Photography in the Studio and in the Field, by E. M. Estabrooke

CONTENTS.

p7

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has superseded the collodion process almost, if not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
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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,
p9
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.
p10

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
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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:
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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
p13
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.
p14

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
p15
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.
p16

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
p17
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:

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,
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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
p19
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.

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
p20
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
p21
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
p22
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.

p23

NO. 2.

NO. 3.

DEVELOPER.

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.

“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.
p24

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
p25
(Anthony’s), 1 grain to oz. Place the cotton in the ether
first, then add the alcohol and sensitize with

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:

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
p26
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.

Put the cotton into the ether and let it become saturated,
then add the alcohol. Excite with
p27

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 5½ to 6½ 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.

The preceding formulæ are for portrait work in
studio. For other work, such as outdoor views,
p28
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.

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
p29
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.

TO IODIZE:

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
p30
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.
p31

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
p32
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
p33
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
p34
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
p35
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.
p36

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:

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.
p37

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.
p38

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.
p39

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
p40
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.

NO. 2.

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.
p41

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 ¼ 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.

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
p42
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

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,
p43
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.

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 1½ 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
p44
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.

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
p45
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
p46
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
p47
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
p48
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
p49
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,
p50
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.

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
p51
made by Anthony & Co., may be used instead, both for
unexposed and for exposed plates awaiting development.

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,

or the patented article, the

p52

and also the dishes to contain the fixing solutions,
which may be trays or upright, like silver-bath dishes.

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.

There should be Graduates of the 16 oz. and the
8 oz. sizes, and also a minim glass measuring up to
p53
one fluid ounce, also one or more of Anthony’s Combined
Funnel and Filter, for filtering the various solutions.

There should be glass-stoppered bottles for containing
the developing solutions, especially the pyro; also
racks to hold the
plates while drying;

FOLDING NEGATIVE RACK.

one finely adjusted
scale with
apothecary weights
weighing to a ¼ lb.;
one camel’s hair-brush,
3 inches
wide, for dusting
the plates before
p54
putting them in the holders for exposure, and also for
removing
sediment
from the
surface of the
film after fixing
and washing.

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
p55
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.

No. 2.

Keep No. 2 in glass-stoppered bottle.

To develop one 8×10 plate, take of

Put the exposed plate into the developing tray and
p56
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]

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
p57
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.

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.
p58

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.

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.

Acidify with oxalic acid and filter.

No. 2.

Filter and add 60 drops sulphuric acid.

No. 3.

The developer is prepared by mixing together in a
p59
graduate the quantity necessary to cover the plate in
the following proportions:

For instance, it will take about 8 ounces to cover
an 8×10 plate in a flat dish; to make this quantity take
of the

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
p60
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,
p61
which will immediately stop the action of the developer
and give time to make other arrangements.

AMMONIA PYRO DEVELOPER.

No. 1.

No. 2.

To use, take of

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
p62
for which have been published; among the best are the
following:

INTENSIFYING SOLUTION. A.

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.

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.
p63

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
p64
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.

Fig. 1.

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.
p65

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
p66
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.

Fig. 2.

Fig. 3.

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.

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.
p67

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.

Fig. 4. Common Gas Stove.

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.

p68

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.

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.
p69

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
p70
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
p71
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,
p72
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
p73
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 1½ 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
p74
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
p75
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;
p76
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;
p77
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.
p78

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
p79
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
p80
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,
p81
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.

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
p82
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.

This is a diagram of the studio of the famous
p83
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.

FIG. 1.

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.

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
p84
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
p85
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.)

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
p86
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.

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
p87
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.
p88

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.)

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
p89
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.

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
p90
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.

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,
p91
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
p92
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.

FIG. 6.

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.)

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
p93
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.

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
p94
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.

Fig. 8.

Fig. 8 represents the Dallmeyer
Wide Angle Rectilinear Lens. It
consists of two cemented combinations,
p95
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 ^f₁₅;
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.

Fig. 9.

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
p96
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.

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
p97
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
p98
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
p99
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 ¼ size, and they make
four pictures on a 5×7 plate.

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.

FIG. 2. CLIMAX.

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.

FIG. 4. N CAMERA, REAR VIEW.

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 ¼ upwards to 8×10.
On the ¼ 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 ¼ plate to 72 of the same
size on 7×10 plate, and by one lens everything, positive
or negative, from ¼ to 8×10 size, are made without
difficulty.
p105

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.

FIG. 7.

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 ¼ plate), thus enabling the
photographer with one box to fill every order for pictures,
from a card to a life-size portrait.
p106

FIG. 8.

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.

FIG. 10.

p108

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.

p110

CAMERA BOXES

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.

FIG. 14.

THE CAMERA
FOR VIEWING AND OUT-DOOR WORK.

The Success Camera, for viewing, Figs. 15 and 16,

FIG. 15.

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,

FIG. 16.

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.

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.

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 11×22×30¼ inches only.

Fig. 18.
KLAUBER CAMERA, VIEW PART ONLY.

p116

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.

Fig. 20.

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.)

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.

p119

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.

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.

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.

FIG. 25.—THE
GEM CITY STAND.

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

FIG. 27.—MAGIC
CAMERA STAND.

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.

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.

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

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.

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 1¹⁄₈
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.

SUCCESS
HEAD-REST.

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

THE RIGID
HEAD-REST.

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.

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.

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.

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

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

ANTHONY’S POSITION CHAIR.

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.)

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

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.

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.

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.

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.

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 3¼ by
4¼ inches in size, and they are technically called quarter
plate size.
p150

This little Camera is the neatest, nattiest and altogether
nicest Camera of its kind ever made. When
folded it measures 5×5×3½ inches, and can readily be
put in an ordinary hand-grip, or may even be carried
in the overcoat pocket. It weighs only 14½ 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

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.

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.

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.

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
4¼×6½ to 8×10. Those desiring a larger Camera
should procure the Novel Camera, which is manufactured
of all sizes up to 18×22.

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.

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.

ANTHONY’S RAPID DRY PLATE LENS

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.

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.

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.

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.

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 FAIRY TRIPOD

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.

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.

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.”

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 ½ gallon each for oxalate and iron,
• 2 of ½ 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 ¼ lb.

The developing tray is made of japanned iron, of
ebonite or of hard rubber.

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.

EBONITE TRAYS.

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.

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.

ANTHONY’S FOLDING NEGATIVE RACK.

p172

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,
• 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.

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 5×8 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.

No. 2.

To develop, take

For restraining over-exposure use the above quantity
of developer, one-half to one dram of

“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.

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.

FIG. 1.

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.

FIG. 3.

p184

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

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.

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 3¼×4¼
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.

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 3¼×4¼ 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

p195

which has proved to be most suitable for this particular
purpose.

The paper having been placed in the printing frame,
the frame is set up,

Lantern arranged for making positives by
contact.

as seen in the 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.

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:

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

The fixing will require from five to ten minutes;
then wash and pass the prints through a clearing solution
consisting of

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.

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 3¼×4
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 3¼×4¼, 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.

p202

No. 2.

No. 3.

To 2 oz. plain collodion add of

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.

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.

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

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:

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

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

Wash the print, and then immerse it in a hot solution
of

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:

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.

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

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

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:

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.
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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.

No. 2.

When about to use, mix equal parts of Nos. 1 and 2,
always pouring No. 1 into No. 2.
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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.

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.

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,
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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:

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:

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
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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.

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
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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.