^oi/y 474 VV. STATE ST. Trenton, - N. J. Digitized by the Internet Archive in 2016 https://archive.org/details/photpceramicsphoOOhenr Photo- Commies. Photography applied to the decoration of Plaques y Pottery , and other Ceramic and Metallic surfaces. BY W. ETHELBERT HENRY, C.E. AND H. SNOWDEN WARD. Both op the Staff of The Photogram. LONDON: DAWBARN AND WARD, LIMITED, 6, FARRINGDON AVENUE E.C / / \ r*. CONTENTS I.— Introductk)!!. II. — What is a Photo-ceramic Enamel ? III, — Materials. IV, -- The Transparency. V. — The Sensitive Eilm — Printing — Powder Development. VI. — The Transfer. V'll. — Firing. VIII, — Concerning Colors, Plaques, and Earthenware. IX. — Ground Laying — Glazing — Retouching — Recovering "Waste Plaques. X. — Combination Printing— Photo-chromatic (three color) Printing — Photo-diaphano-chromograms. XI.— Possible applications to Jewellery and Decorative Art— How to make Enamelled Copper Plaques. XII.— Outline of the Substitution Process. PREFACE. Our publishers tell us this book ought to have a preface. We don’t see the necessity ; but there is one fact that we would like to firmly burn into the memory of every ceramic worker. As we cannot repeat it at the foot of every page, we give it prominence here : — In Photo-Ceramics, Dust is the Devil. A FEW WORDS OF ACKNOWLEDGMENT. We are happy to say that our efforts at popularizing the Photo-ceramic process have been well supported by our English friends. And here we wish particularly to acknow- ledge the invaluable assistance rendered by Joseph P. Emery, Grange Street Color Works, Cobridge, Staffs, who has helped us much by preparing special colors as well as in other ways. To E. J. Wall, editor of The Amateur Photo- grapher, and Charles W. Gamble, of The Photogram staff, we also tender our thanks for their ready help. We also have to thank Hancock and Son, Diglis Color Works, Worcester, for various colors submitted for experiment, as well as for the illustrations of the various kinds of brushes inseited in this handbook. PHOTO-CERAMICS. CHAPTER I. INTRODUCTION . That the art of ceramic photography has received so little attention at the hands of professional photographers and the public in general is much to be regretted. With the exception of occasional magazine articles, and the publi- cation of small trade pamphlets by firms interested in the sale of the necessary materials, little has been made known. The trade pamphlets have usually been sold at a ridiculously high price, as if the information given was, in fact, a divulgence of valuable trade secrets. The magazine articles have generally treated the subject as though taking for granted that the reader was already at least partialhj acquainted with the work. It seems to us that both these methods tend to enshroud the production of ceramic enamels in a cloud of mystery which, in turn, has almost confined their production to the hands of a few foreign firms, whose charges are so exorbitant as to not make it worth the while of a photographer to push their sale. If photographers would cast off all thought of “ mystery ” and insuperable diflhculties in connection with the process. 4 PHOTO-CERAMICS. and prepare their own ceramic pictures — charging a reason- able price for them — we believe they would become both fashionable and popular. As for the actual production of photo-ceramic enamels, the principal requisite is care ; with care, cleanliness, and atten- tion to details, success is certain. We said just now that a certain veil of mystery surrounded the manufacture of these pictures. We had a glaring instance of this the last time we were in Canada. One of ns was about to make some vitrified portraits of a certain size, and found that our stock of prepared tablets in that size was at a very low ebb. Wishing to avoid the delay consequent upon sending an order to Europe, we wrote to a friendly editor in New York asking him who dealt in such goods in the United States. He went to much trouble in the matter, trying to procure some for us, but without success. In his letter on the subject, he wrote somewhat to this effect : “ The whole process is kept in the hands of a few dealers as a mysterious secret; they will have the portraits made for you, if you wish it, but will not say where you can buy the enamel tablets. , of this City, could give you the information if they ivonld, but they will not give it to me.” The result was we had to order the tablets from Germany. It is not necessary in a small practical work of this description to go into the early history of the discovery and INTRODUCTION. 5 progres.s of plioto-ceramic enamels, nor shall we give a multitude of methods on the principle of “you pays your money and takes your choice.” From personal experience, we believe such multiplicity of slightly varying formulae {unless their variety of action is fully explained) tends to weary the practical worker. The duty of the experimenter is to ascertain all the weak points of various formulae and then give to the professional worker the benefit of his research —sparing him the necessity •of making a long series of experiments for himself. This is, we take it, what a practical man wants when he huys a book dealing with any special branch of his business. Broadly stated, photo-ceramic enamels are produced by two •distinct methods — the “ substitution process ” and the “ powder process.” In the former process a collodion positive is stripped from its support, toned thoroughly with platinum, or gold, and other metals, and the remaining .silver removed. It is then transferred to an enamel tablet, porcelain ])laque, or other suitable material, and burnt in in the usual way. The powder process is dependent upon the fact that a film of certain hygroscopic and gummy compounds, in con- junction with a bichromate salt, loses its power of absorbing moisture according to the degree it is affected by light passing to it through a transparency (used instead of a negative). riJOTO-CEnAMlCS. The parts most acted on by light thus lose their attrac- tive power, while the parts protected from light still retain gj’cat athnitj" for moisture. Directly they attract moisture from the atmosphere, their gummy nature causes them to hold any di’y powdery substance brushed over their surface. The print is dusted with a vitrifiable color until it is (lensely covered in the shadows ; it is then coated with collodion and soaked in a bath to remove the bichromate- salt. The film of collodion is then stripped from its support, bringing the color with it, and transferred to the enamel plaque, and fired in a muffle furnace. In the following chapters we intend to treat the reader as if he knew positively nothing whatever about the process except making a gelatino-bromide negative and trans- parency in the ordinary wa 3 ^ We shall assume he does not even know what a photo-ceramic enamel is, and we shall deal only with the necessary working details of the process. These we shall try to make as clear as possible in order to- avoid confusion on the part of the student. In a later and enlarged edition, now in preparation, we shall enter far more fully into the various rami6cations of this most charming process, and shall publish many formulte which we have hitherto reserved for moie ample experiment and full verification. INTRODUCTION. 7 The formula? published in the present treatise are the result of many years’ experience, and are the very best that we know for their various purposes. It is with confidence, therefore, that we urge the student to follow strictly the directions here set forth if he aims to attain proficiency in the art, with the least possible preliminary failure. 8 [’U0T0-CERAMIC8. CHAPTER II. WHAT IS A PHOTO-CERAMIC ENAMEL ? In the form most generally seen, although at present very rare in Creat Britain, these exquisite pictures are principally confined to small portraits. They are, without doubt, the most imperishable form in which a photogram can be produced. Roughly speaking, the image itself is formed of a metallic oxide which is “burnt in” upon a surface of white enamel on metal, or upon china, delf, or glass. In the process of firing, which is done at intense heat in a muffle furnace, the image is covered with a protective coating of melted glass, which effectually secures it against the ravages of time and atmospheric change. The small portraits (which are chiefly used as ornaments by the wealthy classes) possess a perfect glaze, which brings into prominence all the finest details of the photogram ; the picture is usually made upon an enamelled copper tablet of convex form, and mounted in gold. Some of the very small ones are used in scarf pins and finger rings. The possibilities of using such photograms as an ex- tensive branch of decorative art have not }^et been grasped WHAT IS A PHOTO-CERAMIC ENAMEL? 9 by marmfac fearers ; bufe ife seems to us that they are letting a grand opportunity slip through their fingers. It stands to reason that if phofeography can be applied to the decoration of bracelets (as, notably, those in possession of Her Majesty the Queen), it can equally well be applied to the decoration of china table-ware and household orna- ments for the million. Why, then, does not somebody tackle the enormous possibility thus opened up ? Everyone has seen the awful atrocities on china (supposed to be local views) which are produced by hundreds of thousands in Germany and sent to England to be sold as “ A present from Mudbanks.” Everyone is equally well aware that such rubbish finds a ready sale, simply because there is nothing better to be had. Considering that photography is equal to decorating china in far greater perfection than anything tliat can be done by hand or lithography, is it not pitiable to see the way our good British gold finds its way across the channel in the purchase of the rubbish we have mentioned ? We bought a few years ago a very beautiful example of work by Geo. G. Bockwood, of New York. It is a child’s portrait burnt in on a dessert plate, and riclilj- decorated with gold and royal blue. Such a practical application of photo-ceramics is to be commended, as also is the decoration of hearth tiles with scenes from our pleasant holiday haunts. 10 PHOTO CKRAMICS. It is not oai‘ purpose to deal with such things in detail in this handbook; we only mention them in hope that the ideas- oifered will be turned to account. We are awaj*e (from experience) of the many difficulties hitherto existing in the way of anyone attempting to take up photo-ceramics. Not the least of these has been the difficulty of knowing exactly what materials were required, what their trade names were, and from whom they could be obtained. These difficulties we have tried to remove ; we have hunted out makers of various materials and appliances and have interested a few firms sufficiently to induce them to undertake the stocking of all the materials necessary to the business, thus doing away with the necessity of buying colors from one house, fluxes from another, and plaques from a third, with the possibility of buying a mixture of various makers’ goods that could hardly result in anything but subsequent failure on the part of a novice. Furthermore, for the convenience of those who cannot afford to buy their own furnaces, we have induced one or two firms to undertake the firing of photographers’ own enamels ; and several will undertake the entire production of ceramic photograms from photographers’ own negatives. Some firms confine this work to enamelled tablets and plaques, while others will vitrify photograms upon china- ware of all descriptions. MATERIALS. 