moistened with alcohol. This -completes the photograph. - - -THE PHOTOGRAPHIC STUDIO. - -Mr. Ernest Lacan, a prominent artist of Paris, France, about ten -years ago, wrote for the _Philadelphia Photographer_ an account of -some of the prominent studios of that great city, from which I take -a description of the studio and establishment of the celebrated -Reutlinger. - -This establishment comprises the fifth and sixth stories of a fine -house on the Boulevard Montmartre. - -A handsome and wide stairway leads to the studio. The first thing -that strikes you on entering the ante-chamber, [p081] which is -transformed into an office, is the lowness of the ceiling and the -want of light. On the right is a room, larger and better lighted, -for the sale of choice specimens of his work. On the left are the -exhibition and waiting rooms, which are of medium size and whose -principal ornaments are the framed pictures, which cover the walls. -A small door leads to the skylight, of which the diagram at the head -of this article is a correct view as taken from a photograph. - -[Illustration: THE PHOTOGRAPHIC STUDIO.] - -The view is taken from the door at which you enter. This gallery is -formed of two mansards, which have been united by removing the -partition; is 39 feet [p082] long by 13 in breadth; its height to -the top of the upper sash is about 16 feet; the light comes from the -north. It is by means of an ingenious combination of white and blue -shades, that the artist succeeds in obtaining the charming effects -so much admired in his productions. At the end of the gallery is a -small room for ladies. The door which is seen on the left leads to -the laboratory, which is divided into three small apartments. The -first is used for cleaning plates, the second for their preparation, -and the third for developing negatives. - -[Illustration: TN: Diagram of Loescher & Petsch.] - -This is a diagram of the studio of the famous [p083] Loescher & -Petsch, of Berlin, who became so well known, some years ago, through -the style of picture called "Berlin Heads," which were among the -first samples of fine photographs from retouched negatives brought -to this country, and which certainly created a sensation. - -The shades are arranged so as to show how some of the most charming -effects of illumination are produced. The room is filled with -diffused light, with a ray of direct light falling so as to produce -a clear high light on the prominences of the head of the sitter. - -The next diagram is one of the Biglow studios. Mr. Biglow is the -author of a book on lighting and posing, which had a large sale, and -is a valuable book for positionists. - -[Illustration: FIG. 1.] - -These three views represent forms of skylight and side-light with -north exposure, by which all the finest effects possible are -obtained, but other forms of exposure are capable of being utilized -with fine success. - -The studio of Sarony, of New York, is lighted with a top light -similar to the top light of the Biglow studio, and without any side -light at all. - -A prominent artist of Brooklyn produces very fine [p084] work -under an east light, or rather a light a little south of east, which -to the ordinary photographer would be considered a very difficult -light to work. Good effects can be produced, however, under any form -of light by the use of shades, screens and reflectors, so that no -photographer need regret a favorable location, because unable to -have a northern exposure for his light. - -The studio should be furnished with every requisite for the -production of the finest work, such as - - Lenses and Camera boxes, - - Camera stands, - - Pneumatic shutters for the lenses, - - Scenic grounds; interior and exterior accessories, such as - balustrades, rocks, grass-mats, flowers, tables, chairs, draperies, - rugs, etc.; head-rests, screens, reflectors, and all such articles - as can be advantageously introduced in a picture to improve and - embellish. - -All these things are of importance, but should be used with taste -and judgment. The photograph should never be a picture of a piece of -furniture, with a figure thrown in, but rather the accessories -should be used only to improve the figure and make it more prominent -by increasing the perspective, when possible or allowable. - - -CAMERA LENSES. - - -THE OPTICS OF PHOTOGRAPHY. - -A solar beam of light is a bundle of rays; a ray being the smallest -portion of light which can emanate from a luminous body. - -Each of these rays possesses distinctive characters, both as regards -their chemical functions and colors. - -Sir Isaac Newton proved that the white light emitted [p085] by -the sun is not so simple as it appears, but is composed of vivid -colors, as shown by his beautiful experiment, the Analysis of Light, -which is exemplified by the use of a glass prism. (See fig. 1.) - -[Illustration: FIG. 1.] - -The ray of light A, E, being admitted into a darkened room through a -hole A, in the shutter, would fall upon the wall at E. As soon as -the prism, B, C, is placed in the path of the sunbeam so as to allow -it to fall on one of its angles B, the ray will be refracted, or -bent out of its course so as to pass through the prism (as in the -line D) and not in the same line, A, E, that it would have done had -the prism not been interposed. - -Another effect also takes place; the ray of white light is -decomposed into its component colors, and if you stand at a short -distance from the prism, you will see that these colors are spread -out in a triangular form, the base of which is on the wall and the -apex at the angle C of the prism. Remove the prism and it is seen -that the splendid display of colors upon the wall has disappeared, -and a round spot of white light, E, is seen below the place occupied -by the spectrum. - -The colored image on the wall is called the prismatic or solar -spectrum, which, according to Sir Isaac Newton, is composed -of seven different colors. The color at the lowest portion of -the image is red and the one at the other end is violet, the -intermediate parts being occupied by five other colors, and -the whole arranged [p086] according to the table below, the -proportion of each color having been measured by Fraunhofer with -the greatest care, with the results placed opposite to each, -corresponding with the 360 degrees of a circle, the red ray being -the least and the violet the most refracted of this chromatic -image. - - TOP. - - Violet 109 - Indigo 47 - Blue 48 - Green 46 - Yellow 27 - Orange 27 - Red 56 - --- - 360 - -The sunbeam, the ray of white light, contains powers within it of -which the earlier philosophers had but a faint idea, besides its -accompanying heat. There is a principle associated intimately with -it, which has the power of decomposing and of determining the -decomposition of chemical compounds. - -This principle is "Actinism" and is as perfectly distinct in the -nature of its properties from light, as light is from the principle -of heat, with which it is also closely connected. - -Actinism may then be considered as the fundamental principle, on -which photography is based, and its power is exerted in forming the -image on the sensitized plate in the Camera, as well as subsequently -in forming or causing the impression on the sensitized paper exposed -to the light beneath the negative. - -In this connection we have only to consider the [p087] -application of this Actinism through the medium of a combination of -lenses to form an image on a sensitized plate in the Camera. - -It has been shown that when light passes through a prism of glass -its colors are separated; this separation is caused by the unequal -refrangibility of the different colored rays, the violet being the -most and the red the least refrangible of the seven rays. - -A ray of light passing through a vacuum progresses in a perfectly -straight line, but all matter, however attenuated it may be, has the -property of refracting or bending the ray of light. - -The refractive power of some substances is immense, while that of -others is very trifling. The mode of the refraction depends on the -comparative density or rarity of the respective media. If the medium -which the rays enter be denser, they move through it in a direction -nearer to the perpendicular drawn to its surface; on the contrary, -when light passes out of a denser into a rarer medium, it moves in a -direction farther from the perpendicular. This refraction is greater -or less, that is the rays are more or less bent or turned from their -straight course, as the second medium through which they pass is -more or less dense than the first. - -We next study the utilization of this power of refraction in the -manufacture of lenses to overcome the unequal refrangibility of the -colored rays of light. - -A lens for use in photography is made of glass as pure and as -colorless as can be procured, and is ground into such a form as to -collect or disperse the rays of light which pass through it. Lenses -are of different shapes, and thence receive different names. [p088] - -[Illustration: FIG. 2 E. 1. Double convex. 2. Plano-convex. 3. -Concavo-convex. 4. Double concave. 5. Plano-concave. 6. Meniscus.] - -The figures 1 to 6 represent sections of the variously shaped lenses -which are combined for use in photography. - -The design in forming lenses is to procure a medium through which -the rays of light from any object may pass and converge to a -corresponding point beyond; the manner in which the rays proceed -through the lens, and then centre in a focal point, will depend on -the form of the lens, its capacity for refraction and the distance -of the object. - -The double convex lens may be viewed as a portion cut out of the -side of a sphere. Here, as in all cases of convexity, the focus of -the parallel rays passing through the lens is at the centre of the -sphere. (See fig. 3.) - -[Illustration: FIG. 3.] - -A plano-convex has only half of the refractive power of the double -convex; the parallel rays, falling on the convex side of the lens, -would converge at the distance of the whole diameter of the sphere. -Thus the focal point at which the rays of light converge is always -regulated by the degree of curvature of the lens. Thus the double -convex lens has the greatest power of converging the rays of light; -the plano-convex has only half the power of the former. Both these -lenses have also the power [p089] of magnifying the image of an -object seen through them in the same proportion. - -The double concave and the plano-concave have the power of -dispersing the rays of light and of diminishing the image of an -object seen through them in the same proportion. - -[Illustration: FIG. 4.] - -The meniscus lens has but a very slightly dispersive power, and the -concavo-convex merely separates the parallel rays to the thickness -of the lens and sends them on parallel as they entered. - -All these lenses, having something of the prism in their shape, have -the power to a greater or lesser extent of decomposing the light -that passes through them. This is called chromatic aberration, -because the colored rays do not all converge to the same focus; thus -the image seen through them is surrounded by a fringe or border of -color. - -Single lenses lack the power of producing a straight image of a -straight object; the image will have the curve of the lens through -which the light passes to form it; a double convex lens will give a -greater curve than a plano-convex. This is called spherical -aberration. - -The main object to be considered in the manufacture of a lens for -photographic purposes is to produce one with the least spherical and -chromatic aberration. - -Spherical aberration is overcome to a great extent by the use (in -connection with the double convex) of a meniscus lens. - -Chromatic aberration is overcome by the use of two glasses of -unequal density in forming one lens; thus [p090] the front lens -of the portrait combination is composed of a double convex of crown -glass and plano-concave or meniscus of flint glass, which two -glasses are sealed together with Canada balsam. - -The forms of lenses which are corrected for chromatic and spherical -aberration will be seen in Fig. 5. - -[Illustration: FIG. 5.] - -These lenses are termed achromatic, and, although each is formed of -two kinds of glass, they are sealed together so as to be practically -one lens. - -Every manufacturer of portrait or view lenses, uses the six forms -shown in the diagram (Fig. 2), in some manner peculiar to himself, -but of the six, four will be found in every combination in general -use, varied in radii, construction and dimension, according to the -use for which they are intended. - -Formerly the photographer's choice of lenses was restricted to two -combinations, the double combination for portraits and the single -for views. There have of late years been invented a great variety of -lenses, among which and in the order of invention, probably are -Petzval's Orthoscopic, Harrison's Globe, Ross's Doublet, Darlot's -Wide Angle and Rectilinear Hemispherical, Steinheil's Aplanatic, -Voightlander's Euryscope, [p091] and greatest of all, Dallmeyer's -Patent Portrait, Wide Angle and Rapid Rectilinear Lenses. - -The combinations of lenses are three, the single, double and triple; -the latter is now no longer in use, or if so, its use is greatly -restricted. The single combinations have greater focal length than -the double, and consequently at the same diameters larger pictures -are obtainable, and they are principally used for landscape or view -work. - -The double combinations, so called from having a second pair of -lenses behind the first, which have the effect of shortening the -focus about one-half, whereby the action of the light is -accelerated, and both the spherical and chromatic aberrations more -perfectly corrected, which result in an image more delicate in -definition and more rotund in form, thus peculiarly qualifying them -as portrait lenses. - -In the selection of lenses for studio or view work, the intending -purchaser, if desirous and pecuniarily able to avail himself of the -best, will naturally inquire what make of lenses is the most widely -known and used, and it will not take much time to procure a -satisfactory answer to the question. - -It has been conceded now for some years, both in Europe and in -America, that the lenses manufactured by J. H. Dallmeyer, of London, -England, are superior to all others, not only for their fitness for -the work for which they are specially constructed, but for their -adaptability to work beyond anything claimed for them by the maker, -and also for a certain undefinable and æsthetic quality inherent in -the negative made by these lenses. - -The fact that there is not in the wide world a photographic [p092] -establishment of any note that does not possess one or more of -these lenses is strong evidence of their superiority. In the quality -of the glass used, in the perfection of finish and adjustment, in -softness, crispness and depth, in rapidity, illumination and every -quality that recommends a lens, the Dallmeyer lenses are unrivalled. - -The portrait combination now in general use, was first constructed -from calculations made by Professor Petzval, of Vienna. Its optical -components are, a front crown lens of unequal convex curves to which -is cemented a double flint lens of unequal concave curves. The back -combination is a crown lens of unequal convex curves and a -concavo-convex flint lens at a little space from it. (See Fig. 6.) - -[Illustration: FIG. 6.] - -For more than a quarter of a century this form of lens had been used -without material change in its construction, until Mr. Thos. Ross, -by a modification of the curves, succeeded in flattening the field -and increased its rapidity by shortening the focus, but left it with -the peculiar shallowness of focal depth, especially in the larger -sizes, which has been the torment of photographers to this time. - -Mr. Dallmeyer was the first to improve upon the [p093] original -portrait combination, and in his new Patent Portrait Lens he has -most ingeniously obtained a diffusion of focus at the will of the -operator. By a quarter or half turn of the cell of the back -combination the focus is diffused, giving an agreeable softness in -place of the shallow plane of excessive and wiry definition so -familiar to the photographer. - -[Illustration: FIG. 7.] - -The diagram, Fig. 7, shows a section of Mr. Dallmeyer's New Portrait -Lens. There are two actinic combinations, of which the front -resembles the Petzval lens; the back combination differs as regards -the ratio of radii of the lenses used, the crown being a deep -meniscus and the flint a deep concavo-convex, with their adjacent -surfaces dissimilar; their positions also are reversed, the -concavo-convex of flint occupies the external position, instead of -as in the Petzval, and this lens being mounted in a cell capable of -being unscrewed supplies the means of regulating the spherical -aberration of the system at will. The lower portion of the diagram -[p094] exhibits a plan of the mount of the back flint glass lens; -this cell admits of being unscrewed, one or more parts of -revolutions of the screw indicated by an index and divisions; with -this back lens screwed home this combination has all the good -qualities of the old form of portrait lens, but with a flatter field -and wider illumination. - -There are three distinct classes of portrait lenses. The first are -lenses of large diameter and aperture compared with their short -focal length. In this class the greatest rapidity is obtained at the -sacrifice of flatness of field. Of this class are the B and C lenses -of Dallmeyer. - -The second class are lenses of equal diameter and aperture with -those just described; but with about double their focal length, and -therefore less rapid, but with more field and wider illumination; of -this class are the A series. - -In the third class are long focus lenses, which, at three inches -diameter have fifteen inches focal length; with the result of a -larger and flatter field; they are, however, necessarily slow, but -well calculated for out-door views, groups and copying. Of this -class are the D series, which, since the introduction of the rapid -dry plate, have become available for ordinary portrait work in the -studio. - -[Illustration: Fig. 8.] - -Fig. 8 represents the Dallmeyer Wide Angle Rectilinear Lens. It -consists of two cemented combinations, [p095] each composed of a -deep meniscus crown and a deep concavo-convex flint glass lens; -between the two, dividing the space in the proportion of their -respective diameters, is placed a revolving diaphragm, the largest -aperture of which is f/15; the position of the stop being nearer the -back combination avoids the central spot or flare. - -This lens embraces an angle of 90 to 100 degrees; it is quite free -from distortion, and particularly adaptable for taking views in -confined situations, such as interiors, views in narrow streets, &c. -Being a double combination its work is more finished and round than -that by the single lens. - -[Illustration: FIG. 9.] - -[Illustration: FIG. 10.] - -Probably the two greatest rivals to the Dallmeyer Wide Angle Lens -are the Actinic Doublet of Ross (Fig. 9), and the Steinheil -Aplanatic (Fig. 10). The Ross Doublet consists of a crossed crown -lens, cemented to its correcting flint lens, which is a crossed -concave, the whole forming a deep meniscus the focus of which is -equal to the back combination or about double that of the equivalent -focus of the complete instrument, the posterior meniscus combination -consists of a meniscus crown lens cemented to a concavo-convex flint -lens. The two combinations are mounted rigidly with a rotating disk -of [p096] diaphragms or stops placed midway between the lenses. - -The Steinheil consists of a front and back corrected combination of -precisely the same shape, mounted rigidly and having a rotating disk -of apertures placed midway between the lenses. - -These are three distinct types of view lenses of wide angle, and a -comparison of the diagrams will show the wide difference in the -construction of the two latter from the Dallmeyer; and while they -stand unrivaled for the perfection and beauty of their work, which -is about equal, the Dallmeyer obtains a great advantage over the -others in the thinness of its lenses, which enables it to work with -greater rapidity, and indeed it has been used with great success -with the drop-shutter for photographing moving objects and other -similar out-door work. - -[Illustration: FIG. 11.] - -While the possession of a wide angle lens is indispensable in the -varied selection of out-door subjects, yet for many purposes it has -been found they are unsuitable; and to meet this want Mr. Dallmeyer -has constructed a modification of the wide angle, which he calls -Rapid rectilinear. Its construction is shown in Fig. 11. The lenses -of the front and back combination have the same general form as -those of the wide angle, but they are of smaller diameter, being -constructed for angles of 60 to 70 degrees only. It is four times as -rapid, and is in fact an aplanatic and symmetrical lens, and may be -regarded [p097] as the most perfect lens extant. As it admits of -the use of a larger aperture it is well adapted for interiors, where -there is space for its use, and for almost every purpose of out-door -photography, requiring short exposure and no greater angle. - -The use of this lens has been greatly extended since the -introduction of the rapid dry plate, which admits of its employment -as a portrait lens in the studio, and in fact it has become a very -popular instrument for portrait work, especially for the larger and -life sizes, so that there is a strong probability that before many -years the Rapid rectilinear and the D series of lenses of Dallmeyer -will be the most useful and the most profitable lenses for portrait -work in the studio that have ever been constructed, unless the near -future shall give us something not now thought possible in optics. - -Dallmeyer lenses are sold only by E. & H. T. Anthony & Co., who are -the agents in this country, and as these lenses are quite expensive, -and are indeed beyond the means of many, the Messrs. Anthony keep -other and cheaper lenses, which are good of their kind, both for -portrait and for out-door work, among which are the E A lenses for -portraits, and the Platyscope and other lenses for views, etc. - -To those desiring advice on the choice of a lens, this much may be -said. If it is intended to procure a Dallmeyer, it is only necessary -to know the limit in size of the work to be done. If in portraiture, -you select a lens that will cover the size of plate you intend to -use. If in landscape, or architectural work, or copying, consult the -catalogue and order the lens that meets the requirements of the -case. There is said to [p098] be no difference in these lenses; -that is, all lenses of the same series and size are exactly alike, -the glass is of the same density, ground to the same curve, and -polished to the same degree of fineness, so that each one is as good -and no better than any of the others of the same kind and size. It -is the same with the view lenses; one may order with confidence, and -not be disappointed by receiving an inferior lens, while expecting -the best in the world. - -It is not so, however, with any other make of lenses; at least I -have never heard such a claim made on the part of any other maker, -hence for the selection of a lens by any other maker, some thought -and experiment are justifiable and even necessary. Under such -circumstances, the following method of testing a lens will be found -useful. - -When of several lenses of the same size it is desired to select the -best, attach one to a camera box and focus it on some long object -placed parallel with the axis of the lens; adjust the focus so that -the part of the object nearest the lens shall be in focus, but near -that point where it would begin to lose sharp definition. Mark the -position of the carriage on the rail, then turn the focus forward so -that the same point will be as near the other extremity of sharp -definition, then mark the position of the carriage on the rail and -note the distance between the two marks, which will indicate the -depth of sharp focus. Now stretch a line across the room and focus -the instrument on the centre of the line, and note to what distance -on each side of the centre sharp definition extends; this will -indicate the flatness of the field. Try all the lenses in the same -manner, and secure the one that has the greatest [p099] depth of -focus and the greatest extent of sharp definition on the horizontal -line. - -Expensive lenses should be treated with much carefulness. They -should be kept free from dust and dampness, and should never be -cleaned or rubbed with cloth or the handkerchief; nothing but fine -chamois should be used to clean a lens, the fine polish of which -(one important factor in its usefulness and value) is so easily -injured by abrading its surface with anything of a fibrous or gritty -nature. - -The lens should always be covered when the day's work is done and -while the studio is being cleaned up, to exclude dust, etc., from -the glasses. - -Examine the lens every morning to see if the glasses are at all -dimmed by damp or dust, and if so, use the chamois. You must not -expect good work from lenses whose surfaces are in any way dimmed. - -Study your lens with care, and learn all its good and weak points, -and so enable yourself to take every advantage of instrument, light -and pose in making a sitting. - - -CAMERA BOXES. - -The camera box and lens in the hands of the competent photographer -are what the brush and colors may be in the hands of the portrait -painter. They are the means whereby he produces his portrait and -stamps his individuality upon his work. Therefore, when we look back -and consider the rude implements the pioneers in our art had to work -with, we are often surprised that the work they produced was so -really respectable in point of finish and excellence as it was. - -Starting from a cigar box and a burning glass, not 50 years ago, the -progress made, as represented by [p100] the instruments in use at -this day, would seem to be fully equal to the advance from Fox -Talbot's paper negative to that made on the Gelatine Dry plate. - -As late as 25 years ago the box in general use consisted of two -sections of square wooden tube, one sliding inside the other, in -telescopic style; to the front of the smaller section was attached -the lens, and the focusing glass fitted into a groove in the rear of -the larger section. The lens afforded the means of adjusting the -focus in its rack and pinion movement, and the ground glass had to -be removed from its groove before the plate holder could be put in -place. - -This rude apparatus was considered in its time to be a very -ingenious construction, but if the shades of Morse and Draper could -contemplate the objects of art that have supplanted the rude -constructions they were so familiar with and knew so well how to -use, they might well wish themselves back among the living for the -pleasure of working with one of the latest camera boxes. - -The cameras of the present time seem constructed to meet every -requirement of the most exacting intelligence. They are light, yet -firm and durable, they are rigid as wood and metal can make them, -and yet they are fitted to focus sharply all positions of the human -form. They are complicated, yet extraordinarily convenient, and they -are made in forms and sizes adapted to every possible use or demand. - -There are four principal varieties of camera boxes in general use, -viz: - -The camera for positives, which includes the multiplier. The camera -for negatives, wet or dry, for portraiture. The camera for copying, -and the camera for [p101] viewing and out-door work; descriptive -accounts of the several varieties will be given under their -appropriate heads. - - -THE CAMERA BOX FOR POSITIVES AND THE MULTIPLIER. - -These boxes are usually made for use with four or more lenses in a -block, by which at one exposure as many pictures are made as there -are lenses. - -The size represented by Figs. 1 and 2 is usually employed for work -in tents or portable houses, on fairgrounds and places of resort at -the seaside and elsewhere during the summer season. - -Fig. 1 shows the front, with the method of attaching the four -lenses, which are of the 1/4 size, and they make four pictures on a -5×7 plate. - -[Illustration: FIG. 1. CLIMAX.] - -Fig. 2 shows the back of the same box with the ground glass -reversed, and the plateholder partly pushed into position; there are -shown also the openings through which the various sizes of pictures -are made. This box can also be used with one lens for making two -cartes de visite or one cabinet on the 5×7 plate. [p102] The same -style may be had with the ground glass hinged to the box. - -[Illustration: FIG. 2. CLIMAX.] - -[Illustration: FIG. 3.] - -This same style of box is made also of larger sizes, to be used with -one or more lenses, of which Fig. 3 represents the size for 8×10, by -which with one lens can be made 4 cartes de visite or 2 cabinets on -8×10 [p103] or 7×10 plates, and with 4 lenses 8 cartes de visite -on the same size plate, or with 9 lenses 18 large gems are made by -two exposures. - -[Illustration: FIG. 4. N CAMERA, REAR VIEW.] - -[Illustration: FIG. 5.] - -For gallery work, however, the Figs. 4 and 5 represent [p104] the -most useful form of multiplying camera, as by their aid everything -that would be called for in a ferrotype gallery can be made. - -With one lens can be made on 8×10 plate: 2 cabinets, 2 cartes de -visite or 1 large picture. With 4 lenses can be made on 8×10 plate -by 2 exposures: 8 cartes de visite, and on 5×7 plates by one -exposure, 4 cartes de visite. - -With 9 1/9 lenses on 7×10 plate can be made with two exposures: 18 -gems; with 4 exposures, 36 gems; and with 8 exposures, 72 gems; on -5×7 plate with 1 exposure, 9; 2 exposures, 18; and with 4 exposures, -36 gems. - -The carriage and plate holder of these boxes move vertically and -horizontally, thus giving the operator the power of making a great -variety of sizes and of using any size of plate from 1/4 upwards to -8×10. On the 1/4 plate can be made with one exposure, 4 1/9 gems; 8 -of the next smaller size by 2 exposures; and 16 of the smallest -size, by 4 exposures, thus bringing into use only 4 of the 9 lenses; -the second size is made by placing the lenses horizontally, also the -openings in the back of the box, the plate also is laid on its side -in the holder. - -These boxes are finished in a variety of styles, plain or -ornamental, and are fitted with holders for negatives as well as the -usual rabbeted holders for ferrotypes, and by their use all the work -of a small establishment might very easily be done, as all the sizes -of ferrotypes are made from 16 gems on 1/4 plate to 72 of the same -size on 7×10 plate, and by one lens everything, positive or -negative, from 1/4 to 8×10 size, are made without difficulty. [p105] - - -THE CAMERA FOR NEGATIVES, WET OR DRY. - -CLIMAX IMPERIAL CAMERAS. - -[Illustration: FIG. 6.] - -For the gallery making no pictures larger than 8×10, the above, -figure 6, represents the camera box that is the best fitted in every -respect. It is light, compact and durable, and it is most accurately -adjusted for cartes de visite, cabinets, 4×4 or 8×10 pictures in -every style, full length, half lengths or heads. It has the double -swing back, with the tangent movement, and is fitted with the -Benster holder, which is represented in the cut. - -This style can be had in every variety of finish, from the plain to -the most ornamented, in mahogany or ebonized wood, with brass -fittings or nickel or silver-plated, as may be most desired. - -For galleries where larger work is called for, figure 7 represents a -box that is made in all the sizes from 11×14 to 25×30, and it is -fitted with an attachment (see Fig. 8 for 8×10 to 1/4 plate), thus -enabling the photographer with one box to fill every order for -pictures, from a card to a life-size portrait. [p106] This box is -fitted with the double swing back, tangent [p107] movement, the -telescope bed, which renders it very compact, and with the Benster -holders. - -[Illustration: FIG. 7.] - -[Illustration: FIG. 8.] - -[Illustration: CLIMAX ROYAL CAMERA.] - -[Illustration: FIG. 10.] [p108] - -[Illustration: THE M SUCCESS WITH TANGENT MOVEMENT. FIG. 11.] - -Figs. 10 and 11 represent varieties of cameras of a highly -ornamental kind. They are made of hard wood, ebonized, and with -nickel-plated fittings. Fig. 10 has the Wright's patent metallic -swing, Fig. 11, the tangent movement. - -The "Benster" Plate-holder (see page 109) is intended to, and will -undoubtedly, supersede the Bonanza holder for wet plate work, as it -is a more perfect silver saver than the Bonanza, while its easy -adjustability to every size of plate places it away ahead of -anything known or in use heretofore. The operator who has ever used -this holder will never consent to go back to any of the old styles -while he can procure the Benster. The plate rests on pure silver -wire, and there is a trough with large bottle [p109] beneath, -into which all the silver waste readily finds its way. As the trough -is raised, the upper ledge descends, so that the centre of the plate -is at all times in the centre of the holder, no matter what size is -used. This obviates the use of inside kits, and adapts itself at -once to _any size of plate_, from the largest the holder will admit -to one not under three inches square. This is unquestionably the -best gallery plate-holder made. By a recent improvement, the -horizontal bars may be instantly fastened for plates of any size, -and there is also an attachment for the vertical adjustment. For -_dry plate studio_ work it is the holder _par excellence_. - -[Illustration: THE "BENSTER" PLATE-HOLDER. FIG. 12.] [p110] - -CAMERA BOXES. - -THE COPYING AND ENLARGING AND REDUCING CAMERA. - -[Illustration: THE COPYING AND ENLARGING AND REDUCING CAMERA. FIG. -13.] - -Copying constitutes a large portion of the business of every -gallery, and a camera for that purpose is almost indispensable, as -the portrait camera is entirely unfitted for a major portion of the -copying work that comes. - -The copying camera requires no swing back, but does require great -length of bellows and bed, which has often to be supplemented by the -cone when a very small picture is to be enlarged to a great size. - -A special form of copying camera is adapted to enlarging and -reducing negatives, and for making transparencies. This form, Fig. -14, can be so arranged as to render it possible to remove the lens -from the position as seen in Fig. 14 to the front, so that the two -[p111] forms, Figs. 13 and 14, might be combined in one for -copying and making transparencies. - -[Illustration: FIG. 14.] - - -THE CAMERA FOR VIEWING AND OUT-DOOR WORK. - -[Illustration: FIG. 15.] - -The Success Camera, for viewing, Figs. 15 and 16, [p112] is an -instrument calculated in every way to meet the requirements of -professional out-door work. It is made in a form to secure the -utmost rigidity and strength with the least weight. The bellows is -conical, the bed is folding, the double swing back is convenient and -easy of adjustment. In front, below the lens, is a small recess, or -closet, in which extra tubes, flanges, screws, screwdriver, etc., -may be safely carried; when folded, its bulk is small and occupies -but little space. From the front to the outside surface of the bed, -as folded, is only six inches, and the weight for 11×14 box, with -ground glass and plate-holder, is only twenty-two pounds. By -referring to the cut, 16, the compactness of this camera may be -realized. - -[Illustration: FIG. 16.] - -From the mode of construction the bed is rendered peculiarly rigid, -and in their attachment and arrangement the brass guides are -protected from injury. In case that, through accident, any part -should get broken, it can readily be replaced without returning the -camera. - -[Illustration: THE NOVEL VIEW CAMERA. FIG. 17. REPRESENTING THE -CAMERA WHILE BEING REVERSED.] - -The Novel View Camera is the latest response to the demand for -something that shall be very light and very convenient. Its -construction is the result of a series of experiments entered into -with a view to obtaining an instrument in the make up [p113] of -which there shall be no unnecessary weight, and combining easy -adjustment with great rigidity. It being absolutely necessary that a -view camera shall permit the use of the plate both horizontally and -vertically, all the older forms of view cameras were built square, -to permit the shifting of the plate, thus adding very much to the -weight of the instrument. In this instrument, however, all that is -possible has been done to reduce the bulk and weight; in doing so -several new [p114] improvements have been adopted. The box itself -is very little larger in outside measurement than the largest plate -it will take, and the double holder is so perfect as to be very -little if any heavier than the glass plates it is intended to -contain. The greatest improvement is the revolving bellows, the -front end of which is fastened in the light frame-work in such a way -that when the back is detached from the bed the whole bellows -revolves, instead of requiring to be unbuttoned, as heretofore, -making a great saving in time. The back is held to the bed by metal -plates having slotted holes, which permit the passage of round -screw-heads, which slide over the slots and thus hold very firmly. -The back may be detached and changed from a vertical position to a -horizontal in so short a space of time as two seconds, by the watch. - -These boxes are made with a double swing, the combination of the two -swings making it possible to avoid all distortion of lines. - -These cameras are made in all sizes from 4×5 to 18×22, and they are -decidedly the camera of the period. The 3 suitable sizes are fitted -with partitions, and extra fronts for stereoscopic work. - -The novel dry plate holders for these cameras are stripped of every -unnecessary bulk and weight; each will contain two plates, except -the sizes above 8×10, which are fitted with a patent shield, each -one of which has two slides working in the end and in the side of -the shield, therefore the slide can be withdrawn from the side of -the shield, no matter in what position the camera is placed. These -shields are single for one dry plate only. All the sizes of Novel -Cameras above 8×10 are made with the ground glass of the same focus -[p115] as for wet plate holders; if desired wet plate holders can -be furnished to order. - - -THE KLAUBER CAMERA. - -A new idea has been perfected and carried out in connection with the -Novel Camera, making it a combination View and Portrait Camera with -the above name. See Cuts 18 and 19. A portrait attachment has been -constructed to fit the back of the larger sizes of the Novel Camera, -which can be attached or detached in a few seconds, thus rendering -it unnecessary that there should be two large and expensive cameras -in one gallery. This is an exceedingly valuable improvement for the -larger sizes in more than one particular. The 18×22 size, with -ground glass and two plate holders, weighs only 50 lbs.; the -measurement of this size outside is 11×22×30-1/4 inches only. - -[Illustration: FIG. 18. KLAUBER CAMERA, VIEW PART ONLY.] [p116] - -[Illustration: FIG. 19.] - -Thus it will be seen that every variety of work in the gallery may -be done with two or at the most three Cameras. - -The Climax Imperial Cameras for work up to 8×10; a Klauber Camera -for portrait and view work from 8×10 to any size desired, together -with a Copying Camera, would make a superb outfit for any gallery. - - -CAMERA STANDS. - -A stand or support for the camera box and lens, by means of which -the box and lens can be raised or lowered or moved about the room -with facility. - -The stand best suited for the purpose is one that is strong, and -heavy enough to be very rigid and firm, but not so heavy as to be -cumbersome and difficult to move. For raising and lowering the -camera, which in some cases is quite heavy, there are several -appliances, such as levers, screws, weights, &c., &c., and [p117] -the different styles of camera stands may be designated by the name -of the mechanical power which is applied for that purpose, viz: - -Lever Stands, Screw Stands, Balance Stands. - - -THE LEVER STAND. - -The Lever Stand, Fig. 20, is one of the oldest forms of camera -stand, and is still used in many establishments. The method of -raising the top may be seen in the cut. There are two levers, one -for each end, by means of which the camera may be inclined upwards -or downwards. The levers are held in place by means of springs which -press a beveled edge steel plate--attached to the levers near the -handles--against a serrated plate of steel, attached vertically -between the handles. (See cut.) - -[Illustration: FIG. 20.] - -This style of camera stand is more used for very large and heavy -cameras than for the smaller kind. They are very firm and rigid, and -exceedingly durable, being made of hard wood, well seasoned, and -they are consequently not at all liable to get out of order; in -fact, a well made stand would last a life-time, if one cared to have -a camera stand last so long. The next style in order is the - - -SCREW STAND, - -which is a very popular stand, and its most popular form is that -called the Knickerbocker Stand, which is made in 4 or more sizes and -has 2 styles of [p118] tops; the top seen in Fig. 21 has the name -of the inventor of the stand and is called the Stoddard Top; the -other, No. 22, is the Acme Top. This form of stand is better adapted -for light camera boxes, and is therefore preferred in small -establishments and tintype galleries to the other styles, which take -up more room and are not so portable. - -[Illustration: THE KNICKERBOCKER STAND. FIG. 21.] [p119] - -[Illustration: FIG. 22. THE ACME TOP.] - - -THE BALANCE STAND. - -This style comprises a greater variety of forms than all the others -combined, it requiring the least exertion to move the box up or -down. The weight of the camera box when placed on the stand top is -counterbalanced by weights which rest upon a shelf attached to -cords, which pass over pulleys and downwards, to be fastened to -uprights which support the top; when properly balanced it requires -only a touch of the hand to raise the box or to lower it. - - -THE BOWDISH STAND. - -[Illustration: FIG. 23.] - -The most popular form of this stand is the Bowdish. See cut 23. The -description will be rendered quite intelligible by observing the -weights which are in the centre, between the three legs, and the -cords which pass over the pulleys to the three supports of the top. -From the peculiar construction of this stand it has the most simple -[p120] means of adjustment; it is raised or lowered by touch, and -a binding screw serves to keep it immovably in position. - -[Illustration: FIG. 24.--THE AUTOMATIC STAND.] - -Another form of this stand is the Automatic, Fig. 24, which is a -later form than the Bowdish, and has several improvements not yet -applied to the latter. It is entirely new in shape and principle; it -is very light and simple. The various changes are made quicker and -easier than with any other stand. A coil spring bears most of the -weight in raising and lowering, and self-acting [p121] stops hold -the centre frame and bind it firmly at any height desired by the -operator, no set-screw being required to make it rigid. It has also -a new and superior device for tilting the top. Another form of this, -very popular stand is the Gem City Stand, see Fig. 25, [p122] -which in some respects is even better than the Automatic; beside the -weight balancing the camera box it has a crank in common with the -Automatic for raising and lowering. It also has a very convenient -arrangement for copying, which is an extension which moves under the -top of the stand and holds an upright support for the picture to be -copied; this is a very convenient arrangement for galleries where -there is not enough copying done to require a special copying box. - -[Illustration: FIG. 25.--THE GEM CITY STAND.] - -[Illustration: FIG. 26.--THE HANDY CAMERA STAND.] - -There is another form of stand in use, in which the balancing weight -is replaced by a crank and pulley; of this kind is the Handy Camera -Stand. - -Of this style there is another form that has advantages of its own, -which would seem to render it peculiarly a useful and appropriate -stand for light boxes; it is the Magic Camera Stand. [p123] - -[Illustration: FIG. 27.--MAGIC CAMERA STAND.] - -[Illustration: FIG. 28.--IRON CENTRE STAND.] - -All these various styles of stands are made in sizes to suit cameras -from 8×10 to 25×30. - -Fig. 28 represents a style of stand which does not classify, but -which is a useful stand in a portable gallery or tent. [p124] - - -THE PNEUMATIC SHUTTER FOR THE CAMERA. - -This device for making exposures in the photographic studio has -proved to be so useful and popular as to have secured almost general -recognition and adoption among the photographers of America. - -The possibility of making exposures in the studio, unknown to the -subject, placed a very decided advantage in the hands of the -operator, who, standing at any point, could watch the expression of -the subject and seize the right moment to secure the impression -desired; so that the pneumatic shutter seemed to be the proper -complement to the lightning dry plate. - -There is a great variety of these shutters exhibited and for sale, -and the number continually increases. - -The earliest example of this style of shutter that we know of is the -Cadett, an English invention, which, in its introduction into this -country, served as a stimulus to the inventive genius of Americans, -and, as a consequence, we have the great variety that now may be -selected from. An effort was made to apply electricity to use in -working a shutter, but it did not succeed, and so the rubber tube -and bulb became the accepted means for applying the force necessary -to open and shut the slides or doors constituting the shutter. - -An attempt has been made to apply a time regulator to the pneumatic -exposer that shall keep the lens uncovered for a period of time at -the will of the operator, which shall be regulated by an index -pointing at a figure representing a definite period of time. By -turning the index to any figure, from 1 to 20 or more, representing -seconds, the shutter is held open for that time, and then closes -automatically. This shutter is opened, in the first instance, by -pressure upon a bulb, [p125] in the same manner as any of the -pneumatic devices. We may enumerate, among the various shutters, -those giving the most satisfaction in use, - - -CADETT'S PATENT PNEUMATIC PHOTOGRAPHIC SHUTTER. - -It has often been remarked by eminent photographers that the -arrangement is a most useful one which enables persons to be -photographed without being aware of it. The efforts in this -direction necessitated the operator being close to the camera; here -we have an instrument which permits him to be at any part of the -studio he pleases. - -[Illustration: TN: Cadett's Pneumatic Shutter.] - -Many have experienced the difficulty of taking children's portraits -with the proper amount of profile; with the above device all -difficulty vanishes--the operator may be by the side of the child -and attract its attention to any direction, and he has the means of -exposing and capping the lens with far greater rapidity than with -the usual method. - -DIRECTIONS.--After the day's work is done the rubber tubing should -be taken off the instrument; this will prevent a partial vacuum in -the bellows and tube, which would otherwise ultimately occur. These -instruments are now constructed for application either inside or -[p126] outside the camera. Its use is very simple--squeeze the -ball end of the tube and the shutter opens. - -This instrument no sooner made its appearance than Yankee ingenuity -set to work to improve on it, or at least to produce something -similar that might not infringe on the patent. - -[Illustration: TN: Using the Pneumatic Shutter to Photograph a -Child.] - -The first effort was to bring electricity into use to move a shutter -inside the camera box, and a very good device was perfected and sold -to numbers who were convinced of the usefulness of the idea, but -were unwilling to pay the price demanded for the English instrument. -This electrical apparatus, however, soon played out, and few -operators had the time or knowledge necessary to keep the battery in -order; and in many instances after the sittings had been made it was -found, on attempting to develop the plate, that no exposure had -taken place, hence these electrical shutters were soon relegated to -the limbo of played-out photographic apparatus, of which every -gallery of any standing has one. [p127] - -[Illustration: THE "ECLIPSE" INSTANTANEOUS SHUTTER.] - -For simplicity of construction and operation, for reliability and -good results obtained with it, the "Eclipse" Shutter has gained an -enviable reputation. It is safe to say that no shutter is better or -more favorably known. - -The "Eclipse" is made wholly of metal, and is finely finished. It -attaches over hood of lens by a velvet-lined collar, and has a clamp -to securely hold it in place. It is made in five standard sizes, -collars for hoods of lenses being attached to a shutter of the most -suitable size. - -When the shutter is in a locked position ready for an exposure, the -right-hand leaf of fly covers the aperture of lens. When released, -the fly revolves, uncovering the aperture, which is again covered by -the left-hand leaf. - -When the shutter is in the position shown in cut, less illumination -is given to the foreground; but by [p128] adjusting the shutter -in different positions any part of the view may be favored. - -The hair trigger release may be operated either by hand, by a cord, -or by a pneumatic device. The pneumatic apparatus costs $1.00 extra. - -The speed of the shutter is perfectly controlled by moving the -spring on back of shutter from notch to notch on the curved arm. - -[Illustration: PROSCH'S "DUPLEX" PHOTOGRAPHIC SHUTTER. - FOR TIMED OR INSTANTANEOUS WORK. PERFECT IN BOTH.] - -With this shutter, the latest production of the inventor of the very -popular "Eclipse" shutter, exposures can be made of any desired -duration. It is equal [p129] to any requirement for the most -rapid work, and as a time shutter, exposures can be made as quick as -two pulsations can be given to air bulb (about one-tenth of a -second) or of minutes' duration. - -"Duplex" Shutters work perfectly, with even the very largest lenses, -up to their full capacity; and several lenses can be used with the -same shutter. The shutter gives a full opening; but yet, by the -peculiar opening in the exposure slides, any part of the picture can -be favored with more or less illumination by turning the shutter, -sometimes even inverting it. - -The illustration gives a front view of the shutter, one-half size of -No. 2, which is suitable for an 8×10 lens, or even larger, as it has -an opening at the diaphragm of 1-1/8 inches. - -Inclosed in metal casing are two pivoted slides, which move, in -unison, in opposite directions, and make the exposure in one -continuous movement without the slightest jar, even when worked at -its greatest rapidity. The motive spring is on the back of the -shutter, and is of coiled wire; a perfectly reliable spring. Its -tension is regulated by moving it along a series of notches. The -exposure slides are moved by a stud on the lever shown on front, -which passes through the shutter and a slot in each slide, and -engages with the spring on the back. On the end of the lever are two -notches hidden by the secondary lever. When the lever is fully -depressed, the release catches in the upper notch and locks the -slides closed. A slight pressure on the air bulb or a trip to the -projecting end of the release, frees the slides, and they make an -instantaneous movement or exposure. If the secondary lever has been -brought into play, by a turn or [p130] two of a milled-head nut, -the release will catch in the second or lower notch and hold the -slides at a full opening, in which position they remain until a -second pressure is given to the bulb, or the release is tripped by -hand. - -The shutters are made in standard sizes, having narrow threaded -collars on each side, to which can be adapted tubes to receive -lenses, which are to be transferred from regular lens tubes. Any -intelligent instrument maker or machinist can adapt such tubes to -lenses; the original tube is not used. - - -HEAD-RESTS. - -It might have been thought that the rapid dry plate, by shortening -the time of exposure so much, would have done away with the -necessity for using head-rests; and many old photographers whose -backs have often ached from handling the "Wilson," the "Spencer" and -other enormously heavy head-rests, thanked their stars that a time -of relief seemed to be at hand. But not so. The head-rest is just as -necessary as ever, and the heavy ones are as advantageous now as -before. The most important use of the head-rest is to keep the head -in the position required. That the head should be immovable is -necessary during the time of exposure. Many people are quite able to -keep still enough for photographic purposes without a rest for the -head, but very few are able to keep the head in the position desired -by the operator without some assistance; hence the necessity for the -use of the head-rest for even the shortest exposure. One benefit, -however, has been derived from the advent of short exposures; there -seems no necessity for the use of the extremely heavy varieties. -[p131] The lighter rests would seem to be capable of fulfilling -all the requirements of a head-rest. - -[Illustration: SUCCESS HEAD-REST] - -[Illustration: CENTENNIAL HEAD-REST.] - -The Success head-rest is one variety of the lighter kinds, of which -another is the Centennial. These are very useful in the studio, more -particularly in posing a group, when it is necessary to have a -head-rest for each one of the party; they are also sufficiently -rigid for single sitters. They are in all sizes, short for children -and long for adults, and if any part should be broken or get out of -order duplicates can be had at trifling expense. [p132] - -[Illustration: THE RIGID HEAD-REST.] - -[Illustration: SPENCER HEAD-REST.] - -The Rigid head-rest is of a heavier kind, and is a favorite with -many who prefer a medium weight. It sets firmly on its base and can -be quickly and easily adjusted to either sitting or standing -figures. - -The Spencer head-rests are examples of the heavier kind; they are -very firm and rigid, and heavy enough to suit the most exacting -gymnast or athlete. There are many other varieties of the light, -medium and heavy kinds, but the cuts show the best of the various -weights, and a selection can be made from these without fear or -hesitation. - -A gallery should have half a dozen head-rests at [p133] least, -and while the majority should be of the lighter, there should be a -sample of the medium and heavier, kinds, so that no important aid to -good work should be lacking. - - -POSING CHAIRS. - -Much attention has been bestowed upon the posing chair since 1865, -when Sarony introduced into the country the posing apparatus which -first brought his name permanently before the American photographers -and the public. - -The Sarony posing chair, table, rest, etc., has, however, passed, -and remains among the things that were, and many other styles of -chair since have had their brief day and are gone. - -[Illustration: THE BOWDISH CHAIR.] [p134] - -Among those that still remain in use this continues to be popular, -and indeed it is a very useful and elegant article of furniture for -the studio; and from the ease with which it can be converted from a -high back chair for standing figures, to a posing chair for sitters, -it will probably continue to be, as it always has been, the most -useful accessory in the photographic studio. - -[Illustration: THE BOWDISH CHAIR WITH REVOLVING CIRCULAR ARM.] - -These chairs are so pre-eminently superior in all desirable -qualities that it is only necessary that their perfection of -manufacture and ingenious plan of construction be seen to be -commended by every one. Made of solid walnut, secured by means of a -patented iron frame, they unite unusual strength with graceful -outline and richness of effect. The quality of materials used, also, -has always been of the best; and the constant aim is to make them -excel in each and every [p135] particular. They have no uncertain -joints, no clumsy and unsightly proportions, no "fixings" to become -detached or render the chair useless when broken. They are better -adapted to the varied requirements of a modern photographic -gallery--better suited to the prevailing styles of portraiture, and -more in consonance with modern studio accessories. - -[Illustration: THE BOWDISH CHAIR WITH SOFA ATTACHMENT.] - -In short, the Bowdish chair combines the advantages and uses of all -the various chairs in market, comprising-- - -_First._--A chair with high back, with or without arms. - -_Second._--A chair with a revolving circular arm. This is an -advantage over the ordinary chair with circular arm, which has only -the vertical movement. - -_Third._--A lounge attachment, which is invaluable for infants and -children. [p136] - -[Illustration: THE NEW PATENT NOVEL CHAIR.] - -For sitting positions, vignettes, etc., the Novel chair is the best -out for low bust and vignette pictures. The back is peculiarly well -adapted; it gives support without the back becoming conspicuous in -the picture. This chair is a valuable piece of furniture for any -gallery, and many prefer it to the old-established favorite Anthony' -Position Chair, which has been for many years the useful chair of -the studio. [p137] - -[Illustration: ANTHONY'S POSITION CHAIR.] - -[Illustration: ANTHONY'S SLIDING-BACK POSITION CHAIR] - -ANTHONY'S SLIDING-BACK POSITION CHAIR has been found to be just the -thing for many positions, [p138] such as half lengths, full -lengths and even sittings, and also for babies, as the back and arms -are movable. - -For some years past the little folks, babies and infants, have -become a large part of the most profitable clientage of the photo -studio, and much attention has been bestowed on the furniture and -accessories suitable for them and their pictures. Among such, the -QUEEN ANNE CHILD'S LOUNGE is a novelty itself, indispensable to any -photographic studio; the opening between seat and back is an -advantage for posing children. (Also made with hole in centre of the -high back.) - -[Illustration: QUEEN ANNE CHILD'S LOUNGE] - -These two forms of lounge are very useful and popular, having been -adopted in many studios doing a large business with the little -folks. - -An extra cushion is now made for the Child's chair. This, placed in -a semicircle under the knees, ensures the favorite pose of babyhood. - -Two forms of chairs for babies are very popular with the average -photographer, being neat in design and finely finished, greatly -adding to the effect of a good photograph of a pretty baby. [p139] - -[Illustration: THE BABY CHAIR.] - -The Baby Holder is not a chair, but a holder, and can be placed in -any chair or on a table, It can be adjusted to any angle, to hold -the baby securely in position. - -These baby lounges and chairs should be raised on a platform, when -in use. The platform should be from 6 to 12 inches high and on -large, easy casters, so that it can be easily moved about the room. -Such a platform is a great convenience for all sitters, the subject -can so readily be moved without being put to the inconvenience of -rising from the seat. With these chairs certain little cushions for -the back and seat are very useful, and are supplied when required. -[p140] - - - - -PART SECOND. - - -FIELD PHOTOGRAPHY. - -That the thousands who formerly practiced photography in the fields, -as an amusement and recreation, took great delight in it and found -it to be an extremely fascinating pursuit, there can be no denial. -When we think of the difficulties that were continually being -encountered, and the trials of patience and temper that had to be -submitted to--to say nothing of the disagreeable nature of the many -solutions that were necessary, the stains on the hands and clothing -incidental to the use of nitrate of silver and the solution of iron, -and the heavy and bulky nature of the apparatus--we are constrained -to believe that the rewards must have been more than commensurate to -the fatigue incurred, to the disappointment occasioned by frequent -failures, and to the dislike of dirty hands and stained and spoiled -clothing. - -[Illustration: AMATEUR APPARATUS. - Apparatus set up, consisting of camera box, lens, carrying case and - tripod.] - -Now, however, by the introduction of the new process of dry plate -work, all that was disagreeable has been done away with. The -collodion, the silver-bath, the developer and fixing solutions--as -things to be carried with you--are now of the past, and even the -glass plates will soon be known no more as impedimenta to the -amateur. In place of the heavy Camera and [p141] plate-holders, -we have now feather-weight constructions, that are no more a burden, -but rather, ornamental objects, the possession of which and their -use is more of a pleasure than otherwise. It is not surprising, -then, that in view of these wonderful changes, the thousands who -formerly practiced photography for amusement have increased to tens -of thousands. And the dry plate equipment for viewing has become a -part of the impedimenta of the summer tourist, as well when he or -she travels by land as when they voyage by sea. The bicyclist, too, -goes out with a Camera, that may be attached to his wheel, and makes -instantaneous views as he spins along the road, or dismounts and -takes in some beautiful bit of scenery. - -The boys, and also the girls, have seized upon this fascinating -pursuit, and the gardens and conservatories have been converted into -studios, where every member of the family, including the baby and -the pet animals, have been posed, and their pictures bear witness to -the triumph and delight of the young artists. Amateur photographers, -male and female, may be found during the season at the summer -resorts by the sea or at the breezy mountain house; wherever the -well-to-do citizen takes his family for rest and recreation during -the "dog days," there will the tripod be set