Digitized by the Internet Archive in 2014 https://archive.org/details/dictionaryofphotOOwall_0 ANTHONY'S PHOTO SERIES, No. 25- A DICTIONARY PHOTOGRAPHY AMATEUR AND PROFESSIONAL PHOTOGRAPHER. E. J. WALL. Containing Concise and Explanatory Articles. Illustrated by many Specially Prepared Diagrams. I*nr fork: E. & H. T. ANTHONY & CO., 591 BROADWAY. 1889. 689-1200300. COPYRIGHT, 1889, BY E. & H. T. ANTHONY & CO. PREFACE. HEN the worker in photography is desirous » * of teaching himself the art, he naturally turns to the standard text-books in order to prevent frequent failures and mistakes. Many of the books published upon photography are too far advanced to be of any service, except to those who are well versed in chemistry and optics. It was to override this great difficulty that at the instance of the Editor of the Amateur Photographer I contributed to that paper the Dictionary of Photography. It was published through a series of numbers, and, at the earnest request of many subscribers, the Editor prevailed upon me to issue the Dictionary in book form. As far as possible the information has been brought up to date; it is written throughout in the plainest language at my command, and is, I trust, practically a complete encyclopaedia of photography. I shall feel grateful if those finding errors in cal- culations or formulae will communicate with me through the publishers, in order that in subsequent editions corrections may be made. PREFACE. I have to thankfully acknowledge help and advice from many workers in the art-science of photography, and I confidently leave the result of my labours and their co-operation to await the verdict of the public, and dedicate the Dictionary to all who " Hold as 'twere the mirror up to Nature.** E. J. WALL. London, 1889. DICTIONARY OF PHOTOGRAPHY. Aberration, A term applied to the lens to denote the varia- tion between the foci of rays of light which are transmitted through the centre of the lens and those which are transmitted through or near its margin ; also to denote the separation or decomposition of light by the surface of a lens, so that the constituent rays are not all brought to the same focus. The first is called Spherical, the latter Chromatic aberration. To spherical aberration is due that fuzziness or want of sharpness near the margins of the focussing screen in uncorrected lenses. To the latter is due the annoying defect of lenses when the chemical and visual foci do not coincide, when the camera, after focussing, must be racked in towards the lens — from one-thirtieth to one-fortieth of the focal length is the usual run — before the plate is exposed. Both are corrected by combining lenses differing in form and in the kind of glass of which they are made. Accelerator. A term applied to any substance which is used to shorten the duration of development and to obtain the impres- sion of the slightest impact of actinic light. Thus, in alkaline pyro development the alkali is the accelerator, and with ferrous oxalate, hyposulphite of soda, common salt, perchloride of mer- cury have been recommended. A few drops of a weak solution of hypo have a wonderful effect in bringing up detail in an instantaneous negative. Common salt has also a beneficial effect, especially with positive bromide papers, bringing up the detail evenly and gradually before the shadows can become blocked. The addition of hypo and chloride of soda to ferrous oxalate developer is stated to materially shorten the time of exposure, but it is doubtful whether the action is not rather limited to producing a visible image of every ray of light, which may not be the case with ordinary development. I 2 DICTIONARY OF PHOTOGRAPHY. Achromatic, when applied to a lens, signifies that it has been corrected for chromatic aberration, and that the images projected by it are unaccompanied by fringes of various colours. The correction is usually effected by combining two glasses having differing refractive powers, as, for instance, a convex crown-glass lens, with a concave flint glass, or by enclosing a flint meniscus between two concavo-convex. There are several methods, but the latter is the usual method employed for the rapid class of lenses now so much in vogue (see Lens). For the theory involved in rendering lenses achromatic, see Decomposi- tion of Light. Acids may be defined as compounds of hydrogen whose atom or atoms of hydrogen are replaceable by metals, or by radicles having metallic characteristics, and the compound resulting from such substitution is termed a salt. Acetic Acid. Formula, HC 2 H 3 0 2 ; molecular weight, 60 ; synonym, purified pyroligneous acid. Prepared from wood by destructive distillation and subsequent purification. There are three commercial strengths. Glacial Acetic Acid contains 99 per cent, of acid and 1 per cent, of water. Its specific gravity varies from 1*065 to ro66. When cooled to 34 degs. F. it solidifies into a mass of crystals, and remains solid till the heat is raised to 48 degs. From this property is derived the term glacial. Care should be exercised in handling this, as it is a powerful escharotic ; if any should by chance be spilt upon the naked skin, an alkali should be immediately applied. It is, of course, a poison, by reason of its escharotic properties — the obvious antidote is chalk, lime, or other alkalies. It is miscible with water and alcohol in all proportions. It is a solvent of pyroxyline. Acetic Acid. This is one-third the strength of the glacial acid, containing but 33 per cent, of real acid. It can be conveniently prepared from the stronger acid by mixing with it twice its own quantity of distilled water. It is sometimes known as " Beaufoy's Acetic Acid." Specific gravity, 1*044. Dilute Acetic Acid. Made by mixing 1 part of acetic acid and 7 parts of distilled water. Specific gravity, 1*006. It contains but 3 63 per cent, of acid. The impurities in the acetic acids may be either sulphurous acid or tarry matter, both of which may be DICTIONARY OF PHOTOGRAPHY. 3 detected by the addition of a few drops of solution of nitrate of silver. A white precipitate denotes sulphurous acid, and the darkening of the solution in light indicates tarry matter. Their uses in photography are limited to a clearing bath for Bromide Papers (q:v.) } and for the formation of salts known as acetates. Carbolic Acid. C 6 H 5 HO=94. Synonyms: Phenic Acid, Phe.iol, Phenylic Alcohol, Hydrate of Phenyl. A crystalline substance, which is not a true acid, obtained from coal tar by fractional dis- tillation. It is a powerful antiseptic and preservative, for which purpose it is added to albumen and certain mountants. Solu- bility: i in 1 5 of water, 5 in I of alcohol, 4 in 1 of ether. Citric Acid. H 3 C 6 H 3 0 7 H 2 0 = 210. A crystalline acid prepared from the juice of lemons and the lime fruit. It is used as a preservative of pyrogallol in solution and sensitised paper ; it is also used in conjunction with chloride of silver for quick printing paper. It forms salts termed citrates. Solubility : 10 in 7*5 of cold water, 10 in 5 of boiling, 1 in 1*15 of alcohol (specific gravity, -820) ; insoluble in pure ether. Seventeen grs. of citric acid will neutralise 35 grs. carbonate of soda; 17 grs. of citric acid will neutralise 15 grs. carbonate of ammonia ; 17 grs. of citric acid will neutralise 20 grs. carbonate of potash. Formic Acid. HCH0 2 = 46. An acid liquid prepared by oxidation from starch, but was originally obtained from ants, whence its name. This has been recommended as a preserva- tive of pyro, and the writer has found that half an ounce of dilute formic acid will preserve 1 oz. of pyrogallol even when exposed to light and air for over two months, and it has the advantage over all other preservatives in that it is in itself a slow developer. (See Developer.) Gallic Acid. H 3 C 7 H 3 0 5 = 170. Is used in the preparation of pyrogallol and in some of the old collodion processes, but other- wise of little interest to gelatine workers. Solubility : 1 in 100 of cold water, 1 in 3 of hot water, 1 in 5 of alcohol. Hydrobromic Acid. HBr = 81. Is made in several ways, by decomposing bromide of potassium with tartaric acid, passing sulphuretted hydrogen through bromine water. It forms salts termed bromides, in which form alone it is used in photography. Hydrochloric Acid. HC1 = 36*5. Made by roasting salt in furnaces with sulphuric acid. Its specific gravity is n6o. It combines with alkalies and basylous radicles to form chlorides. 4 DICTIONARY OF PHOTOGRAPHY. Its use is limited to the Clearing Bath (q.v.), and when mixed with nitric acid is known as aqua regiafor preparing Gold Perchloride Hydriodic Acid. HI = 128. Made in a somewhat similar method to hydrobromic. It forms salts called iodides. Nitric Acid. HN0 3 = 63. Synonym : Aqua fortis. Prepared by distillation from Chili saltpetre (nitrate of soda) and sulphuric acid. Specific gravity, 1-45. A heavy colourless liquid fuming in the air. It is extremely poisonous, having a most powerful corrosive action ; 2 drms. is the smallest fatal dose known — the antidote, any alkaline eaTthy carbonate, as chalk, lime, magnesia. Nit7'o-Hydrochloric Acid. Synonym : Aqua regia. A mecha- nical mixture of 3 parts of hydrochloric acid with 1 part of nitric acid ; the oxygen of the latter combines with the hydrogen of the former, setting free chlorine, and forming water 2HCI + HN0 3 =H 2 0 + C1 2 + N0,. It is used to dissolve gold for the preparation of gold perchloride, the principal agent for which purpose being the free chlorine. Oxalic Acid. H 2 C 2 0 4 , 2H 2 0 = 126. Prepared by oxidation of sugar or sawdust by nitric acid. It is recommended for acidify- ing the oxalate of potash solution for ferrous oxalate developer, but its chief use is in the preparation of oxalate of potash, ferric oxalate, and other stable salts. It is extremely poisonous (60 grs. being sufficient to cause death) ; its antidote, magnesia, chalk, or lime in any form, with which it forms insoluble oxalate of lime. Solubility: 1 in 15*5 of cold water, 1 in 1 of boiling; sparingly soluble in alcohol. Pyrogallic Acid. C 6 H 6 0 3 = 126. Is not actually an acid, its proper chemical name being pyrogallol ; it is prepared by sub- limation from gallic acid. In the presence of alkalies in solution it absorbs oxygen from the air, turning black, a carbonate and acetate of the alkali used being formed. It is a powerful deoxi- diser and reducing agent, and is more extensively used than any other agent for developing. As pyro is very easily oxidised it is extremely difficult to preserve in solution, many sub- stances being recommended for that purpose ; the following are some of them, which are enumerated in the order of their value for that purpose : —A mixture of glycerine and alcohol, formic acid, metabisulphite of potash, sulphite of soda, citric acid. DICTIONARY OF PHOTOGRAPHY. 5 Solubility: I in 2 of water, the resulting solution measuring 2 J ; 9 in 10 of alcohol ; it is also soluble in glycerine and ether. Salicylic Acid. HC 7 H 5 0 3 = 138. Occurs naturally, but is prepared commercially by heating carbolic acid with caustic soda and passing carbonic acid into the mixture. Solubility : 1 in 700 of cold water, 1 in 9 of boiling water, 1 in 4 of alcohol : 20 grs. with 20 grs. of borax or acetate of potash will dissolve in one ounce of water. It is but rarely used in photography ; as a preservative it is added to some mountants, and as salicylate of soda is recommended to give increased sensitiveness to dry plates. Sulphuric Acid. H 2 S0 4 = 98. Is prepared by roasting iron or copper pyrites and oxidising the products. Specific gravity, 1*845. ^ i s used in photography as a clearing agent, and for preserving solution of ferrous sulphate. It forms soluble salts called sulphates. It is extremely corrosive and caustic. When taken undiluted internally it is poisonous, the antidotes being the same as for nitric acid. It is miscible with water in all proportions. Great heat is evolved when thus mixed, the water being raised to nearly boiling point ; great care, therefore, should be used in mixing it, or the measure or vessel may be broken. Sulphurous Acid. H 2 S0 3 = 82. Prepared by deoxidising sulphuric acid with charcoal. It is a colourless liquid, with pungent sulphurous odour, and contains 9*2 per cent, of sulphur- ous anhydride, S0 2 . Specific gravity, 1*040. It should be freshly prepared, as it changes by keeping into sulphuric acid. It is recommended for preserving pyrogallol, and forms one of the ingredients of Beach's Developer (g.v.). Care should be exercised, in handling this, not to inhale the fumes, which are extremely poisonous. Tannic Acid. C 27 H 2 ,O l7 = 618. This is not a true acid, but a glucoside obtained from galls. Solubility : 10 in 8 of water, 10 in 8 of alcohol, sparingly soluble in ether, its photographic use being limited almost, if not entirely, to the old collodion process. Tartaric Acid. H 4 C 4 H 2 0 6 = 1 50. Prepared from the impure cream of tartar in the lees of wine by precipitation by chalk and subsequent addition of sulphuric acid. Solubility: 1 in *66 of cold water, 1 in "5 boiling water ; soluble also in alcohol and ether. Its use in photography is limited, being sometimes used instead of citric acid, and for preserving sensitised paper. 6 DICTIONARY OF PHOTOGRAPHY. Actinic applies to that portion of light which effects chemical change, in distinction to those portions which furnish light and heat. The actinic portion of the spectrum may be said to be confined to the ultra-violet, violet, indigo, blue and green ; not, as might be supposed, to that portion which appears to us to be the most powerful— viz., the yellow. But the division is entirely arbitrary, as it depends solely upon the substance exposed as to which rays are actinic or non-actinic. Actinic Focus of Lens. See Focus. Actinograph— Actinometer. Any instrument which mea- sures the actinism of the sun's rays. It usually consists of sensitive paper, which can be exposed to the light in small portions at a time ; and the time which it takes to darken to a standard tint will be found to bear a distinct relation to the necessary exposure required for a sensitive film, whether upon glass or paper, due allowance being made for the presence of any object of importance near the foreground of picture. An actinometer can be made by any amateur by soaking a strip of gelatino-bromide paper in a 2 per cent, solution of nitrite of potash, drying the same in the dark. When dry it should be rolled up small and placed in the inside of a box which is light- tight, and from which the paper can be drawn in small pieces, to allow of its exposure to light and comparison with a standard tint, which can be obtained by exposing a plate on a subject the exposure of which is known, and at the same time exposing the actinometer and noting the time of the darkening of the paper to a certain tint. Supposing the correct exposure of the plate to be 3 sees., and it is found that the paper takes 30 sees, to darken, it is obvious that dividing the actinometer time by 10 will give the correct exposure, with a certain stop and class of picture, from which the others can be calculated. Ordinary albumenised paper, which owes its darkening properties to chloride of silver, is sometimes used, and, although the results, with certain modifi- cations, are some guide, it is obviously unfair to calculate the exposure of bromide of silver from the action of chloride. The term Photometer (q.v.) is sometimes, but erroneously, applied to such an instrument. Aerial Perspective. An artistic term used to denote the idea of distance in a landscape or photograph of the same, which DICTIONARY OF PHOTOGRAPHY. 7 depends upon the fact, that the more remote the object the less forcibly the visual rays are perceived by the retina of the human eye. This feature, which lends so much beauty to photographs, can only be obtained by the use of long-focus lenses, or by the use of as large a diaphragm as possible. (See Focus and Diaphragm.) Agent. That which has the power of acting or producing effects upon anything else — e.g., light is the agent which im- presses the image upon a sensitive plate, and the developer the agent which makes such image apparent. Alabastrine Process. An old wet-plate process for im- proving the colour of glass positives. It can be applied to gelatine negatives in the following manner (absolute freedom from stains and hypo being a sine qua non) : — Soak the negative in clean water till thoroughly moist, and then in following solution: perchloride of mercury, 40 grs., dissolved in pure hydrochloric acid, 1 drm. ; chloride of sodium, 20 grs. ; sulphate of iron, 20 grs. ; distilled water, 2 ozs. Allow it to soak till thoroughly bleached ; wash, dry, and varnish with matt black varnish, or back with black velvet. Albertype. See Collotype. Album. Literally anything white. Now used in the sense of a blank book, either with openings for the reception of photographs, or blank pages to which they may be affixed. Albumen. An organic principle found in both the animal and vegetable kingdoms. The purest form in which it can be obtained and the one in which it is used photographically is the white of egg, its chief use being the preparation of albu- menised paper. Albumenised Paper. Paper coated with albumen and salt. This has now become so necessary an article that it is prepared commercially so cheaply and in such perfection that the ordinary amateur had much better buy it already prepared. The following short directions will give some idea of the method of proce- dure : — Absolutely fresh eggs must be used. Crack each egg into a separate cup or measure before mixing with the bulk, so that in case of the yolk breaking the whole of the albumen lay 8 DICTIONARY OF PHOTOGRAPHY. not be spoilt. Take out the germ of each egg. Every fair-sized egg will yield about 7 drms. of albumen. Albumen 6 ozs. Chloride of ammonium 60 grs. Rectified spirit ... 96 mins. Distilled water 14 drms. Dissolve the salt in the spirit and w r ater, add to the albumen, and beat with an egg-whisk for fifteen minutes, allow it to settle and filter it through a tuft of cotton-wool, previously well washed with distilled water. This is sufficient for a quire. The paper should be either Saxe or Rive. Put the albumen into a large flat dish ; take the paper by two opposite corners, and bring the hands close together, so as to make the paper bow out in the middle ; lay the middle of the paper on the surface of the albumen, gradually lowering the ends till it rests on the albumen. When the paper has floated for a few seconds, bubbles will be shown by the numerous puckers ; lift the paper, and wet the bubbles with a camel's-hair brush ; allow the paper to float for eighty seconds — not longer, or the albumen will sink into the body of paper — then gradually raise by one corner, and suspend from two corners to dry ; when thoroughly dry, roll between steel rollers, and keep flat. Double albumenised paper is made by coagulating the first layer of albumen by steam, and treating in the same way again. Alcohol. C 2 H 5 HO = 34. Synonyms : Rectified Spirit, Ethylic Alcohol, Hydrate of Ethyl, Spirits of Wine. It is prepared by distillation from fermented saccharine solutions, or any vinous fluid. There are three strengths — Absolute Alcohol. Contains but 1 or 2 per cent, of water. Specific gravity, *8oo. Rectified Spirit. Contains 16 per cent, of water, and is what is termed 56 degs. over-proof. Specific gravity, '838. Proof Spirit. Made by diluting five parts of rectified spirit with three of water. Methylated Alcohol. Rectified spirit to which 10 per cent, of wood naphtha has been added to prevent its use internally. It is useful as a preservative of pyro, and for drying negatives quickly, preventing frilling, and in the manufacture of varnishes. Alkali. This is the antithesis of an acid. Alkalies tur DICTIONARY OF PHOTOGRAPHY. 9 litmus paper blue which has been reddened by an acid. They precipitate metals from acid solutions, as oxides or hydrates. Their chief characteristic, however, is their readiness to unite with acids to form salts. The three true alkalies are potassium, sodium, and ammonium. Alkaline Development. See Development. Alum. K 2 S0 4 A1 2 (S0 4 ) 3 + 24H 2 0 = 948. Is found native in some places, but is usually made from aluminous clay. It is used for rendering the films of gelatine less liable to mechanical injury, by hardening them, and also clears them from stains (see Clearing Bath). It has also been recommended as a Hypoeliminator (g.v.), but its action and benefit is doubtful. Solubility: 9*5 in 100 of cold water, 10 in 8 of boiling water, insoluble in alcohol and ether. Amber. A fossil resin from an extinct species of pine. It is used for preparing a Varnish (q.v.). Ammonia. NH 3 =I7. Is an extremely volatile pungent gas, but is only known to photographers as a solution in water, termed liquor ammoniae fortissimus. Specific gravity, *88o, con- taining about 35 per cent, of NH 3 . It should be kept in stoppered bottles, as the gas is freely evolved at ordinary temperatures, and carbonic acid being absorbed from the air, forming carbonate of ammonia. It is used in alkaline develop- ment as an accelerator for pyrogallol. The fumes are extremely suffocating, causing sudden contraction of the glottis and con- sequent death. Its use in ill-ventilated dark-rooms is said to cause permanent irritation of the mucous membranes of the throat, nose, and eyes. There is a weaker strength, known as liquor ammoniae. Specific gravity, -936, only one-third the strength of the liq. ammon. fort. Ammonium Bichromate. (M H 4 ) 2 Cr 2 0 7 = 888-4. Made by neutralising chromic acid with ammonia. It is used occasionally instead of the potash salt in photo-mechanical printing. Ammonium Bromide. NH 4 Br = 98. Made by neutralising hydrobromic acid with ammonia, or by double decomposition from bromide of calcium. Its chief use is as a Restrainer (» •536 30 „ I '2 02 t) •555 31 „ 1-225 °3 M •573 32 „ 1-25 64 >» •592 33 » 1-274 6 5 " •6ll 34 „ 1 '3 OO »» •631 35 m 1-32 07 M •65 36 „ 1-36 00 M •67 37 „ i'375 09 »» •689 38 „ i*4 70 rt •708 39 m 1-427 71 »» 728 40 „ i'45 72 n 748 41 M 1-48 73 M 768 42 ft i*5 74 »» 788 43 i*53 75 »» •808 44 „ 1-56 76 l> •828 45 1 1 1-59 77 »» •849 46 „ 1-62 7R /° »» •87 47 „ 1-649 79 »> •89 48 „ 1-678 80 »» •911 49 »> 17 81 M •933 50 „ 1739 82 »l •954 5i M 1769 83 •971 52 „ i-8 84 W ro 53 » 1-833 85 »» 1-02 54 „ 1-865 86 »f I-04I 55 1 1 56 „ 1-898 87 >» 1*063 1-931 88 »> 1-086 57 f 1 1-965 89 rio8 58 „ 90 J» 1-132 59 Example: Given a lens of 13 ins. focus, required the angle of view included on a 10 by 8. — 10-M3 = 77, corresponding to 42-5 degs. Angular Aperture is the relation borne by the working diameter of a lens to its focal length. The wider the angular aperture the less the depth of focus and covering power of the lens. This is well seen in a portrait lens. I 2 DICTIONARY OF PHOTOGRAPHY. Aperture of a Lens, Working. By this term is meant such a part of the surface of the lens which is actually utilised in impressing the image on the plate. Many amateurs suppose that the working aperture of the lens is the diameter of the diaphragm, others that the whole surface of the lens is always utilised ; but this is not so. The following method will prove the working aperture of any doublet lens, which varies with each separate diaphragm : — Rack the camera out to the true equivalent focus of the lens ; replace the focussing screen by a sheet of cardboard, in the exact centre of which is a minute hole (a pinhole will do) ; behind this, exactly level, place a strong light, such as a paraffin lamp, and it will be found on looking at the lens that when a diaphragm is inserted in the slot a central portion only of the lens is illuminated. This can be easily seen by breathing upon the lens surface. It should be accurately measured, and this area will be the true working aperture of the lens with the diaphragm used. This area of illumination will be found to differ in geometrical proportion with each separate diaphragm. Aplanatic. A term applied to a lens to denote that spherical and chromatic aberration have been totally eliminated so far as is practicable ; it is impossible to do it theoretically. Rays of light diverging from a point parallel to the axis of an aplanatic lens passing through it, though suffering refraction, are brought to a definite focus at a point which is the true focus of a lens. Practically it means that a lens will give reasonably sharp defini- tion with its full aperture. Apparatus. The materials used in producing photographs, such as lens, camera, stand, slides, etc., which will be severally described under their various headings. Aristotype. A particular kind of gelatino-chloride printing-out paper, which has been reintroduced by Dr. Liesegang. Artificial Light. Under this heading it is proposed to describe the various methods of producing negatives by artificial light. The usual lights used are those of electric light ; gas ; lime-light ; magnesium, in the form of ribbon, as a flashing powder, and as a compound powder ; and paraffin or other mineral oil. Electric Light, This has been frequently used for the last DICTIONARY OF PHOTOGRAPHY, 13 thirty years, and is fairly common amongst professionals. The usual method is to have large electric lights placed in the focus of parabolic reflectors (g.v.), shaded by screens of opal glass or linen, or ground glass to diffuse the light. The lights are situated as a rule about 45 degs. above the sitter, one on each side, one being near, the other smaller and farther off, with screens of varying thicknesses, to light up the shadow side of the face, and prevent too great a contrast. As electric lights suffi- ciently powerful to be of any service must be driven by dynamos, the motive power of which must be derived from gas or steam engines, the cost would deter any ordinary amateur from using it. Gas may be used by any photographer, provided he has sufficient burners, without any extraordinary outlay. Any room in which a chandelier of three or more lights is fixed can be utilised. The arrangement may be somewhat similar to that described above, and if necessary an oil lamp may be used for lighting up the shadow side. The best plates to use for taking photographs by artificial light are the Isochromatic (q.v?). The exposure on ordinary plates being about six or eight times that required for diffused daylight, with the isochromatic the exposure will be about doubled. B . / \ Magnesium Ribbon Two strands of ribbon about 8 ins. long should be burnt on one side, and a reflector of white paper, or cloth, placed on the other. From the rough diagram given above a better idea of the relative positions of the requirements can be formed, mm, 14 DICTIONARY OF PHOTOGRAPHY. the magnesium ribbon attached to a strand of wire stretched across the focus of a large tin parabolic reflector ; s, the sitter ; c, the camera; D, the screen, a clothes-horse with a sheet thrown over it. The exposure continues as long as the ribbon burns, both pieces being simultaneously ignited. B, the background. Magnesium as a Flashing Light. This is used in three or four different ways : — (1) By the following powder: — Magnesium powder , 3 ozs. Chlorate of potash ... ... ... ... 6 „ Sulphide of antimony ... ... ... 1 oz About 100 grs. of the powder being ignited upon an iron o porcelain dish. (2) By a mixture of Magnesium powder 4 ozs. Gunpowder ... ... ... ... 1 oz. About 30 grs. is sufficient. (3) By a mixture of Magnesium powder 15 grs. Gun-cotton or pyroxyl me ... ... ... 7 „ This is sufficient for one exposure. (4) By blowing some magnesium powder through a small gas or spirit flame. Lime Light. For production of this, see Oxyhydrogen Light. This may be used as a very good substitute for daylight, the exposure being about doubled. Lamp Light. The more powerful and the more lamps used the better. The exposure is much lengthened, being sometimes increased as much as five times the usual, but it varies, of course, with intensity of light used. For lamp light isochromatic plates may be considered a sine qua no?i. Artotype. See Collotype. Astigmatism, or Astigmation. A defect in lenses, due partly to their spherical form, from which vertical and horizontal lines near the margin of the lens cannot both be accurately focussed at the same time. It is especially a defect in portrait lenses. It is also a defect of the human eye, but few people being free from it. DICTIONARY OF PHOTOGRAPHY. T 5 Astro-Photography, or Astronomical Photography. For convenience of description, this fascinating branch of photography will be divided into three portions — viz., solar, lunar, and stellar photography. Solar Photography. The image projected by the telescope within the reach of the ordinary amateur is so small as to be practically of no value at all. It is, therefore, unnecessary to enter into the minutiae of working. A siderostat is used, and the camera is usually a tube 40 ft. in length ; the image of the sun is projected from the mirror of the siderostat through the camera to sensitive plate. For further instructions see Abney's " Text-Book of Science " (Macmillan). Lunar Photography. It is not necessary to have telescopes of large size for this work, 2 or 3^ ins. being quite large enough. It is necessary to remove the eye-piece, and attach a very light camera in its place, the operation of focussing and exposing being the same as usual manner, using very rapid plates, and giving exposures of about | or 1 sec. ; longer than this will cause blurring of the image, due to the combined movements of the earth and moon. Stellar Photography. This is entirely beyond the reach of amateurs, the necessary instruments being extremely costly. At a Convention of astronomers lately held in Paris it was decided to make photographic charts of the whole heavens — a gigantic scheme which will require about ten years to complete, entailing the manufacture of special instruments, and the most careful and painstaking work on the part of the operators. With exposures of some hours, stars and nebulae impress their image upon the plate, which the human eye, though aided by the most powerful telescopes, is utterly unable to trace. Autotype Process. See Carbon Process. Background. Anything used, as the name implies, as sub- ordinate to or behind the principal figure or figures or objects in a photograph. There are many kinds — natural, artificial, interiors, exteriors, or plain. Natural backgrounds when properly used are the most pleasing, and as these cannot be made to order, the intelli- gent amateur will choose his own. The artificial background is too well known from the work of the professional to need much description. A pleasing plain background can be made with a i6 DICTIONARY OF PHOTOGRAPHY. workhouse or dark brown blanket, or with one of the ordinary kind. An ordinary white sheet, or even brown paper of the kind used for placing under carpets, may be pressed into service in place of better material. The following directions for making a movable background may be of service to some: — Make a frame of inch deal 6 ft. high and 4 ft. 6 ins. wide. It can be made to take to pieces by using iron pins at the corners. At the top have two projecting iron rods, about 4 ft. long, at an angle of 135 degs. This to be made extendable at will. Side-shades should be made in the same manner. Unbleached calico can be used, which should be freely painted over with the following distemper : — Common whiting 1 lb. Glue powder i „ Treacle | pint Water J gall. Mix the above thoroughly, and add. Ivory black 1 oz. Ultramarine ± Red ochre i ground down into a very fine cream with water. It can be darkened or lightened according to amount of colour added ; the colour is lighter when dry. Backing Plates consists of coating the backs of plates with some black or dark-coloured substance to prevent Halation {q.v?) when photographing interiors and other subjects having very great contrasts of light and shade. The essentials of a perfect backing are that it should reflect no rays of light — or, at least, only those that are non-actinic — and that it should be in absolute optical contact with the back of plate. Several methods have been recommended, coating the back of the plate with collo- dion stained with aurin or any non-actinic dye being a method which is easier advised than done in the dim light of the dark-room. The following, if spread upon brown paper and damped before applying to the plate, answers well : — Powdered burnt sienna ... ... ... I oz. Gum ... I „ Glycerine \ „ Water 10 ozs. DICTIONARY OF PHOTOGRAPH V. 17 Or— Gelatine 50 grs. Glycerine \ oz. Water 1 „ Indian ink or ivory black 30 grs. The best backing, however, that the author has used is made by smearing a drop or two of glycerine over a special black enamel paper (sometimes called bronzed purple), which can be had from most stationers, and squeegeeing on to the back of plate. Whatever backing is used, it must be removed before developing. Balance. A term used in composition to denote the proper relation of lines and lights and shadows, so as to secure harmo- nious and symmetrical pictures. The subject is much too com- prehensive to treat of here, H. P. Robinson's " Pictorial Effect in Photography" being the best guide on the subject. Bath. Any vessel used to contain a liquid whilst operating, but it is now used to include the solution used in a bath. Beach's Developer. Named after its inventor, Mr. F. C. Beach, of New York. It is unnecessarily complicated in formula, but has been widely used. It is made as follows : — Pyro Solution. Hot distilled water Sulphite of soda When cold add Sulphurous acid Pyrogallol Potash Solution. Carbonate of potash 3 ozs. Sulphite of soda 2 „ Water 7 „ Dissolve the salts separately and mix. For a plate having the normal exposure, mix the pyro and potash solutions in equal proportions, using 1 dram of each to every 1 oz. of water; for under-exposure, use more of the potash solution, and vice versa, Beechey's Emulsion Process. See Collodion. 2 2 ozs. 2 „ 2 OZS. i oz. DICTIONARY OF PHOTOGRAPHY. Bellows. Too well known to need much description. There are two shapes, the square and conical or Kinnear pattern ; the latter is the lighter, but the former the more generally useful. The best material for making bellows is leather, and the length of pull or measurement when stretched out to their fullest extent should be at least three times the longest side of the plate for which the camera is intended. This enables long-focus lenses to be used, and the camera will be found more useful for enlarg- ing, copying, etc. The inside of the bellows must be blackened, and no ray of light should be able to penetrate through the body. When in constant use the interior should be carefully dusted out at short intervals, to prevent the accumulation of dust in any quantity, as the action of pulling or racking out would disturb the dust, tending to produce pinholes by settling on the sensi- tive film, making the lens slow by stopping the transmission of light, and causing fog by the particles reflecting light. Biconvex. See Lens. Binocular Camera. Another name for Stereoscopic Camera Binocular Vision. Solid objects, when viewed by both eyes, project different perspective figures upon each eye, and by this means we are enabled to judge of the distance of an object, and also to perceive its solidity. This principle is taken advantage of in the Stereoscope (g.v.). Black Varnish. See Varnish. Blacking. The interior of all cameras, dark slides, and lens tubes should be coated with a dead black to prevent the reflec- tion of light and consequent fog on the plate. A good black can be made by grinding lamp or ivory black into a paste with japanners' gold size. Another method is by coating the wood, etc., with a solution of sulphate of iron, and, when dry, applying a solution of tannin or decoction of logwood, two or three suc- cessive applications being sometimes necessary. For blackening lens mounts, two or three different methods are employed. Where the mount will not be touched by the fingers, drop-black ground up with weak glue and water may serve, but a better method and more lasting one can be made by mixing fine lampblack with lacquer, and applying it in two or three successive coats to the heated mount ; but where the mount will be fingered, it is DICTIONARY OF PHOTOGRAPHY. 19 obvious that some other method must be employed. We have the choice of two, one of which results in a bronze colour, the other is an absolute dead black. For the former colour, solution of perchloride of platinum acidulated with nitric acid is used. This method is especially useful where any soldered joints exist; where solder is not used, an absolute dead black can be obtained by dipping the article, heated fairly hot, into a solution of nitrate of copper, made by dissolving copper wire in dilute nitric acid ; it is then heated over a Bunsen burner or spirit lamp, the green colour of the copper first showing, and at the proper temperature a fine dead black appears. Blanchard's Brush consists of a piece of swan's-down calico, doubled and fastened by means of an india-rubber band round a strip of glass 2 ins. wide and 6 ins. long. It was used for coating plates, etc., with substratum for the collodion process. Blisters. One of the worst troubles of an amateur, whether on plates or paper. On the former, it is usually the precursor of a general Frilling (g.v.). Blisters invariably make their appearance on prints, either in the fixing bath or the .first washing after. It is more generally a fault with papers that are heavily charged with albumen and salt, and in this case it is most likely due to exosmose action between the water and the fixing solution, the albumen acting as a septum. The remedy is to plunge the prints immediately after fixing into a saturated solu- tion of salt, and use all solutions at the same temperature. Blisters are frequently caused also by an accumulation of gas behind the film of albumen, and in this case it would seem to be the action of hypo upon a partially decomposed albumen. A cure for this is to dip the print on the first sign of blistering into a bath of methylated spirit. In the case of some kinds of gelatino-bromide papers, which seem particularly liable to blisters, a bath of chrome alum 2 grs., water 1 oz., methylated spirit 1 oz., will be found efficacious. When a sample of paper, despite all efforts to the contrary, still persists in blistering, it should be discarded for some other brand. Blue-Printing Process. See Cyanotype. Blue Tones in Prints. A sure sign of over-toning, due to too great a deposit of gold (see Toning), or to sulphuration, due to an acid toning bath. 20 DICTIONARY OF PHOTOGRAPHY. Blurring. Any image possessing an indistinct or double outline is said to be blurred, and may be caused either by movement of the object or the camera. When photographing in a high wind, a loop of stout twine, tied to the bottom of the tripod, and hanging down to within 6 ins. of the ground, in which the foot can be placed, will be found to steady it. (See also Halation.) Books on Photography. Whilst a complete catalogue of all the books on this subject would be impossible, the following may be considered as standard text-books of the science and art :— Abney's "Instruction in Photography," 7th edition, 1887. (Piper and Carter, 3s. 6d.) Abney's "Photography with Emulsions," 3rd edition, 1887. (Piper and Carter, 3s. 6d.) Abney's "Treatise on Photography," 5th edition, 1888. (Longmans and Green, 3s. 6d.) Burton's "Modern Photography," 6th edition, 1886. (Piper and Carter, is.) Burton's " Photo-Printing and Photo-Mechanical Process," 1888. (Marion and Co., 4s.) H. P. Robinson's " Pictorial Effect in Photography " and "Picture-Making." (Piper and Carter, 2s. 6d. each.) Spiller's "Elementary Treatise on Photographic Chemistry." (Piper and Carter, is.) Hardwich's " Photographic Chemistry," 9th edition, edited by Traill Taylor. (J. and A. Churchill, 6s.) Sawyer's "ABC Guide to Autotype Process." (Autotype Company, 2s. 6d.) Monckhoven's " Photographic Optics." (Hardwicke, 6s.) For serial literature : — The Amateur Photographer, weekly, 2d. The British Journal of Photography, weekly, 3d. The Camera, monthly, 6d. The Photographic News, weekly, 3d. The " Photographic News Almanac," annual, is. The " British Journal of Photography Almanac," annual, is. Brilliancy. A term applied to negatives to denote that the lights and shadows are harmonious, each having their due pro- DICTIONARY OF PHOTOGRAPHY. 