11 CHAPTER III. MATERIALS. It will tend to simplify matters somewhat if we give a list of apparatus and materials necessary for photo-ceramic work. We shall confine ourselves to as small a list as possible, leav- ing the treatment of more extensive appliances until the- student has mastered the contents of this handbook. The first and most important item is a furnace, and we strongly advise the student to buy one for his own use. Of course, he may possibly prefer to send his plaques to be fired, at feast until he has some confidence in his ability ; but sooner or later, if he wishes to conduct more advanced work, it will be necessary to have a furnace on the premises. AVhere it is possible to secure a supply of gas, we strongly recommend the gas furnaces made by Fletcher, Russell and Co., of Warrington. We use their fuinaces in our experi- mental work, and find them admirable. They manufacture two kinds suitable for the purpose : one a muffle furnace (which can also be used for fusing and preparing colors) which is supplied in various sizes, and the other a tile painter’s furnace, which is not provided with a muffle. The best furnace for small w’ork is their “ Ho. 461 muffle furnace,” which admits a tile about three inches 12 PHOTO-CERAMICS. wide by six indies long ; this requires a f gas pipe and a supply of 60 feet of gas per hour. The price is £2 10s. There are several larger sizes, ranging in price to £6. The “ tile painters’ furnace ” will admit a tile twelve inches square (or a number of small ones) ; it requires a J gas supply pipe. The price is £4 10s. We shall give illustrations of these furnaces in the chapter dealing with them, where we shall enter more particularly into the manner of fitting and using them. Another muffle furnace, which is made to burn coke as a fuel, is manufactured by the Morgan Crucible Co., Batter- sea; it is especially useful where gas is unobtainable. In America, several special furnaces are made for burning china ware, some of them being large enough to accommodate a small breakfast service at one firing. These are made for both gas and coke. If the student decides to do his own firing, he will need (in addition to a furnace) two pairs of tongs (2s. each), gas tap and connections. Fireclay. Powdered chalk. Wax tapers. The following things are necessary for general use (say for jpl. and smaller) : — 3 deep porcelain trays (9in. by 7in.) I 4oz. graduate. MATERIALS. 13 1 4in. glass funnel. 2 20-ounce bottles. 1 camel mop (No. 1). 1 3in. camel duster. 1 doz. thin patent plate glass (SJin. by 4^ in.). 2 test tubes. 1 packet filter papers (6in.) 1 silken sieve. 1 drying box or drying stove. Printing fi’ames. 1 large white wash-hand basin, loz. best cotton wool. 1 photomete]*. 2 large camel-hair pencils. 1 badger blender. 1 glass slab and muller. 1 palette knife. The materials I’equired are as follows : — Organifier. Sensitizer. Special collodion. Vitrifiable colors (in powder) for painting. Fat oil of tui’pentine. Oil of turpentine. Flux. Enamel collodion. 14 THOTO-CERAMICS. CHAPTER IV. THE TRANSPARENCY. The transparency must be as perfect as possible in every respect, and it must be remembered that the vitrifiable image will be an exact counterpart of it. On this account it will be necessary to vignette, or mask, the negative exactly as it is desired to make the finished picture, as it is impracticable to do this when printing upon the bichromatized surface that is to receive the ceramic powder The reason is obvious, but it may be well to repeat it here ; all parts of the bichromatized film that are protected from light will have an affinity for powder, because the light has not been able to exert a hardening effect upon it. Hence, if we were to use a vignetter in the ordinary Avay (during printing) as if we were printing from a negative, we should produce an “Egyptian” vignette — that is, one with dark surroundings instead of light. The transparency should possess plenty of pluck, with transparent hi^h lights, and every bit of detail that is in the original negative ; otherwise the vitrifiable image will be either weak and washed out, or harsh without detail. If small reproductions are wanted, they may either be made by THE TRANSPARENCY. 15 making a negative the size required by copying from a well- printed original and making a transparency from the nega- tive by contact upon a lantern (or photo-mechanical) plate, or a reduced transparency may be made in the camera from the original negative. If the reader is well versed in copy- ing, and can do it without producing a granular effect, the former is the easier plan, especially if a vignette is wanted. Vignettes may be made by the second method if a cardboard vignetter be swung to and fro between the negative and the lens during the whole exposure. We strongly recommend the use of photo- mechanical dry plates for this purpose, unless the student understands the collodion process. It is desirable to have a ti’ansparency that is quite clear of fog in the high lights, with a full range of detail in the half-tones and shadows. 16 rHOTO-CE RAMICS. CHAPTER V. THE SENSITIVE FILM, PRINTING, POWDER DEVELOPMENT. The solutions, known as tlie organifier and sensitizer, may be purchased ready prepared from the houses dealing in photo- ceramic goods, and for small businesses this will generally be found the best way to obtain them. We give our formulae for their preparation, and can vouch for their satisfactory results. Like all other formulae in this book dealing with the dusting-on process, they are the result of personal experience, and have been carefully verified by experiment. Nothing has been given upon hearsay, nor have we taken anything for granted because someone else has said it was so. The student may therefore be convinced that if anything goes wrong it is not on account of the formula^. The sensitive film, upon which the powder image is to be formed, is ])repared in two solutions, as follows : — ■ 1 . Organifier. Dextrine . . 3 drams 2. Sensitizer. Glucose ... 1 ounce Water to . .10 ounces Honey ... 4 Albumen . . 6 A cold saturated solution of Potassium Bichromate in water (about 1 oz. to 10 oz.). THE SENSITIVE FILM. 17 For use : Mix equal parts of Nos. 1 and 2, and filter; in their mixed state they will remain fit for use for about a week— a little longer in winter and less in summer. The solutions should be stored in a cool place, and must always be filtered just before use. Our own formula, which is not only extremely simple, but gives excellent results, is composed of fish glue, glucose, glycerine, and ivater in the following proportions : — 1, Organifier. Fish Glue (Le Page’s) . . 1 ounce Glucose . . 4 ounces Glycerine . . 10 drops Water . . .10 ounces 2. Sensitizer. Ammonium Bi- chromate . . 1 ounce Water to . . 10 ounces For use take equal parts of Nos. 1 and 2, and filter. This mixture flows evenly, and dries with a brilliant gloss. The method of preparing a plate is as follows : — Take a well-cleaned sheet of thin plate glass, and be sure that no dust adheres to it. Rapid polishing electrifies the glass and makes it attract particles of dust from the air; it is, there- fore, best to leave the plates for a few minutes after polish- ing, and then lightly dust them with a broad camel-hair duster to remove light adherent matter. The plate must then be held by one corner (the lower left- hand one, usually) while a pool of the bichromatized solu- tion is poured upon its centre. The plate is then tilted to c 18 PHOTO-CERAMICS. induce tlie solution to cover the entire surface of the plate, and the surplus is poured into a bottle kept for the purpose, so that it can be again filtered before use. The solution may be guided over the plate by means of a glass rod, or the tip of a finger, if it does not flow easily. Fig. 1. Large plates may be most readily coated by means of a whirlcr (supplied by Penrose for photo-mechanical work), which supports the plate above a gas jet, while the surplus solution is driven off by centrifugal force. The plate may then be thoroughly drained, and either put away to dry in a drying-box (which is far the best plan if a number is being prepared), or held in front of a bright fire or over a spirit lamp until quite dry and warm. The film should be quite glossy when dry. There need be no effort made to secure a thick film upon the plate ; it is only necessary to have an even and thin coating, unbroken and free from dust. Any dust whatever. THE SENSITIVE FILM. 19 if fixed in the film, will ruin the print. If such occurs it is best to wa&h the film away and recoat the plate. If dried before a fire the film should be ready for use in about two minutes ; the plate must not be made hotter than can be comfortably borne upon the back of the hand. The surest way to avoid dust is to reserve a small apartment entirely for coating purposes. Each morning, before starting work, the floor should be well-sprinkled with water, and the air charged with an ounce or two of water by means of a vaporizer or spray diffuser — sold by druggists at about a shilling. This will carry down the floating dust, and in about an hour the room will be ready for use. Owing to the atmosphere being over-charged with moisture it will be necessary to develop the plates in another room. In order to ensure the very best results w’e advise the student to w^arm the transparency just before use, then gently dust it with the camel-hair brush, and put it in the printing frame with the warm sensitive film in contact. The time of exposure varies somewhat according to the class of transparency. One tint of the photometer is usually about right — sometimes a little more, sometimes less— but a few trials will soon determine this point. When the student has made a few exposures he will rarely fail, no matter how often he changes the subject. The actual time of exposure wdll be from about one to three minutes in the sun, or from ten to tw’enty minutes in diffused light. 20 PHOTO-CERAMICS. The image 'svill be slightly visible on the film if the ex- posure has been correct. Particular care must be taken to avoid exposing the sensitive film to daylight (except during printing), as, in its dry condition, it is extremely sensitive; very little light, improperly admitted, will often mar the beauty of the result by reducing the intensity of the deepest tones. Development may be conducted in subdued white light in the following manner. The wmiker should sit at a table in front of a window, the lower part of which is partially obscured with tissue paper, and the upper part entirely covered with an opaque blind or shutter. A sheet of white paper should be placed on the table in front of the worker, and the box of ceramic powder, a tuft of cotton wool, and the two camel “ mops ” should be within easy reach. If the atmosphere is humid it will be necessary to slightly .warm the print upon removing it from the frame, before proceeding with the development or dust- ing-in ; in dry weather there is no absolute need for this pre- caution, though personally we always adopt it. - The handiest method of holding the plate while dusting-in is to support the top edge upon the sheet of paper, holding the plate by the lower left-hand corner; the plate may thus be held at a convenient angle to judge of its progress, both by the light from the window reflected across its surface and that transmitted through it by the white paper. THE SENSITIVE FILM. 21 The film side being upwards, we must form a smooth wad of cotton wool (say about an inch in diameter) and cover it plentifully with ceramic powder ; this must be applied with a circular motion over the entii’e surface of the plate. Plenty of powder must be used, and a continual series of small circles be described. On no account let the cotton wool rest in contact with the film, or trouble will be likely to Fjg. 2.