up and the Camera will -record the topography of the vicinity. - -For every one of these thousands of amateurs there [p142] is -something to learn before he or she can succeed in producing a -picture; to know how to make a photograph never comes by intuition, -but must be acquired by study and practical experiment. This need -not be prolonged or difficult, and the purpose of these pages is to -afford the beginners that instruction, which will enable them to -surmount the difficulties of a new and untried pursuit; to open up -to them the knowledge that will enable them to bring the little dry -plate and the quantum of pyro together, so that they may tell a -story, the constantly varying changes of which will afford ever -renewing delight, a pleasure gained without undue fatigue and never -followed by regret or pain. One little gem of a negative or -transparency will afford the maker more real pleasure, than many a -costlier amusement. - -[Illustration: TN: Outdoor Scene with Amateur Photographer, Dog and -Children.] - - -THE AMATEUR OUTFIT. - -The number and variety of outfits manufactured for the use of -amateurs are so great that the question of selection becomes one of -more than ordinary interest and importance. Indeed, this fact is -impressed upon the mind and fully established when one undertakes -[p143] to inspect and examine the variety exhibited by one house -alone, but when one has seen the stock of all the different large -concerns and has examined the bewildering variety, he becomes aware -of the immensity of the demand that has brought into existence such -an enormous supply; for here, beside the toy outfit for the child of -ten or twelve years, he will see the perfect equipment for the -professional photographer, and every possible grade between, in -every style of finish and ornamentation, and all supplied with so -many appliances for easy handling and accurate adjustment as to -astonish one at the amount of skill and ingenuity exhibited by the -makers. - -It is not the intention of the writer of these pages to describe -this great variety of apparatus; having himself used with success -and pleasure the instruments of the great house of E. & H. T. -Anthony & Co., he will merely point out some of the advantages of -and the valuable improvements lately added to their amateur -photographic equipments. - -The amateur preparing for the field will find it necessary to -provide himself first with the apparatus necessary to the making of -negatives; these articles constitute the viewing outfit. Having made -himself familiar with the use of the camera and lens, he may next -provide himself with the chemical constituents of the developer and -proceed to develop his own plates. These chemicals and the necessary -dishes, etc., constitute the developing outfit. - -It is recommended that the beginner confine himself at first to the -preliminary of selecting his views and making the exposures, taking -his plates to some photographic establishment to be developed, where -he [p144] may learn as to the correctness of exposure, and -receive such information in connection therewith as may be of -benefit afterwards. - -Having made himself somewhat proficient in exposing, he may then -take up the development and enjoy the true delight of the amateur in -witnessing the growing of the picture upon his developing plate. - -With this end in view, then, we will proceed to consider, describe -and explain the apparatus of an outfit, the construction thereof, -and how to use the same. - - -THE VIEWING OUTFIT CONSISTS OF: - - Sensitive dry plates and - Plate holders or shields, - The Camera box, - The view lens, - The tripod or Camera stand, - The instantaneous shutter, - The focussing cloth, and a - Carrying box to contain the whole. - -It is necessary that the beginner should receive some instruction in -the use of each of these articles, and for that purpose we will -consider them in the order above given. - - -DRY PLATES. - -The manufacture of dry plates has now reached such a state of -perfection that the purchaser may procure them of every grade of -sensitiveness, each of the several grades of a perfect uniformity -and all of them very free from imperfections and blemishes. And also -the prices have been so reduced of late that the incentive to -manufacture on the part of individuals for their own use is almost -entirely lacking. However, there may be found [p145] a certain -interest and fascination in preparing plates for one's own use, -which would prompt some to incur the outlay and trouble incidental -to such a course, and for those full instructions and formulæ may be -found in the first part of this book. - -It will, however, be found, after due trial, that for work of -importance, and where certainty of results is desired, it will be -better to procure the plates of some maker of established -reputation, and of such a grade of sensitiveness as will be most -suitable for the work in hand. - -Certain makers of dry plates use the Sensitometer to ascertain the -degree of rapidity of each and every emulsion produced in their -works. The ascertained degree of rapidity is indicated on each box -of plates by the Sensitometer number--the higher the number, the -more sensitive the plate. The highest numbers attained up to this -time are from 20 to 25, and these numbers would indicate a very high -degree of sensitiveness, such as render plates of 23 to 25 quite -suitable for work requiring the shortest possible, in fact, -instantaneous, exposures, such as bodies in motion across the plane -of focus. Views of still life are better made with plates of a -lesser degree of rapidity. - -The handling of dry plates of such extreme rapidity requires great -care. The boxes should never be opened, even the outer wrappings -should not be removed, except in the darkened room and by such a -light as that produced by Carbutt's dry plate lantern or some -similar device. When plates are taken from the boxes for the purpose -of fitting the holders, they will be found to have one clear, smooth -and shining surface. This is the back of the plate and is clear [p146] -glass; the other surface is of the same color, but of a mat or -dead color, not reflecting so much light. This is the sensitive -surface, and before being placed in the holder or shield it should -be brushed with a soft, flat camel's hair blender, to remove any -dust that may be attached to the surface. This brush should be used -for no other purpose; and should be used without pressure, merely -touching the surface of the plate. The plate may then be put in the -plate carrier of the shield, with the sensitive surface outward, and -when the carrier is run into its place in the holder, the sensitive -surface is next the slide or door. It is of some importance that -attention should be given to this manipulation, as it not -unfrequently occurs that the wrong side of the plate is turned -outward and the image, when the plate is exposed, is made through -the glass and against the back of the film, and is reversed and thus -rendered worthless, even should a good impression have been secured. - -The holders or shields for dry plates for out-door work are -always--except in the largest sizes--made double, each holder -containing two plates. - -[Illustration: ANTHONY'S PATENT PERFECT DOUBLE DRY PLATE HOLDERS OR -SHIELDS.] [p147] - -The diagram exhibits the plate holder, 3, with the plate carrier, 1, -partly drawn out; the slide or door corresponding to 2 is withdrawn -to show the interior of the holder, 3, and the spring that presses -the plate into focus, when pushed into the carrier, 1. This carrier -presents the same appearance on the other side and will hold two -plates. When filled with plates, it is pushed into its place in the -holder, 3, and the brass loops or fasteners, 4, are pressed down -flat, thus securely holding it in place. When the holder is put in -place at the back of the Camera the slide, 2, next the box, is -pulled out quickly and in a perfectly level position, so that the -spring shut-off may close instantly and permit no light to enter the -opening. The lens must be covered before the slide is pulled out. -The exposure is then made and the slide is returned to its place in -the same manner, carefully observing that one corner is not entered -first, but the end must be inserted into the groove squarely and -pushed quickly home. If another exposure is to be made immediately, -the holder is removed and the opposite side placed next the box, and -the same process is repeated, covering the lens, removing the slide, -make the exposure by removing the cover of the lens and replacing -it, then return the slide to its place. When a second exposure is -not made at once, with a pencil or in some other manner mark the -side that has been exposed, to prevent any mistake. When both plates -are exposed, return the holder to the carrying case and take the -next, if you carry more than one. Usually a half dozen holders are -carried, which gives command of one dozen plates, which should be -quite enough for one outing. [p148] - -Having exposed the plates, the holders are returned to the carrying -case, and should not be removed therefrom until they are taken into -the dark room for development, when, by the aid of some safe light, -they may be removed from the holders, one at a time, and developed, -or all taken out and put into a negative box, to be ready for -development when convenient. - - -THE VIEW CAMERA FOR AMATEURS. - -In an article on Cameras, in the first part of this work, we have -given a very accurate description of the View Camera for -professional photographers. - -The View Camera, as manufactured for amateurs, is smaller, lighter -and more compact, and, in many cases, more highly finished and -ornamented than those made to stand the rough usage of hard work. - -Beginning with the smallest, we have the - - -DETECTIVE CAMERA. - -[Illustration: SCHMID'S PATENT DETECTIVE CAMERA. - Patented January 2d, 1883.] - -This Camera is focussed once for all by means of a ground glass -which slides in the place to be afterwards [p149] occupied by the -double dry-plate holder, for objects of various distances, and the -position of the focussing lever on top of the Camera is marked for -each distance. After this the ground glass may be entirely dispensed -with, as it is then only necessary to estimate the distance of the -object to be photographed, and move the focussing lever to the mark -corresponding to that distance, when the Camera will obviously be in -focus. - -The small lens in the upper left-hand corner serves to throw the -picture on a piece of ground glass on the top of the Camera, thus -showing the position of the image on the plate. When the picture -appears in proper position on this ground glass, it is only -necessary to touch the button on the right of the Camera, and the -exposure of the plate is instantly made, its development being -afterward accomplished in the ordinary manner. - -The slide is then replaced in the plate-holder, which, being -reversed, the shutter reset and the other slide drawn out, -everything is ready for the next shot. - -This Camera is made to carry in the hand, and is held against the -side under the arm while exposures are made. A tripod or stand is -not required. The plate-holders are carried in a small satchel, with -a strap passing over the shoulder. The new sensitive paper film, -however, obviates the necessity of carrying more than one holder, -which will contain a band on which may be made 24 exposures, and -which is of no greater weight than one of the double holders when -filled with 2 glass plates. - -This Camera is calculated to make pictures 3-1/4 by 4-1/4 inches in -size, and they are technically called quarter plate size. [p150] - - -THE PATENT BIJOU CAMERA. - -[Illustration: For 3-1/4×4-1/4 Plate.] - -This little Camera is the neatest, nattiest and altogether nicest -Camera of its kind ever made. When folded it measures 5×5×3-1/2 -inches, and can readily be put in an ordinary hand-grip, or may even -be carried in the overcoat pocket. It weighs only 14-1/2 ounces, and -the holders are correspondingly light and compact. - -It has a sliding front, hinged ground glass, and folding bed, which -is provided with a novel arrangement for fixing it in position, -enabling the operator to adjust it in a few seconds. It is made of -mahogany, with a new hard finish, flexible bellows and brass -mountings, making a remarkably elegant little instrument. - -As the plate is the same size as those used with magic lanterns, -slides may be made from them by contact printing in an ordinary -printing frame. By using rapid printing paper in connection with the -enlarging lantern, the pictures may be made as large as desired. For -tourists, to whom weight and bulk are objections, this Camera is of -especial value. - -The introduction of the Schmid Detective Camera was a pronounced -success. The popular favor with which it was received stimulated the -manufacturers to [p151] greater exertions to supply a perfect and -effective instrument, against which no objections whatever could -possibly be raised. With this object in view, they have placed on -the market - - -ANTHONY'S PATENT SATCHEL DETECTIVE CAMERA. - -[Illustration: TN: Anthony's Patent Satchel Detective Camera.] - -In outward appearance, and to the ordinary observer, this latest -modification of the Detective Camera looks exactly like an alligator -hand-satchel that is carried by a shoulder-strap at the side of the -pedestrian. Upon closer observation, one sees that it consists of an -artfully concealed Detective Camera, in which all the various -movements to secure a picture are situated upon the under side. For -use, the Camera is held so that the base of the satchel rests -against the body of the operator. By means of a brass pull at the -side the shutter is set. A plate in the regular holder is placed in -position at the back cf the Camera, and the slide is drawn ready for -exposure. The release of a short catch exposes the front of the -shutter ready for action, [p152] and by raising a small -leather-covered lid the little camera obscura, called the finder, on -the (now) upper side of the Camera, shows the position that the -object will occupy on the plate. The slightest touch upon a small -brass button releases the shutter, and the exposure is made. -Replacing the slide in the plate-holder, reversing the holder, and -setting the shutter again, leaves the apparatus in readiness for -another shot, when the plate-holder slide is withdrawn as before. - -By removing a screw that takes the place of the spring lock of an -ordinary satchel, the Camera proper can be removed from its cover, -and a tripod screw serves to attach the Camera to a tripod for -ordinary use. - -[Illustration: TN: Anthony's Detective Camera Proper.] - -This last form of the Detective Camera allows the operator to carry -with him twelve plates in the interior of the apparatus, and so -carefully packed away that no light can strike them. It is also -furnished with an [p153] ingenious attachment by which the speed -of the shutter can be regulated to suit the speed of the object, -moving with greater or less velocity; while, by simply releasing a -catch, time exposures can be made at the will of the operator. In -fact the whole affair is the latest achievement in ingenious and -compact light photographic apparatus. - -[Illustration: CAMERA SHOWING THE DETACHMENT OF SATCHEL.] - - -AMATEUR EQUIPMENTS FOR FIELD WORK. - -The manufacturers of these goods, for the convenience of those at a -distance who might desire to order by [p154] mail, have -classified and catalogued these outfits of the various sizes as view -equipments, and have numbered them from 1 upwards. - -[Illustration: EQUIPMENT NO. 1.] - -Stained Camera, for making pictures vertically or horizontally, -measuring 4×5 inches, with one double dry-plate holder, fine single -achromatic lens, improved tripod, and carrying case. - -This is called the $10 equipment, and by which very beautiful and -perfect work may be done, examples of which, as negatives and -transparencies, may be seen at the warerooms, and only need to be -seen to be admired. For a complete descriptive catalogue of these -goods, send to Messrs. E. & H. T. Anthony & Co. - - -THE FAIRY CAMERA. - -There has long been a demand on the part of the public for a -Camera that would at once embrace these most necessary -requirements--portability, compactness and strength, combined with -beauty and accuracy of working. - -Hitherto the nearest approach to this has been the "Novel" Camera, -which for a time seemed to be everything [p155] that could be -desired. But urgent calls for something still better were frequently -made, and the result is the Fairy Camera, by far the most attractive -and elegant piece of apparatus of its kind ever offered. In -presenting it, attention is invited to the following advantages it -possesses over all others. - -_Strength._--They are put together as rigidly as wood and metal will -admit of, and are therefore _perfectly_ rigid. - -_Compactness._--They occupy less space than any other view Cameras -of the same capacity, and the plate-holders actually require little -more than one-half the room of the lightest of any others in use. -The plate-holders are made of hard wood, with metal carriers for the -plates, and fitted with all the later improvements. - -_Portability._--The small compass to which they may be reduced -renders them in this respect incomparably superior to any. They are -packed in canvas-covered wooden cases, and each double plate-holder -has its own compartment. The cover of its case telescopes over its -body. - -Several new features have been availed of in the construction of -this Camera, to wit: The bed may be instantly rendered rigid, -_without the use of screws_, by means of a brace of hooks, that hold -the two sections of the bed with great firmness. - -_Secondly._--The rabbet commonly found on the plate-holder is -dispensed with, and instead, it is placed on the Camera, thus saving -the otherwise additional weight rendered necessary for twelve such -rabbets when made on the plate-holders (two on each of the six -usually carried), and the not inconsiderable item of three-quarters -of an inch in bulk. - -_Third._--The Camera is focussed with a long, continuous [p156] -metallic rack, cog-wheel and pinion, the latter being held firmly in -position by a binding screw. - -The ground glass swings backward in its frame, like that in the -regular Novel Camera, and is held tightly in position by metallic -spring corners. When windy, this is a decided advantage. - -The Fairy Camera is made in finely polished mahogany, the metal work -being nickel-plated, thus making it the most elegant and perfect -Camera known. - -They are made with and without stereoscopic attachments. Naturally, -those without stereoscopic attachments are lighter and more compact -than those with, and may be preferred by persons desiring to make -single views or portraits only. - -These Cameras are made in four sizes only--from 4-1/4×6-1/2 to 8×10. -Those desiring a larger Camera should procure the Novel Camera, -which is manufactured of all sizes up to 18×22. - -[Illustration: THE NOVEL CAMERA WITH DOUBLE SWING BACK IN THE ACT OF -BEING REVERSED.] [p157] - -An ingenious improvement has been introduced in connection with the -Fairy and Novelette Cameras, which is shown in the cut. - -[Illustration: TN: Ingenious Improvement.] - -It consists in the use, with a 5×8 Camera, an additional body and -bellows for 8×10, which can be attached to the front and bed of the -5×8 on removal of the 5×8 bellows to back. This substitution can be -made in a few seconds, giving the user the command of two Cameras at -small expense. - - -THE VIEW LENS. - -(_See article on lenses in Part First._) - -View lenses may be classed in two groups: - -Single combination lenses and double combination lenses. - -Single combination lenses are intended for producing pictures of -inanimate objects, in the production of which the time of exposure -is of minor importance. They are of greater focal length than the -double, and, on account of their simple form, are less expensive. - -The combination consists of a meniscus, composed of two lenses, one -convergent, the other divergent. The two are cemented together, so -that only two surfaces are presented to reflect light. This lens is -well calculated [p158] for out-door work, but does not give such -roundness of form nor such delicacy and finish as may be obtained by -the double combination. But it has greater depth of focus, and, -having but two reflexive surfaces, fits it peculiarly for views of -foliage, and enables it to work into the green of the landscape more -completely and vigorously. - -The single lens is not free from distortion. The marginal rays are -apt to give the barrel-shape figure to the view, but for landscapes -this is practically of little or no consequence. - -The smaller sizes of single lenses are more effective than the -larger. They are quicker and have much less distortion, and when -stopped very small have practically none. - - -THE DOUBLE COMBINATION - -is formed by reversing the single lens and making it the front lens -of the double combination, and adding a similarly constructed -achromatic lens to the rear. These lenses are indispensable for very -rapid work and for work requiring straight lines. As the double -combination is more perfectly corrected for spherical aberration, it -is better adapted for architectural and other work not admitting of -distortion. Of this class of lenses we would recommend ANTHONY'S -RAPID DRY PLATE LENS, [p159] which has a double achromatic -combination for making instantaneous views, portraits groups, etc., -and will meet all the requirements of those who do not care to incur -the expense of a Dallmeyer or other first-class lens. - -[Illustration: ANTHONY'S RAPID DRY PLATE LENS] - -[Illustration: THE PLATYSCOPE LENS] - -Of a higher class is THE PLATYSCOPE LENS, which is a rectilinear or -perfectly corrected lens of great working rapidity, and is well -suited for all the requirements of the amateur; and as to price, it -holds a middle place and next to the DALLMEYER'S RAPID RECTILINEAR -LENS, which is the most perfect instrument at present known to the -profession, and is almost universally used by professional out-door -photographers and by all amateurs who care to produce the finest -possible work. This lens might be considered indispensable for all -[p160] work requiring an instantaneous exposure, as by means of -the dry plate and the drop shutter some very remarkable pictures -have been made of bodies in rapid motion. - -[Illustration: DALLMEYER'S RAPID RECTILINEAR LENS] - - -WIDE ANGLE LENSES. - -There is another class of lenses of double combination, which are -called wide angle lenses. They are constructed to embrace an angle -of from 90 to 100 degrees, and are therefore indispensable for use -in confined situations, such as narrow streets and interiors. They -are also capable of being used with advantage for all the purposes -of a view-lens, their only disadvantage being that they are not so -rapid as lenses of a lesser angle. For certain subjects the back -lens of the combination may be removed and the front lens used in -the same manner as an ordinary landscape lens. - -[Illustration: THE E. A. WIDE ANGLE-LENS] - - -THE E. A. WIDE ANGLE-LENS - -is of this class, and being of short focus and made on the -rectilinear principle, it is a useful lens for all the purposes -already enumerated, and for architectural subjects, as well as for -copying of maps, drawings, printed matter, etc., etc. - -Every amateur should possess one of these lenses, as [p161] well -as one of the more rapid-acting lenses for instantaneous work, -unless he can well afford to get the best. - -[Illustration: DALLMEYER'S WIDE-ANGLE RECTILINEAR LENS] - - -DALLMEYER'S WIDE-ANGLE RECTILINEAR LENS - -will completely fill the bill. This lens consists of two cemented -combinations, each composed of a deep meniscus crown and a deep -concavo-convex flint glass lens. - -Unlike other lenses of this class the dense refracting medium--the -flint--is made to occupy the external position in both combinations, -and though both are deep menisci externally, and of nearly the same -focal lengths, the front combination is of larger diameter and -greater curvature than the back, and between the two, dividing the -space in the proportion of their respective diameters, is placed the -revolving diaphragm, with graduated openings, the largest of which -is F. 15. - -An important characteristic of this instrument, besides the method -of achromatization, is the thinness of the lenses, thus offering -less obstruction to the passage of the light, constituting these -lenses the quickest acting of their kind. - -The outfit, which includes a Dallmeyer wide angle and a Dallmeyer -rapid rectilinear, may be said to be prepared to do all work within -the range of photography. - -Every outfit should include a piece of fine, soft chamois [p162] -skin for cleaning the lenses; it will often be found that moisture -and dust obscure the image in the ground glass; when such is the -case the lenses should be unscrewed and carefully cleaned with the -chamois. And when carrying, it would be well to wrap each lens in a -piece of chamois. Lenses thus carefully kept will repay the trouble -in fine, clear and incisive work. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - - -[Illustration: THE FAIRY TRIPOD] - - -THE TRIPOD OR CAMERA STAND. - -There are a variety of these stands manufactured, the two principal -of which are the Telescopic leg, Fig. 1, and the Folding leg, Fig. -2. Among the lighter stands or tripods [p163] THE FAIRY TRIPOD -deserves particular mention, being less than two pounds (2 lbs.) in -weight and folding to a length of 16 inches only. When placed in its -neat leather case, with shoulder-straps for carrying, it is the -smallest and lightest practical tripod that has yet been offered to -the public. - -The tripod, when not in use, is taken apart, the top placed in the -carrying box, and the legs folded or telescoped and tied together. - -When set up for work be sure to have the tripod top level, which may -easily be done by adjusting the legs to the inequalities of the -ground. - -The Camera is fastened to the tripod top by a thumb-screw, which -passes up from beneath, through the tripod top, and into the leg of -the box. When adjusted tighten the screw firmly. [p164] - - -THE INSTANTANEOUS SHUTTER. - -The rapid dry plate and the quick acting lens have created a -necessity for a shutter that would make an instantaneous exposure, -in order that sharp pictures might be made of objects in motion. - -This has been accomplished in a variety of forms, the earliest and -simplest of which is - - -THE DROP SHUTTER, - -which consists of two pieces of wood, each having a hole cut into -it, and so arranged that when one piece is placed upon the end or -hood of the lens (which fits into the circular opening), the other -piece can be made to slide up and down against it, thus for an -instant bringing the two openings opposite, and making the exposure -depend upon the rapidity with which one opening passes the other. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -Fig. 1 represents the common form, in which the release is made by -the withdrawal of a metal catch, which fits the indent in the side -of the sliding upright piece. Fig. 2 represents an improved form, in -which the release is made by pressing a rubber bulb connected with a -rubber tube attached to a metal valve. - -The action of both these styles of drop shutter may be hastened by -using rubber [p165] bands to quicken the fall of the sliding -piece, as represented in Fig. 2 by A and B. So that while a rapid -exposure might be made by the fall of the slide, by its own weight, -it would not be quick enough for an object moving across the plane -of focus, but might be sufficient for an object moving away from or -toward the lens. By the use of the rubber bands the exposure may be -made as quick as a flash, or the small fraction of a second, thus -enabling one to secure a sharp impression of the trotting horse, the -railroad train, the racing yacht, and many other interesting and -difficult subjects. - -Another peculiarly effective form of shutter is that known as THE -PROSCH ECLIPSE SHUTTER, which is a small and compact instrument, -made of metal and rubber, by which an exposure of 1/200 part of a -second may be made, with the power of reducing the speed to about -one-half second. - -[Illustration: THE PROSCH ECLIPSE SHUTTER] [p166] - -A late and decided improvement on the Eclipse Shutter has been -produced by Mr. Prosch, which he has named the "Duplex." - -[Illustration: TN: Prosch's Duplex Shutter.] - -Prosch's Duplex Shutter is intended both for "timed" and -instantaneous exposures. - -It is equal to any requirement for the most rapid work, and as a -time shutter, exposures can be made of from one-half second to any -duration required. - -The peculiarity of this shutter is that the exposing slides are -placed between the front and back combinations of the lens, -necessitating a separation of the tube at the centre. [p167] - -Mr. Prosch makes a special tube to which is affixed the apparatus of -the shutter. This special tube is of the exact size of that to which -the lenses belong, from which the lenses are taken and fitted to the -special tube. The other is kept for future use if necessary. - - -THE CARRYING BOX. - -All this apparatus is, with the exception of the tripod, enclosed in -a neat carrying case, with a telescopic cover, and is carried with a -hand-strap. The box contains separate places for from one to six -double holders, as may be desired. And there is room for the -head-cloth, and an extra box of plates if necessary. - -The head-cloth furnished with this apparatus is a light -rubber-covered muslin, about a yard or a yard and a quarter square, -and its principal use is to cover the head and exclude light from -the ground-glass while adjusting the focus. It may also be used to -cover the apparatus if caught out in a shower, or to wrap the -carrying case in under the same circumstances. - - -THE DEVELOPING OUTFIT FOR AMATEURS. - -The amateur is recommended to get some experience in making -exposures before attempting to develop. - -By taking plates to some photographic establishment for development, -and observing carefully the method of manipulating them, one will -soon learn about the proper exposure to allow; and then the advice -of the operator may be of some value. - -There may, however, be some who are so situated as to be unable to -avail themselves of such an opportunity, and are compelled to rely -on printed instructions for all they have to do. To such we have -only to say, [p168] - - -DO NOT OVER-EXPOSE, - -then go ahead and do the best you can. - -The outfit for development would consist first of the apparatus or -dishes; second, of the chemical components of the developer, and the -clearing and fixing solutions. - - The dishes or apparatus are: - - Developing trays, - - Tray or dish for alum solution, - - Tray or dish for fixing solution, - - Washing box, - - Negative racks, - - Glass stoppered bottles, - - 2 of 1 lb. each for pyro and soda, - - 2 of 1/2 gallon each for oxalate and iron, - - 2 of 1/2 gallon each for alum and hypo, - - Glass graduates, - - 1 of 8 oz., 1 of 1 oz, - - Glass funnels, - - Filtering paper, - - A balance scales for weighing 1 grain to 1/4 lb. - -The developing tray is made of japanned iron, of ebonite or of hard -rubber. - -[Illustration: JAPANNED IRON DEVELOPING TRAYS.] - -These are all made to suit the various sizes of plates in use; the -japanned iron trays are the cheapest, but they wear out rapidly; the -ebonite trays are rather [p169] higher in price, but they are -more durable, and have a clean polished surface. The hard rubber -dishes are the most expensive, and perhaps the most durable. - -[Illustration: EBONITE TRAYS.] - -[Illustration: ANTHONY'S GLASS BATHS IN BOXES.] - -The amateur should procure his trays of a size suitable for the -largest plate he uses, and should have two or more on hand always -for developing purposes. These dishes are also suitable for the -clearing and fixing solutions; but for these solutions the upright -bath dish and dipper are better for several reasons; first, because -there is less evaporation; second, all sediment sinks to the bottom, -and the solution is always clean; and last, but not least, they take -up less room. - - -THE WASHING BOX. - -The gelatine plate requires much and prolonged [p170] washing to -free it from the solutions by which it is developed and fixed, and -which, if not thoroughly washed from the film, would ultimately -injure and perhaps distroy it An apparatus has been devised for -washing dry plates, which may be adapted to any size plate from 4×5 -to 8×10. - -It has a perforated false bottom, the water is received into the box -beneath the bottom, passes up through the perforations and out -through a pipe at the side; the plates are placed in the grooves and -rest on the false bottom. The force of the water is checked in -passing through the false bottom and flows evenly up through the -plates. A half hour of washing in this box would be quite enough to -thoroughly cleanse the film from hypo, etc. - -Another and very effective model is the ANTHONY SELF-CHANGING SHOWER -WASHING BOX. - -[Illustration: ANTHONY SELF-CHANGING SHOWER WASHING BOX.] [p171] - -The Anthony Self-Changing Shower Washing Box for dry plate negatives -is a nicely constructed and convenient apparatus. Made -substantially, and well japanned inside and out, it has interior -grooves in which either 5×8 or 8×10 negatives may be placed. When -the negatives are introduced, the hose is attached to a faucet; the -lid is now closed and locked if desired, and the water turned on. - -It will be seen that the water enters the washer from above, and -that the inside of the lid is made in the form of a perforated -fountain, which discharges a spray over the plates. When the -negatives are entirely submerged, the water is all drawn off by -means of a self-acting syphon, and the process of showering is -repeated. - -With this apparatus the hypo can be thoroughly eliminated from the -gelatine film in from fifteen minutes to half an hour. The change of -water is continuous. - -When the plates are well washed they are removed from the washing -box and set up in - - -NEGATIVE RACKS, - -where they will soon dry, and when dry they should be stored in -boxes to be kept free from dampness and dust. - -[Illustration: ANTHONY'S FOLDING NEGATIVE RACK.] [p172] - -[Illustration: NEGATIVE BOXES.] - -These boxes are made of every size and are indispensable for the -proper preservation of dry plates. - - -CHEMICAL COMPONENTS OF THE DEVELOPER. - -The solutions for developments, both by the neutral oxalate and the -alkaline pyro processes, should be kept in air-tight glass-stoppered -bottles; in fact, rubber stoppers are superior to glass for keeping -out the air, and when they can be had should be preferred. - -Glass funnels and filtering paper for filtering the various -solutions should always be kept handy for use. - -Glass graduates are quite indispensable in preparing and mixing the -developing solutions. - -A balance scale is equally necessary for the same purpose. - -The chemical constituents of the developing outfit are: - - Neutral oxalate of potash, - - Protosulphate of iron, for oxalate development, - - Sulphite of soda, - - Sal-soda or carbonate of soda, - - Carbonate of potash, [p173] - - Bromide of ammonium, - - Concentrated ammonia, - - Pyrogallic acid, for alkaline pyro development, etc., - - Alum and citric acid, for clearing solution, - - Hyposulphite of soda, for fixing solution. - - -THE AMATEUR DARK ROOM. - -It is not necessary that the amateur should have a thoroughly -appointed dark room, although such a room is a great convenience and -not at all difficult to construct nor expensive to keep up. - -Those desiring to construct a convenient and safe dark room should -consult the article on dark room in the first part of this book. -Such a room might be put up in an out-building where running water -could be had, but for occasional use the bath-room or any closet in -the house that contained running water and is large enough to hold a -small table would answer every purpose. It would be necessary to -stop every crevice that would admit white light, by covering such -places with heavy red orange paper. The window, if there is one, may -be covered with the same paper or a heavy shawl. The room may then -be lighted comfortably with Carbutt's Dry Plate Developing Lantern, -which may set upon the table with the developing tray before, as in -the cut. - -When abroad making views it is sometimes necessary to change the -plates in the holders; for this purpose carry with you a ruby glass -gas burner chimney, which is a plain cylinder of ruby glass, about -one and a half inches in diameter and six to eight inches long. -Light a short piece of candle and set the chimney over it; this in -any small dark closet will give plenty of [p174] light for the -purpose, and indeed might do to develop by at a pinch. - -[Illustration: LANTERN ARRANGED FOR DEVELOPING, AND AFTER FIXING, -EXAMINING NEGATIVES BY OPAL LIGHT.] - - -FERROUS OXALATE DEVELOPMENT OF DRY PLATES. (ROCHE.) - -First make two stock solutions as follows: - -No. 1. A saturated solution of oxalate of potash (a pint or quart) -and test with blue litmus paper. If it does not show an acid -reaction dissolve a little oxalic acid in water and add enough to -the solution to cause the blue test paper to turn red. - -This solution should be filtered for use. - -No. 2. Make a saturated solution of pure sulphate of iron, and to -one quart add three or five drops of sulphuric acid, to prevent -oxidation, and filter. - -Now, to develop a 5x8 plate, take three ounces of No. 1 and to this -add one quarter of a dram of bromide of potassium solution (which is -water one ounce, bromide of potassium twelve grains), then add half -an ounce of No. 2; this forms the developer. [p175] - -Then transfer the plate to a developing disk, and pour over it the -developer. If the picture comes out gradually and develops -sufficiently, it is good so far, but if from under-exposure the -details hang back and refuse to develop further, then add two drams, -or half an ounce, more of No. 2, which will bring out the picture -with full details, unless greatly under-exposed. - -Never exceed one ounce of No. 2 (iron) to three ounces of No. 1 -(potash), for if you do you will form a sandy deposit and -discontinue the action of the developer. - -Always develop until the picture seems sunken into the surface. Do -not judge by looking through the negative only. Wash and fix in -hypo, 1 ounce; water, 8 to 10 ounces. After fixing, wash well. - -For pictures taken instantaneously, use no bromide in the developer. - - -COOPER'S SODA DEVELOPER. - - No. 1. Anthony's Sodium Sulphite Crystals 3/4 lb. - Distilled water 2 qts. - Anthony's Pyrogallic Acid 2 ozs. - - No. 2. Anthony's Sal Soda Crystals 1/2 lb. - Water 2 qts. - -To develop, take - - No. 1 2 ozs. - No. 2 2 " - Water 2 " - -For restraining over-exposure use the above quantity of developer, -one-half to one dram of - - Bromide potassium 1 oz. - Water 6 " - -"It is always advisable to use two developing trays, [p176] and -have the normal developer in one and the restrained developer in the -other. Then, by changing the plate from one tray to the other, the -character of the negative is under full control. Four to six plates -can be developed in one lot of developer. - -"This developer can be used for a number of plates, and gives fine -negatives of good printing quality. - -"After development, return your old developer to a stoppered bottle, -and keep for commencing development. - -"The reason for doing this is as follows: - -"As a rule, I give a little more time than necessary to make a -full-timed negative, and, by commencing with the old developer, give -the high lights a start of the shadows, which I can readily soften -afterwards by the use of a stronger developer at the finish, thus -obtaining the sparkling high lights so much admired in the wet -plate; and so seldom found in the average Dry Plate Pictures. - -"This developer never becomes muddy, and may be used repeatedly with -fine effect. - -"Always place plates in a strong solution of alum after developing -and rinsing, and before fixing. This gives brilliancy to the -negative and prevents the possibility of softening. - -"In the use of the above formula it is important that the best -Chemicals be employed." - -It is not necessary to make up the full amount of 2 oz. pyro at one -time. - -In the foregoing two formulæ will be found all that is necessary for -making good negatives by either process. - -Every box of plates that is put up for sale carries [p177] with -it the formula supposed to be best for that plate. There are other -forms of development that produce good work. The following is one of -them: - - -FERRO-CYANIDE OF POTASSIUM DEVELOPER. - -Make a saturated solution of yellow prussiate of potassium and -dilute with an equal bulk of water; add 2 drops of ammonia and 2 -grains of dry pyro to each ounce used. - -The solution can be used repeatedly until exhausted. Four ounces of -this solution would contain 8 grains of pyro, which is enough to -develop 2 8×10 plates, or their equivalent of smaller plates. Mix -only the amount that will be used at one sitting. - -It will be noticed in all the foregoing formulæ that the matter of -greatest uncertainty is the exposure of the plate; you never can -tell if your plate is properly exposed until you begin to develop, -and then if your picture flashes out at once it is too late to -correct by modifying the developer. - -The theory of development is that the pyro is the developing agent -and gives the strength. - -The soda, or ammonia, as the case may be, gives the detail. The -bromide is a restrainer, and to a certain extent will correct -over-exposure. Sulphite of soda, citric acid and sulphurous acid are -used to keep the pyro from oxidizing. - -Therefore, when developing a plate, say a 5×7, put it in the tray -and pour over it the amount of pyro necessary to develop such a -plate, say two grains in four ounces of water, let the plate remain -in this solution for a short time, in the meantime take of your -alkaline solution the amount you would use for the [p178] same -size plate, but add only a small portion to the solution covering -the plate. To do this pour off the pyro solution into a graduate and -add a drop or two of the alkaline solution, soda, potash or ammonia, -whatever it may be, then turn the solution back on the plate and -watch for the effect; if in a few minutes there is no change, then -add more of the alkaline solution in the same manner, and in a short -time the image will begin to appear; if it comes up too slowly, give -it the remainder of the alkaline solution, and unless the plate has -been under-exposed the image will come out and strengthen gradually -until it has well sunken into the plate, when it may be removed and -washed. - -If you use the oxalate developer, proceed upon the same plan; -oxalate in the place of pyro, iron in the place of alkali, but -always add the iron to the oxalate, not the reverse. - -Do not be persuaded that the bromide is only a restrainer; it is -that and more too; it may greatly affect the quality of the -negative, making it much finer in grain and clearer in the shadows. - -Under-exposed plates at best make but poor negatives, and it is -preferable to err, if at all, on the other side, but with the rapid -plates now made exposures are very seldom too short. - -When the plate has been developed it must be washed and then placed -in the hypo solution to fix. - -The most effective strength of hypo solution is half saturated. Make -a saturated solution of hypo and dilute it with an equal bulk of -water. The plate should lie in this solution until it appears -perfectly clear, and about five or ten minutes longer, then it -should be [p179] taken out and well washed. It should then be put -in the - - -CLEARING SOLUTION. - - Water, 1/2 gal. - Alum, 1/4 lb. - Citric acid, 2 oz. - -Allow the plate to remain in this solution a few minutes and it will -be found to have been greatly improved, having lost the color and -cleared the shadows. This solution, besides clearing the negative, -decomposes the hypo remaining in the film, and a short wash after -being taken from it is sufficient. - - -EASTMAN'S IMPROVED NEGATIVE PAPER. - -The Eastman Dry Plate and Film Co., of Rochester, N. Y., exhibited -at the P. A. of A. Exhibition, at Buffalo, N. Y., in July, 1885, a -very remarkable display of photographs, the negatives of which were -made on gelatinized paper and called the Eastman flexible negative -support. They gave a demonstration of their process at the same -time, and also explained the working of their new holder for a -continuous web or band of paper. - -The sensitive gelatine emulsion is prepared in the same manner as -for glass plates, and it is spread by means of ingenious machinery -on continuous bands of paper, which bands are afterwards cut into -sizes, or rolled on spools which will contain enough paper to make -from 24 to 40 views or portraits, according to size. - -They have invented a very neat apparatus to hold the paper when cut -into sizes so that it may be inserted in the common dry-plate -holder. [p180] - -They have also invented and patented a roller holder which may be -made to fit any camera, in which is inserted a spool of the paper, -and by means of ingenious devices it may be drawn across a flat -table and wound upon another roller with an apparatus to register -each length of paper as an exposure is made. This apparatus is -absolutely correct in operation, and the proper length of paper is -infallibly transferred from the table to the roller by simply -turning the roller with a key from the outside. - -By this invention the viewist is given command of as many as 24 -exposures, with no greater weight to carry than one double dry-plate -holder when filled with glass, thus reducing his "tote" the weight -of five double dry-plate holders and ten glass plates, and his -resources are increased two-fold. - -The exposures having been made the holder is taken to the dark room, -the paper unwound from the spools, cut at the register marks and -developed in the same manner as glass plates, but with the -difference that several pieces may be developed at the same time in -the same manner that paper prints are toned, thus securing a uniform -intensity to the negatives; the fixing and washing are performed in -the same manner as silver prints and as easily. - -The paper negatives after being washed are dried between blotters, -or in any other preferred manner, and they are then saturated with -castor oil and ironed with a hot flat-iron, to make the oil more -effectually permeate the fibre of the paper. - -These negatives are more perfectly susceptible of being retouched -and worked up than those on glass. - -They are printed from the gelatine side, and when [p181] the -prints are made the negatives are stored in portfolios. If after a -time it is found that the oil has dried out of the film, they may be -again oiled the same as at the first. - -The roller holders are made for every size and style of camera box -from the Detective and the Bijou pocket apparatus, up to the 20×24 -mammoth size Novel Camera. - - -HOW TO USE THE EASTMAN-WALKER ROLL-HOLDER. - -The Eastman paper films for the roll-holder are prepared in -continuous bands, and are rolled up on wooden spools and neatly -packed in paper boxes. - -The spool may be removed from its box and placed in the holder in -daylight, at the expense of the outside roll or length of paper -necessary to extend from the spool to the winding-reel, so that if -one were so situated as to find it necessary to change rolls in the -field, the loss would be trifling--being at the utmost not more than -would be required for two exposures from each spool. - -The proper course, however, is to charge the holder with its spool -of film in the dark room before going abroad. - -In doing this it is necessary that the light in the room should be -strong enough to enable the operator to see comfortably; but of such -a quality as not to injure the paper, which is at least 25 per cent. -more sensitive than the same emulsion would be if on glass instead -of paper. - -Figure 1 gives a general idea of the shape of the holder, with the -slide partly drawn to show a portion of the film. Also may be seen -the brass loops or clamps [p182] which hold the cover securely -over the working parts, and the key at the bottom which turns the -reel to which the loose end of the paper is attached. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -The working parts are fastened to a light metal frame, and consist -of a spool of film at the right end, and the winding reel at the -left, as seen in Figure 2. Both the spool and the reel are provided -with spring brakes, that prevent the uncoiling or unrolling of the -paper from either the spool or reel. The milled [p183] heads of -the chucks which hold the near ends of the spool and reel are -provided with pawls, which, while permitting them to turn easily in -the right direction, prevent the possibility of turning the other -way. - -When the cover, as seen in Fig. 2, is to be removed, the keyhole -guard and the indicator knob are pulled out as far as they will -come, the two loops on each side are turned down, the cover lifted -off, leaving the working parts exposed, attached to the back of the -holder by spring bolts, two at each end of the frame. Now, with the -thumb and fore-finger of the right hand, press these bolts, and thus -release the right end of the framework, which you may turn up, as -seen in Fig. 3, which is the position for removing and replacing the -roll of film. - -[Illustration: FIG. 3.] [p184] - -[Illustration: FIG. 4.] - -The proper method of doing this is more particularly shown in Fig. -4. With the left hand you hold the roll of film and draw back the -spring brake; now press the end of the roller that has the saw-cut -or groove across it against the chuck, as seen on the left, while -the right hand unscrews the pivot or support for the other end of -the roller, which is then placed in position; the pivot is inserted -and screwed home. - -This completes the operation of placing the roll of film in -position. The frame is then turned down and secured by the two -bolts, the paper band on the roll of film is torn off, and the end -of the film is carried beneath the guide roller and over it and -across the exposing table to the other end, which is next released -and raised to a perpendicular position. The end of the film is now -brought over the guide roller and attached to the winding reel, as -shown in Fig. 5. [p185] - -[Illustration: FIG. 5.] - -The paper is fastened to the winding reel by a metallic clamp, which -is pivoted to the ends of the winding reel. Now see that the film -occupies a central position across the table and over the guide -rolls, and then take up the slack by means of the milled head -tension screw or chuck at one end of the reel. The pawls should now -be adjusted on the milled heads of the chucks, the cover replaced -and fastened by raising the loops or clamps over the pins in the -side of the cover, and you are ready for work. - -For the purpose of indicating plainly where the first exposure will -be, insert the key and screw it home then turn it slowly until you -hear a sharp click, then pull out the slide and draw a pencil across -the film at each end of the holder, then return the slide. - -When about to make another exposure, note the position of the -indicator at the right end of the holder, then turn the key slowly; -the proper length will be [p186] indicated both by the sound of -the sharp click within and by the position of the indicator on the -outside of the holder. At every turn of the guide-roll the paper is -punctured by a sharp point which occurs simultaneously with the -sound of the click. For the smaller sizes, three clicks and three -punctures will surely indicate that the proper length of paper has -been replaced on the exposing table. For the medium sizes four -clicks and punctures are required. And for the larger sizes, as many -as six or eight may be necessary. The proper information is given -with the holder. - -[Illustration: FIG. 6.] - -When the exposures are made, and it is desired to remove the paper -from the winding reel and cut it for development, proceed as before, -and remove the cover from the holder; then, with a sharp -knife-blade, cut the paper, as shown in Fig. 6, by drawing the blade -over the paper and in the tin-lined groove in the guide-roll Then -release the spring pawl at the reel end and [p187] draw the paper -from the reel across the table, then cut by measurement, or by -counting the punctures. - -The directions for developing and preparing the films for printing -accompany each package of the paper. - - -THE ROCHE FILM. - -The year 1885 has been remarkable for the great importance of the -numerous improvements in photographic processes that have been -brought before the profession, and for the great impetus thereby -given to the extension of the uses of the art. - -The substitution of paper for glass as a vehicle for sustaining the -sensitive film has long been an aspiration of the progressive -photographer; and this year has witnessed the perfection of at least -two paper film processes that may be said to be perfect. - -The Eastman paper film has already established itself as a practical -success, and now we have a new candidate for photographic favor in -the Roche Film, just perfected and patented by that able -experimentalist, and assigned to Messrs. Anthony & Co. - -This Roche Film is remarkable for the ingenious manner by which the -disagreeable necessity for oiling the paper is avoided. - -This particular improvement consists in coating both sides of the -paper with the same sensitized gelatine emulsion, which has the -effect of preventing any trace of the fiber of the paper showing, -from the fact that the light penetrating the front film has -sufficient power to impress an image on the back film as well, the -interstices between the fibres of the paper permitting a more -energetic action of the light on the back film than through the -fibre, equalizes the intensity and thus prevents [p188] the fibre -showing in the negative when examined by transmitted light, or -leaving any impression on prints made therefrom. The double -impression has also the power of giving a more plucky or bolder -character to the prints, and greatly enhancing the atmospheric -effect and beauty of both portraits and landscape pictures. Also -other imperfections, either in the front film or in the body of the -paper, are corrected by the back coating, as neither the fibre of -the paper nor any imperfection therein can have any effect on the -front coating, but both the fibre and any spots, either opaque or -transparent, in the paper or front film will affect the back image -in the exact ratio of the opacity or transparency of the spots or -imperfections. - -In other words, all the imperfections of the paper and front film -will be corrected by the back, rendering the double negative quite -smooth and even, whatever the character of the texture of the paper -may have been. This special paper offers other advantages. It will -stand a protracted washing without weakening, and does not easily -tear or crack from handling in the water, and when dried it will not -curl, but remains flat, ready for immediate use. - -Directions for development accompany each package. - - -ENLARGING AND DUPLICATING SMALL NEGATIVES. - -Many amateurs have of late discarded their larger equipments, and -for general work use the smallest sizes, such as the Detective -Camera and the Bijou or Novelette, which are of the smallest sizes, -such as 3-1/4×4-1/4 and 4×5. - -It is contended on their part that these small outfits, which are so -light and portable as to give the minimum [p189] of trouble in -their use, give also (when good lenses are used) the most brilliant -and perfect negatives, which are capable of being enlarged to any -desirable size. Indeed, the copying and duplicating apparatus may be -found in the rooms of many of the leading amateurs. And by its use -many valuable negatives are duplicated, and secured against loss by -breakage; others are enlarged to more useful sizes, and most -beautiful transparencies are made. - - -THE COPYING AND DUPLICATING CAMERA. - -[Illustration: THE COPYING AND DUPLICATING CAMERA.] - -This apparatus, as will be seen in the engraving, is a camera with -an unusually long bed-rail and bellows. It has a central frame which -supports a lens, and a front frame supporting a negative, so placed -for duplicating or enlarging, which is done by transmitted light. - -The front is fitted with a kit of frames for the various sizes of -negatives, from 3-1/4×4-1/4 to 8×10, or the largest size the box is -capable of producing. - -For copying by reflected light the lens is removed from the central -frame and adjusted or attached to the front, where the negative is -seen in the cut; and the picture to be copied is attached to an -upright support (which is usually a part of the copying table or -stand) [p190] and exposed to the strongest diffused light -available, the camera being adjusted squarely in front of it. - -For duplicating or enlarging negatives the adjustment of the -apparatus is as shown in the engraving. Such work being done by -transmitted light. The negative to be enlarged is placed in the -appropriate sized frame in front and the lens in the middle frame, -which is placed nearer to the negative than to the ground glass. The -conjugate focus is then found by drawing out the rear or ground -glass focussing screen until the image is sharply defined on the -glass. When the subject is sharply in focus, if the image is found -to be too small the frame supporting the lens is pushed a little -nearer the front; on the contrary, if the image is too large the -lens is drawn back from the front. - -For all such work the camera should be directed toward a window -commanding a clear view of the sky, or if trees or buildings -intervene then a sheet of tissue paper or a square of ground glass -should be placed immediately in front of the camera and against the -window. It will be found that Anthony's "mineral paper" is superior -to either tissue paper or ground glass for this purpose, and should -be used when it can be procured. - -When it is desired to make a duplicate negative it is necessary -first to produce a dia-positive or transparency; this is merely a -copy of the negative (by transmitted light, or light passing through -the negative to the lens) with its lights and shadows transposed or -reversed. Great care must be taken to have this transparency in -sharpest focus, and full-timed in exposure to secure line detail. - -When a suitable positive has been secured it should [p191] be -dried and set up in the place occupied by the negative from which it -was made, and with the film side toward the lens. - -The process is now repeated, but with a shorter exposure, and the -resulting picture is a negative (if well done) identical with the -original. - -The adjustment for size is, as before mentioned, effected by moving -the lens support. If it is desired to enlarge, the lens is moved -nearer the subject; if to reduce, move the lens back from the front. -If the duplicate negative is to be of the same size as the original, -the lens is moved to the position near the centre between the front -and back, which will give the image on the ground glass the same -dimensions by measurements as the original. - -It will be observed that as there are two plates to be used the -utmost care must be taken in the adjustment of the focus and in -timing the exposure in both instances, to avoid loss of definition -or quality. - -Duplicates and enlargements of negatives made by this process and -with dry plates need be in no particular inferior to the originals, -if care and skill are exercised in their production. - - -DUPLICATE NEGATIVES BY CONTACT. - -When it is not desired either to enlarge or reduce the size of the -duplicate, a more direct and simple method is to make the positive -by contact printing. - -Place the negative in a printing frame, and upon it lay a dry plate -so that the two film surfaces are together; use a thick pad and see -that the pressure is strong enough to force the two surfaces into -intimate contact; now expose to a gas flame for four to six [p192] -seconds and develop. This will make an admirable positive or -transparency if properly done. The same process repeated, serves to -make a duplicate negative from the transparency. - -It is advisable to make a positive by this method from every -valuable negative. This positive will serve to make duplicates from, -should the original be lost or broken. - -Enlarged prints from small negatives can be made by the use of -Anthony's enlarging camera, and their gelatino-bromide paper by -artificial light, so that when one or more or only a few large -prints are required from a small negative it would perhaps be more -advantageous to make them direct from the original negative by the -use of this instrument than by making an enlarged negative and -printing by contact. However, the latter method would be the best in -cases where many prints are required. - - -PRINTING PROCESSES. - -The amateur who has secured a fine negative of some choice bit of -scenery, or has made a "hit" on any subject interesting or -beautiful, will naturally desire to secure prints or impressions -from it, that he may gratify his friends with a copy or supply the -demand for exchanges with the members of his camera club. - -The accomplishment of this desire is neither difficult nor -expensive, as there are several processes by which the amateur may -print for himself as many impressions as will suit his purpose. If -silver prints are preferred, any photographer will produce them at -small expense; or if the amateur is sufficiently posted in this -branch of the art, and has the facilities, he can easily [p193] -make them himself. The matter is much simplified by procuring from -the nearest stock dealer or photographer, ready sensitized paper. -Few amateurs, however, I imagine, would care to incur the expense of -a silver-printing outfit. Those who would will find in the first -part of this book full instructions in the article on silver -printing. - -The processes by which the amateur may most easily produce prints -from his own negatives by his own skill and labor are: - -The Gelatino bromide paper process. - -Anthony's collodio-chloride process. - -Ferro-prussiate or blue process. - -Transparencies in glass or opal. - - -PRINTING ON ANTHONY'S GELATINO BROMIDE PAPER. - -This paper is prepared with a sensitive surface, similar to the dry -plates commonly used, and must be handled with the same care and -subject to the same conditions of light; consequently the printing -must be done by artificial light only. - -The paper being cut to the sizes desired, should be kept in a -light-tight box, and in a dark room. When about to print, place the -negative in a printing frame in the same manner as for silver -printing, lay the paper with the gelatine surface down upon the -negative, place a cloth pad upon the paper, then press the frame -back firmly down to secure even contact of the paper with the -negative. - -All this should be done in a dark room by the aid of a non-actinic -light, and for this purpose Anthony's Climax Dark-Room Lantern, -Patented, as shown in the following cut, [p194] would seem to -fulfil every requirement. A more expensive, but very convenient -instrument, however, is CARBUTT'S MULTUM IN PARVO DRY PLATE -LANTERN, [p195] which has proved to be most suitable for this -particular purpose. - -[Illustration: TN: Anthony's Climax Dark-Room Lantern.] - -[Illustration: CARBUTT'S MULTUM IN PARVO DRY PLATE LANTERN] - -The paper having been placed in the printing frame, the frame is set -up, as seen in the [TN: following] cut, and the door in the side of -the lantern opened, which permits the white light from the lamp to -fall upon the surface of the negative; an exposure of from 5 to 10 -seconds is all that will be necessary, even in case the negative is -quite dense; a thin negative will print with less exposure, say 3 to -5 seconds, at a distance of from 12 to 15 inches from the light. - -[Illustration: Lantern arranged for making positives by contact.] - -The paper when taken from the frame presents no change of surface, -and must be developed in the same manner as a dry plate, to bring -out the picture. - -Previous to developing, lay the paper in a dish of clean water for a -short time, and then transfer it to the developing tray. [p196] - -The developing is done by the ferrous oxalate process. Solutions as -follows: - - Saturated solution oxalate potash 3 oz. - Saturated " photosulphate iron 1/2 oz. - Bromide " (12 grains bromide of - ammonium to 1 oz. water) 1/4 dram. - Saturated solution tartaric acid 2 drops. - -This developer can be used several times successively until it -becomes turbid. The best way is to first print and develop one -print, to ascertain the proper time of exposure. Then make as many -prints as are necessary, and develop them all together in a dish -large enough, and with sufficient of the solution to cover them -nicely. Observe carefully not to develop too far, as the resulting -prints will be too dark. When the prints are developed, wash them -well and fix them in a new solution of - - Hyposulphite of soda 1 ounce. - Water. 