21 portion of deposit, and there being no fog ; the resulting prints are in an equal way perfect in their power of rendering light and shade, distance and effect. This can only be obtained by careful attention to exposure and all the subsequent manipula- tions. Broken Negatives. When such an unfortunate accident as the breakage of a negative occurs, and the film is uninjured, it may be removed as described under Stripping Film (q.v.) ; but should the film be broken, lay the negative, film downward, upon a perfectly level surface, carefully place the fractured pieces together, and apply strips of gummed paper along the edges of the negative. When thoroughly dry, turn the negative over, and apply some strips of paper along the edge on the film side ; allow it to thoroughly dry, and varnish the film. To print from broken negatives, suspend the frames from an ordinary roasting-jack, or place the frame at the bottom of a box without a lid about 18 ins. deep. Bromides. See Restrainer. Bromide Paper. Paper coated with an emulsion of bromide of silver in gelatine — a formula for making which will be found under the head of Emulsion. There are several kinds in the market, which are offered in three grades : smooth surface and thin paper, smooth and thick paper, rough surface and thick paper. The latter is most suitable for enlarging for portraits, giving the appearance of a crayon drawing; the thin is useful for mounting and small prints ; whilst the thick is useful for book illustrations, a blank or safe edge being used. The method of development is the same for all kinds. A long exposure and weak developer, strong in bromides, tend to greenish-black tones, whereas a short exposure and strong developer produce abso- lutely black tones. Good plucky negatives, full of vigour and brilliancy, are more suitable than weak ones. The following may be considered as the standard of development : — I. Neutral oxalate of potash 2,880 grs. Distilled water 25 ozs 22 DICTIONARY OF PHOTOGRAPHY. Ferrous sulphate Sulphuric acid Distilled water II III Bromide of ammonium Distilled water ... i, 080 grs. 3 drops 74 ozs. 480 grs. 30 ozs. Add 1 oz. of No. II. to 6 ozs. of No. I. and 1 drm. of No. III. After exposure soak the paper in water till limp, then drain off the water, apply the developer, and continue the development until the shadows are black enough, then immerse without washing in the following clearing solution : — Acetic acid I drm. Alum ... ... 8 ozs. Distilled water ... ... 32 „ Allow it to remain in this for two or three minutes, then immerse in a fresh quantity, and after soaking for another short time, use a fresh quantity of clearing solution, wash well, and immerse in the fixing solution : — Hyposulphite of soda I oz. Water ... 6 ozs. Fix for at least five minutes, wash thoroughly for some hours. Should any discoloration appear, immerse in the following for a few minutes : — Sulphuric acid 1 oz. Chrome alum 2 ozs. Water 20 „ and again wash for half an hour. The print must not be washed after developing and before being cleared. Absolute cleanliness and freedom from pyro, hypo, or silver is a sine qua non. The prints should not be touched by the fingers. Yellowness of the whites is due to insufficient acid in the clearing bath, or insuffi- cient washing between the clearing bath and fixing solution. If exposure and development are correct, the print will be rich, DICTIONARY OF PHOTOGRAPHY. 23 vigorous, and full of half-tone. If over-exposed, a flat grey image of sunken-in appearance, or else a completely black print, will be the result. If under-exposed, the high-lights will be chalky and without detail, and the shadows inky. Over-printed bro- mide proofs, however, can be reduced by immersion in chlorine water, or a solution of cupric chloride. Platinum may be substituted for the silver image by the following process : — The resulting prints are sepia-coloured, and are composed of a mixture of platinum and silver; the latter may be entirely removed by cupric chloride. The prints must be very much over-printed. Soak the prints in the following bath until the desired tone is obtained : — Platinum perchloride 15 grs. Distilled water 70 ozs. Hydrochloric acid 1 oz. To prove the substitution of platinum for silver, soak the prints in cupric chloride solution ; a sepia-coloured image of platinum is left, and the silver may be redeposited by re- developing with ferrous oxalate, the print after redevelopment having a fine bluish-black colour. Bronzing. A peculiar metallic lustre seen on looking at the shadows of some prints at a certain angle. It only makes its appearance on paper sensitised on a very strong bath, and with negatives showing very bold contrast. It usually disappears in the fixing bath. Buckle Brush. A convenient little instrument, made by drawing a piece of silver wire bent in half through a piece of small glass tubing, a tuft of cotton-wool being caught in the arch of the wire, the great advantage of this little dodge being that, when dirty, the cotton-wool can easily be replaced. Burnishing is the operation of drawing prints over the surface of a heated roller, the print being brushed over with a lubricator made by dissolving five grains of Castile soap in an ounce of methylated spirit. This should be rubbed over the face of the print with a piece of flannel, and allowed to dry before burnishing. The hot bar of burnisher should be just hot enough to be comfortably held in the hand. No stoppage must occur in the movement of the print whilst on the burnisher, or a line 2 4 DICTIONARY OF PHOTOGRAPHY. will be caused across the finished print. Should the bar of the burnisher become scratched at any time, it should be repolished with the finest emery ground into a paste with oil. Cabinet. A special size of the commercial photograph, which measures about 6 by 4 ins. Calcium, Chloride of. CaCl 2 =111. Made by dissolving chalk in hydrochloric acid, and evaporating the solution. The salt is met with in two forms, as a crystalline substance and also in the form of white agglutinated masses, Calorific Rays of the Spectrum. Those rays of the spectrum which produce or emit heat. They are found at the red end of the spectrum, the most powerful being situated beyond the visual rays. Professor Tyndall proves this in the following manner : — The rays of the spectrum are conducted through a solution of iodine, which absorbs all visual rays, but allows the heat rays to pass ; these can be brought to a focus by certain means, and in this focus magnesium ribbon will catch fire, and platinum be brought to a white heat. Taking 100 as the maxi- mum intensity of the heat rays, the following table will give the values of the colours of the spectrum as heat-producers : — Violet ... o Green 2 Yellow 14 Red 21 End of visual spectrum ... ... ... 45 Ultra red, or invisible rays 10c Bodies which have the power of transmitting heat rays are said to be diathetmanoMS^ those which do not possess this power athermanous. Glass being comparatively poor in diathermanous power, photographic lenses, unless pointed at the sun, allow but few heat rays to pass to the sensitive film. Calotype, Or Talbotype. A process named after its inventor, Fox Talbot, but little used now, but interesting from its being the first paper negative process used. The following is a short resume of the process : — Stout paper, of an even surface and as grainless as possible, is brushed over with a solution of iodide of silver in iodide of potassium. It is, when partially dry, washed DICTIONARY OF PHOTOGRAPHY. 25 twice or three times in distilled water to remove the iodide of potassium, and dried, and it can be kept for some little time in this state, as it is but faintly sensitive to light. When required for exposure it is brushed over with a solution of gallo-nitrate of silver or aceto-gallo-nitrate, and exposed wet ; the exposure required for an open view is about six minutes. In all cases a faint image of sky-line should be apparent. The image is de- veloped with a solution of gallo-nitrate of silver in excess of gallic acid. The negative is then well washed, fixed in hypo, and washed and dried in the usual way, then waxed or oiled to render it translucent. Cameo. Photographs to which, by means of dies and press, a slight convexity is given of differing shapes. Camera. Too well known to need much description, but the following may be considered as some of the essentials of a perfect instrument : — It should be light in weight, yet of sub- stantial workmanship ; easily and quickly set up, and containing no loose parts ; it should possess a reversing back, and also a Swing Back (q.v.), some such arrangement as a movable front by means of which two or more lenses can be used without unscrewing their flanges ; it should be absolutely light-tight, and should have a rising and falling front. Camera Lucida. An old-fashioned apparatus for projecting the images of objects upon the walls, or a screen, whether in daylight or at night ; so named in opposition to the Camera Obscura (g.v.). Camera Obscura is actually a dark chamber into which the image of external objects may be projected by means of a con- vex lens, and a mirror placed behind it at an angle of 45 degs. Portable camera obscuras were made, by means of which the images of external objects were projected upon a sheet of white paper, and the outlines traced by means of a pencil. From this was conceived the idea of the present camera, with certain modifications to allow the action of light to portray more faith- fully and easily what the hand had done. Camera Stand. See Tripod. Canvas, Printing on. See Printing. Cap. The cover used at the time of exposure to open and 26 DICTIONARY OF PHOTOGRAPHY. close the lens. It is also a protection against accidental injury. The author has a cap made for both ends of the lens for greater protection of the glasses. To prevent accidental losing or mis- laying of the cap, it should be attached to the lens mount by a piece of string. Carbon or Autotype Process. One of the most per- manent of all photographic printing processes. Is based upon the fact that a mixture of gelatine with any alkaline bichromate is rendered insoluble in water by the action of light. By incorporating certain colouring matters consisting of carbon with various other pigments, an image in these colours can be obtained by exposure under a negative. The chemical action which takes place is as follows : — The chromic acid of the bichromate is reduced to a lower chromic oxide by the action of organic matter, gelatine, and light, and this combines with the gelatine to form a kind of leather. The process of preparing the tissue is tiresome and dirty on a small scale ; the prepared and sensitised paper can be bought at about the same rate as ordinary sensitised paper. When sensitised, the paper will keep only fourteen days, but as the process of sensitising is com- paratively easy, it is better to buy the unsensitised tissue, and sensitise in small quantities as wanted. The colours are warm black, engraving black, standard brown, standard purple, portrait brown, portrait purple, sepia, red chalk, and special transparency tissue for lantern slides. The paper, or tissue, as it is called, is sensitised in the following bath : — Bichromate of potash I oz. Liq. ammon fort. -88o ... 5 drops. Distilled water 20 ozs. The tissue is immersed in this for two minutes in hot weather and three minutes in cold. It mast be dried, and kept protected from light, air, and damp. From the colour of the tissue it is evident but little, if any, image can be seen ; therefore the duration of exposure is judged by means of an actinometer of ordinary chloride albumenised paper, and according to the density of the negative the tissue is exposed whilst the actinometer registers one, two, or three tints. The action of light continues in the dark. Allowance must, therefore, be made for this fact if the DICTIONARY OF PHOTOGRAPHY. 2 7 tissue is not to be developed at once. As the exposure to light renders the gelatine insoluble (and as the action of development is to remove the unacted-upon gelatine), it is obvious that it will be useless to try and develop the picture upon the face, as the gelatine is insoluble there. It must, therefore, be transferred to some support, so as to enable the gelatine to be dissolved away from the back, for which purpose the paper must be removed, and as this transfer would reverse the print — t.e. t make the right hand of the picture the left — when a negative taken in the ordinary way is used, a temporary support is used, from which the developed print is again transferred to its correct position. This temporary support may be either a mulled zinc plate, glass, or a specially prepared paper, according to the surface desired. From the temporary support again the print may be transferred to any substance — viz., paper, opal glass, porcelain, metals, ivory, terra- cotta, stone, wood, etc. The special transfer paper or temporary support is a tough, smooth paper coated with shellac and rolled, and then when required for use it is waxed to prevent the gelatine film from adhering permanently to it, the following solution being used for that purpose : — Yellow resin... ... ... ... ... 36 grs. Yellow wax ... 12 „ Turpentine 2 ozs. Melt the wax, add the resin and turpentine. The writer has found the substitution of ether for turpentine a decided advantage, as the temporary support can be used immediately, as when turpentine is used at least six hours must elapse after the waxing solution has been applied to the paper, which is done with a tuft of cotton-wool, or flannel, and a fresh tuft of wool being used to polish. The printed tissue and the waxed temporary support, of whatever nature it may be, are immersed in cold water, till the tissue begins to uncurl and flcat flat ; it is brought into contact, film side downwards, with the temporary support, and both raised together from the water, and then the squeegee is used to bring them into optical contact. They are then placed between blotting boards for five or ten minutes, and then immersed in a bath of water at a temperature of 105 degs. or 1 10 degs. F., and when the pigmented gelatine begins to ooze out at the edges of the paper, strip off the paper upon which the gelatine was spread, 28 DICTIONARY OF PHOTOGRAPHY. and keep washing the print with the hot water by throwing the hot water on to it with the hand, or by means of a cup or soft broad brush, or a small sponge. As this is done it will be found that the gelatine, unacted upon by light, will be dissolved away with the colouring pigment, leaving the print in all its beauty. As soon as development is complete it is plunged into a bath of cold water to set the gelatine, and then it is placed in a bath of the following : — Powdered alum ... ... ... ... I oz. Water ... ... ... 20 ozs. This not only fixes the print by hardening the gelatine, but it also discharges the yellow colour of the bichromate salt. It is allowed to remain in this bath for about ten minutes or till the colour is entirely discharged from the whites of the picture, and finally rinsed twice or three times in clear water. The print is now ready for transferring to its final support, of whatever nature that may be ; but before this transfer can take place it is necessary that the final support should be prepared to receive it, for which purpose it is coated with the following : — Nelson's gelatine ... ... 1 oz. Water ... ... 20 ozs. Soak the gelatine in the water for an hour or till soft, and then dissolve by the aid of a gentle heat. When dissolved, add to it gradually 12 grs. of chrome alum dissolved in 1 oz. of water. The commercial final support, which is a stout paper, is already prepared, and merely requires soaking in alum solu- tion, ^ oz. to the pint, an hour before using. The print on its temporary support and the final support, whether freshly prepared or not, are brought into close contact under the surface of water, and optical contact obtained by means of a squeegee, and are then placed in blotting boards, or hung up till perfectly dry, when the temporary support can be stripped off, leaving the print in its proper position. It is advisable for any amateur who may wish to work in carbon to obtain Sawyer s "ABC Guide to Autotype Printing," in which everything will be found most explicitly explained. The disadvantage of this process is the necessity for the use of reversed or film negatives or the employment cf a temporary support. The advantages are the absolute per- DICTIONARY ON PHOTOGRAPHY. 20 manency of the pictures, the easy manipulations of the process, and the fact that prints of almost any colour may be transferred to any material, and the resulting pictures can be retouched, spotted, or otherwise worked up with the brush in the same colour. The process is very easy and simple, and the materials so cheap, that every amateur should number this amongst his photographic processes. Carte de Visite. Usually the smallest size of the pro- fessional photograph, measuring about 4 by 2^ ins. Ceramic Photographs. See Enamels. Changing Box. A contrivance by means of which exposed plates may be changed in the field for unexposed ones without the use of a dark-room. There are also changing bags, which are, as the name implies, for the same purpose. These are usually made of some non-actinic medium or fabric, with yellow or ruby glass let in to enable the operator to see inside the bag. Chiar0SCU.ro. An artistic term to designate the distribution of the lighter or darker shades in a picture. In photography the terms light and shade are more general. Chloride of Lime. See Lime. Circle of Least Confusion. An optical term to denote the nearest approach to an absolute focus of an oblique pencil of light after refraction. Clearing Bath. Any solution used to clear or cleanse a negative or positive from the stains of development is thus termed. The following are those in most common use : — Alum 2 ozs. Citric acid ... ... ... 1 oz. Water , 20 ozs. Or Chrome alum 1 oz. Citric acid ... 1 ,, Water , 20 ozs. The latter is the author's favourite, the chrome alum having a special tanning action on the film much superior to ordinary alum. The addition of a little ferrous sulphate has been recommended, but without any increased benefit. When plates are developed 3° DICTIONARY ON PHOTOGRAPHY. by pyrogallol and soda, a very non-aetinic yellow colour is given to the film, which protracts the operation of printing most in- ordinately. By use of the chrome alum bath this colour is changed to fine olive green, which does not protract printing. In the case of ferrous-oxalate development the same bath is useful for clearing off the deposit of oxalate of lime due to the use of hard water, whether on negatives, positives, opals, or paper. Cliche. A term applied to the negative and moulds used in photo-mechanical printing. Collodion. The vehicle used in wet-plate processes lor holding the haloid salts necessary for the information of the sensitive salts of silver. It is prepared by dissolving Pyroxyline (g.v.) in a mixture of equal parts of alcohol and ether. It is a transparent glutinous liquid, which, when poured upon any sur- face, leaves, by the evaporation of the solvents, an attenuated film of pyroxyline absolutely transparent and structureless, well adapted for the purpose for which it is required. The usual strength is as follows : — Pyroxyline Urf<^^ Alcohol, '820 sp.gr. J oz. Ether, 725 sp. gr £ „ Methylated alcohol and methylated ether may be and are chiefly used on account of their cheapness. The following collodion the author has found answer well both for negative and positive work : — Ammonium iodide ... ... ... ... 40 grs. Cadmium bromide n| „ Pyroxyline (1^<^^. Q^Jt^yt^ ... 50 „ Methylated alcohol, -820 5 ozs. ether, 725 5 „ The pyroxyline should be dissolved in the ether and half the alcohol, and the haloid salts in the remaining half of the alcohol The former is labelled "Plain Collodion," the latter "The Sensitiser." One part of sensitiser is added to three parts of plain collodion. This collodion may be used after the sensitiser DICTIONARY ON PHOTOGRAPHY. 31 has been mixed twenty-four hours. The following is especially useful for ferrotypes and positives : — Ammonium iodide ... 30 grs. Sodium „ 10 „ Cadmium „ , „ bromide , Pyroxyline ... 5° » Methylated alcohol, -820 5 ozs. „ ether, "725 5 tt The following is a useful and satisfactory collodion for Enamel- ling Prints (• ... 625 t! i 4 ... "OQ7 ^yi 11 7*c6 1 8 8 T 'C * 1 40 12 ... Q y I 7 C . . *IQI IS ... I056 2 ... 1 4 14 ... I2'25 *Sl6 15 ... 14 '06 2-5 "}QO ... J7 W l6 ... 16 2-828 I ... 2 17 ... 18*06 •472 18 ... 20*25 •C;62 IQ ... 22*56 •660 20 ... 76; ... / J 21 ... 27*r;6 375 •878 22 ... So-2-; ■j j 4 1 *o 22-62 . . ... j 1*12 23 ... SV06 4S 1-26 24 ... ?6 4*7 n 1*4.1 2; ... c J 1 ^VJ 26 ... s'2 ^ I'72 ... L / - 27 ... 4^*s6 I-£9 28 ... j j 2 2Q ... y " ' • l ^2 , ';6 j i j 2*o6 30 ... • • ... J \J ^ -J 6 22; 31 ... 6o*o6 6-25 2*44 32 ... 64 6-; 2*64 68 -06 2*84 S4 ... ... 72*2E» 7 ... / • • • • • 3*o6 H ... ... 76-r;6 7'2; V28 81 *o 7*S 1 J/ ... . 8;*r;6 775 1 1 j 375 38 ... 90*25 8 . ... 4. ... . Q^*o6 8-2; 4*2; 40 . . . IOO 8 5 4*51 41 ... I05*06 875 ... 478 42 ... IIO25 9 5-06 43 ... II5*56 9-25 ... 5'34 44 ... 121 O 9'5 ... 5-64 45 ... 126*56 975 ... 5 94 45-25 128 DICTIONARY OF PHOTOGRAPHY. 49 U. S. No. F. U. S. No. 46 ... 13225 66 ... 272-25 47 ... 13806 67 ... ... 280-06 48 ... 144 68 ... 289 49 ... I50-OD 69 ... 297-56 5° ... I56-25 70 ... ... 306-25 5i ... I62-56 71 ... 3i5'°6 52 ... I69 72 ... 324 53 ... I75'56 73 ••• 333-00 54 ... I82-25 74 ... 342-25 55 ... I89-06 75 •.. 35156 56 ... I96 76 ... 361 57 ... 203-06 77 ... 370-56 58 ... ... 2IO-25 78 ... 380-25 59 ... ... 2I7-56 79 390-06 60 ... 225 80 ... 400 01 ... ... 232 56 81 ... 410*06 62 ... 240-25 82 ... 420-25 63 ... 248-00 83 ... 430*56 64 ... 256 84 ... 44o 65 ... 264-06 Lately a new kind of diaphragm, termed the Iris diaphragm, ru s been introduced, which consists of thin flat tongues of metal fastened to a ring in the lens mount, by means of which the aperture of the diaphragm may be enlarged or diminished by turning the ring backwards or forwards, causing the tongues to contract or enlarge the opening, the use of which obviates all chance of losing or misplacing the diaphragms, but increases the chance of flare, as the friction of the metal tongues wears off the blackening, and causes the edges to become bright. The dia- phragms of the ordinary or Waterhouse pattern can be pinned together by a brass rivet just by the tongue, on which the numbers are stamped, thus lessening the chance of losing them. Diffraction or Inflection. An optical term used to denote the bending of the rays of light when such rays pass by the edges of an opaque body. The effect of diffraction on the waves of light is exactly the same as that peculiar property of running water of curving round behind an obstacle. Diffused Light. Generally, in opposition to direct light. It 4 DICTIONARY OF PHOTOGRAPHY, is the only light which should be used for Portraiture (f £'.). Diffused light in the camera is generally taken to mean any actinic light other than that passing direct on to the plate from the lens. It is a certain producer of fog. Dish. One of the most necessary articles of an amateur's outfit. It is made of various materials ; glass, earthenware, vulcanite, metal, and wood are the most usual. It is only neces- sary to say it should be kept scrupulously clean, being occa- sionally scrubbed with a stiff brush and some strong acid. One dish should be kept specially for each operation, and used for that only. Dispersion. An optical term used to denote the separation of a ray of heterogeneous light by refraction into its component rays of different refrangibility. Different transparent media have different dispersive powers, or different powers of widening the angle between the red and violet rays, and it is owing to this difference in dispersive power of different kinds of glass that chromatic aberration is eliminated. Dissolving Views. See Magic-lantern. Distance. The objects in a landscape farthest from the eye, forming a background to the scene; and, in an artistic sense, the representation of objects rendering an idea of remoteness, obtained by the due observance of the rules of perspective, etc. (See Aerial Perspective.) Distilled Water. H 2 0= 18. Absolutely pure water obtained by vaporisation in a still or retort and subsequent condensation of the vapour. It should be used in all operations of photo- graphy, especially in the manufacture of emulsions and ferrous oxalate development. Distortion. When the image formed by the lens upon the focussing screen does not coincide with the rules of perspective, it is said to be distorted. Distortion may be said to be of two kinds — one in which certain objects are exaggerated in dimen- sions, with respect to others, contrary to the rules of true per- spective. An example of this is seen when using wide-angle lenses, near .objects being greatly increased in size, to the dis- advantage of distant objects. The other kind of distortion is seen in most single lenses, due to the refraction of the oblique DICTIONARY OF PHOTOGRAPHY. excentrical pencils of light by the margins of the lens. When the diaphragm is placed in front of the lens, the distortion near the margins of the picture takes the form of a barrel — t.e, t straight lines are curved outwards. When the diaphragm is placed behind the lens, the distortion is the opposite or pincushion shape — i.e., the lines are curved inwards. It is obvious that by using two symmetrical lenses, and placing the diaphragm be- tween, the distortion of the one is cured by the distortion of the other, and hence rectilinear or straight lines are the result. It is frequently considered that the distortion caused by single lenses is very apparent ; but such is not the case unless the focus of the lens is very long. Practically, for ordinary single lenses for the smaller size pictures distortion may be disregarded. It would be only fair, however, to state that Mr. J. H. Dallmeyer has lately introduced non-distorting or rectilinear single lenses of long focus — a great advance in photographic optics. (See Lens.) Divergent Rays in optics are those which continually recede farther and farther from one another, being the opposite to con- vergent. All concave lenses are divergent. (See Lens.) Dodging Negatives. Under this heading it is proposed to give a few hints for the improvement of the printing from nega- tives. For a hard chalky negative with great contrasts, printing in the sun is a great improvement. For a weak or flat negative wanting in due contrast, printing in the shade, or even under tissue paper, or coating the back of the negative with yellow varnish, or using matt varnish on the film side, and touching up the high lights with a stump crayon or yellow dye, may be o. service. If from some cause one end of the negative is thinner in density than the other, placing the printing frame in a deep lidless box with the denser end placed uppermost against the side will equalise the light. (For instructions for printing-in clouds, combination printing, etc., see Printing.) Doublet Lens. See Lens. Drachm. See Weights and Measures. Drop Shutter. See Shutter. Drying Box. A light-tight box used for drying plates, etc., coated with a sensitive film. There are many different kinds, but the following will answer well : — Make a box of half-inch 52 DICTIONARY OF PHOTOGRAPHY. deal, 2 ft. long by I ft. wide and I ft. deep, with a door opening at one side, with a deep fillet to prevent the ingress of light ; at the bottom pierce about twelve holes, and have a second bottom made, but with openings at the side. In the centre of the top have a two-inch gas or zinc pipe fixed with an elbow joint, and in the bend of the joint insert a small gas burner, so as to cause a draught of air when lit. Anhydrous chloride of calcium may also be placed upon the bottom of the box. The interior may be fitted with stout wire, or glass shelves, about three inches apart. Dry Plates. Glass of particular size coated with a film of gelatine in which a sensitive salt of silver is emulsified. These are to be bought, commercially, so perfect in preparation that but few amateurs will be tempted to coat their own, but the formulae given under Emulsion will be found all that can be desired. Of the commercial brands, the amateur should eschew those cheap productions which are obviously coated with a minimum quantity of emulsion, but poor in silver — the gain in the resultant pictures on the thickly coated plates amply repay- ing an extra outlay of capital. Dusting in Process. See Powder Process. Eau de Javelle is used for eliminating the last traces of hypo from the film, and also for reducing over-dense negatives, its action being due to the free chlorine evolved. It can be made as follows : — Chloride of lime 2 ozs. Carbonate of potash ... 4 „ Water 40 „ Mix the lime with 30 ozs. of water, dissolve the potash in the remainder, boil and filter. Ebonite. A modification of india-rubber made by heating it with sulphur under pressure. It is used for making dishes, instantaneous shutters, etc., and, though brittle and affected by heat, answers well, from its great lightness and hardness. Edging. See Frilling. Elemi. A concrete resinous exudation from Canarium com- mtme, a native of Malay. It is sometimes used in the prepara- tion of Varnish (g.v.'). DICTIONARY OF PHOTOGRAPHY. 53 Eliminator, Hypo-. Any salt or solution of salt used to get rid of the last traces of hypo from the films or prints. Many so-called eliminators have been recommended, as peroxide of hydrogen, eau de javelle, alum, acetate of lead, hypochlorite of zinc ; but opinions seem to be about equally divided as to the benefit of their action. But Hypochlorite of Zinc or Soda (q.v.) act quite satisfactorily, provided the film or print is fixed again in ammonia and salt, the chemical action being the conversion of the hyposulphite into sulphate of silver, free chlorine being evolved, and that attacks the sulphate, forming chloride of silver. Emulsion. Photographically, a mechanical mixture of any sensitive salt of silver in extremely minute division, held in suspension in any viscous vehicle, such as gelatine or collodion, which, when spread upon any transparent medium, shall present a perfectly homogeneous appearance when viewed by transmitted light. It would be unnecessary and impossible to write a thoroughly comprehensive account of the emulsion processes ; for such a work the amateur must consult Abney's "Photography with Emulsions ; " but a few w r ell-proved formulae will be given. The material upon which the emulsion may be spread may be either glass, paper, or any special substance desired. The emulsion may be either for the production of negatives, transpa- rencies, or positives, lantern slides, for development or printing out. Bromo-Iodide Emulsion for Negatives. An emulsion for negatives may consist of pure bromide or a bromo-iodide, the latter being decidedly preferable, as giving more latitude of exposure, and less chance of fog from defective manipulation. Weigh out separately — 1. Potassium iodide 10 grs. 2. Potassium bromide 135 „ 3. Nelson's No. 1 photo-gelatine 30 „ 4. Silver nitrate 1S0 „ 5. Nelsons gelatine 160 „ 6. Heinrich's gelatine 80 ,, Dissolve No. 1 in 1 drm. of distilled water, and No. 2 in 12 drms. ; to No. 2 solution add 1 drop of pure hydrochloric acid, and sufficient iodine to give it a deep sherry colour. Soafc 54 DICTIONARY OF PHOTOGRAPHY. No. 3 in I oz. of distilled water for ten minutes, and dissolve by the heat of a water bath. Dissolve No. 4 in \ oz. of distilled water, and heat to about 120 degs. F. The following operations must be conducted in the dark-room : — Add No. 2 to No. 3, and shake for twenty minutes ; add half No. 4 solution, and shake for ten minutes ; add No. 1 solution, shake for five minutes ; add half the remainder of No. 4, shake for five minutes ; then add the remainder of No. 4, shake for five minutes. Now place the ! ottle containing the emulsion in a saucepan half filled with water, and place at bottom of saucepan underneath the bottle ihree or four folds of paper to ensure even boiling. Bring the water to the boiling-point, having first covered over the emulsion so as to prevent any stray light from reaching it ; stir at intervals of five minutes, and take out a drop of emulsion on stirring-rod, and place the drop of emulsion on a plate ; examine by trans- mitted light from a gas flame. When the emulsion shows a blue colour, turn out the gas ; or if an extra rapid emulsion is required, boil for a longer period. Now soak Nos. 5 and 6 in 2 ozs. of distilled water for about half an hour, and dissolve by a gentle heat ; the temperature must not be raised above 100 degs. F. When both solutions have cooled to about 70 degs. F., mix and shake thoroughly for ten minutes, allow it to stand for a few minutes, and pour out into a flat dish to set. When thoroughly set, break it up into small pieces with a silver or china spoon, put all into a piece of coarse canvas, previously well washed, and squeeze into a basin of distilled water ; stir it up for about ten minutes, collect on a filter of washed chamois leather, and drain slightly ; repeat the washing twice ; now collect the emulsion, and allow it to drain thoroughly. Another convenient method of washing is as follows : — Squeeze the emulsion through canvas into a deep beaker or jar, and pour upon it about a pint of pure methylated spirit ; stir frequently for ten minutes, and drain. Whichever method of washing is used, the following operations are identical : — Remelt the emulsion at 120 degs. F., add half a grain of chrome alum dissolved in 1 drm. of distilled water, and add also 6 drms. of absolute alcohol ; filter the emulsion through a piece of chamois leather, previously well washed with caustic potash and water, and, lastly, in distilled water till free from alkali about 10 ozs. of good emulsion should be the result. For a plain bromide DICTIONARY OF PHOTOGRAPHY. 55 emulsion the above formula may be used, omitting the iodide, and an equivalent of nitrate of silver. Another method of making emulsions, which has found much favour on account of its simplicity and good results, is by the ammonia process, which is h given : — Use the same ingredients as before, and dissolve in the same way; but the silver solution must be cold, and the gelatine nearly so. To the silver solution add just enough liq. amm. - 88o to redissolve the precipitate of oxide first formed, and add the bromide and gelatine solutions previously mixed to the solution ol ammonio-nitrate of silver, shaking thoroughly ; now add Nos. 5 and 6, dissolved as before, but cooled down. Shake the whole for fifteen minutes, pour out into a dish to set, and keep it for twenty-four hours, covered over and protected from dust and light ; then wash by either method described above, remelt, and filter the emulsion. This is an extremely economical method, as the emulsion prepared in this way will coat far more plates than when prepared by the boiling process. Gelatino-Chloro-Bromide Emulsion for Transparencies, Solution No. 1. Nitrate of silver 154 grs. Citric acid ... ... 154 „ Distilled water ... 28 drms. Solution No. 2. Chloride of sodium (pure common salt) ... 54 grs. Potassium bromide ... ... ... ... 39 ,, Gelatine ... ... ... ... ... 62 ,, Distilled water ... 28 drms. Mix both solutions together, with constant shaking, at 140 degs. F., and then add Nelson's gelatine 124 grs. Heinrich's gelatine ... ... ... ... 248 „ previously swollen and dissolved by heat in Distilled water 11 drms. The operations of washing, etc., are the same as given above. This formula, with a slight alteration — viz., the substitution of 16 drms. of glycerine for the 1 1 drms. of water in the latter part 56 DICTIONARY OF PHOTOGRAPHY. of the process— will give an emulsion which will serve admirably for a rapid contact paper for development. G elatino-Chloride Emulsion for Lantern Plates. No. i. Sodium chloride ... ... ... ... 80 grs. Nelson's No. 1 gelatine ... ... ... 30 „ Hydrochloric acid (pure) ... ... ... 5 mins. Distilled water ... ... 12 drms. Soak the gelatine in the water, and dissolve by a gentle heat, then add the other ingredients. No. 2. Silver nitrate 200 grs. Distilled water ... ... 4 drms. No. 3. Nelson's No. 1 gelatine ... ... ... 30 grs. Distilled water ... ... ... ... 8 drms. Soak for half an hour, and dissolve by heat. No. 4. Heinrich's gelatine ... ... 80 grp. Nelson's „ ... ... 40 „ Distilled water 16 drms. Soak for half an hour, and dissolve by heat. Mix Nos. 2 and 3 at 100 degs. F., and add gradually, as described under Bromo- Iodide Emulsion No. 1 ; when nearly cold, add No. 4 ; shake thoroughly for ten minutes. This is rather a slow emulsion, but greater rapidity can be obtained by boiling the emulsion for half an hour before adding No. 4. The above is a good form foi lantern plates or transparencies, but much superior slides can be obtained by the following processes : — Collodio-Bro7nide Emulsion. No. 1. Methylated spirit (-820) 24 drms. Methylated ether ... ... 20 „ Pyroxyline or celloidin ... ... ... 60 grs. DICTIONARY OF PHOTOGRAPHY. 57 No. 2. Ammonium bromide ... ... ... ... 65 grs. Citric acid ... ... ... ... ... 5 M Distilled water ... ... ... ... 90 m ins. Dissolve and add Methylated spirit 8 drrns. No. 3. Silver nitrate 100 grs. Citric acid ... ... ... 5 ,, Distilled water ... ... ... ... 2 drms. Mix in the dark-room, Nos. I and 2, and add No. 3 with constant agitation ; keep for twenty-four hours, pour out in a flat dish to allow the solvents to evaporate, break up when set with a silver spoon, wash by stirring in three or four different lots of distilled water, collect and drain, and stir in about 3 ozs. of methylated spirit ; drain, and repeat this operation twice to remove all the water, drain thoroughly, and dissolve the emulsion in Methylated spirit 4 fluid ozs. Methylated ether ... ... ... ... 4 ,, „ Shake thoroughly till dissolved, and filter. Beecheys Unwashed Emulsion Process. This answers admir- ably for preparing lantern plates. No. I Cadmium bromide 20 grs. Methylated alcohol ... ... ... ... 4 drms. Dissolve and add Hydrochloric acid (pure) 4 mins. Add Methylated ether (725) ... ... ... 9 drms. Pyroxyline ... ... ... ... ... 12 grs. No. 2. Dissolve by the aid of a gentle heat Silver nitrate ... ... ... ... ... 40 grs. In methylated alcohol ( 820) 8 drms. DICTIONARY OF PHOTOGRAPHY. Add No. 2 gradually to No. i, shaking between each addition. Keep for twenty-four hours to ripen, when the emulsion will be found thick and creamy. The plates, which must receive a substratum, or Edging (g.v.) f can be coated in the usual way, the emulsion being shaken once or twice half an hour prior to using. When set, immerse the plates in a dish of distilled water till water flows easily over it ; then drain slightly, and immerse in a bath of Pyrogallol i gr. Beer „. ... i oz. and dry in the usual way. Pyrogallol should be used for developing them. For a rapid printing-out paper similar to aristotype the following formula answers well : — Silver nitrate ... ... ... 12 grs. Distilled water ... ... ... ... 13 drms. Gelatine ... ... 460 grs. Soak the gelatine in water, and dissolve by the aid of heat, and add the silver nitrate. Dissolve Lithium chloride ... ... ... ... 2 grs. Tartaric acid 2 „ In distilled water ... ... 2 drms. and add gradually to the silver solution with constant agitation. In all the formulae given above it will be noticed that the silver nitrate is recommended to be dissolved in water or spirit ; but, as pointed out by Mr. W. K. Burton, exceedingly fine emulsions may be obtained by powdering the silver salt and adding it to the bromised gelatine or collodion in the solid state, with constant agitation. This seems to be a great advantage, espe- cially in the case of collodion emulsion, as silver nitrate is so sparingly soluble in alcohol. Enamelling Prints. This consists of coating the finished print with a film of collodion to give it a brilliant surface, which gives greater protection and more softness and depth. The following is the method of procedure : — Clean a glass plate — an old negative glass or a cutting shape will do — with French chalk, and polish thoroughly; now coat the plate with enamel collodion (see Collodion), and, having made a solution of gelatine 10 grs. to the ounce of distilled water, slip the DICTIONARY OF PHOTOGRAPHY. 