— Mops or Dabbers. ensue. The powder may be occasionally dusted lightly from the plate (by means of a mop) and the progress of the image more leisurely examined. If the finest details show distinctly when the plate is placed flat upon the paper, and if the density seems sufficient in the heaviest shades when examined between the window and the eyes, the develop- ment is probably complete. In this case all superfluous powder must be thoroughlj" removed — first with the mops, and finally with a large smooth pad of cotton wool applied with a circular motion. Considerable pressure may be exerted without causing damage. If any color still 22 THOTO-CERAMICS. adheres to the extreme high lights it may be removed tlius : Heat the plate and then dust some flux on it, rubbing vigorously (with cotton wool) over the parts it is desired to free from color. Finally brush away the saperfluous dust. If development is not complete, and the image refuses to take more powder, the plate must be put away for a few minutes in a dai*k cupboard; it is sometimes desirable to hang a sheet of dampened blotting paper in the lower part of the cupboard while the plate is placed upon one of the upper shelves. In this way the plate is supplied with moisture sufficient to assist development without being near enough to cause damage. Such an aid is rarely necessary, except in cases of over-exposure, and then we should make a new plate rather than attempt to remedy an almost hope- less defect. Under normal conditions of correct exposure and average atmosphere, development should be complete in from one to four minutes. If the plate has been warmed after it is taken from the printing frame, this time will be materially increased. If the powder sticks all over the plate and has a smeary appearance it is a sign of under-exposure. Over-exposure may be recognized by the plate refusing to take up the powder in sufficient quantity. A very dense transparency (used for printing) will require more exposure than a thin one, otherwise the resulting print (being much protected from the effect of light) will absorb too much color. A THE SENSITIVE FILM. 23 very thin transparency must be exposed a yery short time or the print will be affected by light to such an extent as to render it incapable of holding the color. Failures — when one knows what to expect — are a valuable lesson; we therefore advise the student to expose a sensitized plate beneath a transparency for (say) one tint of the photo- meter ; expose another for about half the time, and another for about twice or thrice the time under the same trans- parency. Then develop the three plates under the same conditions, and note the great difference in dust-holding capacity of each plate. Such an experiment will be a valuable object-lesson that the student is likely to remember, and by which he cannot fail to profit. 24 PHOTO-CERAMICS. CHAPTER VI. THE TRANSFER. Accurate judgment is necessary in order to decide when development is complete. The appearance of the image will depend to some extent on the nature of the vitrifiable pig- ment that is being used. In some cases it is necessary to develop with more vigour thau in others owing to the change of color that occurs duri ug firing. With the majority of colors especially suitable for photographic purposes (such as the browns and reds of iron) we need not develop the image more densely than we wish it to appear after firing. A good general rule is to occasionally hold the plate during development against a piece of white paper, from which is reflected plenty of light. The picture should possess about the same density as the transparency from which it is printed, or a first-class lantern slide. With this degree of density it will be certain to fire well and yield a well- modulated print. As soon as development is complete the film must be THE TRANSFER. 25 coated with plain collodion. The following formula is a good one : — or auy reliable collodion, if specially prepared for photo- ceramic transfer, may be used. A very good collodion for the purpose has been submitted by J. W. Moore, Chemist, of Hanley, who prepared it according to our formula. For some time he had trouble in selecting a suitable cotton, but he has now overcome his difficulties and produces a collodion that is a great assistance in effecting the transfer of the film. We have mentioned glibly enough that the film must be coated with collodion, but in all probability many who will read this book have never used collodion in their lives ; we therefore give one or two hints on its application. Hold the plate between the first finger and thumb of the left hand by the lower left-hand corner, taking care to hold it as nearly level as possible. Then pour a pool of collodion in the centre of the plate and incline it so that the liquid flows towards the top right-hand corner, then towards the top left’ corner, then towards the lower left corner (just missing the thumb), and finally pour off at the lower right- hand corner into another bottle. The collodion must be flowed quickly, yet without undue haste, otherwise it wdll set in streaks and ruin the transfer. Sulphuric ether... Alcohol ... Soluble pyroxiline Castor oil 14 - oz. 1 „ 7 grains 5 drops 26 PHOTO-CEHAMICS. Directly the surplus has run off the plate the student will notice streaks and lines begin to form diagonally from the top left towards the bottom right-hand corner. These can be dissipated by deliberately rocking the edgewise from left to right and right to left. As the beauty of the transfer depends upon many trifling things, we advise the student to practise coating plain glass until he can do it properly with some degree of certainty. A few^ trials will achieve this. As soon as the surface of the plate appears uniformly even, the film is probably set ; to make sure of this it is well to touch the bottom of it with the tip of a finger. If the film remains unbroken, it is sufficiently set to be put into the de- colorizing bath. In all the foreign works on the subject we have found various chemicals suggested for the purpose of removing the yellowness of the bichromate, which, if allowed to remain, would irretrievably ruin the pureness of the result. Among the many things suggested are sulphuric acid, nitric acid, hydrochloric acid, and caustic potash. In very obstinate cases of discoloration the film may be immersed for fifteen minutes in a weak solution of sulphuric acid (say five per cent.)^ but it is absolutely necessary that all trace of acid be afterwards removed. It must also be borne in mind that acids have a deleterious effect upon many colors. In all our exhaustive experiments we have found the best bath for removing the bulk of the THE TRANSFER. 27 bichromate to be pure water. The water should be filtered (although this is not ahsolniely necessary with the first two baths), and the plate must remain in it for at least fifteen minutes, and then removed to another tray of filtered water for a further fifteen minutes. The film must next be placed in a bath of fused borax solution (prepared as recommended for transfers), where it must remain about ten minutes. After immersion in a third bath of filtered water for ten minutes the film will be ready for transfer. Several films (as many as the trap's will accommodate) may be washed at once, but there must be plenty of water in the baths, and it must be frequently changed. The transfer must be effected in a basin, sufficiently large to accommodate the hands, filled with a solution of fused borax in the following proportions : — Saturated solution (boiled) of fused borax 3 parts Water ... ... ... ... ... 1 part The mixture may be used several times, but must be filtered each time. The fused borax is almost insoluble in cold water, so the best plan is to have a few ounces crushed to powder and boil it in a tin or enamelled saucepan with about a pint of water at a time. It should be boiled “at a gallop” for about five minutes and stirred all the time. Then pour off the solution and add more water, and repeat the operation until all is dissolved. 28 PHOTO-CERAMICS, When cool, the surplus fused borax will deposit crystals in the bottle; these can be re-dissolved when required. It is advisable to keep a plentiful supply of this solution on hand, as it is practically invaluable. It serves several purposes ; it not only discharges any remnants of bichromate that may be lurking in the film, but it binds the collodion firmly to the final support (after transfer) and prevents all inclination to blistering when submitted to the fire. Before making the transfer, the edges of the collodion film must be released from the glass. It is best to do this with a sharp penknife pressed downwards directly through the film to the glass. On no account must the blade be dragged through the film, or the latter will pucker up and be rendered useless. A series of ‘‘stabs” tbrough the film X will soon free it from its support ; the glass may then be placed in the basin of fused borax solution. The film will float from the glass (which may then be removed from the basin), and must be turned over so that the collodion side is downward, and the powder side (which was in contact with the glass) upward. The film may be easily turned by the help of a camej-hair brush about the size of a goose quill. Great care must be observed when touching the powder side of the film, or the color will be dislodged — if the film itself is not actually broken. We advise beginners to touch only the extreme edges while turning the film, and THE TRANSFER. 29 on no account to touch the film with the fingers — or a disaster may be confidently expected. As soon as the film is free, the plaque and a support (a small block of china or glass, to raise it off the bottom of the basin) may be put into the basin. If the basin is at all small, it is best to put in the plaque and its support before introducing the film and so avoid all risk. When all is ready for the transfer, plunge the left hand into the solution and hold the support between the first and middle fingers, gradually raising the plaque. Meantime, with the camel-hair pencil, manipulate the float- ing film until it occupie.s-the correct position upon the plaque. The centre of the plaque may be raised slightly above the level of the liquid, but it must not be raised entirely from it until the film is in absolutely correct position. So long as the ends of the film remain in the solution, it may be moved fi-eely, but directly they leave the solution the;y cleave to the lower side of the plaque and the transfer is complete. If the film is wrinkled at all near the edges (although it is not likely to be), it may be gently drawn into position by lightly dragging the thumb downwards over the extreme edge of the plaque. Do not touch the top surface of the image, or the powder will come away and the transfer be rendered useless. The plaque must be lifted from its support by means of a spatula and placed upon a few sheets of blotting paper until 30 PHOTO-CERAMICS. dry. The ends of the film may then be removed from the back with a moistened rag, which will give it a clean and finished appearance. If the transfer has been performed correctly, the image should now be in a similar position to that on the positive from which it was printed. Bear well in mind the fact that the powder must be tipper most — not in contact with the plaque. The collodion being in contact with the plaque will prevent the powder from chipping away Avhen heat is applied. If the powder Avas nearest to the enamel plaque {i.e., the collodion upwards) the collodion Avould peel aAvay in innumerable fragments directly it was introduced into the furnace, and of course it would bring the color Avith it. The powder side may be safely transferred in contact with the plaque if it is first immersed in the fused borax bath for ten minutes and then transferred to the plaque in the folloAving solution : — Water ... ... ... ... ... 80 oz. Sugar candy ... ... ... ... 16 „ The syrup, acting as a cement, will fill up the minute air spaces present between the particles of powder, and firmly attach the film to the surface of the plaque ; but it is then necessary to destroy the collodion film by means of sul- phuric acid — a course not to be recommended. We always prefer to transfer the film, collodion side downwards, in the bath of fused borax. FIRING. 