8 " - -The fixing will require from five to ten minutes; then wash and pass -the prints through a clearing solution consisting of - - Alum 2 ounces. - Water 6 " - -then wash again and hang up, or place between clean blotters to dry. - -It is necessary that the hands be free from any trace of silver or -hypo when handling these prints while developing, or afterwards when -wet, to avoid stains, etc. The same precautions as to the relative -proportions of the oxalate solution and the iron are to be observed -as for the development of negatives. [p197] - - -THE MAGIC LANTERN AND ITS USE - -The Magic, or, more properly, the Projecting lantern, is an optical -instrument, consisting of a case of wood or metal, enclosing a lamp -or other illuminating agent, the light of which being gathered and -condensed by a suitable condensing lens, and directed upon a small -transparent picture, so powerfully illuminates it that its image, -brilliantly lighted and greatly magnified, may be projected upon a -distant screen by means of an objective--a combination of lenses in -a tube--similar or identical in construction with a photographic -portrait lens. - -The modern projecting lantern, now a scientific instrument, bears -very little if any resemblance to the earlier magic lantern, which -was a rude construction, and, as its name implies, was first used by -magicians, or professors of the magic arts, as a means of imposing -upon the ignorance and superstition of their times. Later it became -a toy for the amusement of young people. And occasionally it -furnished amusement for popular assemblies, at what were called -Magic lantern exhibitions, usually the projection upon a screen of -greatly enlarged images of a series of comic pictures painted in -brilliant colors upon glass. - -The perfected instrument is now used in advanced schools and -colleges for illustrating scientific lectures, and more popularly by -public lecturers to illustrate by luminous projection scenes and -incidents of travel, etc., without which the mere narrative would be -exceedingly dry and devoid of interest. - -Since dry plate photography became a popular amusement, the -projecting lantern has greatly increased in public favor, and the -members of the amateur [p198] photographic societies and camera -clubs throughout the country are interested and engaged in the -production, as slides for the lantern, of views of almost everything -in animate or inanimate life. - -The projecting lantern, in its highest development, is a complicated -and costly instrument, the different designs and constructions of -which have received, each, a long and high-sounding name, the -antepenultimate of which is usually of Greek or Latin origin, such -as panopticon, sciopticon, stereopticon, etc., etc., and requiring -such powerful illumination as can only be furnished by the -oxy-hydrogen or calcium lights or electricity. - -A new instrument, however, suitable both in cost and in means of -illumination for amateurs and amateur societies, has lately been -introduced by Messrs. E. & H. T. Anthony & Co., which, to be in the -fashion, has received the name Triplexicon. - -The Triplexicon is the perfection of oil-burning lanterns; in it -refined petroleum oil is burned in a burner having three wicks; the -centre wick being opposite the centre of the condensing lens, and in -its optical axis, entirely removes the most objectionable fault of -such lanterns, the central shadow or flare. - -The Triplexicon, therefore, being of its class the most perfect -instrument, and requiring little if any skill to manage it, becomes -the appropriate instrument for the amateur photographer whereby to -exhibit in a very acceptable manner the trophies of his skill in the -use of the camera and alkaline pyro. - -[Illustration: TN: Triplexicon Lantern.] - -A gentleman thoroughly familiar with all the various modifications -of the magic lantern, in describing the Triplexicon says of it: - -"We have seen many lanterns in our time, and in [p199] several -respects this eclipses them all, especially those for use with -kerosene oil only. The lamp itself is completely shielded with a -well-made hood of Russia iron, and is provided with the patent -triplex wick, which affords the utmost illumination obtainable with -any oil light. The back and front of the hood are closed interiorly -by glass plates, specially annealed to withstand extreme heat, and -the rear one is again closed by perforated sheet iron, covered -interiorly with a highly polished metallic reflector, back of which -is inserted an eye piece of ruby glass. The latter enables one to -always observe the condition of the flame and wicks, and regulate -them without disturbing or discontinuing the action of the -instrument. The chimney is made telescopic, to pack more compactly." - -"The diffusing lens, specially constructed for the purpose, is -mounted on a cylindrical slide to extend, if [p200] necessary, -the focal distance, while the condensing lenses, which are of four -inch diameter and can be separated for cleaning, are inserted in a -corresponding slide within the wooden case. - -"The case itself is quite compact, and appears very ornamental in -its highly polished mahogany, with its little bronzed ventilators on -either side at the bottom. The metal front is burnished and has a -spiral spring adapter for the admission of the slides. A substantial -wooden box contains all, and serves also as a table for the -instrument while in use. Altogether this is the finest example of -its kind we have yet seen; it will also serve admirably for -enlargements with the gelatino-bromide paper." - - -LANTERN SLIDES. - -The pictures prepared for projection by the magic lantern are made -on glass of one size, invariably 3-1/4×4 inches, and are copies of -negatives made by transmitted light and by two methods. When the -negative is made by the detective, or pocket cameras and on plates -3-1/4×4-1/4, the positives or slides may be made by contact -printing; that is, the prepared plate is placed in contact with the -negative, film sides together or touching in a printing frame, the -back pressed closely down and the plate exposed to the light of a -gas or lamp flame--daylight is too strong--for from five to ten -seconds, according to the density of the negative; the plate is then -developed perfectly with ferrous oxalate until the picture is seen -clearly on the surface; when the shadows have become sufficiently -dense, or before there is any discoloration of the high lights, -remove and wash and fix in hypo and alum. (See Roche's formula -[p201] in article on Transparencies.) Remember that all parts of the -pictures that represent the whites should be clear glass. - -When the negative is larger than the slide, then the copy must be -made in the Camera. (See article on transparencies.) - -It is claimed by some that slides made by the collodion process are -superior to those made on dry plates, but in my own personal -experience I have found Anthony's transparency dry plates superior -to all others and better than collodion. - -To protect the film surface of the slide, thin, clear glass of a -corresponding size is placed against the film surface with a paper -mat (the opening of which should closely correspond with the outline -of the picture) between, and the two bound together neatly with -adhesive paper. - - -PRINTING BY ANTHONY'S COLLODIO CHLORIDE. - -Collodio chloride is a collodion emulsion, consisting of plain -collodion and silver chloride. It is a grayish-white substance in -liquid form, and being quite sensitive to light, it must be kept in -a covered bottle. - -Anthony's collodio chloride is supplied in 8-ounce or larger -bottles, and will keep indefinitely. The formula for its preparation -is not known, but it is sold at a price that renders its preparation -by individuals unprofitable. - -The following formula will give a superior quality of collodio -chloride to those wishing to make their own. - -FORMULA FOR COLLODIO CHLORIDE. - - No. 1. Nitrate silver 1 drachm. - Water 1 dram. [p202] - - No. 2. Chloride of calcium 64 grains. - Alcohol 2 oz. - - No. 3. Citric acid 64 grains. - Alcohol 2 oz. - -To 2 oz. plain collodion add of - - No. 1 30 drops. - No. 2 1 dram. - No. 3 1/2 dram. - -By the use of this emulsion most beautiful pictures may be made on -paper and upon porcelain, opal, stoneware, and other plain white -surfaces. - -When paper or any other flexible surface is to be used, it is simply -coated with the emulsion. First place the paper flat upon a square -of glass and pour upon it the emulsion, causing it to flow evenly -over the whole surface and the excess to flow back into the bottle -from the lower corner. This must be done in a subdued light, but not -necessarily in a dark room or by non-actinic light, as in the case -of the use of gelatine bromide paper. - -When the paper is coated it should be placed in a closet or some -dark place to dry, and when dried it is printed in the same manner -as silver paper, by placing it in a printing frame in contact with a -negative. It is printed by sunlight, and may be examined while -printing, to see the progress made. The printing should be carried a -shade or two beyond the color suitable for a finished print, and -when done should be washed in clean water and toned with gold, and -afterwards fixed in hyposulphite soda and again well washed in the -same manner as for silver prints. - -Flat porcelain or other enameled surfaces, before [p203] being -coated with the emulsion should be albumenized in the same manner as -glass plates for the collodion process. - -The white of an egg to 6 ounces of water, well beaten, will be the -most suitable proportion for this purpose. - -For printing on porcelain or other enamel plane surfaces, specially -prepared printing frames are necessary in order that the progress of -the printing may be ascertained. - -All articles with uneven surfaces, such as plaques, plates, saucers, -of porcelain china or stoneware, that cannot be placed in printing -frames, may have pictures printed on them by the aid of the Solar -Camera or by Anthony's Enlarging Camera, and the lime or the -magnesium light. - -See Anthony's Enlarging Camera. - - -THE ENLARGING CAMERA - -Method of making large pictures from small negatives. - -[Illustration: TN: The Enlarging Camera.] [p204] - -The prevalent use of the Detective Camera, and other cameras, for -making pictures on small plates, has caused a demand for an -apparatus whereby large pictures may be produced from such -negatives. - -This demand has been met by the production of Anthony's New -Enlarging Camera in connection with the Gelatino bromide papers. - -This enlarging box is at once simple and effective. It consists of a -black wooden box containing a good kerosene lamp. The sides of the -box have a number of grooves that carry a slide holding a large -condensing lens, O, while another slide holds the negative, N, that -is to be printed. - -[Illustration: TN: Schematic of the Enlarging Box.] - -To the outside of one end of the box is attached a sliding bellows, -and an objective, E, by which the picture is enlarged and thrown -upon any white surface. In a few words, the enlarging box is a small -solar camera, but using artificial light instead of the sun's rays; -or it is a magic lantern so arranged that no light can come out of -it except that which passes through the objective. [p205] - -The use of the instrument is as simple as its construction. The lamp -is lighted, and then adjusted in the box so that a shadowless circle -of light is projected upon a white wall or other surface, all the -light being utilized by means of the reflectors situated back of the -lamp. This adjustment is effected by moving the condensing lens and -the lamp nearer or farther apart. It is perhaps best to place the -condenser in a groove near the objective, but sufficiently far from -the end of the box to allow the slide containing the negative to be -inserted. Having obtained a good circle of light, now place the -negative in the slide and adjust the slide in the box so that it is -between the condensing lens and the objective, and as close to -former as may be. By means of the objective a good focus is now -obtained, and we are ready for an enlargement. - -With this apparatus and an artificial light, of course rapid -printing paper is necessary. The cap is placed on the objective, and -by the aid of red light a piece of the gelatino bromide paper is -adjusted on the surface where the image was projected from the -enlarging box. This part of the operation maybe assisted by removing -the cap from the objective and placing a piece of ruby glass before -it, allowing the image to fall on the paper through the ruby glass. -A simple and effective way of holding the paper is to tack two -common wooden laths upon a board in such a way that they will serve -to hold the paper along two of its longer sides, in which case the -board must be used to focus upon. - -The exposure necessary will depend upon the density and character of -the negative. With a medium density in a portrait negative, one -minute appears sufficient, but something also depends upon the -paper [p206] used, those of English manufacture being rather -slow. With a little care and this little contrivance much pleasure -and success are attainable in enlarging pictures from small -negatives. - -The use of the new "tooth" surface printing paper admits of the -application of crayons to the enlargements. - -By substituting the lime or the magnesium light for the kerosene -lamps, pictures may be printed by the collodio chloride process upon -a variety of uneven surfaces, such as plaques, plate, saucers, pots, -etc., etc. - -In fact, this instrument might very easily be converted into a solar -camera by fixing it in a window and adjusting a mirror outside that -would reflect the sun's rays into the condenser within the box. - - -TO ENLARGE NEGATIVES BY THE REVERSING ACTION OF LIGHT. - -Having coated a plate with the common negative collodion and excited -it in the usual nitrate of silver negative bath, expose it to the -light for about a second at the door of the dark room, wash it and -then apply to the surface as a wash a solution of - - Iodide of potassium 16 grains. - Bromide of potassium 8 " - Water 1 ounce. - -The plate is now ready for exposure in the enlarging camera; the -lime or the magnesium light being sufficiently powerful for the -purpose. On its removal from the camera the plate is washed, -immersed for a brief period in the nitrate of silver bath, or -otherwise treated with a solution of this salt, after which the -image is developed by the ordinary developing solution [p207] for -wet plates. In this way is obtained an enlarged negative from a -small one without the necessity of an intermediary transparency. - - -PRINTING WITHOUT SALTS OF SILVER, FROM THE "SILVER SUNBEAM." - -The discovery that certain of the per salts of iron when exposed to -light undergo decomposition and are reduced to proto salts, is -attributed to Sir John Herschell. But we are indebted to Poitevin -for numerous interesting developments in this department. - -For instance, the per-chloride so exposed becomes reduced to the -proto-chloride; or, as Von Monckhoven more appropriately remarks, to -the state of oxy-chloride. For this purpose the sesqui-chloride must -be quite neutral. The ammonia tartrate, potassa tartrate and the -ammonia citrate of iron are much more sensitive to light than the -sesqui-chloride, and the latter salt (ammonia citrate) most of all. - -The image formed by means of these salts is much fainter than that -with the chloride of silver; but it can be intensified by the -application of other metallic salts. - -The mode of operation consists in floating the paper on the -solutions in question in the dark room, in allowing them to dry, and -then exposing them afterward beneath a negative, as usual with paper -prepared with chloride of silver. - - -THE FERRO-PRUSSIATE, OR BLUE PROCESS. - -The preparation of the paper by this process is very simple, and -requires very few manipulations, while the results, when prints are -made, are pleasing and lasting. Prints in blue are so easily made as -to be [p208] extremely convenient for making proofs from -negatives, and they are well adapted for mottoes, plans, drawings, -manuscript, circulars, and for representations of scenery, boats, -machinery, etc., etc., and for engravers' use. - -Ferro-prussiate paper can be procured from E. & H. T. Anthony & Co., -or can be easily made by the following formula: - -Float the paper until it lies quite flat upon a solution prepared as -follows: - - 1. Water 2 ounces fluid. - Red prussiate of potash 120 grains. - - 2. Water. 2 ounces. - Ammonia citrate of iron 140 grains. - -When these two are dissolved, mix them together and filter into a -clean bottle. - -The solution should not be exposed to a strong light, and the paper -must be floated on it in a very subdued light, and in the same -manner as paper is floated on a silver solution. When it no longer -curls, but lies flat on the solution, take it by the corners and -raise it slowly from contact, and hang it up to dry in a dark place. -When dry, it can be used at once, or may be kept for future use by -rolling it, prepared surface in, and placing it in a tin box or -other receptacle, free from light and dampness. - -To make a print on this paper, place the prepared surface in contact -with the negative in a printing frame and expose to sunlight. - -The time of exposure will vary according to the density of the -negative and the intensity of the light. The rule is to allow the -light to act long enough for the portions which first turn blue to -become gray, with [p209] a slight metallic luster. At this point -remove the paper from the frame and place it in a dish of clean -water. - -It now gradually becomes a rich blue throughout, except the parts -which should remain white. Change the water from time to time, until -there remains no discoloration in the whites; dry, and the picture -requires no further treatment. - -The blue color may be totally removed at any time by placing the -print in ammonia water. - -This is the standard formula. - - -ANOTHER PROCESS FOR BLUE PRINTS. - -Float the paper for a minute in a solution of - - Ferridcyanide of potash 1 ounce. - Water 5 ounces. - -Dry in a dark room, and then expose beneath a negative until the -dark shades have assumed a deep blue color, then immerse the print -in a solution of - - Water 2 ounces. - Bichloride mercury 1 grain. - -Wash the print, and then immerse it in a hot solution of - - Oxalic acid 4 drachms. - Water 4 ounces. - -Wash again, and dry. - - -ANOTHER PROCESS--THE CYANOTYPE. - -Float the paper on a solution of the sesqui-chloride of iron. Dry -and expose, afterwards wash the prints, and then immerse them in a -bath of ferrid cyanide of potash. The picture will appear of a blue -color in all those places where the sun has acted. [p210] - - -PROCESS WITH SALTS OF URANIUM. - -The paper, without having undergone any preceding preparation, -except that of having been excluded from the light for several days, -is floated on a bath of the nitrate of uranium as follows: - - Nitrate of uranium 2 drachms. - Distilled water 10 drachms. - -The paper is left on the bath for four or five minutes, it is then -removed, hung up and dried in the dark room. So prepared, it can be -kept for a considerable time. - -The exposure beneath a negative varies from one minute to several -minutes in the rays of the sun, and from a quarter of an hour to an -hour in diffused light. The image which is thus produced is not very -distinct, but comes out in strong contrast when developed as -follows: - -NITRATE OF SILVER DEVELOPER. - - Distilled or rain water 2 drachms. - Nitrate of silver 7 grains. - Acetic acid a mere trace. - -The development is very rapid in this solution. In about half a -minute it is complete. As soon as the picture appears in perfect -contrast, the print is taken out and fixed by immersion in water, in -which it is thoroughly washed. - - -CHLORIDE OF GOLD DEVELOPER. - -This is a more rapid developer than the preceding. The print is -fixed in like manner by water, in which it must be well washed, and -afterwards dried. When dried by artificial heat, the vigor of the -print is increased. [p211] Prints that have been developed by the -solution of nitrate of silver may be immersed in the gold bath, -which improves their tone. - -The picture may be developed, also, by immersing the prints in a -saturated solution of bichloride of mercury and afterwards in one of -nitrate of silver. In this case, however, the times of exposure must -be increased. - -Pictures may be obtained, also, by floating the papers on a mixture -of equal quantities of nitrate of silver and nitrate of uranium in -about six times their weight of water. - -When dry, they are exposed beneath a negative. In this case the -image appears, as in the positive printing process, with chloride of -silver, being effected by the decomposition of the nitrate of -uranium, which, reacting on the nitrate of silver, decomposes this -salt and reduces the silver. These prints require fixing in the -ordinary bath of hyposulphite of soda, and then washing, as usual. - - -PROCESS FOR RED PICTURES. - -Float the papers for four minutes in the preceding bath of nitrate -of uranium, drain and dry. Next, expose beneath a negative for eight -or ten minutes, then wash and immerse in a bath of - - Ferridcyanide of potash 30 grains. - Water 3 ounces. - -In a few minutes the picture will appear of a red color, which is -fixed by washing thoroughly in water. - - -PROCESS FOR GREEN PICTURES. - -Immerse the red picture, before it is dry, in a solution of [p212] - - Sesqui-chloride of iron 30 grains. - Distilled water 3 ounces. - -The tone will soon change to green; fix in water, wash and dry -before the fire. - - -PROCESS FOR VIOLET PICTURES. - -Float the paper for three or four minutes on a bath of: - - Water 2 ounces. - Nitrate of uranium 2 drachms. - Chloride of gold 2 grains. - -Afterward take them out and dry. An exposure of ten or fifteen -minutes will cause the necessary reduction; the picture has a -beautiful violet color consisting of metallic gold. Wash and dry. - - -TRANSPARENCIES ON GLASS AND OPAL. - -Photography, throughout its varied range, produces no more charming -or satisfying picture than the transparency, whether it is on glass -for the window, or on porcelain or opal for the lamp. - -The beautiful and sparkling gradation of light and shade, the -variety and depth and richness of tone and color inherent in a fine -example of this picture, renders it most positively "a thing of -beauty and a joy forever," - -It is a picture made by a peculiarly simple and easy process, the -most exalted expressions of which have always commanded the popular -favor and a high price, and the working of which has, both for the -amateur and the professional photographer, the highest interest and -attractiveness. By no other method or process can the amateur -succeed in producing pictures of [p213] equal excellence, with -the same outlay of time and skill, which is a peculiarly fortunate -circumstance, as the tendency among amateurs at this time is to form -themselves into clubs and societies for the exchange of their most -beautiful and successful efforts as picture makers. And an exchange -in the form of a transparency enables the receiver to command all -other styles of pictures, through the negative that may be produced -from it. - -The production of these pictures has assumed such importance already -as to have called forth a special dry plate for making -transparencies, to say nothing of the other special goods for the -same line, such as metal frames, ground, engraved and etched glass -for mounting, the beautiful borders of which greatly enhance the -beauty and elegance of the finished picture. - -Transparencies are adaptable for the exhibition of every kind of -picture that can be copied; paintings, engravings, portraits, -landscapes, all become equally acceptable when skilfully finished -and properly displayed. - -By this process, also, the amateur is enabled to provide himself -with slides for his magic lantern and to have the satisfaction of -exhibiting to his friends the trophies of his own skill in the use -of the camera and the developing solution. - -The amateur, in order to succeed in producing high class work, -should possess himself of one of Anthony's duplicating and copying -cameras, so that he may be enabled to avail himself of both methods -of work; that is to say, by the camera and by contact printing, as -by the latter method he is restricted to the range and size of his -negatives, while by aid of the camera he is enabled to copy all -kinds of pictures to acceptable sizes, [p214] and he can make his -transparencies of equal size with his negative, or vary the size to -suit the requirements of the case. - -The use of the duplicating and copying camera is fully detailed in -the article on Duplicating Negatives. By its use the amateur is -enabled to work by the wet collodion process, which has many -advantages, or by the dry plate process, using Anthony's -transparency plates or the gelatino albumen plates made in -Philadelphia. If he confines himself to contact printing, he is -restricted to the use of dry plates only. - -The outfit of goods for making and finishing transparencies consists -of: - - Transparency frames, common and patented, made with rings for - hanging horizontally or vertically. - - Ground glasses, with borders. - - Etched glasses, with borders. - - Anthony's transparency plates. - - Gelatino albumen plates. - - Porcelain and opal plates for lamp shades, etc., etc. - - -FORMULA FOR DEVELOPING DRY PLATE TRANSPARENCIES. - -When making transparencies by contact use artificial light, either -gas or a common lamp. A deep printing frame is the most suitable, -having a piece of thin plate glass in it to support the negative. -Lay the negative down with the film side up, place upon it the dry -plate, put in the back and press firmly down with the springs; -expose to gas light from six to ten seconds at a distance of twelve -to fourteen inches; expose longer to lamp light, say from ten to -twenty seconds, or the duration of time that may be considered -sufficient, judging from the density of the negative in use. [p215] - -The time of exposure and the strength of the developers are the most -important factors in determining the quality and tone of the -resulting transparency. Giving a short exposure and using a strong -developer will ensure a vigorous picture with a rich velvety black -tone. A long exposure, necessitating a weak developer, will produce -fine gradation of light and shade, clear shadows and a warm brown -tone. - -When making transparencies for the window, cut a mask, with an -opening, allowing for the border or margin on the ground glass it is -intended to use. A suitable paper for this purpose is of deep orange -color and moderately heavy; place the mask between the negative and -the dry plate to be acted on, and it will protect the margin from -the action of light, leaving it clear glass, and so exhibiting to -better advantage the ornamented border of the ground or etched -glass, which is placed against and covers and protects the film of -the dry plate. When making lantern slides the mask is not necessary. - - -FERROUS OXALATE DEVELOPER FOR TRANSPARENCIES. - - No. 1. - - Sulphate of iron (Anthony's) 2 ounces. - Distilled or ice water 32 " - Sulphuric acid 8 drops. - - No. 2. - - Neutral oxalate of potassium 8 ounces. - Warm distilled water 32 " - Citric acid (or tartaric) 60 grains. - Bromide of potassium 180 " - -When about to use, mix equal parts of Nos. 1 and 2, always pouring -No. 1 into No. 2. [p216] - -The exposure having been made in the camera or in the printing -frame, place the plate in the developing tray and pour upon it -sufficient of the developing solution, mixed as directed, to cover -the plate at once, and keep it in motion from time to time. Develop -until detail in the high lights is plainly visible. When this is the -case remove the plate, wash well and fix in hypo-solution. - - Water 20 ounces. - Hyposulphite of soda 6 ounces. - -When the plate is quite cleared, of which it is better to make sure -by leaving the plate in the fixing solution for fully five minutes -after it first appears clear, remove it and wash again very -thoroughly, and then immerse it in the clearing solution. - - Water 20 ounces. - Sulphuric acid 1/2 " - Alum 2 " - -Leave the plate in the clearing solution two minutes or more, then -wash again, rubbing the surface lightly with a tuft of cotton to -remove any sediment that may adhere to the film, then set it up in a -rack to dry. - - -PORCELAIN AND OPAL TRANSPARENCIES - -may be developed in the same manner until detail may be seen in the -face, if it is a portrait; then remove it and instantly flow with a -solution of bromide of ammonium to stop developing action, then -wash, fix and dry as before. - -For portraits on porcelain or opal, to be viewed as positives by -reflected light, develop until the fine half-tones in the face are -visible. When they are for transparencies, [p217] either for -window or lamp shades, develop until the detail in the high lights -of portrait or landscape are well out. This may necessitate a longer -exposure by lamp-light. - -Transparencies developed by other methods receive a stain or color, -which, in many cases, is not unpleasing; for instance, the following -formula will give a very beautiful yellowish color: - - Saturated solution yellow prussiate of potash, 4 ounces. - Pyro 2 grains. - Ammonia (conc.) 2 drops. - -This will cover and develop one 8×10 plate, giving it an agreeable -color similar to that produced by development by sal soda and pyro, -but much more agreeable. - -A very fine blue color is imparted to the plate when developed by -the following formula: - - Saturated solution sal soda 5 minims. - Saturated solution potash 5 " - Saturated solution ferrocyanide of - potash 5 " - Bromide ammonium 1 grain. - Pyro 2 grains. - Water 4 ounces. - -From the fact that these different developments impart different -colors to the negatives, it might be inferred that the gelatine film -is susceptible of receiving color from a stain or dye; if such is -the case, transparencies may be made in every color of the chromatic -or solar spectrum. I have seen one of a beautiful rose color, and -was informed that the color was received in development. [p218] -This was possibly so, but it is very easily ascertained if the film -of the developed plate is capable of receiving a dye of any pleasing -color suitable to the subject. - - -TRANSPARENCIES BY WET COLLODION. _From the Photographic Times._ - -Transparencies for the decoration of windows, or gas shades, or for -examination in the stereoscope, differ from those intended for -lantern projection in being somewhat more intense. A lantern -transparency must have its high lights of pure glass; in the case of -the others, it is of less consequence, should they be slightly -shaded. - -To produce a transparency by wet collodion, a camera is required the -body of which will be capable of extending to twice the focus of the -lens, although a still further extension is desirable. The reason -for this lies in the fact that when making a transparency the same -size as the negative, the sensitive plate must be withdrawn from the -lens to the extent of precisely twice the solar focus. It -occasionally happens that it is desirable to make the image in the -transparency on a scale a little larger than that in the negative. -To permit of this being done, it is necessary that the distance -between the sensitive plate and the lens be increased, for according -to this distance, so is the amount of enlarging. - -The negative must be so arranged as to have a clear sky or a uniform -light behind it. If the work is to be effected at a south window -into which the sun is shining, the requisite uniformity of -illumination is obtained by placing a sheet of ground glass within a -few inches of the negative. Arrangements must be made by [p219] -which the negative may not only be held rigidly in an upright -position, but that such adjustments may also be made as will bring -it as near to or as far from the lens as will be found requisite, -and also as will permit of its being raised, lowered or having any -part far removed from the centre brought into the axis of the lens. -These conditions are fulfilled in all good transparency cameras. We -do not assert that a properly constructed camera for the special -purpose of making transparencies is an absolute necessity, seeing -that a light framework erected in front of the camera, and with -which it need not be connected with a bellows body, will suffice, -but the great convenience of a camera expressly for the purpose -cannot be overrated. - -In order to ensure clearness of the high lights, the collodion -should be rendered of a dark sherry color by the addition of a few -drops of an alcoholic solution of iodine. The strength of the -solution is not of consequence, but enough must be added to the -collodion to render it of the color indicated. Collodion for this -purpose works rather better after it has been kept for a few weeks -or months than when it is quite new. No hints can here be given as -to the length of exposure requisite, but if the camera be pointed to -a moderately bright sky, the negative one of average density, and -the lens worked with a small diaphragm, an exposure of twenty-five -or thirty seconds may be given, and, by noting carefully the quality -of the resulting picture when finished, the data for a more accurate -timing of the exposure may be ascertained therefrom. - -After developing the image with iron, if it should, upon examination -prove to be too thin, wash off the developer and apply pyrogallic -acid and silver and bring it up to the required intensity. Fix and -wash. [p220] - -At this stage--that is, after fixing and previous to the plate being -dried--the image may be toned to almost any desired color. It is to -be regretted that some of the most desirable tones cannot be -recommended, on account of the want of permanence. A type of the -best of this class of toning agents is as follows: Make a saturated -solution of bi-chloride of mercury in hydrochloric acid and dilute -it with twelve volumes of water. Into this place the plate, after -having thoroughly removed the hyposulphite by washing. When it has -become quite bleached, wash carefully again and place in a bath -composed of a dram of sulphide of ammonium to a pint of water. - -The image will soon acquire a rich dark brown color, and when this -is found to have penetrated the film, it may be washed, dried and -varnished. - -A solution of sulphide of potassium imparts a good brown color. - -Chloride of gold gives a tone which may be described as a neutral -black, that is both durable and very pleasing for quite a variety of -subjects. - -A solution of chloride of platinum gives a tone which is very -permanent. It is essential when using either gold or platinum that -the toning solution be weak. - -It is possible, however, so to develop a collodion transparency as -to obtain a rich purple black tone without any after toning. The -addition of a few drops of a saturated solution of citric acid per -ounce of developer effects this, but as it checks development at the -same time, the proportion of protosulphate of iron must be increased -to such an extent as to impart energy to the developer. [p221] - -A few drops of a solution of gelatine in sulphuric acid is also of -great utility when added to an iron developer. It promotes clearness -of image and richness of tone. - -[Illustration: ANTHONY'S BICYCLE CAMERA.] [p222] - -How delightful a pleasure it is in the early morning, or of a fine -afternoon, to mount a bicycle and take a spin along the country -roads. - -The bracing air, the easy motion, the sense of independence, so act -upon the mind as to make it keenly sensitive to the beauties of the -foliage and scenery that so swiftly pass before the eyes. Such must -have been the thought of him who penned the following: - -"Most of us, no doubt, have experienced the desire, as our machines -have passed some pretty and specially picturesque bits of scenery, -to take away with us some memory, to be recalled at some future -time, of what we were then passing by. And most of us have also -experienced the difficulty, as one picturesque scene is replaced by -another, and so on to the end of our journey, of preventing the many -scenes getting somewhat blended in our minds, and an inability to -produce details with accuracy. To sit and sketch such scenes would -be to reduce the journey to a sketching tour, and the distance to be -covered must be reduced accordingly, thus depriving the 'cyclist' of -the usefulness of his machine. - -"That which this tourist desires may be accomplished by the aid of -photography, and the whole addition to the impedimenta of the -'cyclist' can be so arranged as to be trifling. - - * * * * * - -"The apparatus consists of a tripod, camera and case. My camera, -with leather case and provisions for exposing a dozen 5×4 plates, -weighs between fourteen and fifteen pounds. - - * * * * * - -"I have endeavored to show in the brief space of time [p223] at -my disposal, how the enjoyment of a 'cyclist's' ramble may be -enhanced by that most wonderful combination of chemistry, optics and -mechanics, which has resulted in placing the science of photography -within the reach of the amateur. - -"When we have imprisoned our sun pictures, and have them safe, -though latent and invisible, intangible and impalpable to any of our -senses, we may at our leisure (it may be months after), by means of -those marvelous chemical affinities which throw the haloid salts of -silver again into chemical life, produce on the film the pictures we -have so desired; and then again, by further use of the light, we -print our scenes on the sensitive paper. We have then a pictorial -history of our journey in our albums, which will recall the pleasant -memories of happy days spent long, long years ago. - - "FRANK COBB." - -The amateur who wrote as above rode on a tricycle and carried a load -of apparatus for 4×5 plates, amounting to fourteen or fifteen -pounds, for a dozen pictures. That is the way it is done in England; -but in this country mechanical skill has reduced that load to less -than five pounds for two dozen pictures of the same size, and the -cyclist goes forth with a small camera and a roll-holder charged -with films for 24 exposures, which are carried in a small case -supported by a strap passing over the shoulder, and these films are -so sensitive that it is not necessary that he should dismount and -undergo the trouble of erecting a tripod, and attaching his camera -thereto. He has only to fix his camera by a universal joint to his -steering-bar and shoot as he flies, with the full confidence that at -the proper time [p224] he will find his bit of scenery spring -into beauty and brilliancy under the influence of the developing -solution. Or if the exigencies of the situation require that the -point of view would be better off the road, then the wheel is very -easily converted into a support for the camera by the little brass -telescopic rod which is adjusted against the pedal at the side of -the wheel by a strap, and lengthened to reach the ground, against -which the wheel may rest quite sufficiently steady for all purposes -in question. - -The little camera, with double holder telescopic support for wheel -and the case, will weigh about two pounds, which may be carried by -means of a strap on the shoulder, or may be buckled to the saddle of -the machine. - -The detective camera, also, is quite well suited for such a purpose, -with the roll-holders or otherwise, as may be desired; but the paper -films are more sensitive than the plate, and are, therefore, more -suitable for such rapid work as may be required. - - -PHOTO MICROGRAPHY. - -If you place any natural object at a distance from a convex lens, a -much smaller image of the same will appear at the focus of the lens. -When this small image is reduced to that point that it cannot be -seen clearly with the naked eye, and is photographed, it may be -called a micro-photograph. On the contrary, if the object is a -microscopic one, and is placed at a point very near a convex lens, -an enlarged image may be found at a considerable distance from the -lens. A photograph of this enlarged image of a microscopic prepared -object, is termed a photo-micrograph. [p225] - -Some confusion among so-called authorities on this subject renders -their definition of sufficient importance to be given in this -connection. - -With the former we have nothing to do, as there can be very little -interest attaching to the production of pictures of any object on so -small a scale as to require a microscope to look at them. - -With the latter, however, it is otherwise, for by the aid of -photo-micrography we are enabled to place in permanency for closer -study those enlargements of natural objects that are revealed to the -human eye by the microscope. The secrets of the composition of the -drop of water and a knowledge of its "monstrous and terrific -inhabitants," are thus made known. - -Previous to the introduction of the sensitive dry plate the practice -of photo-micrography was confined almost wholly to those possessed -of leisure, and ample means to provide the expensive and complicated -instruments necessary, or to savants like Dr. Woodward, backed by -the resources of a liberal government supplying apparatus and -appliances far beyond the means of the ordinary student of natural -science. - -The advent of the gelatine dry plate placed the workers in this -branch of scientific research more nearly on a level, at least as -far as the possession of suitable and efficient instruments are -concerned, and one of these workers has published for the -instruction of amateurs and others a very valuable article on -photo-micrography, from which we extract by permission a description -of the instruments necessary to the successful practice of this -interesting study. - -Mr. Walmsley, in the article referred to, says: I will now describe -the apparatus I am using at present, [p226] passing unnoticed the -various stages by which its comparative perfection has been reached. -Four essential parts make up the complete outfit. - -A microscope with its object glasses and other accessories. - -A camera with long extension bellows. - -A lamp for illumination. - -A solid platform to carry the entire apparatus. - -A microscope with a joint to the body permitting the same to be -inclined to a horizontal position may be employed, but the -essentials to accurate, comfortable work are as follows: - -A heavy, solid stand, perfectly firm in all its positions, with a -short body (the 6-inch Continental model is admirable), good coarse -adjustment for focus, and a very delicate, fine one, the latter -controlled by a large milled head, in the periphery of which a -groove is turned to admit the focussing cord, hereafter to be -described. A solid, mechanical stage rotating in the optic axis, and -a sub-stage moved by rack and pinion, capable of carrying an -achromatic condenser, polariscope, etc., are almost indispensable. -The objectives should be the very best, especially corrected for -photography in all powers under the one-fifth of an inch and of -moderate angular aperture. - -Perfect corrections of chromatic and spherical aberrations, with the -greatest penetrating and defining powers, are essential features in -objectives designed for photography. - - * * * * * - -A binocular microscope can be used quite as well as a monocular, by -simply shifting the prism, but if an instrument is to be selected -purposely for photographing, [p227] the latter is recommended in -preference to the former. In either case, the tube is to be lined -with black velvet or flock paper, otherwise there will be a -reflection from its inner surface, which will cause a ghost in the -negative. An accurately centered double or triple nose-piece, -carrying as many objectives of different powers, will also be found -an immense convenience, saving much time and labor in choosing the -proper object glass for any particular object. I use a triple -nose-piece, upon which are always screwed a two-thirds, a -four-tenths, and a one-fifth inch objective, being the powers most -generally used. If the one-fifth is to be employed in making an -exposure, the object is readily brought into the centre of the field -under the two-thirds by a simple rotation of the nose-piece; the -one-fifth is now brought into position, when the object will be -found to occupy the centre of its field of view. Much valuable time, -which would otherwise be expended in finding a minute object under -so considerable a power, is thus saved. - -Most chemical crystals being colorless and nearly invisible under -ordinary illumination, require to be examined and photographed by -polarized light. For this purpose, the polariscope prisms should be -of large size, and both mounted in revolving settings. The lower -prism should also fit into a sub-stage, capable of carrying an -achromatic condenser above, in order to properly illuminate the -field with any objective above the two-thirds inch. The achromatic -condenser itself should consist of at least two combinations of -different powers and of wide angular apertures. It is always -necessary to employ a condenser of greater power than the objective. -If a one-fifth is used, the [p228] illumination should be by a -four-tenths to get the best results, whilst a one-tenth should be -illuminated by a one-fifth. For lower powers, the ordinary -bull's-eye condenser, in connection with a diaphragm of varying -apertures, will be found all-sufficient. - -For the great majority of workers the following powers of object -glasses are recommended: Two inch or one and one-half inch, -two-third inch, four-tenth inch, one-fifth inch and one-tenth inch, -the latter an immersion capable of being used with glycerine, since -water evaporates too rapidly for practical use. With these powers, -and a camera having thirty inches extension of bellows, a range of -powers from about ten to six hundred diameters may be obtained, -whilst the addition of an achromatic amplifier will increase the -power of the one-tenth to more than one thousand diameters, without -perceptible loss of light or definition. - -All the foregoing features are combined in the microscope I am using -for this work, and, in enumerating them, I have but described that -very perfect and complete instrument. We pass now to the second part -of our outfit. - - -THE CAMERA. - -Probably the most convenient and generally useful form of camera is -one with bellows extending some thirty inches, and capable of -carrying both quarter and half sized plates, horizontally or -vertically. My box is a square one, carrying plates from the 4-4 -size (6-1/2×8-1/2 inches) down to 3-1/4×4-1/4. The bellows are in -three divisions, extending fully four feet, giving altogether nearly -six feet from the microscopic stage [p229] to the focussing -screen when fully drawn out. It is very carefully made of hard wood, -and the framework carrying the bellows moves with the utmost -smoothness upon its {~GREEK CAPITAL LETTER LAMDA~}-shaped runners. A short cone front receives -the microscope tube, and all extraneous light is shut out by a -wrapping of black velveteen around the opening, secured by a rubber -band. The focussing screen (which is only used for arranging the -object in the centre of the field or plate, and is entirely -removable) has a space of the precise size and shape of a lantern -slide pencilled in its centre, as a guide to the making of quarter -plate negatives. An object filling this space on the ground glass -will necessarily occupy the same position on the quarter plate when -the holder containing the latter is made to take the place of the -focussing screen. - -As stated, the ground glass is used only for containing the object, -and for coarse adjustment of focus. It is impossible to grind it -finely enough to accurately focus any delicate tissue with high or -even moderate powers. Many suggestions have been made and devices -used, but all I have tried proved unsatisfactory, until the -following appeared in an English journal: - -An evenly coated gelatine plate is to be exposed to a flood of white -light, developed to a very slight intensity--a mere smokiness--fixed -and washed as usual, then bleached with mercury, washed and dried. -The result is the most perfect focussing surface imaginable. To use, -remove the focussing screen from the camera and replace it with the -plate holder from which the slides have been removed. The bleached -gelatine plate (which of course must be of proper size to fit the -holder) is to be placed therein with the film side [p230] toward -the microscope. Now place a focussing glass against the back of the -plate, apply the eye to it and adjust the focus by a delicate pull -of the cord. Nothing can be more satisfactory. When the proper -adjustment is determined upon, secure it from possible change during -exposure, by winding the cord once or twice over the screw eye at -the rear of the camera frame. - -The plate holder (single) opens at the back to receive the plate, -and being square, like the camera box, admits of the negative being -taken vertically or horizontally, as may be desired, a matter of no -small importance in many cases. - -This feature, in connection with the revolving stage, enables one to -place any object upon the plate in the best position for printing. -The full size of the plate carried by my holders is 6-1/2×8-1/2 -inches, but by the employment of removeable rabbett kits, plates -5×7, 4×5 and 3-1/4×4-1/4 can be used. It is desirable to have two or -three additional holders as time savers. - -For our work to possess any real uniformity or value, it is -absolutely necessary that the magnifying power used with each -exposure should be ascertained and noted. To make measurements each -time would be a waste of that precious commodity, to avoid which I -have adopted the following device: - -The bed or framework upon which the bellows extends, is divided into -spaces of one inch, and the same plainly marked thereon. Suppose -this extension is thirty inches, and that by means of the stage -micro-meter we find the one and one-half inch objective to magnify -twenty diameters with the bellows closed and fifty fully extended. -This gives the value of one diameter [p231] to each inch of -bellows drawn out, and if the magnified object reaches the desired -dimensions, at, say twenty inches extension, we at once know the -power to be forty diameters. Suppose, again, a power of one-fifth is -being used, magnifying 125 diameters with bellows closed, and 275 -with the same extended thirty inches; this gives a value of five -diameters to each inch, and if the desired size is reached at -twenty-five inches extension, we have a power employed of 250 -diameters. By making these measurements (closed and open) for each -objective habitually used, and recording the same in our note-book, -an accurate and readily adjustable table of measurements is ready -for all future work. - -We now pass (thirdly) to the important subject of illumination, in -many respects the most important in photo-micrographic work. - -It goes without saying that to the favored few, whose time and means -permit the harnessing of the sun's rays in their service, no -artificial light can be produced which will quite take the place of -the great luminary, but for the many, some other means must be -sought. - -When the promised days arrive that are to place in every man's house -electric lights, cheaper than gas and as easily controlled, the -problem will be satisfactorily solved; but at present we must -content ourselves with prosaic kerosene, seeking only for the most -practical method of utilizing its brilliant light. - -After many experiments I have settled upon a flat, broad-based lamp -of good oil-holding capacity, which is attached to a heavy retort -stand with movable arm, enabling it to be carried to any desired -height. A duplex burner and a tall chimney, producing perfect [p232] -combustion, afford a light of thirty candle power, rendering -possible the following average exposures with the plates I am now -using, the variation in time being caused by differing densities and -actinism of the tissues or substances to be photographed: - - 1-1/2 inch objective 3 to 5 seconds. - 2/3 inch objective 7 to 90 " - 4/10 inch objective 1/2 to 3 minutes. - 1/5 inch objective 2 to 7 " - 1/10 inch objective 4 to 10 " - -This lamp produces sufficient light for use with the highest powers, -requiring the employment of a diaphragm to reduce its intensity. Too -brilliant an illumination, flooding the field with diffusive rays, -will almost certainly produce a blurred and indistinct image. - -Microscope, camera and lamp being ready for use, it becomes -necessary to provide a suitable support for each, in order to form a -complete working outfit. Some writers have described and illustrated -their apparatus as being carried upon two or more separate tables or -trestles. This I have found to be a most objectionable method in our -city houses, since the vibration produced by passing vehicles is -unevenly communicated to camera and microscope, producing inevitably -a disturbed or blurred image, especially when high powers are -employed. By adopting, however, a long, solid platform, carrying all -the separate parts of the apparatus, this objectionable feature is -removed, any vibration is communicated to camera and microscope -alike, and there is no blurring of the resulting image whatever. In -my apparatus this platform is about five feet in length, with a -raised portion at one end, [p233] upon which the camera is firmly -clamped by a milled head operated from beneath. The cone front -extends toward the platform, upon which the microscope (inclined -horizontally) is secured at such a height that its tube precisely -enters the middle of the cone. Thus, a straight line drawn from the -object upon the stage through the microscope tube and camera should -fall upon the centre of the focussing screen, and if all the parts -are properly put together this will be the result, and the whole -field will be equally illuminated when the lamp is placed in -position. - -The stand of the latter is not secured to the platform, but is left -free to be moved about and placed nearer to or farther from the -microscope, as may be found necessary to secure the best results. A -bull's-eye condenser upon a movable stand placed between the lamp -and the stage of the microscope, is necessary to concentrate the -light upon the object, or upon the achromatic condenser when the -latter is used and to aid in the equal illumination of the field. -The latter is of great importance, since the result of an uneven -illumination will be a negative of differing densities in different -parts, marring its beauty, and at times rendering it utterly -worthless. Too much stress cannot be placed upon the necessity of -securing an even, brilliant light of proper intensity for the object -under examination. - -The arranging of the object in the centre of the field (under a low -power) and the coarse adjustment of focus are done with the bellows -tightly closed, which brings the focussing screen so near to the -microscope that, whilst the operator sees the object thereon, his -hand can readily reach the milled head, controlling the [p234] -stage and other movements. But when the bellows is extended to the -length affording the desired magnification it will be found that the -object, whilst retaining its central position, has lost its -sharpness, necessitating a final and careful focussing which is no -longer possible in the same manner as before, since the ground glass -and microscope are so widely separated that the one cannot be -reached whilst looking into the others. Some special device becomes -necessary in this emergency, and many have been made, mostly -complicated and costly. The method I have adopted is the old and -simple one of a fine cord passing around the periphery of the milled -head controlling the fine adjustment, in a groove cut for that -purpose, thence through a series of screw eyes to the rear of the -frame-work carrying the bellows extension, where it is kept taut by -a couple of small leaden weights. - -The slightest tension upon this cord causes a corresponding movement -of the fine adjustment, and nothing can exceed the delicacy of its -working or its freedom from derangement. A fine fishing, line makes -an admirable cord for this purpose. - -Having sketched the various portions of the apparatus and brought -the whole together into complete form, a few random extracts from my -note-book may not prove uninteresting or valueless to some who are -working in this direction. - -Gelatine plates for photo-micrography. The requisites of a perfect -plate are, great sensitiveness, combined with extreme latitude in -time of exposure, and density in development. It should be of a fine -texture, showing clearly the most delicate lines and markings, [p235] -evenly coated and free from spots or blemishes of any sort.[2] - -[2] The Stanley dry plate has all these qualities in the highest -perfection. - -It is most provoking to have an otherwise perfect negative marred or -ruined by opaque or transparent spots appearing in its most -important portions. - -For development, ferrous oxalate or alkaline pyro are equally -useful, and either may be employed, as suits the fancy or -convenience of the operator. My own preference is for the latter, -and I always use it with ammonia well restrained, having had no -success with either soda or potash in this class of work. For all -objects possessing much color it is best to continue the development -until full density is obtained, but for very thin or transparent -subjects, such as diatones or unstained vegetable tissues, it is far -better to stop the development as soon as all details are out and -resort to after-intensification, for which purpose bleaching with -mercury followed by a ten per cent. bath of sulphite of soda will be -found eminently satisfactory. I always use the alum bath, and -invariably secure a clean negative of a cool gray color, resembling -iron development. - -Printing. The best ready sensitized paper can be depended on for -producing satisfactory prints, showing the most delicate lines and -markings of diatones and turning to any desired shade. Avoid -over-printing, wash but slightly in two changes of water, the last -slightly acidulated with acetic acid, and use an acetate of soda -toning bath. Undesirable portions of the negative may be stopped out -with a mat of suitable [p236] shape. Any ordinary cabinet card -makes a neat mount of convenient size, upon which may be written the -name of the object or specimen objective and magnification employed, -and any other matter referring to print or negative which may be -necessary to note. - -A carefully kept note-book is a most important aid to the worker in -photo-micrography, and it should contain all his failures and -successes alike. Notes should be made of the specimen objective, -magnification, exposure, plate and developer, which, carefully -studied, will almost certainly enable him to secure a success with -each exposure. - -Lantern Slides.--It is well to make the negative as far as possible -of a suitable size for producing the positive by contact printing, -which is convenient and satisfactory, though there can be no doubt -that reproduction in the camera affords better results. Slow -gelatino bromide plates, such as Carbutt makes for this purpose, -produce very satisfactory work, but the chlorides are so far -superior that there can be little doubt of their being exclusively -employed for positives in future. There is a richness of tone, -combined with great transparency in the shadows and clear glass in -the high lights, quite unattainable with bromide emulsions, and -rivaling the best wet work. - - * * * * * - -Opaque Objects.