59 collodionised plate and the print carefully into the solution of gelatine, avoiding air bubbles ; bring the print face downwards into contact with the coated plate, remove from the solution, and squeegee into optical contact, and allow to dry. When thoroughly dry, raise one corner with a knife, and the print will strip from the glass, bearing the collodion film with it. Enamels are photographic images burnt into porcelain, and coated with a glaze, rendering them absolutely permanent. The complete directions for the preparation of these charming pictures are too copious to give here, but the following resume of the process, abstracted from the article on the same by Mr. N. K. Cherrill in the " Photographic Year-Book" of 1886, will give a general idea of the subject, which is above the scope of most amateurs. A glass plate is coated with three coats of positive collodion; it is then sensitised in\ a 30-grain bath of nitrate of silver, and exposed on the negative to be reproduced in the copying camera. The positive is then developed with a developer of pyrogallol and acetic acid. The development is pushed till the deepest shadows begin to be blocked up with deposit. After washing, the picture is fixed with cyanide of potassium, and thoroughly washed. When the washing is completed, a corner of the film is broken off, and a stream of water directed to that point, which gradually detaches the collodion film from the glass, and the film is now floated on to a clean glass plate, and all unnecessary parts of the film removed. The film is again washed and floated into clean water, and then removed to a toning bath composed of chloride of iridium and gold ; the film is thoroughly toned till it appears of one uniform tint. It is then washed, given a bath of ammonia, and floated on to the porcelain tablet, spread carefully on the same by means of a soft camel's-hair brush, and allowed" to dry. It is then introduced into a muffle furnace and heated to a white heat, which destroys the collodion, leaving the silver image intact. Ceramic colours are now applied, and the enamel reburnt. When examined at this stage, it will be found that there is but a dull, lifeless-looking result, and to improve and make the same pleasing and permanent, a glaze, sold specially for the purpose, is dissolved in alcohol, and mixed with some plain collodion, and applied to the enamel, which is again fired. 6o DICTIONARY OF PHOTOGRAPHY. For the best results, this operation must be repeated five or six times, when the process is complete. From the above the reader will deduce the fact that the image consists of pure metallic silver, gold, and iridium in an extremely fine state of division on the surface of an imperishable and generally an im- permeable substance, protected by an equally impermeable and permanent glaze. Encaustic Paste. A paste used to give a brilliant surface to the finished print without the use of hot rollers or of collodion. There are several formulae ; but the following, proposed by Salomons, is decidedly the best : — Pure white wax 500 grs. Gum elemi ... 10 „ Benzole 4 drms. Essence of lavender 6 „ Oil of spike I drm. Melt the wax and elemi, add the benzole and other ingredients, and allow to cool, stirring frequently. Smear a little of the paste over the face of the print with a tuft of cotton^weraVand polish with a clean piece till the surface is free from markings. It increases the depth of shadow and general beauty to a large extent. A more simple paste can be made as follows : — Dr. Eder's Cerate Paste. Pure white wax 100 grs. Dammar varnish 40 mins Pure oil of turpentine 100 „ prepared and used as above described. Enlarging is the operation of obtaining a larger image of a negative or positive upon some sensitive surface. There are several methods of doing this either by the use of daylight or artificial light, which will be severally described. But it is first necessary to make a few remarks upon the negative used for this purpose. Absolute sharpness of focus is a sine qua non; for supposing a quarter-plate negative taken in the ordinary way is to be enlarged, it may be considered that the discs of confusion appear as points of less than T J 7 of an inch in diameter, a point inappreciable to the human eye ; but if these said discs of con- DICTIONARY OF PHOTOGRAPHY. 6l fusion are enlarged, they will become of appreciable size — viz., enlarge a quarter-plate to 12 by 10, or nine times, and these discs of confusion will be enlarged in the same ratio ; therefore they will be about ^ of an inch in diameter, and will be easily seen. Again, the negative should be plucky and with good but not too great contrasts, and of accurate density. Daylight Enlarging. There are what are termed solar cameras, by means of which sunlight is concentrated by condensers ; but as these entail considerable outlay, the following plans, equally as effective, may be used by any amateur : — Block out the whole of a window with the exception of a small space, sufficiently large to take the negative to be enlarged ; put the negative into the rabbet slide of the focussing screen, or into the dark slide, both shutters of which must be withdrawn, and insert the dark slide into its proper place; fix the camera close up to the hole left uncovered in the window, so as to exclude all light but that which comes through the negative, the lens being turned into the room ; should any stray particles of actinic light find their way in at this place, wrap the focussing cloth round the back of the camera. Outside the window must be placed a white card or mirror, at an angle of 45 degs., so as to reflect the light through the negative ; at the proper distance is placed the easel or board to receive the enlarging paper or plate. The following sketch (fig. 1) will show the disposition of things in general \— w Fig. 1. — zvWf window; H uncovered space for negative; r, the card or mirror as a reflector ; c, the camera > b, table or board up on which camera rests; e, easel or board supporting the sensitive paper. 62 DICTIONARY OF PHOTOGRAPHY. Another method is to reverse the camera, pointing the lens towards the negative, the ground-glass being of course removed ; in this case the lens and negative must be enfolded by the focussing cloth to shut out all intervening actinic light. This method is useful when the focussing screw is at the back, as by this means it can be easily got at. The following are a few general rules for enlarging: — When looking through the un- Fig. 2. — C, camera or specially made bellows; d, door; l, lamp; acta a, air holes; n, negative in position. covered space H fig. I, from the position of the lens the edges of the reflector must not be seen. Any lens will do for enlarging by ; the best for the purpose is the one with which the negative was taken. A stop is not necessary unless to improve marginal definition, and the largest possible stop should be used. The farther from the lens the sensitive surface is, the larger the image, and vice versa. Be careful to place the negative film side inwards, so as to present the picture in the correct position on the paper. Fine focussing should be done by the camera screw if possible. The distance (approximate) between the lens and the sensitive surface can be found by adding I to the number of times the negative is to be enlarged, and multiplying by the focal length of lens. Example : Find the distance between lens and DICTIONARY OP PHOTOGRAPHY. 63 easel, when a quarter-plate negative is to be enlarged to 12 by 10 with a 4J in. focus lens. 12 x 10 -f. (4± x 3£) = 120 -T- V- x V s = 9 (practically). The distance will be then (9 4- 1) x 4i = 10 x 4i = 45 ins. To find the distance between the lens and negative : Divide the number of times of enlargement plus 1 by the number of times of enlargement, and multiply by focus of lens. Example : To find distance between lens and negative for above case — (9 + 0 -5- 9 x 4i = 5 ^s. The appended table (page 64) is given, however, to show at a glance the distances required ; reference will be made to it again under the article Reduction (q.v.). To use this table it is only necessary to know the focus of the lens, and the number of times it is required to enlarge, then B = the distance of the sensitive paper from the centre of the lens, and A = the distance between the negative and lens. To find the required distances when it is desired to enlarge a negative five times, with a lens of 8 J ins. focus, carry the eye down the column under 5, till it meets with those figures opposite to 8^, when the numbers 51 and io\ will be found. 51 is the required distance between the lens and paper ; \o\ the distance between lens and negative. Artificial Light Enlarging. The possessor of a magic-lantern can proceed in the very simple manner of inserting the negative in the slit provided for the insertion of the slides, upside down and film side towards lens, and after obtaining the relative dis- tances by means of above table, or by shifting the lantern back- wards and forwards, till the desired size is obtained, and sharp focussing can be done by aid of the screw in the usual way ; but the usual size lantern has condensers of but 3 or 34 ins. diameter ; it is obvious that a portion of a negative only can be enlarged unless it is reduced to the regulation lantern slide size. The following size condensers are necessary for the usual negatives : — For quarter-plate, 5 ins. ; half-plate, 8 ins. ; whole-plate, 10 ins. If it is desired to know what size condenser is required for any intermediate size plate, it is only necessary to measure the diagonal of the p'ate from corner to corner, when that will give the diameter of condensers required ; but as these condensers are 64 DICTIONARY OF PHOTOGRAPHY. TABLE OF ENLARGEMENT OR REDUCTION. Focus c ■2 V of Lens in 1. 2. 3. 4. 5. 6. 7. 8. M s Inches. W Inches. Inches. Inches. Inches. Inches. Inches. Inches. Inches. 2 A 4 6 8 IO 12 14 16 18 B B 4 3 2 a 2 2 2f A o2 2 T A A 5 7* IO 121 15 17* 20 22^ B B 5 3f 3i n 1 0¥ 3 2H 2? 0 1 3 2 iG" A 3 A 6 9 12 15 18 21 24 27 B B 6 4i 4 3f 3t 3k 3f 31 A 31 A 7 IOi 14 4l 174 21 24* 28 3^ B 2 B 7 5i 4f 4* 4iV 4 5 A 4 A 8 12 16 20 24 28 32 36 B B 8 6 54 5 41 ■4t 4* 41 A 4! A 9 13! 18 22^ 27 3U 36 5* 405 B B 9 6f 6 51 5* 54 5t<3 A 5 A IO 15 20 25 30 35 40 45 B B IO 7* 6f 6J 6 5f 38^ *A 5? 5s- A A ii - i6i 22 274 33 44 49k B B ii 7* 6| 6| 6^ 6A A 6 A 12 18 24 30 36 7* 42 48 54 B B 12 9 8 71 7 6f 6J A Qi A 13 26 32i 39 45^ 52 58* B B 13 9t 8| 8i 7* 7A 7? 7A A 7 A 14 21 28 35 42 49 56 63 B B 14 IOj 9* 8| 8| 8J 8 71 A 7 2 A 15 22i 30 37 2 45 524 60 67^ B B 15 "1 10 91 9 8| 8A A 8 A 16 24 32 , L 40 48 9f 56 64 72 B B 16 12 IOf IO 9i 9f 9 A H \ A 17 2 5i 3 \ 42! 5i 59i 68 76| 9A B B 17 I2f II* IOf ioJ 9A 9f A 9 A 18 27 36 45 54 63 72 81 B B 18 131 12 nj io* ioi IOf io§- A ■•I A 19 28^ 38 471 57 66± 76 85i B B 19 Hi I2| "i iif HA IOf A 10 A 20 30 40 5o 60 70 80 90 B B 20 15 "3* 12* 12 III S 1 * Hi A A A 21 42 5 2 i 6 3 73k Q A 84 942 B B 21 «5* 3oi I2f 66 I2| 12 1 1 1(1 A A 22 33 44 55 77 88 99 B B 22 i6i Hi 30! 13* I2f I2f I2f A HI A 23 34* 46 15* 571- 69 8o* 92 103^ B B 23 17* 36 1 31 13 A 13* A » 1 A 24 48 60 72 84 96 I3f I08 B B 24 18 16 15 Hi 14 131 A DICTIONARY OF PHOTOGRAPHY. 65 usually rather costly, the following ingenious arrangement, which dispenses with them altogether, may be utilised ; it is suggested by Major Barrington Baker, in the British Journal of Photo- graphy for 1888. Fig. 2, on page 62, is a rough reproduc- tion of Major Baker's diagram, and the following precis is given of his directions. The case is made of half-inch deal, with a hole, N, b\ by for negative, or made the size desired. L, a Beige lamp of 42-candle power, is placed in the case through the door D, half a dozen holes (a a) being bored in the bottom of box for ventilation. An opal globe is used to diffuse the light ; the negative is placed film side outwards in a rebate at N, and held in its place by two small turn-buckles ; the camera may be used, or a specially made pair of bellows. The exposure is, of course, prolonged with rapid papers, being from ten to fifteen minutes. The author would suggest as an improvement upon this that the case be lined throughout with tin, and a sheet of ground glass or opal be placed before the negative, and that a parabolic reflector be used. Some of the modern cameras will be found utterly useless for enlarging, the pull of the bellows, or the greatest distance they will stretch, being very short ; then the following arrange- ment, now always used by the author, will take their place : — Obtain some black twill, one yard in width and length, and cut it into four pieces in the following manner (it is better to cut a paper pattern first, in case of error) : — Fold the cloth in half, and again in half, so as to give four pieces 9 ins. wide and 36 ins. long ; now cut two slanting strips from each, commencing at 2 ins. wide, and narrowing down to the other end ; this will give four pieces of cloth 36 ins. long — 9 ins. wide at one end, and narrowing to 5 ins. at the other. Have these sewn together by the edges, so as to form a conical sleeve, which will take the place of bellows 36 ins. long. At the wide end nail a frame of wood large enough to take the negative, and at the narrow end a piece of wood to take the lens, or the camera front may be utilised for this purpose. It will not be necessary to pleat it like bellows, but it can be finely pleated at intervals, and safety pins used to hold the pleats together when required to shorten the distance, so the pleats can easily be let out when required, or pieces of elastic can be run along the edges to serve the same purpose. It is absolutely necessary that all actinic light be excluded, and attention should be paid to this when using the 5 66 DICTIONARY OF PHOTOGRAPHY. ordinary magic-lanterns, as they are never made sufficiently light- tight. In this case they should be enclosed in an outer box of deal. For placing the sensitive film into position after the final focussing, which obviously must be done on a sheet of plain paper, a sheet of orange or ruby medium may be hung over lens, or a temporary cap of cardboard made with a piece of ruby glass let in it. With regard to exposure but little can be given as a guide, the duration of the same varying so much with the intensity of the light, density of negative, etc. ; but remember the exposure varies as the square of the distance between the lens and the film, so that it is longer the greater the enlargement we wish to make. It is always better to give a test exposure on a small piece of bromide paper first. The process of development is precisely the same as when Bromide Paper (g.v.) is used for contact printing. Where many enlargements of one negative are required, it is better to make an enlarged negative, which can be done either by making a transparency by contact printing, and enlarging from that, so as to obtain an enlarged negative, or by enlarging the negative and making a second negative from the enlarged transparency by contact (the former is preferable). The operations are precisely the same as for enlarging on paper, substituting a sensitive plate for it. To Vignette Enlargements. A vignetting shape must be cut, preferably from black cardboard, much smaller than that usually used for quarter-plates (this applies whether the negative to be enlarged is quarter-, half-, or whole-plate), and move this shape backwards and forwards between the lens and sensitive surface ; the nearer the lens the larger the vignette, and vice versa. Equivalent Focus. See Focus. Ether. C 4 H 10 O = 74. Synonym: Sulphuric Ether. A volatile, inflammable, colourless liquid, prepared from alcohol by distil- lation with sulphuric acid, and subsequent purification. It has a peculiar, strong, sweet odour, and a hot burning taste, evapor- ating quickly on exposure to the air, and when applied to the skin leaving a feeling of considerable coldness. It boils below 105 degs. F., and gives off at ordinary temperatures a heavy inflammable vapour. Water takes up about one-tenth of its volume of ether, and vice versa; should it absorb more, it proves the presence of too much alcohol. It unites in all DICTIONARY OF PHOTOGRAPHY. 67 proportions with alcohol. Specific gravity should be about 735. It is a solvent of all fixed and essential oils, iodine, bromine, and sparingly of sulphur and phosphorus. It dissolves most resins and balsams, also india-rubber and caoutchouc. It con- tains about 8 per cent, of alcohol. Pure or Absolute Ether is prepared from above by shaking it with half its weight of distilled water, which dissolves the 8 per cent, of alcohol, and decanting the supernatant ether and dis tilling it with chloride of calcium, which extracts the small amount of water absorbed by the ether. Specific gravity, 720. Methylated Ether is prepared precisely as above, but from methylated spirit. It is, if pure and free from methyl, quite as satisfactory for the preparation of collodion as that from rectified spirit. To test whether a sample be suitable for preparing collodion, put one drop of tincture of iodine into an ounce of methylated ether, and expose to daylight. If the colour is discharged after a few hours, the sample should be rejected Ether, whether prepared from rectified or methylated spirit, is liable to become ozonised, or acid, by exposure to light, in which condition it is unfit for the preparation of collodion. This state can be tested for by agitating it with an alcoholic solution ol iodide of potassium. When acid, the iodine is liberated, and the solution is coloured the characteristic yellow colour of free iodine. Exposure. Placing any sensitive surface under the action of light, either in the camera or in a printing frame. Of the latter but little need be said, as the result is, in the case of sensitised paper, visible ; and in the case of bromide and other papers and opals for development instructions will be found under those headings. Of the former but little can be said here ; whole volumes might be written without affording much material aid. Many tables have been published which have been useful to many in the past, but as they all require considerable arith- metrical calculation their practical utility has been limited ; but all amateurs should welcome with gratitude The Practical Index of Photographic Exposure," by A. R. Wormald, which, to quote from his preface (that in itself is worth reading for numerous valuable hints, the outcome of the experience of a practical worker), will " supply a want that it is believed has hitherto .emained unsatisfied, one that every beginner in photography must experience — namely, the want of a ready means of knowing 68 DICTIONARY OF PHOTOGRAPHY. (without calculations, or with as little as possible) the duration of exposure likely to produce a good negative with a given stop and plate. The practical index table will be found to indicate in a clear and simple manner, and at a glance, the duration of exposure for every month of the year, every hour of the day, and every stop generally in use." I have used hitherto certain exposure tables, and also certain actinometers, and have tested Wormald's tables against their results, and find the latter per- fectly accurate. Fabric, Golden. A translucent cloth dyed golden or yellow, used for the dark-room window. It should always be tested to see whether actinic light filters through, as described under Dark-Room (g.v.). A convenient and ingenious way, suggested to me by an amateur of some standing, for utilising this fabric is as follows : — Make a frame of wood sufficiently large to cover the window, and on to this frame paste or nail a sheet of fabric, smear the inside of sheet all over with vaseline, and squeegee another sheet of fabric to it. The vaseline fills up the minute pores, and causes the two sheets to adhere, making an absolutely safe medium with a maximum of light. Fading. The worst of all ills to which negatives and prints are subject. Negatives fading. This is solely due to insufficient washing or fixing, and the consequent action of hypo on the delicate image of silver. Fading of Prints. The cause of this may in every case be traced in some way or other to sulphur, or its compounds. Albumen itself contains a minute trace of sulphur, and conse- quent decomposition may give rise to the formation of some compound of sulphur and silver. Again, insufficient fixing may form the insoluble variety of hyposulphite of silver, and in- sufficient elimination of the fixing salt itself may supply* the unlooked-for result. Hypo is used as an anti-chlor in the manufacture of some mounts, and this should be tested for as described under the head of Sodium Hyposulphite (g.v.). An acid or decomposing mountant, or absorption by an hygroscopic mountant of the aqueous vapour from the atmosphere holding in solution certain acids, may also cause it. To prevent any such action, great care should be taken to completely eliminate the DICTIONARY OF PHOTOGRAPHY. 6 9 fixing salts, and the use of encaustic paste is likewise a protection from the aqueous vapour. Fahrenheit. See Thermometer. Falling Front. See Rising Front. Ferrotypes. Positives on thin iron plates taken by the wet process, but little used now; for full instructions see Hardvvich's " Photographic Chemistry," or Jabez Hughes' " Manual of the Wet Process." Field of a Lens is the illuminated space given on a screen by any lens with full aperture. Film. The thin pellicle or skin of gelatine on plates or paper. To Remove Old Films. Nothing is better than glacial acetic acid made into a cream with pumice-stone powder and applied with a tuft of rag, the acid instantly dissolving the film, and the pumice powder acting as a mechanical means of removing it. To Clean the Film from the Back of Plates. Few plate manu- facturers coat their plates so carefully but what some small smears of emulsion get on the back of plate. To remove this, when the plate is thoroughly dry, place it face downwards upon a pad of blotting paper, and use a little salt with a moistened rag. Film Photography. A term applied to photography in which flexible films instead of glass plates are used. These are now so well known that but a short description will be given here. The whole process consists of spreading the sensitive emulsion upon any substance such as paper, or an insoluble film of gela- tine: the latter being decidedly preferable, as in the case of paper it must either be removed, or else rendered translucent before coating, by treating it with certain gums and resins in solution, or after development and fixing by oiling or waxing it ; or the film bearing the image must be stripped from its temporary support, and affixed to a glass plate or skin of gelatine to allow of printing. The advantage of films over glass is their extreme lightness and portability, with no chance of breakage, freedom from halation, together with the power of being able to print from either side — an advantage of great importance to the carbon or photo-mechanical printer. (See also Paper Negatives and Stripping Films.) Fixing. The removal of any sensitive salt unacted upon by 70 DICTIONARY OF PHOTOGRAPHY. light or by the developer, thus rendering the negative or print unalterable by the further action of light. The usual method of effecting this in the case of the silver salts is by the solvent action of Hyposulphite or Thiosulphate of Sodium (g.v.) ; cyanide of potassium, sulphocyanide of potassium or ammonium, and sulphite of sodium have also been recommended. Neither sulphocyanide of potassium or ammonium nor sulphite of soda are likely to come into general use, as their fixing powers are not so good as those of hypo, and their price is greater. Cyanide of potassium is more powerful than hypo, but its action on the image is so great as to completely destroy the half-tones occa- sionally ; its use should never be countenanced for dry plates or prints. Hypo, then, is our sole resource ; and, whilst it is much abused, there is no doubt of its being at present the best salt for the purpose. The difficulty of completely eliminating, how- ever, is its great drawback, and this will be treated of under Washing Negatives and Prints (g.v.). The author, in conjunction with an amateur photographer, has been for some time engaged in experiments as to a new fixing salt, and although these are not yet complete, fair hope is given that at no distant date a new fixing agent will take the place of hypo equally as efficacious and yet much more amenable to reason, and at almost as cheap a rate. For fixing negatives the author recommends the use of two fixing baths, the strength being about 4 ozs. to the pint of water in each, the negative being allowed to remain for ten minutes in the first, and for about five minutes in the second ; by this a more thorough fixing of the negative is effected. For fixing prints the strength generally recommended is about half that for negatives — that is, about 2 ozs. to the pint — and sufficient liquor ammonia or carbonate of ammonia should be added to make the solution smell faintly of ammonia. This neutralises any free acid which may be present in the solution, and prevents any loss of tone in fixing. The author always uses, however, the same strength as for negatives, with the addition of ammonia, and uses the bath at a temperature of 70 degs. F., and from some lengthened experience the results prove the increased advantage of doing this, as fixing is completed in half the time, and there is less chance of loss of tone. Flare. A fogged central patch on a developed plate, or seen as a circular patch of light on the focussing screen. It is said to be DICTIONARY OF PHOTOGRAPHY. an image of the aperture of the diaphragm, or in some cases of the lens itself. The surface of the lens reflects the opening of the diaphragm, and forms a distinct image of it, and when this coincides with the focus of the lens this image is seen as a flare spot. Again, others, and amongst them Monckhoven, in his "Photographic Optics," states that it is due to too close an adherence to the globular form by the optician who constructed the lens. Others, again, state that it is due to the edges of the diaphragm aperture being worn bright, and this no doubt is a general cause for its sudden appearance in a lens. The Iris diaphragm, but lately introduced for photographic objectives, seems to be particularly liable to this, from the friction of the tongues of metal of which it is formed ; others state that when the lenses are mounted in cells which are not blackened, a flare is almost certain to make its appearance. All lenses should be examined for this most annoying defect, which can rarely be wholly eradicated. It is very often a defect in portrait lenses when such are used for outdoor work where any portion of bright sky is included in the background, and in this instance it is clearly an image of the lens by reflection from the surfaces. The remedies are not by any means satisfactory, as whatever is done at its best the flare spot is but distributed over the whole plate instead of being localised. When the diaphragm edges are worn bright they should be blackened, and the cells in which the lenses are mounted should also be attended to. It can be eliminated partially, as stated above, by altering the position of the diaphragm slightly ; but as this is used to reduce distortion to a minimum, the remedy may be worse than the disease by introducing this defect. Slightly altering the relative positions of the two lenses will also efface it, but, as said before, only by distributing it. Flatness. A want of vigour and contrast in the negative and resulting prints, due to under- or over-exposure, or to the use of too strong or too weak a developer. Fluorine. F = i9i. A non-metallic element never met with in a free state, and usually obtained from fluor-spar, a fluorine of calcium, CaF 2 . It is of little practical photographic use ; but its compound, hydrofluoric acid, has been recommended lately for detaching the negative film from glass plates, for preparing a 7* DICTIONARY OF PHOTOGRAPHY. film negative. (See Stripping Film.) Fluorine has only this year been obtained in a free state. Fluor hydric, or Hydrofluoric Acid. HF 192. Is obtained by heating fluor-spar with sulphuric acid in a leaden or platinum retort, connected with a receiver of the same metal. It is a colourless gas, very soluble in water, and condensing at 20 degs. C. into a mobile fuming liquid, which boils at 59 degs. F. It has the peculiar property of dissolving glass and other silicates, and for this reason leaden or platinum vessels are used to prepare it, and the aqueous solution is stored in india-rubber bottles. Extreme care is necessary in handling it, as even when dilute it causes very painful ulcers when applied to the skin, and dissolves the nails. FOCUS. The focus of a lens is that point at which parallel rays of light from any object converge and form a distinct image of that object. Actinic Focus. As has been stated under chromatic aberration, the actinic focus is not actually coincident with the visual focus, unless the lens be rendered achromatic. To test whether this be the case, the following ingenious little instrument should be used: — In a piece of wood about six inches long make six little slits about half an inch apart, sufficiently deep to retain cards upright when placed in them, and number these cards from I to 6, and place them in the slits, arranging them in the shape of a fan, slightly behind one another. Now focus sharply as possible on No. 3, expose a plate upon it, and on developing see whether No. 3 is the sharpest ; if not, it will be evident that the actinic focus is not coincident with the visual. Or place opposite the lens, but not quite upright, leaning a little away from it, a long strip of newspaper or cardboard, having several lines of large letters printed upon it. Now focus for one particular line of lettering, and proceed as before. All modern lenses are corrected for this, therefore the above remarks will only apply when it is found that sharp negatives are not obtained when using an old lens. Depth of Focus is the power of defining upon a plane surface, with sufficient definition to satisfy the requirements of artistic ideas, the images of objects situated at varying distances. The use of diaphragms increases it; the smaller the aperture the greater the depth of focus. DICTIONARY OF PHOTOGRAPHY. 73 Equivalent Focus. A term applied to a compound or doublet lens, and it is the focus of parallel rays entering the lens, and is thus called from the fact of an image formed at that point equalling in size that formed by a single lens. The true point to measure this focus from is actually situated between the diaphragm slot and the back combination ; but it is always measured from the slot itself, and is found sufficiently accurate for all practical purposes by focussing any object over 1 50 yards distant, and measuring the distance between diaphragm slot and focussing screen. The following, however, are methods of obtaining the true equivalent focus of any lens, the first being recommended by Grubb, the optician : — On the ground-glass of the camera draw two pencil lines about an inch from the margin at each side. Now set up the camera preferably upon some flat surface, such as a table, upon which is spread a sheet of white paper, before a window, and focus for some distant scene about 150 or 200 yards off, in which there is some distinct feature, such as a church spire or tall chimney. Make the image of this fall upon one of the pencil marks on the focussing screen, and with a pencil draw a line upon the paper along the side of the camera ; now bring the image of the chimney or spire upon the other line, when draw another line upon the paper also along the side of the camera; remove the camera, and with a flat rule continue these lines till they cut one another, so as to form an angle, across which draw a line so as to form a triangle, which line must be exactly the same length as the distance between the two pencil marks on focussing screen. Find the centre of this base accurately, and connect the junction or apex of the angular lines with the centre of the base. This line will then be the true equivalent focus of lens : — E V The lines Aa', Bd' t are those traced on the paper by the sides of the camera extended till they meet at c. de is the base, being 74 DICTIONARY OF PHOTOGRAPHY. the exact distance apart of the two pencil marks ; F its centre, and cf the true equivalent focus of lens. Another method is thus briefly stated : — Multiply the foci of the two combinations together, and divide by the sum obtained by adding them together and subtracting the distance of separation. The result is the exact equivalent focus of the two lenses combined. Example : — Find the equivalent focus of lens, the front combination having a focus of 12 ins., the back io ins., and the distance of their separation being 2 ins. — 12 x io [(12 + io) — 2] = 120 -r- 20 — 6 ins., the true equivalent focus. Focussing Glass, or Compound Focusser. A small tele- scopic magnifying eye-piece, used to obtain microscopic sharp- ness of focus upon the ground-glass, and it should be invariably used by every amateur, especially those who desire to enlarge the resulting negatives. It is composed of two plano-convex lenses equal in every respect, mounted in a tube with their plane surfaces outwards, at a distance apart equal to two-thirds of the focal length of the lenses. Different forms are used ; the one mentioned is termed Ramsden's eye-piece. Focussing Screen. The ground-glass upon which the image formed by the lens is seen. The best glass to use for this purpose is patent obscured plate, obtained by grinding patent plate with very fine emery. To make a screen of ground-glass, coarse emery powder should be made into a paste with water, and lightly rubbed over a piece of glass, using a small painter's muller, or any other convenient flat surface for grinding till the surface begins to show signs of abrasion, when the coarse emery should be completely washed off, and the finest emery obtainable used till the glass is obscured enough. Two pieces of glass can be ground at the same time by fixing a small cork, or an} thing that will serve as a handle, on to one piece of glass, with a piece of cobbler's wax or pitch, and using the one to grind the other. Should the focussing screen be accidentally broken, a piece of plain glass dabbed over with putty, or coated with a paste of flour and water, or at a pinch a fine cambric handkerchief, may be used. The following solution spread on glass has been sug- gested as a substitute for the ground-glass : — White wax 120 grs. Ether 1 oz. DICTIONARY OF PHOTOGRAPHY. Or the following matt varnish : — Sandarac 18 grs. Mastic 4 || Ether 200 mins. Benzole 80 to 100 „ The more benzole the finer the matt surface obtained. Or an ordinary negative varnish, containing one per cent, of tartaric acid ; or a very good substitute may be obtained by soaking Gelatine or glue ... ... ... ... 60 grs. In water 4 drms. and adding Boiled milk 2 „ melting by the aid of a gentle heat, and flowing over the glass. Focussing Cloth. The well-known black cloth used for shutting out extraneous light when examining the image on the focussing screen. Almost any material that is impervious to light may be used. The best is either black velvet or black twill. The cloth should be made of a good size, sufficiently large to entirely enfold the camera and operator's head if required ; about 36 ins. square is a fair size. There should always be one or two loops and buttons, so as to enable the cloth to be securely fastened round the camera in a high wind. An ingenious sub- stitute for the focussing cloth can be made by fixing to the camera back a spiral frame of wire tapering to the end, and covering the same with black cloth. At the apex affix the com- pound focusser. This arrangement will close up to a very small space, and add but little to the weight. Aids to Focussing. Oiling the screen renders the grain of the glass but very little perceptible. Or a better expedient still for use with the compound focusser is a microscopic covering glass cemented to the ground surface of the screen with a drop of DICTIONARY OF PHOTOGRAPHY. Canada balsam. This will enable absolute sharpness to be obtained. How to Focus. Having set the camera up and racked out to about the equivalent focus of the lens, which should be always marked on the baseboard of the camera, adjust the focus by means of the rack and pinion or screw provided for that purpose for some object about midway in the middle distance of the view. It will then be found that the image of nearer objects will be indistinct and fuzzy. Insert the stops in the order of their size, commencing w T ith the largest, till the whole of the image is distinct and clear. Another method, recommended by Captain Abney, is to use a fairly large stop — for landscape work, say //16 — and focus with that, and then insert the stop of half that diameter, in the case we have supposed f\yz. Conjugate Foci. The distance between any point in any object and the lens, and the distance between the lens and the image of that point, are said to be the conjugate foci of the lens. These foci are of great importance when enlargement or reduction of any print, engraving, or negative is required. The rules for find- ing the conjugate focal distances are given under Enlargements and a table of same, to save any calculation. Point beyond which Everything is in Focus. As this is some- times required for instantaneous work, the rule for finding the same will be here given: — Multiply 27 by the square of the focal length of the lens and by the fraction expressing the diameter of the diaphragm aperture. Example : Required the nearest point in focus with a lens 4^-in. focus, //io diaphragm. 27 x 4i x 41 x iV = 27 x 20*25 X 'I = 5*46 yards. The following table will give approximately the point in yards beyond which all is in focus with a given lens and stop : — Equiv. Stop Stop Stop Focus. //8. /J16. 3 ins- ••• 3 *i n Si tt • •• 41 3 2 4 » 5* 4 2? 41 » 6J 4f 31 5 M 8i 6 4* 5i »» 10 7i 5 6 „ 12 9 6 DICTIONARY OF PHOTOGRAPHY. 