31 CHAPTER VII. FIRING. Hitherto all the operations have been purely photographic, and there has been very little need to employ much apparatus beyond what is already in the possession of most photographers. It is just possible that some of our readers may wish to send away a few experimental tiles or plaques to be fired at the potteries before setting up a furnace for themselves. Before entering into the subject of firing, we will, there- fore, give a few brief instructions as to packing tiles and preserving the image from injury during transmission through the mails. The same remarks will apply to all classes of goods to which ceramic decoration is applicable. In the first place, it is neces.sary to bind the loosely adhering color firmly to the support, otherwise a very slight abrasion will be enough to totally ruin the beauty of the result. By applying a suitable resinous substance to the surface, the powder becomes attached to the support after the manner of paint, and in this way is rendered less liable to accidental injury. 32 PHOTO-CERAMICS. The preparation we use for this purpose is made by mixing Fat essence of turpentine ... ... 2 parts. Turpentine ... ... ... ... 100 ,, The solution must be well filtered and kept free from dust. It is applied to the surface of the picture in the same manner as collodion {i.e., by pouring) ; the surplus must be thoroughly drained away and the plaque or tile dried by -gentle heat — say in front of a clear open fire or gas stove. When the medium has become dry by evaporation the surface of the image will be dull in appearance ; if any shiny spots appear, it is a sign that the work is not sufficiently dry. This preparation is very useful, not only for protecting the surface of the colors during transit, but for preventing the collodion film from blistering at the moment of intro- duction into the muffle. The tile (if for transmission) must next be tightly wrapped in soft tissue paper ; Japanese silk paper, or that known as “papier Joseph,” is especially suitable, being free from harshness. It should next be wrapped in stout brown paper and finally covered wdth corrugated packing and tied with string. Always wrap^rm/y, so as to avoid all possibility of friction between the paper and its contents. In this way tiles will travel in safety to any distance, and W’ill bear rough handling with impunity. FIRING. 33 For firing tiles, sheets of glass, and sncli like materials without sending them to a kiln, it is necessary to have a Fig. 3. — Portable Muffle Furnace for Coke Fuel. special furnace for tlie purpose. A portable muffle furnace, for burning coke fuel, is made by the Morgan Crucible Co., of Battersea, Its construction will be understood from the diagram herewith (Fig. 3); tlie “ miiifle ” is shown in Fig. 4. Fire clay kilns can be constructed, in which coke fuel can be used; these are very useful in remote places where gas is unobtainable. Instinct ions in the method of building, as well as other useful information, will be found in various works dealing with pottery Fig. 4.— a Muffle. D 34 PIIOTO-CKRAMKIS. ware, as well as in “ Glass-staining and Painting on Glass,’* published by Crosby, Lockwood, and Son. We strongly prefer gas and advise its use wherever it can be had. The best gas furnace that we know of for this purpose is the one shown herewith (Fig. 5), which is made Fig. 5.— Tile Painter’s Furnace. by Fletcher, Russell, and Co., of Warrington. It is notpro- Tided with a muffle, but is thoroughly effective for its particular purpose. Before turning on the gas see that a lighted taper is placed near the burners, so that the gas becomes ignited directly it reaches tb3 jets. Care must be taken that all the burners burn clear and blue. If any of them light at the jet the flame becomes smok}^, and the air-hole under the burner must be closed for FIHING. 35 an instant by a finger covered witb a cloth (to prevent burns) until all are clear blue. In starting, the burners must be turned low at first and the heat gradually increased, to prevent cracking the tiles. The larger the tile the more slowly is it necessary to raise the heat. When a full heat is reached, turn the gas out at once, cover the chimneys, and allow the whole to stand untouched until cold. In dealing with small tiles and opal glass, it is possible to avoid the long delay necessary before the kiln is sufficiently cold to be opened. In ibis case we must provide a hot closet, ivhich may be made something after the style of a sheet iron •oven. This should be provided with sliding shelves and sup- ported over a gas heating ring to keep it at a good heat, and a quantity of coarse sand should be stored in the bottom ■compartment. When the glass or tile is fired it may be withdrawn (very carefully so as to avoid draughts), sprinkled with a little hot sand, and placed on one of the .shelves in the hot closet, which is now to serve as an anneal- ing oven. The oven should be kept close beside the furnace and the door must be closed, except at the moment of admit- ting work. AVhen the oven is full, the gas may be turned •out, and the box and its contents left until cold. On no account must it be cooled suddenly, or the contents will fly to pieces. The firing of enamel plaques is much more easily con- 'd acted, because there is no necessity for extremely slow 3G THOTO-CERAMICS. cooling ; in fact, an enamel may be cooled witliin five minutes without danger of the surface cracking. We recommend the use of a muffle furnace for firing photo* ceramic enamels. Those made by Fletcher, Russell and Co. are very convenient and cleanly, and can be made ready for Fig. 6. External view of Furnace body, without Burner or Chimney. use in ten minutes. The accompanying diagrams will serve to explain the appearance of the furnace. In Fig. 6 the actual furnace body is shown alone, without burners or chimney : this part is made in a solid piece of fire clay,, bound about with iron bands. The two doors in front are also of fire clay, and are used to close the mouth of the “ muffle,” which is a sort ot oven formed of thin fire clay exposed to the full power of the gas jets. The other diagram (Fig. 7) gives a sectional view of the furnace, including burners and chimney ; it also shows the interior of the muffle, Avhich, it will be observed, is re- movable. When about to use the furnace we usually “ lute ” the muffle in place, ^.e., fill up the junction between the furnace FIRING. 37 moutli and the edge of the muffle with moist fire clay. This effectually prevents the escape of gas fumes, or the products of combustion, into the interior of the muffle. This is a necessary precaution when working with certain delicate colors. Fig. 7. — Muffle Furnace Section, showing internal arrangement. We give a few general directions for the management of draught furnaces, similar to the foregoing, and it is neces- sary to bear them w^ell in mind. The gas supply tap and pipe must be large and clear, so as to give as great a pressure of gas as possible at the burner nozzle, although the actual consumption of gas is small. The india-rubber tubing used must of necessity be perfectly smooth inside. The tubing made on wire, whether the wire 38 PHOTO-CERAMICS. is removed or not, loill not ivorh these hnrners satisfactorily ^ All muffle furnaces are sent out with a 2ft. Gin. chimney, having a cast-iron foot to enable it to stand steadily, and a. short handle, vby which it can be readily lifted with the crucible tongs. The gas supply specified is required to work each furnace at its full power, and the flame must be visible in the chimney. If the gas supply is deficient, the furnaces can be worked at a lower heat by partially closing the top of the chimney until the flame becomes visible, or by working with- out the chimney. If the burner plate becomes red hot it is. a sign that the gas supply is deficient. The points of blue flame are always visible when the burner is looked into side- ways, unless the gas supply is t5o small to work the furnace satisfactorily. To light the burner without removing the upper part of the furnace, put a lighted taper between the top plate of burner and underside of the furnace bod 3 ", then turn the gas on slowly. If the furnace is hot it may be necessary to cover the air opening round the gas entrance to prevent the flame descending through the gauze a.t the moment of lighting. The burners can be easily taken apart, and must be kept clean. For photo-ceramic work, a chimney six or nine inches high will be ample. Some workers have offered us serious advice regarding the danger of using gas furnaces. Others have declared they had tried to use them, and that they were incapable of generating sufficient heat in a reasonable time. Others FIRING. 8 ^ again have complained that sulphur fumes have found their way into the muffle and ruined the work. We mention these facts lest a student be discouraged by similar I’emarks from people who do not understand the- subject. In the first place there is absolutely no danger if a gas. furnace be handled with reasonable intelligence. For instance : The correct way to start the furnace is to first place a lighted taper to the burner plate and then sloivly turn on the gas. By this method the gas will ignite without the least noise. If an explosion is wanted, it is only neces- sary to turn on a full head of gas for about a couple of seconds, and then apply a lighted taper, to generate enough force to blow the operator on to his back (owing to the ex- plosive mixture of gas and air collected beneath the muffle), but this is the iray not to do it. As for the gentleman who said it was impossible to generate heat — we need only say that, after being chal- lenged by him, we practically demonstrated to him the absurdity of his contention by raising sufficient heat for enamel work within ten minutes. The makers recommend a certain size of gas pipe, and this size (or larger) must be adopted. If a J incli pipe is neces- sary, it stands to reason that it is useless to expect to generate the requisite heat with a f supply. As for sulphur fumes, these cannot enter the muffle if it 40 PHOTO-CERAMICS. is properly luted into place, unless the muffle has been cracked by careless and too sudden heating. The mere fact of many ceramic color chemists employing gas furnaces to test their colors sufficiently disproves this. Certain works have called attention to a, similar muffle furnace (made by the same firm) which is provided with a “blast” in addition to the ordinary draught. No opinion has been given as to any increased utility accompanying the increase in expense over the ordinary draught pattern, hence the mere mention of them is liable to cause some doubt as to which is the better one ; very likely people would be inclined to buy the more expensive “blast” furnace. Let us set the student right in a few words ; in the photo- enamel process we work at a red heat. This we can easily attain in the ordinary draught muffle furnace without a chimney. By adding a six-inch chimney we can secure this heat in a shorter time, and with a 2ft. 6in. chimney such as is usually supplied with the draught furnace, we can melt not only the enamel surface of a plaque, but the copper base itself^ in the course of a few minutes. The blast furnace is used for melting steel, nickel, and similar metals, so that mentioning it as desirable for photo-ceramic purposes is absurd in the extreme. It is best to use a low chimney (about six inches) with the furnace, and close the doors while the muffle is becoming heated. Do not turn on the gas to full power too suddenly, FIRING. 