--These may be photographed by the light from a lamp -quite as well as transparent ones, through which the light is -thrown, a matter of which I have thus far spoken only. A strong -illumination must be obtained by the employment of a suitable -bull's-eye condenser or a silvered reflector. The [p237] most -satisfactory method, however, is by sunlight, allowing its direct -rays to fall upon the object without the intervention of any -condenser whatever. Very short exposures suffice with such -illumination, varied only by the reflecting capacities of the object -itself. A successfully exposed plate of this class of objects will -give a print of the subject, standing out most brilliantly upon a -black ground. - -To secure the best results, most objects should be specially mounted -for photographing. Some are best in a resinous medium, such as -Canada Balsam, but most tissues are obscured or entirely obliterated -in this medium. So far as possible all preparations should be -mounted in a fluid of some description that will distinctly render -visible many tissues and markings which would be lost in balsam. -This subject, however, is one of so great extent that it would -require a special paper, and I merely refer to it now because of its -importance, hoping at some future time to enlarge more fully upon -it. - -You will notice that my remarks have been confined to work that may -be done with objectives of low or moderately high powers, in no case -exceeding one thousand diameters, having preferred to speak only of -that which I have demonstrated by actual work as being practical. -From recent experiments I am fully convinced that the lamp light, -such as I have described, is capable of producing satisfaction, work -with very much higher powers, and shall hope, at no distant day, to -show prints made from magnification of not less than two thousand -diameters, that will be satisfactory in all respects. - - W. H. WAMSLEY. - - -[p238] - - -PRACTICAL SUGGESTIONS. - -When preparing for an outing, consider the kind of work you intend -to do and select your plates accordingly.[3] If it is intended to -make instantaneous exposures, get the most sensitive plates -possible; those of the highest sensitometer number should be -procured. For subjects from still life, inanimate objects, -landscapes, etc., etc., slower plates are preferable. When filling -your holders, carefully brush all dust from the surface of the -plates, ascertain that the lenses are clean, and wrap them in -chamois. Carry no useless weight. - -[3] The Stanley lightning is particularly recommended to amateurs -for all quick work. - -When you have selected your standpoint, plant the legs of the -tripod well apart to insure steadiness of support and make sure -that the camera is level and firmly screwed to the tripod. If you -use a drop shutter, slow exposures may be made by holding the -slide in the hand and passing it down slowly over the opening in -front of the lens. When using double holders mark the side exposed -as soon as made. Carry a piece of cetaceum paper, which may be -used as a substitute in case you break your ground glass. The head -cloth may be used as a changing box by covering the holder and box -of plates with it and folding the ends around the wrists, securing -them by rubber bands; then proceed by the sense of feeling. Before -exposing draw the slides, so that no light may enter the plate -holder. - -Be sure you are right, then go ahead. - -Before developing plates that have been exposed instantaneously, -let them soak a few minutes in water [p239] with a small -portion of soda or ammonia, then wash them and develop with the -normal developer. Mr. Inglis suggests that for extra rapid -exposures a very slow development with weak developer will give -better detail and strength. - -The paper films must be developed always with a strong developer -to secure best results. - - - - -TRANSCRIBER'S ENDNOTE. - -The headings in the Table of Contents do not necessarily correspond -to headings in the text. A few examples will be mentioned. There is -no heading for "PART I." in the text, though "PART II." is present. -There are two headings "CAMERA BOXES" in the Table of Contents, but -only one in the body. A second, matching one, has been added on page -110. The Table of Contents lists several types of pneumatic shutter -for pp 124-129 that do not appear in the text under the same names. - -In the Table of Contents, under the level-three heading "GELATINO -EMULSION" at page 38, the two level-four headings "Preparation of -Glass" and "Coating Glass" occur in the text under a level-three -heading "DESCRIPTION OF APPARATUS USED IN MAKING AND WASHING -EMULSIONS." on page 44, which corresponds to a level-three heading -in the Table of Contents "APPARATUS USED IN MAKING EMULSIONS". This -heading seems to refer to the same section of text as the level-four -heading "Apparatus for Making" in the Table of Contents under page 38. - -In the Table of Contents under heading at page 181, "How to Use the." -was changed to "How to Use them." A few other such simple printing -errors have been fixed silently. - -Some captions of images or tables originally functioned in situ as -section headings; some of these have roughly corresponding entries in -the Table of Contents. - -Originally, and in the html version of this ebook, section headings -or captions of images or tables may also function in situ as part of -the body text. In this text version, such captions and illustrations -have been retained. However, any images that were originally embedded -within paragraphs were moved out of paragraphs to between paragraphs, -and if necessary, the caption was then duplicated in the text. Some -illustrations that originally had no captions have been provided with -captions labeled with "TN:". - -In the table on page 43, showing the formulæ for gelatine emulsion, -the fifth row duplicates the third row, probably erroneously. - -The name "Ever" appears in the table of contents twice, in connection -with Emulsions C and D, under the section starting at p 38. This name -is spelled "Eder" on pp 43 and 44. - - - - - -End of the Project Gutenberg EBook of Photography in the Studio and in the -Field, by Edward M. Estabrooke - -*** END OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - -***** This file should be named 42982-8.txt or 42982-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/9/8/42982/ - -Produced by Albert László, RichardW, P. G. 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Estabrooke - -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/license - - -Title: Photography in the Studio and in the Field - A Practical Manual Designed as a Companion Alike to the - Professional and the Amateur Photographer - -Author: Edward M. Estabrooke - -Release Date: June 18, 2013 [EBook #42982] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - - - - -Produced by Albert László, RichardW, P. G. Máté and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42982 ***</div> <div class="transnote">TRANSCRIBER'S NOTE: <a id="TRANSCRIBERS_NOTE"></a> @@ -9303,388 +9262,6 @@ connection with Emulsions C and D, under the section starting at p 38. This name is spelled "Eder" on pp 43 and 44.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Photography in the Studio and in the -Field, by Edward M. Estabrooke - -*** END OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - -***** This file should be named 42982-h.htm or 42982-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/9/8/42982/ - -Produced by Albert László, RichardW, P. G. 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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/license - - -Title: Photography in the Studio and in the Field - A Practical Manual Designed as a Companion Alike to the - Professional and the Amateur Photographer - -Author: Edward M. Estabrooke - -Release Date: June 18, 2013 [EBook #42982] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - - - - -Produced by Albert Laszlo, RichardW, P. G. Mate and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - -TRANSCRIBER'S NOTE. - -Original spelling and formatting has been mostly retained. Further -details are provided in the TRANSCRIBER'S ENDNOTE. - * * * * * - - - - ---Anthony's Photo. Series, No. 20.-- - -PHOTOGRAPHY - ---IN-- - -THE STUDIO AND IN THE FIELD, - ---BY-- - -E. M. ESTABROOKE, - -_Author of_ - -"_THE FERROTYPE AND HOW TO MAKE IT._" - -A PRACTICAL MANUAL DESIGNED AS A COMPANION ALIKE -TO THE PROFESSIONAL AND THE AMATEUR -PHOTOGRAPHER. - -NEW YORK: -E. & H. T. ANTHONY & CO., -591 BROADWAY. -1887. - - - - -Entered according to Act of Congress, in the year 1886, by -E. & H. T. ANTHONY & CO., -In the Office of the Librarian of Congress, Washington, D. C. - - - - - CONTENTS. - PAGE - - INTRODUCTION, 7 - - - PART I. - - GLASS, 10 - Quality--Preparation--Albumenizing. - - COLLODION, 14 - Positive Process--Formula for Positive--How to - Coat Plates With--Exposure of the Plates-- - Development of Plates--Developer-- - Fixing Solution--Dry Plate Ferrotypes. - - COLLODION PROCESS FOR NEGATIVES, 24 - Negative--Formula A--Formula B--Formula C. - - COLLODION COTTON, 28 - Formula for Making Collodion with Above. - - NEGATIVE SILVER BATH, 29 - Preparation of--Contaminations of--Renovating, - &c. - - THE NEGATIVE DEVELOPER, 33 - Formulae for Developing Solution. - - FIXING SOLUTIONS FOR NEGATIVES, 35 - - INTENSIFYING NEGATIVES, 36 - - THE BROMO ARGENTIC DRY PLATE PROCESS, 37 - - GELATINO EMULSION, 38 - Emulsion A, Paget Prize--Emulsion B, - Jarman--Emulsion C, Ever--Emulsion D, - Ever--Apparatus for Making--Preparation of - Glass--Coating Plates. - - APPARATUS USED IN MAKING EMULSIONS, 44 - Cooling Table--Drying Room. - - DEVELOPING ROOM FOR DRY PLATES, 48 - - DEVELOPMENT OF DRY PLATES, 54 - - DRY PLATE DEVELOPERS, 55 - Alkaline Pyro--Developer, a Sal Soda. - - FIXING SOLUTION, 57 - - CLEARING SOLUTION, 58 - - DRY PLATE DEVELOPMENT, 58 - Ferrous Oxalate--Ammonia Pyro-- - Intensification--Solution A--Solution B. - - PRACTICALITIES, 63 - - RETOUCHING NEGATIVES, 63 - Apparatus Furniture. - - SILVER PRINTING, 70 - Printing Room--Silvering Room--Silver Solution - for Paper--Sensitizing Paper--Fuming - Paper--Toning the Prints--Toning - Solution--Fixing the Prints--Mounting the - Prints--Spotting the Prints--Preparation for - Burnishing. - - THE PHOTOGRAPHIC STUDIO, 80 - - THE CAMERA LENSES, 84 - Optics of Photography. - - CAMERA BOXES, 99 - For Positives, the Multiplyer--For Negatives, - Wet or Dry. - - THE BENSTER PLATE HOLDER, 109 - - CAMERA BOXES, 110 - For Copying and Enlarging--For Viewing and - Out-Door Work--The Novel View Camera--The - Klauber Camera. - - CAMERA STANDS, 116 - The Lever Stand--The Knickerbocker Stand--The - Balance Stand--The Bowdish Stand--The - Automatic Stand--The Gem City Stand--The Handy - Stand--The Magic Stand--The Iron Centre Stand. - - PNEUMATIC SHUTTERS, 124 - The Cadett Shutter--The Lightning Shutter--The - Garland Shutter--The Invisible Shutter. - - HEAD RESTS, 130 - Success Head Rests--The Rigid--The Spencer. - - POSING CHAIRS, 133 - The Bowdish Chair--Other Chairs. - - - PART II. - - FIELD PHOTOGRAPHY, 140 - Amateur Outfit--Constituents of Viewing - Outfit--Dry Plates--Handling Dry Plates--Dry - Plate Holder--View Cameras--Detective - Camera--Satchel Detective Camera--Bijou - Camera. - - AMATEUR EQUIPMENTS, 153 - Equipment No. 1--The Fairy Camera--The Novel - Camera--The Novelette Camera. - - THE VIEW LENS, 157 - Single Combination Lenses--Double Combination - Lenses--The Platyscope--Dallmeyer's Rapid - Rectilinear--Wide Angle Lenses--Dallmeyer's - Wide Angle. - - THE TRIPOD OR VIEW CAMERA STAND, 162 - - THE INSTANTANEOUS SHUTTER, 164 - The Drop Shutter--The Prosch Shutters. - - THE CARRYING BOX, 167 - - DEVELOPING OUTFIT FOR AMATEURS, 167 - Chemical Constituents of--Ferrous Oxalate - Development--Cooper's Developer. - - EASTMAN'S IMPROVED NEGATIVE PAPER, 179 - - THE ROLL HOLDER, 181 - How to Use them. - - THE ROCHE PAPER FILM, 187 - - ENLARGING AND DUPLICATING SMALL NEGATIVES, 188 - The Copying and Duplicating Camera--Duplicate - Negatives by Contact. - - PRINTING PROCESSES, 192 - On Anthony's Gelatino Bromide Paper--Anthony's - Collodio Chloride. - - THE ENLARGING CAMERA, 203 - - PRINTING WITHOUT SALTS OF SILVER, 207 - The Blue Process--Another--The Cyanotype - Process with Salts of Uranium--Process for Red - Pictures--Process for Green Pictures--Process - for Violet Pictures. - - TRANSPARENCIES ON GLASS OPAL, 212 - Development of--Ferrous Oxalate - Development--By Wet Collodion. - - BICYCLE CAMERA, 222 - - PHOTO MICROGRAPHY, 224 - - * * * * * [p007] - - - - -INTRODUCTION. - - * * - - -The most important improvement in photographic processes that has -been introduced since Maynard first made collodion, and Archer -discovered its adaptability to the production of photographic -negatives, is the gelatine bromide dry plate. - -Wet plate photography had reached its utmost point of adaptability -to the demands of the times. - -A few men of marked ability, and the skill of long study and -practice, had reached the point of highest excellence in working -with collodion, and the great multitude were pressing on toward that -designated height to which it was given to but few to attain. - -It had been demonstrated that wonderfully beautiful effects could be -produced by the collodion process, but that there was a limit beyond -which progress could not be made. The great range of subjects in -still and animate life requiring very rapid exposures, were -practically out of the power of collodion, to compass satisfactory -results. At this time, when there seemed to be a very constant and -increasingly urgent demand for more rapid acting lenses and for -"lightning processes," there appeared the wonderful argentic bromide -Gelatine Emulsion, which, in four short years, has superseded the -collodion process almost, if not altogether, and besides -(notwithstanding the opposition of the elite of the profession, whom -for a time it [p008] leveled with the rest of the workers, but -who were quick to see and acknowledge the extraordinary merits of -the new candidate) it has caused such a quickening of the pulses of -the business, and such an increase in its range and adaptability as -never before was known, and which, in the year or two past, has -caused such an activity in invention and in other ways, as to make -that period of time so remarkable for the many new things that have -been brought out, and the many new processes that have been adopted, -as to render a detailed account of such for the profession, and also -for the amateur, most desirable. - -It is with such a view that this book is offered to the photographic -public, and that numerous and still increasing army of amateurs, who -have taken up photography as an amusement, to while away a leisure -hour. - -For to these latter a few hours' study of a good hand-book is about -all that is necessary to enable them to expose and develop a dry -plate, a little practice only being requisite to the successful -performance of the same. - -There may be many, however, who, having made a promising -commencement, would like to proceed farther and acquire a knowledge -of former photographic processes, as well as those which succeed the -making of the negative, such as printing, toning, fixing, etc., and -in fact, learn how to make a finished photograph. - -To such, particularly, and to all photographers, this book is -offered, in full confidence that it will be a useful companion in -the studio and in the field. - -To accomplish this end we will take the reader as an apprentice, and -commencing at the beginning, instruct him in that knowledge he would -have to acquire were he an actual apprentice in a photographic -studio, [p009] working the wet collodion process, after which an -equally full course of instruction will follow for the dry plate and -other new processes, both for negative making and for printing. - -In the following pages, also, will be found many useful formulae that -have been carefully culled from a mass of published contributions, -from many of the leading spirits in photography, most of which have -been verified practically by the author, and others bear on their -faces so plainly the impression of their practicability as to need -no assurance that they are reliable. - -In getting up this work I have availed myself of information from -any and all sources at my command, giving credit where possible, and -endeavoring to make everything clearly understandable, and -neglecting no details necessary to the successful working of every -formula, even by the youngest learner. [p010] - - -GLASS. - - -QUALITY OF GLASS SUITABLE FOR PHOTOGRAPHIC PURPOSES AND HOW TO -PREPARE IT. - -Mr. Hardwick, than whom there can be no more faithful or competent -guide, says that much care should be taken in the selection of glass -to be used in the production of photographic negatives. - -Window glass is always unsuitable, because of its inferior quality, -having scratches upon its surface and air bubbles in its substance, -each of which causes irregularities, as well in the negatives as in -the subsequent printing; also the squares are seldom flat so that -they do not lie true in the holder, and hence a part of the image -may be out of focus; and also they are extremely liable to be broken -by compression in the printing frames. - -Formerly many photographers used a thin plate glass of very fine -quality, but of late years the great demand for glass suitable for -such purposes has made it possible for the manufacturers to prepare -a cheaper quality, well adapted to the uses of photography. - - -TO PREPARE THE GLASS FOR USE. - -Before proceeding to wash the glass, each square should have its -edges roughened, by means of a file or a coarse stone, or the edges -of two pieces of glass may be abraded against each other in such a -manner as to remove the sharpness, which is so liable to injure the -fingers in the various manipulations. - -In the process of cleaning the glass it is not sufficient [p011] -to wash it with water. Other means are necessary to remove grease, -rust and dirt, which would not yield to the influence of water -alone, and for this purpose a solution of caustic potash is most -generally used. - -The glass is immersed in the potash solution, each piece separately, -and when the dish is full, it should be left not longer than is -necessary for the potash to have its proper action, for when left -for a considerable time the solution of potash (if strong) will -attack the surface of the glass, to its injury. - -When a suitable time has elapsed (which in the case of new glass -should not be more than one day or night, and in the case of old -negatives not longer than to cause the film to slip off), the glass -should be removed and washed with water, after which it should be -immersed in the same manner, in a solution composed of four parts of -water to one of commercial nitric or sulphuric acid, or the two -mixed, as may be the most convenient. - -This latter solution removes rust or other metallic blemishes, that -have not been affected by the potash, and also effectively -neutralizes all traces of the potash that have remained on the -surfaces of the glass. - -The glass may be permitted to remain in the acid an indefinite time, -as it can have no injurious effect on it, as might the potash, and -when required for use, it should be carefully washed and immediately -albumenized and set up in racks to dry. - - -ALBUMENIZING THE GLASS. - -While the glass is still wet from the washing, after being taken -from the acid, it should be coated with a preparation of albumen, -prepared as follows: [p012] - -To the albumen or white of a fresh egg, add eight ounces of water; -put it in a bowl and thoroughly beat it with an egg beater, or in -any manner that may be convenient, until the fibre or structure is -completely destroyed, when it should be filtered through loose -cotton, and after the addition of a few drops of strong ammonia, it -is ready for use. - -Many prefer to beat up the albumen before adding the water, in which -case it should be beaten into a stiff froth, when the proper amount -of water is added, and after the froth has subsided the whole is -filtered and the ammonia put in last. - -The albumen being prepared and the glass ready, a square is taken in -the left hand, and clean water flowed over it, until no particle of -dust can be seen adhering to either surface, when a small portion of -the albumen is flowed on it, and after covering every part of the -surface the excess is allowed to drain off the right hand lower -corner, after which, if running water is at hand, the back of the -same portion of the plate should be passed under the faucet, and the -water will carry off any excess of albumen which might return or -crawl, as it is termed, up the back of the plate from the point -where it is drained. - -The greatest care should be taken to avoid dust settling on the -plate during the coating and afterwards while drying, and after the -glass has been coated, if it is found that any dust adheres to the -albumenized surface, it should be again washed and recoated. - -It is important that the back of the glass should be kept free from -the albumen, so that when the plate is afterward collodionized and -immersed in the silver solution, there should be no albumen -uncovered to [p013] contaminate the bath, and as most of the -glass used has some slight inequalities of surface, the albumen -should always be flowed on the concave side, for two reasons: - -The first is, that when sensitized and placed in the holder, the -pressure, being against the convex side, may have a tendency to -counteract the curve and make the plate flatter and more perfectly -adjusted to the focus. - -The other reason is that the pressure of the printing frame has a -less tendency to break the glass when against the concave side. - -The amount of glass required having been albumenized and set up in -racks, it should be carefully covered with paper to exclude dust, -and it should be set away to dry, after which it should be placed in -its proper receptacle in the dark room, ready for use. - -The reasons for albumenizing the glass are important. - -Before this process was adopted, all glass used for photographic -purposes, after being subjected to the action of potash or acid, or -both, had to be finely polished with rottenstone or some other -polishing substance, to render its surface sufficiently free from -all traces of acid, organic matter, rust, etc., which would -injuriously affect the collodion or the deposit of silver iodide -derived from the bath. - -This polishing was very laborious, and in consequence it was often -very imperfectly done, causing much loss of time and material; also -the glass thus prepared did not offer to the collodion a surface to -which it could adhere with much tenacity, and in consequence it -would frequently slip from it in the subsequent manipulations. [p014] - -The first reason for Albumenizing then, is to cover the surface with -a substance chemically pure, and when dry of a crystaline nature and -impervious to, or at least not soluble in the silver solution, thus -saving the labor of polishing. - -Another reason is that the albumen offers a surface to which the -collodion will adhere with extreme tenacity, thus saving and -preventing the film from slipping. - - -COLLODION. - -"The discovery that explosive cotton was soluble in ether, was made -by Mr. Maynard, who gave it the name of Collodion, and later, in -1848, published in the American Journal of Medical Science the -formula for its preparation." - -"This ethereal solution, having a certain proportion of alkaline -iodides, and iodides of silver added thereto, constituted the -collodion first employed by Mr. Archer," who thus shares with Mr. -Maynard, and with a Mr. Legray (who first published an account of -its use as a photographic agent) the honor of having given to the -world the collodion process in photography. - -The progress that has been made since Mr. Archer's time in -perfecting the adaptability of collodion to photographic uses could -not be better illustrated than by comparing the formulae for -collodion first published with those in use at this time. - -The practice of photography in the present day by the collodion -process is divided into two branches, the positive and the negative. - -In the first the object is to obtain in the camera a [p015] -direct image, which is to be viewed by reflected light, and as it is -desired that the pictures so produced should possess pure blacks and -whites, certain modifications of the collodion, silver solution and -developer are resorted to, which cause these preparations to differ -somewhat from those prepared for the production of superior -negatives, consequently the formulae given hereafter will be -designated as positive or negative. - -These modifications, however, are not of such a character as to -render either of the solutions prepared for one process totally -unfit to be used for the other, for in fact, many photographers at -this day use the same collodion bath and developer for making both -positives and negatives. - - -THE POSITIVE COLLODION PROCESS. - -In the first place, we will take up for consideration the positive -process. - -The first positives on glass were called ambrotypes, and were the -successors to the daguerreotype, which they superseded and displaced -by the superior facility of their production. - -For the same reason the ambrotype was succeeded by the ferrotype, -which was a positive collodion picture, made on a thin iron plate -with a black japanned surface. - -The ferrotype or tintype is now about the only product of the -positive collodion process of considerable importance, and is the -only one that will receive consideration in these pages. - -Ferrotype plates are sold by all dealers in photographic materials; -they are mostly manufactured by two large concerns in Worcester, -Mass. [p016] - - -COLLODION FOR POSITIVES. - -As has before been stated, to produce the finest results in positive -photography requires certain modifications of the collodion bath and -developer, which, while not unfitting them altogether for negative -work, yet would render them quite unsuitable for high class work. - -The formula for positive collodion here given has many merits, and -among those is a certain quality of film, which might be termed -opacity, but not in the strict sense of the word; it is that quality -in the film which enables it to cover up any small scratch or water -mark on the surface of the plate that would infallibly spoil the -picture, if almost any other collodion were used. - -This quality, with great clearness or transparency in the shadows, -and a beautiful gradation of light and shade, make it unique as a -positive collodion. - -There may seem to be a contradiction between the terms opacity and -great transparency of shadows, which may need further explanation. -As the shadows of a positive collodion picture are produced by the -black surface of the plate showing through the collodion, any defect -on that portion of the surface would be expected to show very -plainly, and it does so with the use of the ordinary collodions sold -by the dealers, but not so with the collodion under consideration, -which may be because it is less permeable by the silver solution, -and that consequently the deposit of iodide of silver lies more on -the surface and less within the texture of the film, and is thus -kept from contact with organic matter or other defects on the -surface of the plate; in some such manner only, can I account for a -very valuable quality that has saved thousands of [p017] plates, -that would under other usage have been thrown away. - -This formula has never before been published, and must be prepared -as directed. - -Alcohol and ether equal parts; gun cotton sufficient to make a -moderately thick film, say 5 or 6 grains to the oz.; put the cotton -in the ether first; when it is well saturated, pour in the alcohol. -To which add: - - Iodide of Ammonium 4 grains to oz. - Iodide of Cadmium 2 " " " - Bromide of Cadmium 1 " " " - Bromide of Copper 1 " " " - -The latter ingredient can only be had in aqueous solution, I -believe, and requires close calculation to get at the right -quantity. - -This formula gives 8 grains of salts to the ounce of collodion, and -would require a silver solution of 50 grains to the fluid ounce to -balance properly. - -The silver solution may be prepared as per directions on page 29, -under the heading--The Negative Bath. - - -HOW TO COAT PLATES. - -The ferro-plate is held between the thumb and first two fingers of -the left hand. The collodion bottle is held in the right hand, and -the collodion is poured on the right upper end of the plate, flowed -to the left upper corner, by deflecting the plate in that direction, -and then down the left side toward the hand, and the excess run back -into the bottle from the right lower corner, when it has all run -off, the plate should be gradually brought to a perpendicular -position and rocked from right to left, that is, perpendicular to -the end, [p018] then to the side, until the film has set or -become fixed, which may be ascertained by touching the film at the -lower corner of the plate, when, if it breaks and does not run -farther, it has set and should, without delay, be immersed in the -silver solution, where it should remain until it has become fully -sensitized, which will be in from 2 to 5 minutes. - -The plate should be lowered into the bath by one continuous motion; -any stoppage will cause a line and spoil the plate. - -The plate is sensitized when on removing it from the bath it -presents a smooth, yellowish surface; if it shows lines as of water -running off a greasy surface, it is not coated; return it to the -bath. - - -EXPOSURE OF THE PLATE. - -The plate having become sufficiently coated is taken from the bath, -well drained, and placed in the holder or shield, and a piece of -glass of the same size put behind it, which is to receive the -pressure of the spring on the door of the holder, and force the -plate into its proper position evenly, so that all parts will be in -focus. - -The holder containing the plate is then taken to the studio, or -light room, where the subject, we will say, has already been posed; -the camera set and focused, the exposure is then made, after which -it is returned to the dark room for development. - - -DEVELOPER AND DEVELOPMENT. - -In the preparation of a developing solution for plate pictures, we -must consider that we desire to produce a picture, which, to be -admired, must have [p019] pure whites, clear shadows, be full of -detail and have an easy gradation of light and shade. - -That you may succeed in this object, use the following formula, and -persist until you have learned its every modification: - - -DEVELOPER. - - Water 64 ounces f. - Protosulphate of iron 4 " - Acetic acid 4 " - Alcoholic solution of tannin, 10 grains - to the ounce 4 " - -The four ounces of iron should be dissolved in the sixty-four ounces -(fluid) of water, and the acetic acid and tannic alcohol added. - -In using this solution, develop your plate over a large filter, -which will receive all your surplus developing solution, and conduct -it into a bottle for use again; drain the plate into this filter -before washing, wash carefully and then place it into the fixing -solution--the developing solution which has filtered through into -the bottle is afterwards used in the proportion of one-half of old -to one-half of the new or fresh solution. This greatly improves the -high lights of the picture, and by using more or less of the old -solution, effects can be produced that are impossible by any other -means. - -Great care should be taken to cause the developing solution to flow -evenly and with one sweep, as it were, over the whole surface, so -that the action may be as near as possible equal on all parts of the -surface. - -In a very few seconds after the action of the developer has -commenced the picture will show up. The plate meanwhile should be -kept in motion and the [p020] solution caused to flow from side -to side and from one end to the other, in order that the development -may progress evenly and with the same speed on all parts. - -The picture will gradually grow and brighten, until all the detail -that might be expected is seen in the shadows; then pour off the -remaining solution into the filter and proceed to wash the plate -until all traces of greasiness disappear; when the plate is -sufficiently washed and is ready to be fixed or cleared. Another -developing solution is prepared as follows: - -Make a 64-ounce saturated solution of protosulphate of iron, into -which drop tannin solution enough to cause a precipitate, which -remains undissolved after shaking, then add drop by drop pure nitric -acid, until the precipitate is taken up and the solution becomes -clear. To one ounce of this add water, until it tests 18 to 20 -grains to the ounce by the hydrometer, then add one ounce acetic -acid, which perfects the formula and constitutes the developer. - - -FIXING SOLUTION. - -The solvent most generally used for fixing or clearing positives is -cyanide of potassium. - -By the term "fixing" is meant the dissolving from the collodion film -all the iodide of silver not acted on by the developer; the -remaining portion of the silver is in a metallic state and -constitutes the image; the cyanide very readily dissolves the -iodide, but acts very slowly on the metallic silver. - -This fixing solution should be contained in a glass upright dish, -enclosed in a wood case, with a tight or close-fitting cover, this -in order that as little exposure to the air as possible may be had, -as the fumes [p021] arising from the evaporation of the solution -are injurious. - -Two ounces of cyanide to 64 ounces of water will make a suitable -fixing solution for plate pictures; if, however, its action is -thought to be too slow, add more. - -The plate picture having now been developed and fixed, it only -remains that it should be dried, varnished, cut into shape, placed -in the proper envelopes and it is ready for delivery. - -Those desiring more extended instructions in the making of plate -pictures are referred to the work on that subject, entitled, "The -Ferrotype and How to Make it," published by E. & H. T. Anthony & -Co., of New York. - - -ARGENTIC DRY PLATES FOR POSITIVES. - -The Phenix Plate Co., the largest manufacturers of ferrotype plates -in this country, and whose name is familiar with every ferrotypist, -as well as most photographers, have lately placed on the market -ferrotype plates, with surfaces coated or sensitized with gelatine -emulsion, which they, offer as a substitute for the ordinary -collodion positive or tintype. - -The plates are cut to sizes and packed in much the same manner as -the Stanley or any other dry plates are, and being extremely -sensitive to light, they must be handled with the same care. - -The manufacturers claim, that "the 'Argentic Dry Plate' will be -found far superior to any other form of positive plate, giving as it -does the maximum of beautiful effects with a minimum of labor, -producing a rich and brilliant picture with a rapidity and -cleanliness never before attained, doing away as they do [p022] -with the use of the silver bath and all its concomitant evils, -pinholes, stains, fog, etc., not forgetting the vast saving in time -and temper. The argentic plate is always ready-at-hand, and the -working of it is simplicity itself. Their permanency and reliability -is beyond question. These plates are extremely rapid. An exposure of -from 1 to 3 seconds will suffice with a good light, 2 minutes to -develop, 3 to fix, wash, dry and varnish, and the operation is -complete, ready within ten minutes for delivery. For out-door views -these plates work well with a drop shutter exposure, and the -results, both for portrait and view work, are remarkable for -fullness of detail, and great delicacy and softness of tone." - -While these plates may be developed by the common ammonia pyro -developer, the manufacturers claim, that "much finer effects may be -produced by using the Phenix Stock Solution," that accompanies the -plates, put up in 12 oz. bottles. By its use, greater rapidity of -development, purer white, extreme brilliancy and finer detail can be -obtained, the result being far superior to that produced by any -other developer. - -The following formula can be relied on to give excellent results, -and by simply modifying the proportions, to "suit circumstances," -will answer every purpose. As these plates are very rapid, six times -more rapid than wet plates, guard well against white light. - -Formula for development: - - NO. 1. - - Pyrogallic Acid 1 oz. - Water 12 oz. - Citric Acid 20 grs. [p023] - - NO. 2. - - Phenix Stock Solution. - Keep the Stock Solution securely corked. - - NO. 3. - - Bromide Potass. 1 oz. - Water 12 oz. - - -DEVELOPER. - - Water 4 oz. - No. 1 4 drams. - No. 2 4 drams. - -If the plate be over exposed, add a few drops of No. 3. Should the -plate, however, be under exposed, add one dram more of No. 2. When -the plate is placed in the developer, the image will begin to appear -in from 5 to 10 seconds. Continue the development until the details -are all out. _But be careful not to over-develop_, and thereby -obscure the shadows. Wash thoroughly after development, and fix in -the following solution: - - -FIXING SOLUTION. - - Cyanide of Potass. 120 grains. - Water 10 oz. - -"Let the plate remain in the fixing basin until every trace of -Bromide of silver disappears. Wash well after fixing, and dry with a -gentle heat or flow the plate with alcohol for a few seconds. Set it -aside, and it will dry in a few minutes without the aid of heat. For -varnishing any good negative or positive varnish will answer. Apply -a little heat to prevent chilling." - -Directions accompany each box. [p024] - - -THE COLLODION PROCESS FOR NEGATIVES. - -We now take up that more important branch of the collodion process, -vis., that for negatives. - -The formulae and instructions already given for positives might -enable one to make a negative, but the negatives so made would bear -even a remoter relation to one made by the formula about to be given -than would a positive made according to these formulae bear to a good -one made by the appropriate means. Important modifications are -necessary to reach the highest excellence in either process. - - -NEGATIVE COLLODION. - -To produce a good negative a collodion is necessary, the film of -which is more permeable than that for positives, so that a heavier -deposit of iodide of silver may be carried in the film, to the end -that in the development a denser deposit of metallic silver may be -secured on all parts of the image, but especially on the high -lights, which should be sufficiently dense to prevent the -transmission of light almost altogether, or at least to exclude the -light sufficiently to allow the shadows and intermediate shades to -print to the proper depth, while the high lights of the face and -such parts of the clothing as are white shall be only slightly -discolored. - -There are very many formulae for such collodions, some of which have -proved to be eminently satisfactory, and among the best are classed -the following: - - -NEGATIVE COLLODION. A. - -Ether and alcohol, equal parts. Climax cotton (Anthony's), 3 grains -to the oz. Negative cotton [p025] (Anthony's), 1 grain to oz. -Place the cotton in the ether first, then add the alcohol and -sensitize with - - Iodide of Ammonium 3 grains to ounce - Iodide of Lithium 1 " " " - Bromide of Cadmium 2 " " " - -Collodion prepared after this formula gives very pleasing results -and is rather more rapid than the average. - -In many cases it is well to have two samples of collodion differing -in formulae, mixing them in varying proportions, according to the -effect desired. - -A good formula for mixing with the above is as follows. It can be -used separately if desired, but is not primarily intended to be used -alone: - -Plain collodion, prepared as in the preceding formula, but with a -different cotton, Anthony's snowy Cotton, for instance, to each -ounce of the plain collodion add: - - Iodide of Potassium 2-1/2 grains - Bromide of Cadmium 2 " - Iodide of Cadmium 2-1/2 " - -The iodide of potassium is insoluble in absolute alcohol and ether, -therefore it must be first dissolved in the smallest quantity of -water possible and then added to the collodion. A portion will even -then most probably be precipitated; if it is not, it would be an -indication that the alcohol or ether used were either one or both of -a higher specific gravity than they should be. - -It is more important that the ether should be pure than the alcohol, -as the former is often contaminated or adulterated with water as -well as with alcohol, and sometimes contains impurities of an acid -nature. - -Ether, for photographic purposes, should not have a [p026] higher -specific gravity than 720, and the alcohol should never be used for -collodion when below 95 per cent., as the presence of water in the -collodion makes the film weak and glutinous. - -Most formulae for collodion prescribe alcohol and ether in equal -parts, but these may be varied with advantage during the hot season; -for instance, the alcohol may be used in somewhat larger proportion, -as the tendency to evaporation is much more with a high temperature, -and alcohol evaporates less rapidly than ether. Consequently the -flowing quality of the collodion and the evenness of the film would -be promoted by a not too rapid congelation or setting of the film. -And again, during the cold season, the ether may be used in larger -proportion, to promote a more rapid evaporation and setting of the -film. By a moderately close observation of the action of collodion -under varying temperatures, the operator might soon learn how to -modify his formulae to suit all conditions of heat and cold. - -It should be mentioned that it would not be correct to vary the -proportions of ether and alcohol very greatly, as an over proportion -of alcohol would render the collodion weak and glutinous, and, being -very soluble in water, would the sooner injure the silver solution. -On the other hand too great a proportion of ether would make the -collodion less sensitive. - - -NEGATIVE COLLODION. B. - -Alcohol and ether, equal parts. - - Anthony's Negative Cotton 3 grains to ounce - Anthony's Climax Cotton 1 " " " - -Put the cotton into the ether and let it become saturated, then add -the alcohol. Excite with [p027] - - Iodide of Ammonium 3-1/2 grains to ounce - Iodide of Cadmium 2 " " " - Bromide Cadmium 2-1/2 " " " - -Collodion sometimes, from long keeping, loses sensitiveness and -becomes of a deep red color. When such is the case, it should be set -aside and fresh samples prepared, which would be improved in working -quality by the addition of small quantities of the old, and thus old -stock may be used up without deterioration in the work. - -Negative collodion should not be so heavy bodied or thick as that -for positives; neither should it be so highly excited. Good positive -collodion should have as many as 8 grains of the iodides and -bromides to the ounce, requiring a silver solution not lower than 50 -grains strong and going somewhat higher in cold weather. - -The standard silver solution for negatives is 45 grains of silver -nitrate to the ounce of water and the collodion from 5-1/2 to 6-1/2 -grains to the ounce, with a tendency to less in cold weather. - -Collodion for negatives should be permitted to ripen a day or two -before using, unless it is brought to that state by mixing with old. - - -NEGATIVE COLLODION. C. - - Iodide Ammonium 192 grains - Bromide Cadmium 128 " - Bromide Potassium 96 " - Ether and Alcohol 32 oz. each - Cotton 320 grains - -The preceding formulae are for portrait work in studio. For other -work, such as outdoor views, [p028] landscape or architectural, -or for copying engravings, etc., certain modifications of the -collodion, to produce greater intensity or more contrast, are -desirable. Collodion suitable for such purposes can always be -purchased from the photo stock dealer, in quantities desired, and -for that reason it is not best for the amateur nor the professional -photographer either, to prepare small samples for special purposes. -If it should, however, be found at any time necessary to prepare -such a collodion, the second formula of Negative Collodion A will be -found suitable for views of buildings, copies of engravings and such -like work. - -It was at first thought to be unnecessary to give a formula for the -preparation of pyroxiline or gun cotton, as no individual not in the -business can possibly produce an article that can be in any way -compared to that made by manufacturers of skill and experience. - -For the benefit of any one wishing to experiment, this formula is -given: - - -FORMULA FOR MAKING COLLODION COTTON. - - Sulphuric Acid 6 oz. - Nitric Acid 4 " - Water 2 " - -Mix and the temperature will rise to 170 deg. F. - -Inmerse dry cotton wool (best long fibre), be sure wool is dry, draw -it in long flakes and pull it under acids with a stout glass rod; do -not crowd in too much, take care that each tuft is well wetted with -the acids before putting in a fresh tuft. Carefully cover the vessel -and put it where any slight fumes may escape; leave it for at least -12 hours--20 hours will not spoil it. When ready, lift cotton out -and plunge it [p029] into a large quantity of water, quickly -separating the tufts with glass rods, wash in changes of water, -until no acid is left, then wring the cotton in a coarse towel until -dry as possible and pull it all apart and place in the air to dry. - - -COLLODION WITH ABOVE. - - Alcohol 5 oz. - Ether 10 " - Cotton 100 grains - -TO IODIZE: - - Alcohol 5 oz. - Iodide Ammonium 60 grs. - Iodide Cadmium 30 " - Bromide " 20 " - -Dissolve the iodides in the 5 oz. alcohol or in the whole 10 oz., if -desired, then put in the 100 grains cotton, shake well, then add the -10 oz. ether and shake till the cotton is all dissolved; it will be -ready for use in a few hours, and will improve with age. - - -THE NEGATIVE BATH. - -The silver solution for a negative bath is prepared in substantially -the same manner as for a positive. - -Two thirds of the amount of silver nitrate intended to be used, -should be dissolved in the quantity of water required to make the -bath, and a grain or two of iodide of potassium added and placed in -the sunlight until the solution has changed color, become turbid, -and again clear and colorless. This change is caused by a minute -portion of the silver combining with the organic matter and with -other impurities in the water, if there are any; a molecular change -then takes [p030] places, oxygen is evolved and the infinitesimal -portion of silver changes to a metallic state and sinks to the -bottom, carrying with it the impurities, which induced the chemical -action or change. - -The solution may now be filtered, the remaining portion of the -silver nitrate added, and with a few drops of pure nitric acid, the -solution will be ready for use. But if on trial it is ascertained -that it will not give satisfactory results, it will be found that it -has not been sufficiently excited, or an acid reaction has not been -induced. - -If the first supposition is true, more iodide of potassium must be -used, as a silver solution must receive as much or nearly as much of -the iodide as it will hold in solution, before it will work -harmoniously with the collodion; the grain or two put in the -solution with the first portion of nitrate of silver have not been -sufficient. - -A very little more may be added, which will combine with the silver, -forming a white curdy precipitate, which, on shaking the bottle, -will in a short time redissolve. If any remains, it should be -filtered out, as no more can be held in solution. - -An other plan is rather more convenient, but requires more time. It -is to coat with collodion as large a plate as the bath will receive; -immerse it in the bath, leaving it there some hours, usually all -night. - -After trying one of these remedies, if the bath refuses still to -yield good results, more nitric acid should be added, until the -solution will turn blue litmus paper slowly red. - -I have never known a silver bath to fail to come to terms under this -treatment. [p031] - -The silver solution, when in constant use, rapidly deteriorates, and -unless there is a very large quantity, it will soon become unfit for -use, and however much or little there may be, it is only a question -of time as to when it will cease to act satisfactorily. - -This result is caused partly by the gradual contamination of the -solution by the alcohol and ether washed from the collodionized -plates that have been sensitized in it. When the bath is seriously -affected in this manner, it is indicated by the difficulty -experienced in getting the developer to flow evenly over the plate, -and also by the strong alcoholic odor of the silver solution. - -The necessity for a change of the bath may be delayed for a time by -the addition of alcohol to the developer, which causes it to flow -more evenly. - -Another source of evil to the bath is the continual absorption from -the surfaces of the plates immersed of minute portions of the salts -with which the collodion is excited. After the silver solution has -taken up all it can dissolve or assimilate, the surplus is held in -suspension and is called free iodide, which deposits itself on the -surfaces of the plates, and when in quantity causes the plate when -taken from the bath to appear as if fine sand had been sprinkled -over it. These small crystals prevent the action of the light on the -parts they cover, and when the plate has been developed and fixed, -every crystal has produced a small transparent spot or pinhole, as -it is termed, and many a lovely negative has been ruined by -pinholes. - -This trouble may be cured by increasing the quantity of the solution -and adding more silver nitrate, which, if in sufficient quantity, -will dissolve the free [p032] iodide. But if it may not be -convenient to do this and no other solution is ready for use, then, -after immersing your plate, tip the bath dish back so that the face -of the plate may be inclined downwards, when the crystals will be -deposited on the back of the plate and do no harm. - -The silver bath is also contaminated with organic matter, taken up -from the edges and backs of the many plates used, of which some -portion of the albumen is likely to be exposed to the action of the -solution, and also from dust, etc., falling into the bath dish, -which will be taken up and held in solution by the acid in the bath, -but when the acid can hold no more in solution, its presence will be -indicated by a greyish white vail forming on the surface of the -plate when developed; this is called fog, and may only partially -obscure the image, or it may completely veil it. - -The fogging of the plates in this manner may be prevented for a time -by adding more nitric acid to the bath, which will dissolve the -organic matter and prevent its deposition on the plate. - -When the silver bath has, from long or much use, become seriously -affected by any of these evils, it should be set aside and a fresh -bath put in use, until an opportunity offers to thoroughly cleanse -and renew the old solution, which can be done by one series of -manipulations, as thus: - -Into a large bottle, which will hold the solution to be treated, and -somewhat more, put from a pint to a quart of water, according to the -quantity of the solution; into this bottle containing the pint of -water, pour in a small stream the whole of the old solution, when it -will be found to have turned to a milky whiteness [p033] or -opalescence, which is the iodide of silver set free by reducing the -strength of the solution; this must be filtered out, and the -solution neutralized with bi-carbonate of soda, which should be put -in, in small quantities until a deposit of carbonate of silver -begins to be formed; then place the solution in an evaporating dish, -and subject to heat until the bulk is reduced about one-half; test -it with litmus paper, and if acid, give it more bi-carbonate of -soda; add water and silver nitrate to bring to the required bulk and -strength, set in the sunlight for a time or until required for use, -then filter, and it will be found to be as good as new, but it may -require a few drops of nitric acid. - -Pure water may be always had ready for use, by keeping a large -bottle full of the common water standing out-door in the sunlight, -adding a grain of silver from time to time as the bottle is emptied -and replenished. - -The new "agate iron ware" pots are the best for use as evaporating -dishes. They will not break or crack, and they are not nearly so -expensive as porcelain dishes. - - -THE NEGATIVE DEVELOPER. - -There are a thousand and one formulae for developing solutions for -the wet plate, but they are all composed of protosulphate of iron or -a compound thereof, acetic acid, and water, with the addition of -some organic substance, such as sugar, rock candy, glycerine, etc. -etc. - -The development of a negative is nothing more than the deposition of -metallic silver in a state of fine sub-division upon a base of the -same metal, which is the image latent in the collodion film after -exposure in the camera. And it is supposed that the finer the -deposit [p034] secured in the development the better will be the -chemical effect and printing quality of the resulting negative. -Therefore, the use of organic bodies in the developer is supposed to -effect or induce a finer deposit. The careful observer, however, -will soon discover that the success of the development depends more -on the time of exposure, the temperature of the developing solution -and the condition of the bath, than upon any adventitious aids, such -as rock candy, etc. - -A developing solution, composed alone of an aqueous solution of -protosulphate of iron and acetic acid, can be made to produce the -finest effects possible to the process. - - -DEVELOPING SOLUTION - -Half fill with protosulphate of iron a wide mouth 64 oz. bottle, -fill up full with water, set aside to dissolve, shaking the bottle -once in awhile, so that the water may become saturated. Put a small -glass funnel on a stand, so that you can place under it a 16 oz. -bottle; fill the 16 oz. bottle with water and enough of the strong -iron solution to make a twenty grain to the ounce solution, add one -ounce of acetic acid, pour all into the filter and place the bottle -beneath the funnel to receive it. This filtered solution is the -developer for negatives. - -Some experience is necessary to enable one to develope a negative -properly and secure the best results. - -Holding the plate in the left hand, take the developer bottle in the -right, hold it over the plate near the left hand, let the first -finger of the right hand rest against the edge of the plate, tilt -the bottle so that the developer will run on the plate; at the same -time move [p035] the right hand toward the other end of the plate -rather quickly, letting the developer run in a steady, but not -copious stream; deflect the plate with the left hand at the same -time, so that the solution will flow from you in such a manner that -the whole surface of the plate may be covered with the liquid at -nearly the same time as possible. Now set down the bottle and keep -the plate in motion, so as to cause the solution to have an equal -action on every part of the surface. Very soon the image will appear -and brighten, until every part of the detail comes out, and when it -begins to look as if fading away or becoming less distinct the -development is finished. - -This can be ascertained with more certainty at this time by holding -the plate so as to be able to look through it toward the light, so -as to examine its density, remembering that the high lights should -be quite dense and the medium shadows be full of detail. One very -soon learns to know the proper density. - -The plate should be now very thoroughly washed, to free the surface -from the iron before fixing. - -Great care should be taken in this manipulation to cover the plate -quickly with the solution, holding it all on the plate. As the -development is made by the precipitation of the free silver on the -surface of the film upon the latent image, none of the free silver -should be washed from the plate by a flood of developing solution -carrying it off the surface. - - -FIXING SOLUTION - -Hyposulphite of soda is generally considered to be the most suitable -fixing agent for negatives, although some prefer cyanide of -potassium. [p036] - -The hyposulphite, however, is the safest, both for the plate and for -the operator. One pound of hyposulphite of soda to a gallon of water -will make a solution of a suitable strength to clear a negative as -rapidly as is necessary, and it should be contained in a flat dish. -When from much use the fixing solution becomes muddy, it should be -thrown into a suitable receptacle for liquid wastes, as it is rich -in silver. - -Leave the negative in the fixing solution until all the iodide of -silver is dissolved from the film, and no trace of the yellowish -deposit can be seen by transmitted light. - -When the negative is thoroughly cleared, if it is found that it -lacks density or, in other words, is not intense enough, wash it -very carefully to free it from every trace of the soda solution, and -then proceed to strengthen it in the following manner: - - -INTENSIFYING THE NEGATIVE. - -Keep near at hand in a 64 oz. bottle this solution: - - Protosulphate of iron 2 oz. - Citric acid 1 " - Water 64 " - -and in a small bottle a ten-grain-to-the-ounce solution of silver -nitrate. - -When a negative is to be strengthened, from the large bottle take -enough of the solution to cover the surface; to this add a half dram -of the silver and flow it over the negative. - -A change of color will at once take place in the film, which will -become darker as the silver deposit becomes heavier; if one -application is not enough to secure the required density, wash the -plate and proceed again, as before. [p037] - -Negatives may be strengthened before fixing, if it is found -necessary, by flowing the surface with the weak silver solution and -afterwards using the ordinary developer. - -When one has become accustomed to the work, and can tell that the -negative is not dense enough before fixing, it is the best plan to -re-develop before fixing. - -The mercurial intensifying solution for dry plates is very nice for -wet plates. - -Having described the positive and negative collodion process, there -remains to give an account of the latest and greatest achievement in -photographic progress. - - - * * * * * - - -THE BROMO ARGENTIC DRY PLATE PROCESS. - -The history of dry plate photography comes within the last ten or -fifteen years, and being so recent and so fully written up in -current photographic literature, space in this work will not be -taken for a full account of the rise and progress abroad and at home -of this wonderful improvement in photography, but instead will be -given some formulae for the preparation of Gelatino Argentic -Emulsion, and the most approved methods of working it. - -The shortening of the time of exposure for sittings in the studio -from one-tenth to one-twentieth of the time required for the old wet -plate process, at its best, has rendered the dry plate such a power -in the hands of the photographer as to have caused it to be almost -universally adopted in the studios of this country, and has -practically displaced the wet process in the field and for all -out-door photography. [p038] - - -GELATINE EMULSION. - -Since the introduction of the new process into the United States, -the preparation of rapid dry plates has been and remains now in the -hands of certain prominent firms, who, from the skill they have -acquired and the advantages they derive from all the machinery and -conveniences that large capital enables them to procure, are enabled -to supply fully the demand with a much better article than could be -had were each consumer to manufacture for himself. In fact, if the -photographer were compelled to manufacture his own dry plates there -would be a very different condition of affairs at the present time. - -Gelatine is a substance so susceptible to change from the action of -our climate, with its varying temperature, that of a large number -who have attempted to make dry plates for the trade, many have -completely failed, some of them after a partial success; and others -after spending thousands of dollars never could make two batches of -emulsion alike; and then again the keen competition of the -successful concerns has reduced the profits to not more than fair -returns to a precarious business. - -There are many, no doubt, who would be glad to experiment in this -field, especially among amateurs, and it is for the benefit of such -that certain hints and formulae are given in this connection to -enable them to make, if successful, their own plates. - -The formulae herewith given are selected from a large number -published in the German, English and American journals, and while -good dry plates may be made by either of them, yet it is doubtful if -the highest success would repay the outlay. [p039] - -A careful study of the published formulae and the current literature -on the subject of Gelatino-Bromide Emulsion will disclose the -general principles on which they are based. - -A certain amount of bromide of ammonium or potassium (preferably -ammonium, on account of its greater uniformity and purity) and -nitrate of silver are dissolved separately, and mixed together in a -thin solution of gelatine, at a moderately warm temperature. Great -sensitiveness is obtained by a long exposure to the same warm -temperature, or by the addition of a small amount of ammonia, and -raising the heat to the boiling-point for from a half to a full -hour; when it is cooled more gelatine is added and the whole allowed -to congeal or set, when it is reduced to shreds, and washed in cold -water to remove the excess of the preponderate salt. - -The sensitiveness of the emulsion is said to depend upon the -fineness of sub-division of the grain of the bromide of silver in -the presence of the gelatine. This extreme fineness is secured by -long emulsification, or by the use of ammonia and a boiling heat. - -The strength and tenacity of the emulsion depend