77 Fog is one of the commonest of all faults with gelatine nega- tives, and is seen as a veil over the whole negative, and is a deposit of silver upon the shadows more or less dense according to the greatness or slightness of the fog. There are two great divisions of fog — chemical and light fog. The former is caused by errors in the manipulation of the plate manufacture ; the second by the impact of light, as through some crevice in the camera or dark slide, or through over-exposure. Chemical Fog, from errors in manufacture may be traced to several causes, the chief being an abnormal excess of silver nitrate in the emulsion, and also by decomposed gelatine, caused by too long stewing, when the emulsion is made by the boiling process. If the fog is very bad, there is no cure for it, but when slight the emulsion may be squeezed through coarse canvas or muslin, as described under Emulsions (q.v.), into a solution of bichromate of potash, ten grains to the ounce, and allowing it to stand for one hour, then washing for two hours in running water, or the addition of a few grains of cupric chloride or auric chloride will generally effect a cure. Chemical fog is often seen as iridescent green stains near the edges of plates, and is likely to make its appearance with an ammonia developer ; it is less likely to ensue with the fixed alkalies, potash and soda, and never with ferrous oxalate. The obvious remedy for this evil, with a brand of plate known to be liable to green fog, is the use of potash and soda or ferrous oxalate ; but where it does exist it can be eliminated by treating the plate after fixing and washing with Ferric chloride 50 grs. Potassium bromide 30 „ Distilled water 4 ozs. Soak the plate in this for a minute or two, when it will be found that the fog will disappear, and the plate be reduced in density ; rinse well, and then apply a ferrous-oxalate developer, when the required density can be obtained ; the plate should be then refixed and washed. Light Fog makes its appearance generally all over the plate, and, as has been stated above, may be due to three causes. When the fault is supposed to lie in the camera (and the reason to suspect this is to find the edges of plate covered by rabbet of 78 DICTIONARY OF PHOTOGRAPHY. slide free from fog), cap the lens, remove the focussing screen, cover the head with the focussing cloth, and carefully examine the interior of camera to see if any stray thread of light is admitted. The plate may be fogged in the dark slide, and the effect will be seen on development by certain streaks and bands of fog making their appearance, a very usual place being at the leather hinge which allows of the shutter of this slide to be folded back, and this fog seems to be not only due to light, but in many cases is actually induced by the material or something used in making the hinge. It may also make its appearance at the side where the manufacturer places the small slips of card- board to separate the plates, and in this case it is due to some impurity in the paper used. Stray actinic light or an imperfect non-actinic light in the dark-room may also cause general fog, and if this be suspected the light should be tested as described under Dark-Room. Frilling. By this is meant the gelatine leaving the plates in folds or wrinkles. It usually begins at the edges, and occurs chiefly when fixing, but often during development or washing. The causes are numerous, but as most of these are but slightly under the control of the operator they will only be enumerated, and the possible cures given at length. The chief cause is the use of a gelatine of too horny a nature, and possessing but little tenacity. Again, long-continued boiling of an emulsion especially tends to this evil ; an improperly washed plate, unequal drying, and excessive slowness of the emulsion in setting, due to the use of a soft gelatine or the heat of the weather, or by allowing too forcible a stream of water to impinge upon the edge of a plate, or the use of an exceeding strong developer, or the differing temperatures and densities between the developing, fixing, and washing fluids. The remedies to some causes are obvious ; but with the ordinary run of amateurs, who are not plate-makers, when a batch of plates purchased is found to be subject to frilling, they should, if possible, be kept for two or three months, when the fault will be nearly, if not completely, eradicated ; but where this remedy is impracticable, or, by reason of the number of the plates being but small, is hardly desirable, the following immediate steps may be taken. The plate, before development, may be coated with collodion made as follows : — DICTIONARY OF PHOTOGRAPHY. Pyroxyline 6 grs. Alcohol (-820) I oz. Ether (735) I ,, Castor oil 4 drops. When this is used, the plate, after being collodionised, must be well washed with clean water till it no longer repels water from the surface of the film. When the plate is collodionised, it is advisable to add about 10 per cent, of methylated alcohol to developer. Soaking the plates in the following for five minutes is an absolute cure, but it prolongs development : — Chrome alum 2 grs. Dissolved in Water 1 oz. Add Methylated spirit ... I „ But the author has found the following an unfailing remedy, and by its use development is not so much prolonged : — Have by the side of the developing or fixing bath a dish of methylated spirit, and if the slightest sign of frilling or blisters, which are but localised frilling, makes its appearance, immerse the plate immediately in the spirit till the frill disappears, then proceed with development or fixing. Some plates frill at the edges only ; for these an edging of grease or india-rubber solution is the remedy. When plates are found to frill in the fixing, but not in developing, an intermediate soak in the chrome alum Clearing Bath (g.v.) will prevent it. Fuming. The process of subjecting silver albumenised paper to the vapour of ammonia. It is claimed for this that it renders the prints more brilliant, and that the paper prints quicker; one effect, however, is to make the tones of the finished print purple, without much trouble. Many elaborate boxes have been designed for this purpose, but the simplest and a really efficient plan is to use an old cardboard plate box, and, having cut the paper to the required size, pin it by the four corners face downwards to the lid, and on the bottom inside sprinkle a few drops — about ten or fifteen — of liquor ammonia *88o, put on the lid, and leave it for ten minutes in hot and fifteen in cold weather. Paper when once fumed should be used within two or three days, or 8'j DICTIONARY OF PHOTOGRAPHY. the good effect v/ill be lost. Fumed paper is more liable to dis- colour than ordinary. The after- operations of washing, toning, and fixing are precisely the same as usual. Gallon. See Weights and Measures. Gamboge, or Camboge. An orange-coloured gum resin, from the Garcinia Morella, a native of Siam and Cochin China. The finest is that called "Pipe Gamboge," which is collected in bamboo canes. The inferior is called cake gamboge. It is almost entirely soluble in alcohol, and when rubbed down with water forms a thick emulsion of a brilliant yellow colour. It has but little taste, and no smell. It is used but rarely in photo- graphy, being sometimes the colouring matter of varnishes and lacquers. The action upon human beings when taken internally is that of a most drastic and hydragogue cathartic. Gaslight. See Artificial Light. Gelatine. An animal substance obtained by boiling bones, hoofs, horns, and other animal substances. It contains about 15 to 20 per cent, of water at ordinary temperatures, and in cold water swells up and absorbs from five to ten times its weight. Good samples will absorb sufficient water to dissolve them when the temperature is raised above 90 degs. F., the solution setting again to a jelly on cooling. The continued application of heat for some time destroys this setting power, a new compound called metagelatine being formed. Gelatine will keep indefinitely in the dry state, but in the presence of water it soon putrefies, turning first acid and then alkaline, and at this stage ammoniacal vapours are given off. Alum, alcohol, carbolic, salicylic, and boracic acids, thymol, and the salts of zinc act as antiseptics. Acetic, hydrochloric, sulphuric, and oxalic acids dissolve gelatine even in the cold — acetic acid the most readily. Carbolic acid and alcohol precipitate it from aqueous solutions when they are in excess. Silver nitrate exposed to sunlight in contact with gelatine produces a red colour, due to a compound of gelatine and suboxide of silver. The alkaline dichromates in solution of gelatine render the latter after exposure to light insoluble and incapable of absorbing water, this action being the basis of the carbon and nearly every photo-mechanical printing process. Chrome alum and tannin render it insoluble, but capable of absorbing water. Ordinary alum raises the melting point, but DICTIONARY OF PHOTOGRAPHY. 81 does not render it insoluble. The composition of gelatine varies with the source from which it is obtained, but the following may be taken as the percentage composition : — Carbon 50*1 Hydrogen 6*6 Nitrogen 18*3 Oxygen ... 250 Sulphur cri2 The selection of a gelatine suitable for emulsion making is a most important point, but the following leading characteristics ot a suitable kind may be of service to the amateur plate manu- facturer: — The weight of the ash left after incineration should never exceed 2 per cent, proving the absence of earthy or mineral matter. The amount, of water it will absorb should, in no case exceed ten times nor be less than five times its weight. For emulsion making by the boiling process it should give an acid reaction, and its solubility should not be effected at a lower temperature than 70 degs. F., nor higher than no degs. F. Another most important test is its expansive power, for upon this depend to a great extent its frilling or non-frilling properties. The following table of the chief characteristics of the best com- mercial brands will be of practical use ; but it may be stated that the best film can, as a rule, be obtained by a mixture of one part of hard and two parts of soft gelatine : — Water Ash. Absorbed. Name. Charac- Per Times its ter. Cent. Weight. I. Coignet's gold label hard •• I . n 2. „ special ... »» • I . 74 3. Nelson's No. 1 photo- graphic soft 2 . 6 4. Nelson's opaque hard 2 5. „ amber soft I • 4i 6. Swinborne No. 2 isin- glass it • I . 61 7. Russian isinglass ... tt • I 8. Simeon's Swiss hard I . 8* 9. Heinrich's i> I . -H Nos. I, 3, 8, and 9 are the best to use. 6 DICTIONARY OF PHOTOGRAPHY. It is always better to make a small batch of emulsion first, with a sample of gelatine, to test its suitability, rather than have a large batch spoilt by finding the gelatine used totally unsuitable. Gelatine has a great affinity for bromine, chlorine, and iodine, and upon this fact depends the preservation of gelatine plates, and to a great extent their increased sensitiveness over collodion plates. Glass. A transparent brittle substance, now of universal occurrence and application. Its origin is uncertain. It was known to the Egyptians 5,000 to 6,000 years ago. The earliest specimen known is a small tablet in the British Museum, of about 1445 b - c m °f Egyptian make ; it is opaque and coloured. There is also a goblet found at Nineveh, of about 700 B.C., the earliest piece of any size. The manufacture was gradually improved, till, in Italy, 58 B.C., the theatre walls in some towns were ornamented with mirrors, and at Pompeii windows which were glazed have been found intact. About A.D. 674 the art of glass making was introduced into England, and it is now carried on at Newcastle, Liverpool, Bristol, Birmingham, Leeds, and London, Glasgow, and other places. Some of the lens glass is imported from abroad. There are many kinds of glass, but only one or two of any interest to photographers. Crown and flint are the kinds used for lenses, whilst for the best dry plates an inferior plate is used. Crown glass is composed of a mixture of silicates of potash (K 2 03Si0 2 ), lime (Ca 2 03Si0 2 ), and alumina (Al 2 03Si0 2 ). It has specific gravity 2*487. Flint glass is a mixture of silicates of potash, alum, and lead (Pb 2 02Si0 2 ). It has specific gravity 3*5. It is much more refractive than crown. Crystal glass is an extremely pure variety of flint, and is the one usually used for the finer lenses. Glass can be coloured by fusing metallic oxides with it. Gold and copper give red, silver or iron green, uranium yellow, cobalt blue colours. When the glass is coloured throughout, it is called " pot metal." Another method of colouring is by attaching an extremely thin sheet of pot metal to white glass, when it is known as " flashed glass." Opal glass is made by fusing with the metal one of the oxides of tin or zinc. In the manufacture of crown, flint, and crystal glass for optical purposes extreme care is taken to make the resulting glass non- hygroscopic, or non -absorbent of water, to which some glass is DICTIONARY OF PHOTOGRAPHY. 83 particularly liable, also to obtain it absolutely free from bubbles and striae, the latter being lines due to imperfect mixing of the molten metal. (See Lens.) Glycerine. C 3 H 8 0 3 = 92. A peculiar sweet viscid liquid obtained from oils and fats by saponification and subsequent purification. Specific gravity, 1*260. It is extremely hygro- scopic, and cannot be dried by heat without decomposition. Its non-drying properties are taken advantage of in photography to prevent the too rapid drying of some substances, and it is also used as a preservative of pyro. It is miscible in all proportions with water and alcohol. Gold. Au = 196. The characteristics of this precious metal are too well known to need much description. It is only used in photography in combination. Gold, Chloride Of. AuCl 3 = 302 5. Synonyms : Terchloride or Perchloride of Gold, Auric Chloride. A convenient and economical method of making this is as follows: — Mix two drachms of pure nitric acid with eight drachms of hydrochloric acid, and place in the mixture a new sovereign, or an equivalent weight of pure gold ; gently heat the mixture in a sand or water bath. Copious volumes of gas will be evolved, and the gold will gradually disappear, a solution of perchloride of gold in excess of acid resulting. The solution may be evaporated in a sand or water bath till the solution crystallises ; the crystals must be pre- served in hermetically sealed tubes or a tightly stoppered bottle, as the crystals are very deliquescent ; but as it is necessary to use the salt in solution, it is preferable to keep the salt in solution and save the trouble of crystallisation. It is absolutely stable in solution if kept in the dark. To the solution, therefore, when the coin has disappeared add five ounces of distilled water and common chalk or carbonate of soda till nearly all the acid is neutralised ; filter and make the solution measure 178 drachms by washing the filter with successive portions of distilled water. The resulting solution will contain one grain of perchloride of gold in every drachm. The salt as met with in commerce should be in reddish orange, needle-like crystals extremely deliquescent, soluble in alcohol and ether. A solution of ferrous sulphate precipitates metallic gold as a purplish brown powder, and is used for recovering gold from old toning baths. There is 8 4 DICTIONARY OF PHOTOGRAPHY. another salt of gold which is the true chloride (AuCl), but which is of no interest photographically. Some commercial samples of chloride of gold, so-called, are a mixture of chloride of gold and common salt, the latter being sometimes quite 50 per cent, of the whole, and it is obvious their toning properties are limited. Gold Hyposulphite. Au 2 S 2 O a = 506. Synonym : Sel d'Or. This salt is formed by adding hyposulphite of soda in solution to solution of gold perchloride, and was used in the old daguerreo- type process for toning the image on the silver plate. It is a very unstable salt, and is unfitted for toning albumenised prints, as it soon becomes decomposed, the sulphur of the sel d'or combining with the silvei and giving very pleasing but very evanescent tones of a rich purple. It has been recommended lately, however, for toning the quick printing chloride emulsion papers, for which it is more suitable. (See Toning.) Grain. See Weights and Measures. Gramme. See Weights and Measures. Green Fog. See Fog. Ground-glass. See Focus. Group. An assemblage of figures or other subjects. The art of posing figures in groups is one in which the amateur is as a rule sadly deficient. The standard work on composition is H. P. Robinson's " Pictorial Effect in Photography." Gum Arabic. A gummy exudation from the stems of various species of acacia. It is of peculiar bland taste, odourless, insoluble in alcohol and ether, but entirely soluble in water, in which form it is used as a mountant Gum Dammar. See Dammar. Gum Dragon. See Tragacanth. Gum Guaiacum. A resinous exudation from Gnaiacum officinale, a native of San Domingo and Jamaica, soluble to the extent of 90 per cent, in absolute alcohol, and when triturated with water forms a mucilage of pale greenish hue. It is used in some of the old collodion processes. Gun-cotton. See Pyroxyline. Half-plate. The size of dry-plate 6J by 4}. The true half- plate is 6\ by 4i. DICTIONARY OF PHOTOGRAPHY. 85 Halation. A blurring of the image and an encroachment of the high-lights upon the surrounding shadows or darker portions. It is but too well known as the defect of photographing an interior in which a brilliantly lighted window appears ; or again, when photographing landscapes in autumn or winter, halation is very likely to make its appearance when the leafless boughs of the trees appear against a bright sky, or in any case where extreme contrasts of light and shade exist. It is caused by reflection from the back of the plate. The rays of light are scattered by the particles of silver salt, and, obeying certain laws of reflection, are reflected from the surface and back of plate. The remedies are Backing the Plate (> tt 8 || II Jt 9 »» »» >» 1° it »> »> 11 M II it 12 ii ii n 13 11 »» »» 14 »» tt tt 15 »» tt tt 20 if n 11 25 II »» II 30 tt tt tt 35 tt 4° »i .» 11 45 tt tt tt 50 H 11 a 55 » 60 ,. „ „ 75 tt tt ii 100 „ „ „ I2 5 i» i> tt 15° »> » » ii ft. per sec. 3 11 a 42 11 tl 6 „ 11 1\ tt tt 9 a log 12 „ 13 11 ,1 14I a 16 „ „ l 7* it it 19 .» tt 20l „ 22 „ 29 tt tt 37 11 tt 44 M 59 tt 66 „ „ 73 it ii 80 „ „ 88 „ „ no „ „ 147 11 11 183 a 220 „ To find the distance moved by the image of an object on the ground-glass, multiply the focus of the lens in inches by the distance moved by the object in 1 sec, and divide the result by the distance of the object in inches. Example : Find the displacement of image on ground-glass of an object moving 55 miles an hour, when a lens of 8-J -in. focus is used, and the object is 200 yds. distant : — 9* DICTIONARY OF PHOTOGRAPHY. %h X 960 ^ 2,400 =-^55 3l ms. per sec To find how quickly a shutter must act to take an object in motion that there may be a circle of confusion less than T J^in. in diameter, divide the distance of the object by 100 times the focus of the lens, and divide the rapidity of motion of object in inches per second by the result, when you have the longest dura- tion of exposure in fraction of a second, All measurements in inches. Example : Required the speed of shutter to take a train moving 50 miles per hour 50 yds. off, with an 8J-in. focus lens : — Train moves 876 ins. per sec. 1,800, distance in ins., -f- (8 J x 100) = 1,800 — 850 = ff. 876 x 17 876, speed of object per sec, ~ = — - = 413 = ^ sec. And knowing the rapidity of shutter and moving object re- quired to find the distance to place the camera to give an image with a circle of confusion less than ^ of an inch, multiply 100 times the focus of the lens in inches by the space through which the object would pass during the exposure, and the result is the nearest distance in inches between lens and camera. Example : A shutter working at -V of a sec, object moving 50 miles per hour ; how near must camera be placed with lens 8^-in. focus ? An object moving 50 miles per hour moves 876 ins. per sec. an object moving 50 miles per hour moves 17*52 ins. in ^ sec 8£ x 100 x 17*52 = 8*5 x 100 x 17*52 = 14,892 ins. = 413 yds. Instantaneous Shutters. The names, styles, and prices of these are legion ; but the simplest, and perhaps one of the best, is the old-fashioned drop-shutter. As a so-called instantaneous shutter is usually part of the outfit of every amateur, it will be unnecessary to enter further upon the subject ; but we have yet to welcome the ideal shutter which shall comprise in itself port- ability, lightness, cheapness, reliability, with the minimum chance of disorder and vibration, and the maximum, even lighting of the sensitive surface, the exposure commencing and closing absolutely simultaneously for the whole plate. Intensification means the increasing of the deposit or the density of a negative. This is done in many ways : first, by DICTIONARY OF PHOTOGRAPHY. 93 merely increasing the deposit of silver ; secondly, by partial sub- stitution of another metal for it. The following are reliable methods for each process, but of these the author has decidedly a weakness for I. A and II. b : — I. By Increasing the Deposit of Silver, A. Perchloride of mercury 100 grs. Bromide of potassium 100 „ Distilled water 10 ozs. Dissolve, and label " Bleaching Liquid — Poison." Silver nitrate 100 grs. Distilled water 10 ozs. Add sufficient cyanide of potassium) in solution to nearly dis- solve the precipitate first formed on adding the cyanide. Label, " Silver Cyanide Solution — Poison." Soak the plate in the bleaching liquid till the image appears quite white by reflected light on both sides, wash for fifteen minutes, and then immerse in the silver cyanide solution till thoroughly blackened ; wash, and dry. Care must be taken that the plate is not allowed to remain too long in the cyanide solution, or the image will be reduced. Allowance must also be made for the fact that the negative looks denser when wet than when dry. The following is an intensifier which has lately been recommended by Mr. Farmer, which has found much favour on the Continent : — Solution I, Silver nitrate .... 480 oi s. Distilled water 12 ozs. Solution 2. Potassium bromide 360 grs. Distilled water 2 ozs. Add No. 2 to No. 1, collect the precipitate, wash thoroughly, and mix in following : — Sodium hyposulphite 960 grs. Distilled water 6 ozs. The mixture is thoroughly stirred, allowed to stand for a few hours, and filtered, and sufficient distilled water added to make the solution measure 16 ozs. Label, " Silver Solution." The plate 94 DICTIONARY OF PHOTOGRAPHY. is soaked in this solution for five minutes, drained, and a ferrous- oxalate developer applied ; washed, and dried. Or the following may be used : — Pyrogallol 4 grs. Distilled water 2 ozs. Silver solution 60 mins. Add immediately before use 30 minims of 10 per cent, solution of liq. ammonia *88o. II. By Substitution. 1st, with Mercury. Mercury perchloride 100 grs. Potassium bromide ... ... 100 Distilled water 10 ozs. Soak the plate in this till thoroughly bleached, then rinse, and immerse in a solution of Sodium sulphite 480 grs. Distilled water 8 ozs. Mr. Dresser has recommended the use of an old hydroquinone developer instead of the sodic sulphite, and the resulting intensi- fication is all that can be desired. B. Uranium Substitution. — Soak the plate for ten minutes in a solution of uranium nitrate 50 grs., distilled water 1 oz. ; drain, and soak in a solution of same strength of ferridcyanide of potash till dense enough ; wash, and dry. All negatives, whether wet, dry, or varnished, glass or films, can be intensified by any one of these methods ; but, except in the case of Mr. Farmer's new intensifier, they must be absolutely free from hypo. If the negative has been varnished, it must be soaked in methylated spirit, and the varnish removed with a tuft of rag or cotton-wool. Negatives that have been allowed to dry should be soaked in a bath of distilled water previous to applying the intensifies, as the action is thus rendered more even. Iodine. I 127. One of the halogen elements. Is obtained from seaweed, and appears commercially in metallic bluish grey scales. Solubility: 1 in 7,000 of water, 1 in 12 of alcohol, 1 in 4 of ether ; very soluble in a solution of any alkaline iodide. 30 grs. of iodine and 30 grs. of potassium iodide will dissolve in DICTIONARY OF PHOTOGRAPHY. 95 I drm. of distilled water. The metalloid itself is of little use, but when in combination as iodide is much used for preparing emulsions, etc. Iridescent Stain. See Fog. Iron, Ammonio-Citrate of. Is prepared by dissolving ferric oxide in citric acid, and adding liq. ammonia till neutral. It should be in small transparent scales of a deep reddish brown colour, and peculiar mousey odour. Solubility : I in 0-5 parts of water; almost entirely insoluble in alcohol. 5 parts dis- solved in 7*5 parts of water make 10 parts of solution. It is used in the ferro-prussiate process. Iron, Ammonio-Sulphate of. Fe(NH 4 ) 2 2S0 4 6H 2 0 = 328. A double salt of iron and ammonium proposed as a substitute for ferrous sulphate, but its action is much feebler, though the salt and its solution are more stable. 1 oz. of ferrous sulphate is equal to ij ozs. of the double salt. The author has found it, however, a good but slow developer for bromide papers. Solubility: about 1 in 5 of cold water; liable to decompose in hot water; insoluble in alcohol. Iron, Oxalate of. FeC 2 0 4 =i44. Synonym: Ferrous Oxalate. Prepared by decomposition of sulphate of iron and oxalic acid. It is but rarely used dry, being generally prepared as wanted in solution by double decomposition by adding solution of sulphate of iron to solution of oxalate of potash. (See Developer.) It is sparingly soluble in water, more soluble in a solution of any alkaline oxalate. It is the develop- ing agent of the ferrous-oxalate developer, which has rather more adherents on the Continent than in England. Iron, Sesquioxalate of. Fe 2 (C 2 0 4 ) 3 =376. Synonym : Ferric Oxalate. Is usually prepared in solution by dissolving ferric oxide in oxalic acid. It is very soluble in water, and is used in the platinotype process, the action of light reducing it to ferrous oxalate. Ferric oxalate can be made from old used ferrous-oxalate developers by adding solution of sulphate of iron till the mixture turns very muddy, then add saturated solution of oxalic acid till clear again. Set the solution aside in a cool dark place to crystallise. The ferric oxalate crystal- lises out as bright emerald green crystals, which should be 9 6 DICTIONARY OF PHOTOGRAPHY. dried quickly between blotting paper, and preserved from the action of light and air. Iron, Sulphate of. FeS0 4 7H 2 0 = 278. Synonyms: Ferrous Sulphate, Protosulphate of Iron, Copperas, Green Vitriol. Pre- pared by dissolving iron wire in dilute sulphuric acid, evapo- rating and crystallising. The crystals should be of a fine bluish green colour, free from any adherent brownish rusty powder, which is caused by the action of the oxygen of the air, the product being an oxy-sulphate : to this action is also due the deterioration of solutions of this salt. When this change in colour of a solution is noticed, it should be rejected and fresh solution used. The solution may be preserved for some time by the addition of a crystal of sulphate of copper whilst fresh Solubility: I in 1*5 of water; insoluble in alcohol and ether. Iron, Perchloride. Fe 2 Cl 6 = 325. Synonym: Ferric Chlo ride. Can be made by digesting hydrochloric acid with excess of peroxide of iron or by dissolving iron wire in dilute hydro- chloric acid, and adding nitric acid, which converts the ferrous into ferric chloride. Commercial solutions as a rule contain considerable excess of hydrochloric acid. The solid chloride is extremely deliquescent and very soluble in alcohol. Isinglass. The purest form of gelatine known, obtained from the swimming bladder or sound of the sturgeon. The finest is exported from Russia. Ivory. The teeth and tusks of the elephant and walrus. Photographs can be obtained on ivory by coating with an emulsion or by transfer as in the carbon process. Ivory Black. Make by calcining ivory in close crucibles ; used as an ingredient for black varnish, etc. Japan Varnish. See Varnish. Kaolin. Synonym : China Clay. A very fine hydrous silicate of alumina containing about 14 per cent, of water. It is a decomposition product from natural decay of felspar. It is used for cleaning plates, and was used in the old wet process as a mechanical purifier of the silver bath. Lac. See Shellac. Lamp, Well known as the source of artificial illumination in the dark-room. All lamps should be fitted with one or more DICTIONARY OF PHOTOGRAPHY. 97 screens of ruby or orange glass, so as to decrease or increase the light as desired. As some amateurs may desire to rig up a temporary lamp whilst on tour, the following suggestions may be useful : — Every amateur should comprise amongst his travel- ling paraphernalia one or two square feet of ruby or golden fabric; by means of this a lamp may be improvised from an ordinary candle, or night-light, or a Chinese lantern, or the side may be knocked out of a cardboard hat-box. The author has before now changed plates when away from home by the aid of this little piece of ruby cloth by placing a candle in the empty fire-grate, and the ruby cloth over the bars. Lampblack. The very light form of carbon produced by burning pitch, resin, or any other smoky substance with limited access of air, and collecting the soot formed. Landscape Lens. See Lens. Lantern, Optical. See Magic-lantern. Lantern Slides. See Transparencies. Latent Image. See Image, Latent. Latitude Of Exposure. It is frequently a fallacy with novices, and even with some more advanced workers in the photographic art, that unless an exposure which is correct to the infinite fraction of a second, according to some mathematical tables or actinometer reading, is given to a plate, the resulting negative cannot be and is not a success ; but this I have en- deavoured to prove is wrong in an account of some experiments which appeared in the Amateur Photographer, and for the special purpose of this article the following trials were made. Different brands of commercial plates were obtained. 1. Bromo-iodide, thickly coated extra rapid. 2. Bromide, thinly „ 3- » .» » ordinary. 4. n thickly „ extra rapid. 5. „ „ „ ordinary. 6. tf extra „ „ slow. Four of each kind were exposed on a given subject — a landscape with a strong foreground of a cottage and garden — in a brilliant light about noon. The exposure was found to be, for the ordinary plates, fj '22 diaphragm, 5 sees. ; for the rapid ones 7 98 DICTIONARY OF PHOTOGRAPHY. barely 2 sees. The exposures were arrived at by certain exposure tables in common use, and were checked by an actinometer. The conditions of the experiment were so far the same as any ordinary amateur would work under ; the exposures were timed by a chronograph. The exposures given were — For the ordinary plates Nos. 3 and 5, J sec. with//8 diaphragm ; 5, 10, and 40 sees., //22. For the extra rapid Nos. 1, 2, and 4, J sec. with //8 ; 2, 4, and 20 sees, with //22. For No. 6 the exposure was found to be 7 sees., and these were given 7, 14, 28, and 70 sees., f/22. All were most carefully developed as described under Development, and the results were as follows : — No. 1, all good negatives ; more detail in the longer-exposed ones. No. 2, with the instantaneous exposure, a thin, poor negative was obtained ; fair presentable ones with 2 and 4 sees., but 20 sees, gave considerable halation and fog. No. 3, with J sec. exposure, gave a much under-exposed negative, fogged from forcing; with 5 and 10 sees., good negatives; with 40 sees., showed marked halation. No. 4, all good negatives ; the longer- exposed ones with more detail. No. 5, same as No. 3 ; no hala- tion. No. 6, the shorter exposures all gave good negatives, and with the 70 sees, exposure no halation, no fog, and an enormous amount of detail. Sufficient has now been said to prove the extreme latitude of exposure which most plates possess. With a full exposure ; infinitely more detail can be obtained without the sacrifice of any pluck or vigour, and a better rendering of colour is obtained. Any photographer can perform a few experi- ments for himself without any great outlay by exposing one half of a plate for the correct time, the other half for double on the same subject, and after careful development comparing the result. Lead. Acetate of. Pb(C 2 H 3 0 2 ) 2 3H 2 0 - 379. Synonym : Sugar of Lead. Made by dissolving carbonate of lead in dilute acetic acid or impure vinegar, and subsequent purification and crystallisation. It has been recommended as a hypo-eliminator, but the benefit of its action is doubtful. Solubility : 10 in 25 of water, 12 in 100 of alcohol. Least Circle of Aberration. Is the smallest possible section of the cone of rays of light emergent from a lens. Practically, it is the nearest approach to a perfect focus that parallel rays of light can have. DICTIONARY OF PHOTOGRAPHY. 99 Lens. An optical term given to discs of glass bounded by two spherical surfaces, or by a plane and a spherical surface. A true lens is one which has the form shown in fig. i, a; but the name now includes many other shaped glasses or combination of glasses from the analogy of their action upon light. The first mention of the use of a lens which I have been enabled to trace out is by the Chinese moralist Confucius, 748 B.C., who says, " As we use a glass to examine objects, so must we look to the present for futurity." But in the Western classics, about a.d. 40, mention is made by Seneca, Aristophanes, and other writers for the first time of globes of water and globes of glass ; but of a true lens absolutely no mention is made, and it is even doubtful whether they were more than conversant with the burning powers of the above globes. There is, however, in the Assyrian Section of the British Museum a piece of rock-crystal of plano-convex form, which Sir David Brewster states was designed for magnifying. It has been shaped oval, evidently by a process of chipping and grinding, and both plane and convex surfaces have been partly polished. It seems more likely, however, that it was used as an ornament. The date of this is about 720 B.C. There are also in the British Section several antique glass bosses, which have been evidently polished and cut to a wonderfully true curve. These, however, it is supposed, were used for ornamenting shields, sword handles, etc. The first lenses that we can find any really reliable record of are of those of spectacles, and these are mentioned by Giordano da Rivalto in 1305, as having been invented only "twenty years ago." This will fix the date at 1285, when they were invented by Salvino d'Armati, a Florentine ; but, like some of those who have followed in his footsteps in the present day, he desired to make his fortune by this invention or discovery by keeping the same secret ; but the patent laws, unfortunately for him, were not quite so well developed as at the present time ; and a scientist of Pisa, Alessandro della Spina, having seen some of Armati's spectacles, made some for himself, and published the method of manu- facture. The gradual and perhaps accidental deepening of the curves of these lenses produced shorter foci, till, by the accidental placing at some distance apart of a concave and convex lens by some children of a Dutch spectacle maker, the telescope was IOO DICTIONARY OF PHOTOGRAPHY. discovered, and from this origin all lenses of the present day have been evolved. All lenses are made of crown or flint glass^ the former being free from and the latter containing lead, being slightly more refractive than the former. The sectional forms of the various lenses are here given : — d e f Fig. x.— a, double convex; b> plano-convex; c, concavo-convex or converging meniscus ; d, double concave ; e> plano-concare j f, divergent meniscus. The first three, a, b } c t which are thicker at the centre than at the margins, are convergent or positive ; and the second three, d } e, f, are divergent or negative. All lenses are formed by the union of prisms, and therefore have to a great extent the pro- perties of prisms. Fig. 2 will show the way in which the prisms Fig. 2. are united to form a biconvex lens, and the concentration of the rays of light by such prisms or lens. Fig. 3 is the representation of the prisms forming a double DICTIONARY OF PHOTOGRAPHY. IOI concave, and the divergent action of such prisms or lens upon the rays of light. It is obvious that by combining the two lenses the convergent or positive action of the one may be counteracted by the divergent or negative action of the other. It is upon these principles that the whole of the modern lenses are calculated. As soon as it was announced in 1839 Dv Daguerre and Fox Talbot that they had been enabled to obtain a comparatively permanent image in the camera obscura, the ability and skill of mathematicians and opticians were brought into play to produce lenses which should be free from the objections common to the double convex lens which was the only one used in the camera obscura in those days. The single lens was replaced by the achromatic combination of the telescope. This was eventually reversed, and the plane side presented to the object, as in fig. 5. Then Wollaston's meniscus (fig. 6) came to be recognised as a means of extending the definition; and in 1840, Chevalier, a Paris optician, still further improved it by a different method of achro- matising the lens. But in the following year, through the agency of Voigtlander, a practical optician, a lens designed by Professor P^tzvaJ, a Fig. 3. Fig. 4. Fig. 5. 102 DICTIONARY OF PHOTOGRAPHY. mathematician of Vienna, was made and introduced commercially in 1 84 1. This was the portrait lens ; and it is a remarkable fact that it is the model for the finest portrait lenses of the present day. The following (fig. 7) is a sketch of Petzval's original portrait *ig. 6. Fig. 7. lens : — The dark shaded parts are crown, the light shaded parts are flint glass, and, as will be seen, the front combinat'on exists of a double convex crown cemented to a double concave flint, and the back of a flint concavo-convex separated from a double convex lens of crown glass, the flint concavo-convex having such a negative refractive power as to completely balance the Fig. 8. positive aberration of the whole combination. This has been modified by Dallmeyer, by Grubb, and the noted American optician Morrison; but all are constructed on the principle of above lens (fig. 7). Professor Petzval calculated at the same time a land- scape lens (fig. 8), which was not introduced commercially till 1857- DICTIONARY OF PHOTOGRAPHY. I03 and an English optician, in 1858, introduced a lens having a con- cave glass in place of the diaphragm to lengthen the focus and flatten the field, and Dallmeyer introduced his famous triplet (fig. 9), which at the present time is much used and admired. Fig. 9. Single lenses were first of all of the kind shown in fig. 4, with which extremely small diaphragms are necessary to reduce Fig. zo spherical aberration and distortion. This was improved on by Grubb, and his lens is shown in fig. io, in which a crown-glass lens of meniscus form is presented to the object, and is cemented io4 DICTIONARY OF PHOTOGRAPHY. to a flint meniscus. This gave a much flatter field, and spherical aberration was much reduced, allowing the use of larger diaphragms. Dallmeyer introduced his single lens (fig. n), which consists of a negative flint enclosed between two positive crown-glass lenses. This enabled a much larger aperture to be employed. Fig. ii. Fig. 12. and totally eliminated spherical aberration. Marginal definition and flatness of field were both improved. To obviate distortion, many doublet lenses were introduced, that of Mr. Ross being shown in fig. 12. This instrument pos- sesses a wide angle, giving splendid definition, without any distortion or aberration. In all doublets, the diaphragm being placed between the com Fig. 13. Fig. 14. binations, the distortion of the one is cured by the distortion of the other. In i860 Harrison, of New York, introduced his globe DICTIONARY OF PHOTOGRAPHY. 