41 or there is a danger of cracking the body of the furnace. When the muffle is almost red, a ring of fireclay must be put in and allowed to become thoroughly hot. On this may be placed a thin slab of fireclay (say ^ inch thick) which is to act as a support for the plaque. When the muffle appears -of a dull cherry red (not a bright red) the slab may be with- drawn and the plaque placed upon its centre. It is then to be put within six inches of the entrance to the muffle and turned around, so that the film may be evenly roasted in the heat reflected from the interior of the muffle. If all goes well, the roasting will cause the film to change to a deep brown colour ivithout causing hlisters ; at this point the plaque and its support maybe advanced boldly into the hottest part •of the muffle, and the doors must then be closed for about three minutes, during which time the surface of the plaque will become completely black. The heat must not be allowed to rise above a dull cherry red or the color will be burnt, which is a very different thing to being fired. In order to regulate the heat it is advisable to partially remove the top Iialf of the door and peep into the muffle. If the heat is looking too bright lift the chimney off the furnace or lower the gas, but do not turn the gas so low as to turn the blue jets out of sight when looking sideways across the top of the burner plate. The “ Quadrant ” tap, illustrated herewith, is excellent for securing regularity of gas supply day after day. It is the 42 THOTO-CKRAMICS. one we always use, and have found it of great service ; it should be placed quite near to the furnace, so that it can be- operated with the right hand while a taper is applied to the- burners with the left. Fig. 8.— The “Quadrant” Tap. At the end of about three minutes remove the top half of‘ the door and turn the plaque and its support either with the- tongs or a piece of thick iron wire suitably bent. If the- picture has become clear again it is a sign that all organic- matter has been burnt away and fusion is probably taking- place. A good plan to ascertain this is to hold the wire hook above the plaque and note if a reflection is visible on the- enamelled surface. If so, you may withdraw the plaque to- the mouth of the muffle until the redness has died out of it ; it may then be transferred (by passing a spatula beneath it) to a warm fire-brick, and left until cool enough to handle.. The brick need simply have the chill off it; there is no need to make it red-hot, or anything like it. The plaque, while- cooling, will assume many tints, that will probably cause - pangs to pass through the frame of the student, but it willu finally assume its proper color. riRIKG. 4a If the plaque possesses a perfect glaze — quite brilliant alike in the highest light and deepest shade— and an even color, it will not require further firing; but this is hardly^ likely to happen with a first attempt. In all probability the plaque will either be underfired, unevenly fired, overfired, or burnt. Underfiring may be recognized by a general dull appear- ance which pervades the heaviest deposit of color ; the remedy is to fire again for a few minutes. Uneven firing is due to neglecting to turn the plaque so that each part has a fair share of the heat ; this will be noticed by the patchy appearance of the color, some of which is vitrified and some not. This fault cannot: be remedied satisfactorily by re- tiring. Overfiring gives a woolly, sunken-in appearance to the image, due to its having sunk too far beneath the surface of the glaze ; — no remedy. A brilliant red heat is liable to “ burn ” a color and deprive it of all its beauty, giving it instead a dirty tinge like nothing else that we can describe. In order to avoid the frequent occurrence of such a disaster, we advise the student to make himself thoroughly acquainted with the appearance of the muffle at its correct heat. About the best plan to follow is one suggested by Joseph P. Emery, of Cobridge, who has given us valuable assistance in this particular. He advises the use of the “Rose-color test.” 44 THOTO-CERAMICS. In all large china-painting establishments the efforts of the firemen are directed towards keeping the temperature of their regular kilns at what is generally known as “ rose- • color” heat. This does not imply that the color of the kiln must he a rose red, but it indicates the exactly correct heat at which rose color vitrifies and assumes its true tint. Rose color has been generally adopted for this purpose because its change of tint, due to varying temperature, is more easily marked than that of any other color. At a low, easy heat the color assumes its correct tint, but without thoroughl}^ glazing; at the heat known as “ regular kiln ” (for which all colors sold as “ I’egular kiln ” are adapted) the color retains its true tint and becomes glazed ; at an excessive heat the color assumes a peculiar bluish cast, which is unmistakable. If noticed in time, and the heat promptly reduced, the other colors (being less sensitive to slight fluctuation of heat) may be saved from burning. It is advisable to mix a little “ Rose-color, No. 20,” with lavender oil and apply some of the mixture to a few bits of china and put them in the muffle at the same time as the object that is being fired. By occasionally withdrawing a trial piece and examining its color and glaze a correct idea of the heat may be gained. But before attempting firing in dead earnest we strongly urge the student to paint a number of pieces of pot or opal glass partly with rose-color and partly with the color he FIRING. 45 ' intends to use in liis photographic work. Then heat the muffle to what is judged to be a dull cherry red in appear- ance and introduce the trial pieces at various intervals, with- drawing them when they appear to be glazed. In this way, by steady practice, a far better actual knowledge of the effect of varying degrees of heat may be gained than by any other method. We advise the student to procure two “ test tiles ” bearing the ‘‘ Rose-color test ” and the color he intends to use,, fired at “regular” and “hard” kiln heat. These can be obtained at a nominal cost from the firms supplying the ceramic materials and colors. Once having a standard test, such as we have indicated, the student can make correct comparison at any time. 46 rHOTO-CERAMICS. CHAPTER VIII. COXCERNIXG COLORS, PLAQUES, AND EARTHENWARE. V^E advise beginners to purchase their materials as far as possible from one firm — especially as regards colors and china, tiles, or earthenware -as dealers who understand the requirements of tlie process will be careful to adapt the colors and other materials to each other, and so eliminate •one great cause of failure. A very complete “ Beginner’s Set ” of colors and other materials is put up by J. W. Moore, 10, Tontine Square Hanley, Statfs, who has submitted samples for trial. We find he has carefully prepared the materials accord- ing to our published formula?, and in our hands they yield 'excellent results. We understand Messrs. Hancock and Son, Diglis Color Works, Worcester, intend stocking all requisites for the process, but cannot say if they intend putting up small •complete trial sets. The various samples of colors submitted by them in- Ailuded several specially suitable for photographic purposes; we also found their prepared oils very useful for laying CONCERNING COLORS, PLAQUES, AND EARTHENWARE. 47 igrounds and other purposes where hand-work is employed, as Avill be mentioned elsewhere. No doubt other firms will follow the lead as soon as they realize that there is a demand for materials. Hitherto we have not suggested a cheap material for nsing in experimental firings at home. Superfine enamelled copper plaques are much too expensive for anything but the finest work, but a “ seconds” (made by Charles Gamier, 86, Farringdon Street, London, E C. )will be obtainable of most dealers in photo-ceramic materials by the time this hand- book appears. These will be sold at a few pence (instead of shillings), :and will be extremely useful for gaining an accurate know- ledge of firing enamelled copper plaques. Opal glass is a very cheap and useful material for firing trial blends of colors, and for similar purposes, although it behaves somewhat differently fi-om the enamelled plaques. We advise the use of opal glass for simply trying new -colors and blends, but if the student intends to fire his own copper plaques he should certainly make a few trial firings upon the “ seconds ” quality. In all the articles we have read bearing upon this subject, we notice the writers urge the necessity of veiy gradually raising the heat when firing opal glass. This holds good when dealing with large sheets (as with all other descrip- tions of glass) and special precautions have to be taken to 48 PHOTO-CERAMICS. avoid warping of the glass, bat with small pieces we find the* method is a distinct disadvantage. It renders it impossible to conduct numerous firings,, because of the long time necessary to cool the furnace after each batch. In the course of our experiments we found it necessary to- fire several hundreds of small opal glass tablets in the course of a day, which would have been impossible with the very gradual heating necessary when firing large sheets of glass. We tried a moderate heating ; that is, we placed the glass upon a slab of fire-clay (coated with a thin layer of chalk to prevent adhesion), and inserted it in the muffle before lighting the gas. Then we started the fire and allowed about fifteen minutes for the muffle to become fully heated.. In about ten minutes — and in some cases even after the glass was at a dull red heat — the opal flew into a number of pieces. This happened several times, yet we knew we were devoting far more time to gradual heating than we could spare, so after various trials we hit upon the plan we have since adopted for small experimental work, which rarely results in fracture. We heat the muffle and a block of fire-clay to a dull red heat, and place the opal glass upon the top of the furnace, near the chimney, to become hot. When the fire-clay is red- hot we withdraw it, drop the opal glass upon it, and im- mediately introduce it to the full heat of the muffle, and CONCERNING COLORS, PLAQUES, AND EARTHENWARE. 49 close the door. In a few minutes (two or three) we with- draw the glass and lean it against a block of wood, or fire- clay, in sucli a position that the air can have free access to it. In this way it quickly becomes cool and rarely cracks. If we wish to preserve it, we anneal it by putting it into a box of very hot sand directly the melted surface of the glass has become set— say, in ten seconds after removal from the muffle. This will be found a very useful plan for trial firings, but, of course, when firing large sheets of glass special precau- tions must be taken; large sheets must be fired in a tile painters’ furnace. (Fig. 5, page 34). Tlie blending of colors will be found a very interesting field for experiment. For instance, when working with “ Emery’s purple brown No. 5,” the student will find the appearance of the color different when fired upon earthen- ware in the ordinary kiln from the same material fired upon opal glass or copper plaques in the muffle furnace at home In the former case the color (which is a dull red before firing) turns to a charming shade of brown, due to the thorough vitrification caused by long firing at “regular” heat — the true conditions for which the color is prepared. The same color upon opal glass, or a copper plaque, fired in the muffle furnace at home, comes out of the fire with a tint very nearly approaching Bartolozzi red. This is due to the soft material, of which the glass is composed, melting E PHOTO-CERAMICS ?)0 rapidly at a low heat ; thus the color becomes absorbed by the glaze before it has had time to become true to tint. In order to modify this when working upon opal glass, or enamel, we may add “Emery’s jet Ho. 263 ” in any pro- portion — making trial firings until the desired color is i-eached. We do not advise this addition when the photo- ceramic transfers are to be fired at the potteries, as the result is then not so pleasing as the single color — whether that be brown or black. It is necessary to thoroughly incorporate the colors when mixing them ; the proper way to set about this is to grind them together upon a glass slab with a muller. During the grinding they must be moistened with water until the muller works freelj". About ten minutes’ grinding will suffice; the color must then be dried in a place free from dust, for in this work DUST IS THE DEVIL. Although most colors, as received from the dealer, are in a state of fine powder, still it is advisable to take the pre- caution of grinding them again (with water) for about ten minutes — doing onlj’’ about a dram at a time. After thorough drying, they must be passed through a fine silken sieve such as is supplied for the purpose. Ceramic colors that are prepared for i-egular kiln will not give decent photographic results upon china unless it has been previously prepared for the purpose. CONCEUNING COLORS, PLAQUES, AND EARTHENWARE. 