on the quality of -the gelatine, and its freedom from deterioration during the process -of emulsification and the subsequent washing. A soft gelatine is -suitable for the process of emulsification; afterwards a hard -quality is used to give body and resistance. - -The presence of free bromide or of free nitrate of silver in the -finished emulsion would be fatal to its usefulness; therefore, as -both of those salts are easily soluble in water, they must be got -rid of by washing; consequently, before washing, the mass of jelly -should [p040] be induced by the use of a refrigerator to set firm -and hard, so that it may be broken up into shreds for washing, and -the smaller the shreds the less washing they will require. - -Of the following formulae the first two are copied from English -photographic year books, and are believed to be reliable; the others -are by Dr. Eder, the greatest German authority on gelatine emulsion, -and they are comparatively simple. - -GELATINE EMULSION. A. - - PAGET PRIZE. - - NO. 1. - - Hydrochloric acid 1 drachm - Distilled water 12-1/2 oz. - - NO. 2. - - Distilled water 3 oz. - Bromide Ammonium 210 grains - Gelatine 50 " - -Twenty minims of No. 1 solution are introduced into the whole of No. -2, and the Gelatine is left to swell. - -In another glass vessel 330 grains of nitrate of silver are -dissolved in 3 ounces of distilled water; a small quantity, about -two fluid drachms, of the latter is poured into a test tube and -diluted with an equal bulk of distilled water. - -The solution of the bromo-gelatine is then rendered complete by -immersing the bottle in hot water, and the dilute silver nitrate is -added all at once. - -The bottle is then shaken and the remainder of the strong silver -solution added in quantities of half an ounce at a time, shaking the -bottle as before after each addition. [p041] - -The emulsion is then boiled for fifty-five (55) minutes, and when -cooled down to 90 degrees F., one ounce of gelatine, which has been -previously swelled and dissolved in water so as to measure four -ounces, is added and put away in a cold place to set. - -When set, squeeze through coarse canvas into cold water one half -gallon and 1/4 lb. salt; let it remain for five minutes, then wash -thoroughly. - -The addition of two ounces of alcohol and enough water to make up to -twenty ounces completes the process. - -In the preparation of this or any gelatine emulsion the work may be -carried on in daylight as far as the mixing of the bromide and -silver, which must be done in a dark room by the aid of a lamp or -gas light shaded by orange or ruby glass. Sufficient of this -non-actinic light may be admitted to enable the work of washing the -emulsion, and afterwards the coating of the plates, to be carried on -with ease and comfort, as the emulsion when wet is only half as -sensitive as when dry. - -GELATINE EMULSION. B. - - JARMAN. - - Picked white Gum Arabic 75 grains - Bromide Ammonium 200 " - Gelatine 150 " - Water 10 oz. - - Nitrate of silver 300 grains - Water 7-1/2 oz. - -Dissolve in two jars in a vessel of water heated to 140 degrees F., -stir each solution well with a separate rod or strip of glass, and -when equally heated to 140 [p042] degrees the silver may be -poured in a gentle stream into the gelatine gum solution by the aid -of a safe light. - -When all has been mixed and thoroughly stirred, cover the top of the -dish and allow the temperature to be at 140 degrees for eight hours, -occasionally stirring the emulsion during that time, which should be -done in the dark. - -At the end of that time there should be weighed out, of Nelson's -soft gelatine 250 grains, and of French hard gelatine 150 grains. - -This 400 grains of gelatine must now be added to the emulsion, and -occasionally stirred until all of it is thoroughly dissolved and -incorporated with the emulsion, which will take about a quarter of -an hour; it is then poured out in a clean 12x10 deep porcelain dish -to set, and should be allowed to set for forty-eight hours, when it -may be wrung through a piece of coarse canvas and allowed to fall -into a solution of - - Common salt 1/2 lb. - Water 1 gallon - -Let it remain in this for five minutes, then strain through a horse -hair sieve and wash it well for an hour and a half. Allow the -shreddy emulsion to drain well in the sieve for about a quarter of -an hour; at the end of that time place it in a clean stone-ware jar -to melt, with the addition of four drachms of saturated solution of -nitrate of potash upon melting, which may be done by setting the jar -into a dish of water at a temperature of about 120 degrees F. - -It will be found on measurement to be nearly 25 ounces of emulsion; -as soon as it is ready for filtering four ounces of methylated -spirit may be mixed with it, [p043] to which have been added four -drachms of an alcoholic solution of tannic acid, made by mixing ten -grains of tannic acid with one ounce of alcohol; this is to prevent -frilling. - -The rapidity of the plates will be about eight times that of a wet -collodion plate, which for all ordinary purposes will be as rapid as -could be desired. - -Dr. Eder, the distinguished German scientist (who is a great -authority on gelatine emulsions, and has published a book on this -subject), gives the two following formulae: - -GELATINE EMULSION. C. - EDER. - Bromide potassium 4 grams, equal to 61 grains. - Gelatine 7-1/2 to 8 grams, " 115 " - Water 50 c. c. " 1 ounce. - Nitrate of silver 5 grams, " 77 grains. - Water 50 c. c. " 1 ounce. - -Dissolve the silver in water and precipitate it with ammonia. -Continue the addition a few drops at a time, until the brown oxide -of silver re-dissolves and the liquid looks as bright as pure water; -the strength of the ammonia is immaterial. - -The nitrate of silver may be warmed to 93 degrees F., and poured -into the bromized gelatine a little at a time, continually stirring -with a glass rod. Rinse the silver bottle with 10 c. c. about 1-1/2 -drachms of water and add it to the emulsion, place the bottle -containing the emulsion in a basin or saucepan of water heated to 90 -degrees F., leave it therein from 15 to 30 minutes without further -heat; after 30 minutes the emulsion is ready to be congealed -previous to washing. - -This emulsion never fogs, but it is imperative that [p044] in no -part of the progress the temperature should exceed 100 degrees F., -and it is a safe rule not to go beyond 90 degrees F. It is -recommended to use French gelatine. - -GELATINE EMULSION. D. - EDER. - Bromide of potassium 61 grains. - Gelatine 115 " - Water 1 oz. (plus) - -The bromide of potassium must be pure and not alkaline, ditto the -gelatine. - -The bromized gelatine must be melted at 140 to 160 degrees, and then -add 77 grains of silver nitrate in one ounce (plus) of water. The -silver may be warmed to the same temperature as the gelatine, but -this is immaterial. Rinse the silver bottle with three drachms of -water and add it to the emulsion. The bottle with the emulsion is -now put in a saucepan partly filled with hot water, covered to -exclude all light, and the water in the saucepan set boiling, which -should be continued for 25 to 30 minutes, then both water and -emulsion cooled down to 90 degrees F., then add 340 minims of -ammonia, stirring it thoroughly through the emulsion, which should -be left for from 30 to 40 minutes at a heat of 90 degrees F., then -it is ready to set and wash. - -Dr. Eder says this last is quicker and better for portraits. - - -DESCRIPTION OF APPARATUS USED IN MAKING AND WASHING EMULSIONS. - - -THE DARK CHAMBER. - -Any form of room that has running water in it, if there is a window, -the better, unless the work is done [p045] at night. If in the -daytime, shade the window with heavy red orange paper; if gas is -used, shade the flame with a ruby globe or chimney, and cut a piece -of tin to fit in the pipe below the burner to cut off rays of light -falling through bottom opening of globe or chimney. - -If there is no gas purchase a dry plate lantern. - -Emulsion in the jelly and when wet on the plates is only half as -sensitive as when dry, so that it is not necessary to distress one's -self working in the dark. - -When the silver and bromide are brought together and mixed, it -should be done in this dark room. The solutions are poured into a -glazed earthenware bottle, which can be tightly corked. When it is -required that the emulsion should be heated, put the bottle into a -tin pail, fill the pail with hot water and put on the cover and heat -in any convenient manner; when it is necessary to examine the -emulsion, remove the pail and contents to the dark room. - -A thermometer for testing heat in liquids should be used to regulate -the temperature. - -A deep porcelain tray is the best dish for holding the emulsion, -while it sets previous to washing. To prevent the emulsion from -adhering to the tray it may be waxed carefully, but leave no -surplus; when the emulsion has set as firmly as it will, it may be -cut up into very small squares for washing, but probably the best -way is to squeeze it through the meshes of very coarse canvas, such -as ladies use for embroidering on with wool. The shreds may be -permitted to fall into a fine horsehair sieve placed in a pan of -very cold water and allowed to soak for a time, when the sieve may -be raised, and the water will in a short time drain away [p046] -from the shreds. This may be repeated until the water, when tested -with silver solution, gives no precipitate of bromide. - -After the emulsion is washed it must be melted and filtered before -it can be used to coat plates. These manipulations must be performed -in the dark room. For melting the emulsion use a small oil stove -placed in a tin box, the open side placed to the wall; set the dish -containing the emulsion on the tin box over the heat; or, a more -perfect arrangement is to take a tin or sheet iron bake-pan, make a -hole through the bottom near one end, and into the hole fix and -solder a tin funnel, into which you can put a glass funnel that will -hold a pint or more; set this pan on the tin box containing the oil -or gas stove, the end of the pan containing the funnel projecting -over the tin box towards you; fill the pan with hot water, which the -heat of the stove beneath will keep hot; into it set the dish -containing the emulsion to be heated or melted; when that has taken -place pour into the funnel to filter, through loose absorbent cotton -or a thin piece of chamois skin or flannel, as you prefer; the -funnel will be kept warm by the hot water in the pan surrounding it. - -Filter into a pitcher with a lip suitable for pouring from, or a -small earthenware teapot would be better. You would be using the -emulsion from the bottom, and thus avoid air bubbles; when all is -filtered set the pitcher or pot into the hot water to keep of an -even temperature. - - -TO PREPARE THE GLASS. - -Soak the glass in strong lye or potash for a time, then wash -carefully and put into acid, then wash [p047] again and -albumenize with the white of one egg to six ounces of water without -ammonia. The plates should be slightly warm when being coated. - - -COATING THE PLATES. - -Hold the plate in the left hand, as you would for coating with -collodion, flow with emulsion as you would with collodion, letting -the surplus flow off the right hand lower corner, but do not let -more than the gross surplus run off; retain enough to make a rather -thick film; now move the plate so as to facilitate an even -distribution of the film, then set the plate on the leveled cooling -table. - - -THE COOLING TABLE. - -This table should be a large slab of marble or slate with a -perfectly plain and level surface; before using it should be cooled -by placing ice or a refrigerating solution on it. The coated plates -are laid on this level table, where the cold soon chills the -emulsion, causing it to set, when they may be set up in racks and -placed in the drying room or box, where in the course of a few -hours, if the conditions are favorable, they will dry and are then -ready for use. - - -THE DRYING ROOM. - -The drying room, or box, as the case may be, must be kept cool, and -if any current of air is induced it should be cool and constant, so -that the drying may proceed with perfect regularity until the -process is complete. Should the drying by any means be checked a -line will be formed on the plate, showing where the drying stopped -for the time. - -Plates may be dried by a current of warm air, but [p048] they are -much more likely to frill during development; and a very little heat -will melt the coating. - -If the plates are dried by an induced current of air, the process -may be hastened by placing dishes, filled with chloride of calcium, -in the air passage to the drying box or room. The chloride will -absorb all the moisture from the air passing over it, and the dry -air will take up the moisture from the plates. - -When the chloride of calcium becomes too damp for further use, place -the dishes containing it in an oven and drive off the moisture by -heat, when the dry calcium may be again used. By employing such -means the plates may be dried in a few hours. - -After the plates have become dry, they should be packed in good -light-tight boxes and kept in a dry room until wanted for use. - - -DEVELOPING ROOM FOR DRY PLATES. - -Dry plates, ranging in rapidity from one-tenth to one-twentieth the -time necessary for a wet collodion plate, are now commonly used in -the studios of this country. Of course, plates of such extreme -sensitiveness require great care in handling, and absolute freedom -from any umpremeditated exposure to white light is necessary to -their successful use. - -It is therefore necessary that the dark room should be remodelled to -suit the requirements necessary to the successful handling of such -extremely rapid plates, and in this connection it is proposed to -describe the necessary changes and alterations. - -Any ordinary dark room may with little expense be fitted for dry -plate work. First see that every chink or crevice which might admit -white light is stopped or [p049] filled up, then fit the door or -doors so that they will shut tight and remain closed. - -For convenience of access to the room while work is proceeding, and -for greater safety, it is well to erect a small porch or ante-room -at each door, the entrance to which should be at right angles with -the dark room door. The door to this porch and the dark room door -should be fitted with springs to keep them closed. With this -arrangement one can have access to the dark room at any time by -closing one door before opening the other. - -If the dark room is lighted by a window, it should be glazed with -dark red orange glass, and if the exposure is toward the sun, it -should be shaded with a green or ruby colored shade on a spring -roller. If the sun never shines in the window, the shade is not -necessary. - -If the room is lighted by artificial light, the best way is to cut -an opening in the wall or partition at the most convenient place, -make a frame to fit or cover this opening, that will raise or slide, -glaze it with red orange glass. On a shelf outside the opening place -your gas-burner or lamp, with a large reflector behind, so as to -reflect all the light through the glass into the room. If gas is -used on the outside an argand burner will be the best, with a common -white glass chimney for ordinary work, but for the most sensitive -plates a light green or thin ruby chimney will be absolutely safe. - -If a kerosene lamp is used, the common white chimney with full flame -will be safe; and being outside, the room will not be heated by its -flame, nor rendered offensive by its smoke and odor. - -In front of the window or of the artificial light, [p050] erect a -shelf or place a small table with a level top, which will support -the developing dishes and bottles of developing solution, and on -which the work of development may be carried on. - -If the room is so situated that neither window nor gas may be used -in the manner suggested, then procure Carbutt's Developing Lantern, -which is a most convenient lantern, not only for developing, but for -other purposes. See figure. - -The dark room should be supplied with running water, and the more -generous the supply, the better, as a dry plate requires much -washing, and a large stream will do the work much quicker than a -small one. - -[Illustration: WASHING BOX.] - -In many instances, however, where running water may not be had, the -washing box may be used with advantage. If running water is used, be -careful not to use too much pressure; by attaching a rubber hose to -the faucet and passing it over a nail or hook above, the pressure -may be reduced so that a full but gentle stream falls upon the -plate. - -Safe closets should be provided to contain all sizes of plates; or -the new [p051] made by Anthony & Co., may be used instead, both -for unexposed and for exposed plates awaiting development. - -[Illustration: NEGATIVE BOXES,] - -[Illustration: JAPANNED IRON DEVELOPING TRAY,] - -[Illustration: ANTHONY'S GLASS TRAYS,] - -[Illustration: GLASS BOTTOM DRY PLATE DEVELOPING TRAYS.] - -The dark room should be supplied with the necessary apparatus, such -as developing trays, which are of japanned tin, of glass or india -rubber; see cuts, JAPANNED IRON DEVELOPING TRAY, ANTHONY'S GLASS -TRAYS, or the patented article, the GLASS BOTTOM DRY PLATE -DEVELOPING TRAYS, [p052] and also the dishes to contain the -fixing solutions, which may be trays or upright, like silver-bath -dishes. - -THE COMMON SENSE TRAY is a capital dish to contain the hypo and -clearing solutions and is not expensive, and can be had of all -sizes. All these dishes should be kept scrupulously clean when not -in use. - -[Illustration: THE COMMON SENSE TRAY.] - -[Illustration: TN: Graduate.] - -There should be Graduates of the 16 oz. and the 8 oz. sizes, and -also a minim glass measuring up to [p053] one fluid ounce, also -one or more of Anthony's Combined Funnel and Filter, for filtering -the various solutions. - -[Illustration: ANTHONY'S COMBINED FUNNEL AND FILTER.] - -[Illustration: FOLDING NEGATIVE RACK.] - -There should be glass-stoppered bottles for containing the -developing solutions, especially the pyro; also racks to hold the -plates while drying; one finely adjusted scale with apothecary -weights weighing to a 1/4 lb.; one camel's hair-brush, 3 inches -wide, for dusting the plates before [p054] putting them in the -holders for exposure, and also for removing sediment from the -surface of the film after fixing and washing. - -[Illustration: CAMEL'S HAIR DUSTERS.] - -Thus fitted and furnished, the dark room is ready and well adapted -for the most difficult dry plate work, and we will now proceed to -the consideration of the - - -DEVELOPMENT OF DRY PLATES. - -Every manufacturer of dry plates encloses in each box of plates -packed for the market a formula for the development of the same. - -The various manufacturers of dry plates, whose names will be found -in the advertising pages in this book, each have a formula which in -some respects differs from all the others, and it is but fair to the -maker of the plate, that his formula should be used, unless the -operator is of much experience and understands the requirements of -each particular kind of plate. - -Therefore, while formulae are given in this connection, although they -are known to be of the best, yet in the hands of inexperience they -may result to no better advantage than the formula appropriate to -the plate used; consequently, we do not urge their use above any -other, but rather that to which the operator is most accustomed. - -The alkaline pyro developer is now in general use among professional -photographers in this country, and there remains no doubt that it is -the best developing agent for dry plates that has yet been brought -into use. - -This developer is composed of pyrogallic acid and [p055] an -alkali, either ammonia, sal soda, or carbonate of potash, which, in -solution and of proper strength, forms the medium through which the -pyro is applied. - -To these is added bromide of potassium or ammonium, which is the -restrainer, and occupies about the same position or performs the -same function as acetic acid in the wet plate developer, and besides -being a restrainer it greatly aids in securing intensity and -printing quality; and when plates are overtimed in exposure its -prompt use may result in securing a good negative. - -Some plates require double the quantity of pyro that others do to -produce the same quality of negative. After ascertaining the normal -amount of pyro necessary to develop plates of a certain make, if it -is desired to increase intensity add more pyro, if your plate is -developing too intense or hard add more of the alkali. - - -DRY PLATE DEVELOPER, A. - - No. 1. - - Carbonate of Soda (Sal) 1 lb. - Carbonate of Potash 1 lb. - Yellow Prussiate of Potash 1 oz. - Bromide of Ammonium 1 oz. - Water 64 oz. - - No. 2. - - Pyrogallic Acid 1 oz. - Saturated Solution Sulphite Soda 15 oz. - -Keep No. 2 in glass-stoppered bottle. - -To develop one 8x10 plate, take of - - No. 1 1 dr. - No. 2 1/2 dr. - Water 6 oz. - -Put the exposed plate into the developing tray and [p056] pour -the solution upon it, making sure that all parts of the plate are -covered, and no air bubbles fixed to the surface; keep the dish in -motion and in a short time the image will begin to appear; if -properly timed the high lights will show up promptly, and in due -time all parts will appear, and when detail is seen in the shadows -take the plate from the dish and examine it by transmitted light. -Note the gradations of light and shade; if they appear properly -balanced, the plate has been properly timed in exposure. Return the -plate to the dish and let the development proceed until the image -sinks well into the film and you see nothing very clearly as it lies -but the blacks. - -Time is necessary in this process to secure enough intensity, and -this stage is the most difficult in the process, there being no -means by which to judge with any degree of certainty the density of -the image before you. It is better then to proceed too far than not -far enough, as a slow printing negative is far better than one that -is too thin and weak.[1] - -[1] These directions apply to all dry plates except the Stanley, -which can be developed to any required density at sight, and loses -none in the fixing solution. - -When the image has sunk pretty well into the film examine it again -by looking through it, and note well its appearance, so that if it -is about right when fixed you may remember how it appeared if you -wish to increase or diminish the intensity of your next plate. - -If the plate has been overtimed it will show up quickly, almost at -once; when such is the case quickly pour off the developer and flow -the plate with water, washing it well, then prepare more developer -with nearly double the amount of pyro and a few drops of a [p057] -strong solution of bromide of ammonium, which add to the 6 oz. of -water and pour on the plate; then take half the usual quantity of -the No. 1 solution in a graduate and pour it, a few drops at a time, -into the developing tray, watching the action closely and keeping -the solution in motion. - -The negative at this time probably shows all the detail of the -subject, but without any gradation of intensity. If the changes just -described have been made promptly you will soon observe that the -high lights will begin to gain in strength. Keep up the action by -adding more of the alkali, drop by drop, until you can proceed no -farther. - -The chances are that you will secure a printable negative, but not a -very good one; and if it is a portrait the best thing to do is to -throw it away and make a new one. - -The plate should now be very carefully washed previous to fixing. - -Should the film show signs of loosening from the edges of the glass -and swell so as to form folds or frills, take it from the water and -immerse it in a solution of alum, which will harden the film and -stop the frilling. Then wash the film again and put it in the - - -FIXING SOLUTION. - - Hyposulphite of Soda 1 lb. - Alum 1/4 lb. - Water 1 gal. - -When the soda and alum are dissolved let it stand until all sediment -settles to the bottom, then pour off the clear solution and use it -to fix until from much use it becomes black and turbid, then make up -and use a fresh solution. [p058] - -The plate should be left in the fixing solution for fully five -minutes after it appears thoroughly cleared, then take it out and -wash until all traces of hypo are removed. - -If the plate has not previously been in the alum solution it may now -be put in the - - -CLEARING SOLUTION. - - Alum 1/2 lb. - Citric Acid 2 oz. - Water 1/2 gal. - -Keep this solution in a flat dish, and after the plate has been -washed from the hypo put it in this solution for two or three -minutes; if there are any remaining traces of hypo in the film it -will be decomposed, the film will be hardened and freed from color; -when this is accomplished wash again and set the plate up to dry. - -While the alkaline pyro developer is the best and gives the finest -printing quality to negatives, there are many who prefer (for other -reasons) the - - -FERROUS OXALATE DEVELOPER. - - No. 1. - - Neutral oxalate of potash 1 lb. - Water 5 pints. - -Acidify with oxalic acid and filter. - - No. 2. - - Protosulphate of iron 1 lb. - Water 2 quarts. - -Filter and add 60 drops sulphuric acid. - - No. 3. - - Bromide of Ammonium 1 oz. - Water 10 oz. - -The developer is prepared by mixing together in a [p059] graduate -the quantity necessary to cover the plate in the following -proportions: - - Oxalate solution 3 parts. - Iron solution 1 part. - Bromide solution 1/8 part. - -For instance, it will take about 8 ounces to cover an 8x10 plate in -a flat dish; to make this quantity take of the - - Oxalate 6 oz. - Iron 2 oz. - Bromide 2 drs. - -Always pour the iron into the oxalate solution, then add the -bromide, and having placed the exposed plate in the dish pour the -developer upon it, covering the surface of the plate as quickly as -possible and removing any air bells that may stick to the surface. - -Keep the solution in motion on the surface of the plate and in a -short time the image will begin to appear, the high lights first, -then the intermediate shades, last of all detail will be seen in the -shadows. Now pour the developer off, take the plate out of the tray -and look at the back of it. If the subject or image can be -distinctly seen it may be considered finished and only needs to be -washed and fixed. - -If the plate has been over-exposed, which will be indicated by the -image appearing quickly, wash off the developer with water, add more -bromide to the solution and immerse the plate again. - -If, on the contrary, the plate has not had enough time, it will be -indicated by developing very slowly and with a very thin and weak -image; when such is the case add more of the iron solution, however, -not more than to make the proportion of the iron nearly [p060] -one-fourth of the whole solution. More than this proportion will -cause a yellow precipitate, which will settle on the surface of the -film and destroy it. If by this course you succeed in securing -sufficient detail in the shadows, the negative may afterwards be -strengthened. - -It is as well, however, when a plate is found to be undertimed (and -it is possible to make another from the same subject) to throw it -away; it will scarcely repay further attention. - -It will be seen that a considerable margin in time of exposure can -be allowed and provided for. Yet none the less it is of the utmost -importance to learn to give the correct and proper exposure to -secure the finest results. - -This, it is true, is not always possible, and as an under-exposed -plate is lost, any error in exposure would better be in too much -rather than in too little time. - -It is said by some that by the use of citrate of soda almost any -degree of over-exposure may be remedied, but there remains the fact -that for a restraining agent to be of any value its application to a -negative in development must be almost instantaneous upon the -earliest discovery of the over-exposure. - -When a large number of plates have been exposed and the first -developed indicates that all have been overtimed, then a 50 per -cent. solution of citrate of soda, used with judgment, might result -in saving the lot. - -When over-timing makes itself visible unexpectedly and it is feared -that the development will have proceeded too far before the retarder -can act, a good plan is to take the plate out of the dish and flow -over it a solution of citric acid, containing a little chrome alum, -[p061] which will immediately stop the action of the developer and -give time to make other arrangements. - - -AMMONIA PYRO DEVELOPER. - - No. 1. - - Pyrogallic acid 1 oz. - Alcohol 4 oz. - - No. 2. - - Water 60 oz. - Bromide of ammonium 60 grs. - Strong liquor ammonia 2 drs. - -To use, take of - - No. 1 or pyro solution 1 dr. - No. 2 or ammonia solution 10 oz. - -This will be enough to develop three or four 8x10 plates, if they -are properly timed. - -The above is one of the best forms of ammonia pyro developer; it -gives negatives of very fine quality. - -Many dry plates, on development with ammonia and pyro, show a green -fog by reflected light, and a pink or red fog by transmitted light; -this fog does not materially injure the printing quality of the -plate, but spoils its appearance to the eye, and for that reason -many establishments have given up the use of ammonia and in its -place use soda or potash. - - -INTENSIFICATION OF DRY PLATE NEGATIVES. - -From the difficulty of judging when the development has reached the -right point, in consequence of the opacity of the gelatine film, -many negatives are finished before they have acquired sufficient -density in development. As a result of this, much attention has been -given to the discovery and preparation of redeveloping or -intensifying solutions, many formulae [p062] for which have been -published; among the best are the following: - - -INTENSIFYING SOLUTION. A. - - Bichloride of Mercury 120 grains. - Dissolved in hot water 16 oz. - -Add to this a strong solution of Iodide of Potassium drop by drop, -until the red precipitate begins to redissolve, then add a few -grains of hyposulphite of Soda, or enough to clear the liquid. - -When required for use pour part of this solution into a tray of a -suitable size for the plate, add an equal amount of water, then -immerse the plate and keep the solution in motion. You will -immediately notice a change in the color of the film; take the plate -out, and if it has gained enough strength, wash it and set it up to -dry; if not, give it more. - -It is proper to state that this process is more effective if the -plate has been dried after development. - -When the plate has been thoroughly fixed and fully washed, it will -intensify by this method, without change of color by transmitted -light, and it will have secured a lovely printing quality rarely -seen even in the most perfect negatives. - -This solution may be used until it is exhausted. - - -ROCHE'S INTENSIFIER. B. - - Water 10 oz. - Sulphate of Copper 100 grains. - Bromide of Potassium 100 " - -When dissolved, this solution is ready for application and can be -used repeatedly. - -The negative, after fixing and washing, is immersed in the solution -until it turns white. [p063] - -Now remove it and wash slightly, then immerse it in old ferrous -oxalate developer and allow it to remain until it becomes black -entirely through the film. This method gives fine results and good -printing color. - - -PRACTICALITIES. - -Form the habit of noticing carefully the intensity of the -illumination of the subject on the ground glass of the camera, so as -to judge correctly the time of exposure, as much of the successful -working of dry plates depends on the exposure; for although slightly -under-exposed or much over-exposed plates may by suitable -modification of the developer be saved and print good pictures, yet -they will lack the glow and balance that are characteristic of the -most perfect work. - -Use a flat camel's-hair brush to remove any dust from the plate, -before putting it in the shield for exposure. - -Always keep your developing solution in motion on the plate. - -Fix your negative very thoroughly; leave it in the hypo 5 or 6 -minutes longer than it is apparently necessary. - -Never use hypo after it becomes discolored or turbid and deposits a -sediment. - -Develop longer than you think necessary; a slow printing negative is -preferable to a weak one. - -Keep your dark room and its contents very clean and free from dust, -and well ventilated. - - -RETOUCHING, OR STIPPLING THE NEGATIVE. - -No photographic establishment in these days is considered to be well -equipped that does not employ a skillful retoucher and provide all -the apparatus and [p064] conveniences for the proper performance -of this very important branch of the art. - -It is within the memory of many photographers when this work of -retouching was done on the positive, and some establishments were -compelled to employ a large force of skilled hands to work up and -finish the crude productions of the camera and the printing frame. - -After the introduction of the carte de visite portrait, and later -the Imperial card, and the consequent reduction in price, the -expense of this work became such a burthen to photographers that -they were compelled to perfect their mechanical operations to the -utmost extent, and by every means to endeavor to avoid it. - -It occurred then to some one of the retouching artists to do this -work upon the negative once for all, and from this beginning the art -of retouching the negative has reached its present high position. - -Retouching, like stippling or hatching in miniature, is a work of -art, skill in which is gained only by assiduous practice controlled -by good taste, and it is the special work of the artist and not of -the photographer. - -While then it is not considered wise for the photographer to be his -own retoucher any more than it is for every man to be his own lawyer -or doctor, yet every photographer should know enough about the art -and practice of retouching to appreciate good work and to detect the -bad. And for that reason he should make a study of it both from the -artistic and the mechanical points of view. - -By such a course of study he will learn to produce that quality of -negative that will require the least amount of improvement at the -hands of the retoucher. [p065] - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -The work of retouching requires certain appliances to facilitate it, -and its own special room or atelier. A small well-ventilated room -having a window with a northern exposure is the best adapted for -this work. This room should be supplied with the necessary -conveniences, such as the retouching stand or frame, which in its -earlier form is as represented in Fig 1, but which, after a time, -became much improved upon; one form of improvement is shown in Fig. -2, but neither of these forms became universally used, as many -artists fashioned their stands or frames to suit their individual -[p066] taste or the requirements of their room or light. The march -of improvement, however, is never delayed by such a condition of -affairs, and was not in this case. - -It became necessary on the part of those interested in the -manufacture of such apparatus to produce something that should meet -all requirements, and this has indeed been accomplished by the -production of the desk represented in Fig 3, which is called the -Novel Retouching Desk and is suitable for any size of negative under -25x30; it has a false top which can be pulled down to darken the -space in front of the ground glass cut out. - -[Illustration: FIG. 3.] - -The bed on which the negative is laid can be set at any inclination -to suit the convenience of the artist. - -By means of the slide-rest the negative may be moved up or down to -any desired position. - -It is handsomely made in hard wood, and would be quite an ornament -to any retoucher's room. [p067] - -Next in importance would be a varnishing table, a small table or -bench supplied with a gas or oil stove. See Figs. 4 and 5. - -[Illustration: FIG. 4. COMMON GAS STOVE] - -[Illustration: FIG. 5. OIL STOVE.] - -Also Anthony's retouching varnish and varnish pot. See Fig 6, page -68. - -A tin pot as shown in cut, with a filter and funnel in top; rubber -stopper in spout. - -The retoucher's room should also be supplied with - - Faber's Siberian leads, full set, - Eagle lead pencils, - Metallic leads, - Camel's hair pencil brushes, - Camel's hair blender, - Guenther Wagner's retouch colors, - India ink, - Water colors, blue, white and red, - A coarse sharpening stone, - Fine emery paper. [p068] - -The principal work of retouching, the stippling of the face, neck -and shoulders when bare, and the hands, is done with Graphite or -metallic leads, and directly upon the varnished or film surface. - -[Illustration: FIG. 6. PEERLESS VARNISH POT AND FILTERER.] - -The gelatine emulsion film is strong enough to take the pencil -without varnish, and many prefer to retouch and even to print them -before varnishing; but it is pretty generally conceded that -gelatine negatives will receive the pencil better when varnished. -[p069] - -Before varnishing a gelatine plate, heat it as much as it will -bear, so as to drive off all moisture from the film, then let it -cool to the proper temperature before applying the varnish. - -If the varnish used is too smooth or hard to take the pencil, a -better tooth may be given it by the application delicately, to the -parts to be retouched only, of a solution of rosin in turpentine, -which should be allowed to stand and dry an hour or so before the -retouching is done. - -The work of retouching is very trying to the eyes; great pains -should therefore be taken to ascertain the most favorable -conditions of light and distance under which to work. - -A negative should be kept at one angle and stationary while being -retouched. - -There should be as little lead used on a negative as is consistent -with good work; make every touch tell to some purpose. - -Note carefully the way the subject is lighted, and let the effect -of the stippling be in that direction; you will thus be less -likely to change the character or likeness of the face. - -The lights and shadows should be caused to blend imperceptibly; -this will give a harmonious effect. - -Let the grain or stipple be seen in all parts suitable in fineness -to the size of the head. - -The refinements of negative retouching cannot be taught in books, -although much has been written concerning the same. - -Try to light your subject and develop your negative so as to get -the utmost roundness or relief; then be careful not to destroy -this modeling, but improve [p070] it by retouching, only doing -so much work as to give a soft, clean-looking complexion. - -Patient perseverance, close observation and trying again, will -bring a certain degree of success, and while only the few can -become first-class retouchers all may learn to improve their work -by this great help to photography. - - -SILVER PRINTING. - -It was long ago said that silver printing was doomed, that in a -few more years it would be among the things that were. - -Other processes have been introduced, have had their little day -and have passed off, some of them of much merit, and, it was -supposed, possessed of every element of permanency, but they were -found wanting in some very important respect, and so not being -able to hold their ground they passed into the limbo of neglected -things. - -Silver printing, however, still maintains the field against all -comers, and does so by its intrinsic merits alone. No other -process has equalled it in ease of production and in beauty of -finish, and it is doubtful if any process has results of greater -permanence, taking the best products of the process as samples. - -The one defect of the process is the possibility of its products -fading, but we must not judge of a process by its poorest -examples, but rather by its best; if such should be the decision, -there are at this day thousands of silver prints that are -co-existent with the process and remain as perfect as it is -possible for anything on paper to be after such a lapse of time. - -A process that is so simple and easy that it can be [p071] -acquired in a few hours, is predestined to careless working, -slovenly manipulation, and to endless scamping at the hands of -careless workers. What wonder then if prints fade which were only -half made. - -Suffice it that the process, intelligently and conscientiously -worked, would never suffer from such an imputation. - - -THE PRINTING ROOM. - -All professional photographers practice the silver printing -process with more or less of success, as they bestow care and -intelligence in the working and are zealous for the reputation of -their work. - -The proper handling of a negative by the printer requires as much -study and skill on his part as does the posing and lighting of the -subject in the studio; and the printing room should be as replete -with every convenience for forwarding and improving the operations -therein conducted, as any other department of the establishment. - -This room is generally situated at the top of the house, and -wherever situated, should be so arranged that the east, south and -west sides may be opened to the sun, that his direct rays may be -utilized from the earliest to the latest working hours. Part of -the room should be partitioned off in such a manner, and -illuminated in such a moderate degree, that the sensitized paper -may not suffer from excess of light while the frames are being -filled and the changes made. - -The printing room outfit consists of the various sizes of printing -frames, cardboard, tissue paper and cotton-wool for vignetting, -and knives, long-blade scissors, and glass forms for cutting the -paper to various sizes, [p072] light tight drawers to hold the -prepared paper, shelves, and racks for the negatives. - -Mucilage or paste and brushes. - -Flat brushes for removing dust from negatives. - -India ink and Opaque, with pencil brushes and lead pencils for -spotting negatives. - - -THE SILVERING ROOM. - -The silvering room may be also used for other manipulations in the -process, such as fuming the paper and washing the prints, and -should be furnished with all the conveniences for such work, which -consist of - - Nitrate of Silver. - - Albumenized and plain paper. - - A flat dish to hold the silver solution, of the size of - the largest paper to be floated. - - A fuming box. - - A bottle of concentrated Ammonia. - - A gas or oil stove for drying the paper. - - A dozen or more of Lockwood's patent photo clips. - Bi-Carbonate of Soda. - - An Argento meter. - - A 16 oz. Graduate. - - A clock. - - One agate evaporating dish, and 2 or 3 wide-mouth - glass bottles, that will hold the full quantity of silver - solution in use. - - -THE SILVER SOLUTION FOR PAPER. - -A plain silver solution, of a strength of 30 grains of nitrate of -silver to the ounce of water in hot weather, increasing to 60 -grains in the coldest, with enough bi-carbonate of soda added from -time to time to keep a small sediment of carbonate of silver in -the bottom of [p073] the bottle or dish, is all that can be -desired as a silvering solution for albumen paper. It only needs -to be kept up to the proper strength by the addition of silver -nitrate and water, when required; and when it shows signs of -discoloration a little more soda and an hour's sunlight will keep -it in good order the year round. - - -TO SILVER THE PAPER. - -Albumen paper is sensitized by being floated for a time on the -surface of this silver solution, albumen side down. For this -purpose it is necessary that the solution should be held in a flat -dish, like a tray, with sides from 1-1/2 to 2 inches high, and of -a size suitable to the size of the sheet of paper to be floated; -if a full sheet, then the dish should be 19x24, and may be of -porcelain, agate ware, hard rubber, or any other kind that will -resist the corrosive action of the silver solution. - -Pour the silver solution into the dish; there should be enough to -give a depth of at least half an inch. If there is any scum or -dust on the surface after the air bubbles have subsided, take a -long strip of tissue paper and draw the edge over the surface of -the solution, which will remove the scum or any floating dust or -air bells that may remain. - -Place your paper on a bench or table, albumen up, and with a large -tuft of cotton rub the surface, using a light friction over the -whole; then turn the sheet of paper over and take between the -thumb and first finger of each hand opposite corners diagonally -across the paper, holding the corners up and near together; let -the sag of the paper sink one end first, until it touches the -solution, which can be plainly seen; then let the hands fall until -the other end has reached the [p074] surface of the silver; -then lower the corners gradually, until the paper lies flat on the -solution, care being taken that none of the silver solution runs -over the edge of the paper to the back. - -The corners of the paper may now be gently raised to see if any -air bubbles have attached themselves to the surface of the paper; -if so, remove them and let the paper fall again to the solution. -It will now be seen that the edges of the sides of the paper will -begin to curl back, as if repelled from the solution. This may be -permitted to a certain extent, but not so far as that the wet -surface shall curl over against the back of the sheet. After a -short time this action ceases and the rolled edges unroll and fall -again upon the solution, which, when they have reached and lie -flat, may be taken as an indication that the paper is sufficiently -silvered, when it should be removed. With a small pointed stick -raise the left corner farthest from you from the solution, take it -between the thumb and first finger of the left hand and raise it -very slowly, until the right hand far corner is off the solution. -Take that corner between the right hand thumb and finger and -continue to raise the paper, still very slowly, until it is clear -of the solution; then hang it up to dry in a moderately dark -place, or better still, place it face down, on a sheet of clean -blotting paper, put another sheet over it and on that the next -sheet that is silvered, and so on alternate sheets, until you have -floated as many sheets as may be needed. - -When this is done turn the papers over, bringing the sheet first -silvered to the top, which on removing the blotting paper will be -found surface dry at least, and may now be completely dried by -artificial heat, or by [p075] hanging it up two sheets -together, back to back, on lines with spring clips, until they dry -spontaneously, when they are ready to be fumed. - - -FUMING THE PAPER. - -The fuming box is usually a light-tight box with two compartments; -the upper part has a door and should be sufficiently large to hold -the amount of paper necessary for a full day's work, without -crowding the sheets together or preventing a free circulation of -the fumes between their surfaces. - -The paper is taken from the lines, each two sheets back to back, -the corners fastened with clips and set up on end in this -compartment or hung on lines, as the case may be. When all the -paper is in, shut and fasten the door and into the bottom -compartment (which is usually a shallow drawer, and separated from -the upper only by a lattice work of wood) place a saucer -containing an ounce or two of strong liquor of ammonia, push the -drawer in, thus closing the compartment, and leave for fifteen or -twenty minutes, or until you are ready to use the paper. - -When you remove the paper from the fuming box do not expose it to -strong light until you have it in the printing frames, nor after -that, until you have toned and fixed it. Take the spent ammonia -from the box and pour it into a bottle; it is useful for other -purposes. Many printers cut the paper to size before printing, -others simply tear each sheet into halves, quarters, eighths or -twelfths, and print them thus, trimming them afterwards, some -before toning, others after they are finished and before wetting -them for mounting. The most economical method is to trim before -printing; [p076] all the trimmings should be carefully saved -for the silver they contain. - - -TONING THE PRINTS. - -A toning solution is composed of chloride of gold in water with -enough carbonate of soda to make it slightly alkaline, and a pinch -of common salt. The action of toning is merely the deposition upon -the metallic silver in the print of a certain minute quantity of -metallic gold from the solution, which deposit causes the change -of color that may be seen while the toning is taking place. - -The normal toning solution is varied endlessly by the addition of -acetates, chlorides and nitrates of various metals and salts and -of borax and chalk and such, the object being to produce unusual -tones, such as sepia, blue, blue-grey, brown and black, but the -richest and most agreeable tones may be produced as well by the -simplest means. - - -THE TONING SOLUTION. - - Water 1 quart. - -Into this put half as many grains of pure chloride of gold as you -have sheets of paper to tone; after adding the gold make the -solution alkaline by adding enough of a strong solution of a -carbonate or bicarbonate of soda to turn red litmus paper just -blue; then add a pinch of salt, and the toning solution is ready -for use. When half your prints are toned, or the toning proceeds -too slowly, add more gold, allowing not over 1 grain of gold for -each sheet of paper. When all the prints are toned, put the toning -solution into a bottle to keep for the next time, when it will -probably work better than at first; [p077] use it until it -becomes badly discolored, then put it into a large bottle to save -the waste gold. - -The toning must be done in a flat dish that is as large as the -largest print that requires to be toned. - -Your toning solution being ready, the prints are now to be -prepared for toning by being deprived of all excess of silver and -free chloride not acted on by the light; in order to do this, put -them one by one in a large dish full of water, in this dish keep -them in motion for some little time, then prepare another dish -containing the same amount of water slightly acidified with acetic -acid, and remove the prints into this one by one as before, -keeping them in motion; they will at once commence to turn red, -and when they are so they may be taken out, the waters of these -two washings must be saved for the silver contained therein. - -The prints require two more waters after the acid, when they are -ready for toning. - -Immerse half a dozen or more of the prints, one at a time, in the -toning solution and watch the change of color. - -They may at first become a little redder from the action of the -salt in the solution, but they will soon change to a brown and -then to a bluish or grey brown. And when the faces have become as -clear and white as to suit as finished pictures, remove them to -fresh water and proceed with another batch until all are done. - - -FIXING THE PRINTS. - -Hyposulphite of soda, about 1 lb. to a gallon of water, -constitutes the fixing solution; its function is to dissolve all -the chloride of silver that may remain in the prints after their -previous washing and toning. [p078] - -The prints should be immersed one at a time, and kept in motion so -that the solution may have an equal action. When there are a large -number of prints the dish containing the fixing solution should be -correspondingly large, so that the prints may not be massed -together but kept separate and free for the more perfect action of -the fixing solution; they should be kept in motion until the -fixing is completed, which will be in about 15 or 20 minutes. Some -printers ascertain that the action is complete by holding the -print up and examining it by transmitted light; if it looks -mottled and uneven it is not fixed, but if you can see the fibre -of the paper and all is clear, then remove the prints from the -hypo into a dish containing brine or common salt and water, one by -one as before, and keep them in motion in this brine until all are -well saturated with it; then let fresh water run into the dish, -which will gradually change the brine to clear water. - -The prints are put into the brine, and this gradually changed to -clear water to prevent blisters or a separation of the albumen -from the paper in the form of blisters. The water may be allowed -to run into the dish, the prints being kept in motion, and in the -course of an hour they will be sufficiently washed; they may then -be taken out and placed between the sheets of blotting paper to -remain until next morning, when they can be overlooked, the -blemished prints thrown out, and the perfect may be mounted. - -The fixing solution should not be used a second time, but should -be thrown into a large barrel with the washings, that at some -future time the silver may be recovered; when the barrel becomes -full, a small amount of saturated solution of protosulphite of -iron [p079] may be thrown in, the water stirred well, and when -the sediment has settled to the bottom the clear liquid may be -drawn off and the barrel is ready to receive the next washings of -hypo. - - -MOUNTING THE PRINTS. - -The selected prints are again placed in water and permitted to -remain until they become saturated; in the meantime some starch -paste should be prepared. The prints are then removed from the water -and placed on a sheet of glass, face down; when all are thus placed, -squeeze out all the water and they are ready to mount. Now with a -wide bristle brush spread the paste evenly on the back of the print, -carefully removing any lumps or dust or fibre of any kind, then -insert under the edge of the print the point of a knife-blade, raise -it until you can take it in the fingers, then place it pasted side -down on the face of your mount, adjust it evenly and lay it on the -table; now cover it with a piece of clean white paper, and with the -palm of the hand rub it down until all parts are in contact and all -air is expelled from between the print and mount. As the prints are -mounted they should be placed in rows on clean white or blotting -paper, one layer over the other; on the top place a clean sheet of -paper and over that a board of the proper size with a weight on it -to press the mounted picture flat; in the course of an hour they -will be dry enough to spot. - - -SPOTTING THE PRINTS. - -With a fine pencil brush and Indian ink, go over the prints and -carefully touch up all the white spots and other blemishes that may -be found on the surface, so that they harmonize in color with the -surrounding [p080] parts. When this is done the pictures may be -lubricated for burnishing. - - -LUBRICATING THE PRINTS. - -Make a pad of Canton flannel, get a piece of white castile soap, rub -the pad on the soap until it is well covered, then with this soaped -pad rub the surface of each print separately, carefully covering -every part of the surface; keep the pad well soaped by rubbing it on -the soap after every 2 or 3 prints. While this is being done the -burnisher may be heated; when the tool is hot enough to hiss when -touched by a wet finger, proceed to burnish. Do not use much -pressure; too great pressure will degrade the whites of the picture. - -When they are all burnished go over them again with a moderately -soft lead pencil, touching up and blending any streaks or spots that -may be found; if any streaks or dirty lines are discovered in the -direction of the draw of the burnisher, they may be removed by light -friction with a piece of Canton flannel moistened with alcohol. This -completes the photograph. - - -THE PHOTOGRAPHIC STUDIO. - -Mr. Ernest Lacan, a prominent artist of Paris, France, about ten -years ago, wrote for the _Philadelphia Photographer_ an account of -some of the prominent studios of that great city, from which I take -a description of the studio and establishment of the celebrated -Reutlinger. - -This establishment comprises the fifth and sixth stories of a fine -house on the Boulevard Montmartre. - -A handsome and wide stairway leads to the studio. The first thing -that strikes you on entering the ante-chamber, [p081] which is -transformed into an office, is the lowness of the ceiling and the -want of light. On the right is a room, larger and better lighted, -for the sale of choice specimens of his work. On the left are the -exhibition and waiting rooms, which are of medium size and whose -principal ornaments are the framed pictures, which cover the walls. -A small door leads to the skylight, of which the diagram at the head -of this article is a correct view as taken from a photograph. - -[Illustration: THE PHOTOGRAPHIC STUDIO.] - -The view is taken from the door at which you enter. This gallery is -formed of two mansards, which have been united by removing the -partition; is 39 feet [p082] long by 13 in breadth; its height to -the top of the upper sash is about 16 feet; the light comes from the -north. It is by means of an ingenious combination of white and blue -shades, that the artist succeeds in obtaining the charming effects -so much admired in his productions. At the end of the gallery is a -small room for ladies. The door which is seen on the left leads to -the laboratory, which is divided into three small apartments. The -first is used for cleaning plates, the second for their preparation, -and the third for developing negatives. - -[Illustration: TN: Diagram of Loescher & Petsch.] - -This is a diagram of the studio of the famous [p083] Loescher & -Petsch, of Berlin, who became so well known, some years ago, through -the style of picture called "Berlin Heads," which were among the -first samples of fine photographs from retouched negatives brought -to this country, and which certainly created a sensation. - -The shades are arranged so as to show how some of the most charming -effects of illumination are produced. The room is filled with -diffused light, with a ray of direct light falling so as to produce -a clear high light on the prominences of the head of the sitter. - -The next diagram is one of the Biglow studios. Mr. Biglow is the -author of a book on lighting and posing, which had a large sale, and -is a valuable book for positionists. - -[Illustration: FIG. 1.] - -These three views represent forms of skylight and side-light with -north exposure, by which all the finest effects possible are -obtained, but other forms of exposure are capable of being utilized -with fine success. - -The studio of Sarony, of New York, is lighted with a top light -similar to the top light of the Biglow studio, and without any side -light at all. - -A prominent artist of Brooklyn produces very fine [p084] work -under an east light, or rather a light a little south of east, which -to the ordinary photographer would be considered a very difficult -light to work. Good effects can be produced, however, under any form -of light by the use of shades, screens and reflectors, so that no -photographer need regret a favorable location, because unable to -have a northern exposure for his light. - -The studio should be furnished with every requisite for the -production of the finest work, such as - - Lenses and Camera boxes, - - Camera stands, - - Pneumatic shutters for the lenses, - - Scenic grounds; interior and exterior accessories, such as - balustrades, rocks, grass-mats, flowers, tables, chairs, draperies, - rugs, etc.; head-rests, screens, reflectors, and all such articles - as can be advantageously introduced in a picture to improve and - embellish. - -All these things are of importance, but should be used with taste -and judgment. The photograph should never be a picture of a piece of -furniture, with a figure thrown in, but rather the accessories -should be used only to improve the figure and make it more prominent -by increasing the perspective, when possible or allowable. - - -CAMERA LENSES. - - -THE OPTICS OF PHOTOGRAPHY. - -A solar beam of light is a bundle of rays; a ray being the smallest -portion of light which can emanate from a luminous body. - -Each of these rays possesses distinctive characters, both as regards -their chemical functions and colors. - -Sir Isaac Newton proved that the white light emitted [p085] by -the sun is not so simple as it appears, but is composed of vivid -colors, as shown by his beautiful experiment, the Analysis of Light, -which is exemplified by the use of a glass prism. (See fig. 1.) - -[Illustration: FIG. 1.] - -The ray of light A, E, being admitted into a darkened room through a -hole A, in the shutter, would fall upon the wall at E. As soon as -the prism, B, C, is placed in the path of the sunbeam so as to allow -it to fall on one of its angles B, the ray will be refracted, or -bent out of its course so as to pass through the prism (as in the -line D) and not in the same line, A, E, that it would have done had -the prism not been interposed. - -Another effect also takes place; the ray of white light is -decomposed into its component colors, and if you stand at a short -distance from the prism, you will see that these colors are spread -out in a triangular form, the base of which is on the wall and the -apex at the angle C of the prism. Remove the prism and it is seen -that the splendid display of colors upon the wall has disappeared, -and a round spot of white light, E, is seen below the place occupied -by the spectrum. - -The colored image on the wall is called the prismatic or solar -spectrum, which, according to Sir Isaac Newton, is composed -of seven different colors. The color at the lowest portion of -the image is red and the one at the other end is violet, the -intermediate parts being occupied by five other colors, and -the whole arranged [p086] according to the table below, the -proportion of each color having been measured by Fraunhofer with -the greatest care, with the results placed opposite to each, -corresponding with the 360 degrees of a circle, the red ray being -the least and the violet the most refracted of this chromatic -image. - - TOP. - - Violet 109 - Indigo 47 - Blue 48 - Green 46 - Yellow 27 - Orange 27 - Red 56 - --- - 360 - -The sunbeam, the ray of white light, contains powers within it of -which the earlier philosophers had but a faint idea, besides its -accompanying heat. There is a principle associated intimately with -it, which has the power of decomposing and of determining the -decomposition of chemical compounds. - -This principle is "Actinism" and is as perfectly distinct in the -nature of its properties from light, as light is from the principle -of heat, with which it is also closely connected. - -Actinism may then be considered as the fundamental principle, on -which photography is based, and its power is exerted in forming the -image on the sensitized plate in the Camera, as well as subsequently -in forming or causing the impression on the sensitized paper exposed -to the light beneath the negative. - -In this connection we have only to consider the [p087] -application of this Actinism through the medium of a combination of -lenses to form an image on a sensitized plate in the Camera. - -It has been shown that when light passes through a prism of glass -its colors are separated; this separation is caused by the unequal -refrangibility of the different colored rays, the violet being the -most and the red the least refrangible of the seven rays. - -A ray of light passing through a vacuum progresses in a perfectly -straight line, but all matter, however attenuated it may be, has the -property of refracting or bending the ray of light. - -The refractive power of some substances is immense, while that of -others is very trifling. The mode of the refraction depends on the -comparative density or rarity of the respective media. If the medium -which the rays enter be denser, they move through it in a direction -nearer to the perpendicular drawn to its surface; on the contrary, -when light passes out of a denser into a rarer medium, it moves in a -direction farther from the perpendicular. This refraction is greater -or less, that is the rays are more or less bent or turned from their -straight course, as the second medium through which they pass is -more or less dense than the first. - -We next study the utilization of this power of refraction in the -manufacture of lenses to overcome the unequal refrangibility of the -colored rays of light. - -A lens for use in photography is made of glass as pure and as -colorless as can be procured, and is ground into such a form as to -collect or disperse the rays of light which pass through it. Lenses -are of different shapes, and thence receive different names. [p088] - -[Illustration: FIG. 2 E. 1. Double convex. 