105 lens (fig. 13), which had an extremely wide angle, but which, from too close an adherence to the globe form, gave a flare. Busch improved upon this with the pantoscope (fig. 14), and Dallmeyer introduced his wide-angle rectilinear (fig. 15). Steinheil introduced what he called his periscopic lens (fig. 16), which consists of two uncorrected meniscus lenses of crown Fig. tc. Fig. 16. glass ; and chromatic aberration not being eliminated, the focuss- ing screen had to be brought nearer to the lens after focussing and before exposing, by ^ of the focal length of lens. Mr. Sutton's panoramic lens (fig. 17) consisted of two concavo- convex lenses, with spherical curvatures and a hollow space Fig 17. between filled with water. This possessed a wide angle, and gave no, or practically no, spherical or chromatic aberration, but from its peculiar construction, and the necessity of using curved plates, has never come into general use. io6 DICTIONARY OF PHOTOGRAPHY. In figs. 1 8, 19, and 20 are shown some lenses by Steinheil, fig. 18 being an aplanatic rapid rectilinear, and figs. 19 and 20 Fig. 18. Fig. 19. wide-angle aplanats, some of the finest lenses of the day ; and in figs. 21 and 22 are shown two more of Steinheil's lenses, which work at //2*5, No. 21 being for groups, No. 22 for portraits. In fig. 23 I am enabled, by the kindness of Messrs. Perken, Son, & Rayment, to give a sketch of the Euryscope lens, which Fig. v> is composed of two symmetrical combinations of flint glass, and works at an aperture of //6, a great gain for rapid work. These lenses are perfectly free from spherical and chromatic aberration Fig. 22. and distortion, and for such a large aperture have a wonderful depth of focus, with an extremely flat field. Within the last few months Mr. Dallmeyer has introduced a rectilinear or non- DICTIONARY OF PHOTOGRAPHY. I07 distorting single lens, which works at a large aperture, which is absolutely free from distortion, without astigmatism, and a very flat field (fig. 24). Thus far I have endeavoured to give some slight sketch of the Fig. 23. leading and fundamental forms of all lenses, and whilst numerous modifications exist which may be considered advantageous by some, they are all made on the principles involved in one of the above* Fig. 24. A lens, or rather a doublet lens, is said to be symmetrical when both combinations are precisely alike and possess the same optical properties. In all such combinations the diaphragm is placed midway between the two. Non-symmetrical lenses are those in which one of the combinations is the more powerful in 108 DICTIONARY OF PHOTOGRAPHY. some way or other, in which case the diaphragm is placed at the exact proper distance as calculated by the optician. To enable the amateur to select a lens for his own use, several con- siderations are necessary, and although he may be to some extent guided by the vendor of the lens, the following may be of some assistance : — The lens should be absolutely free from striae ; these can be detected by placing the eye at the focus of a lens before a strong light, such as gas or a lamp ; bubbles can also be seen, but too much stress need not be laid on the presence of one or two bubbles, as when not present in very large numbers they may be disregarded. For what purpose is the lens required ? For ordinary landscape work, architectural subjects, interiors, or portraits. For landscape work pure and simple there are few lenses to equal the achromatic single landscape lens, which gives brilliant negatives; and although distortion is present it may be disregarded, as it is practically unnoticeable in small views except by mathe- matical measurement. Some of these lenses are now made to work aplanatic with an aperture of //8, and are therefore of nearly the same rapidity as the rapid rectilinear, which is, however, the lens par excellence for amateurs, as its use is practically unlimited, especially as some are now made to work at almost as large an aperture as a portrait lens. Few amateurs will require a portrait lens, as they are not only difficult to use properly, but are exceedingly limited in action and also expensive. The question of how much view to include on a plate is another important consideration which should not be lost sight of (see Angle, Width of) ; for ordinary work it should never exceed 50 0 to 55° and 45 0 is decidedly better, as this is about the angle included by the human eye. If a much greater angle be included, the resulting pictures have a distorted appearance, because it is extremely unlikely that the eye will be placed at the focal length of the lens from the picture. The glass of which lenses are made should be absolutely colourless ; this can be tested by laying the lens upon a sheet of white paper and looking down through it. Some of the cheaper lenses are made of glass which is not colourless ; and any colour, especially brown or yellow, will make the lens slow. As stated under the article Glass, it is absolutely necessary to obtain it perfectly homogeneous, free from striae, colourless DICTIONARY OF PHOTOGRAPHY. 109 and transparent ; bubbles, lines, and opaque particles in lenses merely obstructing a certain amount of light, but striae prove imperfect and unequal mixture of the substances composing it, and will therefore give different refractions. The glass is made in the following manner : — Crucibles of fire-clay of particular form are raised to a white heat in a furnace, and when the fuel ceases to give off smoke, they are charged with the materials, and the heat is continued for eight or ten hours. The crucible is now raised to a white heat for four hours, and the mixture stirred with a bar of potter's clay. Six times from hour to hour the mixture is stirred. The heat is then reduced, that the bubbles may rise, and again at the end of two hours the heat is raised to make the glass fluid ; again stirred for two hours, and the crucible and the openings of the furnace closed and left for eight days to cool. The crucible is taken out and broken, and the glass is removed and divided into pieces. The divided glass is examined and sorted, the finest being retained for astronomical purposes, the second quality for photographic lenses, and the third for ordinary magnifying glasses, the rest being waste, which is added to the next melting. The pieces are then softened in a muffle furnace, and formed into plates about two or two and a half inches thick. Sometimes the plates are then cast, after being softened by heat, into rough moulds of clay or iron coated with sand so as to give them a rough form ; but the best opticians prefer grinding, as striae and bubbles are not so liable to be formed, except with condensing lenses in which striae and bubbles are not of so much importance. The rough-shaped glasses have now to be made into perfect lenses, for which purpose extreme care is absolutely necessary, approximate forms being given by grinding with wet sand in concave or convex tools of cast iron. It is in the follow- ing operations that the greatest skill and care of the optician are required : — The roughly shaped lens is now to be ground with emery in spherical tools of brass or iron, which tools are made either by casting or by rough casting and subsequent work in a lathe. These are given the necessary curves by means of extremely accurate gauges of copper. The roughly fashioned glass or lens is fixed to a plate of brass by means of pitch, and is then worked in the tool with rough emery moistened with water ; when the glass is found to touch the tool at all points, finer emery is used and it is worked a little more, the gauge being now no DICTIONARY OF PHOTOGRAPHY. frequently applied to the tool, to see that the radii of curvatures are not altered ; then finer kinds of emery still are used, till at last some degree of polish begins to show; fine pumice-stone powder is then substituted for emery, and the polishing is begun. The operation of polishing is really the test of a good optician, as this process may alter the sphericity or the radii of curvature of the lens to such a degree as to completely alter the character of the lens. The lens is fixed on to a block of wood by means of a pitchy cement, and a tool is coated with a resinous mixture, and fine rouge is sprinkled on the tool when cold, and the polishing finished entirely by hand. When two lenses are required to be cemented together so as to present one common surface, they are slightly warmed, and a drop or two of Canada balsam is applied, and the two lenses pressed forcibly together, so as to squeeze out excess of balsam. When cooled, they present the appearance of one single piece of glass, and cannot be separated without heat. When two lenses have not a common surface, three small pieces of tinfoil are introduced at equal distances apart between their margins, or when the separation is greater, as in most portrait lenses, a ring of brass is used for the same purpose. When the lens is fixed in its brass ring, so that it cannot be taken out without raising the bent edge of the brass, it is said to be set. Under the article Focus will be found numerous rules and tables, which may be of some service. The following, however, were not given then, and are, therefore, here introduced: — In portrait lenses, and some rapid rectilinears, when the latter are used at more than their equivalent focus, it is often desirable to know what depth of focus a lens possesses : depth of focus may be both before a given point and also behind it. The following rules are then required : — Having focussed any point, to find the distance in front of that point which will be in focus (all measurements to be in inches, and the distance of object to be measured from the optical centre of lens) — 1. Multiply the focal length by the diameter of the stop, and the result by the difference between the focal length and the distance of the object. 2. Multiply the focal length by the diameter of the stop, and add part of the distance of the object. DICTIONARY OF PHOTOGRAPHY. Ill 3. Divide the first product by the last, add the focal length, and subtract the result from the distance of the object, when the result will be the distance sought for in front in inches. To find the depth of focus behind a given point — • 1. Multiply the focal length by the diameter of the stop, and the result by the difference between the focal length and the distance of the object. 2. Multiply the focal length by the diameter of the stop, and subtract r J T part of the distance of the object. 3. Divide the first product by the last, add the focal length, and deduct the distance of the object; the result is the distance behind in inches. Example : — Find the depth of focus when focussing an object 15 ft. distant with a lens of 7 in. focus, working at y/5, fj$ = if ins. 15 ft. = 180 ins. 7 X if = - 4 #. 180 - 7 = 173- 49 8477 , x y x 173 = -j- CO- 7 x if = - 4 /. 49 i8o = 49 , 9 = 58 ( . 5 100 5 5 5 ^ 8477 . 58 8477 r , 146 + 7 = 153 180 - 153 = 27 ins. (3). The depth of focus in front = 27 ins. To find the depth behind. Example : — 7 x if = 4 5 9 - 180 - 7 = 173. 49 8 477 , . y x 173 =-y CO- 7 x if = -V. 49 _ £§0 = 49 _ 9 40. . 5 100 5 5 5 ^ J ' 8477^ 4o = 8477 "5 " 5 4o ' 210 + 7 = 217 217 - 180 = 37. The depth of focus behind = 37 ins. Levelling Slab. A perfectly even pieca of glass, slate, or any 112 DICTIONARY OF PHOTOGRAPHY. other material sufficiently thick not to bend when placed upon the levelling stand, which is preferably of a triangular form, having a fine screw at each corner to allow of the height being altered as required. The slab of glass, or slate, is placed upon the stand and accurately adjusted by means of a spirit level. Lichtdruck. See Collotype. Light is that principle which emanates from all luminous bodies, and the luminosity of such bodies is due to intensely rapid molecular vibration, which vibration is propagated in a supremely subtle elastic medium termed the luminiferous ether, and light waves radiate from a body in all directions and from all points of that body. Light always travels in straight lines, unless deviated from its course by the action of some body through which it passes. All substances are either transparent (not hindering sight), translucent (hindering sight), or opaque : transparent substances allow light to pass through them, but deviate the course of the rays of light ; translucent bodies, whilst allowing some rays of light to pass through, reflect others ; whilst opaque bodies reflect some rays and absorb others, but the rays passing on each side of the opaque substance still continue their course, and leave behind the body a space which is not illu- minated, or only partially so. This space is termed shadow. Shadows, however, are not rigidly defined, as the shadow cast by the interception of rays from the top edge are partly illuminated by the rays from the lower edge, and vice versa, and the shadow is always partly illuminated by neighbouring rays. The velocity of light is about 186,830 miles per second. The intensity of the light varies in inverse proportion to the square of the distance from the source of light. If rays of light fall upon a body which is opaque, and the surface of which is unpolished, certain portions of such light will be absorbed or enter to a certain depth, the remaining portion being reflected in all directions ; but certain bodies absorb only certain of the constituent rays of light, and reflect one or more of the others, and thus we arrive at the colours of objects. For example, an object which absorbs all the primary colours but red will appear red, one that absorbs all colours black, and one that absorbs none white, and so on. A ray of light is reflected from a polished surface at the same angle with a line drawn perpendicular to the surface of mirror that the DICTIONARY OF PHOTOGRAPHY. "3 ray striking the mirror makes — i.e., " the angle of incidence is equal to the angle of reflection." When a ray of light strikes a plane reflecting surface, it will, after reflection, so diverge from a point situated similarly behind the mirror — i.e., the image of an object 10 ft. away from a mirror will be reflected from a point seemingly 10 ft. behind the mirror. When light passes from one transparent medium to another transparent medium, unless per- pendicular to the surfaces of both, it is refracted or bent aside to a greater or less degree. This power of refraction differs for every different substance, but remains the same at all times for the same substance. It is only at the surfaces of transparent media that refraction occurs. The power of refraction possessed by each body is termed its " index of refraction." A ray of light refracted through a medium with parallel surfaces will have the same direction after leaving such medium as when entering ; and a ray of light traversing two media having parallel external surfaces, but differing refractive indices, will emerge in a direction parallel to the incident ray. When a ray of light is refracted, it also suffers what is termed dispersion — i.e., it is separated into its constituent rays. (See Decomposition of Light and the Spectrum.) Light Fog. See Fog. Lime, Chloride Of. CaCl 2 0 2 ,CaCl 2 = 251. Synonym : Chlori- nated Lime, Calx Chlorata. The chemical composition of this substance is a moot-point, but as most commercial samples have been kept some time, and as it absorbs carbonic acid gas very freely from the atmosphere, some carbonate of lime or calcium is usually present, as well as some undecomposed hydrate ot calcium. It is made by passing chlorine gas into slaked lime (hydrate of calcium, Ca2HO) until no more is absorbed. It is used for preparing Hypochlorite of Zinc (q.v.) for hypo-elimi- nator. It is also useful for preparing chlorine gas — as good samples should contain 30 per cent, of chlorine, which is elimi* nated on the addition of any acid — and for Toning {q.v.). Lime Light. See Oxyhydrogen Light. Liquid Glue is made by dissolving Shellac 120 ^rs. In methylated spirit 1 oz. by the aid of heat. It is sometimes used as a mountant. 8 ri4 DTCTIONARY OF PHOTOGRAPHY, Lithium. Li = 7. A widely diffused metal, but always occur- ring in small quantities. It is the lightest solid body known. Lithium Bromide. LiBr = 87. Made by direct combination between the elements. Used occasionally for preparing bromide emulsions. It is extremely soluble in water and alcohol. Lithium Chloride. LiCl=42*5. Made by dissolving lithium or the carbonate in hydrochloric acid. Solubility : 65 in 100 of water. Very soluble in alcohol. Lithium Iodide. Lil = 134. Made in a similar way to the bromide. Very soluble in water and alcohol. All the lithium salts are used because of the large amount of haloid elements they possess in comparison with the other haloid salts. Litmus. A blue colouring matter obtained from a species of lichens {Procella tinctorid) by fermentation with potash. It occurs commercially as small cakes, being made into a mass with chalk. It is used to indicate the presence of an alkali or an acid, the latter turning the solution red, and alkalies restoring the colour. It is usually met with in the form of small books made by steeping unsized paper in tincture of litmus. Liver of Sulphur. See Potassium Sulphide. Loss of Tone in Fixing. See Toning. Lunar Caustic. See .Silver Nitrate. Luxograph. A term used to denote certain methods of artificial lighting. Macro-photography. A term used to denote the enlarge- ment of the negative Magic-lantern. An apparatus used to project a magnified image of a positive upon a white screen in a darkened room. Practically it consists of a tin box, in which is placed a lamp in the focus of a silvered reflector, the light being condensed by a pair of plano-convex lenses, and the positive being placed close to the condensers, and a special photographic lens being placed at the focus of the condensing lens which produces a magnified image. Usually a three- or four-wick lamp is employed to give the illumination, the edges of the flames being presented to the condensers, which should be as close as possible to the flame without danger of cracking them. The negative should be placed upside-down, and film side outwards, as close as possible to the DICTIONARY OF PHOTOGRAPHY. *'5 condensers, the magnifying lens, which is usually rovided with a rackw>rk movement to ensure easy and accurate focus, being placed at the focus of condensers. Magic Pictures. A process discovered by Sir John Herschel, which is more of an ingenious toy than of any practical use. The process is as follows : — Print as usual on albumenised paper, fix without toning and wash thoroughly, immerse the prints in a saturated solution of perchloride of mercury until the image is thoroughly bleached and disappears, wash and dry. To make these invisible images appear at the word of command, as if by magic, place over them a wetted sheet of blotting paper, which has been previously soaked in a saturated solution of hyposulphite of soda, and pass the hand over them, when the image will start up with more than its original vigour. Maglip, Or Meglip. An artist's material, made by mixing boiled linseed oil with mastic varnish. It is used for thinning oil colours and for glazing on delicate tints on finished oil paintings., Magnesium. Mg = 24, Occurs in large quantities as dolo- mite or mountain limestone — an impure carbonate. The metal is Eilveiy white in colour, and is met with commercially in the form of wire, ribbon, and powder. It is now of common use for producing negatives by night (see Artificial Light), as the metal burns at a comparatively low temperature, giving an extremely actinic and brilliant light. Magnesium Sulphate, MgSo 4 7H 2 0 = 246. Synonym : Epsom Salts. Occurs naturally in certain springs, but is usually made by dissolving dolomite in dilute sulphuric acid, and subse- quent purification and crystallisation. It has been recommended as a preventative of frilling, but its action seems to be purely mechanical. Manganese Binoxide. Mn0 2 = 86. Synonyms : Manganese Dioxide, Black Oxide of Manganese. Occurs native as the ore of manganese as a black crystalline powder, and is used for the prodw&ion of oxygen for the limelight. Manipulation. A term used to express the condu** of any photographic operation or process. Masking Skies. See Printing. Masks and Discs. Pieces of opaque paper used in photo- Il6 DICTIONARY OF PHOTOGRAPHY. graphic printing, usually with albumenised paper. In the opaque paper shaped openings are cut, and the piece cut out is termed the disc, the margin being called the mask. The mask is placed between the negative and the paper, when it is obvious a print will result of the form given by the opening of the mask, and the margin where covered by the mask will be white. The print may be finished off at this stage, or the disc may be carefully and accurately placed over the print, and the margins exposed to light till they darken to the required tint. A good effect is sometimes given to portraits with light backgrounds by printing under a mask, and then using a disc and blackening the margin, enamelling the print, and giving the centre portion a convexity, as described under Cameo. Mastic, Or Mastich. A resinous exudation from the stems of Pistacia lentiscus, grown in the island of Scjo. It is usually met with in the form of whitish or yellowish white drops or tears, about the size of small peas. Insoluble in water ; almost entirely soluble in alcohol, ether, chloroform, oil of turpentine, and benzole. It is used for preparing certain Varnishes (g.v.). Mealiness of Prints. A peculiar mottled appearance on the surface of prints, due to a weak paper sensitising bath, and as this is also the cause of lack of vigour, contrast, and brilliancy, the term is frequently used to denote all these. Measles. A peculiar defect in prints, which shows, when they are held up to the light, as opaque blotches, which are due to . imperfect fixation and non-solution of the insoluble hypo- sulphite of silver. On keeping, these spots turn j^ellow, due to formation of sulphide of silver, whence the name, from a fancied resemblance to the human ailment. Measures. See Weights and Measures. Meniscus. See Lens. Mercury. Hg = 200. Occurs native, but is chiefly obtained by roasting the ore cinnabar, which is an impure sulphide, which is obtained from China, Spain, California, and America. Mercury, at ordinary temperatures, is a brilliant silvery white metallic liquid, becoming solid at 39 0 F., and volatilising below the heat of visible redness. Specific gravity: 13*5. It has now but little photographic interest, but was used in the old daguerreotype days to develop the image. DICTIONARY OF PHOTOGRAPHY. 117 Mercury, Perchloride of. HgCl 2 == 271. Synonyms: Mer- curic Chloride, Bichloride of Mercury, Corrosive Sublimate, Sublimate, Muriate of Quicksilver. Can be prepared by heating mercury in an excess of chlorine, but it is prepared commercially by sublimation from a* mixture of mercuric sulphate and common salt. It is usually met with in commerce in extremely heavy colourless prismatic crystals or as a white powder. Specific gravity: 5*43. Solubility: 1 in 19 of cold, 1 in 3 of hot water, 1 in 5 of rectified spirit, 1 in 6 of ether. It sublimes without decomposition, and melts at 509 0 F. It is used for Intensification (q.v.). Its solution in water is liable to decomposition ; but any soluble chloride prevents this, and nearly all chlorides increase its solubility in cold water, a compound salt being formed. It is a most powerful poison, 3 grs. being the smallest fatal dose known. The antidote is albumen, or white of egg, with which it forms an insoluble compound, followed by emetics. As the salt is absorbed readily by the skin, it is advisable not to dabble unnecessarily in it. Mercury, Subchloride of. HgCl = 235-5. Synonyms : Chloride of Mercury, Calomel, Mercurous Chloride. A dull white or yellowish white powder. Insoluble in water, alcohol, and ether. Of no interest photographically beyond the fact that the bleached image in intensification is composed partly of chloride of silver, and mercurous chloride, which is changed by the addition of ammonia into black mercurous ammonium chloride, NH 2 HG 2 C1. When sodic sulphite is used instead of ammonia, the silver chloride is dissolved, and metallic mercury is formed. Metallic Spots. These sometimes occur on albumenised paper, and are due to impurities, usually metallic iron, in the substance of the paper itself. Methylated Ether. See Ether. Methylated Spirit. See Alcohol. Metric System. See Weights and Measures. Micro-photography — the antithesis of Macro-photography — consists of the reproduction of positives in a very minute size, which require the use of a simple microscope or magnifying glass to examine. It must not be confounded with photo-micrography, which is the production of photographs of microscopic objects ; yet, curiously enough, in Hardwich's " Photographic Chemistry," n8 DICTIONARY OF PHOTOGRAPHY. ninth edition, photo-micrography is described under Micro- photography. Micro-photographs are well known to the majority of amateurs from the minute photographs which are usually sold at seaside places, the photographs being fixed behind a minute magnifying glass in the handle of some little fancy article. Their production is comparatively easy, but the collodion process is the only one possible to use. It is obvious that it is nothing but the process of reduction carried out to a minute degree ; but as the focussing of so small a point is impossible, some large object must be photographed and the negative put in its place. Minim. See Weights and Measures. One of the essentials for carbon and all negatives are used. (See Reversed Mirror, Reversing. line work, unless film Negatives.) Mirror Silvering. As an amateur may desire to resilver a mirror or a copper reflector, the following recipes may be found useful : — For glass — Nitrate of silver Distilled water Nitrate of ammonia .. Distilled water Pure caustic potash , Distilled water No. I. No. 2. No. 3. No. 4. Pure sugar-candy Distilled water Dissolve and add Tartaric acid ... Boil in a flask for ten minutes, and when cool add Alcohol Distilled water to 175 grs. 10 ozs. 262 grs. 10 ozs. 437*5 g^. IO ozs. 210 grs. 5 ozs. 50 grs. 1 oz. 10 ozs. For use, mix Nos. 1 and 2 in equal parts. Mix Nos. 3 and 4 in equal parts. Mix the two solutions, and suspend the glass in it. DICTIONARY OF PHOTOGRAPHY. HQ f o silver copper or any metal it must first of all be cleaned with dilute acid to free from dirt, etc., then well washed, and one of the following applied : — Dissolve 60 grs. of nitrate of silver in 1 oz. of distilled water, and sufficient liq. ammonia to redissolve the precipitate first formed ; add to this solution 5 dim. of caustic potash solution and I drm. of glycerine ; apply to the metal ; add a few drops ol ether ; rub with a tuft of cotton-wool ; dry before the fire, and polish ; repeat as often as desired to brighten it. Or — Nitrate of silver 55 grs. Liq. ammonia 60 „ Hyposulphite of soda 100 „ Prepared chalk 100 „ Distilled water 1,000 „ Mix, and apply with a flannel. Or — Nitrate of silver 60 grs. Cream of tartar ... ... ... ... 120 „ Salt 120 „ Cyanide of potash ... 60 „ Make into paste with water and chalk, and apply with a flannel. Monocular Vision. As the term implies, it is seeing with one eye only. It was formerly supposed by many eminent opticians and physicists that one eye only was employed in vision; but Wheatstone, to whom the great invention of the principle of the stereoscope was due, proved the fallacy of this. In monocular vision objects on the true optical axis line are distinctly seen, but other objects less so, although they are in the circle of vision, and in this particular the similarity of the lens and the human eye is very evident. Monocular vision can judge the direction, but not the distance of an object. Mountant. The substance used to make the print adhere to its mount. It is absolutely necessary that the mountant should be free from acidity, in order to prevent the destruction of the delicate image. There are several kinds in common use — viz., starch paste, arrowroot, gum, dextrine, india-rubber solution, liquid glue, and gelatine. Starch Mountant. Starch in powder 1 oz. ; mix into a cream with I oz. of water, and add to it, constantly stirring, ozs. of boiling water in which 20 grs. of common alum and 5 drops of 120 DICTIONARY OF PHOTOGRAPHY. carbolic acid have been dissolved. The mixture should be now a clear translucant jelly free from lumps ; if it is not, it should be gently heated in a dish or pan till it clears, constant stirring being an absolute necessity ; then it should be squeezed through fine muslin. Ordinary household flour makes a more adhesive paste, but is more liable to acidity. Both will keep fit for use about a week, after which they should be rejected. Arrowroot Mountant, called Permanent Paste. Dissolve by the aid of gentle heat Arrowroot .♦. l5ogrs. Gelatine 150 „ Distilled water ... 3 ozs. When cool, add Methylated spirit ... , 2\ drms. Carbolic acid 3 drops. Gum Solution, or Mucilage. Pale-coloured gum arabic in clean lumps, 4 ozs. ; distilled water, 8 ozs. Wash the gum by placing it in a half-pint cup or measure ; add half-pint of water ; stir briskly round twice or three times, and pour off the water: this carries off any dust or mechanical impurities. Now add the distilled water, and stir frequently at intervals till dissolved. It should be kept in bottles filled as full as possible, and the addition of a little carbolic or salicylic acid will help to preserve it. It will keep only about ten or fourteen days, and when made with hot water about half that time. Powdered gum arabic should never be used. Dextrine Solution. This is one of the nastiest of all mountants, and decidedly unsatisfactory. It can be made as follows : — Pure white dextrine I oz. Boiling distilled water 3 ozs. Methylated spirit £ oz. Stir till dissolved, and strain through calico. India-rubber Solution. Pure masticated rubber 80 grs. Chloroform or benzole 8 ozs. Shake till dissolved. Benzole is cheaper than chloroform, but the smell is rather unpleasant. DICTIONARY OF PHOTOGRAPHY. 121 Gelatine. This is the author's favourite mountant. It is less liable to change than any other medium, and if properly made is more convenient and easier of application. The print can be mounted whilst still damp, and it can be shifted about on the mount, or any excess of mountant wiped off, without leaving any trace on the mount, even the highly enamelled ones. The following is the most satisfactory method that the author has found : — Soft gelatine, 200 grs. ; soak in distilled water (6 ozs.) for an hour. Dissolve by the aid of a water bath, and add, in small quantities at a time, methylated spirit 2\ ozs., stirring constantly ; allow it to set. Should any spirit separate out, it should be remelted, and a little more water added. The product should be a pure milk-white firm jelly. A little carbolic acid may be added if desired. When required for use, melt by the aid of hot water or a water bath Liquid Glue. This is sometimes used, but as many different preparations are sold under this name, each sample should be tested for acidity, as some consist of gelatine dissolved in acetic acid, which would soon cause fading. Another kind which the author has used, but cannot highly recommend, is prepared by dissolving 120 grs. of shellac in 4 drms. of methylated spirit by the aid of heat. Lately some adhesive mounts have been intro- duced into the market, which are rather convenient, although the author has found them rather liable to stick together at the edges ; but if any amateur is desirous of making these, the following directions given by the author in the Amateur Photographer will be of service : — Mix in a small glass, mortar, or measure 120 grs. of powdered tragacanth with 6 drms of rectified or methy- lated spirit, and having put 9 ozs. of water into a pint bottle — or an old pyro bottle will do — pour the mixed tragacanth and spirit quickly into the water ; shake for a few minutes, and allow it to stand for twelve hours, shaking it occasionally, and at the end of the time there will be sufficient mucilage of tragacanth to coat 100 to 200 mounts. All that is necessary to do is to give the mounts a good thick coating with a brush, allow it to dry, and giving them a second coat. The mounts will curl up, but they can be easily straightened when dry. Mounting is the operation of causing prints to adhere to some substance, such as card, cloth, wood, or glass, either for ornament or the. better protection of the print itself. As the 122 DICTIONARY OF PHOTOGRAPHY. DICTIONARY OF PHOTOGRAPHY. I2 3 mounting of a print is in many cases the making of it, great attention should be paid by amateurs to this subject. The following points should be chiefly regarded : — The mount should be of a suitable colour and size, and sufficient margin should be allowed, no excessive ornamental lines, and the print should be accurately in the centre of its mount. As the difficulty of placing prints equidistant from the margin is one likely to be met with by every amateur, the following hints may be found useful : — After applying the mountant, lay the print face downwards upon a mount exactly similar to that upon which it is desired to mount the print, shift the print about till it is exactly in the centre ; now lay on the top of the print another mount exactly the same size, making the edges of the two mounts coincide ; rub the hand gently over the top mount, when it may be lifted up with the print in situ. Another inge- nious method, which is recommended by Mr. T. C. Hepworth, is as follows : — Procure a piece of stout cardboard — a mount will do — 22 by 15 ; draw diagonals from corner to corner, AC, bd, in sketch, cutting each other in centre, and on these lines rectangular figures of the usual dimensions of the trimmed prints. For instance, the smallest may be 4 by 3 or 3 by 3, the next 4J by 3J, 5 by 4, 6 by 4, 6 by 5, 7 by 5^, and so on. When it is desired to mount a print, place it face downwards upon this gauge, when it will be found that it will coincide with certain of the lines ; note the number of figure, remove the print, apply the mountant, and replace upon the lines it covered before, and place upon it the mount which will be found to coincide with some other set of lines; proceed as in the above case, and lift the mount and its adhering print ; use further pressure, and roll or burnish. A very convenient little instrument for those who do not possess either a burnishing or rolling machine is an india-rubber roller squeegee, same as used by printers, which will cause absolute contact between the prints and their mounts. For those who possess a copying press, sheets of zinc or tin may be placed between the mounted prints, and great pressure applied in the ordinary way ; whereas those whose household appurtenances include a clothes wringing machine with india-rubber rollers, may, if allowed, use these ; or the bevelled edge of the cutting glass drawn carefully over the print with some pressure will do all that is required. For mount- ing prints in optical contact with glass the following method 124 DICTIONARY OF PHOTOGRAPHY. answers well : — Make a solution of gelatine (Nelson's X opaque), 20 grs. to every ounce of water, and whilst still warm immerse the print face downwards in it ; place the glass in it, and after a few seconds bring them into intimate contact and withdraw from solution, and squeegee thoroughly, and allow to dry. To mount prints which have an extremely glossy surface, like Aristotype, etc., when it is desired to retain the high gloss which cannot be done by mounting in the usual way, squeegee the print on to an old negative glass, or cutting shape, or ferrotype plate, and when nearly dry coat the back with the mountant, and apply to the mount ; use the squeegee vigorously, and when dry the glass may be stripped off, leaving the print in all its beauty upon the mount. Muriate of Ammonia. See Ammonium Chloride. Muriatic Acid. See Hydrochloric Acid. Negative is the term applied to the image in which the lights and shades are reversed. These can be made by direct action of light in the camera, or by printing in a frame from a positive. Negative Storing. To the amateur whose work is frequent and successful the stock of negatives soon becomes considerable, and the question of storage a bugbear. Many use the grooved negative boxes, but while these are convenient their bulk is a great objection. The best plan is to use paper negative bags, on which can be written the subject, date, and duration of exposure, aperture of diaphragm, mode of development, and any other remarks which may be considered necessary. The negatives in the bags can then be packed close together in boxes not grooved, and they will take up about one fourth of the grooved boxes. An index can be kept of them, and a list can be pasted inside the lid of each box for further reference. Non-actinic Kays. See Spectrum. Obernetter's Process, or Lichtltupferdruck. A mechanical printing process of very ingenious idea and of extremely pleasing and artistic results. The metallic image of silver of a gelatine positive is converted into chloride of silver, and the film is then stripped and applied to the surface of a copper plate, and, under the influence of a voltaic current, the silver chloride is decom- posed, and the chlorine unites with the copper and etches it to a greater or less degree, according to the depth of deposit of silver chloride. The result is a grained intaglio plate of extreme DICTIONARY OF PHOTOGRAPHY. delicacy and beauty, which is inked and printed from the same as any ordinary etching. Objective. A term sometimes applied to the lens. Oil. A term applied to many substances, few of which have any photographic interest. The subject is introduced here, however, for the purpose of giving some hints upon the oiling of paper negatives. Many substances are used for this purpose, as castor oil, vaseline, vaseline oil, white wax, etc., but the author has found the following substitute extremely useful and cleanly in use : — Gum juniper ... ... 6ogrs. ft mastic... ... . .. ••• 3^ t> Canada balsam I drm. Sandarac 60 grs. Essential oil of camphor s ... 2 ozs. Mix the gums and balsam, and heat in a water bath ; add the oil of camphor ; stir frequently till dissolved ; apply with a tuft of cotton-wool whilst warm, and when cold polish off superfluous solution with clean wool, and hang up in warm room to dry, or pass a hot iron over it between sheets of blotting paper. Oil Paintings, to Copy. See Copying. Opacity. See Density. Opalotype. A term applied to pictures on opal glass. They can be made by coating opal glass with a plain gelatino-bromide emulsion, or by using a printing-out emulsion. The exposure and development are the same as for bromide paper. Either polished or ground opal glass may be used, the latter giving very pleasing pictures of a matt surface. Another method of obtaining pictures by the printing-out process is by the use of a collodio-chloride emulsion, which may be made as follows : — No. I. Silver nitrate ... 31 grs. Methylated alcohol 28 drms. Dissolve by the aid of heat immediately before using. No. 2. Strontium chloride 31 grs. Methylated alcohol 28 drms. 126 DICTIONARY OF PHOTOGRAPHY. No. 3. Citric acid 31 grs. Methylated alcohol ... ... 28 drms. No. 4. Pyroxyline or celloidin 62 grs. Methylated alcohol 28 drms. „ ether 28 „ To make the emulsion Take of No. 2 ... -## l5omins. „ No. 3 ... 150 „ „ No. 4 ... . 28 drms. Mix, and add gradually, with constant agitation, No. 1 75 mins. Give the plates an edging of albumen or india-rubber solution a quarter of an inch broad, and, after coating, allow them to dry thoroughly. The prints should be washed, toned, and fixed in the same way as ordinary silver prints, or the sulpho-cyanide toning bath may be used with better effect. (See Toning.) As it is necessary to examine the opal during the operation of printing, it is obvious that some arrangement must be made for replacing it in exactly the same position. Printing frames may be obtained commercially specially adapted for this work, but an ordinary printing frame may be utilised in the following manner : — Replace the hinged back by a solid piece of wood T V of an inch less in thickness ; coat the inside of this back with a composition of gelatine made as follows : — Gelatine (Nelson's X opaque) I oz. Water 4 ozs. Glycerine 2 „ Soak the gelatine in water, and dissolve by the aid of heat ; add the glycerine last. The opals will adhere to this on being damped, or a thick india-rubber solution, with a little castor oil added, may be used : — Pure masticated rubber 4° g rs - Castor oil 10 drops. Benzole 1 oz. A small spot of this at each corner will cause the opal to DICTIONARY OF PHOTOGRAPHY. 