51 We are quite aware that they will do so when used as paints, hut after the completion of the photographic transfer the color is not in its normal condition. In its normal conditiou, the coloring matter is combined with a “ flux,” which melts at the temperature of the regular kiln and combines with the color, binding it to the china. The glaze upon china is due to a flux which melts only at a much higher temperature (hard kiln). The surface of opal glass and enamelled copper plaques melts at the temperature of regular kiln. Therefore if we use a ceramic colour in its normal con- dition as a paint, upon any of these materials, it becomes flxed to their surfaces by virtue of the soft flux contained in itself. The photographic operations, and the many washings, tend to deprive the color of a certain proportion of its flux so that it is not capable of fixing itself to a “ hard” glazed surface. The consequence is, if we attempt to fire a transfer upon ordinary china, the color will not attach itself at ‘‘regular” heat, but will remain in the form of an easily removable powder. At hard-kiln heat, the original glaze of the china would become tacky and hold the color, but the excessive heat would have destroyed its tint. The result is different upon opal glass, enamel, or soft- glazed earthenware, which melts much more easily; at 52 rnoTo-CEnAJiics. regular heat the surface softens and holds the color, giving it a finished and glazed appearance. In order to work upon china, it is therefore necessary to prepare its surface by “ground laying” it with a soft flux, wliich is done (or is about to be done by some firms) especially for photographic purposes. We shall deal with the method of doing this in the next chapter, but we think we have made clear to the student why it is advisable to procure materials that are specially prepared for the purpose. The student should be content to buy his colors from a reliable dealer, and should not attempt their manufacture until be is at least thoroughly conversant with their use and composition. The preparation of enamel colors generally necessitates the thorough fusing of the ingredients in a crucible, which is a somewhat irksome job, but the following' easily compounded black pigment may be used if the student is situated far from dealers in vitritiable colors. We must first prepare a flux as follows : — Silica Minium Borax . . . 1 part 8 parts 2 or Silica ... Minium Borax . . . SaltiDctre ... 3 parts ... 6 „ ... 1 part CONCERNING COLORS, PLAQUES, AND EARTHENWARE. 53 The ingredients must be thoroughly mixed and fused together in a crucible at a quick heat, well stirred with an iron rod, and then spread upon metal plates to cool ; it is then pulverized and sifted. The black color may be composed of Black oxide of iron ... ... ... 1 part Flux ... ... ... ... ... 2 to 3 parts or, to our mind, a still richer black may be made by mixing Bed or bright violet oxide of iron ... 1 part Flux ... ... ... ... ... 2 to 3 parts which gives by reflected light a rich reddish- violet black which is very agreeable. As the majority of readers will be able to buy their colors ready prepared, and of far better quality than they can hope to make for themselves, we shall not enter extensively into the question of color manufacture in the present handbook. With the following formula for the preparation of a white enamel we shall leave the subject: — Ar.senic... ... ... ... ... 1 part Saltpetre ... ... ... ... 1 ,, Silica ... .. ... ... ... 3 parts Litharge ... ... ... ... 6 „ Fuse together in a crucible, and as soon as the enamel has ceased to bubble and appears to be in a liquid state pour on to metal plates to cool. Then grind to a coarse powder for use. 54 PHOTO-CERAMIC'S. CHAPTER IX. OROUND LAYING — GLAZING — RETOUCFTING — RECOVERING WASTE PLAQUES. In the last chapter we referred to the necessity of “ ground- laying ” hard glazed china and earthenware before attempt- ing to fire photo-ceramic transfers upon them. It sometimes may happen that it is necessary to do this for one’s self, and, in order to be prepared for such an emergency, it is well to keep a supply of soft flux on hand. Any reliable easily fusible flux may be used, such as Hancock’s, Harrison’s, or Emery’s Xo. 8. There are several ways of applying it. For instance, take a quantity of flux and grind it with a little oil of tur- pentine and a small proportion of fat essence* (about two per cent.). Mix it to the consistency of paint and apply it either over the whole of the tile (or other article) or only to the portion to^be decorated. The flux must be applied in a thin and extremely even coating; otherwise it is best to remove it and lay the coating again. The final strokes may * ‘‘Fat essence” is oil of turpentine or any essential oil that has been exposed to the continued action of light and air until it has become of a fatty consistency, due to evaporation. It is added to give body to the oil. GROUND LAYING GLAZING — RKTOUCHING, ETC. 55 be given with a badger or carael-liair softener (Figs. 9 & 10;, and it should be applied with a very light touch. It is some- times beneficial to breathe on the work while laying a glaze ; Fid. 9. — Badger Softener. Fig. 10. — Camel-hair Softener. the moisture of the breath helps the coating to assume a per- fectly smooth and even surface. Extreme care must be taken to guard against dust settling on the work, for in this work DUST IS THE DEVIL. Another method, useful for large surfaces, is to thinly coat the ware with a mixture of equal parts of thick lithographic varnish and turpentine painted on with a brush, and, when partly dry, lightly dabbed with a pad of cotton wool enclosed in chamois skin or silk. The flux is then shaken on through a silken sieve and allowed to dry, when the surplus is dusted off with a camel-hair mop. In both these methods it is somewhat difficult to judge of the evenness of the coating owing to the flux being almost 56 mOTO-CERAMICS. devoid of color. In order to overcome tliis difficulty we advise the student to add to the flux an amount of lamp- black sufficient to give it a gray tint. The coloring matter will be consumed in the muffle and will leave no trace behind. In piint we are often recommended to apply a glaze to photo-ceramic transfers after firing, and we have carefully tried all the various plans recommended. The result is that we strongly condemn the advice as bad, and generally worse than useless. If the ware possesses a suitable surface the transfer wdll naturally possess a brilliant glaze if properly fired ; if the original glaze of the ware is too hard, it must be laid with a glaze (and fired) before the transfer is placed upon it. It will then be provided with a brilliant glaze after firing. But if a transfer be fired upon a hard and unsuitable glaze, it will neither fasten to the ware nor have a brilliant practice.) 3 Fig. 11. -Brushes for China Painting. GROUND LAYING — GLAZING RETOUCHING, ETC. 57 surface, as we have already fully explained. If the student wishes to try laying a glaze on such an object he can proceed by either of the plans recommended for ground-laying, but he will find the majority of cases yield very disappointing results, full of imperfections. A very pretty effect can be obtained by ground-laying the whole of a tile, plaque, or other ware with a delicate turquoise, cream, pearl grey, or other shade such as is supplied for the purpose by all the color merchants we have mentioned. After laying the ground, but before firing, parts may be removed by means of a rag stretched over a piece of wood pointed like a chisel. If these parts are removed from the places to be occupied by principal high lights — such as face and hands if a portrait, or the sunny parts of a landscape— a charming effect may be ob- tained. Of course the ware must be fired before ap- plying the photographic transfer. We simply give the suggestion and leave our readers to folloAV it out and amplify it. After firing a transfer upon enamel, china, or other ware, it sometimes requires retouching.' If all the oper- ations have been carefully carried out, the picture should be almost perfect, but still may require a little after treatment. The most common fault will be a slight discoloration of the high lights on the draperies, due to color adhering 58 PHOTO- CERAM ICS. wliere it was not wanted. Sucli patches may be readily removed with a mixture of Hydrofluoric acid ... ... ... 1 part Water ... ... ... ... ... 20 parts contained in a rubber or leaden vessel. Apply it with a camel-hair brush, touching the parts very quickly, and then, immediately, allowing water to wash the solution away. This may be done as often as necessary until the high lights are brilliant and well-defined. Small dark specks may be touched with a little stronger mixture applied with the point of a sha.rpened stick and immediately washed away. White specks, due to dust, may be filled with color (mixed with turpentine or oil of lavender and fat essence) applied with a spotting brush. When dry the enamel may be retired to fix the spotting, H;- — but, as far as possible, it is best Fia. 12. -Small Finisiier. to do the retoucliing previous to firing. Specks are then easily removed by lifting them with a fine needle point, and white spots are filled with color mixed with oil. We must caution beginners to be extremely careful in working wfith hydrofluoric acid, which is very corrosive in its action. The acid has to be stored in gutta percha bottles (as it would eat its way through glass in a few minutes), and, even when much diluted, it causes very painful sores if GROUND LAYING GLAZING RETOUCHING, ETC. 59 allowed to come in contact with the base of the finger nails. The fumes of the strong acid are also extremely injurious. We invariably protect our fingers with rubber gloves or finger stalls when working with it — a very necessary pre- caution. The acid, diluted in the proportions we have named — in some obstinate cases a little stronger, say 10 per cent. — is useful for recovering waste plaques which have been spoilt in firing. Take a few ounces of the dilute acid in a leaden or rubber tray and immerse the plaque. Hold it firmly down to the bottom of the tray with the fingers of the left hand, and rub it briskly with a rag rolled on the end of a piece of wood. When the image has disappeared, wash the plaque, dry it, and fire for about a minute in the muffie, which Avill restore its glaze. It will then be once moi'e ready for use. Note. — If the student wishes to become proficient in groundlaying and decorating china by hand, he will find much valuable information iu “ The Amateur Pottery and Glass Painter,” published by Hancock & Sou, Worcester. 