2. Plano-convex. 3. -Concavo-convex. 4. Double concave. 5. Plano-concave. 6. Meniscus.] - -The figures 1 to 6 represent sections of the variously shaped lenses -which are combined for use in photography. - -The design in forming lenses is to procure a medium through which -the rays of light from any object may pass and converge to a -corresponding point beyond; the manner in which the rays proceed -through the lens, and then centre in a focal point, will depend on -the form of the lens, its capacity for refraction and the distance -of the object. - -The double convex lens may be viewed as a portion cut out of the -side of a sphere. Here, as in all cases of convexity, the focus of -the parallel rays passing through the lens is at the centre of the -sphere. (See fig. 3.) - -[Illustration: FIG. 3.] - -A plano-convex has only half of the refractive power of the double -convex; the parallel rays, falling on the convex side of the lens, -would converge at the distance of the whole diameter of the sphere. -Thus the focal point at which the rays of light converge is always -regulated by the degree of curvature of the lens. Thus the double -convex lens has the greatest power of converging the rays of light; -the plano-convex has only half the power of the former. Both these -lenses have also the power [p089] of magnifying the image of an -object seen through them in the same proportion. - -The double concave and the plano-concave have the power of -dispersing the rays of light and of diminishing the image of an -object seen through them in the same proportion. - -[Illustration: FIG. 4.] - -The meniscus lens has but a very slightly dispersive power, and the -concavo-convex merely separates the parallel rays to the thickness -of the lens and sends them on parallel as they entered. - -All these lenses, having something of the prism in their shape, have -the power to a greater or lesser extent of decomposing the light -that passes through them. This is called chromatic aberration, -because the colored rays do not all converge to the same focus; thus -the image seen through them is surrounded by a fringe or border of -color. - -Single lenses lack the power of producing a straight image of a -straight object; the image will have the curve of the lens through -which the light passes to form it; a double convex lens will give a -greater curve than a plano-convex. This is called spherical -aberration. - -The main object to be considered in the manufacture of a lens for -photographic purposes is to produce one with the least spherical and -chromatic aberration. - -Spherical aberration is overcome to a great extent by the use (in -connection with the double convex) of a meniscus lens. - -Chromatic aberration is overcome by the use of two glasses of -unequal density in forming one lens; thus [p090] the front lens -of the portrait combination is composed of a double convex of crown -glass and plano-concave or meniscus of flint glass, which two -glasses are sealed together with Canada balsam. - -The forms of lenses which are corrected for chromatic and spherical -aberration will be seen in Fig. 5. - -[Illustration: FIG. 5.] - -These lenses are termed achromatic, and, although each is formed of -two kinds of glass, they are sealed together so as to be practically -one lens. - -Every manufacturer of portrait or view lenses, uses the six forms -shown in the diagram (Fig. 2), in some manner peculiar to himself, -but of the six, four will be found in every combination in general -use, varied in radii, construction and dimension, according to the -use for which they are intended. - -Formerly the photographer's choice of lenses was restricted to two -combinations, the double combination for portraits and the single -for views. There have of late years been invented a great variety of -lenses, among which and in the order of invention, probably are -Petzval's Orthoscopic, Harrison's Globe, Ross's Doublet, Darlot's -Wide Angle and Rectilinear Hemispherical, Steinheil's Aplanatic, -Voightlander's Euryscope, [p091] and greatest of all, Dallmeyer's -Patent Portrait, Wide Angle and Rapid Rectilinear Lenses. - -The combinations of lenses are three, the single, double and triple; -the latter is now no longer in use, or if so, its use is greatly -restricted. The single combinations have greater focal length than -the double, and consequently at the same diameters larger pictures -are obtainable, and they are principally used for landscape or view -work. - -The double combinations, so called from having a second pair of -lenses behind the first, which have the effect of shortening the -focus about one-half, whereby the action of the light is -accelerated, and both the spherical and chromatic aberrations more -perfectly corrected, which result in an image more delicate in -definition and more rotund in form, thus peculiarly qualifying them -as portrait lenses. - -In the selection of lenses for studio or view work, the intending -purchaser, if desirous and pecuniarily able to avail himself of the -best, will naturally inquire what make of lenses is the most widely -known and used, and it will not take much time to procure a -satisfactory answer to the question. - -It has been conceded now for some years, both in Europe and in -America, that the lenses manufactured by J. H. Dallmeyer, of London, -England, are superior to all others, not only for their fitness for -the work for which they are specially constructed, but for their -adaptability to work beyond anything claimed for them by the maker, -and also for a certain undefinable and aesthetic quality inherent in -the negative made by these lenses. - -The fact that there is not in the wide world a photographic [p092] -establishment of any note that does not possess one or more of -these lenses is strong evidence of their superiority. In the quality -of the glass used, in the perfection of finish and adjustment, in -softness, crispness and depth, in rapidity, illumination and every -quality that recommends a lens, the Dallmeyer lenses are unrivalled. - -The portrait combination now in general use, was first constructed -from calculations made by Professor Petzval, of Vienna. Its optical -components are, a front crown lens of unequal convex curves to which -is cemented a double flint lens of unequal concave curves. The back -combination is a crown lens of unequal convex curves and a -concavo-convex flint lens at a little space from it. (See Fig. 6.) - -[Illustration: FIG. 6.] - -For more than a quarter of a century this form of lens had been used -without material change in its construction, until Mr. Thos. Ross, -by a modification of the curves, succeeded in flattening the field -and increased its rapidity by shortening the focus, but left it with -the peculiar shallowness of focal depth, especially in the larger -sizes, which has been the torment of photographers to this time. - -Mr. Dallmeyer was the first to improve upon the [p093] original -portrait combination, and in his new Patent Portrait Lens he has -most ingeniously obtained a diffusion of focus at the will of the -operator. By a quarter or half turn of the cell of the back -combination the focus is diffused, giving an agreeable softness in -place of the shallow plane of excessive and wiry definition so -familiar to the photographer. - -[Illustration: FIG. 7.] - -The diagram, Fig. 7, shows a section of Mr. Dallmeyer's New Portrait -Lens. There are two actinic combinations, of which the front -resembles the Petzval lens; the back combination differs as regards -the ratio of radii of the lenses used, the crown being a deep -meniscus and the flint a deep concavo-convex, with their adjacent -surfaces dissimilar; their positions also are reversed, the -concavo-convex of flint occupies the external position, instead of -as in the Petzval, and this lens being mounted in a cell capable of -being unscrewed supplies the means of regulating the spherical -aberration of the system at will. The lower portion of the diagram -[p094] exhibits a plan of the mount of the back flint glass lens; -this cell admits of being unscrewed, one or more parts of -revolutions of the screw indicated by an index and divisions; with -this back lens screwed home this combination has all the good -qualities of the old form of portrait lens, but with a flatter field -and wider illumination. - -There are three distinct classes of portrait lenses. The first are -lenses of large diameter and aperture compared with their short -focal length. In this class the greatest rapidity is obtained at the -sacrifice of flatness of field. Of this class are the B and C lenses -of Dallmeyer. - -The second class are lenses of equal diameter and aperture with -those just described; but with about double their focal length, and -therefore less rapid, but with more field and wider illumination; of -this class are the A series. - -In the third class are long focus lenses, which, at three inches -diameter have fifteen inches focal length; with the result of a -larger and flatter field; they are, however, necessarily slow, but -well calculated for out-door views, groups and copying. Of this -class are the D series, which, since the introduction of the rapid -dry plate, have become available for ordinary portrait work in the -studio. - -[Illustration: Fig. 8.] - -Fig. 8 represents the Dallmeyer Wide Angle Rectilinear Lens. It -consists of two cemented combinations, [p095] each composed of a -deep meniscus crown and a deep concavo-convex flint glass lens; -between the two, dividing the space in the proportion of their -respective diameters, is placed a revolving diaphragm, the largest -aperture of which is f/15; the position of the stop being nearer the -back combination avoids the central spot or flare. - -This lens embraces an angle of 90 to 100 degrees; it is quite free -from distortion, and particularly adaptable for taking views in -confined situations, such as interiors, views in narrow streets, &c. -Being a double combination its work is more finished and round than -that by the single lens. - -[Illustration: FIG. 9.] - -[Illustration: FIG. 10.] - -Probably the two greatest rivals to the Dallmeyer Wide Angle Lens -are the Actinic Doublet of Ross (Fig. 9), and the Steinheil -Aplanatic (Fig. 10). The Ross Doublet consists of a crossed crown -lens, cemented to its correcting flint lens, which is a crossed -concave, the whole forming a deep meniscus the focus of which is -equal to the back combination or about double that of the equivalent -focus of the complete instrument, the posterior meniscus combination -consists of a meniscus crown lens cemented to a concavo-convex flint -lens. The two combinations are mounted rigidly with a rotating disk -of [p096] diaphragms or stops placed midway between the lenses. - -The Steinheil consists of a front and back corrected combination of -precisely the same shape, mounted rigidly and having a rotating disk -of apertures placed midway between the lenses. - -These are three distinct types of view lenses of wide angle, and a -comparison of the diagrams will show the wide difference in the -construction of the two latter from the Dallmeyer; and while they -stand unrivaled for the perfection and beauty of their work, which -is about equal, the Dallmeyer obtains a great advantage over the -others in the thinness of its lenses, which enables it to work with -greater rapidity, and indeed it has been used with great success -with the drop-shutter for photographing moving objects and other -similar out-door work. - -[Illustration: FIG. 11.] - -While the possession of a wide angle lens is indispensable in the -varied selection of out-door subjects, yet for many purposes it has -been found they are unsuitable; and to meet this want Mr. Dallmeyer -has constructed a modification of the wide angle, which he calls -Rapid rectilinear. Its construction is shown in Fig. 11. The lenses -of the front and back combination have the same general form as -those of the wide angle, but they are of smaller diameter, being -constructed for angles of 60 to 70 degrees only. It is four times as -rapid, and is in fact an aplanatic and symmetrical lens, and may be -regarded [p097] as the most perfect lens extant. As it admits of -the use of a larger aperture it is well adapted for interiors, where -there is space for its use, and for almost every purpose of out-door -photography, requiring short exposure and no greater angle. - -The use of this lens has been greatly extended since the -introduction of the rapid dry plate, which admits of its employment -as a portrait lens in the studio, and in fact it has become a very -popular instrument for portrait work, especially for the larger and -life sizes, so that there is a strong probability that before many -years the Rapid rectilinear and the D series of lenses of Dallmeyer -will be the most useful and the most profitable lenses for portrait -work in the studio that have ever been constructed, unless the near -future shall give us something not now thought possible in optics. - -Dallmeyer lenses are sold only by E. & H. T. Anthony & Co., who are -the agents in this country, and as these lenses are quite expensive, -and are indeed beyond the means of many, the Messrs. Anthony keep -other and cheaper lenses, which are good of their kind, both for -portrait and for out-door work, among which are the E A lenses for -portraits, and the Platyscope and other lenses for views, etc. - -To those desiring advice on the choice of a lens, this much may be -said. If it is intended to procure a Dallmeyer, it is only necessary -to know the limit in size of the work to be done. If in portraiture, -you select a lens that will cover the size of plate you intend to -use. If in landscape, or architectural work, or copying, consult the -catalogue and order the lens that meets the requirements of the -case. There is said to [p098] be no difference in these lenses; -that is, all lenses of the same series and size are exactly alike, -the glass is of the same density, ground to the same curve, and -polished to the same degree of fineness, so that each one is as good -and no better than any of the others of the same kind and size. It -is the same with the view lenses; one may order with confidence, and -not be disappointed by receiving an inferior lens, while expecting -the best in the world. - -It is not so, however, with any other make of lenses; at least I -have never heard such a claim made on the part of any other maker, -hence for the selection of a lens by any other maker, some thought -and experiment are justifiable and even necessary. Under such -circumstances, the following method of testing a lens will be found -useful. - -When of several lenses of the same size it is desired to select the -best, attach one to a camera box and focus it on some long object -placed parallel with the axis of the lens; adjust the focus so that -the part of the object nearest the lens shall be in focus, but near -that point where it would begin to lose sharp definition. Mark the -position of the carriage on the rail, then turn the focus forward so -that the same point will be as near the other extremity of sharp -definition, then mark the position of the carriage on the rail and -note the distance between the two marks, which will indicate the -depth of sharp focus. Now stretch a line across the room and focus -the instrument on the centre of the line, and note to what distance -on each side of the centre sharp definition extends; this will -indicate the flatness of the field. Try all the lenses in the same -manner, and secure the one that has the greatest [p099] depth of -focus and the greatest extent of sharp definition on the horizontal -line. - -Expensive lenses should be treated with much carefulness. They -should be kept free from dust and dampness, and should never be -cleaned or rubbed with cloth or the handkerchief; nothing but fine -chamois should be used to clean a lens, the fine polish of which -(one important factor in its usefulness and value) is so easily -injured by abrading its surface with anything of a fibrous or gritty -nature. - -The lens should always be covered when the day's work is done and -while the studio is being cleaned up, to exclude dust, etc., from -the glasses. - -Examine the lens every morning to see if the glasses are at all -dimmed by damp or dust, and if so, use the chamois. You must not -expect good work from lenses whose surfaces are in any way dimmed. - -Study your lens with care, and learn all its good and weak points, -and so enable yourself to take every advantage of instrument, light -and pose in making a sitting. - - -CAMERA BOXES. - -The camera box and lens in the hands of the competent photographer -are what the brush and colors may be in the hands of the portrait -painter. They are the means whereby he produces his portrait and -stamps his individuality upon his work. Therefore, when we look back -and consider the rude implements the pioneers in our art had to work -with, we are often surprised that the work they produced was so -really respectable in point of finish and excellence as it was. - -Starting from a cigar box and a burning glass, not 50 years ago, the -progress made, as represented by [p100] the instruments in use at -this day, would seem to be fully equal to the advance from Fox -Talbot's paper negative to that made on the Gelatine Dry plate. - -As late as 25 years ago the box in general use consisted of two -sections of square wooden tube, one sliding inside the other, in -telescopic style; to the front of the smaller section was attached -the lens, and the focusing glass fitted into a groove in the rear of -the larger section. The lens afforded the means of adjusting the -focus in its rack and pinion movement, and the ground glass had to -be removed from its groove before the plate holder could be put in -place. - -This rude apparatus was considered in its time to be a very -ingenious construction, but if the shades of Morse and Draper could -contemplate the objects of art that have supplanted the rude -constructions they were so familiar with and knew so well how to -use, they might well wish themselves back among the living for the -pleasure of working with one of the latest camera boxes. - -The cameras of the present time seem constructed to meet every -requirement of the most exacting intelligence. They are light, yet -firm and durable, they are rigid as wood and metal can make them, -and yet they are fitted to focus sharply all positions of the human -form. They are complicated, yet extraordinarily convenient, and they -are made in forms and sizes adapted to every possible use or demand. - -There are four principal varieties of camera boxes in general use, -viz: - -The camera for positives, which includes the multiplier. The camera -for negatives, wet or dry, for portraiture. The camera for copying, -and the camera for [p101] viewing and out-door work; descriptive -accounts of the several varieties will be given under their -appropriate heads. - - -THE CAMERA BOX FOR POSITIVES AND THE MULTIPLIER. - -These boxes are usually made for use with four or more lenses in a -block, by which at one exposure as many pictures are made as there -are lenses. - -The size represented by Figs. 1 and 2 is usually employed for work -in tents or portable houses, on fairgrounds and places of resort at -the seaside and elsewhere during the summer season. - -Fig. 1 shows the front, with the method of attaching the four -lenses, which are of the 1/4 size, and they make four pictures on a -5x7 plate. - -[Illustration: FIG. 1. CLIMAX.] - -Fig. 2 shows the back of the same box with the ground glass -reversed, and the plateholder partly pushed into position; there are -shown also the openings through which the various sizes of pictures -are made. This box can also be used with one lens for making two -cartes de visite or one cabinet on the 5x7 plate. [p102] The same -style may be had with the ground glass hinged to the box. - -[Illustration: FIG. 2. CLIMAX.] - -[Illustration: FIG. 3.] - -This same style of box is made also of larger sizes, to be used with -one or more lenses, of which Fig. 3 represents the size for 8x10, by -which with one lens can be made 4 cartes de visite or 2 cabinets on -8x10 [p103] or 7x10 plates, and with 4 lenses 8 cartes de visite -on the same size plate, or with 9 lenses 18 large gems are made by -two exposures. - -[Illustration: FIG. 4. N CAMERA, REAR VIEW.] - -[Illustration: FIG. 5.] - -For gallery work, however, the Figs. 4 and 5 represent [p104] the -most useful form of multiplying camera, as by their aid everything -that would be called for in a ferrotype gallery can be made. - -With one lens can be made on 8x10 plate: 2 cabinets, 2 cartes de -visite or 1 large picture. With 4 lenses can be made on 8x10 plate -by 2 exposures: 8 cartes de visite, and on 5x7 plates by one -exposure, 4 cartes de visite. - -With 9 1/9 lenses on 7x10 plate can be made with two exposures: 18 -gems; with 4 exposures, 36 gems; and with 8 exposures, 72 gems; on -5x7 plate with 1 exposure, 9; 2 exposures, 18; and with 4 exposures, -36 gems. - -The carriage and plate holder of these boxes move vertically and -horizontally, thus giving the operator the power of making a great -variety of sizes and of using any size of plate from 1/4 upwards to -8x10. On the 1/4 plate can be made with one exposure, 4 1/9 gems; 8 -of the next smaller size by 2 exposures; and 16 of the smallest -size, by 4 exposures, thus bringing into use only 4 of the 9 lenses; -the second size is made by placing the lenses horizontally, also the -openings in the back of the box, the plate also is laid on its side -in the holder. - -These boxes are finished in a variety of styles, plain or -ornamental, and are fitted with holders for negatives as well as the -usual rabbeted holders for ferrotypes, and by their use all the work -of a small establishment might very easily be done, as all the sizes -of ferrotypes are made from 16 gems on 1/4 plate to 72 of the same -size on 7x10 plate, and by one lens everything, positive or -negative, from 1/4 to 8x10 size, are made without difficulty. [p105] - - -THE CAMERA FOR NEGATIVES, WET OR DRY. - -CLIMAX IMPERIAL CAMERAS. - -[Illustration: FIG. 6.] - -For the gallery making no pictures larger than 8x10, the above, -figure 6, represents the camera box that is the best fitted in every -respect. It is light, compact and durable, and it is most accurately -adjusted for cartes de visite, cabinets, 4x4 or 8x10 pictures in -every style, full length, half lengths or heads. It has the double -swing back, with the tangent movement, and is fitted with the -Benster holder, which is represented in the cut. - -This style can be had in every variety of finish, from the plain to -the most ornamented, in mahogany or ebonized wood, with brass -fittings or nickel or silver-plated, as may be most desired. - -For galleries where larger work is called for, figure 7 represents a -box that is made in all the sizes from 11x14 to 25x30, and it is -fitted with an attachment (see Fig. 8 for 8x10 to 1/4 plate), thus -enabling the photographer with one box to fill every order for -pictures, from a card to a life-size portrait. [p106] This box is -fitted with the double swing back, tangent [p107] movement, the -telescope bed, which renders it very compact, and with the Benster -holders. - -[Illustration: FIG. 7.] - -[Illustration: FIG. 8.] - -[Illustration: CLIMAX ROYAL CAMERA.] - -[Illustration: FIG. 10.] [p108] - -[Illustration: THE M SUCCESS WITH TANGENT MOVEMENT. FIG. 11.] - -Figs. 10 and 11 represent varieties of cameras of a highly -ornamental kind. They are made of hard wood, ebonized, and with -nickel-plated fittings. Fig. 10 has the Wright's patent metallic -swing, Fig. 11, the tangent movement. - -The "Benster" Plate-holder (see page 109) is intended to, and will -undoubtedly, supersede the Bonanza holder for wet plate work, as it -is a more perfect silver saver than the Bonanza, while its easy -adjustability to every size of plate places it away ahead of -anything known or in use heretofore. The operator who has ever used -this holder will never consent to go back to any of the old styles -while he can procure the Benster. The plate rests on pure silver -wire, and there is a trough with large bottle [p109] beneath, -into which all the silver waste readily finds its way. As the trough -is raised, the upper ledge descends, so that the centre of the plate -is at all times in the centre of the holder, no matter what size is -used. This obviates the use of inside kits, and adapts itself at -once to _any size of plate_, from the largest the holder will admit -to one not under three inches square. This is unquestionably the -best gallery plate-holder made. By a recent improvement, the -horizontal bars may be instantly fastened for plates of any size, -and there is also an attachment for the vertical adjustment. For -_dry plate studio_ work it is the holder _par excellence_. - -[Illustration: THE "BENSTER" PLATE-HOLDER. FIG. 12.] [p110] - -CAMERA BOXES. - -THE COPYING AND ENLARGING AND REDUCING CAMERA. - -[Illustration: THE COPYING AND ENLARGING AND REDUCING CAMERA. FIG. -13.] - -Copying constitutes a large portion of the business of every -gallery, and a camera for that purpose is almost indispensable, as -the portrait camera is entirely unfitted for a major portion of the -copying work that comes. - -The copying camera requires no swing back, but does require great -length of bellows and bed, which has often to be supplemented by the -cone when a very small picture is to be enlarged to a great size. - -A special form of copying camera is adapted to enlarging and -reducing negatives, and for making transparencies. This form, Fig. -14, can be so arranged as to render it possible to remove the lens -from the position as seen in Fig. 14 to the front, so that the two -[p111] forms, Figs. 13 and 14, might be combined in one for -copying and making transparencies. - -[Illustration: FIG. 14.] - - -THE CAMERA FOR VIEWING AND OUT-DOOR WORK. - -[Illustration: FIG. 15.] - -The Success Camera, for viewing, Figs. 15 and 16, [p112] is an -instrument calculated in every way to meet the requirements of -professional out-door work. It is made in a form to secure the -utmost rigidity and strength with the least weight. The bellows is -conical, the bed is folding, the double swing back is convenient and -easy of adjustment. In front, below the lens, is a small recess, or -closet, in which extra tubes, flanges, screws, screwdriver, etc., -may be safely carried; when folded, its bulk is small and occupies -but little space. From the front to the outside surface of the bed, -as folded, is only six inches, and the weight for 11x14 box, with -ground glass and plate-holder, is only twenty-two pounds. By -referring to the cut, 16, the compactness of this camera may be -realized. - -[Illustration: FIG. 16.] - -From the mode of construction the bed is rendered peculiarly rigid, -and in their attachment and arrangement the brass guides are -protected from injury. In case that, through accident, any part -should get broken, it can readily be replaced without returning the -camera. - -[Illustration: THE NOVEL VIEW CAMERA. FIG. 17. REPRESENTING THE -CAMERA WHILE BEING REVERSED.] - -The Novel View Camera is the latest response to the demand for -something that shall be very light and very convenient. Its -construction is the result of a series of experiments entered into -with a view to obtaining an instrument in the make up [p113] of -which there shall be no unnecessary weight, and combining easy -adjustment with great rigidity. It being absolutely necessary that a -view camera shall permit the use of the plate both horizontally and -vertically, all the older forms of view cameras were built square, -to permit the shifting of the plate, thus adding very much to the -weight of the instrument. In this instrument, however, all that is -possible has been done to reduce the bulk and weight; in doing so -several new [p114] improvements have been adopted. The box itself -is very little larger in outside measurement than the largest plate -it will take, and the double holder is so perfect as to be very -little if any heavier than the glass plates it is intended to -contain. The greatest improvement is the revolving bellows, the -front end of which is fastened in the light frame-work in such a way -that when the back is detached from the bed the whole bellows -revolves, instead of requiring to be unbuttoned, as heretofore, -making a great saving in time. The back is held to the bed by metal -plates having slotted holes, which permit the passage of round -screw-heads, which slide over the slots and thus hold very firmly. -The back may be detached and changed from a vertical position to a -horizontal in so short a space of time as two seconds, by the watch. - -These boxes are made with a double swing, the combination of the two -swings making it possible to avoid all distortion of lines. - -These cameras are made in all sizes from 4x5 to 18x22, and they are -decidedly the camera of the period. The 3 suitable sizes are fitted -with partitions, and extra fronts for stereoscopic work. - -The novel dry plate holders for these cameras are stripped of every -unnecessary bulk and weight; each will contain two plates, except -the sizes above 8x10, which are fitted with a patent shield, each -one of which has two slides working in the end and in the side of -the shield, therefore the slide can be withdrawn from the side of -the shield, no matter in what position the camera is placed. These -shields are single for one dry plate only. All the sizes of Novel -Cameras above 8x10 are made with the ground glass of the same focus -[p115] as for wet plate holders; if desired wet plate holders can -be furnished to order. - - -THE KLAUBER CAMERA. - -A new idea has been perfected and carried out in connection with the -Novel Camera, making it a combination View and Portrait Camera with -the above name. See Cuts 18 and 19. A portrait attachment has been -constructed to fit the back of the larger sizes of the Novel Camera, -which can be attached or detached in a few seconds, thus rendering -it unnecessary that there should be two large and expensive cameras -in one gallery. This is an exceedingly valuable improvement for the -larger sizes in more than one particular. The 18x22 size, with -ground glass and two plate holders, weighs only 50 lbs.; the -measurement of this size outside is 11x22x30-1/4 inches only. - -[Illustration: FIG. 18. KLAUBER CAMERA, VIEW PART ONLY.] [p116] - -[Illustration: FIG. 19.] - -Thus it will be seen that every variety of work in the gallery may -be done with two or at the most three Cameras. - -The Climax Imperial Cameras for work up to 8x10; a Klauber Camera -for portrait and view work from 8x10 to any size desired, together -with a Copying Camera, would make a superb outfit for any gallery. - - -CAMERA STANDS. - -A stand or support for the camera box and lens, by means of which -the box and lens can be raised or lowered or moved about the room -with facility. - -The stand best suited for the purpose is one that is strong, and -heavy enough to be very rigid and firm, but not so heavy as to be -cumbersome and difficult to move. For raising and lowering the -camera, which in some cases is quite heavy, there are several -appliances, such as levers, screws, weights, &c., &c., and [p117] -the different styles of camera stands may be designated by the name -of the mechanical power which is applied for that purpose, viz: - -Lever Stands, Screw Stands, Balance Stands. - - -THE LEVER STAND. - -The Lever Stand, Fig. 20, is one of the oldest forms of camera -stand, and is still used in many establishments. The method of -raising the top may be seen in the cut. There are two levers, one -for each end, by means of which the camera may be inclined upwards -or downwards. The levers are held in place by means of springs which -press a beveled edge steel plate--attached to the levers near the -handles--against a serrated plate of steel, attached vertically -between the handles. (See cut.) - -[Illustration: FIG. 20.] - -This style of camera stand is more used for very large and heavy -cameras than for the smaller kind. They are very firm and rigid, and -exceedingly durable, being made of hard wood, well seasoned, and -they are consequently not at all liable to get out of order; in -fact, a well made stand would last a life-time, if one cared to have -a camera stand last so long. The next style in order is the - - -SCREW STAND, - -which is a very popular stand, and its most popular form is that -called the Knickerbocker Stand, which is made in 4 or more sizes and -has 2 styles of [p118] tops; the top seen in Fig. 21 has the name -of the inventor of the stand and is called the Stoddard Top; the -other, No. 22, is the Acme Top. This form of stand is better adapted -for light camera boxes, and is therefore preferred in small -establishments and tintype galleries to the other styles, which take -up more room and are not so portable. - -[Illustration: THE KNICKERBOCKER STAND. FIG. 21.] [p119] - -[Illustration: FIG. 22. THE ACME TOP.] - - -THE BALANCE STAND. - -This style comprises a greater variety of forms than all the others -combined, it requiring the least exertion to move the box up or -down. The weight of the camera box when placed on the stand top is -counterbalanced by weights which rest upon a shelf attached to -cords, which pass over pulleys and downwards, to be fastened to -uprights which support the top; when properly balanced it requires -only a touch of the hand to raise the box or to lower it. - - -THE BOWDISH STAND. - -[Illustration: FIG. 23.] - -The most popular form of this stand is the Bowdish. See cut 23. The -description will be rendered quite intelligible by observing the -weights which are in the centre, between the three legs, and the -cords which pass over the pulleys to the three supports of the top. -From the peculiar construction of this stand it has the most simple -[p120] means of adjustment; it is raised or lowered by touch, and -a binding screw serves to keep it immovably in position. - -[Illustration: FIG. 24.--THE AUTOMATIC STAND.] - -Another form of this stand is the Automatic, Fig. 24, which is a -later form than the Bowdish, and has several improvements not yet -applied to the latter. It is entirely new in shape and principle; it -is very light and simple. The various changes are made quicker and -easier than with any other stand. A coil spring bears most of the -weight in raising and lowering, and self-acting [p121] stops hold -the centre frame and bind it firmly at any height desired by the -operator, no set-screw being required to make it rigid. It has also -a new and superior device for tilting the top. Another form of this, -very popular stand is the Gem City Stand, see Fig. 25, [p122] -which in some respects is even better than the Automatic; beside the -weight balancing the camera box it has a crank in common with the -Automatic for raising and lowering. It also has a very convenient -arrangement for copying, which is an extension which moves under the -top of the stand and holds an upright support for the picture to be -copied; this is a very convenient arrangement for galleries where -there is not enough copying done to require a special copying box. - -[Illustration: FIG. 25.--THE GEM CITY STAND.] - -[Illustration: FIG. 26.--THE HANDY CAMERA STAND.] - -There is another form of stand in use, in which the balancing weight -is replaced by a crank and pulley; of this kind is the Handy Camera -Stand. - -Of this style there is another form that has advantages of its own, -which would seem to render it peculiarly a useful and appropriate -stand for light boxes; it is the Magic Camera Stand. [p123] - -[Illustration: FIG. 27.--MAGIC CAMERA STAND.] - -[Illustration: FIG. 28.--IRON CENTRE STAND.] - -All these various styles of stands are made in sizes to suit cameras -from 8x10 to 25x30. - -Fig. 28 represents a style of stand which does not classify, but -which is a useful stand in a portable gallery or tent. [p124] - - -THE PNEUMATIC SHUTTER FOR THE CAMERA. - -This device for making exposures in the photographic studio has -proved to be so useful and popular as to have secured almost general -recognition and adoption among the photographers of America. - -The possibility of making exposures in the studio, unknown to the -subject, placed a very decided advantage in the hands of the -operator, who, standing at any point, could watch the expression of -the subject and seize the right moment to secure the impression -desired; so that the pneumatic shutter seemed to be the proper -complement to the lightning dry plate. - -There is a great variety of these shutters exhibited and for sale, -and the number continually increases. - -The earliest example of this style of shutter that we know of is the -Cadett, an English invention, which, in its introduction into this -country, served as a stimulus to the inventive genius of Americans, -and, as a consequence, we have the great variety that now may be -selected from. An effort was made to apply electricity to use in -working a shutter, but it did not succeed, and so the rubber tube -and bulb became the accepted means for applying the force necessary -to open and shut the slides or doors constituting the shutter. - -An attempt has been made to apply a time regulator to the pneumatic -exposer that shall keep the lens uncovered for a period of time at -the will of the operator, which shall be regulated by an index -pointing at a figure representing a definite period of time. By -turning the index to any figure, from 1 to 20 or more, representing -seconds, the shutter is held open for that time, and then closes -automatically. This shutter is opened, in the first instance, by -pressure upon a bulb, [p125] in the same manner as any of the -pneumatic devices. We may enumerate, among the various shutters, -those giving the most satisfaction in use, - - -CADETT'S PATENT PNEUMATIC PHOTOGRAPHIC SHUTTER. - -It has often been remarked by eminent photographers that the -arrangement is a most useful one which enables persons to be -photographed without being aware of it. The efforts in this -direction necessitated the operator being close to the camera; here -we have an instrument which permits him to be at any part of the -studio he pleases. - -[Illustration: TN: Cadett's Pneumatic Shutter.] - -Many have experienced the difficulty of taking children's portraits -with the proper amount of profile; with the above device all -difficulty vanishes--the operator may be by the side of the child -and attract its attention to any direction, and he has the means of -exposing and capping the lens with far greater rapidity than with -the usual method. - -DIRECTIONS.--After the day's work is done the rubber tubing should -be taken off the instrument; this will prevent a partial vacuum in -the bellows and tube, which would otherwise ultimately occur. These -instruments are now constructed for application either inside or -[p126] outside the camera. Its use is very simple--squeeze the -ball end of the tube and the shutter opens. - -This instrument no sooner made its appearance than Yankee ingenuity -set to work to improve on it, or at least to produce something -similar that might not infringe on the patent. - -[Illustration: TN: Using the Pneumatic Shutter to Photograph a -Child.] - -The first effort was to bring electricity into use to move a shutter -inside the camera box, and a very good device was perfected and sold -to numbers who were convinced of the usefulness of the idea, but -were unwilling to pay the price demanded for the English instrument. -This electrical apparatus, however, soon played out, and few -operators had the time or knowledge necessary to keep the battery in -order; and in many instances after the sittings had been made it was -found, on attempting to develop the plate, that no exposure had -taken place, hence these electrical shutters were soon relegated to -the limbo of played-out photographic apparatus, of which every -gallery of any standing has one. [p127] - -[Illustration: THE "ECLIPSE" INSTANTANEOUS SHUTTER.] - -For simplicity of construction and operation, for reliability and -good results obtained with it, the "Eclipse" Shutter has gained an -enviable reputation. It is safe to say that no shutter is better or -more favorably known. - -The "Eclipse" is made wholly of metal, and is finely finished. It -attaches over hood of lens by a velvet-lined collar, and has a clamp -to securely hold it in place. It is made in five standard sizes, -collars for hoods of lenses being attached to a shutter of the most -suitable size. - -When the shutter is in a locked position ready for an exposure, the -right-hand leaf of fly covers the aperture of lens. When released, -the fly revolves, uncovering the aperture, which is again covered by -the left-hand leaf. - -When the shutter is in the position shown in cut, less illumination -is given to the foreground; but by [p128] adjusting the shutter -in different positions any part of the view may be favored. - -The hair trigger release may be operated either by hand, by a cord, -or by a pneumatic device. The pneumatic apparatus costs $1.00 extra. - -The speed of the shutter is perfectly controlled by moving the -spring on back of shutter from notch to notch on the curved arm. - -[Illustration: PROSCH'S "DUPLEX" PHOTOGRAPHIC SHUTTER. - FOR TIMED OR INSTANTANEOUS WORK. PERFECT IN BOTH.] - -With this shutter, the latest production of the inventor of the very -popular "Eclipse" shutter, exposures can be made of any desired -duration. It is equal [p129] to any requirement for the most -rapid work, and as a time shutter, exposures can be made as quick as -two pulsations can be given to air bulb (about one-tenth of a -second) or of minutes' duration. - -"Duplex" Shutters work perfectly, with even the very largest lenses, -up to their full capacity; and several lenses can be used with the -same shutter. The shutter gives a full opening; but yet, by the -peculiar opening in the exposure slides, any part of the picture can -be favored with more or less illumination by turning the shutter, -sometimes even inverting it. - -The illustration gives a front view of the shutter, one-half size of -No. 2, which is suitable for an 8x10 lens, or even larger, as it has -an opening at the diaphragm of 1-1/8 inches. - -Inclosed in metal casing are two pivoted slides, which move, in -unison, in opposite directions, and make the exposure in one -continuous movement without the slightest jar, even when worked at -its greatest rapidity. The motive spring is on the back of the -shutter, and is of coiled wire; a perfectly reliable spring. Its -tension is regulated by moving it along a series of notches. The -exposure slides are moved by a stud on the lever shown on front, -which passes through the shutter and a slot in each slide, and -engages with the spring on the back. On the end of the lever are two -notches hidden by the secondary lever. When the lever is fully -depressed, the release catches in the upper notch and locks the -slides closed. A slight pressure on the air bulb or a trip to the -projecting end of the release, frees the slides, and they make an -instantaneous movement or exposure. If the secondary lever has been -brought into play, by a turn or [p130] two of a milled-head nut, -the release will catch in the second or lower notch and hold the -slides at a full opening, in which position they remain until a -second pressure is given to the bulb, or the release is tripped by -hand. - -The shutters are made in standard sizes, having narrow threaded -collars on each side, to which can be adapted tubes to receive -lenses, which are to be transferred from regular lens tubes. Any -intelligent instrument maker or machinist can adapt such tubes to -lenses; the original tube is not used. - - -HEAD-RESTS. - -It might have been thought that the rapid dry plate, by shortening -the time of exposure so much, would have done away with the -necessity for using head-rests; and many old photographers whose -backs have often ached from handling the "Wilson," the "Spencer" and -other enormously heavy head-rests, thanked their stars that a time -of relief seemed to be at hand. But not so. The head-rest is just as -necessary as ever, and the heavy ones are as advantageous now as -before. The most important use of the head-rest is to keep the head -in the position required. That the head should be immovable is -necessary during the time of exposure. Many people are quite able to -keep still enough for photographic purposes without a rest for the -head, but very few are able to keep the head in the position desired -by the operator without some assistance; hence the necessity for the -use of the head-rest for even the shortest exposure. One benefit, -however, has been derived from the advent of short exposures; there -seems no necessity for the use of the extremely heavy varieties. -[p131] The lighter rests would seem to be capable of fulfilling -all the requirements of a head-rest. - -[Illustration: SUCCESS HEAD-REST] - -[Illustration: CENTENNIAL HEAD-REST.] - -The Success head-rest is one variety of the lighter kinds, of which -another is the Centennial. These are very useful in the studio, more -particularly in posing a group, when it is necessary to have a -head-rest for each one of the party; they are also sufficiently -rigid for single sitters. They are in all sizes, short for children -and long for adults, and if any part should be broken or get out of -order duplicates can be had at trifling expense. [p132] - -[Illustration: THE RIGID HEAD-REST.] - -[Illustration: SPENCER HEAD-REST.] - -The Rigid head-rest is of a heavier kind, and is a favorite with -many who prefer a medium weight. It sets firmly on its base and can -be quickly and easily adjusted to either sitting or standing -figures. - -The Spencer head-rests are examples of the heavier kind; they are -very firm and rigid, and heavy enough to suit the most exacting -gymnast or athlete. There are many other varieties of the light, -medium and heavy kinds, but the cuts show the best of the various -weights, and a selection can be made from these without fear or -hesitation. - -A gallery should have half a dozen head-rests at [p133] least, -and while the majority should be of the lighter, there should be a -sample of the medium and heavier, kinds, so that no important aid to -good work should be lacking. - - -POSING CHAIRS. - -Much attention has been bestowed upon the posing chair since 1865, -when Sarony introduced into the country the posing apparatus which -first brought his name permanently before the American photographers -and the public. - -The Sarony posing chair, table, rest, etc., has, however, passed, -and remains among the things that were, and many other styles of -chair since have had their brief day and are gone. - -[Illustration: THE BOWDISH CHAIR.] [p134] - -Among those that still remain in use this continues to be popular, -and indeed it is a very useful and elegant article of furniture for -the studio; and from the ease with which it can be converted from a -high back chair for standing figures, to a posing chair for sitters, -it will probably continue to be, as it always has been, the most -useful accessory in the photographic studio. - -[Illustration: THE BOWDISH CHAIR WITH REVOLVING CIRCULAR ARM.] - -These chairs are so pre-eminently superior in all desirable -qualities that it is only necessary that their perfection of -manufacture and ingenious plan of construction be seen to be -commended by every one. Made of solid walnut, secured by means of a -patented iron frame, they unite unusual strength with graceful -outline and richness of effect. The quality of materials used, also, -has always been of the best; and the constant aim is to make them -excel in each and every [p135] particular. They have no uncertain -joints, no clumsy and unsightly proportions, no "fixings" to become -detached or render the chair useless when broken. They are better -adapted to the varied requirements of a modern photographic -gallery--better suited to the prevailing styles of portraiture, and -more in consonance with modern studio accessories. - -[Illustration: THE BOWDISH CHAIR WITH SOFA ATTACHMENT.] - -In short, the Bowdish chair combines the advantages and uses of all -the various chairs in market, comprising-- - -_First._--A chair with high back, with or without arms. - -_Second._--A chair with a revolving circular arm. This is an -advantage over the ordinary chair with circular arm, which has only -the vertical movement. - -_Third._--A lounge attachment, which is invaluable for infants and -children. [p136] - -[Illustration: THE NEW PATENT NOVEL CHAIR.] - -For sitting positions, vignettes, etc., the Novel chair is the best -out for low bust and vignette pictures. The back is peculiarly well -adapted; it gives support without the back becoming conspicuous in -the picture. This chair is a valuable piece of furniture for any -gallery, and many prefer it to the old-established favorite Anthony' -Position Chair, which has been for many years the useful chair of -the studio. [p137] - -[Illustration: ANTHONY'S POSITION CHAIR.] - -[Illustration: ANTHONY'S SLIDING-BACK POSITION CHAIR] - -ANTHONY'S SLIDING-BACK POSITION CHAIR has been found to be just the -thing for many positions, [p138] such as half lengths, full -lengths and even sittings, and also for babies, as the back and arms -are movable. - -For some years past the little folks, babies and infants, have -become a large part of the most profitable clientage of the photo -studio, and much attention has been bestowed on the furniture and -accessories suitable for them and their pictures. Among such, the -QUEEN ANNE CHILD'S LOUNGE is a novelty itself, indispensable to any -photographic studio; the opening between seat and back is an -advantage for posing children. (Also made with hole in centre of the -high back.) - -[Illustration: QUEEN ANNE CHILD'S LOUNGE] - -These two forms of lounge are very useful and popular, having been -adopted in many studios doing a large business with the little -folks. - -An extra cushion is now made for the Child's chair. This, placed in -a semicircle under the knees, ensures the favorite pose of babyhood. - -Two forms of chairs for babies are very popular with the average -photographer, being neat in design and finely finished, greatly -adding to the effect of a good photograph of a pretty baby. [p139] - -[Illustration: THE BABY CHAIR.] - -The Baby Holder is not a chair, but a holder, and can be placed in -any chair or on a table, It can be adjusted to any angle, to hold -the baby securely in position. - -These baby lounges and chairs should be raised on a platform, when -in use. The platform should be from 6 to 12 inches high and on -large, easy casters, so that it can be easily moved about the room. -Such a platform is a great convenience for all sitters, the subject -can so readily be moved without being put to the inconvenience of -rising from the seat. With these chairs certain little cushions for -the back and seat are very useful, and are supplied when required. -[p140] - - - - -PART SECOND. - - -FIELD PHOTOGRAPHY. - -That the thousands who formerly practiced photography in the fields, -as an amusement and recreation, took great delight in it and found -it to be an extremely fascinating pursuit, there can be no denial. -When we think of the difficulties that were continually being -encountered, and the trials of patience and temper that had to be -submitted to--to say nothing of the disagreeable nature of the many -solutions that were necessary, the stains on the hands and clothing -incidental to the use of nitrate of silver and the solution of iron, -and the heavy and bulky nature of the apparatus--we are constrained -to believe that the rewards must have been more than commensurate to -the fatigue incurred, to the disappointment occasioned by frequent -failures, and to the dislike of dirty hands and stained and spoiled -clothing. - -[Illustration: AMATEUR APPARATUS. - Apparatus set up, consisting of camera box, lens, carrying case and - tripod.] - -Now, however, by the introduction of the new process of dry plate -work, all that was disagreeable has been done away with. The -collodion, the silver-bath, the developer and fixing solutions--as -things to be carried with you--are now of the past, and even the -glass plates will soon be known no more as impedimenta to the -amateur. In place of the heavy Camera and [p141] plate-holders, -we have now feather-weight constructions, that are no more a burden, -but rather, ornamental objects, the possession of which and their -use is more of a pleasure than otherwise. It is not surprising, -then, that in view of these wonderful changes, the thousands who -formerly practiced photography for amusement have increased to tens -of thousands. And the dry plate equipment for viewing has become a -part of the impedimenta of the summer tourist, as well when he or -she travels by land as when they voyage by sea. The bicyclist, too, -goes out with a Camera, that may be attached to his wheel, and makes -instantaneous views as he spins along the road, or dismounts and -takes in some beautiful bit of scenery. - -The boys, and also the girls, have seized upon this fascinating -pursuit, and the gardens and conservatories have been converted into -studios, where every member of the family, including the baby and -the pet animals, have been posed, and their pictures bear witness to -the triumph and delight of the young artists. Amateur photographers, -male and female, may be found during the season at the summer -resorts by the sea or at the breezy mountain house; wherever the -well-to-do citizen takes his family for rest and recreation during -the "dog days," there will the tripod be set up and the Camera will -record the topography of the vicinity. - -For every one of these thousands of amateurs there [p142] is -something to learn before he or she can succeed in producing a -picture; to know how to make a photograph never comes by intuition, -but must be acquired by study and practical experiment. This need -not be prolonged or difficult, and the purpose of these pages is to -afford the beginners that instruction, which will enable them to -surmount the difficulties of a new and untried pursuit; to open up -to them the knowledge that will enable them to bring the little dry -plate and the quantum of pyro together, so that they may tell a -story, the constantly varying changes of which will afford ever -renewing delight, a pleasure gained without undue fatigue and never -followed by regret or pain. One little gem of a negative or -transparency will afford the maker more real pleasure, than many a -costlier amusement. - -[Illustration: TN: Outdoor Scene with Amateur Photographer, Dog and -Children.] - - -THE AMATEUR OUTFIT. - -The number and variety of outfits manufactured for the use of -amateurs are so great that the question of selection becomes one of -more than ordinary interest and importance. Indeed, this fact is -impressed upon the mind and fully established when one undertakes -[p143] to inspect and examine the variety exhibited by one house -alone, but when one has seen the stock of all the different large -concerns and has examined the bewildering variety, he becomes aware -of the immensity of the demand that has brought into existence such -an enormous supply; for here, beside the toy outfit for the child of -ten or twelve years, he will see the perfect equipment for the -professional photographer, and every possible grade between, in -every style of finish and ornamentation, and all supplied with so -many appliances for easy handling and accurate adjustment as to -astonish one at the amount of skill and ingenuity exhibited by the -makers. - -It is not the intention of the writer of these pages to describe -this great variety of apparatus; having himself used with success -and pleasure the instruments of the great house of E. & H. T. -Anthony & Co., he will merely point out some of the advantages of -and the valuable improvements lately added to their amateur -photographic equipments. - -The amateur preparing for the field will find it necessary to -provide himself first with the apparatus necessary to the making of -negatives; these articles constitute the viewing outfit. Having made -himself familiar with the use of the camera and lens, he may next -provide himself with the chemical constituents of the developer and -proceed to develop his own plates. These chemicals and the necessary -dishes, etc., constitute the developing outfit. - -It is recommended that the beginner confine himself at first to the -preliminary of selecting his views and making the exposures, taking -his plates to some photographic establishment to be developed, where -he [p144] may learn as to the correctness of exposure, and -receive such information in connection therewith as may be of -benefit afterwards. - -Having made himself somewhat proficient in exposing, he may then -take up the development and enjoy the true delight of the amateur in -witnessing the growing of the picture upon his developing plate. - -With this end in view, then, we will proceed to consider, describe -and explain the apparatus of an outfit, the construction thereof, -and how to use the same. - - -THE VIEWING OUTFIT CONSISTS OF: - - Sensitive dry plates and - Plate holders or shields, - The Camera box, - The view lens, - The tripod or Camera stand, - The instantaneous shutter, - The focussing cloth, and a - Carrying box to contain the whole. - -It is necessary that the beginner should receive some instruction in -the use of each of these articles, and for that purpose we will -consider them in the order above given. - - -DRY PLATES. - -The manufacture of dry plates has now reached such a state of -perfection that the purchaser may procure them of every grade of -sensitiveness, each of the several grades of a perfect uniformity -and all of them very free from imperfections and blemishes. And also -the prices have been so reduced of late that the incentive to -manufacture on the part of individuals for their own use is almost -entirely lacking. However, there may be found [p145] a certain -interest and fascination in preparing plates for one's own use, -which would prompt some to incur the outlay and trouble incidental -to such a course, and for those full instructions and formulae may be -found in the first part of this book. - -It will, however, be found, after due trial, that for work of -importance, and where certainty of results is desired, it will be -better to procure the plates of some maker of established -reputation, and of such a grade of sensitiveness as will be most -suitable for the work in hand. - -Certain makers of dry plates use the Sensitometer to ascertain the -degree of rapidity of each and every emulsion produced in their -works. The ascertained degree of rapidity is indicated on each box -of plates by the Sensitometer number--the higher the number, the -more sensitive the plate. The highest numbers attained up to this -time are from 20 to 25, and these numbers would indicate a very high -degree of sensitiveness, such as render plates of 23 to 25 quite -suitable for work requiring the shortest possible, in fact, -instantaneous, exposures, such as bodies in motion across the plane -of focus. Views of still life are better made with plates of a -lesser degree of rapidity. - -The handling of dry plates of such extreme rapidity requires great -care. The boxes should never be opened, even the outer wrappings -should not be removed, except in the darkened room and by such a -light as that produced by Carbutt's dry plate lantern or some -similar device. When plates are taken from the boxes for the purpose -of fitting the holders, they will be found to have one clear, smooth -and shining surface. This is the back of the plate and is clear [p146] -glass; the other surface is of the same color, but of a mat or -dead color, not reflecting so much light. This is the sensitive -surface, and before being placed in the holder or shield it should -be brushed with a soft, flat camel's hair blender, to remove any -dust that may be attached to the surface. This brush should be used -for no other purpose; and should be used without pressure, merely -touching the surface of the plate. The plate may then be put in the -plate carrier of the shield, with the sensitive surface outward, and -when the carrier is run into its place in the holder, the sensitive -surface is next the slide or door. It is of some importance that -attention should be given to this manipulation, as it not -unfrequently occurs