127 adhere firmly to the wood. To keep the negative in position, a screw may be driven through one end of the printing frame, and the point of the screw cut off ; a groove cut in it in which to fit the negative. To the back affix three or four small tongues or metal pierced with holes, which holes may drop over pins driven into the sides of frame, or the back may be permanently fixed by a hinge to one end of the frame. Optical Centre. In every lens exists a point situated in its principal axis, any incident ray passing through which point does not suffer deviation; this is termed the optical centre. V None but single lenses have true optical centres, but the optical centre may be approximately found in an achromatic combina- tion by considering it as a single lens. To find the optical centre of a lens draw a line to represent the principal axis, aca' ; then from the centres of curvature draw two radii, ab and a'b', parallel to one another, but oblique to the central axis ; then join their extremities, b, b', and the point c at which the principal axis is cut by this line is the optical centre. To find the optical centre of a meniscus lens prolong bb' till it meets the principal axis ; the optical centre of plano-concave and plano-convex lenses is found by the intersection of the spherical surfaces by the principal axis. Optical Lantern. See Magic Lantern. Optics. That branch of science relating to the nature and laws of vision. The subject is too comprehensive to treat here. For further study the amateur is referred to Glazebrook's " Physical Optics." Orange Light. Actinic light filtered through any it 1 DICTIONARY OF PHOTOGRAPHY. which absorbs all but the orange rays. It is frequently used for the illumination of the dark-room, and is perfectly safe if not too brilliant. Orthographic and Orthoscopies. Two fanciful titles given to certain classes of lenses. Osmose. The action that takes place when two liquids of differing densities are separated by a permeable medium. (See Dialyser.) Over-exposure is the undue prolongation of the exposure of the sensitive surface, and, as the author has endeavoured to show, the ill effects can be corrected by careful development. The effect of over-exposure on the sensitive surface is that the image starts up quickly, and the plate shows signs of Fogging (g.v.) before proper density is obtained, the resulting negative being thin, but full of detail. Oxalate Developer. See Developer. Ox-gall. The fresh gall of the ox, Fel bovis, purified, and evaporated to a suitable consistency. It is used photographically to make water-colours take to the surface of albumenised prints. It should be obtained from a chemist's, and in this state is a sticky, rather offensive-smelling mass. It is soluble in water and spirit, and can be dissolved in either, or, preferably, a mix- ture of both, and applied to surface of print with camel's-hair pencil. Oxygen. O — 16. A gaseous element at ordinary tempera- tures, forming $ by weight of water, and f f of the air ; it is about the most abundant element known, entering into the composition of all animal and vegetable tissues, and about half the weight of the solid earth. It is used in the oxy-hydrogen light, and is usually prepared by heating a mixture of chlorate of potash and black oxide of manganese. Oxy-Hydrogen, and Oxy-Calcium or Drummond's Light. Both are so much alike that but one description is required. A cylinder or ball of lime is placed in the focus of a parabolic mirror, and a lighted jet of oxygen and hydrogen or coal gas is directed upon it. The lime burns with an exceedingly intense flame, which can be seen at night in hazy weather a distance of sixty miles, and in clear weather over a hundred miles. The DICTIONARY OF PHOTOGRAPHY. I29 oxy-calcium light differs but slightly, the flame of a spirit-lamp being used instead of hydrogen. (For further particulars see T. C. Hepworth's articles on the " Optical Lantern," in Amateur Photographer?) Packing Plates. Several methods are employed by commer- cial firms to preserve dry plates from accidental injury and fracture whilst travelling, but the best method is that practised by a well-known London firm, whose method is as follows : — Absolutely pure tissue paper is cut the exact width of the plate, but sufficiently long to enclose five or six plates; stout card cases, just a shade larger than the plate, and a strip of non-actinic paper, are placed lengthwise in the box, with free ends projecting ; then a sheet, or the commencement of a sheet, of tissue paper ; a plate is laid face downwards, and the tissue paper folded over the back of it ; then another plate is laid face downwards on the tissue paper, and this is continued till the case is full, when the free ends of the non-actinic paper are folded over ; the whole is then wrapped in black paper, slipped into another case, and that into the outer box. By alternating the plates and paper in this manner, any number of plates may be safely carried by road Or rail without any fear of fracture. As some amateurs may desire to travel abroad — and the Custom-house officer is their bugbear — the following labels may be useful :— English. — Photographic dry plates. To be opened only in ruby light. French. — Plaques seches photographiques. A ouvrir seule- ment avec eclairage couleur rubis. Italian. — Lustre da seccare fotografiche. Da aprire solamente con illuminazione colore di rubino. German. — Photographische Trocken platten. Nur bei dunkel- rother Beleuchtung zu offnen. Spanish. — Plauchas secas para fotografia abrase el paquete en un cuarto oscuro y a la luz rubi. Swedish. — Ljuskaushga fotografiska platar, blivfa forstorda om de uttsattas for ljus. Fas derfore ej oppuas utom i ett absolut morkt rum. Or the two following, in French and German, are a little more explicit : — French. — Plaques photographiques sensibles. Abimees par 9 13° DICTIONARY OF PHOTOGRAPHY. exposition a la lumiere. Prendre garde de n'ouvrir la boite que dans une chambre parfaitement obscure. German. — Photographische Trocken Platten, werden verdor- ben in dem Lichte ausgesetzt. Miissen also nur in einem absolut dunkeln Zimmer geoffnet werden. Palladium. Pd = 106. A metallic element sometimes found native in the pure state, and frequently mixed with platinum, which it much resembles. It has been recommended for toning transpar- encies and enamels in the form of chloride, but its use is limited. Panel. The style of a commercial photograph, size about 4 by 8J ins. Paper, Albumenised. See Albumenised Paper. Paper, Sensitised. See Sensitised Paper. Paper, Plain or Matt-surfaced. See Sensitised Paper. Papyrotype, or Papyrography. A modification of photo- lithography, in which paper is used as the support, instead of a stone or metal plate. Parabola is the curve described by a moving point, which is always at the same distance from a fixed line, its directrix, that it is from a fixed point, its focus. The chief use in photography of the parabola is in the construction of mirrors or reflectors for Artificial Light (q.v.) } from the fact that the rays of a light placed in the focus of a parabolic mirror will be reflected in parallel rays. Paste. See Mountant. Paste, Encaustic. See Encaustic Paste. Pearlash. A synonym for impure Potassium Carbonate (g.v.). Pellet's Process. See Cyanotype. Pellicle. Literally a thin skin or film, and in this sense applied to the emulsion when the solvents have evaporated. Pellicular films were introduced many years back, and were one of the first adaptations of gelatine to photography. Pencil of Light. A term applied to the rays of light pro- ceeding from any luminous body. When the obj^Jt is near, the pencil or rays of light are divergent; when the object is very distant, the pencils may be considered parallel. A pencil the rays of which lessen as it proceeds is said to be convergent. DICTIONARY OF PHOTOGRAPHY. Perspective is the art of representing solid bodies on a plane surface. It is divided into two branches — linear perspective, which shows the apparent forms of objects by their prospective outlines ; and aerial perspective, which distinguishes the distance of objects by the relative brilliancy of their colour. The subject is much too comprehensive to treat here. The amateur who desires to learn the rules of perspective must refer to some of the manuals on this subject. Phosphorus. P=3I. A non-metallic element widely dis- tributed throughout the animal and vegetable kingdoms, but never occurring in the free state. It is insoluble in water, soluble in ether, chloroform, benzine, turpentine, and other oils, and bisulphide of carbon. It is prepared from bone-ash and other phosphates by treatment with sulphuric acid and sublima- tion with charcoal and sand. It has but little interest photo- graphically, phosphoric acid, a compound, being but rarely used. Photo-Engraving. Numerous processes are in every-day use, in the best of which the action of light upon a bituminous film is taken advantage of. As these processes are hardly within the scope of the general run of amateurs, no further mention will be made. The best handbook on the subject is W. T. Wilkin- son's " Photo-Mechanical Processes." Photography is the art of obtaining the representation of objects by the agency of light upon sensitive substances. The following is a short history of the rise and progress of the art : — In the sixteenth century Baptista Porta, a Neapolitan, invented the Camera Obscura (g.v.), and this was used to obtain sketches by hand of the objects projected by the lens. In 1777 Scheele, the great chemist, discovered the important fact that chloride of silver blackened in sunlight, the chief action lying in the violet end of the spectrum. In 1802 Thomas Wedgwood, son of the famous potter, published in the " Journal of the Royal Institu- tion " an account of a method of copying paintings on glass, and of making profiles by the agency of light upon nitrate of silver. In the experiments which are thus described he was assisted by Sir Humphrey Davy. They managed to obtain images upon paper and white leather by means of the solar microscope, but were unable to fix them ; therefore the image was soon obliterated by the darkening of the whole surface. In 18 14 Nicephore de 132 DICTIONARY OF PHOTOGRAPHY. Niepce commenced a series of experiments, but although he managed to obtain images upon a bituminous film, the process was impracticable for ordinary purposes, from the inordinate exposure (several hours) which was required. He then, in partnership with Daguerre, carried on his experiments ; but it was not until 1839, SIX years after Niepce's death, that Daguerre communicated to the Academie des Sciences at Paris the process so well known as Daguerreotype. Early in 1839 Fox Talbot, previous to Daguerre's communication, announced to the Royal Society a method of "photogenic drawing," in which pictures were produced upon paper prepared with chloride of silver. Fox Talbot effected the fixation of these pictures by saturated solutions of chloride of sodium and bromide of potassium. The use of hyposulphite of soda, however, soon became general, Sir Humphrey Davy having, in 1821, published the action of this salt upon the salts of silver. In 1841 Fox Talbot patented his process called Talbotype or Calotype (g.v.). To the Rev. J. B. Reade is due the credit of first recommending a developer, although Fox Talbot was the first to use a restrainer. Up to this point paper negatives alone were in use; but in 1848 a cousin of the original Niepce, M. Niepce de St. Victor, proposed the use of albumen on glass as a vehicle for the sensitive salts of silver. These plates, however, were very insensitive, and numerous substances, such as starch, gelatine, gum, etc., were proposed; none, however, were successful. In 185 1 Le Gray, of Paris, and Scott Archer, of London, proposed the use of collodion, the latter publishing such a complete description of the wet collodion process that but little improvement has ever been effected. A great disadvantage, however, of this process was the necessity of exposing the film whilst wet, necessitating the use of bulky and heavy impedimenta for the landscape photographer in the shape of dark tent, etc. It was then dis- covered that the application of certain organic substances to the washed film would allow of the plates being used in the dry state. In 1862 Major Russell discovered the use of alkaline pyrogallol as a developer, and his accidental discovery of the restraining power of the soluble bromides gave the first impetus to the manufacture of bromide of silver films, which could be exposed dry. In 1864 Messrs. Sayce and Bolton described the process of collodion emulsion making, which was poured upon DICTIONARY OF PHOTOGRAPHY. 133 glass plates, and then washed to free from inert salts. In 1874 it was discovered that the emulsion might be washed previous to use, and it 1871 Dr. R. L. Maddox published the first notice of a gelatine emulsion, and from that, in 1878, Mr. Charles Bennett discovered the capabilities of the process and power of increasing the sensitiveness by digestion at high temperatures. Since then the process has been most rapid, the ammonia pro- cess becoming known, and rapid films and plates being of every- day occurrence. During the last few years film photography has become quite a standard process, and increased active inventive- ness upon the part of commercial firms has improved these till but little improvement seems necessary. Of the application of photography in every-day life it would be almost impossible to treat ; the various mechanical printing methods, the use of photography for supplying pictures for illustrated papers, cata- logues, price lists, etc., are too well known to need any descrip- tion. Its use in astronomy for making charts of the celestial bodies, in the interests of justice for the detection of criminals, for the purposes of experimental warfare, and as an assistant in scientific research, for sounding the depths of the sea, and for pathological study in medicine, seems almost unlimited. Photo -Lithography. One of the most important of all photo-mechanical methods in which a print is obtained from a negative and transferred to a lithographic stone, and printed from in the ordinary way. Photometer. Literally a measurer of light. It has lately been much recommended for calculating the exposure for the sensitive plates ; but as the action of these is solely to measure the visual rays, and as the latent image is imprinted on the plate by the chemical and not the visual rays, it is obviously unfair to judge of the exposure to the one by the intensity of the other. Phototype. A mechanical printing process in which a gelatine film itself is used to print from. Pinhole Photography. Of late years the possibility of taking passable negatives without the use of an ordinary camera and lens has become an established fact. For this purpose any rectangular box which is absolutely light-tight will do. In one end make a minute hole with the point of a needle, and at the i34 DICTIONARY OF PHOTOGRAPHY. other end place the sensitive plate, keeping it in its place by means of a clip or other simple arrangement. A prolonged exposure is required, about twenty or thirty times the ordinary one for any given subject. No focussing is required, as the image is always fairly sharp, no matter what distance the plate is from the hole. The larger the plate the wider the angle, and the greater the distance the larger the image. As an experiment, it should be tried by every amateur, as the materials are always at his command in the shape of an empty plate-box. Pinholes. Minute transparent spots making their appear- ance on the plate in the fixing bath. They are chiefly due to air bubbles, or particles of dust adhering to the film whilst in the developer, and thus preventing the action of the developer on the film at these spots. To obviate these the film should be brushed with a soft camel's-hair brush whilst in the developer, but where pinholes are in existence recourse must be had to retouching or painting them out with some non-actinic colour. Pizzighelli's New Printing-out Process. This is a decided advance upon any other process, and will no doubt in time com- pletely oust the old process. No patents restrict the use of it, and the preparation is comparatively easy. Rives or Saxe paper may be used, either glossy or with matt surface. The following solutions are required : — No. i Solution, Gum Arabic Gum arabic (finest white lumps) 770 grs. Distilled water 27 drms. No. 2 Solution, Arrowroot. Arrowroot 30 grs. Distilled water 27 drms. Mix the arrowroot into a paste with a little water, add to the remainder of distilled water whilst boiling, and keep the tempera- ture up for five or ten minutes. No. 1 solution gives the best effects. No. 3 Solution, Ammonia Ferric Oxalate. Ferric oxalate 3°8 g rs - Oxalic acid ... ... 8 „ Ammonium oxalate 288 or 308 „ Distilled water 27 drms. DICTIONARY OF PHOTOGRAPHY. 135 No. 4 Solution, Sodium Ferric Oxalate, Ferric oxalate 308 grs. Oxalic acid 8 „ Sodium oxalate 230 to 290 M Distilled water 27 drms The exact amount of sodium or ammonium oxalate to use is found by the formation of a brilliant emerald green colour turning slightly darker as more of the salt is added. The addi- tion of the salt must be stopped at this stage. After shaking slightly, filter the solutions and preserve from actinic light. No. 5, Sensitising Liquid. Solution of chloro-platinite of potash (1 in 6) 408 minims. No. 1 391 „ »» n 3 ••• ••• ••• ••• 374 tt Or No. 6. Solution of chloro-platinite of potash (1 in 6) 408 minims. No. 4 374 „ t t if 1 ... r.. ••• ••• 39* »» Or No. 7. Chloro-platinite of potash 24 grs. Sodium oxalate 24 „ Ferric oxalate 31 M Oxalic acid 3 M Gum arabic 52 „ Distilled water, to make 480 minims. The mixtures are well stirred, filtered through muslin, and kept from actinic light. No. 5 gives bluish black, No. 6 brownish black tones. The coating, drying, and storing of the paper are precisely the same as for the original process patented by Willis. Chlorate of potash may be added in the same way, to increase contrast. About 90 minims of sensitising liquid are required for a sheet 10 by 8. The printing may be carried on until the image has appeared in all its parts, and should be no darker when printed than required. When finished, the print is washed in acidified water, as recommended for the old process, and finished in the ordinary way. A second method of printing is to print till the general details are out, but all the half-tones 136 DICTIONARY OF PHOTOGRAPHY. are wanting. The print is then taken from the frame and put on one side, when the action set up by the light continues, and in from a half to two hours the print is finished, and can be treated as above in acidified water, or the incomplete picture may be developed upon a cold dilute solution of carbonate of soda of the following strength : — Carbonate of soda 38 grs. Distilled water 27 drms. Immerse the print in this till sufficiently developed. A third method of printing is to expose till only the principal details are visible, and develop, as in the old process, upon a hot solution of potassium oxalate. The author has lately seen some specimens of prints on this paper, and has no hesitation in saying that they are the finest productions of photography he has ever seen. Platinotype. This process was first invented by Mr. W. Willis, and the right for the sale of the paper and materials for making it rests solely in a company formed by him. The basis on which this process is founded is the reduction of ferric oxalate by the action of light into ferrous oxalate, and the reduction of a platinum salt by the ferrous oxalate to the metallic state, when wetted with a suitable agent. The following is stated by Berkely to be the action that takes place : — Fe^C/)^ = 2FeC 2 0 4 2C0 2 Ferric oxalate = Ferrous oxalate + Carbonic acid gas 6Fe(C 2 0 4 )+ 3K 2 PtCl 4 = 2Fe(C 2 0 4 ) 3 + Fe 2 Cl6 Ferrous Chloro-platinite _ Ferric Ferric oxalate of potassium "~ oxalate "*~ chloride + 6KC1 4- 3Pt + Potassium -f Platinum, chloride The following are concise directions for the process : — Paper of good strong quality, even in texture and white in colour, should be chosen, and may be sized in one of the following baths : — Soak 150 grs. of Nelson's X opaque gelatine in 30 ozs. of water for half an hour, and heat in a water bath at a temperature of 140 0 F. to dissolve it. Add 45 grs. of powdered alum and 7 ozs. methylated spirit, filter through muslin, and put in large flat dish. Thoroughly immerse the paper bodily in this solution, DICTIONARY OF PHOTOGRAPHY. *37 taking care to break all adherent bubbles ; the paper should be allowed to soak for three minutes, and then hung up by clips to dry. The drying should be as rapid as possible, and a second bath for the same time should be given, and the paper hung up by the opposite corners. A sizing of gelatine tends to a bluish black tone ; arrowroot and starch to a brownish tinge. If arrow- root or starch are used, the following bath may be prepared : — Rub 150 grs. of arrowroot or pure starch powder into a cream with a little water, and then pour gradually and with constant stirring into 30 ozs. of boiling water, and boil for ten minutes, and then add 7 ozs. methylated spirit, and allow to cool. The following are Pizzighelli and Hubl's formulae for sensitising the paper : — Solution of Ferric Oxalate. Ferric oxalate 1 20 grs. Distilled water 1 oz. Oxalic acid 8 grs. No actinic light must be allowed to gain access to this solution, or the ferric will be reduced to ferrous salt. Solution for Increasing Contrast. Solution of ferric oxalate ... I oz. Chlorate of potash 2 grs. The same care must be exercised in the keeping of this as of the former solution. Solution of Chloro-Platinite of Potassium. Chloro-platinite of potassium 80 grs. Distilled water I oz. Sensitising Solutions. No. 1. Sol. chloro-plat. of potassium 24 drms. f , ferric oxalate 22 n Distilled water 4 n A normal solution, working well and giving deep blacks. No. 2. Sol. chloro-plat. potass # 24 drms, „ ferric oxalate ... ... ... ... 18 „ DICTIONARY OF PHOTOGRAPHY. Sol. chlorate potash (contrast solution) ... 4 drms. Distilled water # 4 „ This gives brilliant prints. No. 3. Sol. chloro-plat. potass 24 drms. „ pot. chlor. (contrast solution) ... 4 „ Distilled water 4 „ This is a solution for weak negatives. Chloro-platinite of potash when obtained commercially should be tested as follows : — (1) 1 drm. of the salt should be soluble in 6 drms. of dis- tilled water. (2) The solution- should not be acid. This solution will keep unaltered by light for an almost indefinite period. Very feeble light must be used for coating the paper. To keep the paper flat whilst coating, the edges should be turned under- neath a plate of glass placed upon a table ; for larger pieces the paper can be easily clipped to glass plate by wooden clips, or it can be pinned at the corners by drawing pins. For coating a sheet of paper 8 by 10 ins., 30 minims of sensitiser are required, which should be poured into the middle of paper and spread over the surface with a uniform circular motion by means of a pad composed of a tuft of cotton-wool enclosed in a piece of fine washed muslin. The rubbing should be continued gently for at least three or four minutes. As soon as coated, the sheet should be hung up by two corners to dry, and as soon as the surface moisture has disappeared, the paper should be carefully and quickly dried over a gas burner, or before a stove or fire. The whole success of the process lies in this stage — the drying of the paper ; the paper must be absolutely dry This point is known from the change in colour from lemon to an orange colour, and by the crackle of the paper. Care should be taken not to scorch the paper, or fog will be the result. Between the coating and drying about five minutes must be allowed to elapse in summer and eight or nine minutes in winter. The exposure required for the paper is about one-third of that required for a silver print from the same negative. Absolute dryness, both in the keeping before, during, and after exposure is a sine qua non ; the slightest trace of moisture immediately renders the paper useless. It should be stored in tubes in which chloride of calcium (anhydrous) is kept to absorb the moisture. DICTIONARY OF PHOTOGRAPHY. The image on the paper is but faintly visible, and requires a developer to bring it out in all its beauty. This is made as follows : — Oxalate of potash 130 grs. Distilled water 1 oz. This solution may be kept as a stock solution, and when required for use must be heated to a temperature of 170 degs. to 180 degs. F. Development is effected by passing the print face downwards over the surface of the solution and allowing it to remain for two or three seconds, and the developed print should be passed at once into a bath of hydrochloric acid 1 oz., water 60 ozs. ; allowed to remain for ten minutes ; it should be then passed into another bath for the same period, and lastly into a third ; it can be then washed, dried, and mounted in the usual way. The developing solution may be used over and over again. For over-exposed prints solution at 100 degs. F. can be used I for under-exposed over 180 degs. F. may be used with advantage. Warm Tones with Platinum Prints. The Platinotype Com- pany issue a paper which gives a sepia tinge, which perhaps owes its colour to mercuric and cupric chlorides. The addition of a few drops of solution of these chlorides to the developer materially alters the colour of the image. Warmer tones may be obtained by the following process. The following solutions are required : — Solution No. 1. Oxalate of potash 463 grs. Oxalic acid 15 ,, Distilled water 27 drms. Dissolve and add Solution No. 2 3 drms. Shake thoroughly, and leave; if crystals form, they are of no consequence. Solution No. 2. A. Chloride of calcium, crystal ... ... 147 grs. Distilled water 2 drms. 140 DICTIONARY OF PHOTOGRAPHY. Dissolve. B. Sulphate of copper, crystal ... ... 249 grs. Distilled water 10 drms. Dissolve. Mix A and B, filter, and label "Cupric Chloride Solu- tion, No. 2." Put solution No. 1 into an iron enamelled dish, and heat to 180 0 F., then develop the prints as usual; wash in acidified water (the tint can be altered by raising or lowering the temperature). Prints that are already developed may be treated in the same way. After washing, the prints are soaked for a short time in a 5 per cent, solution of ferrous sulphate, acidulated with a drop or two of sulphuric acid, then rinsed in acidified water and dried. It has hitherto been supposed that any of the paper which has become old and discoloured through damp or improper keeping was useless, but the following is ' an interesting and a useful experiment, which may be performed by any worker in platino- type who has some old sensitised paper in his possession. Expose in the ordinary manner about the same time as for a silver print, and prepare the following developer : — Carbonate of soda r 480 grs. Distilled water 4 ozs. Alum ... ... ... ... ... 1 2 grs. Dissolve the soda salt in half the water and the alum in the remainder, mix the two solutions, and shake thoroughly. Do not filter. The exposed prints are placed face downwards upon this cold solution in a dish, and left in contact for ten or fifteen seconds ; then withdraw the print, and watch the development. When the image is dense enough, plunge at once into an acidified bath, as in the former process. Willis's New Process — described by him at the Camera Club Conference, in 1888 — is said to be a great improvement upon the old process. By the new process several advantages are obtained, a greater transparency in the shadows, cold development, tenta- tive development, shorter exposure, easy variation in the tone. The following is a short resume of the process. A solution of ferric oxalate is prepared as follows : — DICTIONARY OF PHOTOGRAPHY. Ferric oxalate 480 grs. Oxalic acid 32 „ Mercuric chloride 5 „ Distilled water 4 ozs. This solution must be kept from actinic light. Paper is coated with this solution, about 50 minims being used for each square foot of paper, dried and exposed under a negative in the ordinary way, when a faint image will show; the paper may be kept between exposure and development four or five days without deterioration. The prints are developed upon a cold solution of oxalate of potash, varying in strength from 30 grs. to 120 grs. per oz., and the developer should contain about 9 grs. of chloro-platinite of potash to the ounce. When the greater strengths of oxalate are used, cold tones are obtained with the weaker warmer tones. A good average developer is made as follows : — Oxalate of potash 50 grs. Chloro-platinite of potash 9 „ Distilled water 1 oz. As the mixed developer soon decomposes, a good method is to keep stock solutions of both salts, and mix as required. Many methods may be adopted for developing the prints by floating in the ordinary way, or, as specially recommended, by simply wetting the print thoroughly with the developer and then watching the development, and as soon as the right depth is obtained stopping the same by the usual acid bath, or a camel's- hair brush may be used to brush the developer over, or if one part shows too vigorous it can be locally stopped by applying the acid bath to that part with a brush. The prints are fixed, washed, and dried in the usual way. Further experiments with this process have proved extremely disappointing. Platinum. Pt=i98. This metal occurs usually in the free state, the chief source of supply being Mexico, Brazil, and Siberia. It is a silvery white metal, having specific gravity 21*5. When in an extremely fine state of division, it is absolutely black, and is one of the most permanent and immutable of all metals. It is tolerably hard, very difficult of fusion, not dissolved by 142 DICTIONARY OF PHOTOGRAPHY. hydrochloric, nitric, or sulphuric acid, and only slightly acted upon by some alkaline substances. Platinum, Per Chloride of. PtCl 4 =34o. Synonyms: Bichlo- ride of Platinum, Platinic Chloride. This salt is prepared by dissolving metallic platinum in aqua regia. It occurs in small brownish red masses extremely deliquescent, forming a deep orange or brownish orange solution. Pneumatic Holder. A convenient little apparatus for holding plates for the purpose of coating them, used chiefly in the old collodion days, the principle relying upon the pressure of the atmosphere to keep the plate in its position on the holder, due to the india-rubber ball being partially exhausted of air. Poisons. Some of the chemicals used in photographic pro- cesses are poisonous when taken internally or when absorbed through the skin. The table on p. 143 will be of some assistance on that point. Fluoric acid when applied to the skin, even in a dilute state, causes painful ulcers, and 1 in 80 can also cause irritation and tenderness. Bichromate of potash and cyanide of potash, when applied to cuts, wounds, and abrasions and absorbed, cause, the first painful sores, the latter death. Porcelain Pictures. See Enamels and Opalotypes* Portrait Lens. See Lens. Portraiture. The portrayal of the features of those with whom they are in daily contact may be said to be the summit of ambition of many amateurs, and as a rule it is their weakest point, and naturally the stronghold of the professional. So many happy possessors of a camera consider that all they have to do is to stick their sitter down somewhere near a strong light, tell this much-to-be-pitied individual, after he or she has become thoroughly worn out and tired of the whole thing from frequent changes of position and camera, this being wrong, and then something else requiring readjustment, to look pleasant — fancy looking pleasant when you wish the whole thing elsewhere ! — and then, after the usual operations, a first-class pleasing memento is expected to be the result. They expect in a few trials to reach the same standard that it has taken the professional DICTIONARY OF PHOTOGRAPHY. M Cfi >* a f?. p 2 2 ^ O 3 g s 8* fill i £ : p o n5 o-" Op p a- cr £ 2. g.f ; fx Q. J-t (5 (J O nww» S 3 5' 3 g. S 3" 3 9 o c -CO 3 3 2 5- 9* — p ~ EL 2 a5 3* £ T" rt* 3 .1 ^ T" 13 > o o p Cfq o o S. 5 3. 3 3 - - £ 2. " 2. c 2 3^ 2 w 3 S <-i ^ 3" ~» R -s 2 u> v> r-f in -Uii it! § II SS? ^| ; : | o " w . ~. a o a 3; o - w : 3; . 3^ g"L, P t> P J2 to ?t O Oq o 3 O 3 % 3 j? P) tt 1/1 3 P 3 crq hrl (D T3 e era JL. J cra • 3 3 £ 3 S 1 § * I W £ CD &. P ^3 3 III o ? nr ^ p p 2 . cr 144 DICTIONARY OF PHOTOGRAPHY. years of apprenticeship, hard work, and study to learn; and should their results be any but first class and pleasing, the blame is thrown on the lens, camera, light, sitter, the beastly bad plates, anywhere but on the right shoulders. Portraiture needs a keen appreciation of the value of light and shade, a good knowledge of what the lens will do, and considerable artistic skill and ability. It is impossible to give complete directions for the successful working of this branch of photography, but some few hints may perhaps be gleaned from the following article. Most amateurs possess one room better suited for portraiture than others, and the following short resume of the necessary qualifications will soon tell the amateur what room to use : — A room with a good-sized window, preferably facing the N.N.W., or N.E., with an uninterrupted view of sky, will be best; but even those with a good south light may turn out good work by careful manipulation and attention to all details. The Lens, The best, of course, is one made expressly for portraiture; but these really require an apprenticeship, as in the author's opinion they are the most difficult to use ; and next to that the class known as rapid rectilinear, especially the euryscope, which from their large aperture are equal, if not superior, to a portrait lens for an amateur. The lens should be of long focus, at least double the length of the picture to be pro- duced — viz., for cartes-de-visite, 7 J to 8 \ ins., and for cabinets 12 or 14 ins. Otherwise exaggerated effects of large hands and feet, and in the case of large heads noses unduly prominent, are seen. The author has in his possession a photograph of a group in which the front row of figures are sitting down, and their feet are all pointing towards the camera, and are so much exaggerated as to make it a photograph of boot soles, including one with a hole in it, with a background of figures tacked on, the feet being out of all proportion to the bodies to which they belong. The Camera. Almost any camera will do, but it must have a swing back (ff.v.). The Plates. These should be of the most rapid make, so as to shorten the exposure as much as possible. The Background should be as natural as possible, either the wall of a room, a screen, or a sheet of brown paper ; but in no case should the pattern be so pronounced as to become obtrusive, and so detract the eye from the principal object. The accessories DICTIONARY OF PHOTOGRAPHY. US or surroundings should also be subordinate to, and in correct keeping with, the figure. The pose or position of the sitter is the cream of the whole picture. Don't let your sitters throw themselves into what they are pleased to call a natural attitude ; as a rule, these are pre-eminently unsuited for good results. To take an ordinary room lighted by two windows as an example, the following sketch will show the proper position to obtain the best lighting : — a and B are two windows; b should be blocked out entirely, either by curtains, blinds, or shutters, and A should have the lower portion blocked out in the following manner : — Suppose the window be 6 ft. high, about 2 ft. at the bottom should be blocked out entirely by brown paper, the next 2 ft. should have muslin or tissue paper placed over them, and the top left bare and unshaded by any- thing. The softest and most harmonious lighting can be got by placing the sitter somewhere about s, and the camera placed about c or h, according whether profile or full face is requiied : for full lengths the camera will most likely have to be placed about E. It may be as well to state here that a very convenient sitter may be found in the clay images sold by itinerant Italians for a few pence, or any statuary maker will make a life-size head for a nominal sum. When obtained, the image should have the head deftly cut off, and filled with cement or plaster, in which a stout piece of copper wire, projecting about 6 ins., should be fixed whilst the cement is still moist ; the body should be served in the same way, an oiled stick being inserted in the cement in the place which the wire will enter, which can be easily found by putting the head with its projecting wire in position for a minute. This will enable the head to be moved freely about, and different effects of position and light and shade obtained. This sitter is a most uncomplaining and untiring one, human sitters objecting io 146 DICTIONARY OF PHOTOGRAPHY. to pose as models for more than half an hour at a stretch. It is necessary, no matter how good the light, to use a reflector, F, on the shadowed side of sitter, as in the camera this shadow is abnormally enhanced. For this purpose a white sheet thrown over a clothes-horse, chair, or any other convenient article may be used, or a mirror placed at some distance, and then only so as not to reflect into the eyes, may serve. Never use a cross light from a window on the opposite side of the room, unless the light from the same is much shielded by calico or other substance, as this will throw double shadows, and produce most curious and unlooked-for effects. A head-rest is also a useful article, if pro- perly used, to keep the necessary position. For what are called Rembrandt effects — t.e. t the portrayal of the shadowed side of the face — the camera in the above diagram should be placed about R, and the background and reflector removed altogether; but care must be taken to shade the lens from the direct light from the window by a shade or cone projecting in front of it. For outdoor portraiture but little need be said, as it is, as a rule, much easier than indoor, but not always more pleasing. For taking groups, the figures should be arranged as naturally as possible, not all staring at the camera, nor all in straight lines. For large groups the outside members should be a little in front of the plane of the centre ones, a good plan being to arrange them on the arc of a circle of which the lens may be considered the centre. With regard to lighting and posing but little can further be said; experience alone can teach what to do and what to avoid. But there is one other class of portraiture which cannot be passed over in silence, and that is baby portraiture, and such small fry. On this head the author can speak with some authority, as the plate manufacturers have benefited consid :rably by his experience in these matters, and it is now almost his universal practice to take children's portraits out of doors, or in a conserva- tory or greenhouse — these restless little beings generally posing themselves for the fractional part of a second, and as quickly altering the pose for some other equally short ; but where it is desired to take such portraits indoors the magnesium flash-light will be found extremely valuable. (For further information as to portraiture in general, lighting, posing, etc., the amateur is referred to H. P. Robinson's "The Studio, and what to do in it.") DICTIONARY OF PHOTOGRAPHY. 