60 PHOTO-CERAMICS. CHAPTER X. COMBINATION PRINTING — PHOTO-CHROMATIC (tHREE-COLOR) PRINTING — PHOTO-DIAPHANO-CHROMOGRAMS. Combination printing may be very effectively employed in plioto-ceramics. For instance, an entire ground may be laid in a light tint (say a grey or fawn) by means of a special transparency, in which all of the plate, save a few extreme high lights, has been blocked out with an opaque pigment. This tint, when transferred to china or enamel, must be burnt in, when the plate will be ready for a transfer printed from the original transparency in any dark color suited to the subject. The transfer must be carefully registered over the tint and then fired, when the resulting picture will be very effective. In this way a portrait may be produced in black or brow n upon a fawn (or other tinted) base, with the points of high light — such as pearl ornaments or tips of light upon light drapery — well illuminated. We need hardly make more than the bare suggestion, although there are many ways in which the suggestion may be utilized ; these wdll occur to any attentive worker. rHOTO-CHROMATIC PRINTING. 61 A more advanced combination printing, likely to prove ex- tremely effective, is based upon the pboto-cliromatic methods of three-color printing which have been so thoroughly dealt with (in relation to the preparation of photo-engraved blocks) in The Process Photogram and elsewhere. Briefly the method consists of printing from three negatives of colored objects, taken through special screens, which exclude certain colors from each. The portions of developable image npon these negatives represent all the blue rays upon one, all the red rays upon another, and all the yellow rays upon the third. No matter how the colors may be blended in nature, the three separate plates secure every gradation, so that when the images are placed one over the other the resulting combined picture is a facsimile of the coloured original. In applying this method to photo-ceramics there is no necessity for employing a “grating” (or ruled plate) as in photo-engraving, hence the results can be made infinitely more beautiful. The films must be printed (each in its proper color) one at a time, and lightly fii-ed after each transfer. The firing need only be sufficient fo fix the image to the plate without a finished glaze. To facilitate registration of the thi-ee tiansfer.s it is advisable to mark the plates each with two small crosses, or if dhe original is a painting similar marks may be made in 62 rilOTO-CERAMICS. black upon it ; these will then be photographically impressed upon each plate. The coloured transfers must be super-imposed in the fol- lowing order : — 1st, yellow ; 2nd, red ; 3rd, blue. Hitherto our chief difficulty has been in finding a blue vitrifiable pigment thoroughly suitable to this process. We have not, at the time of writing, secured such a powder that has combined the correct color with transparency and the power of adhering sufficiently to the gummy plate. This is, however, merely a matter for further experiment, and we expect to soon surmount the difficulty. There is another principle which has been much abused in connection with photography and process-mongers, but which is capable of yielding exquisite results in photo-ceramic work. We refer to what is popularly termed ‘‘ the coloring- behind dodge.” The method is extremely simple, but care is necessary to secure correct registration. To produce a photo-diaphano-chromogram a transfer must first be made in a light warm colour, and fired upon the china or plaque. This will give all the true outlines, which must then be roughly tinted a little deeper than is desired in the finished result. No attention need be paid to light and shade so long as the high lights are carefully preserved from too much color. Extreme points of light must be left entirely free from color. The face may be PHOTO-DIArHANO-CHROMOGRAMS. 63 roughly tinted, adding a little brighter color on the cheeks and lips ; blending may be done either with a very small mop or with the tip of a finger. Until the worker is thoroughly used to enamel colors and their peculiarities, we advise him to give this work to a china painter, who will do such rough and ready painting at a low price. When the painting is complete it must be fired, and then the final transfer (which is to supply all the gradations of light and shade) may be made at leisure. A good color for preparing the first transfer may be made thus : — Dissolve Pure sulphate of iron ... 1 part In hot water ... ... 10 parts In a separate vessel dissolve Potassium bichromate ... 1 part In hot water ... ... 10 parts Filter the solutions and mix them together, stirring Avith a strip of glass. A precipitate vauII form, and must be allowed to settle for about two days, when the clear solution must be decanted and thrown aAvay. The precipitate (chromate of iron) must next be thoroughly dried in an oven or crucible, when it may be mixed Avith flux in the follow’ing proportions : — Chromate of iron ... ... ... 1 part Flux ... ... ... ... ... 3 parts 64 PHOTO-CERAMICS, The ingredients must be ground together with dried. The color is then ready for use. The to employ in making the second transfer is a brown. water and best color rich dark HOW TO MAKE ENAMELLED COPPETl PLAQUES. 65 CHAPTER XI. POSSIBLE APBLICATIONS TO JEWELLERY AND DECORATIVE ART — HOW TO MAKE ENAMELLED COPPER PLAQUES. Photo-ceramics may be applied in innumerable ways to the decoration of jewellery, matchboxes, cuff links, souvenir spoons, drinking cups, salad bowls, serviette rings, etc. Many such applications will suggest themselves, and we expect it will not be long before articles are manufactured especially for sucli enamel decoration. Robert Pringle and Co., of Clerkenwell Road, E.C., have already expressed their intention of preparing brooch mounts, electro-plated frames for converting photo-ceramic tiles into teapot stands and various similar goods that are bound to become popular if photographers will only approach the subject with determination to cater for the public, and keep this work in their own hands while they have the chance. ‘ Unfortunately they closed their eyes to the fact that photo- engraving was bound to grow in popular favour, and, as a consequence, that work is now controlled by a distinct class. We have tried to simplify the photo-ceramic process by pointing out an exact course to follow, and we can only trust that photographers will grasp its possibilities without further P 66 PHOTO-CERAMICS. delay, and not let this lucrative application of photography drift from them into the hands of others. Even in the preparation of enamelled copper plaques there is a capital opening for an energetic man. At the time of writing we only know of one firm in England (Penrose & Co.) making plaques of the best quality such as are made in France. Second quality plaques (suitable for experimental purposes) are plentiful enough, but it is almost impossible to buy the best quality. One member of a firm of photo-ceramic enamellers informed us quite recently that he had been unable to obtain any supply from the French house with whom he dealt although six weeks had elapsed since his last order was sent. In consequence of this the firm’s enamel work was all at a standstill. While upon this subject we cannot do better than quote freely from an excellent report of a practical demonstration of the preparation of enamelled plaques, given by Mr A. Haddon before the London and Provincial PliotogTajihic Association. Tlie fallre[)ort, from which we make the following extract with accompanying diagrams, appeared in Vhofoyi aphy of Oct. 5 and 12, 1893, and was written by W. H. Harrison: — “Enamel is sometimes sold in thin slabs cast on sand; these cakes then have to be broken u]i and powdered with a steel pestle in a wooden mortar, then sifted, then p.owdered now TJ MAKH ENAMliLLED COPPER PLAQUES. 67 again, until it all passes through the sieve. In the case of the bought powder, it first has to be soaked dm-ing from three to twelve hours in a twenty-fiv'e per cent, mixture of nitric acid and water to dissolve all metallic particles, and to carry off organic matter ; the weak acid is then poured off and tap water poured on. The coarser particles of enamel arc separated from the finer particles by means of suspension in water, just as the glass grinder separates his emery j)owder into different degrees of fineness, except that in the separation of purchased enamel it is wanted but in two degrees. An ounce of the enamel powder may be stinted up in a large tumbler of water, allowed to stand for one or two seconds, and then the milky liquid containing the finer particles in suspension be poured off into another glass. The coarser particles which sank to the bottom an the first glass may then be stirred u[) with more water, to separate more of the finer particles for pouring off, and so on four or five times in succession. At the end of these washing operations the coarser particles are at the bottom of one glass, and the finei* particles of different sizes are partly in suspension and partly -at the bottom of the other glass of watei*, which has to be left foi' a few hours until m.^st of the fine enamel has settled vill be still of a matt surface, and not transparent in effect as they should be. This is overcome by repeated glazings. ‘‘ No enamel is perfect that has not been glazed at least five times. The number of separate burnings (say five or six) as here recommended give a totally different effect to •\vhat would be obtained by one great burn with the glaze applied thicker. Those who wish to save themselves trouble will work in this way, but anyone who wants to get the best results will not mind the trouble of five or six, or even a dozen glazes.” The principal failure to be feared is in applying the glaze. “The chief thing to avoid in glazing is gettingan unequal layer of glaze on the tablet tJie first time. Until the first glaze is lurnt in the j[,u Uire will rub very easily^ therefoi-e a badly-laid glaze will be its ruin, as it cannot be removed. After the first glaze is burnt the enamel is safe, and any further error in the matter of pouring on the glaze, etc., can be rectified by simply washing it off again under the tap. Then, again, there is a possibility that, when too much glaze is used, the enamel will spoil by what I have, till recently, looked at as ‘ burning out,* but which I have since found out to be simply a sinking in of the image. The best remedies for all errors in glazing are to use plenty of alcohol in the collodion, and plenty of water, and at the same time the smallest woikable quantify of glaze, making more burns of it, but doing less work at each burn.” Photogram de Luxe, per annum only 6s., Post Free, 9s, MONTHLY, PKICE 3d, POST FREE, 4^d. Devoted to tPhotograplilo and Photo-Mechanical "Work. EDITORS : H. SNOVVDE^^ WARD. CATRERIXE WEED WARD. PERMANENT STAFF Z CHARLES AV. GAMBLE. SCHRIPTFI7HRER. AV. EfHELBERr HENRY. AV. T. AVHITEHEAD. Has tlie largest circulation of any Photographic Journal. Contains each mouth supplements of great value to photographers and process men, and is now giving special attention to, and much useful information on, PHOTO-CERAMICS. “ Far and away aliead of its photographic contemporaries. ’ — Optician. " The Photogram smacks of smartness. Is smartly edited, excellently arranged, and very tasteful in type and graphic dress, as well as being much better printed and on better paper than any of the photographic journals of home production.” - PAe British Lit ographer. “Simply invaluable to all who are interest-ed in photography .” — Book and News Trades Gazette, *• The Photogram is a remarkable produc.tiori, both in letterpress and illustrations.” — t^he/field Telegra^^h. “ The first volume of the Photogram has been one of remarkable excellence, both in itsma’terand illustrations.” — LicerpooL Courier. “ It is a marvel .... highly interesting matter, and filled with illustrations. The s^.A’le, get up, and printing, are all high class.”