that the wrong side of the plate is turned -outward and the image, when the plate is exposed, is made through -the glass and against the back of the film, and is reversed and thus -rendered worthless, even should a good impression have been secured. - -The holders or shields for dry plates for out-door work are -always--except in the largest sizes--made double, each holder -containing two plates. - -[Illustration: ANTHONY'S PATENT PERFECT DOUBLE DRY PLATE HOLDERS OR -SHIELDS.] [p147] - -The diagram exhibits the plate holder, 3, with the plate carrier, 1, -partly drawn out; the slide or door corresponding to 2 is withdrawn -to show the interior of the holder, 3, and the spring that presses -the plate into focus, when pushed into the carrier, 1. This carrier -presents the same appearance on the other side and will hold two -plates. When filled with plates, it is pushed into its place in the -holder, 3, and the brass loops or fasteners, 4, are pressed down -flat, thus securely holding it in place. When the holder is put in -place at the back of the Camera the slide, 2, next the box, is -pulled out quickly and in a perfectly level position, so that the -spring shut-off may close instantly and permit no light to enter the -opening. The lens must be covered before the slide is pulled out. -The exposure is then made and the slide is returned to its place in -the same manner, carefully observing that one corner is not entered -first, but the end must be inserted into the groove squarely and -pushed quickly home. If another exposure is to be made immediately, -the holder is removed and the opposite side placed next the box, and -the same process is repeated, covering the lens, removing the slide, -make the exposure by removing the cover of the lens and replacing -it, then return the slide to its place. When a second exposure is -not made at once, with a pencil or in some other manner mark the -side that has been exposed, to prevent any mistake. When both plates -are exposed, return the holder to the carrying case and take the -next, if you carry more than one. Usually a half dozen holders are -carried, which gives command of one dozen plates, which should be -quite enough for one outing. [p148] - -Having exposed the plates, the holders are returned to the carrying -case, and should not be removed therefrom until they are taken into -the dark room for development, when, by the aid of some safe light, -they may be removed from the holders, one at a time, and developed, -or all taken out and put into a negative box, to be ready for -development when convenient. - - -THE VIEW CAMERA FOR AMATEURS. - -In an article on Cameras, in the first part of this work, we have -given a very accurate description of the View Camera for -professional photographers. - -The View Camera, as manufactured for amateurs, is smaller, lighter -and more compact, and, in many cases, more highly finished and -ornamented than those made to stand the rough usage of hard work. - -Beginning with the smallest, we have the - - -DETECTIVE CAMERA. - -[Illustration: SCHMID'S PATENT DETECTIVE CAMERA. - Patented January 2d, 1883.] - -This Camera is focussed once for all by means of a ground glass -which slides in the place to be afterwards [p149] occupied by the -double dry-plate holder, for objects of various distances, and the -position of the focussing lever on top of the Camera is marked for -each distance. After this the ground glass may be entirely dispensed -with, as it is then only necessary to estimate the distance of the -object to be photographed, and move the focussing lever to the mark -corresponding to that distance, when the Camera will obviously be in -focus. - -The small lens in the upper left-hand corner serves to throw the -picture on a piece of ground glass on the top of the Camera, thus -showing the position of the image on the plate. When the picture -appears in proper position on this ground glass, it is only -necessary to touch the button on the right of the Camera, and the -exposure of the plate is instantly made, its development being -afterward accomplished in the ordinary manner. - -The slide is then replaced in the plate-holder, which, being -reversed, the shutter reset and the other slide drawn out, -everything is ready for the next shot. - -This Camera is made to carry in the hand, and is held against the -side under the arm while exposures are made. A tripod or stand is -not required. The plate-holders are carried in a small satchel, with -a strap passing over the shoulder. The new sensitive paper film, -however, obviates the necessity of carrying more than one holder, -which will contain a band on which may be made 24 exposures, and -which is of no greater weight than one of the double holders when -filled with 2 glass plates. - -This Camera is calculated to make pictures 3-1/4 by 4-1/4 inches in -size, and they are technically called quarter plate size. [p150] - - -THE PATENT BIJOU CAMERA. - -[Illustration: For 3-1/4x4-1/4 Plate.] - -This little Camera is the neatest, nattiest and altogether nicest -Camera of its kind ever made. When folded it measures 5x5x3-1/2 -inches, and can readily be put in an ordinary hand-grip, or may even -be carried in the overcoat pocket. It weighs only 14-1/2 ounces, and -the holders are correspondingly light and compact. - -It has a sliding front, hinged ground glass, and folding bed, which -is provided with a novel arrangement for fixing it in position, -enabling the operator to adjust it in a few seconds. It is made of -mahogany, with a new hard finish, flexible bellows and brass -mountings, making a remarkably elegant little instrument. - -As the plate is the same size as those used with magic lanterns, -slides may be made from them by contact printing in an ordinary -printing frame. By using rapid printing paper in connection with the -enlarging lantern, the pictures may be made as large as desired. For -tourists, to whom weight and bulk are objections, this Camera is of -especial value. - -The introduction of the Schmid Detective Camera was a pronounced -success. The popular favor with which it was received stimulated the -manufacturers to [p151] greater exertions to supply a perfect and -effective instrument, against which no objections whatever could -possibly be raised. With this object in view, they have placed on -the market - - -ANTHONY'S PATENT SATCHEL DETECTIVE CAMERA. - -[Illustration: TN: Anthony's Patent Satchel Detective Camera.] - -In outward appearance, and to the ordinary observer, this latest -modification of the Detective Camera looks exactly like an alligator -hand-satchel that is carried by a shoulder-strap at the side of the -pedestrian. Upon closer observation, one sees that it consists of an -artfully concealed Detective Camera, in which all the various -movements to secure a picture are situated upon the under side. For -use, the Camera is held so that the base of the satchel rests -against the body of the operator. By means of a brass pull at the -side the shutter is set. A plate in the regular holder is placed in -position at the back cf the Camera, and the slide is drawn ready for -exposure. The release of a short catch exposes the front of the -shutter ready for action, [p152] and by raising a small -leather-covered lid the little camera obscura, called the finder, on -the (now) upper side of the Camera, shows the position that the -object will occupy on the plate. The slightest touch upon a small -brass button releases the shutter, and the exposure is made. -Replacing the slide in the plate-holder, reversing the holder, and -setting the shutter again, leaves the apparatus in readiness for -another shot, when the plate-holder slide is withdrawn as before. - -By removing a screw that takes the place of the spring lock of an -ordinary satchel, the Camera proper can be removed from its cover, -and a tripod screw serves to attach the Camera to a tripod for -ordinary use. - -[Illustration: TN: Anthony's Detective Camera Proper.] - -This last form of the Detective Camera allows the operator to carry -with him twelve plates in the interior of the apparatus, and so -carefully packed away that no light can strike them. It is also -furnished with an [p153] ingenious attachment by which the speed -of the shutter can be regulated to suit the speed of the object, -moving with greater or less velocity; while, by simply releasing a -catch, time exposures can be made at the will of the operator. In -fact the whole affair is the latest achievement in ingenious and -compact light photographic apparatus. - -[Illustration: CAMERA SHOWING THE DETACHMENT OF SATCHEL.] - - -AMATEUR EQUIPMENTS FOR FIELD WORK. - -The manufacturers of these goods, for the convenience of those at a -distance who might desire to order by [p154] mail, have -classified and catalogued these outfits of the various sizes as view -equipments, and have numbered them from 1 upwards. - -[Illustration: EQUIPMENT NO. 1.] - -Stained Camera, for making pictures vertically or horizontally, -measuring 4x5 inches, with one double dry-plate holder, fine single -achromatic lens, improved tripod, and carrying case. - -This is called the $10 equipment, and by which very beautiful and -perfect work may be done, examples of which, as negatives and -transparencies, may be seen at the warerooms, and only need to be -seen to be admired. For a complete descriptive catalogue of these -goods, send to Messrs. E. & H. T. Anthony & Co. - - -THE FAIRY CAMERA. - -There has long been a demand on the part of the public for a -Camera that would at once embrace these most necessary -requirements--portability, compactness and strength, combined with -beauty and accuracy of working. - -Hitherto the nearest approach to this has been the "Novel" Camera, -which for a time seemed to be everything [p155] that could be -desired. But urgent calls for something still better were frequently -made, and the result is the Fairy Camera, by far the most attractive -and elegant piece of apparatus of its kind ever offered. In -presenting it, attention is invited to the following advantages it -possesses over all others. - -_Strength._--They are put together as rigidly as wood and metal will -admit of, and are therefore _perfectly_ rigid. - -_Compactness._--They occupy less space than any other view Cameras -of the same capacity, and the plate-holders actually require little -more than one-half the room of the lightest of any others in use. -The plate-holders are made of hard wood, with metal carriers for the -plates, and fitted with all the later improvements. - -_Portability._--The small compass to which they may be reduced -renders them in this respect incomparably superior to any. They are -packed in canvas-covered wooden cases, and each double plate-holder -has its own compartment. The cover of its case telescopes over its -body. - -Several new features have been availed of in the construction of -this Camera, to wit: The bed may be instantly rendered rigid, -_without the use of screws_, by means of a brace of hooks, that hold -the two sections of the bed with great firmness. - -_Secondly._--The rabbet commonly found on the plate-holder is -dispensed with, and instead, it is placed on the Camera, thus saving -the otherwise additional weight rendered necessary for twelve such -rabbets when made on the plate-holders (two on each of the six -usually carried), and the not inconsiderable item of three-quarters -of an inch in bulk. - -_Third._--The Camera is focussed with a long, continuous [p156] -metallic rack, cog-wheel and pinion, the latter being held firmly in -position by a binding screw. - -The ground glass swings backward in its frame, like that in the -regular Novel Camera, and is held tightly in position by metallic -spring corners. When windy, this is a decided advantage. - -The Fairy Camera is made in finely polished mahogany, the metal work -being nickel-plated, thus making it the most elegant and perfect -Camera known. - -They are made with and without stereoscopic attachments. Naturally, -those without stereoscopic attachments are lighter and more compact -than those with, and may be preferred by persons desiring to make -single views or portraits only. - -These Cameras are made in four sizes only--from 4-1/4x6-1/2 to 8x10. -Those desiring a larger Camera should procure the Novel Camera, -which is manufactured of all sizes up to 18x22. - -[Illustration: THE NOVEL CAMERA WITH DOUBLE SWING BACK IN THE ACT OF -BEING REVERSED.] [p157] - -An ingenious improvement has been introduced in connection with the -Fairy and Novelette Cameras, which is shown in the cut. - -[Illustration: TN: Ingenious Improvement.] - -It consists in the use, with a 5x8 Camera, an additional body and -bellows for 8x10, which can be attached to the front and bed of the -5x8 on removal of the 5x8 bellows to back. This substitution can be -made in a few seconds, giving the user the command of two Cameras at -small expense. - - -THE VIEW LENS. - -(_See article on lenses in Part First._) - -View lenses may be classed in two groups: - -Single combination lenses and double combination lenses. - -Single combination lenses are intended for producing pictures of -inanimate objects, in the production of which the time of exposure -is of minor importance. They are of greater focal length than the -double, and, on account of their simple form, are less expensive. - -The combination consists of a meniscus, composed of two lenses, one -convergent, the other divergent. The two are cemented together, so -that only two surfaces are presented to reflect light. This lens is -well calculated [p158] for out-door work, but does not give such -roundness of form nor such delicacy and finish as may be obtained by -the double combination. But it has greater depth of focus, and, -having but two reflexive surfaces, fits it peculiarly for views of -foliage, and enables it to work into the green of the landscape more -completely and vigorously. - -The single lens is not free from distortion. The marginal rays are -apt to give the barrel-shape figure to the view, but for landscapes -this is practically of little or no consequence. - -The smaller sizes of single lenses are more effective than the -larger. They are quicker and have much less distortion, and when -stopped very small have practically none. - - -THE DOUBLE COMBINATION - -is formed by reversing the single lens and making it the front lens -of the double combination, and adding a similarly constructed -achromatic lens to the rear. These lenses are indispensable for very -rapid work and for work requiring straight lines. As the double -combination is more perfectly corrected for spherical aberration, it -is better adapted for architectural and other work not admitting of -distortion. Of this class of lenses we would recommend ANTHONY'S -RAPID DRY PLATE LENS, [p159] which has a double achromatic -combination for making instantaneous views, portraits groups, etc., -and will meet all the requirements of those who do not care to incur -the expense of a Dallmeyer or other first-class lens. - -[Illustration: ANTHONY'S RAPID DRY PLATE LENS] - -[Illustration: THE PLATYSCOPE LENS] - -Of a higher class is THE PLATYSCOPE LENS, which is a rectilinear or -perfectly corrected lens of great working rapidity, and is well -suited for all the requirements of the amateur; and as to price, it -holds a middle place and next to the DALLMEYER'S RAPID RECTILINEAR -LENS, which is the most perfect instrument at present known to the -profession, and is almost universally used by professional out-door -photographers and by all amateurs who care to produce the finest -possible work. This lens might be considered indispensable for all -[p160] work requiring an instantaneous exposure, as by means of -the dry plate and the drop shutter some very remarkable pictures -have been made of bodies in rapid motion. - -[Illustration: DALLMEYER'S RAPID RECTILINEAR LENS] - - -WIDE ANGLE LENSES. - -There is another class of lenses of double combination, which are -called wide angle lenses. They are constructed to embrace an angle -of from 90 to 100 degrees, and are therefore indispensable for use -in confined situations, such as narrow streets and interiors. They -are also capable of being used with advantage for all the purposes -of a view-lens, their only disadvantage being that they are not so -rapid as lenses of a lesser angle. For certain subjects the back -lens of the combination may be removed and the front lens used in -the same manner as an ordinary landscape lens. - -[Illustration: THE E. A. WIDE ANGLE-LENS] - - -THE E. A. WIDE ANGLE-LENS - -is of this class, and being of short focus and made on the -rectilinear principle, it is a useful lens for all the purposes -already enumerated, and for architectural subjects, as well as for -copying of maps, drawings, printed matter, etc., etc. - -Every amateur should possess one of these lenses, as [p161] well -as one of the more rapid-acting lenses for instantaneous work, -unless he can well afford to get the best. - -[Illustration: DALLMEYER'S WIDE-ANGLE RECTILINEAR LENS] - - -DALLMEYER'S WIDE-ANGLE RECTILINEAR LENS - -will completely fill the bill. This lens consists of two cemented -combinations, each composed of a deep meniscus crown and a deep -concavo-convex flint glass lens. - -Unlike other lenses of this class the dense refracting medium--the -flint--is made to occupy the external position in both combinations, -and though both are deep menisci externally, and of nearly the same -focal lengths, the front combination is of larger diameter and -greater curvature than the back, and between the two, dividing the -space in the proportion of their respective diameters, is placed the -revolving diaphragm, with graduated openings, the largest of which -is F. 15. - -An important characteristic of this instrument, besides the method -of achromatization, is the thinness of the lenses, thus offering -less obstruction to the passage of the light, constituting these -lenses the quickest acting of their kind. - -The outfit, which includes a Dallmeyer wide angle and a Dallmeyer -rapid rectilinear, may be said to be prepared to do all work within -the range of photography. - -Every outfit should include a piece of fine, soft chamois [p162] -skin for cleaning the lenses; it will often be found that moisture -and dust obscure the image in the ground glass; when such is the -case the lenses should be unscrewed and carefully cleaned with the -chamois. And when carrying, it would be well to wrap each lens in a -piece of chamois. Lenses thus carefully kept will repay the trouble -in fine, clear and incisive work. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - - -[Illustration: THE FAIRY TRIPOD] - - -THE TRIPOD OR CAMERA STAND. - -There are a variety of these stands manufactured, the two principal -of which are the Telescopic leg, Fig. 1, and the Folding leg, Fig. -2. Among the lighter stands or tripods [p163] THE FAIRY TRIPOD -deserves particular mention, being less than two pounds (2 lbs.) in -weight and folding to a length of 16 inches only. When placed in its -neat leather case, with shoulder-straps for carrying, it is the -smallest and lightest practical tripod that has yet been offered to -the public. - -The tripod, when not in use, is taken apart, the top placed in the -carrying box, and the legs folded or telescoped and tied together. - -When set up for work be sure to have the tripod top level, which may -easily be done by adjusting the legs to the inequalities of the -ground. - -The Camera is fastened to the tripod top by a thumb-screw, which -passes up from beneath, through the tripod top, and into the leg of -the box. When adjusted tighten the screw firmly. [p164] - - -THE INSTANTANEOUS SHUTTER. - -The rapid dry plate and the quick acting lens have created a -necessity for a shutter that would make an instantaneous exposure, -in order that sharp pictures might be made of objects in motion. - -This has been accomplished in a variety of forms, the earliest and -simplest of which is - - -THE DROP SHUTTER, - -which consists of two pieces of wood, each having a hole cut into -it, and so arranged that when one piece is placed upon the end or -hood of the lens (which fits into the circular opening), the other -piece can be made to slide up and down against it, thus for an -instant bringing the two openings opposite, and making the exposure -depend upon the rapidity with which one opening passes the other. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -Fig. 1 represents the common form, in which the release is made by -the withdrawal of a metal catch, which fits the indent in the side -of the sliding upright piece. Fig. 2 represents an improved form, in -which the release is made by pressing a rubber bulb connected with a -rubber tube attached to a metal valve. - -The action of both these styles of drop shutter may be hastened by -using rubber [p165] bands to quicken the fall of the sliding -piece, as represented in Fig. 2 by A and B. So that while a rapid -exposure might be made by the fall of the slide, by its own weight, -it would not be quick enough for an object moving across the plane -of focus, but might be sufficient for an object moving away from or -toward the lens. By the use of the rubber bands the exposure may be -made as quick as a flash, or the small fraction of a second, thus -enabling one to secure a sharp impression of the trotting horse, the -railroad train, the racing yacht, and many other interesting and -difficult subjects. - -Another peculiarly effective form of shutter is that known as THE -PROSCH ECLIPSE SHUTTER, which is a small and compact instrument, -made of metal and rubber, by which an exposure of 1/200 part of a -second may be made, with the power of reducing the speed to about -one-half second. - -[Illustration: THE PROSCH ECLIPSE SHUTTER] [p166] - -A late and decided improvement on the Eclipse Shutter has been -produced by Mr. Prosch, which he has named the "Duplex." - -[Illustration: TN: Prosch's Duplex Shutter.] - -Prosch's Duplex Shutter is intended both for "timed" and -instantaneous exposures. - -It is equal to any requirement for the most rapid work, and as a -time shutter, exposures can be made of from one-half second to any -duration required. - -The peculiarity of this shutter is that the exposing slides are -placed between the front and back combinations of the lens, -necessitating a separation of the tube at the centre. [p167] - -Mr. Prosch makes a special tube to which is affixed the apparatus of -the shutter. This special tube is of the exact size of that to which -the lenses belong, from which the lenses are taken and fitted to the -special tube. The other is kept for future use if necessary. - - -THE CARRYING BOX. - -All this apparatus is, with the exception of the tripod, enclosed in -a neat carrying case, with a telescopic cover, and is carried with a -hand-strap. The box contains separate places for from one to six -double holders, as may be desired. And there is room for the -head-cloth, and an extra box of plates if necessary. - -The head-cloth furnished with this apparatus is a light -rubber-covered muslin, about a yard or a yard and a quarter square, -and its principal use is to cover the head and exclude light from -the ground-glass while adjusting the focus. It may also be used to -cover the apparatus if caught out in a shower, or to wrap the -carrying case in under the same circumstances. - - -THE DEVELOPING OUTFIT FOR AMATEURS. - -The amateur is recommended to get some experience in making -exposures before attempting to develop. - -By taking plates to some photographic establishment for development, -and observing carefully the method of manipulating them, one will -soon learn about the proper exposure to allow; and then the advice -of the operator may be of some value. - -There may, however, be some who are so situated as to be unable to -avail themselves of such an opportunity, and are compelled to rely -on printed instructions for all they have to do. To such we have -only to say, [p168] - - -DO NOT OVER-EXPOSE, - -then go ahead and do the best you can. - -The outfit for development would consist first of the apparatus or -dishes; second, of the chemical components of the developer, and the -clearing and fixing solutions. - - The dishes or apparatus are: - - Developing trays, - - Tray or dish for alum solution, - - Tray or dish for fixing solution, - - Washing box, - - Negative racks, - - Glass stoppered bottles, - - 2 of 1 lb. each for pyro and soda, - - 2 of 1/2 gallon each for oxalate and iron, - - 2 of 1/2 gallon each for alum and hypo, - - Glass graduates, - - 1 of 8 oz., 1 of 1 oz, - - Glass funnels, - - Filtering paper, - - A balance scales for weighing 1 grain to 1/4 lb. - -The developing tray is made of japanned iron, of ebonite or of hard -rubber. - -[Illustration: JAPANNED IRON DEVELOPING TRAYS.] - -These are all made to suit the various sizes of plates in use; the -japanned iron trays are the cheapest, but they wear out rapidly; the -ebonite trays are rather [p169] higher in price, but they are -more durable, and have a clean polished surface. The hard rubber -dishes are the most expensive, and perhaps the most durable. - -[Illustration: EBONITE TRAYS.] - -[Illustration: ANTHONY'S GLASS BATHS IN BOXES.] - -The amateur should procure his trays of a size suitable for the -largest plate he uses, and should have two or more on hand always -for developing purposes. These dishes are also suitable for the -clearing and fixing solutions; but for these solutions the upright -bath dish and dipper are better for several reasons; first, because -there is less evaporation; second, all sediment sinks to the bottom, -and the solution is always clean; and last, but not least, they take -up less room. - - -THE WASHING BOX. - -The gelatine plate requires much and prolonged [p170] washing to -free it from the solutions by which it is developed and fixed, and -which, if not thoroughly washed from the film, would ultimately -injure and perhaps distroy it An apparatus has been devised for -washing dry plates, which may be adapted to any size plate from 4x5 -to 8x10. - -It has a perforated false bottom, the water is received into the box -beneath the bottom, passes up through the perforations and out -through a pipe at the side; the plates are placed in the grooves and -rest on the false bottom. The force of the water is checked in -passing through the false bottom and flows evenly up through the -plates. A half hour of washing in this box would be quite enough to -thoroughly cleanse the film from hypo, etc. - -Another and very effective model is the ANTHONY SELF-CHANGING SHOWER -WASHING BOX. - -[Illustration: ANTHONY SELF-CHANGING SHOWER WASHING BOX.] [p171] - -The Anthony Self-Changing Shower Washing Box for dry plate negatives -is a nicely constructed and convenient apparatus. Made -substantially, and well japanned inside and out, it has interior -grooves in which either 5x8 or 8x10 negatives may be placed. When -the negatives are introduced, the hose is attached to a faucet; the -lid is now closed and locked if desired, and the water turned on. - -It will be seen that the water enters the washer from above, and -that the inside of the lid is made in the form of a perforated -fountain, which discharges a spray over the plates. When the -negatives are entirely submerged, the water is all drawn off by -means of a self-acting syphon, and the process of showering is -repeated. - -With this apparatus the hypo can be thoroughly eliminated from the -gelatine film in from fifteen minutes to half an hour. The change of -water is continuous. - -When the plates are well washed they are removed from the washing -box and set up in - - -NEGATIVE RACKS, - -where they will soon dry, and when dry they should be stored in -boxes to be kept free from dampness and dust. - -[Illustration: ANTHONY'S FOLDING NEGATIVE RACK.] [p172] - -[Illustration: NEGATIVE BOXES.] - -These boxes are made of every size and are indispensable for the -proper preservation of dry plates. - - -CHEMICAL COMPONENTS OF THE DEVELOPER. - -The solutions for developments, both by the neutral oxalate and the -alkaline pyro processes, should be kept in air-tight glass-stoppered -bottles; in fact, rubber stoppers are superior to glass for keeping -out the air, and when they can be had should be preferred. - -Glass funnels and filtering paper for filtering the various -solutions should always be kept handy for use. - -Glass graduates are quite indispensable in preparing and mixing the -developing solutions. - -A balance scale is equally necessary for the same purpose. - -The chemical constituents of the developing outfit are: - - Neutral oxalate of potash, - - Protosulphate of iron, for oxalate development, - - Sulphite of soda, - - Sal-soda or carbonate of soda, - - Carbonate of potash, [p173] - - Bromide of ammonium, - - Concentrated ammonia, - - Pyrogallic acid, for alkaline pyro development, etc., - - Alum and citric acid, for clearing solution, - - Hyposulphite of soda, for fixing solution. - - -THE AMATEUR DARK ROOM. - -It is not necessary that the amateur should have a thoroughly -appointed dark room, although such a room is a great convenience and -not at all difficult to construct nor expensive to keep up. - -Those desiring to construct a convenient and safe dark room should -consult the article on dark room in the first part of this book. -Such a room might be put up in an out-building where running water -could be had, but for occasional use the bath-room or any closet in -the house that contained running water and is large enough to hold a -small table would answer every purpose. It would be necessary to -stop every crevice that would admit white light, by covering such -places with heavy red orange paper. The window, if there is one, may -be covered with the same paper or a heavy shawl. The room may then -be lighted comfortably with Carbutt's Dry Plate Developing Lantern, -which may set upon the table with the developing tray before, as in -the cut. - -When abroad making views it is sometimes necessary to change the -plates in the holders; for this purpose carry with you a ruby glass -gas burner chimney, which is a plain cylinder of ruby glass, about -one and a half inches in diameter and six to eight inches long. -Light a short piece of candle and set the chimney over it; this in -any small dark closet will give plenty of [p174] light for the -purpose, and indeed might do to develop by at a pinch. - -[Illustration: LANTERN ARRANGED FOR DEVELOPING, AND AFTER FIXING, -EXAMINING NEGATIVES BY OPAL LIGHT.] - - -FERROUS OXALATE DEVELOPMENT OF DRY PLATES. (ROCHE.) - -First make two stock solutions as follows: - -No. 1. A saturated solution of oxalate of potash (a pint or quart) -and test with blue litmus paper. If it does not show an acid -reaction dissolve a little oxalic acid in water and add enough to -the solution to cause the blue test paper to turn red. - -This solution should be filtered for use. - -No. 2. Make a saturated solution of pure sulphate of iron, and to -one quart add three or five drops of sulphuric acid, to prevent -oxidation, and filter. - -Now, to develop a 5x8 plate, take three ounces of No. 1 and to this -add one quarter of a dram of bromide of potassium solution (which is -water one ounce, bromide of potassium twelve grains), then add half -an ounce of No. 2; this forms the developer. [p175] - -Then transfer the plate to a developing disk, and pour over it the -developer. If the picture comes out gradually and develops -sufficiently, it is good so far, but if from under-exposure the -details hang back and refuse to develop further, then add two drams, -or half an ounce, more of No. 2, which will bring out the picture -with full details, unless greatly under-exposed. - -Never exceed one ounce of No. 2 (iron) to three ounces of No. 1 -(potash), for if you do you will form a sandy deposit and -discontinue the action of the developer. - -Always develop until the picture seems sunken into the surface. Do -not judge by looking through the negative only. Wash and fix in -hypo, 1 ounce; water, 8 to 10 ounces. After fixing, wash well. - -For pictures taken instantaneously, use no bromide in the developer. - - -COOPER'S SODA DEVELOPER. - - No. 1. Anthony's Sodium Sulphite Crystals 3/4 lb. - Distilled water 2 qts. - Anthony's Pyrogallic Acid 2 ozs. - - No. 2. Anthony's Sal Soda Crystals 1/2 lb. - Water 2 qts. - -To develop, take - - No. 1 2 ozs. - No. 2 2 " - Water 2 " - -For restraining over-exposure use the above quantity of developer, -one-half to one dram of - - Bromide potassium 1 oz. - Water 6 " - -"It is always advisable to use two developing trays, [p176] and -have the normal developer in one and the restrained developer in the -other. Then, by changing the plate from one tray to the other, the -character of the negative is under full control. Four to six plates -can be developed in one lot of developer. - -"This developer can be used for a number of plates, and gives fine -negatives of good printing quality. - -"After development, return your old developer to a stoppered bottle, -and keep for commencing development. - -"The reason for doing this is as follows: - -"As a rule, I give a little more time than necessary to make a -full-timed negative, and, by commencing with the old developer, give -the high lights a start of the shadows, which I can readily soften -afterwards by the use of a stronger developer at the finish, thus -obtaining the sparkling high lights so much admired in the wet -plate; and so seldom found in the average Dry Plate Pictures. - -"This developer never becomes muddy, and may be used repeatedly with -fine effect. - -"Always place plates in a strong solution of alum after developing -and rinsing, and before fixing. This gives brilliancy to the -negative and prevents the possibility of softening. - -"In the use of the above formula it is important that the best -Chemicals be employed." - -It is not necessary to make up the full amount of 2 oz. pyro at one -time. - -In the foregoing two formulae will be found all that is necessary for -making good negatives by either process. - -Every box of plates that is put up for sale carries [p177] with -it the formula supposed to be best for that plate. There are other -forms of development that produce good work. The following is one of -them: - - -FERRO-CYANIDE OF POTASSIUM DEVELOPER. - -Make a saturated solution of yellow prussiate of potassium and -dilute with an equal bulk of water; add 2 drops of ammonia and 2 -grains of dry pyro to each ounce used. - -The solution can be used repeatedly until exhausted. Four ounces of -this solution would contain 8 grains of pyro, which is enough to -develop 2 8x10 plates, or their equivalent of smaller plates. Mix -only the amount that will be used at one sitting. - -It will be noticed in all the foregoing formulae that the matter of -greatest uncertainty is the exposure of the plate; you never can -tell if your plate is properly exposed until you begin to develop, -and then if your picture flashes out at once it is too late to -correct by modifying the developer. - -The theory of development is that the pyro is the developing agent -and gives the strength. - -The soda, or ammonia, as the case may be, gives the detail. The -bromide is a restrainer, and to a certain extent will correct -over-exposure. Sulphite of soda, citric acid and sulphurous acid are -used to keep the pyro from oxidizing. - -Therefore, when developing a plate, say a 5x7, put it in the tray -and pour over it the amount of pyro necessary to develop such a -plate, say two grains in four ounces of water, let the plate remain -in this solution for a short time, in the meantime take of your -alkaline solution the amount you would use for the [p178] same -size plate, but add only a small portion to the solution covering -the plate. To do this pour off the pyro solution into a graduate and -add a drop or two of the alkaline solution, soda, potash or ammonia, -whatever it may be, then turn the solution back on the plate and -watch for the effect; if in a few minutes there is no change, then -add more of the alkaline solution in the same manner, and in a short -time the image will begin to appear; if it comes up too slowly, give -it the remainder of the alkaline solution, and unless the plate has -been under-exposed the image will come out and strengthen gradually -until it has well sunken into the plate, when it may be removed and -washed. - -If you use the oxalate developer, proceed upon the same plan; -oxalate in the place of pyro, iron in the place of alkali, but -always add the iron to the oxalate, not the reverse. - -Do not be persuaded that the bromide is only a restrainer; it is -that and more too; it may greatly affect the quality of the -negative, making it much finer in grain and clearer in the shadows. - -Under-exposed plates at best make but poor negatives, and it is -preferable to err, if at all, on the other side, but with the rapid -plates now made exposures are very seldom too short. - -When the plate has been developed it must be washed and then placed -in the hypo solution to fix. - -The most effective strength of hypo solution is half saturated. Make -a saturated solution of hypo and dilute it with an equal bulk of -water. The plate should lie in this solution until it appears -perfectly clear, and about five or ten minutes longer, then it -should be [p179] taken out and well washed. It should then be put -in the - - -CLEARING SOLUTION. - - Water, 1/2 gal. - Alum, 1/4 lb. - Citric acid, 2 oz. - -Allow the plate to remain in this solution a few minutes and it will -be found to have been greatly improved, having lost the color and -cleared the shadows. This solution, besides clearing the negative, -decomposes the hypo remaining in the film, and a short wash after -being taken from it is sufficient. - - -EASTMAN'S IMPROVED NEGATIVE PAPER. - -The Eastman Dry Plate and Film Co., of Rochester, N. Y., exhibited -at the P. A. of A. Exhibition, at Buffalo, N. Y., in July, 1885, a -very remarkable display of photographs, the negatives of which were -made on gelatinized paper and called the Eastman flexible negative -support. They gave a demonstration of their process at the same -time, and also explained the working of their new holder for a -continuous web or band of paper. - -The sensitive gelatine emulsion is prepared in the same manner as -for glass plates, and it is spread by means of ingenious machinery -on continuous bands of paper, which bands are afterwards cut into -sizes, or rolled on spools which will contain enough paper to make -from 24 to 40 views or portraits, according to size. - -They have invented a very neat apparatus to hold the paper when cut -into sizes so that it may be inserted in the common dry-plate -holder. [p180] - -They have also invented and patented a roller holder which may be -made to fit any camera, in which is inserted a spool of the paper, -and by means of ingenious devices it may be drawn across a flat -table and wound upon another roller with an apparatus to register -each length of paper as an exposure is made. This apparatus is -absolutely correct in operation, and the proper length of paper is -infallibly transferred from the table to the roller by simply -turning the roller with a key from the outside. - -By this invention the viewist is given command of as many as 24 -exposures, with no greater weight to carry than one double dry-plate -holder when filled with glass, thus reducing his "tote" the weight -of five double dry-plate holders and ten glass plates, and his -resources are increased two-fold. - -The exposures having been made the holder is taken to the dark room, -the paper unwound from the spools, cut at the register marks and -developed in the same manner as glass plates, but with the -difference that several pieces may be developed at the same time in -the same manner that paper prints are toned, thus securing a uniform -intensity to the negatives; the fixing and washing are performed in -the same manner as silver prints and as easily. - -The paper negatives after being washed are dried between blotters, -or in any other preferred manner, and they are then saturated with -castor oil and ironed with a hot flat-iron, to make the oil more -effectually permeate the fibre of the paper. - -These negatives are more perfectly susceptible of being retouched -and worked up than those on glass. - -They are printed from the gelatine side, and when [p181] the -prints are made the negatives are stored in portfolios. If after a -time it is found that the oil has dried out of the film, they may be -again oiled the same as at the first. - -The roller holders are made for every size and style of camera box -from the Detective and the Bijou pocket apparatus, up to the 20x24 -mammoth size Novel Camera. - - -HOW TO USE THE EASTMAN-WALKER ROLL-HOLDER. - -The Eastman paper films for the roll-holder are prepared in -continuous bands, and are rolled up on wooden spools and neatly -packed in paper boxes. - -The spool may be removed from its box and placed in the holder in -daylight, at the expense of the outside roll or length of paper -necessary to extend from the spool to the winding-reel, so that if -one were so situated as to find it necessary to change rolls in the -field, the loss would be trifling--being at the utmost not more than -would be required for two exposures from each spool. - -The proper course, however, is to charge the holder with its spool -of film in the dark room before going abroad. - -In doing this it is necessary that the light in the room should be -strong enough to enable the operator to see comfortably; but of such -a quality as not to injure the paper, which is at least 25 per cent. -more sensitive than the same emulsion would be if on glass instead -of paper. - -Figure 1 gives a general idea of the shape of the holder, with the -slide partly drawn to show a portion of the film. Also may be seen -the brass loops or clamps [p182] which hold the cover securely -over the working parts, and the key at the bottom which turns the -reel to which the loose end of the paper is attached. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -The working parts are fastened to a light metal frame, and consist -of a spool of film at the right end, and the winding reel at the -left, as seen in Figure 2. Both the spool and the reel are provided -with spring brakes, that prevent the uncoiling or unrolling of the -paper from either the spool or reel. The milled [p183] heads of -the chucks which hold the near ends of the spool and reel are -provided with pawls, which, while permitting them to turn easily in -the right direction, prevent the possibility of turning the other -way. - -When the cover, as seen in Fig. 2, is to be removed, the keyhole -guard and the indicator knob are pulled out as far as they will -come, the two loops on each side are turned down, the cover lifted -off, leaving the working parts exposed, attached to the back of the -holder by spring bolts, two at each end of the frame. Now, with the -thumb and fore-finger of the right hand, press these bolts, and thus -release the right end of the framework, which you may turn up, as -seen in Fig. 3, which is the position for removing and replacing the -roll of film. - -[Illustration: FIG. 3.] [p184] - -[Illustration: FIG. 4.] - -The proper method of doing this is more particularly shown in Fig. -4. With the left hand you hold the roll of film and draw back the -spring brake; now press the end of the roller that has the saw-cut -or groove across it against the chuck, as seen on the left, while -the right hand unscrews the pivot or support for the other end of -the roller, which is then placed in position; the pivot is inserted -and screwed home. - -This completes the operation of placing the roll of film in -position. The frame is then turned down and secured by the two -bolts, the paper band on the roll of film is torn off, and the end -of the film is carried beneath the guide roller and over it and -across the exposing table to the other end, which is next released -and raised to a perpendicular position. The end of the film is now -brought over the guide roller and attached to the winding reel, as -shown in Fig. 5. [p185] - -[Illustration: FIG. 5.] - -The paper is fastened to the winding reel by a metallic clamp, which -is pivoted to the ends of the winding reel. Now see that the film -occupies a central position across the table and over the guide -rolls, and then take up the slack by means of the milled head -tension screw or chuck at one end of the reel. The pawls should now -be adjusted on the milled heads of the chucks, the cover replaced -and fastened by raising the loops or clamps over the pins in the -side of the cover, and you are ready for work. - -For the purpose of indicating plainly where the first exposure will -be, insert the key and screw it home then turn it slowly until you -hear a sharp click, then pull out the slide and draw a pencil across -the film at each end of the holder, then return the slide. - -When about to make another exposure, note the position of the -indicator at the right end of the holder, then turn the key slowly; -the proper length will be [p186] indicated both by the sound of -the sharp click within and by the position of the indicator on the -outside of the holder. At every turn of the guide-roll the paper is -punctured by a sharp point which occurs simultaneously with the -sound of the click. For the smaller sizes, three clicks and three -punctures will surely indicate that the proper length of paper has -been replaced on the exposing table. For the medium sizes four -clicks and punctures are required. And for the larger sizes, as many -as six or eight may be necessary. The proper information is given -with the holder. - -[Illustration: FIG. 6.] - -When the exposures are made, and it is desired to remove the paper -from the winding reel and cut it for development, proceed as before, -and remove the cover from the holder; then, with a sharp -knife-blade, cut the paper, as shown in Fig. 6, by drawing the blade -over the paper and in the tin-lined groove in the guide-roll Then -release the spring pawl at the reel end and [p187] draw the paper -from the reel across the table, then cut by measurement, or by -counting the punctures. - -The directions for developing and preparing the films for printing -accompany each package of the paper. - - -THE ROCHE FILM. - -The year 1885 has been remarkable for the great importance of the -numerous improvements in photographic processes that have been -brought before the profession, and for the great impetus thereby -given to the extension of the uses of the art. - -The substitution of paper for glass as a vehicle for sustaining the -sensitive film has long been an aspiration of the progressive -photographer; and this year has witnessed the perfection of at least -two paper film processes that may be said to be perfect. - -The Eastman paper film has already established itself as a practical -success, and now we have a new candidate for photographic favor in -the Roche Film, just perfected and patented by that able -experimentalist, and assigned to Messrs. Anthony & Co. - -This Roche Film is remarkable for the ingenious manner by which the -disagreeable necessity for oiling the paper is avoided. - -This particular improvement consists in coating both sides of the -paper with the same sensitized gelatine emulsion, which has the -effect of preventing any trace of the fiber of the paper showing, -from the fact that the light penetrating the front film has -sufficient power to impress an image on the back film as well, the -interstices between the fibres of the paper permitting a more -energetic action of the light on the back film than through the -fibre, equalizes the intensity and thus prevents [p188] the fibre -showing in the negative when examined by transmitted light, or -leaving any impression on prints made therefrom. The double -impression has also the power of giving a more plucky or bolder -character to the prints, and greatly enhancing the atmospheric -effect and beauty of both portraits and landscape pictures. Also -other imperfections, either in the front film or in the body of the -paper, are corrected by the back coating, as neither the fibre of -the paper nor any imperfection therein can have any effect on the -front coating, but both the fibre and any spots, either opaque or -transparent, in the paper or front film will affect the back image -in the exact ratio of the opacity or transparency of the spots or -imperfections. - -In other words, all the imperfections of the paper and front film -will be corrected by the back, rendering the double negative quite -smooth and even, whatever the character of the texture of the paper -may have been. This special paper offers other advantages. It will -stand a protracted washing without weakening, and does not easily -tear or crack from handling in the water, and when dried it will not -curl, but remains flat, ready for immediate use. - -Directions for development accompany each package. - - -ENLARGING AND DUPLICATING SMALL NEGATIVES. - -Many amateurs have of late discarded their larger equipments, and -for general work use the smallest sizes, such as the Detective -Camera and the Bijou or Novelette, which are of the smallest sizes, -such as 3-1/4x4-1/4 and 4x5. - -It is contended on their part that these small outfits, which are so -light and portable as to give the minimum [p189] of trouble in -their use, give also (when good lenses are used) the most brilliant -and perfect negatives, which are capable of being enlarged to any -desirable size. Indeed, the copying and duplicating apparatus may be -found in the rooms of many of the leading amateurs. And by its use -many valuable negatives are duplicated, and secured against loss by -breakage; others are enlarged to more useful sizes, and most -beautiful transparencies are made. - - -THE COPYING AND DUPLICATING CAMERA. - -[Illustration: THE COPYING AND DUPLICATING CAMERA.] - -This apparatus, as will be seen in the engraving, is a camera with -an unusually long bed-rail and bellows. It has a central frame which -supports a lens, and a front frame supporting a negative, so placed -for duplicating or enlarging, which is done by transmitted light. - -The front is fitted with a kit of frames for the various sizes of -negatives, from 3-1/4x4-1/4 to 8x10, or the largest size the box is -capable of producing. - -For copying by reflected light the lens is removed from the central -frame and adjusted or attached to the front, where the negative is -seen in the cut; and the picture to be copied is attached to an -upright support (which is usually a part of the copying table or -stand) [p190] and exposed to the strongest diffused light -available, the camera being adjusted squarely in front of it. - -For duplicating or enlarging negatives the adjustment of the -apparatus is as shown in the engraving. Such work being done by -transmitted light. The negative to be enlarged is placed in the -appropriate sized frame in front and the lens in the middle frame, -which is placed nearer to the negative than to the ground glass. The -conjugate focus is then found by drawing out the rear or ground -glass focussing screen until the image is sharply defined on the -glass. When the subject is sharply in focus, if the image is found -to be too small the frame supporting the lens is pushed a little -nearer the front; on the contrary, if the image is too large the -lens is drawn back from the front. - -For all such work the camera should be directed toward a window -commanding a clear view of the sky, or if trees or buildings -intervene then a sheet of tissue paper or a square of ground glass -should be placed immediately in front of the camera and against the -window. It will be found that Anthony's "mineral paper" is superior -to either tissue paper or ground glass for this purpose, and should -be used when it can be procured. - -When it is desired to make a duplicate negative it is necessary -first to produce a dia-positive or transparency; this is merely a -copy of the negative (by transmitted light, or light passing through -the negative to the lens) with its lights and shadows transposed or -reversed. Great care must be taken to have this transparency in -sharpest focus, and full-timed in exposure to secure line detail. - -When a suitable positive has been secured it should [p191] be -dried and set up in the place occupied by the negative from which it -was made, and with the film side toward the lens. - -The process is now repeated, but with a shorter exposure, and the -resulting picture is a negative (if well done) identical with the -original. - -The adjustment for size is, as before mentioned, effected by moving -the lens support. If it is desired to enlarge, the lens is moved -nearer the subject; if to reduce, move the lens back from the front. -If the duplicate negative is to be of the same size as the original, -the lens is moved to the position near the centre between the front -and back, which will give the image on the ground glass the same -dimensions by measurements as the original. - -It will be observed that as there are two plates to be used the -utmost care must be taken in the adjustment of the focus and in -timing the exposure in both instances, to avoid loss of definition -or quality. - -Duplicates and enlargements of negatives made by this process and -with dry plates need be in no particular inferior to the originals, -if care and skill are exercised in their production. - - -DUPLICATE NEGATIVES BY CONTACT. - -When it is not desired either to enlarge or reduce the size of the -duplicate, a more direct and simple method is to make the positive -by contact printing. - -Place the negative in a printing frame, and upon it lay a dry plate -so that the two film surfaces are together; use a thick pad and see -that the pressure is strong enough to force the two surfaces into -intimate contact; now expose to a gas flame for four to six [p192] -seconds and develop. This will make an admirable positive or -transparency if properly done. The same process repeated, serves to -make a duplicate negative from the transparency. - -It is advisable to make a positive by this method from every -valuable negative. This positive will serve to make duplicates from, -should the original be lost or broken. - -Enlarged prints from small negatives can be made by the use of -Anthony's enlarging camera, and their gelatino-bromide paper by -artificial light, so that when one or more or only a few large -prints are required from a small negative it would perhaps be more -advantageous to make them direct from the original negative by the -use of this instrument than by making an enlarged negative and -printing by contact. However, the latter method would be the best in -cases where many prints are required. - - -PRINTING PROCESSES. - -The amateur who has secured a fine negative of some choice bit of -scenery, or has made a "hit" on any subject interesting or -beautiful, will naturally desire to secure prints or impressions -from it, that he may gratify his friends with a copy or supply the -demand for exchanges with the members of his camera club. - -The accomplishment of this desire is neither difficult nor -expensive, as there are several processes by which the amateur may -print for himself as many impressions as will suit his purpose. If -silver prints are preferred, any photographer will produce them at -small expense; or if the amateur is sufficiently posted in this -branch of the art, and has the facilities, he can easily [p193] -make them himself. The matter is much simplified by procuring from -the nearest stock dealer or photographer, ready sensitized paper. -Few amateurs, however, I imagine, would care to incur the expense of -a silver-printing outfit. Those who would will find in the first -part of this book full instructions in the article on silver -printing. - -The processes by which the amateur may most easily produce prints -from his own negatives by his own skill and labor are: - -The Gelatino bromide paper process. - -Anthony's collodio-chloride process. - -Ferro-prussiate or blue process. - -Transparencies in glass or opal. - - -PRINTING ON ANTHONY'S GELATINO BROMIDE PAPER. - -This paper is prepared with a sensitive surface, similar to the dry -plates commonly used, and must be handled with the same care and -subject to the same conditions of light; consequently the printing -must be done by artificial light only. - -The paper being cut to the sizes desired, should be kept in a -light-tight box, and in a dark room. When about to print, place the -negative in a printing frame in the same manner as for silver -printing, lay the paper with the gelatine surface down upon the -negative, place a cloth pad upon the paper, then press the frame -back firmly down to secure even contact of the paper with the -negative. - -All this should be done in a dark room by the aid of a non-actinic -light, and for this purpose Anthony's Climax Dark-Room Lantern, -Patented, as shown in the following cut, [p194] would seem to -fulfil every requirement. A more expensive, but very convenient -instrument, however, is CARBUTT'S MULTUM IN PARVO DRY PLATE -LANTERN, [p195] which has proved to be most suitable for this -particular purpose. - -[Illustration: TN: Anthony's Climax Dark-Room Lantern.] - -[Illustration: CARBUTT'S MULTUM IN PARVO DRY PLATE LANTERN] - -The paper having been placed in the printing frame, the frame is set -up, as seen in the [TN: following] cut, and the door in the side of -the lantern opened, which permits the white light from the lamp to -fall upon the surface of the negative; an exposure of from 5 to 10 -seconds is all that will be necessary, even in case the negative is -quite dense; a thin negative will print with less exposure, say 3 to -5 seconds, at a distance of from 12 to 15 inches from the light. - -[Illustration: Lantern arranged for making positives by contact.] - -The paper when taken from the frame presents no change of surface, -and must be developed in the same manner as a dry plate, to bring -out the picture. - -Previous to developing, lay the paper in a dish of clean water for a -short time, and then transfer it to the developing tray. [p196] - -The developing is done by the ferrous oxalate process. Solutions as -follows: - - Saturated solution oxalate potash 3 oz. - Saturated " photosulphate iron 1/2 oz. - Bromide " (12 grains bromide of - ammonium to 1 oz. water) 1/4 dram. - Saturated solution tartaric acid 2 drops. - -This developer can be used several times successively until it -becomes turbid. The best way is to first print and develop one -print, to ascertain the proper time of exposure. Then make as many -prints as are necessary, and develop them all together in a dish -large enough, and with sufficient of the solution to cover them -nicely. Observe carefully not to develop too far, as the resulting -prints will be too dark. When the prints are developed, wash them -well and fix them in a new solution of - - Hyposulphite of soda 1 ounce. - Water. 