147 Positive. A reproduction of any object in which the lights and shades are represented as seen in nature, whether on glass or paper. It is the opposite to Negative (q.v.). Potassium Bichromate. K 2 Cr 2 0 7 = 295. Synonyms : Dichro- mate of Potash, Acid Chromate of Potash. Is prepared on a large scale from chrome iron ore. It is met with, commercially, as fine orange-red crystals, which give a very deep coloured solution. Solubility : 1 in 10 of water, 1 in 10 of alcohol. It is of great importance commercially, the fact of its being decom- posed by light when in contact with organic matter being taken advantage of. It is used for dyeing, and also for tanning hides, the action in this case being analogous to that in the carbon process. It is used, photographically, for nearly every photo- mechanical printing process. Potassium Bromide. KBr = 119. Prepared in white cubical crystals by acting on bromide of iron with carbonate of potash, or by the action of the metalloid itself with caustic potash, and subsequent purification and crystallisation. Solubility: 1 in 2 of water, 1 in 90 of rectified spirit. It is used as a Restrainer (q.v.) and in emulsion making. Potassium Carbonate. K 2 C0 3 = I36. Synonyms: Pearlash, Subcarbonate of Potash, Salt of Tartar, Salt of Wormwood, Potash. It contains nearly always about 16 per cent, of water of crystallisation, and is prepared by lixiviation and subsequent purification of the ashes of wood and vegetable matters. Solu- bility : 100 in 75 of water ; insoluble in alcohol and ether. It is extremely deliquescent — that is, absorbing moisture from the air, and becomes a pasty mass. It is used for developing, and for the preparation of the other salts of potash. It should not be confounded with the bicarbonate or acid carbonate of potash (KHCO3), which is a much less active salt. Potassium Cyanide. KCN = 65. Obtained by fusing ferro- cyanide of potassium with carbonate of potash ; the resulting fluid mass is poured out on slabs, and then broken up into the irregular masses met with in commerce. Solubility: 1 in 1 of water ; insoluble in absolute alcohol. It is used for reducing the density of negatives, and for fixing in the wet process. It is extremely poisonous when taken internally, and also when absorbed through the skin, or by any cut or abrasion. The 148 DICTIONARY OF PHOTOGRAPHY. addition of an acid immediately causes the evolution of hydro- cyanic or prussic acid gas, which is extremely poisonous, and when inhaled, even in small quantities, produces vertigo and headache. Potassium Ferrocyanide. K 4 FeC 6 N 6 3H 2 0 =422. Synonym : Yellow Prussiate of Potash. Is prepared by heating nitrogenous matter, such as hoofs, horns, hide clippings, etc., with pearlash and iron filings in an iron pot. The resulting mass is dissolved in water and evaporated, and the large yellow plates or crystals of the salt obtained. Solubility : 1 in 3 of water ; insoluble in alcohol. The salt is non-poisonous of itself ; but as a deadly poison can be easily prepared from it, care should be exercised in its use. It has been recommended by Professor Newton, of New York, as an addition to the carbonate developer ; and from researches on the subject, it has almost a unique effect on the negative ; it is a preventer of fog, giving a clear blackish image, and sparkle and brilliancy to the negative. There does not seem to be the slightest chemical combination between the sensitive haloid salts and this agent, but it has the same effect as the addition of a little bichromate of potash to the developer ; and from continued use and numerous experiments made by the author, it seems to be of real value in the developer. Potassium Ferridcyanide. K 4 Fe 2 (C 6 N 6 ) 2 = 658. Synonym: Red Prussiate of Potash. Made by passing chlorine gas into solution of ferrocyanide of potash, and crystallising the result- ing solution. Solubility : 1 in 3 of water ; sparingly soluble in alcohol. It is met with as deep red crystals. It is used for reducing, and in some printing processes. Potassium Iodide. KI = i66. Prepared by dissolving iodine in hot solution of caustic potash, evaporating and fusing the crystalline mass with charcoal, and subsequent lixiviation. Solu- bility: 4 in 3 of water, I in 16 of alcohol. Used for preparing emulsions. Potassium Metabisulphite. A salt of indefinite composition, lately introduced as a preservative of pyrogallol in solution. It is most likely prepared by super-saturating carbonate of potash with sulphurous acid gas, S0 2 . From a superficial analysis it appears to be chiefly the acid sulphite of potassium, KHS0 3 , with some KjSC^ S0 2 . It is also free from hyposulphite, but DICTIONARY OF PHOTOGRAPHY. 149 contains much sulphate. Solubility: about I in 2 of water; insoluble in alcohol. Potassium Nitrate. KN0 3 =ioi. Synonyms: Nitre, Salt- petre. Occurs naturally in many parts of India contaminated with nitrate of calcium. It is also made artificially by the process of Nitrification. It can also be made by adding chloride of potash to nitrate of sodium in solution. Solubility: I in 4; insoluble in alcohol. Potassium Nitrite. KN0 2 = 85. Can be made by heating nitrate of potassium, when oxygen is given off and the nitrite left. It is an extremely deliquescent salt, and but little use photographically, it being recommended for preparing the paper for Actinometers (g.v.). Potassium Oxalate. K 2 C0 4 =* 164. Synonym: Neutral Oxalate of Potash. Prepared by neutralising oxalic acid with carbonate of potash or caustic potash. Solubility : 1 in 4 of water ; slightly soluble in spirit. It is used for the production of ferrous oxalate, and as a developer in the platinotype process. A convenient method of making it is as follows: — Dissolve 13 ozs. of carbonate of potash in 30 ozs. of water, and add gradually about 9 ozs. of oxalic acid, till after boiling the solution is neutral to test paper. Filter and make the resulting solution measure 64 ozs., when a solution of oxalate of potash will be obtained 1 in 4. Potassium Permanganate. KMn0 4 =i58. Prepared by fusing together hydrate and chlorate of potash and black oxide of manganese, boiling the product thus obtained with water, and purifying and crystallising the product. Solubility : 1 in 16 of water ; insoluble in alcohol. It is used for intensifying negatives and as a test for hypo. Potassium Sulphide. K^O^K^^ Synonyms : Liver of Sulphur, Sulphurated Potash. Made by heating together sulphur and carbonate of potash, the resulting mass being poured out on slabs and broken up. It usually consists of one molecule of hyposulphite, K 2 S 2 0 3 , and two molecules of sulphide, K 2 S 3 . Solu- bility : partially soluble in water, and three-quarters of it by weight soluble in alcohol. It is used for the reduction of residues. Powder Process. A process much used upon the Continent DICTIONARY OF PHOTOGRAPHY. for the production of prints on paper, and in England for trans- parencies on glass. The process is not by any means difficult, and as the results are extremely pleasing, and can be obtained in any colour, the process is well worth the attention of amateurs. An organic tacky body, sensitised with bichromate of potash or ammonia, is allowed to dry as much as possible, and exposed to light, when it is found that the tackiness of the organic body disappears in exact proportion to the action of light, and any fine powder dusted on will adhere to the tacky portions unacted upon by light. It is obvious, therefore, that by this means an image can be obtained in any colour, and almost any material, a reversed positive being used to produce a positive. It has been lately recommended in the Amateur Photographer for the pro- duction of lantern slides, and from experiments made by the author seems very suitable for the purpose. The following formulae are recommended for the preparation of the organic tacky body : — Obernetter's Formula. Dextrine White sugar Ammonium bichromate Glycerine Distilled water Woodbury's Formula. Gum arabic Glucose Glycerine Potassium bichromate Distilled water ... 60 grs. ... 75 m ... 30 M 2 to 8 minims. ... 3 ozs. ... 60 grs. ... 45 t, ... 10 minims. ... 3° g^. ... 2 ozs. Mix by gently heating, filter, and preserve in a stoppered bottle. A plate is coated with either of the above solutions, and dried at a gentle heat, and then exposed under a positive, reversed as regards left and right, for three or five minutes, to sunlight, or ten or fifteen minutes to diffused light ; on removal from the printing-frame a faint image is seen. The plate is then exposed to the air for a few minutes to allow it to absorb moisture, and fine plumbago, as used by electrotypers, is applied with a flat brush, when it adheres to those portions protected from light, DICTIONARY OF PHOTOGRAPHY. and the lights and shades are represented more or less by a coating of graphite. When the image is fully developed, and there is no further adherence of the graphite, the superfluous powder is dusted off, the film is coated with collodion, and then well washed to remove the unacted-upon gum and bichromate ; the film may be detached from the plate, and used for enamels, ivory, opal, or any textile fabric. Principal Axis is the right line which joins the centres of curvature of the spherical surfaces of a lens, or if one surface is plane, the principal axis passes through the centre of curvature of the spherical surface, and perpendicular to the plane surface. a a', the centres of curvature; aca% the principal axis; bb\ the secondary axis. A straight line passing through the optical centre, and making an angle with the principal axis, is termed a secondary axis. The centres of curvature are the points from which the arcs of the circles forming the spherical surfaces of the lenses are calculated — that is, the centres of curvature are the centres of circles, of which circles the spherical surfaces of the lens are segments. Printing. This term is applied to any method by means of which a positive is obtained from a negative, or, in fact, a picture is obtained in which to some extent at least the gradations V CO DICTIONARY OF PHOTOGRAPHY. of light and shade are represented as seen in nature. More usually, however, this term includes the production of pictures upon any flexible support, such as paper; and as the other branches of printing, such as bromide paper, opals, and lantern slides by means of which prints are obtained by development, are treated of elsewhere, it is the author's intention to confine this article entirely to what is termed sensitised or albumenised paper printing. If the operator desires to sensitise his own paper, instructions will be found elsewhere, and it is supposed that he has his paper ready for cutting to the desired size. The author would impress upon his readers the necessity for cutting the paper not to the exact size of the finished print, but rather larger. He recommends the use of an old negative glass for cutting it to shape, as this allows of some margin, and does not require such nice adjustment as when the paper is cut to the exact size. Having the paper ready cut, the next operation is to place it in the printing-frame. This should be done in weak daylight, and the film side of the negative should be placed next to the paper, and one or two thicknesses of blotting paper placed on the back of the paper, the hinged back being put into position, and the springs fastened down. The next question which naturally arises is that of light : what light is the best to print in ? On this point there can be no doubt ; except during the months of November, December, January, and February, and in the case of very dense negatives, sunshine should never be used. Some authorities recommend printing in the sun with a screen of tissue paper over the negative, but even in this case the author thinks better effects are obtained by printing in the shade. Select, if possible, a window-sill or other open space, which has a free uninterrupted view of the sky, and place the printing-frame out and leave for a short time; then withdraw into a subdued light, and, unfastening one of the springs, turn back the half of the back and examine the paper. Some may think the caution of examining the print in subdued light unnecessary ; but it is not. By examin- ing the paper in a strong light the purity of the whites is degraded, and a decided tinge given to them. For printing from weak thin negatives a screen of tissue paper is an advantage, or the back of the negative may be coated with matt varnish or ordinary negative varnish, tinted with gamboge, aurantia, or some other yellow dye. For very dense negatives, as stated above, printing in the DICTIONARY OF PHOTOGRAPHY. 153 sun is allowable. When a negative is very dense at one end and not at the other, the printing-frame may be placed in a deep lidless box resting up against one side, with the denser end uppermost ; by this means the printing may to some extent be equalised. The next question is how dark or to what depth the printing should be carried. On this point considerable difference of opinion exists, it being to some extent dependent upon what toning bath is used, as some baths bleach more than others ; but as a rule, for general guidance, printing should be carried on till the whites of the pictures are well coloured and the shadows beginning to block up. Prints should not be kept too long before being toned, as some further chemical change takes place, and discoloration of the paper ensues, and it is then almost impossible to tone satisfactorily, if at all, by any of the ordinary baths. There is one process in photographic printing in which at least considerable artistic skill is required — viz, combination printing, by means of which at least we may to some extent utilise the material ready found, and, employing some of the license of the artist of the brush palette, produce effects which are not strictly true, but are yet more artistic. Thus, in the case a low-lying horizon, the uniform tint of the sky is extremely unnatural and really untruthful, as we never hardly find in nature a sky so barren of clouds or colours as to present one uniform unbroken tint, as given by the agency of the camera and dry plate. In such a case the sky may be graduated in tint from pure white at the horizon to a deeper tint in the zenith, or we may have recourse to a second negative, and print in some fine masses of clouds. The author has in his possession a print of a bit of an Essex marsh, as flat and as uninteresting in itself as it is possible for anything to be, but the whole has been converted by means of a cloud negative into one of the finest pictures it is possible to produce, the clouds giving one the impression of a dull, windy day in autumn, in which the cattle huddle together and turn their backs to the gale, and man instinctively buttons up his coat and bends his head to the wind. It is, I think, as clever and suggestive in its way as any of the grand compositions of J. W. M. Turner, perhaps the only true artist who could depict wind and clouds. Again, by use of a second negative a figure may be introduced into an otherwise uninteresting stretch of country, giving life and beauty to the whole, and raising the composition * 54 DICTIONARY OF PHOTOGRAPHY. at once above the mediocre photograph. To effect such com- position requires true artistic skill and considerable clever mani- pulation in a photographic sense. The usual method of making such an effect is to print the subject, such as a stretch of land, first, and to utilise this print as a mask. For this purpose the outlines must be carefully cut out with a pair of scissors, and after a second print has been tiken, to place the first and cut-out mask over the second print, and place on top of it the cloud or second negative, and again expose to light till the second negative has printed in sufficiently deep. Another method is to paint over the first print with gamboge or some other non- actinic paint, and print again under the second negative when dry. This method, however, is not so satisfactory. For tinting the skies a piece of sheet tin or stout cardboard should be used, and one end bent up to about an angle of 45 degs. This can be placed over the print, and the whole exposed to daylight, the metal or cardboard being moved up and down, so as to graduate the tinting. It is only by practice that success in this branch of printing can be obtained, the chief difficulty being to so blend the print from the two negatives as to show not the slightest trace of the use of two negatives. (For further considerations in respect of printing, the reader is referred to Abney and Robin- son's " Photographic Printers' Assistant ; " and " Silver Printing," by W. M. Ashman.) Pyroxyline. C 6 H 8 (N0 2 ) 2 0 5 = 252. Synonyms : Dinitro-cellu- lose, Gun-cotton. Prepared by acting upon cotton-wee^ which is nearly pure cellulose (C 6 H 10 O 5 ), with nitric acid. The follow- ing directions for preparing it are taken from Hardwich's " Photographic Chemistry," but the author would advise any- body who requires small quantities to buy it ready made rather than prepare it for their own use, as the operation is not very easy, and the acids are dangerous to handle : — Sulphuric acid (sp. gr., 1*854 at 6o° F.) 18 fluid ozs. Nitric acid (sp. gr., 1*457 at 6o° F.) 6 „ „ Distilled water 4f „ „ Pour the water into a dish, add the nitric acid, and lastly the sulphuric acid. The mixture must be well stirred, and the DICTIONARY OF PHOTOGRAPHY. 155 temperature, which is raised by the addition of the sulphuric acid, should be allowed to sink to 150 0 F., at which heat the mixture mvgt^be kept by means of a water bath. The - wool °96 Or reducing these, and reckoning the exposure necessary with f/4 as unity, the exposures will be — 1, 2*25, 4, 7*9, 16, 30-25, 64, 126-5, 2 56- Rapid Rectilinear. See Lens. Reaumur. See Thermometer. Redevelopment. A process usually confined to the wet col- lodion. It is actually intensification of the image. It has been suggested, however, for dry plates and bromide papers, and is useful in the former case to intensify under-developed negatives, and in the latter to obtain warmer tones. The negative to be intensified is washed thoroughly free from hypo, and bleached in a solution of cupric or mercuric chloride, well washed, and then redeveloped with hydroquinone or ferrous oxalate. To make a solution of cupric chloride : — Solution I. Chloride of calcium (crystalline) ... ... 147 grs. Distilled water 2 drms. Solution II. Sulphate of copper 249 grs. Distilled water ... ... ... ... 10 drms. Dissolve each separately, mix, and filter. For obtaining warm tones with bromide paper, the finished print is bleached as above, and then redeveloped with hydroquinone or dilute ferrous citrate developer. To obtain a regular tone Mr. Drssser recom- DICTIONARY OF PHOTOGRAPHY. mends bleaching Alpha paper before fixing with mercuric chloride, and redeveloping with ferrous oxalate Red Fog. See Fog Reduction (in Size). An exceedingly useful operation in the preparation of lantern slides or prints from larger sized negatives. One or two methods may be adopted, both of which are satis- factory — one for daylight, the other for artificial light ; and the arrangements suggested for enlarging with some modifications will do. The negative to be reduced in size should be placed in the same position (see Enlargement), but in this case the lens is turned towards the negative, and focussed on the ground-glass screen in the usual way. The distance between the negative and the lens may be found by referring to the table given under Enlargement, or the same rules there given may be used for finding the distances, only they must be reversed — that is, whereas in enlargements the greater distance is between lens and sensitive surface, in the case of reduction the greater distance must be between the lens and negative, and the lesser between lens and sensitive plate. Reduction of Density. When a negative or print has been over-developed or over-printed, the following processes may be adopted for reducing them : — To Reduce Negatives. Soak the negative in water for five minutes, then immerse in the ordinary hypo bath, to which a few drops of a solution of ferridcyanide of potash (40 grs. to 1 oz. of water) have been added. Reduction will proceed in proportion to the amount of ferridcyanide present. Extreme care must be taken in the case of ferrous-oxalate development, or the whole of the negative will turn a brilliant blue, due to the formation of a pigment with the iron by the ferridcyanide, and even in the case of pyro-developed negatives a good washing should be given, as some pigment may also be formed. The negatives may also be soaked in a bath of cupric or mercuric chloride till partially whitened ; then, after washing well, refix in hypo. The former is the preferable, as there is considerably more control over the reduction. lo Reduce Prints. Bromide prints may be reduced in exactly the same way as negatives. DICTIONARY OF PHOTOGRAPHY. 159 Albume?iised Paper Prints may be reduced by dipping into cupric chloride, or by using the chloride of lime or platinum toning baths. To Reduce Ferro-Prussiate Prints, dip into a weak bath of liq. ammonia, and then into weak hydrochloric acid. Another very good method of reducing negatives for those who use ferrous oxalate developer is to dissolve 4 grs. of ferric oxalate with every ounce of the fixing solution, and immersing the negative in the mixture till sufficiently reduced, then washing thoroughly. Reflected Light is the light obtained by reflection from any mirror or white surface. It is extremely useful in portraiture for lighting up the shadowed side of a sitter's face ; but care should be taken, however, that too much reflected light is not used, or the result will be a hard and lifeless picture. Mirrors should rarely be used, and a rough, not too white surface is the best. Reflection Of Light. When a ray of light falls upon a mirror, the ray is bent from its original direction into another ; this is said to be reflection. Reflection of light obeys certain well-known laws, the first of which is that the reflected ray must lie in the same plane as the incident ray ; the second law is that the angle formed by the reflected ray with the normal must be equal to the angle formed by the incident ray. B C The reflected ray, ce, is in the same plane as the incident ray, DC, and the angle ecf is equal to the angle dcf. Refraction of Light. When a ray of light passes obliquely from one transparent medium to another it suffers refraction, or is bent out of its course on emerging from that medium. l6o DICTIONARY OF PHOTOGRAPHY. Refraction obeys well-known laws somewhat similar to reflection. The first law is that the incident, the normal, and the refracted rays are in the same plane, and the second that the angle formed by the incident ray with the normal bears a constant ratio to the angle formed by the refracted ray with the normal. By con- stant ratio is meant that in a given medium and for different angles of incidence the ratio of the refracted to the incident rays is constant when light passes from a vacuum into the substance ; practically it means that the same substance always refracts light to the same extent. It is necessary for practical opticians to find the refractive index of their glass, and this they do usually by making it into a lens of known surfaces, and finding by trial the focus of the lens. It can be done more scientifically by decomposing a ray of white light by means of a prism constructed of the glass, and measuring the refraction of a certain dark line of the spectrum by suitable instruments. The different coloured rays of the spectrum have different refractive indices, that for violet being the greatest, and that for red the least, and this fact is taken into consideration in the achromatising of lenses. (For further information on Reflection and Refraction the reader is referred to any elementary work upon light or optics.) Rembrandt Portrait. When the shaded side of a sitter is portrayed with the light more or less behind the head, the picture is given the above name, from a fancied resemblance to the works of that great master. (See Portraiture.) Removal of Film. To clean the films off old and useless negatives nothing is better than soaking the negative in hot water, and then rubbing with a paste composed of pumice-stone powder and glacial acetic acid. Residues. The saving of the unused silver and gold salts in use in photography may be said to be almost beyond the amateur, unless he is inthe habit of doing a very large amount of work, but the following directions will prove useful: — To reduce the silver from the fixing baths, the old solutions should be placed in a tub or earthenware vessel with some sulphuretted potash (liver of sulphur), and the silver will be precipitated as a black deposit of sulphide, Ag 2 S. This should be allowed to collect at the bottom of the vessel till some considerable amount is ready, when it may be reduced to metallic silver, as described DICTIONARY OF PHOTOGRAPHY. l6l below, or sent to the refiner. All clippings and trimmings from untoned prints should be reserved, and when a fair quantity is obtained should be burnt, commencing at the top of the pile, or the paper may be beaten to pulp with dilute sulphuric acid, and strips of metallic zinc or copper placed in the mixture ; metallic silver will be precipitated, and the zinc or copper dissolved. The washings of untoned prints should be placed in a jar, and common salt added till no further precipitate is caused, and the precipitate may be collected and treated as above, or all the residues may be mixed with nitrate of potash and powdered charcoal and fused in a crucible. To reduce old toning-baths, whether of platinum or gold, add solution of ferrous sulphate ; a black precipitate of carbonate and oxide of iron mixed with metallic gold results. This may be digested in aqua regia, and the gold in the resulting solution reprecipitated by ferrous sulphate in a pure state, when it can be redissolved in aqua regia to form the auric chloride. Ordinary albumenised paper absorbs about 30 grs. of nitrate of silver, equal to 19 grs. of pure silver for every sheet. Each sheet weighs about 340 grs. ; therefore a quire will weigh about 8,160 grs., and contain about 456 grs. of pure silver. Of the silver used in sensitising paper will be found — In the finished print about 3 per cent. „ cuttings about ... 7 „ „ washing, before toning, about 50 to 55 „ „ fixing bath „ 25 „ 30 „ „ washing after fixing „ 5 „ Restrainer. Any substance used to prevent the too energetic reducing or developing action of any chemical upon the exposed film. Restrainers may be of two kinds — mechanical and chemi- cal. To the first class belongs water or any tanning agent, as chrome alum, which renders the gelatine less permeable to the developer. To the second class belong any soluble bromide or chloride, and the citrates of potash, soda, and ammonium. A soluble bromide is added to the developer to check the reduction of the unaltered silver bromide, the soluble bromide seemingly forming a double bromide with it, which is less acted upon by the developer. The restraining power of the bromides oi II l62 DICTIONARY OF PHOTOGRAPHY. ammonium, potassium, and sodium bear the following proportion to one another : — Bromide of ammonium — 98 parts are equal to 119 parts of bromide of potassium, and equal to 103 parts of bromide of sodium. Bromide of ammonium is, therefore, the strongest, potassium bromide the weakest, and the sodium salt the medium. The citrates of potassium, sodium, and ammonium seem to act in entirely a different manner ; whereas the bromides prevent the excessive deposit on the high-lights to some extent and allow detail to appear, the citrates prevent detail and allow density to be obtained. To make these restrainers the bromides can be simply dis- solved in water, as follows : — Ammonium bromide ... ... ... 98 grs. Distilled water, to make ... 980 minims of solution, each drachm of which will contain 6 grs. of bromide. Potassium bromide 119 grs. Distilled water, to make 980 minims of solution, each drachm of which will contain 7f grs. of bromide of potassium, equal in restraining power to 6 grs. of bromide of ammonium. Sodium bromide 103 grs. Distilled water, to make 980 minims of solution, each drachm of which will contain 6i grs. of sodium bromide, equal in restraining power to 6 grs. of ammonium bromide, or to 7 J grs. of potassium bromide. Citrate of Potash Restrainer. Citric acid 720 grs. Bicarbonate of potash 944 „ or Carbonate of M 884 M Distilled water, to make ik ozs, of solution. DICTIONARY OF PHOTOGRAPHY. Citrate of Ammonium Restrained Citric acid 720 grs. Liq. ammonia, *88o 630 minims. Distilled water, to make i\ ozs of solution. Citrate of Soda Restrainer. Citric acid 720 grs. Bicarbonate of soda ... ... ... 884 „ or Carbonate of soda (crystallised) ... ... 1,440 „ Distilled water, to make i\ ozs. of solution. These solutions will keep indefinitely, and may be diluted as wanted by adding 1 part of the above to 5 parts of water. The advantage of these last three restrainers is that when a negative shows plenty of detail, but refuses to gain density, the addition of a little of one of the dilute solutions may be made, and the plate left for hours if necessary, till the required density is obtained, without the slightest sign of fog. Retouching is the operation of doctoring a negative by aid of a pencil or by use of a brush and colour, so as to hide the defects of manipulation or soften down the otherwise too obtrusive freckle or wrinkle in a sitter's face. The subject is too compre- hensive to enter upon at any length, as the necessary qualifica- tions for a good retoucher for the face and hands, which are generally those parts which it is desired to retouch, are, first, a general idea of the anatomical position of the muscles and bones of the hands ; and, secondly, considerable artistic skill in wielding the pencil or brush. But for the operator who may desire to retouch a landscape negative, so as to be able to block out any pinhole in the sky or other light portion, the following may be of some assistance: — Some sort of retouching desk is needed, and this can be improvised from material within the reach of every one, all that is necessary being a printing-frame of the correct size, a deal board, a piece of black cardboard, and a small mirror or white card. Unscrew the springs of the printing- frame and temporarily remove them altogether, make a small 164 DICTIONARY OF PHOTOGRAPHY. hole in one end of the face of the frame, have a deal board about 12 ins. long and 6 ins. broad, and arrange as shown in diagram dd, deal board; ss, two nails driven well into board to pre- vent frame slipping ; p, the support for frame ; and b, the black card to prevent top light. A mirror or white card is laid upon dd underneath the frame f, so as to reflect the light up through the negative lying in the rebate of the frame. If the reflection from the mirror be too great, a piece of ground-glass or a focussing-screen may be inter- vened midway between frame and mirror, in the position of the dotted line. The negative to be retouched should be varnished well with any good negative varnish, and allowed to dry thoroughly ; then on those places where retouching is required should be dusted a little very finely powdered cuttle-fish, and, using the finger as a pad, rub the powder up and down or in a circular manner, till on examining the film through a magnifying glass it is seen to be quite rough ; now dust the superfluous powder off, and it is ready for work. The amateur retoucher had better begin by using lead pencil, a Fabers or Hardtmuth's HHHH or HHHHHH being perhaps the most suitable, and the point should be sharpened in the following manner: — The pencil point should always be kept very sharp by rubbing on fine emery paper. Now touch the abraded surface over the pinhole in a circular manner till the hole is no longer DICTIONARY OF PHOTOGRAPHY. visible. It is as well after several pinholes have been retouched to take a print from the same to see whether they show or not. Instead of the cuttle-fish advised above, any of the following matt varnishes may be used : — Amber resin io grs. Benzole i oz. Dissolve, and allow to subside for twenty-four hours before use. Gum dammar io grs. Canada balsam 5 „ Turpentine I oz. Or Sandarac 6 grs. Shellac 36 „ Mastic 36 „ Ether 12 drms. Disolve, and add Benzole 2 drms. Reversal is when those parts of the image which should appear dark in the negative come up light, and vice versa. It is due to the extreme action of light, and is also known as solarisation. There is no remedy when such has been effected. A very interesting paper on this subject, by Mr. Hugh Brebner, appeared in the Amateur Photographer of February 10th, 1888. Reversed Negatives. This means that the position of the picture is reversed as regards right and left. Reversed negatives are an absolute necessity for photo-mechanical work. They may be made in the following different ways : — First, in the camera direct; secondly, by reversing the negative film itself; thirdly, by reproduction from other negatives. First method : Taken in the camera direct. This again may be divided into three heads — viz. : (a) those taken by means of a silvered reflector ; (J?) those taken by means of a prism ; and (c) those taken through the glass plate on the back of the film. By the first of these methods a piece of glass or metal silvered i66 DICTIONARY OF PHOTOGRAPHY. on the external surface must be used, and mounted in the following manner c, camera ; L, lens ; fabd is the section of a hood which can be screwed on to the camera ; A D, the reversing mirror, placed at an angle of 45 degs. with the lens, and so adjusted that the axis of the lens is continued to the centre of the mirror ; e is a small door, which can be opened or closed at will. The camera is placed sideways towards the object, vvhich is reflected from the exterior surface of ad to the lens. By the second method a right-angled prism is used, as shown in the diagram. The principle involved being precisely the same as with the mirror, the camera is again turned sideways to object. ab is a hood to fit on lens to take the place of the cap. cc is a right-angled prism, whose breadth is greater than the diameter of the front glass of lens. All the surfaces except c c are enclosed in brass-mounting, but the surface H, opposite to the right angle, must not touch the glass. E is a shutter for exposing ; F F, the screws for clamping same. The third method A DICTIONARY OF PHOTOGRAPHY. 167 is by taking negatives through the glass. The most convenient way of doing this is to have a piece of glass of the same thick- ness as used for the plate ground on one side, and the ground surface placed outside, just the opposite way to the usual focussing-screen. The back of the plate must be carefully cleaned, and should be inserted in the dark slide, with the glass towards the shutter of slide. Care must be taken that the spring used to keep the plate in position does not injure the film. Second method of procedure : By reversing the negative film itself. This is comparatively easy, and can be done as follows S — The negative is taken and developed in the ordinary way, washed and dried, and is coated with a solution of india-rubber in benzole, and when dry coated with transfer collodion made as follows: — Pyroxyline 24 grs. Castor oil ... ... ... ... ... 24 minims. Methylated spirit '805 2 ozs. „ ether 730 1 oz. And allowed to dry, and placed in a bath of Hydrofluoric acid 1 drm. Distilled water 10 ozs. The film will soon, begin to get loose, and should be gently raised up and floated off into a bath of clean water and washed thoroughly, and then floated in a reverse position — that is, with the collodionised side downwards — on to a plate coated with a warm solution of gelatine (about 5 grs. to the ounce). It should be then squeegeed into contact and left to dry. The third method: By reproduction from the negative. Mr. Bolas proposes the following plan : — A dry plate is soaked for five minutes in a 4 per cent, solution of bichromate of potash, rinsed once or twice in water, and then dipped into a bath of equal parts of methylated spirit and water, the superfluous moisture blotted off, and dried. All these operations must be conducted in the dark-room. It is then exposed under the negative to be reversed to sunlight for three or four minutes, when a faint delicate image will be seen impressed ; it is then washed and developed with ferrous oxalate or alkaline pyro, and fixed and washed as usual. The result is a reversed and negative image. DICTIONARY OF PHOTOGRAPHY. Rising Front. A movable piece of wood fitted to the front of camera, which can be moved up and down so as to exclude or include more or less of the foreground of a picture without shift- ing camera. It should be sparingly used, however, as of course the shifting of the lens either up or down causes the optical axis of the lens to be altered with regard to the centre of the plate ; and as the brightest illumination is obtained with the central rays, it is obvious that unequal illumination may ensue. Rives Paper. A particular make of paper specially prepared for photographic purposes. Roller Slide. The introduction of films and paper supports for the sensitive emulsion suggested, of course, the natural idea of using the same in a continuous band for the purpose of exposing on many subjects without changing, and for this purpose the roller slide has been introduced. They are now of such every-day commercial occurrence that no further mention is required. Rolling Prints. Consists of passing prints between two rollers, or between a roller and a bed of steel. It improves the appearance, and causes the print to lie flat. Ruby Light. See Dark-room. Sal- Ammoniac. See Ammonium Chloride. Salted Paper. See Sensitised Paper. Saltpetre. See Potassium Nitrate. Sandarac. A dry, semi-transparent, friable resin, tasteless, and of yellowish white colour, obtained from the Callitris quad- rivalis of Northern Africa. It is soluble in turpentine and alcohol, and is used for varnish making. Satin, Printing on. See Silk. Sel d'Or. See Gold, Hyposulphite of. Sensitised Paper. This term includes any paper, whether albumenised or plain, which is sensitive to light from being floated upon a solution of nitrate of silver. The operation is not difficult, but home sensitised paper has few advantages over ready sensitised or commercial sensitised paper, and unless DICTIONARY OF PHOTOGRAPHY. 169 means are specially taken to preserve the same it will not keep. The operator is supposed to have his albumenised paper ready prepared, either at home or that bought commercially ; of the latter the author can confidently recommend that prepared on the Continent from fermented — not putrid — albumen, which, although it has rather an unpleasant smell, gives exceedingly fine effects. The paper should not be too dry, and it is advisable to place the paper for some time previous to sensitising in a damp atmosphere. The bath may be made up of various strengths ; but 50 or 60 grs. to the ounce is the usual strength, the latter giving the best all-round effects. Nitrate of silver 50 or 60 grs. Distilled water 1 oz The amount of solution required for sensitising a sheet of albu- menised paper varies considerably with each operator, some using as much as a gallon, others only half that amount ; but for ordinary small work sufficient solution should be made up to cover the bottom of dish to the depth of J in. Whilst in use the bath is liable to various ills which militate against good results. The bath may and does become weaker with every sheet of paper sensitised. To obviate this a solution of nitrate of silver, 100 or 120 grs. to the ounce, should be made and kept in reserve. If a 60-gr. bath is used in the first instance after floating each sheet of paper, 2 drms. of the concentrated 120-gr. solution should be added ; if a 50-gr. bath, 2 drms. of the 100-gr. solution should be added in the same way. The bath may become acid ; to prevent this, after using the bath for one operation of sensitis- ing, a few drops of a solution of carbonate of soda should be added till it produces a permanent but very slight precipitate or deposit of carbonate of silver, occasionally shaking the bottle containing the solution. The bath may become discoloured and loaded with organic matter dissolved from the albumen ; in this case a little more solution of soda should be added, the bath placed in a white glass bottle, and placed in the sun or a bright actinic light ; it will gradually clear itself, and deposit the organic matter as a black precipitate, from which it should be decanted for use. The operation of floating or sensitising the paper is as follows : — The paper, as stated above, should not be very dry ; 170 Dictionary of photography. this is an absolute necessity for easy work. The author has tried laying the albumenised paper plain side downwards upon a sheet of damp blotting-paper, which should be only just damp, and placing a sheet of dry paper on the albumenised side, leaving under a board for two or three minutes, and then hanging up the albumenised sheet for five minutes, with good effect. The easiest method of " floating" the paper is to use small pieces (say, about double the size required); lay one end on the bath, and gradually lower the paper, pushing it along the surface till it ail floats ; after it has floated for one minute, the sheet should be raised, and any adherent bubbles broken by means of a feather, quill, or spill of paper. The paper should be allowed to float from two and a half to three minutes, the longer time in winter. When it has floated for this time, it should be gradually drawn off over one edge of the bath, so as to take off as much solution as possible, and hung up to dry by the corners, or pinned up, or hung over laths or rods of wood ; or the sheets may. as they come from the bath, be placed face downwards one by one on sheets of chemically pure blotting-paper, and a board and weight placed on the top ; or when surface-dry it may be rolled alter- nately on a roller with blotting-paper. To keep this paper is the great trouble. The best method is to soak sheets of blotting- paper, 1 in. larger all round than the sensitised paper, in solution of carbonate of soda (1 in 20), and when this is dry to lay this and the sensitised paper alternately in a light-, dust-, and air-tight box, with a weight on top. But it will rarely keep more than three weeks in this way, and about a week if no special pre- cautions are taken. By means of this paper, however, purple and even engraving black tones may be obtained without any difficulty. Ready Sensitised Paper. Commercial sensitised paper has the great advantage of being preserved by some means. These are trade secrets ; but the following are recommended by some authorities, and in every case the author has found home sensitised paper prepared in this way quite equal to any obtained commercially. As soon as the paper is surface-dry, float upon a solution of citric acid (30 grs. to the ounce) for one minute, dry as usual, and keep between the soda blotting-paper described above. The addition of 10 drops of perchloric acid to every ounce of sensitising solution is also extremely beneficial and DICTIONARY OF PHOTOGRAPHY. 