— 7’Ae Photographer. Monthly, Price 6d. Post Free, 8d. Per Annum, post free, 8/- ROCESS HOTOGRAM. The only journal specially devoted to the interests of Photo-mechanical workers. A Phenomenal Success. Mr. Allan AV. Sewald, of Montclair, N.J., saj-s “ Altho’ an old process-worker I vill not do without tiie Process Photogram.” Dr. J. H. Smith, of Zurich, says : — “I am pleased to find you are bringing out a Process Photogram. I have no doubt it will be a success ” Mr. John Cummings, of Alloa, N.B„ a beginner in proces -work, says: — “Your magazine is splendid.” LIMITED ISSUE. Order at once from any Newsagent or Photo Material Dealer. The above may be obtained from all Photo Material Dealers and News- agents, or at post free prices from the Puhlisheis, DAWBARN & WABD, Id.. 6, Farringdon Avenue, LONDON, E.C. MIDLAND PHOTO DEPOT, 10, Tontine Square, Hanley, Staffs. Special Materials for ijjoto^Ceramit Process Work. THE “PHOTOGRAM” OOLLODIOX ORGANIPIER SENSITIZER PRESERVATIVE ... SOFT POWDER COLOURS in Tubes 6d. Each. IN BOTTLES 1 /- "PI A PIT The foregoing are prepared from formula) recommended by Mr. W. Ethelbert Henry. J. W. London Agents IHOORE^ Manufacturer. r Messrs. HOUGHTON & SON, High Holborn. (Messrs. LEVI & CO., Purnival Street. Staffordshire Ware. Selected and expressly suitable for Photo-decoration. Avoid waste by using properly tested ware. ORDERS SHOULD BE SENT TO MIDLAND PHOTO DEPOT. Firing. Transfers Pired (at Customers’ rif-k) by experienced men. Prices by single piece or the gross may be had on application. List Of Apparatus, Collodion, Colors, Chemicals and Sundries. Price 3d, 0". •W. IMIOOItE, PHOTO CHEMIST, HANLEY. PHOTO-CERAMIC ^ SETS. In order to meet a probable demand for small quantities of the various materials used in Photo-Ceramics, and which will not be already in the possession of the Photographer, J. W. MOORE has prepared small sets con- taining an outfit of special preparations used in the process ; these are carefully prepared according to Mr. W. Ethelbert Henry’s formula. Thus, for a very small sum, a worker may make experimental trials without having to buy large quantities of goods, and with full confidence that apart from implements generally possessed by Photographers, the Set includes every- thing for preparing Photo-Ceramic transfers ready for firing. No. 1 SET 1 bottle Organifier, 1 bottle Sensitizer, 1 bottle Ceramic. Transfer Collodion, 1 bottle Ceramic Transfer Preser- vative, 1 Camel Hair Mop, will contain Cotton Wool, Pilter Paper, Plate Glass, Tube Ceramic Powder Colour, i doz. assorted Tiles and Plaques, Fused Borax. Price complete 4s. 6d. Hy I*arcel IPost Od. extra. No. 2 SET will contain A similar collection of articles, but with double quantities of Solutions, i doz. Plate Glass and 1 doz. assorted Tiles and Plaques. Price complete in Box, 7 s. 6d. By Parcel Post Od. extra. FULL DIRECTIONS FOR USE INCLUDED WITH EACH SET. Wholesale and Retail- MIDLAND PHOTO DEPOT, HANLEY, STAFFS. MAY BE HAD OF DEALERS. • LONnON AarTJT'Q f Messrs. HOUGHTON, High Holborn, L.ONDON AGENTS | Messrs. LEVI, Furnival Street. JAMES HANCOCK & SON, MANUFACTUHFRS OF Al.L KINDS OF Ceramic and Glass Colors, piGLlS pERAMIC - pOLOF^ ^ORKS, WOROKSTER. SPECIALTY : iSolors and all ^oquisitss for (Ceramics » PI IJUSHKRS OF 'I'HK “Amateur Pottery and Glass Painter/' Containing full instructions for laying backgrounds, painting, &c., &c. Fourth Edition, Price 6s. VITRO ENAMELLING FOR THE PROFESSION, FR(m PHOTOGBAFIIERS' OWN NEGATIVES, BV J. G. TUNNY & Co.. EDINBURGH. PRICE LIST ON APPLICATION. ENGLISH -MADE PLAQUES FOR Photo-Ceramics. PENROSE & Co. c^^EG to announce that they can supply Plaques which have been •XD> pronounced by experts epial to the best French makes, and at prices which will bear favourable comparison. English photo-ceramic workers are therefore invited to support home industries. The Plaques stocked are standard sizes, but any size and shape can be made to order. Plaques spoilt in firing can be re surfaced at a cost of 25 per cent, of original price. Second Quality Plaques. These, although not equal to the first quality, and not guaranteed in any way to be perfect, are very handy for making trial plates, so saving the expense occasioned by waste of the best Plaques. Chemicals and Materials. An unrivalled stock of Tools, Apparatus, Chemicals and Materials for Photo-Mechanical Processes is kept by us, amongst which will be found many things useful for Photo-Ceramic work. Attention will be given to work to special instructions, and firing will be undertaken for the trade. Practical advic^e and assistance cheerfully given to customers. SPJKCIAIi 3C.I.3T IH PKEPABATIOK. PENROSE & Co., ^he ^Aoto*^roeess 8 & 8a, Upper Baker Street, Clerkenwell. ** Cohzs riLsb with time; Statues of marhle and bronze crumble or are corroded; Inscriptions are obliterated ; Stone walls fall to the earth, and the pyramids themselves are slowly disappearing. Every monument that mankind have thought most lasting '' yields to time except the ware of the potter.*^— J. C. L. Sparkes. THE IVIIDLAND PhofO“Hepamic Co. OFFICES: TAVISTOCK CHAMBERS, NOTTINGHAM. '•V Photo - Keramics on China^ Earthenware and Tiles. Speciality: H£i>]?d Cr J. £l Z G. for Qnamols, Gold & Silver Brooch IVlounts. Electro- Plated & Silver Photo Frames. Electro- Plated Teapot Stands (for tiles) CAN BE HAD THROUGH ANY JEWELLER. "I^’IIESE Mounts are made so that the Enamels can be easily fixed or removed, being fastened simply by a patent catch. Full particulars on application to ROBERT PRINGLE & CO., WHaBERjqESS WORKS, 40 & 42, Cierkenwell Road, London, E.C. THE TRADE ONLY SUPPLIED. MORGAN & KIDD’S (PHOTO-CERAMICS). Photographs Fired into Enamelled Copper Plaques. Exquisitely Beautiful and Absolutely Permanent. These Enamels are prod uced from any photographic negative or positive, from locket or fintJ^er-ring’ size to cabinet. Their pure lights, and exquisitely delicate half-tones, contrasted with their deep rich shadows, transparent and bright under a brilliant glaze, make them veritable gems beyond comparison with any other production by photographic methods. A SPECIMEN ENAMEL ivill he sent for inspection to any Professional Photographer on application on condition that it is returned within seven days. Price List post free of Enamels and of all Morgan & Kidd’s Manufac- tures and Artistic Productions, including Bromide Paper, l)ry Plates, Enlarging and Finishing, Photo-Mechanical Printing (Collotype and Half- Tone Process Blocks), &c., &c. MOSGAII k KlDl). RICHMOND, LONDON, S.W. ASSOLUTELY BECESSAEY TO AUATEUES AND PSOFESSKOBALS /// PHOTOGRAPHY ANNUALi1895, Edited by HENRY STURMEY. A Mass of Information and Statistics for the Year. Profusely Illustrated. Demy 8vo. Cloth, Gilt LBttered, 3s. 6d. Paper Cover 2s. 6d. Postage 71 d. READY IN JUNE. Science and Practice of Photography.— By Chapman Jones, s. d. The most complete and popular Handbook in the market. Copiously Illustrated and thoroughly Revised to date. Crown 8vo. Cloth 3s. 6d. (postage 4^|d.) Paper Covers ;.. ... 2 C Collotype and Photo-Lithography.— By Dr. Julius Schnauss. New and Revised Edition. Translated with the Author’s sanc- tion and assistance by Edwin C. Middleton, with an Appendix on Steam Presses by the Translator (postage 41d.)... ... 5 0 Photography for All.— An Elementary Text Book and Intro- duction to the Art of Taking Photographs.— By W. Jerome Harrison, F.G.S., Author of “ A History of Photography.” Crown 8vo. Illustrated (postage 2d ) ... ... ... 1 0 Modern Photography for Beginners. — By Harold Baker. Illustrated ... ... ... ... ... ... 0 0 .Short Lessons in Photography. -By G. Ardaseer. A Practical Second Book for the Amateur or Young Professional. Well Illustrated. Crown 8vo. (postage 2d.) ... ... Price 1 0 ILIFFE & SON, 3, ST. BRIDE STREET, LONDON, E.C. Le Page’s ” Xj I Q, TJ I ID Fish Glue Wm Hfbuta - i^eramit.8 As used in the Formula, Page 17. L£ PAGES is the best for all Photogtaphic IVork. L.0 is the only genuine Fish Glue in the market. AVOID INFERIOR IMITATIONS. To he obtained from Mawson & Swan, Penrose & Co., J. Fallowpield, and all Photographic Deilers. Wholesale of RICHARDS & WARD Ld., 46, Holborn Viadnc^, London, TAYLOR, TAYLOR & HOBSON’S CATALOGUE OF LENSES COSTAINS DESCUIPTIOXS OP IXSriiUMENTS Suited for Photo - Ceramic Work. THESE LENSES ARE USED BY LEADING PHOTOGRAPHERS THROUGHOUT THE WORLD. TAYLOR, TAYLOR & HOBSON, Sciantifio Instrument Makers, Slate Street Works, Leicester; and 6, Southampton Street, High Holborn, London. (Contractors to ( The War OfBce. 1 The India Ofiic ‘. ■{ The Postal Telegraph Department. I The Government of .S. Wales. [ The Government of Cape Colony. KINDLY MENTION “PHOTO-CERAMICS.” Stereoscopic 'photographic at (^ne Q^posure With your ordinary Single BY USING THEODORE BROWN’S “ Stereoscopic Transmitter.” Lens Camera PRICE In Neat Pocket Case with Full Instructions for Use. POST FREE. niustrated Prospectus Post Free from the manufactueeh cy PATENTEE THEODORE BROWN, |}jcirtla:iibr For Sample Slides taken by the aid of The Stereoscopic Transmitter, enclose 4d. Press Opinions. The 0/.tician.—“ A vf-ry useful piece of apparatus for Stereoscopic Photography, which we have no doubt will be largely in demand.” Photo^r phic Review of Eevietvs. — “We have examined some pictures taken by Mr. Bhown and the steresocopic effect is admirable and we 1 ave taken some pictures with the Tran-mitter, which were perfectly successful. One of the disadvantages of the ordinary method is ihe trouble of cutting and mounting the prints, whereas by this method no transposition or separation is necessary. We anticipate a large sale of this transmitter as it is eminentlj’ practical, and the price is by no means prohibitive.” ESTABLISHED 1845. JOSEPH P. EMERY, (Grange Street Color IDorks, ENGLAND, MANUFACTURER OF Vitreous Colors^ FOR THE DECORATION OF CHINA, GLASS, EARTHENWARE, ENAMELLED IRON, ENAMELLED COPPER & GOLD, AND PHOTO-CERAMIC PROCESSES. — ^ f % ■ _g i SPECIALITIES— RUBY, CRIMSONS, MARONES, PURPLES, PINKS, ROSES. BRONZE COLORS AND DRY ENAMEL COLORS. ^ -t- PRICES ON APPLICATION. DAWBARN & WARD, Ltd., PUBLISHERS OF “ THE PHOTOGRAM,” STOCK JlTJO JEKGLISK pi^otograpl7ic Books, AND WILL SEND A Complete List Post Free UPON APPLICATION. Any Book not in List will be obtained upon the shortest possible notice. LONDON: 6, FARRINGDON AVENUE, E.C. Demy 8vo., Price 3s. net. Post Free, 3s. 6d. § of Elustratton: BY A. HORSLEY HINTON. With Reproductions from Photograms and Sketches by the Author and other Artists, Demy 8vo., Cloth, 3s. 6d. net Post Free, 4s. PHOTO-LITHOGRAPHY. BY GEORGE FRITZ. Translated by E. J. WALL. Author of “ The Dictionary of Photography," Carbon Printing," <^c., &c. With a series of examples of “ scraper hoards ” and seven fine and expensive examples of Photo-Lithography, printed by the State Printing Office of Vienna. This Handbook is thorough and practical. Cloth Gilt, Price 12s. 6d, net. Post Free, 13s. A Complete Handbook of the Terms, Processes, Formulae and Appliances available for Photography, arranged in Cyclopiedic Form for ready reference. BY EDWARD L. Yv^ILSON, Ph.D., Editor of “ Wilson's Photographic Magazine” ; Author of" Wilson’s Photo- graphies,” *' W ilson’ s Quarter Century in Photography,” "Photographic Mosaics,” &c. Itondon: DAWBAB.N &WABiD., Ltd., Farringdon Avenue. A Complete List of Photographic Literature post free on application. FIXED BY FIRE. Practical Demonstrations OF THE PHOTO-CERAMIC PROCESS BY W. ETHELBERTHENEY,C.E.,F.R.P.S. (Inventor of the Fish-Glue Method), Savt0H!itrator of ^Ijota-^fraraus at Jmpiial Jnstitutf. Lectures with practical demonstrations include the preparation of the sensitive films, coating the plates, exposure, development by vitrifiable powders, and transfer to china, enamelled copper, or opal glass. The pictures are finally fired in Fletcher’s famous gas muffle furnace (No. 461). N.B. — In order to avoid disappointment it is necessary to hook engagements ivell in advance. Private Lessons Given. Departments Fitted and Staffs Instructed. FEES ON APPLICATION. W. ETHELBERT HENRY, C.E., 6, FARRINGDON AVENUE, LONDON. E.C.