8 " - -The fixing will require from five to ten minutes; then wash and pass -the prints through a clearing solution consisting of - - Alum 2 ounces. - Water 6 " - -then wash again and hang up, or place between clean blotters to dry. - -It is necessary that the hands be free from any trace of silver or -hypo when handling these prints while developing, or afterwards when -wet, to avoid stains, etc. The same precautions as to the relative -proportions of the oxalate solution and the iron are to be observed -as for the development of negatives. [p197] - - -THE MAGIC LANTERN AND ITS USE - -The Magic, or, more properly, the Projecting lantern, is an optical -instrument, consisting of a case of wood or metal, enclosing a lamp -or other illuminating agent, the light of which being gathered and -condensed by a suitable condensing lens, and directed upon a small -transparent picture, so powerfully illuminates it that its image, -brilliantly lighted and greatly magnified, may be projected upon a -distant screen by means of an objective--a combination of lenses in -a tube--similar or identical in construction with a photographic -portrait lens. - -The modern projecting lantern, now a scientific instrument, bears -very little if any resemblance to the earlier magic lantern, which -was a rude construction, and, as its name implies, was first used by -magicians, or professors of the magic arts, as a means of imposing -upon the ignorance and superstition of their times. Later it became -a toy for the amusement of young people. And occasionally it -furnished amusement for popular assemblies, at what were called -Magic lantern exhibitions, usually the projection upon a screen of -greatly enlarged images of a series of comic pictures painted in -brilliant colors upon glass. - -The perfected instrument is now used in advanced schools and -colleges for illustrating scientific lectures, and more popularly by -public lecturers to illustrate by luminous projection scenes and -incidents of travel, etc., without which the mere narrative would be -exceedingly dry and devoid of interest. - -Since dry plate photography became a popular amusement, the -projecting lantern has greatly increased in public favor, and the -members of the amateur [p198] photographic societies and camera -clubs throughout the country are interested and engaged in the -production, as slides for the lantern, of views of almost everything -in animate or inanimate life. - -The projecting lantern, in its highest development, is a complicated -and costly instrument, the different designs and constructions of -which have received, each, a long and high-sounding name, the -antepenultimate of which is usually of Greek or Latin origin, such -as panopticon, sciopticon, stereopticon, etc., etc., and requiring -such powerful illumination as can only be furnished by the -oxy-hydrogen or calcium lights or electricity. - -A new instrument, however, suitable both in cost and in means of -illumination for amateurs and amateur societies, has lately been -introduced by Messrs. E. & H. T. Anthony & Co., which, to be in the -fashion, has received the name Triplexicon. - -The Triplexicon is the perfection of oil-burning lanterns; in it -refined petroleum oil is burned in a burner having three wicks; the -centre wick being opposite the centre of the condensing lens, and in -its optical axis, entirely removes the most objectionable fault of -such lanterns, the central shadow or flare. - -The Triplexicon, therefore, being of its class the most perfect -instrument, and requiring little if any skill to manage it, becomes -the appropriate instrument for the amateur photographer whereby to -exhibit in a very acceptable manner the trophies of his skill in the -use of the camera and alkaline pyro. - -[Illustration: TN: Triplexicon Lantern.] - -A gentleman thoroughly familiar with all the various modifications -of the magic lantern, in describing the Triplexicon says of it: - -"We have seen many lanterns in our time, and in [p199] several -respects this eclipses them all, especially those for use with -kerosene oil only. The lamp itself is completely shielded with a -well-made hood of Russia iron, and is provided with the patent -triplex wick, which affords the utmost illumination obtainable with -any oil light. The back and front of the hood are closed interiorly -by glass plates, specially annealed to withstand extreme heat, and -the rear one is again closed by perforated sheet iron, covered -interiorly with a highly polished metallic reflector, back of which -is inserted an eye piece of ruby glass. The latter enables one to -always observe the condition of the flame and wicks, and regulate -them without disturbing or discontinuing the action of the -instrument. The chimney is made telescopic, to pack more compactly." - -"The diffusing lens, specially constructed for the purpose, is -mounted on a cylindrical slide to extend, if [p200] necessary, -the focal distance, while the condensing lenses, which are of four -inch diameter and can be separated for cleaning, are inserted in a -corresponding slide within the wooden case. - -"The case itself is quite compact, and appears very ornamental in -its highly polished mahogany, with its little bronzed ventilators on -either side at the bottom. The metal front is burnished and has a -spiral spring adapter for the admission of the slides. A substantial -wooden box contains all, and serves also as a table for the -instrument while in use. Altogether this is the finest example of -its kind we have yet seen; it will also serve admirably for -enlargements with the gelatino-bromide paper." - - -LANTERN SLIDES. - -The pictures prepared for projection by the magic lantern are made -on glass of one size, invariably 3-1/4x4 inches, and are copies of -negatives made by transmitted light and by two methods. When the -negative is made by the detective, or pocket cameras and on plates -3-1/4x4-1/4, the positives or slides may be made by contact -printing; that is, the prepared plate is placed in contact with the -negative, film sides together or touching in a printing frame, the -back pressed closely down and the plate exposed to the light of a -gas or lamp flame--daylight is too strong--for from five to ten -seconds, according to the density of the negative; the plate is then -developed perfectly with ferrous oxalate until the picture is seen -clearly on the surface; when the shadows have become sufficiently -dense, or before there is any discoloration of the high lights, -remove and wash and fix in hypo and alum. (See Roche's formula -[p201] in article on Transparencies.) Remember that all parts of the -pictures that represent the whites should be clear glass. - -When the negative is larger than the slide, then the copy must be -made in the Camera. (See article on transparencies.) - -It is claimed by some that slides made by the collodion process are -superior to those made on dry plates, but in my own personal -experience I have found Anthony's transparency dry plates superior -to all others and better than collodion. - -To protect the film surface of the slide, thin, clear glass of a -corresponding size is placed against the film surface with a paper -mat (the opening of which should closely correspond with the outline -of the picture) between, and the two bound together neatly with -adhesive paper. - - -PRINTING BY ANTHONY'S COLLODIO CHLORIDE. - -Collodio chloride is a collodion emulsion, consisting of plain -collodion and silver chloride. It is a grayish-white substance in -liquid form, and being quite sensitive to light, it must be kept in -a covered bottle. - -Anthony's collodio chloride is supplied in 8-ounce or larger -bottles, and will keep indefinitely. The formula for its preparation -is not known, but it is sold at a price that renders its preparation -by individuals unprofitable. - -The following formula will give a superior quality of collodio -chloride to those wishing to make their own. - -FORMULA FOR COLLODIO CHLORIDE. - - No. 1. Nitrate silver 1 drachm. - Water 1 dram. [p202] - - No. 2. Chloride of calcium 64 grains. - Alcohol 2 oz. - - No. 3. Citric acid 64 grains. - Alcohol 2 oz. - -To 2 oz. plain collodion add of - - No. 1 30 drops. - No. 2 1 dram. - No. 3 1/2 dram. - -By the use of this emulsion most beautiful pictures may be made on -paper and upon porcelain, opal, stoneware, and other plain white -surfaces. - -When paper or any other flexible surface is to be used, it is simply -coated with the emulsion. First place the paper flat upon a square -of glass and pour upon it the emulsion, causing it to flow evenly -over the whole surface and the excess to flow back into the bottle -from the lower corner. This must be done in a subdued light, but not -necessarily in a dark room or by non-actinic light, as in the case -of the use of gelatine bromide paper. - -When the paper is coated it should be placed in a closet or some -dark place to dry, and when dried it is printed in the same manner -as silver paper, by placing it in a printing frame in contact with a -negative. It is printed by sunlight, and may be examined while -printing, to see the progress made. The printing should be carried a -shade or two beyond the color suitable for a finished print, and -when done should be washed in clean water and toned with gold, and -afterwards fixed in hyposulphite soda and again well washed in the -same manner as for silver prints. - -Flat porcelain or other enameled surfaces, before [p203] being -coated with the emulsion should be albumenized in the same manner as -glass plates for the collodion process. - -The white of an egg to 6 ounces of water, well beaten, will be the -most suitable proportion for this purpose. - -For printing on porcelain or other enamel plane surfaces, specially -prepared printing frames are necessary in order that the progress of -the printing may be ascertained. - -All articles with uneven surfaces, such as plaques, plates, saucers, -of porcelain china or stoneware, that cannot be placed in printing -frames, may have pictures printed on them by the aid of the Solar -Camera or by Anthony's Enlarging Camera, and the lime or the -magnesium light. - -See Anthony's Enlarging Camera. - - -THE ENLARGING CAMERA - -Method of making large pictures from small negatives. - -[Illustration: TN: The Enlarging Camera.] [p204] - -The prevalent use of the Detective Camera, and other cameras, for -making pictures on small plates, has caused a demand for an -apparatus whereby large pictures may be produced from such -negatives. - -This demand has been met by the production of Anthony's New -Enlarging Camera in connection with the Gelatino bromide papers. - -This enlarging box is at once simple and effective. It consists of a -black wooden box containing a good kerosene lamp. The sides of the -box have a number of grooves that carry a slide holding a large -condensing lens, O, while another slide holds the negative, N, that -is to be printed. - -[Illustration: TN: Schematic of the Enlarging Box.] - -To the outside of one end of the box is attached a sliding bellows, -and an objective, E, by which the picture is enlarged and thrown -upon any white surface. In a few words, the enlarging box is a small -solar camera, but using artificial light instead of the sun's rays; -or it is a magic lantern so arranged that no light can come out of -it except that which passes through the objective. [p205] - -The use of the instrument is as simple as its construction. The lamp -is lighted, and then adjusted in the box so that a shadowless circle -of light is projected upon a white wall or other surface, all the -light being utilized by means of the reflectors situated back of the -lamp. This adjustment is effected by moving the condensing lens and -the lamp nearer or farther apart. It is perhaps best to place the -condenser in a groove near the objective, but sufficiently far from -the end of the box to allow the slide containing the negative to be -inserted. Having obtained a good circle of light, now place the -negative in the slide and adjust the slide in the box so that it is -between the condensing lens and the objective, and as close to -former as may be. By means of the objective a good focus is now -obtained, and we are ready for an enlargement. - -With this apparatus and an artificial light, of course rapid -printing paper is necessary. The cap is placed on the objective, and -by the aid of red light a piece of the gelatino bromide paper is -adjusted on the surface where the image was projected from the -enlarging box. This part of the operation maybe assisted by removing -the cap from the objective and placing a piece of ruby glass before -it, allowing the image to fall on the paper through the ruby glass. -A simple and effective way of holding the paper is to tack two -common wooden laths upon a board in such a way that they will serve -to hold the paper along two of its longer sides, in which case the -board must be used to focus upon. - -The exposure necessary will depend upon the density and character of -the negative. With a medium density in a portrait negative, one -minute appears sufficient, but something also depends upon the -paper [p206] used, those of English manufacture being rather -slow. With a little care and this little contrivance much pleasure -and success are attainable in enlarging pictures from small -negatives. - -The use of the new "tooth" surface printing paper admits of the -application of crayons to the enlargements. - -By substituting the lime or the magnesium light for the kerosene -lamps, pictures may be printed by the collodio chloride process upon -a variety of uneven surfaces, such as plaques, plate, saucers, pots, -etc., etc. - -In fact, this instrument might very easily be converted into a solar -camera by fixing it in a window and adjusting a mirror outside that -would reflect the sun's rays into the condenser within the box. - - -TO ENLARGE NEGATIVES BY THE REVERSING ACTION OF LIGHT. - -Having coated a plate with the common negative collodion and excited -it in the usual nitrate of silver negative bath, expose it to the -light for about a second at the door of the dark room, wash it and -then apply to the surface as a wash a solution of - - Iodide of potassium 16 grains. - Bromide of potassium 8 " - Water 1 ounce. - -The plate is now ready for exposure in the enlarging camera; the -lime or the magnesium light being sufficiently powerful for the -purpose. On its removal from the camera the plate is washed, -immersed for a brief period in the nitrate of silver bath, or -otherwise treated with a solution of this salt, after which the -image is developed by the ordinary developing solution [p207] for -wet plates. In this way is obtained an enlarged negative from a -small one without the necessity of an intermediary transparency. - - -PRINTING WITHOUT SALTS OF SILVER, FROM THE "SILVER SUNBEAM." - -The discovery that certain of the per salts of iron when exposed to -light undergo decomposition and are reduced to proto salts, is -attributed to Sir John Herschell. But we are indebted to Poitevin -for numerous interesting developments in this department. - -For instance, the per-chloride so exposed becomes reduced to the -proto-chloride; or, as Von Monckhoven more appropriately remarks, to -the state of oxy-chloride. For this purpose the sesqui-chloride must -be quite neutral. The ammonia tartrate, potassa tartrate and the -ammonia citrate of iron are much more sensitive to light than the -sesqui-chloride, and the latter salt (ammonia citrate) most of all. - -The image formed by means of these salts is much fainter than that -with the chloride of silver; but it can be intensified by the -application of other metallic salts. - -The mode of operation consists in floating the paper on the -solutions in question in the dark room, in allowing them to dry, and -then exposing them afterward beneath a negative, as usual with paper -prepared with chloride of silver. - - -THE FERRO-PRUSSIATE, OR BLUE PROCESS. - -The preparation of the paper by this process is very simple, and -requires very few manipulations, while the results, when prints are -made, are pleasing and lasting. Prints in blue are so easily made as -to be [p208] extremely convenient for making proofs from -negatives, and they are well adapted for mottoes, plans, drawings, -manuscript, circulars, and for representations of scenery, boats, -machinery, etc., etc., and for engravers' use. - -Ferro-prussiate paper can be procured from E. & H. T. Anthony & Co., -or can be easily made by the following formula: - -Float the paper until it lies quite flat upon a solution prepared as -follows: - - 1. Water 2 ounces fluid. - Red prussiate of potash 120 grains. - - 2. Water. 2 ounces. - Ammonia citrate of iron 140 grains. - -When these two are dissolved, mix them together and filter into a -clean bottle. - -The solution should not be exposed to a strong light, and the paper -must be floated on it in a very subdued light, and in the same -manner as paper is floated on a silver solution. When it no longer -curls, but lies flat on the solution, take it by the corners and -raise it slowly from contact, and hang it up to dry in a dark place. -When dry, it can be used at once, or may be kept for future use by -rolling it, prepared surface in, and placing it in a tin box or -other receptacle, free from light and dampness. - -To make a print on this paper, place the prepared surface in contact -with the negative in a printing frame and expose to sunlight. - -The time of exposure will vary according to the density of the -negative and the intensity of the light. The rule is to allow the -light to act long enough for the portions which first turn blue to -become gray, with [p209] a slight metallic luster. At this point -remove the paper from the frame and place it in a dish of clean -water. - -It now gradually becomes a rich blue throughout, except the parts -which should remain white. Change the water from time to time, until -there remains no discoloration in the whites; dry, and the picture -requires no further treatment. - -The blue color may be totally removed at any time by placing the -print in ammonia water. - -This is the standard formula. - - -ANOTHER PROCESS FOR BLUE PRINTS. - -Float the paper for a minute in a solution of - - Ferridcyanide of potash 1 ounce. - Water 5 ounces. - -Dry in a dark room, and then expose beneath a negative until the -dark shades have assumed a deep blue color, then immerse the print -in a solution of - - Water 2 ounces. - Bichloride mercury 1 grain. - -Wash the print, and then immerse it in a hot solution of - - Oxalic acid 4 drachms. - Water 4 ounces. - -Wash again, and dry. - - -ANOTHER PROCESS--THE CYANOTYPE. - -Float the paper on a solution of the sesqui-chloride of iron. Dry -and expose, afterwards wash the prints, and then immerse them in a -bath of ferrid cyanide of potash. The picture will appear of a blue -color in all those places where the sun has acted. [p210] - - -PROCESS WITH SALTS OF URANIUM. - -The paper, without having undergone any preceding preparation, -except that of having been excluded from the light for several days, -is floated on a bath of the nitrate of uranium as follows: - - Nitrate of uranium 2 drachms. - Distilled water 10 drachms. - -The paper is left on the bath for four or five minutes, it is then -removed, hung up and dried in the dark room. So prepared, it can be -kept for a considerable time. - -The exposure beneath a negative varies from one minute to several -minutes in the rays of the sun, and from a quarter of an hour to an -hour in diffused light. The image which is thus produced is not very -distinct, but comes out in strong contrast when developed as -follows: - -NITRATE OF SILVER DEVELOPER. - - Distilled or rain water 2 drachms. - Nitrate of silver 7 grains. - Acetic acid a mere trace. - -The development is very rapid in this solution. In about half a -minute it is complete. As soon as the picture appears in perfect -contrast, the print is taken out and fixed by immersion in water, in -which it is thoroughly washed. - - -CHLORIDE OF GOLD DEVELOPER. - -This is a more rapid developer than the preceding. The print is -fixed in like manner by water, in which it must be well washed, and -afterwards dried. When dried by artificial heat, the vigor of the -print is increased. [p211] Prints that have been developed by the -solution of nitrate of silver may be immersed in the gold bath, -which improves their tone. - -The picture may be developed, also, by immersing the prints in a -saturated solution of bichloride of mercury and afterwards in one of -nitrate of silver. In this case, however, the times of exposure must -be increased. - -Pictures may be obtained, also, by floating the papers on a mixture -of equal quantities of nitrate of silver and nitrate of uranium in -about six times their weight of water. - -When dry, they are exposed beneath a negative. In this case the -image appears, as in the positive printing process, with chloride of -silver, being effected by the decomposition of the nitrate of -uranium, which, reacting on the nitrate of silver, decomposes this -salt and reduces the silver. These prints require fixing in the -ordinary bath of hyposulphite of soda, and then washing, as usual. - - -PROCESS FOR RED PICTURES. - -Float the papers for four minutes in the preceding bath of nitrate -of uranium, drain and dry. Next, expose beneath a negative for eight -or ten minutes, then wash and immerse in a bath of - - Ferridcyanide of potash 30 grains. - Water 3 ounces. - -In a few minutes the picture will appear of a red color, which is -fixed by washing thoroughly in water. - - -PROCESS FOR GREEN PICTURES. - -Immerse the red picture, before it is dry, in a solution of [p212] - - Sesqui-chloride of iron 30 grains. - Distilled water 3 ounces. - -The tone will soon change to green; fix in water, wash and dry -before the fire. - - -PROCESS FOR VIOLET PICTURES. - -Float the paper for three or four minutes on a bath of: - - Water 2 ounces. - Nitrate of uranium 2 drachms. - Chloride of gold 2 grains. - -Afterward take them out and dry. An exposure of ten or fifteen -minutes will cause the necessary reduction; the picture has a -beautiful violet color consisting of metallic gold. Wash and dry. - - -TRANSPARENCIES ON GLASS AND OPAL. - -Photography, throughout its varied range, produces no more charming -or satisfying picture than the transparency, whether it is on glass -for the window, or on porcelain or opal for the lamp. - -The beautiful and sparkling gradation of light and shade, the -variety and depth and richness of tone and color inherent in a fine -example of this picture, renders it most positively "a thing of -beauty and a joy forever," - -It is a picture made by a peculiarly simple and easy process, the -most exalted expressions of which have always commanded the popular -favor and a high price, and the working of which has, both for the -amateur and the professional photographer, the highest interest and -attractiveness. By no other method or process can the amateur -succeed in producing pictures of [p213] equal excellence, with -the same outlay of time and skill, which is a peculiarly fortunate -circumstance, as the tendency among amateurs at this time is to form -themselves into clubs and societies for the exchange of their most -beautiful and successful efforts as picture makers. And an exchange -in the form of a transparency enables the receiver to command all -other styles of pictures, through the negative that may be produced -from it. - -The production of these pictures has assumed such importance already -as to have called forth a special dry plate for making -transparencies, to say nothing of the other special goods for the -same line, such as metal frames, ground, engraved and etched glass -for mounting, the beautiful borders of which greatly enhance the -beauty and elegance of the finished picture. - -Transparencies are adaptable for the exhibition of every kind of -picture that can be copied; paintings, engravings, portraits, -landscapes, all become equally acceptable when skilfully finished -and properly displayed. - -By this process, also, the amateur is enabled to provide himself -with slides for his magic lantern and to have the satisfaction of -exhibiting to his friends the trophies of his own skill in the use -of the camera and the developing solution. - -The amateur, in order to succeed in producing high class work, -should possess himself of one of Anthony's duplicating and copying -cameras, so that he may be enabled to avail himself of both methods -of work; that is to say, by the camera and by contact printing, as -by the latter method he is restricted to the range and size of his -negatives, while by aid of the camera he is enabled to copy all -kinds of pictures to acceptable sizes, [p214] and he can make his -transparencies of equal size with his negative, or vary the size to -suit the requirements of the case. - -The use of the duplicating and copying camera is fully detailed in -the article on Duplicating Negatives. By its use the amateur is -enabled to work by the wet collodion process, which has many -advantages, or by the dry plate process, using Anthony's -transparency plates or the gelatino albumen plates made in -Philadelphia. If he confines himself to contact printing, he is -restricted to the use of dry plates only. - -The outfit of goods for making and finishing transparencies consists -of: - - Transparency frames, common and patented, made with rings for - hanging horizontally or vertically. - - Ground glasses, with borders. - - Etched glasses, with borders. - - Anthony's transparency plates. - - Gelatino albumen plates. - - Porcelain and opal plates for lamp shades, etc., etc. - - -FORMULA FOR DEVELOPING DRY PLATE TRANSPARENCIES. - -When making transparencies by contact use artificial light, either -gas or a common lamp. A deep printing frame is the most suitable, -having a piece of thin plate glass in it to support the negative. -Lay the negative down with the film side up, place upon it the dry -plate, put in the back and press firmly down with the springs; -expose to gas light from six to ten seconds at a distance of twelve -to fourteen inches; expose longer to lamp light, say from ten to -twenty seconds, or the duration of time that may be considered -sufficient, judging from the density of the negative in use. [p215] - -The time of exposure and the strength of the developers are the most -important factors in determining the quality and tone of the -resulting transparency. Giving a short exposure and using a strong -developer will ensure a vigorous picture with a rich velvety black -tone. A long exposure, necessitating a weak developer, will produce -fine gradation of light and shade, clear shadows and a warm brown -tone. - -When making transparencies for the window, cut a mask, with an -opening, allowing for the border or margin on the ground glass it is -intended to use. A suitable paper for this purpose is of deep orange -color and moderately heavy; place the mask between the negative and -the dry plate to be acted on, and it will protect the margin from -the action of light, leaving it clear glass, and so exhibiting to -better advantage the ornamented border of the ground or etched -glass, which is placed against and covers and protects the film of -the dry plate. When making lantern slides the mask is not necessary. - - -FERROUS OXALATE DEVELOPER FOR TRANSPARENCIES. - - No. 1. - - Sulphate of iron (Anthony's) 2 ounces. - Distilled or ice water 32 " - Sulphuric acid 8 drops. - - No. 2. - - Neutral oxalate of potassium 8 ounces. - Warm distilled water 32 " - Citric acid (or tartaric) 60 grains. - Bromide of potassium 180 " - -When about to use, mix equal parts of Nos. 1 and 2, always pouring -No. 1 into No. 2. [p216] - -The exposure having been made in the camera or in the printing -frame, place the plate in the developing tray and pour upon it -sufficient of the developing solution, mixed as directed, to cover -the plate at once, and keep it in motion from time to time. Develop -until detail in the high lights is plainly visible. When this is the -case remove the plate, wash well and fix in hypo-solution. - - Water 20 ounces. - Hyposulphite of soda 6 ounces. - -When the plate is quite cleared, of which it is better to make sure -by leaving the plate in the fixing solution for fully five minutes -after it first appears clear, remove it and wash again very -thoroughly, and then immerse it in the clearing solution. - - Water 20 ounces. - Sulphuric acid 1/2 " - Alum 2 " - -Leave the plate in the clearing solution two minutes or more, then -wash again, rubbing the surface lightly with a tuft of cotton to -remove any sediment that may adhere to the film, then set it up in a -rack to dry. - - -PORCELAIN AND OPAL TRANSPARENCIES - -may be developed in the same manner until detail may be seen in the -face, if it is a portrait; then remove it and instantly flow with a -solution of bromide of ammonium to stop developing action, then -wash, fix and dry as before. - -For portraits on porcelain or opal, to be viewed as positives by -reflected light, develop until the fine half-tones in the face are -visible. When they are for transparencies, [p217] either for -window or lamp shades, develop until the detail in the high lights -of portrait or landscape are well out. This may necessitate a longer -exposure by lamp-light. - -Transparencies developed by other methods receive a stain or color, -which, in many cases, is not unpleasing; for instance, the following -formula will give a very beautiful yellowish color: - - Saturated solution yellow prussiate of potash, 4 ounces. - Pyro 2 grains. - Ammonia (conc.) 2 drops. - -This will cover and develop one 8x10 plate, giving it an agreeable -color similar to that produced by development by sal soda and pyro, -but much more agreeable. - -A very fine blue color is imparted to the plate when developed by -the following formula: - - Saturated solution sal soda 5 minims. - Saturated solution potash 5 " - Saturated solution ferrocyanide of - potash 5 " - Bromide ammonium 1 grain. - Pyro 2 grains. - Water 4 ounces. - -From the fact that these different developments impart different -colors to the negatives, it might be inferred that the gelatine film -is susceptible of receiving color from a stain or dye; if such is -the case, transparencies may be made in every color of the chromatic -or solar spectrum. I have seen one of a beautiful rose color, and -was informed that the color was received in development. [p218] -This was possibly so, but it is very easily ascertained if the film -of the developed plate is capable of receiving a dye of any pleasing -color suitable to the subject. - - -TRANSPARENCIES BY WET COLLODION. _From the Photographic Times._ - -Transparencies for the decoration of windows, or gas shades, or for -examination in the stereoscope, differ from those intended for -lantern projection in being somewhat more intense. A lantern -transparency must have its high lights of pure glass; in the case of -the others, it is of less consequence, should they be slightly -shaded. - -To produce a transparency by wet collodion, a camera is required the -body of which will be capable of extending to twice the focus of the -lens, although a still further extension is desirable. The reason -for this lies in the fact that when making a transparency the same -size as the negative, the sensitive plate must be withdrawn from the -lens to the extent of precisely twice the solar focus. It -occasionally happens that it is desirable to make the image in the -transparency on a scale a little larger than that in the negative. -To permit of this being done, it is necessary that the distance -between the sensitive plate and the lens be increased, for according -to this distance, so is the amount of enlarging. - -The negative must be so arranged as to have a clear sky or a uniform -light behind it. If the work is to be effected at a south window -into which the sun is shining, the requisite uniformity of -illumination is obtained by placing a sheet of ground glass within a -few inches of the negative. Arrangements must be made by [p219] -which the negative may not only be held rigidly in an upright -position, but that such adjustments may also be made as will bring -it as near to or as far from the lens as will be found requisite, -and also as will permit of its being raised, lowered or having any -part far removed from the centre brought into the axis of the lens. -These conditions are fulfilled in all good transparency cameras. We -do not assert that a properly constructed camera for the special -purpose of making transparencies is an absolute necessity, seeing -that a light framework erected in front of the camera, and with -which it need not be connected with a bellows body, will suffice, -but the great convenience of a camera expressly for the purpose -cannot be overrated. - -In order to ensure clearness of the high lights, the collodion -should be rendered of a dark sherry color by the addition of a few -drops of an alcoholic solution of iodine. The strength of the -solution is not of consequence, but enough must be added to the -collodion to render it of the color indicated. Collodion for this -purpose works rather better after it has been kept for a few weeks -or months than when it is quite new. No hints can here be given as -to the length of exposure requisite, but if the camera be pointed to -a moderately bright sky, the negative one of average density, and -the lens worked with a small diaphragm, an exposure of twenty-five -or thirty seconds may be given, and, by noting carefully the quality -of the resulting picture when finished, the data for a more accurate -timing of the exposure may be ascertained therefrom. - -After developing the image with iron, if it should, upon examination -prove to be too thin, wash off the developer and apply pyrogallic -acid and silver and bring it up to the required intensity. Fix and -wash. [p220] - -At this stage--that is, after fixing and previous to the plate being -dried--the image may be toned to almost any desired color. It is to -be regretted that some of the most desirable tones cannot be -recommended, on account of the want of permanence. A type of the -best of this class of toning agents is as follows: Make a saturated -solution of bi-chloride of mercury in hydrochloric acid and dilute -it with twelve volumes of water. Into this place the plate, after -having thoroughly removed the hyposulphite by washing. When it has -become quite bleached, wash carefully again and place in a bath -composed of a dram of sulphide of ammonium to a pint of water. - -The image will soon acquire a rich dark brown color, and when this -is found to have penetrated the film, it may be washed, dried and -varnished. - -A solution of sulphide of potassium imparts a good brown color. - -Chloride of gold gives a tone which may be described as a neutral -black, that is both durable and very pleasing for quite a variety of -subjects. - -A solution of chloride of platinum gives a tone which is very -permanent. It is essential when using either gold or platinum that -the toning solution be weak. - -It is possible, however, so to develop a collodion transparency as -to obtain a rich purple black tone without any after toning. The -addition of a few drops of a saturated solution of citric acid per -ounce of developer effects this, but as it checks development at the -same time, the proportion of protosulphate of iron must be increased -to such an extent as to impart energy to the developer. [p221] - -A few drops of a solution of gelatine in sulphuric acid is also of -great utility when added to an iron developer. It promotes clearness -of image and richness of tone. - -[Illustration: ANTHONY'S BICYCLE CAMERA.] [p222] - -How delightful a pleasure it is in the early morning, or of a fine -afternoon, to mount a bicycle and take a spin along the country -roads. - -The bracing air, the easy motion, the sense of independence, so act -upon the mind as to make it keenly sensitive to the beauties of the -foliage and scenery that so swiftly pass before the eyes. Such must -have been the thought of him who penned the following: - -"Most of us, no doubt, have experienced the desire, as our machines -have passed some pretty and specially picturesque bits of scenery, -to take away with us some memory, to be recalled at some future -time, of what we were then passing by. And most of us have also -experienced the difficulty, as one picturesque scene is replaced by -another, and so on to the end of our journey, of preventing the many -scenes getting somewhat blended in our minds, and an inability to -produce details with accuracy. To sit and sketch such scenes would -be to reduce the journey to a sketching tour, and the distance to be -covered must be reduced accordingly, thus depriving the 'cyclist' of -the usefulness of his machine. - -"That which this tourist desires may be accomplished by the aid of -photography, and the whole addition to the impedimenta of the -'cyclist' can be so arranged as to be trifling. - - * * * * * - -"The apparatus consists of a tripod, camera and case. My camera, -with leather case and provisions for exposing a dozen 5x4 plates, -weighs between fourteen and fifteen pounds. - - * * * * * - -"I have endeavored to show in the brief space of time [p223] at -my disposal, how the enjoyment of a 'cyclist's' ramble may be -enhanced by that most wonderful combination of chemistry, optics and -mechanics, which has resulted in placing the science of photography -within the reach of the amateur. - -"When we have imprisoned our sun pictures, and have them safe, -though latent and invisible, intangible and impalpable to any of our -senses, we may at our leisure (it may be months after), by means of -those marvelous chemical affinities which throw the haloid salts of -silver again into chemical life, produce on the film the pictures we -have so desired; and then again, by further use of the light, we -print our scenes on the sensitive paper. We have then a pictorial -history of our journey in our albums, which will recall the pleasant -memories of happy days spent long, long years ago. - - "FRANK COBB." - -The amateur who wrote as above rode on a tricycle and carried a load -of apparatus for 4x5 plates, amounting to fourteen or fifteen -pounds, for a dozen pictures. That is the way it is done in England; -but in this country mechanical skill has reduced that load to less -than five pounds for two dozen pictures of the same size, and the -cyclist goes forth with a small camera and a roll-holder charged -with films for 24 exposures, which are carried in a small case -supported by a strap passing over the shoulder, and these films are -so sensitive that it is not necessary that he should dismount and -undergo the trouble of erecting a tripod, and attaching his camera -thereto. He has only to fix his camera by a universal joint to his -steering-bar and shoot as he flies, with the full confidence that at -the proper time [p224] he will find his bit of scenery spring -into beauty and brilliancy under the influence of the developing -solution. Or if the exigencies of the situation require that the -point of view would be better off the road, then the wheel is very -easily converted into a support for the camera by the little brass -telescopic rod which is adjusted against the pedal at the side of -the wheel by a strap, and lengthened to reach the ground, against -which the wheel may rest quite sufficiently steady for all purposes -in question. - -The little camera, with double holder telescopic support for wheel -and the case, will weigh about two pounds, which may be carried by -means of a strap on the shoulder, or may be buckled to the saddle of -the machine. - -The detective camera, also, is quite well suited for such a purpose, -with the roll-holders or otherwise, as may be desired; but the paper -films are more sensitive than the plate, and are, therefore, more -suitable for such rapid work as may be required. - - -PHOTO MICROGRAPHY. - -If you place any natural object at a distance from a convex lens, a -much smaller image of the same will appear at the focus of the lens. -When this small image is reduced to that point that it cannot be -seen clearly with the naked eye, and is photographed, it may be -called a micro-photograph. On the contrary, if the object is a -microscopic one, and is placed at a point very near a convex lens, -an enlarged image may be found at a considerable distance from the -lens. A photograph of this enlarged image of a microscopic prepared -object, is termed a photo-micrograph. [p225] - -Some confusion among so-called authorities on this subject renders -their definition of sufficient importance to be given in this -connection. - -With the former we have nothing to do, as there can be very little -interest attaching to the production of pictures of any object on so -small a scale as to require a microscope to look at them. - -With the latter, however, it is otherwise, for by the aid of -photo-micrography we are enabled to place in permanency for closer -study those enlargements of natural objects that are revealed to the -human eye by the microscope. The secrets of the composition of the -drop of water and a knowledge of its "monstrous and terrific -inhabitants," are thus made known. - -Previous to the introduction of the sensitive dry plate the practice -of photo-micrography was confined almost wholly to those possessed -of leisure, and ample means to provide the expensive and complicated -instruments necessary, or to savants like Dr. Woodward, backed by -the resources of a liberal government supplying apparatus and -appliances far beyond the means of the ordinary student of natural -science. - -The advent of the gelatine dry plate placed the workers in this -branch of scientific research more nearly on a level, at least as -far as the possession of suitable and efficient instruments are -concerned, and one of these workers has published for the -instruction of amateurs and others a very valuable article on -photo-micrography, from which we extract by permission a description -of the instruments necessary to the successful practice of this -interesting study. - -Mr. Walmsley, in the article referred to, says: I will now describe -the apparatus I am using at present, [p226] passing unnoticed the -various stages by which its comparative perfection has been reached. -Four essential parts make up the complete outfit. - -A microscope with its object glasses and other accessories. - -A camera with long extension bellows. - -A lamp for illumination. - -A solid platform to carry the entire apparatus. - -A microscope with a joint to the body permitting the same to be -inclined to a horizontal position may be employed, but the -essentials to accurate, comfortable work are as follows: - -A heavy, solid stand, perfectly firm in all its positions, with a -short body (the 6-inch Continental model is admirable), good coarse -adjustment for focus, and a very delicate, fine one, the latter -controlled by a large milled head, in the periphery of which a -groove is turned to admit the focussing cord, hereafter to be -described. A solid, mechanical stage rotating in the optic axis, and -a sub-stage moved by rack and pinion, capable of carrying an -achromatic condenser, polariscope, etc., are almost indispensable. -The objectives should be the very best, especially corrected for -photography in all powers under the one-fifth of an inch and of -moderate angular aperture. - -Perfect corrections of chromatic and spherical aberrations, with the -greatest penetrating and defining powers, are essential features in -objectives designed for photography. - - * * * * * - -A binocular microscope can be used quite as well as a monocular, by -simply shifting the prism, but if an instrument is to be selected -purposely for photographing, [p227] the latter is recommended in -preference to the former. In either case, the tube is to be lined -with black velvet or flock paper, otherwise there will be a -reflection from its inner surface, which will cause a ghost in the -negative. An accurately centered double or triple nose-piece, -carrying as many objectives of different powers, will also be found -an immense convenience, saving much time and labor in choosing the -proper object glass for any particular object. I use a triple -nose-piece, upon which are always screwed a two-thirds, a -four-tenths, and a one-fifth inch objective, being the powers most -generally used. If the one-fifth is to be employed in making an -exposure, the object is readily brought into the centre of the field -under the two-thirds by a simple rotation of the nose-piece; the -one-fifth is now brought into position, when the object will be -found to occupy the centre of its field of view. Much valuable time, -which would otherwise be expended in finding a minute object under -so considerable a power, is thus saved. - -Most chemical crystals being colorless and nearly invisible under -ordinary illumination, require to be examined and photographed by -polarized light. For this purpose, the polariscope prisms should be -of large size, and both mounted in revolving settings. The lower -prism should also fit into a sub-stage, capable of carrying an -achromatic condenser above, in order to properly illuminate the -field with any objective above the two-thirds inch. The achromatic -condenser itself should consist of at least two combinations of -different powers and of wide angular apertures. It is always -necessary to employ a condenser of greater power than the objective. -If a one-fifth is used, the [p228] illumination should be by a -four-tenths to get the best results, whilst a one-tenth should be -illuminated by a one-fifth. For lower powers, the ordinary -bull's-eye condenser, in connection with a diaphragm of varying -apertures, will be found all-sufficient. - -For the great majority of workers the following powers of object -glasses are recommended: Two inch or one and one-half inch, -two-third inch, four-tenth inch, one-fifth inch and one-tenth inch, -the latter an immersion capable of being used with glycerine, since -water evaporates too rapidly for practical use. With these powers, -and a camera having thirty inches extension of bellows, a range of -powers from about ten to six hundred diameters may be obtained, -whilst the addition of an achromatic amplifier will increase the -power of the one-tenth to more than one thousand diameters, without -perceptible loss of light or definition. - -All the foregoing features are combined in the microscope I am using -for this work, and, in enumerating them, I have but described that -very perfect and complete instrument. We pass now to the second part -of our outfit. - - -THE CAMERA. - -Probably the most convenient and generally useful form of camera is -one with bellows extending some thirty inches, and capable of -carrying both quarter and half sized plates, horizontally or -vertically. My box is a square one, carrying plates from the 4-4 -size (6-1/2x8-1/2 inches) down to 3-1/4x4-1/4. The bellows are in -three divisions, extending fully four feet, giving altogether nearly -six feet from the microscopic stage [p229] to the focussing -screen when fully drawn out. It is very carefully made of hard wood, -and the framework carrying the bellows moves with the utmost -smoothness upon its {~GREEK CAPITAL LETTER LAMDA~}-shaped runners. A short cone front receives -the microscope tube, and all extraneous light is shut out by a -wrapping of black velveteen around the opening, secured by a rubber -band. The focussing screen (which is only used for arranging the -object in the centre of the field or plate, and is entirely -removable) has a space of the precise size and shape of a lantern -slide pencilled in its centre, as a guide to the making of quarter -plate negatives. An object filling this space on the ground glass -will necessarily occupy the same position on the quarter plate when -the holder containing the latter is made to take the place of the -focussing screen. - -As stated, the ground glass is used only for containing the object, -and for coarse adjustment of focus. It is impossible to grind it -finely enough to accurately focus any delicate tissue with high or -even moderate powers. Many suggestions have been made and devices -used, but all I have tried proved unsatisfactory, until the -following appeared in an English journal: - -An evenly coated gelatine plate is to be exposed to a flood of white -light, developed to a very slight intensity--a mere smokiness--fixed -and washed as usual, then bleached with mercury, washed and dried. -The result is the most perfect focussing surface imaginable. To use, -remove the focussing screen from the camera and replace it with the -plate holder from which the slides have been removed. The bleached -gelatine plate (which of course must be of proper size to fit the -holder) is to be placed therein with the film side [p230] toward -the microscope. Now place a focussing glass against the back of the -plate, apply the eye to it and adjust the focus by a delicate pull -of the cord. Nothing can be more satisfactory. When the proper -adjustment is determined upon, secure it from possible change during -exposure, by winding the cord once or twice over the screw eye at -the rear of the camera frame. - -The plate holder (single) opens at the back to receive the plate, -and being square, like the camera box, admits of the negative being -taken vertically or horizontally, as may be desired, a matter of no -small importance in many cases. - -This feature, in connection with the revolving stage, enables one to -place any object upon the plate in the best position for printing. -The full size of the plate carried by my holders is 6-1/2x8-1/2 -inches, but by the employment of removeable rabbett kits, plates -5x7, 4x5 and 3-1/4x4-1/4 can be used. It is desirable to have two or -three additional holders as time savers. - -For our work to possess any real uniformity or value, it is -absolutely necessary that the magnifying power used with each -exposure should be ascertained and noted. To make measurements each -time would be a waste of that precious commodity, to avoid which I -have adopted the following device: - -The bed or framework upon which the bellows extends, is divided into -spaces of one inch, and the same plainly marked thereon. Suppose -this extension is thirty inches, and that by means of the stage -micro-meter we find the one and one-half inch objective to magnify -twenty diameters with the bellows closed and fifty fully extended. -This gives the value of one diameter [p231] to each inch of -bellows drawn out, and if the magnified object reaches the desired -dimensions, at, say twenty inches extension, we at once know the -power to be forty diameters. Suppose, again, a power of one-fifth is -being used, magnifying 125 diameters with bellows closed, and 275 -with the same extended thirty inches; this gives a value of five -diameters to each inch, and if the desired size is reached at -twenty-five inches extension, we have a power employed of 250 -diameters. By making these measurements (closed and open) for each -objective habitually used, and recording the same in our note-book, -an accurate and readily adjustable table of measurements is ready -for all future work. - -We now pass (thirdly) to the important subject of illumination, in -many respects the most important in photo-micrographic work. - -It goes without saying that to the favored few, whose time and means -permit the harnessing of the sun's rays in their service, no -artificial light can be produced which will quite take the place of -the great luminary, but for the many, some other means must be -sought. - -When the promised days arrive that are to place in every man's house -electric lights, cheaper than gas and as easily controlled, the -problem will be satisfactorily solved; but at present we must -content ourselves with prosaic kerosene, seeking only for the most -practical method of utilizing its brilliant light. - -After many experiments I have settled upon a flat, broad-based lamp -of good oil-holding capacity, which is attached to a heavy retort -stand with movable arm, enabling it to be carried to any desired -height. A duplex burner and a tall chimney, producing perfect [p232] -combustion, afford a light of thirty candle power, rendering -possible the following average exposures with the plates I am now -using, the variation in time being caused by differing densities and -actinism of the tissues or substances to be photographed: - - 1-1/2 inch objective 3 to 5 seconds. - 2/3 inch objective 7 to 90 " - 4/10 inch objective 1/2 to 3 minutes. - 1/5 inch objective 2 to 7 " - 1/10 inch objective 4 to 10 " - -This lamp produces sufficient light for use with the highest powers, -requiring the employment of a diaphragm to reduce its intensity. Too -brilliant an illumination, flooding the field with diffusive rays, -will almost certainly produce a blurred and indistinct image. - -Microscope, camera and lamp being ready for use, it becomes -necessary to provide a suitable support for each, in order to form a -complete working outfit. Some writers have described and illustrated -their apparatus as being carried upon two or more separate tables or -trestles. This I have found to be a most objectionable method in our -city houses, since the vibration produced by passing vehicles is -unevenly communicated to camera and microscope, producing inevitably -a disturbed or blurred image, especially when high powers are -employed. By adopting, however, a long, solid platform, carrying all -the separate parts of the apparatus, this objectionable feature is -removed, any vibration is communicated to camera and microscope -alike, and there is no blurring of the resulting image whatever. In -my apparatus this platform is about five feet in length, with a -raised portion at one end, [p233] upon which the camera is firmly -clamped by a milled head operated from beneath. The cone front -extends toward the platform, upon which the microscope (inclined -horizontally) is secured at such a height that its tube precisely -enters the middle of the cone. Thus, a straight line drawn from the -object upon the stage through the microscope tube and camera should -fall upon the centre of the focussing screen, and if all the parts -are properly put together this will be the result, and the whole -field will be equally illuminated when the lamp is placed in -position. - -The stand of the latter is not secured to the platform, but is left -free to be moved about and placed nearer to or farther from the -microscope, as may be found necessary to secure the best results. A -bull's-eye condenser upon a movable stand placed between the lamp -and the stage of the microscope, is necessary to concentrate the -light upon the object, or upon the achromatic condenser when the -latter is used and to aid in the equal illumination of the field. -The latter is of great importance, since the result of an uneven -illumination will be a negative of differing densities in different -parts, marring its beauty, and at times rendering it utterly -worthless. Too much stress cannot be placed upon the necessity of -securing an even, brilliant light of proper intensity for the object -under examination. - -The arranging of the object in the centre of the field (under a low -power) and the coarse adjustment of focus are done with the bellows -tightly closed, which brings the focussing screen so near to the -microscope that, whilst the operator sees the object thereon, his -hand can readily reach the milled head, controlling the [p234] -stage and other movements. But when the bellows is extended to the -length affording the desired magnification it will be found that the -object, whilst retaining its central position, has lost its -sharpness, necessitating a final and careful focussing which is no -longer possible in the same manner as before, since the ground glass -and microscope are so widely separated that the one cannot be -reached whilst looking into the others. Some special device becomes -necessary in this emergency, and many have been made, mostly -complicated and costly. The method I have adopted is the old and -simple one of a fine cord passing around the periphery of the milled -head controlling the fine adjustment, in a groove cut for that -purpose, thence through a series of screw eyes to the rear of the -frame-work carrying the bellows extension, where it is kept taut by -a couple of small leaden weights. - -The slightest tension upon this cord causes a corresponding movement -of the fine adjustment, and nothing can exceed the delicacy of its -working or its freedom from derangement. A fine fishing, line makes -an admirable cord for this purpose. - -Having sketched the various portions of the apparatus and brought -the whole together into complete form, a few random extracts from my -note-book may not prove uninteresting or valueless to some who are -working in this direction. - -Gelatine plates for photo-micrography. The requisites of a perfect -plate are, great sensitiveness, combined with extreme latitude in -time of exposure, and density in development. It should be of a fine -texture, showing clearly the most delicate lines and markings, [p235] -evenly coated and free from spots or blemishes of any sort.[2] - -[2] The Stanley dry plate has all these qualities in the highest -perfection. - -It is most provoking to have an otherwise perfect negative marred or -ruined by opaque or transparent spots appearing in its most -important portions. - -For development, ferrous oxalate or alkaline pyro are equally -useful, and either may be employed, as suits the fancy or -convenience of the operator. My own preference is for the latter, -and I always use it with ammonia well restrained, having had no -success with either soda or potash in this class of work. For all -objects possessing much color it is best to continue the development -until full density is obtained, but for very thin or transparent -subjects, such as diatones or unstained vegetable tissues, it is far -better to stop the development as soon as all details are out and -resort to after-intensification, for which purpose bleaching with -mercury followed by a ten per cent. bath of sulphite of soda will be -found eminently satisfactory. I always use the alum bath, and -invariably secure a clean negative of a cool gray color, resembling -iron development. - -Printing. The best ready sensitized paper can be depended on for -producing satisfactory prints, showing the most delicate lines and -markings of diatones and turning to any desired shade. Avoid -over-printing, wash but slightly in two changes of water, the last -slightly acidulated with acetic acid, and use an acetate of soda -toning bath. Undesirable portions of the negative may be stopped out -with a mat of suitable [p236] shape. Any ordinary cabinet card -makes a neat mount of convenient size, upon which may be written the -name of the object or specimen objective and magnification employed, -and any other matter referring to print or negative which may be -necessary to note. - -A carefully kept note-book is a most important aid to the worker in -photo-micrography, and it should contain all his failures and -successes alike. Notes should be made of the specimen objective, -magnification, exposure, plate and developer, which, carefully -studied, will almost certainly enable him to secure a success with -each exposure. - -Lantern Slides.--It is well to make the negative as far as possible -of a suitable size for producing the positive by contact printing, -which is convenient and satisfactory, though there can be no doubt -that reproduction in the camera affords better results. Slow -gelatino bromide plates, such as Carbutt makes for this purpose, -produce very satisfactory work, but the chlorides are so far -superior that there can be little doubt of their being exclusively -employed for positives in future. There is a richness of tone, -combined with great transparency in the shadows and clear glass in -the high lights, quite unattainable with bromide emulsions, and -rivaling the best wet work. - - * * * * * - -Opaque Objects.--These may be photographed by the light from a lamp -quite as well as transparent ones, through which the light is -thrown, a matter of which I have thus far spoken only. A strong -illumination must be obtained by the employment of a suitable -bull's-eye condenser or a silvered reflector. The [p237] most -satisfactory method, however, is by sunlight, allowing its direct -rays to fall upon the object without the intervention of any -condenser whatever. Very short exposures suffice with such -illumination, varied only by the reflecting capacities of the object -itself. A successfully exposed plate of this class of objects will -give a print of the subject, standing out most brilliantly upon a -black ground. - -To secure the best results, most objects should be specially mounted -for photographing. Some are best in a resinous medium, such as -Canada Balsam, but most tissues are obscured or entirely obliterated -in this medium. So far as possible all preparations should be -mounted in a fluid of some description that will distinctly render -visible many tissues and markings which would be lost in balsam. -This subject, however, is one of so great extent that it would -require a special paper, and I merely refer to it now because of its -importance, hoping at some future time to enlarge more fully upon -it. - -You will notice that my remarks have been confined to work that may -be done with objectives of low or moderately high powers, in no case -exceeding one thousand diameters, having preferred to speak only of -that which I have demonstrated by actual work as being practical. -From recent experiments I am fully convinced that the lamp light, -such as I have described, is capable of producing satisfaction, work -with very much higher powers, and shall hope, at no distant day, to -show prints made from magnification of not less than two thousand -diameters, that will be satisfactory in all respects. - - W. H. WAMSLEY. - - -[p238] - - -PRACTICAL SUGGESTIONS. - -When preparing for an outing, consider the kind of work you intend -to do and select your plates accordingly.[3] If it is intended to -make instantaneous exposures, get the most sensitive plates -possible; those of the highest sensitometer number should be -procured. For subjects from still life, inanimate objects, -landscapes, etc., etc., slower plates are preferable. When filling -your holders, carefully brush all dust from the surface of the -plates, ascertain that the lenses are clean, and wrap them in -chamois. Carry no useless weight. - -[3] The Stanley lightning is particularly recommended to amateurs -for all quick work. - -When you have selected your standpoint, plant the legs of the -tripod well apart to insure steadiness of support and make sure -that the camera is level and firmly screwed to the tripod. If you -use a drop shutter, slow exposures may be made by holding the -slide in the hand and passing it down slowly over the opening in -front of the lens. When using double holders mark the side exposed -as soon as made. Carry a piece of cetaceum paper, which may be -used as a substitute in case you break your ground glass. The head -cloth may be used as a changing box by covering the holder and box -of plates with it and folding the ends around the wrists, securing -them by rubber bands; then proceed by the sense of feeling. Before -exposing draw the slides, so that no light may enter the plate -holder. - -Be sure you are right, then go ahead. - -Before developing plates that have been exposed instantaneously, -let them soak a few minutes in water [p239] with a small -portion of soda or ammonia, then wash them and develop with the -normal developer. Mr. Inglis suggests that for extra rapid -exposures a very slow development with weak developer will give -better detail and strength. - -The paper films must be developed always with a strong developer -to secure best results. - - - - -TRANSCRIBER'S ENDNOTE. - -The headings in the Table of Contents do not necessarily correspond -to headings in the text. A few examples will be mentioned. There is -no heading for "PART I." in the text, though "PART II." is present. -There are two headings "CAMERA BOXES" in the Table of Contents, but -only one in the body. A second, matching one, has been added on page -110. The Table of Contents lists several types of pneumatic shutter -for pp 124-129 that do not appear in the text under the same names. - -In the Table of Contents, under the level-three heading "GELATINO -EMULSION" at page 38, the two level-four headings "Preparation of -Glass" and "Coating Glass" occur in the text under a level-three -heading "DESCRIPTION OF APPARATUS USED IN MAKING AND WASHING -EMULSIONS." on page 44, which corresponds to a level-three heading -in the Table of Contents "APPARATUS USED IN MAKING EMULSIONS". This -heading seems to refer to the same section of text as the level-four -heading "Apparatus for Making" in the Table of Contents under page 38. - -In the Table of Contents under heading at page 181, "How to Use the." -was changed to "How to Use them." A few other such simple printing -errors have been fixed silently. - -Some captions of images or tables originally functioned in situ as -section headings; some of these have roughly corresponding entries in -the Table of Contents. - -Originally, and in the html version of this ebook, section headings -or captions of images or tables may also function in situ as part of -the body text. In this text version, such captions and illustrations -have been retained. However, any images that were originally embedded -within paragraphs were moved out of paragraphs to between paragraphs, -and if necessary, the caption was then duplicated in the text. Some -illustrations that originally had no captions have been provided with -captions labeled with "TN:". - -In the table on page 43, showing the formulae for gelatine emulsion, -the fifth row duplicates the third row, probably erroneously. - -The name "Ever" appears in the table of contents twice, in connection -with Emulsions C and D, under the section starting at p 38. This name -is spelled "Eder" on pp 43 and 44. - - - - - -End of the Project Gutenberg EBook of Photography in the Studio and in the -Field, by Edward M. Estabrooke - -*** END OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAPHY IN THE STUDIO *** - -***** This file should be named 42982.txt or 42982.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/9/8/42982/ - -Produced by Albert Laszlo, RichardW, P. G. 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