171 easy ; or float as described above upon the following filtered solutions : — Ashman's Method. No. 1. Picked white gum arabic „ § oz. Rochelle salts (tartarated soda) i± ozs. Distilled water M . ... 20 „ No. 2. , Picked white gum arabic f oz. Tartaric acid ... ... ... ... ij ozs. Distilled water 20 „ If the paper be thoroughly dried, wrapped in waste sheets, and stored under pressure, or kept between sodaic blotting-paper, No. 1 will preserve the paper at least a fortnight, and No. 2 some months. All commercial sensitised paper should be cut up as soon as bought, and kept with sodaic blotting-paper as described above. Preparing and Sensitising Plain or Matt-Surfaced Paper. Plain Saxe paper should be used. 20 grs. of Nelson's No. 1 gelatine are soaked in a pint of distilled water, and after half an hour, dissolved by the aid of a gentle heat, 60 grs. of chloride of ammonium are added, and the paper is soaked in it (not floated) till thoroughly limp. It is then dried, and may be floated on the usual silver bath, and dried and preserved in blotting-paper in the usual way. It may also be sensitised with ammonio-nitrate of silver ; but as it will not keep for more than a week, and the ammonio-nitrate solution has to be brushed or daubed on, no directions are considered necessary, as the results are inferior. For toning plain paper a weaker gold bath should be used (about 1 gr. to 16 ozs.), and a fixing bath of not greater strength than 2 ozs. of hypo to the pint should be used. Another formula for preparing plain paper is as follows : — Ammonium chloride 70 grs. Sodium citrate 100 „ Sodium chloride ... ... ... ... 25 ,, Gelatine ... ... ... ... ... 10 ,, Distilled water 10 ozs. The directions are the same as given above. 172 DICTIONARY OF PHOTOGRAPHY. Washed Sensitive Paper. Some operators prefer to wash their sensitised paper, and it is said to be more sensitive, tones more rapidly, and gives more uniform results, and can be kept for a fortnight without discoloration. The paper, when sensitised and surface-dry, is passed through, face downwards — not soaked in — two or three changes of distilled water, and dried and preserved as usual. Before printing, the paper should be Fumed (q.v.). (For further information see Abney's and Robinson's "Silver Printing,'' and Ashman's "Silver Printing," or Burton's book on Printing.) Shutters, Instantaneous. The introduction of rapid dry plates has made the means of exposing them for fractional parts of a second for securing moving or so-called instantaneous effects an absolute necessity. These are now so much a part of the necessary outfit of every operator that but little description is needed. (For complete and exhaustive articles on this subject see the Amateur Photographer of May 25th and June 1st, 1888.) Side Swing, or Shifting Front. An arrangement to alter slightly the relative position of objects depicted by the lens upon the focussing-screen, by shifting that portion of the camera front bearing the lens. The same objection applies to the excessive use of this movement, as mentioned under Rising Front (^.2/.). Silk, Printing on. As it may be desired occasionally to obtain prints on silk, satin, or other fabric, the following direc- tions may be considered to apply to all : — Tannin 60 grs. Distilled water 3^ ozs. Dissolve Common salt 60 grs. Arrowroot 60 „ Acetic acid J oz. Distilled water 3^ ozs. Dissolve the arrowroot by the aid of a gentle heat, add the remainder of the ingredients, mix the two solutions, filter, immerse the fabric, which should be first washed to free it from DICTIONARY OF PHOTOGRAPHY. 173 all dressing, in this solution for three minutes, and hang up to dry. When thoroughly dry, sensitise on a bath of Nitrate of silver ... ... ... ... 50 grs. Distilled water I oz. Nitric acid \ drop. Dry, print, and wash as usual, and tone in the sulphocyanide bath. Silver. Ag = 108. The most valuable of all metals in a photographic sense can be obtained from its ores, the chloride or horn silver, the sulphide or silver glance, from some copper ores and lead sulphide, and from iron and copper pyrites. It is also found as iodide, bromide, selenide, telluride, antimonide, arsenide, and mercuride. It is obtained from iron and copper pyrites by Claudet's process, which consists in precipitating it from weak solutions by sodium iodide. Rich ores are melted with litharge or lead, and the silver is then separated by cupella- tion, the lead being oxidised and run off as litharge, the ingot of silver being left behind. With some lead ores which contain about 8 ozs. of silver to the ton Pattinson's process is used ; this consists of extracting crystals of pure lead from the molten mass till rich enough to cupellate. Another process invented by Parkes is also frequently used, zinc is added, which raises the melting point of the ore ; the zinc combines, forming an alloy with the silver, which rises to the surface, and is then skimmed off; the alloy is then heated in a retort, the zinc distils off, and the silver is left behind. Another method is by treating the ores with mercury, which also forms an alloy, the mixture being then distilled, and the mercury recovered ; this process is used in California and Nevada. Silver may be obtained, chemically pure, by decomposing the chloride AgCl with hydrochloric acid and zinc; the metal separates in a spongy form, and may be fused under carbonate of soda to prevent access of air, and obtain a button of silver. When pure, silver will absorb twenty-two times its volume of oxygen when exposed to the air in a melted state, but on cooling the oxygen is given off. It is the best con- ductor of heat and electricity of all the metals, and it is extremely malleable and ductile. It can be hammered into sheets tttoWo of an inch in thickness. When examined by transmitted light at this stage, it is of a distinct emerald green colour. It can be drawn into wire, 400 ft. of which only weigh 1 gr., and its 174 DICTIONARY OF PHOTOGRAPHY. tenacity is so great that a silver wire T \ of an inch in diameter will support a weight of 187 lbs. It melts at about 1,832° F. Molten caustic alkalies, or alkaline nitrates, have no effect upon it ; it is unaffected by the air, but oxidised by ozone ; sulphurous vapours, however, immediately act upon it, forming sulphides. Many silver salts are acted upon by light, with partial reduction to the metallic state. Silver is soluble in nitric acid and boiling sulphuric acid, and only partially so in hydrochloric acid. The standard British coinage contains 92*5 parts of pure silver and 7*5 parts of copper. In the United States and France 10 per cent, of copper is used, and in Germany 25 per cent. To pre- pare pure silver from any coin, the following process will be found efficient : — Place the coin either entire, or preferably cut up small, in a test tube, with one part of pure nitric acid, and two parts of water ; apply a gentle heat, and an action com- mences at once, orange-red fumes of nitric oxide being evolved ; if after the lapse of some time the whole of the coin is not dissolved, add more nitric acid, and again apply heat. When the coin is dissolved, the solution will be seen to be of a bright blue colour, due to the copper ; pure silver can be obtained from this solution by evaporating to dryness, and fusing strongly the resulting mass. A little taken out and dissolved in water should give no blue coloration with solution of ammonia ; or sheet copper may be placed in the acid solution, when a precipitate of pure silver will take place, which may be collected and again dissolved in nitric acid to form solution of nitrate of silver ; or the precipitate may be collected and fused as above to obtain a button of silver. Silver Albuminate. The white precipitate obtained by adding nitrate of silver in solution to albumen in the dark is thus termed. It is a complex compound of oxide of silver and albumen, and is reduced to a red sub-compound by the action of light. It is this reaction which occurs when printing on sensitised albumenised paper. Silver, Ammonio-Nitrate of. The pure salt can be obtained by exposing powdered nitrate of silver to ammonia gas, combina- tion taking place very rapidly, and with evolution of sufficient heat to fuse the resulting compound, which contains 22-5 per cent, of ammonia, NH 3 , and 77*5 per cent, of silver nitrate, AgNO$. Ammonio-nitrate of silver is used for sensitising plain DICTIONARY OF PHOTOGRAPHY. '75 salted paper. It cannot be used for the same purpose for albumenised paper, as the albumen would be dissolved. Silver Bromide. AgBr = 188. Can be prepared by direct union between the elements, as in the Daguerreotype process, or by double decomposition between nitrate of silver and any soluble bromide, as in dry-plate processes : AgNo 3 + KBr « AgBr + KN0 3 Silver Potassium Silver Potassium nitrate + bromide = bromide + nitrate. Or it may be prepared by dissolving carbonate or oxide of silver in hydrobromic acid. Bromide of silver is darkened to a tawny grey by the prolonged action of light, with evolution of bromine ; but by short exposures, as in the camera, it is said to be reduced to a sub-bromide, or, as Carey Lea calls it, a photo-bromide ol silver. Sub-bromide of silver in this stage is precisely the same in physical appearance as the bromide ; but it is more easily reducible by certain salts, which constitutes the process of Development (q.v.). Bromide of silver is insoluble in water, alcohol, and ether, but soluble in solution of alkaline hyposul- phites, cyanides, sulphocyanides, ammonia, and saturated solu- tions of most chlorides, bromides, and iodides. Silver Chloride. AgCl = 143*5. Can be obtained by direct union between the elements, or by double decomposition with nitrate of silver with a soluble chloride, AgN0 3 + NaCl - AgCl + NaN0 3 ; or by adding hydrochloric acid to silver nitrate, AgN0 3 + HC1 = AgCl + HN0 3 . It also occurs as a native ore, called horn silver, from its general appearance. On exposure to light when absolutely pure or dry, no change takes place ; but with the smallest trace of organic matter or water it passes from white through varying shades ol purple to black, chlorine being disengaged, and a complex body now definitely stated to be a mixture of chloride (AgCl), oxy- chloride (AgCIO), and metallic silver (Ag) resulting. It melts at about 260 degs. F., and is not decomposed when heated with carbon, but is immediately reduced by heating in a current of nascent hydrogen. Zinc, iron, and copper reduce the chloride, DICTIONARY OF PHOTOGRAPHY. when moistened with an acid, to a metallic state ; whilst when heated with the carbonates or hydrates of sodium and potassium or calcium, the chlorine unites with the alkali, pure silver being set free. It is soluble in solutions of the same salts as the bromide, and also in ammonia — a double salt, ammonio-chloride of silver, being formed. Silver Iodide. Agl = 235. This salt can be formed in an analogous manner to the chloride, either by direct union or double decomposition, using iodine and iodide instead of chlorine and chloride. When prepared by precipitation from a solution of an alkaline iodide with nitrate of silver, the alkaline iodide being in excess, a white precipitate is caused, which is not so sensitive to light as when excess of nitrate of silver is used, when the precipitated iodide is lemon-coloured. Iodide of silver is in- soluble in water and dilute nitric acid, almost insoluble in ammonia, but soluble in all the other salts which dissolve bromide. When iodide of silver is dissolved in excess of solution of an alkaline bromide, iodide, or chloride, a double salt is formed, and on addition of water the resulting soluting immediately precipitates the iodide. It is used for making emulsions, giving extremely sensitive emulsions and great latitude of exposure, with great density of image. When making emulsions containing iodide, the bromide of silver should be precipitated after the iodide. By this means greater sensitiveness is obtained. About 5 or 10 per cent, of the sensitive salt should be iodide. Silver Nitrate. AgN0 3 =i70. Is prepared from pure silver by solution in nitric acid, and subsequent purification and crystallisation. Ordinary commercial nitrate is usually very acid, due to its not being absolutely freed from nitric acid; but that prepared for photographic purposes should be almost neutral, or at least show only a faint trace of acid. To the dry- plate operator nitrate of silver is hardly of so much interest as it was to the operator of the wet-plate process ; but to those who desire to make their own plates, a pure salt is a sine qua non ; and as the testing of this salt is almost beyond the ordinary capabilities of dry-plate workers, the only recommendation which the author can give is to buy the salt from a respectable photographic chemist, and to pay a fair price for it, as the author has in his possession a sample of nitrate bought at a low DICTIONARY OF PHOTOGRAPHY. 177 price, 25 per cent, of which is nitrate of potassium. Solubility : 100 grs. are soluble in 50 minims of distilled water, and will measure 80 minims; 1 in 15 of rectified spirit. When dissolved in common water, a thick curdy-white precipitate of carbonate and chloride of silver is formed. Boiling alcohol dissolves about one-fourth of its weight of nitrate of silver, but deposits it on cooling. It is soluble in ammonia, with the formation of a double salt. It is used for sensitising paper, and preparing all or nearly all the other salts of silver used in photography. When heated, it melts and forms, when poured into moulds, the lunar caustic of commerce; and when heated higher still gives off some oxygen, and a mixture of nitrite (AgN0 2 ) and nitrate of silver (AgN0 3 ) is left. When exposed to the light, either in solution or in a pure dry state, no action takes place ; but on contact with organic matter it darkens through purple to black. Silver Oxide. Ag 2 0 = 232. May be obtained by adding pure solution of any caustic alkali, except ammonia, to a solution of nitrate of silver, when the oxide is precipitated as a brownish black precipitate. It is but little used now, except to purify silver solutions from copper, but was used in the old wet-plate process to purify the silver bath. It cannot be made by heating silver in a current of oxygen or air, because, although union takes place, the whole of the oxygen is given up on cooling. Silver Sulphide. Ag 2 S = 242. This salt is met with in residue recovery, and is the resultant salt of the decomposition of hyposulphite of silver in prints. It is insoluble in water, but soluble in every solvent of the other silver salts, except nitric acid, which converts it into nitrate and sulphate. Sky Shade. A piece of wood or card used to shade the lens during exposure, to prevent reflections from the sky or sun. The following diagram will illustrate the position C YIYTI s L C, camera ; l, the lens ; s, sky shade. 12 1 7 8 DICTIONARY OF PHOTOGRAPHY. Slide, Dark. This part of the outfit of a photographer hardly needs much description, but it is advisable that the operator should know how to test his slides as to the exclusion of all actinic light, and whether they register exactly the same plane as the focussing-screen. To test whether the dark-slide lets in light, a plate should be inserted in the dark-slide in an absolutely dark room, and then the slide should be placed upon a table in an ordinary room for about fifteen or twenty minutes, and then developed in the usual way. No sign of an image or deposit should make its appearance. The usual places for light to creep in is through the hinges of the shutter and the corners and edges of the slide. To test whether the plate when in the dark- slide is in exactly the same register as the focussing-screen, the camera should be set up in the usual way opposite a printed bill or other lettering, and this should be focussed as accurately and sharply as possible, and the focussing-screen removed ; and without shifting the camera in any way whatever, the dark-slide, with a piece of ground-glass in the position usually occupied by the plate, should be inserted and examined, to see whether the image previously focussed is equally as sharp on the ground- glass in the dark-slide. Slide, Lantern. See Transparencies. Soda, Bicarbonate of. NaHC0 3 = 84. Synonyms : Sesqui- carbonate of Soda, Acid Carbonate of Soda. Is prepared by passing carbonic acid gas into carbonate of soda moistened with water. Solubility: 1 in 10 of water ; insoluble in alcohol. When heated or dissolved in boiling water, some carbonic acid gas is given off, water and carbonate of soda being formed. 2NaHC0 3 = Na 2 C0 3 + H 2 0 + C0 2 . It is used for toning. It is invariably met with in commerce as a fine impalpable powder, and should not be confounded with the carbonate which is usually met with in crystals. To test a salt or solution of same, to see whether it be a carbonate or bicarbonate, add to a solution of the salt a few drops of solution of perchloride of mercury. A white precipitate turning red on boiling indicates bicarbonate, and a red precipitate thrown down at once indicates carbonate. Sodium Acetate. NaC 2 H 3 0 2 , 3H 2 0 - 136. Can be prepared DICTIONARY OF PHOTOGRAPHY. 179 by neutralising acetic acid with carbonate or hydrate of sodium. Solubility : 1 in 3 of cold water, 1 in 1 of hot water ; soluble also in alcohol. It is a slightly alkaline salt, and is used principally in toning. Sodium Carbonate. Na 2 C0 3 , ioH 2 0 = 286. Is prepared by the salt-cake process, an outline of which is here given : — Common salt is heated in a reverberatory furnace, with an equal weight of sulphuric acid. Hydrochloric acid is evolved and is collected in water, sulphate of sodium being left behind. 2NaCl + liSO, = Na 2 S0 4 + 2HCI. The heat is continued until the sulphate of sodium is perfectly dry. It is then mixed with an equal weight of limestone or chalk, and half its weight of small coal, and again heated, and a mixture of carbonate of lime and sulphide of sodium results. Na 2 S0 4 + C 2 = Na 2 S + 2C0 2 . And on further heating the carbonate of lime and sodium sulphide react, forming sulphide of calcium and carbonate of sodium. Na 2 S + CaC0 3 = CaS + Na 2 C0 3 . The mixture is treated with water, the carbonate of sodium is dissolved, leaving the sulphide of lime, which is known as "soda waste,'' and which is used to prepare sodium hyposulphite. The solution of carbonate of soda is evaporated and crystallised, the resulting product being " soda-ash," a mixture of carbonate and hydrate of sodium, the latter being due to the action of excess of lime upon the carbonate. The soda-ash is purified by roasting with small coal or sawdust, the hydrate being decomposed into carbonate, the mass being dissolved in water and crystallised. Solubility : 1 in 2 of water ; insoluble in alcohol. Heat has no effect upon it, except to drive off the water of crystallisation. Sodium Chloride. NaCl => 57*5. This, the most abundant source of sodium, occurs native in very large deposits in Cheshire, Galicia, and Eastern Russia, also in sea water, which contains about 3 per cent. Solubility: 1 in 277 of cold water, the solubility not being increased by heat. It is sparingly soluble in alcohol. It is used in developing lantern slides and for preparing emulsions, and also sometimes for salting albumenised paper. i8o DICTIONARY OF PHOTOGRAPHY. Sodium Citrate. Na 3 C 6 H 5 0 7 = 258. Made by neutralising citric acid with carbonate, bicarbonate or hydrate of sodium, evaporating, and crystallising the resulting solution. Solubility : 1 in 1 of water; sparingly soluble in alcohol. It is used some- times as a Restrainer ( 0 cts. Ammonium carbonate ,,. , . 88 . Potassium bromide \ gr. Distilled water ... I oz. Mix, and heat gently till effervescence ceases. 204 DICTIONARY OF PHOTOGRAPHY. For extra warm tones give longer exposure, and use — No, i. Citric acid 180 grs. Ammonium carbonate ... ... 60 ( Common salt ... ... ... ... \ gr. Distilled water 1 ... ... 1 oz. F or still warmer tones give much longer exposure, and use- No. 1. Magnesium carbonate 76 gr* Citric acid ... ... 120 ,, Common salt ... ... 2 Distilled water 1 oz. To every three parts of above add one part of — Ferrous sulphate 140 grs. Sulphuric acid 1 drop. Distilled water ... 1 oz. For bright red tones give a long exposure, and use — No. 1. Citric acid 250 grs. Liq. ammonia *88o ... 160 minima Distilled water i^r ozs. The Developer. Solution No. 1, as above i-| ozs. „ ferrous sulphate ... ... \ oz. Common salt ... ... ... ... 5 grs. Distilled water ... ... ... ... 6 ozs. Mr. B. J. Edwards recommends the following: — No. 1. Potash oxalate 960 grs. Ammonium chloride ... 40 „ Distilled water 16 ozs. No. 2. Ferrous sulphate ... 240 grs. Citric acid- 120 „ Alum 120 „ Distilled water 16 ozs. Mix in equal parts. DICTIONARY OF PHOTOGRAPHY. 205 Lantern plates may also be developed by pyro with the following formula, or, in fact, by any formula, provided the preservative for the pyro is at least doubled. The author has made many experiments in this direction, and finds no pre- servative to equal the metabisulphite of potash. The following is a formula which he has always found answer well : — No. 1. Pyrogallol 40 grs. Potash metabisulphite 120 „ Distilled water 20 ozs. No. 2. Ammonium bromide 40 grs. Liq. ammonia *88o 150 minims. Distilled water 20 ozs. Use in equal parts. Hydroquinone also gives fine black tones, and is very easy of development. After development with ferrous oxalate, the plate should be placed at once into the following clearing bath : — Hydrochloric or sulphuric acid 60 minims. Alum 240 grs. Distilled water ... ... 20 ozs. It should be allowed to remain in this for five minutes, and then placed in another bath of same strength for the same time ; then washed thoroughly and fixed in — Hyposulphite of soda 4 ozs. Water 20 „ Allow it to remain in this for ten minutes, and then place in fresh hypo bath of same strength for a like period ; wash for two hours at least in running water, and then place in a chrome alum clearing bath, and wash for five minutes and dry. Pyro- developed plates should be rinsed thoroughly in water, and placed in a bath of methylated spirit for five minutes, a fresh bath being used for every plate ; washed thoroughly in water, and then fixed as above, fresh baths being used for every plate. This may seem a little wasteful, but it is absolutely necessary if perfect lantern slides are required without stain or spots of any kind, and after thoroughly washing they should be cleared in the 206 DICTIONARY OF PHOTOGRAPHY. chrome alum clearing bath. With hydroquinonei all that is necessary is to wash thoroughly, fix as above, and clear in a chrome alum bath. This last is not absolutely necessary, but the author prefers it, to clear any slight veil which might appear. For exposing lantern plates or transparencies, artificial light should be used, as the light is more regular. A good method is to burn one or two inches of magnesium ribbon at a distance of from six to twenty-four inches away, according to the density of the negative. For colouring lantern slides considerable artistic skill and ability are required, and the subject is rather too comprehensive to treat here ; some useful hints may be gleaned on this point from Brodie and Middleton's small book on the subject. Another method of tinting lantern slides in monochrome has lately been introduced, the following being a precis of the same. The author has tried it, and has found it eminently successful, very fine effects being obtained at will. After having developed, fixed, and washed the transparency in the ordinary manner, immerse the plate in the following for one minute : — Sodic sulphite i oz. Sulphuric acid \ drm. Water 3 ozs. Wash and drain, and apply the following : — Uranic nitrate 15 grs. Distilled water 2 ozs. Methylated spirit ... \ oz. To which add, as required, a few drops from time to time of the following, according to the tint required : — Ferridcyanide of potassium 15 grs. Distilled water ... ... 1 oz. The action of this is very quick ; first brown-black tones are given, then chocolate, reddish brown, tawny yellow or orange. The action can be stopped at any stage by washing ; and should the tone not be quite all that is desired, it can be immediately obliterated altogether by dipping in a solution of carbonate of soda or solution of ammonia. When the desired tone is obtained, wash and dry quickly. The directions in the original paper for tinting lantern slides by means of iron salts are extremely loose DICTIONARY OF PHOTOGRAPHY. 207 and uncertain, but the author has used this method for some time for obtaining colours on Alpha paper. After the transparency is thoroughly fixed and washed free from hypo, it can be soaked for five minutes in a solution of ferrous sulphate (10 grs. to the ounce) then washed, and dipped into a bath of ferridcyanide of potash (15 grs. to the ounce). This gives a brilliant blue tint, which is extremely effective for seascapes or moonlight work. Other effects can be obtained by mixtures of the ferrous and uranic ferridcyanides ; various tones and tints can be secured. When the lantern plates are dried, all that is necessary is to mount them so as to prevent any accidental injury. The usual method of mounting them is to place a mask of black paper over the margins on the film side, and placing over this a covering glass, and binding the whole together by strips of opaque black paper. Transparencies can be either coated with crystal varnish and mounted with ground-glass behind, or a matt varnish may be used and mounted the same as lantern slides. Transparent. See Light. Under-Exposure is when the duration of exposure of the sensitive surface is not sufficiently prolonged to impress the details of the object on the sensitive surface. Its effects are thinness of negative, without detail. When under-exposure is suspected, the only thing to do is to reduce the bromide in the developer, and coax the image out with very slow and careful development. Hydroquinone may be used to develop all the detail out, and then density obtained by pyro. To increase density intensification may be resorted to, but nothing can improve the lack of detail. Uranium. U=I20. A rare metal never found in a pure state, but as an impure oxide, called pitchblende. It is used in the form of nitrates for preparing a printing-out paper, and for intensification. Uranic nitrate is prepared by digesting pitch- blende in hydrochloric acid, to dissolve out the other metals, then roasted with charcoal twice, and the residue dissolved in nitric acid, and purified by crystallisation. Formula : U0 2 (N0 3 ) 2 , 6H 2 0 = 384. This is a brilliant yellowish green crystalline salt, very deliquescent, soluble in water 1 in 5, alcohol, and ether. It is decomposed by light when in contact with organic matter into a uranous nitrate. 208 DICTIONARY OF PHOTOGRAPHY. Uranium Printing. The colours obtained by the use of uranium nitrate are decidedly pleasing, tending to a reddish terra-cotta or copper colour, which may be varied at will. The sensitising solution may be prepared as follows : — Uranium nitrate ... ... ... 80 grs. Distilled water .,. 1 oz. Preserve in the dark. The paper may be floated upon this bath for five minutes, or the solution may be applied rather thickly with a brush or tuft of cotton-wool, or the following may be used : — Uranium nitrate ... ... 80 grs. Mercuric nitrate ... ... ... ... 20 Distilled water , 1 oz. Or— Uranium nitrate ... ... ... ... 80 grs. Cupric nitrate, or sulphate ... ... 20 ,, Distilled water 1 oz. The paper should be exposed under a negative in sunlight till all the principal detail is visible, and then floated on a developer till the tone desired is obtained. Potassium ferridcyanide 50 grs. Distilled water ... ... 1 oz. This will give a reddish brown tint. Silver nitrate 25 grs. Distilled water ... 1 oz. This will give a greyish image, which can be toned after washing in sel d'or. Chloride of gold ... ... ... ... 1 gr. Distilled water t ' , ... 1 oz. This should be brushed over the image, and gives a purplish Mack. The prints after development should be washed in a bath of hydrochloric acid 1 in 80, and then washed again thoroughly. U.S., or Uniform System. See Diaphragms. Varnish is a solution of resinous bodies in a volatile solvent, used for covering the film of a negative with a coating of matter impermeable to air and damp. l>iCf IONARY OF PHOTOGRAPH \ . The following is a table of the principal varnishes of commerce: — 1. Copal, for fine paintings. 2. Japanners' copal. 3. Best body. 4. Carriage. 5. Best white hard. 6. Best white hard, lor violins. 7. Best brown hard. S. Turpentine. 9. Crystal. 10. Amber. 11. Paper. 12. Sealing-wax. 13. Black. Ingredients. Shellac ... lbs. Mastic ... „ Sandarac... „ Dammar ... „ Resin ... „ Amber ... „ Benzoin ... „ Copal ... Sp. of wine gals. Turpentine, oil of „ Linseed, oil of,, Turpentine lbs. do. varnish pts. do. Venice ozs. Powdered glass ... lbs. Black seal- ing-wax „ Red do. ... „ Asphalt ... „ 1 2 3 4 5 6 2 1 4 7 2 8 9 10 11 12 H 13 1 14 ... 2 4 4 6 1 8 3 2 7 3 i 8 0 1 J2 2 8 5^ 1 5 1 1 1 1 1 1 4 2 I 2 1 18 18 4 3 3 2i For photographic purposes special varnishes are required, and the following will be found very good ones Negative Varnish. (0 Orange shellac ... r«. l£ OZ. Mastic ••• i i» Sandarac Oil of turpentine ... ••• i 99 Venice turpentine 1 ••• 4 n Camphor ... IO glo. Methylated spirit, 66 over proof ... '20 OA6. 14 DICTIONARY OF PHOTOGRAPH^. Or— (2) Orange shellac 2 ozst- Sandarac 2 Canada balsam 6o grs. Oil of lavender I oz. Methylated spirit 16 ozs. Or- Cs) White hard varnish ... 15 ozs. Methylated spirit . 25 The above varnishes must be flowed over the negative and then dried before a brisk fire. The following may be applied without warming : — (4) Negative varnish 5 ozs. Liq. ammonia *88o — add sufficient to cause the cloudiness first formed to disappear. Or— White hard varnish 10 ozs. Liq. ammonia -88o as above. W T ater 5 ozs. View-Finder. This is a little instrument used for instanta- neous photography, to see when the moving object is in the middle of the field of view and in the middle of the plate. The author has used an ordinary double concave spectacle lens mounted on the fron* of the camera, and the eye being placed just at the back of the camera. A better method is by utilising the camera DICTIONARY OF PHOTOGRAPHY. 211 obscura, which may be made at a trifling cost out of a spectacle double lens of about i\ or 2 ins. focus mounted in a sliding brass tube, a mirror at an angle of 45 degs., and a piece of ground- glass on the top, with a shade. In the preceding diagram, show- ing the arrangement, abcd is a rectangular box of card or wood; L, lens in sliding tube; M, mirror; G, ground -glass ; s, movable shade, which can be raised or lowered at will. Another method is to use the focussing screen, which, when turned back over the top of camera, should have the lines drawn C B o A on it as shown in the diagram ; then when the eye is placed at A and looking along a b, the object when opposite this will be in the centre of the plate, and cad is the angle included by the lens. Or a double convex lens of exactly the same focus as the lens may be mounted on the front of the camera, and the focussing screen turned up above the camera, and the focus- sing cloth thrown over the whole, so as to form a second and temporary camera. View-Meter. An instrument used to gauge the amount of view included by the lens upon the focussing screen without the trouble of setting up the camera. The following is a very useful, cheap, and ingenious one, which can easily be made by almost any amateur from material at hand : — Obtain two brass tubes 2^ ins. long and if ins. in diameter, one of which is made just a trifle smaller than the other, so as to slide within it. The following diagram will explain the method of making this useful little instrument. 212 DICTIONARY OF PHOTOGRAPHY. A BCD, a brass tube bearing at one end a cap in which is an opening (gh), bearing a proportionate size to the plate used: for instance, for quarter-plates, or 4^ by 3^, the opening may be |J in. by if ; or for half-plate, }£ by il- This opening frames A P H 8 M the view, and limits its extent according to the distance the inner tube is drawn out. efil is the other brass tube sliding inside ab CD, having at one end a double concave lens (ef) of ii-in. focus, and at the other a double convex lens (m) of 3-in. focus ; when the eye is applied to the convex lens the picture is viewed in minfature. P will show front view of cap. To use this it must be adjusted to the lenses with which it will be worked. To do this it is only necessary to erect the camera, focus carefully, and, marking two prominent objects on the edges of the screen, adjust the small view-meter till the same objects are exactly on the edges of the field of view in that. Now mark on the inner sliding tube with a knife or file the exact point to which it was pulled out or in, and this will always include the amount of view included by that lens. By fastening two fine wires across the cap P, as shown by the dotted lines, it will serve well also as a view-finder, as, when DICTIONARY OF PHOTOGRAPHY. 21 3 the moving object is at the point of intersection of the crossed wires, it will be in the centre of the plvte. It may also be used as some guide to the probable exposure by placing inside the cap a circle of blue glass, so as to cut off all the rays but those chemically active and which affect the plate. Vignetting. This consists of shading off the margins of a picture, so as to cause the figure or subject to gradually fade away. There are numerous methods of effecting this : one is by the use of glass with oval or other shaped openings surrounded by a gradually deepening margin of coloured non-actinic glass. These, however, are not satisfactory. Another method is that employed by the French operators of using graduated thicknesses of tissue paper with serrated edges. Another method is to use wooden covers with openings having the underneath edges bevelled off. But the best of all is to use stout sheet lead or pure tinfoil, and to cut the sized opening required, and either to slightly turn up the edges or serrate them, so as to soften the outline ; and the farther the vignetting shape is placed from the negative the larger the vignette and the softer the outline. Washing Negatives and Prints. This is one of the most important of all the operations for the production of permanent negatives, the object being the total elimination of every trace of hyposulphite of soda or silver. There are numerous washing tanks and machines in use, but the author always uses one made out of a biscuit tin, and a wire frame made something after the style of a household toast-rack, in which the negatives can rest face downwards, and has never yet failed to eliminate every trace of hypo from negatives in thirty minutes. For washing prints, frames of wire covered with coarse canvas may be used, these being placed one over the other, and then placed in the tank for washing. Both negatives and prints should be washed in running water ; and the author has found that thirty minutes in a tank, and another two minutes in a bath of hypo eliminator, or five minutes in a chrome alum bath, is quite sufficient. The author also advocates the use of warm water about 8o° F., after a plain alum bath ; or where very quick washing is desired, the negatives should be placed in a bath of methylated spirit, after removal from fixing bath and rinsing with water : this will extract the water and a considerable portion 214 DICTIONARY OF PHOTOGRAPHY. of the hypo. For prints, water at 90 0 F. may be used with no ill effects. Or prints may be pla:ed face upwards on old negative glasses, and a roller squeegee passed twice or three times over them : this is a very easy and quick way of freeing from hypo. Wastes. See Residues. Waxing Negatives. See Oiling. Wide- Angle Lens. See Lens. Weights and Measures. The confusion which reigns in the photographic world with regard to weights and measures is something appalling. Numerous plans have been proposed to remedy this, but at present with little effect ; the confusion arises in great measure from the numerous systems of weights and measures used in different countries. All solid chemicals are sold by avoirdupois weight, whilst many formulae are written in what is called apothecaries' weight. It has been proposed to use the metric system, but at present there seems no likelihood of its coming into general use. The author has endeavoured through- out the Dictionary to give all formulae in standard weights about which their can be no dispute. As a standard for dry substances the grain has been employed, and for liquids the minim, or the ounce of 480 minims, except in some cases where the weights are practically immaterial, where a few grains more or less would make no appreciable difference. The author does not intend to enter into any arguments on the question, but simply gives those tables of weights in general use. Apothecaries' Weight. 20 grains = 1 scruple (9). 3 scruples « I drachm (3). 8 drachms ... ... ... = 1 ounce (J). The above weights are used by chemists for the compounding of prescriptions. 1 oz. (5j) = 8 drms. (3viij) = 24 scruples (9xxiv)= 480 grs. (The pound in this weight is never used; it contains 12 ozs. — ^,760 grs.) Avoirdupois Weight. 16 drachms = I ounce. 16 ounces ... = I pound. 1 lb. = 16 ozs. = 256 drms. — 7,000 grs. (This weight is used by all dealers for retailing chemicals, etc. 1 oz. = 437*5 grs.) DICTIONARY OF PHOTOGRAPHY. 21 5 Liquid Measure. 1 Go minims = 1 drachm (f. 5). 8 drachms = 1 ounce (f. 20 ounces — 1 pint (O). 8 pints = 1 gallon (C). 1 gal. (Cj) = 8 pts. (Oviij) = 160 ozs. (f. 3, 160) = 1,280 drms. (f. 3, 1,280) = 76,800 minims. The following is the Metric System of weights and measures in use in France and on the Continent generally, and in the United States, and in England amongst scientific chemists. The division in each case is by 10, so that it is extremely easy to calculate the division or multiples of any weight. Lineal Measure. . 1,000 millimetres ... ... = 1 metre. 100 centimetres = 1 „ 10 decimetres ... ... = 1 „ 10 metres ... ... ... = 1 decametre. 100 „ — 1 hectometre. 1,000 „ = I kilometre. The metre is the unit, and is equal to 3937 English inches. Liquid Measure. 1,000 millilitres = I litre. 100 centilitres = 1 „ 10 decilitres -= 1 „ 10 litres ... = 1 decalitre. 100 „ = 1 hectoiltie 1,000 „ = 1 kilolitre. The litre is the unit, and is equal to 35*216 fluid ozs. Liquid measures are usually expressed, however, as cubic centimetres, or c.c., = 16*8 minims. Dry Measure. 1,000 milligrammes =» 1 gramme. ioo centigrammes = 1 „ 10 decigrammes = 1 „ 10 grammes 1 decagramme. too „ = I hectogramme. 1,000 „ ^= I kilogramme. The gramme is the unit, and is equal to 15*432 grs. 2 l6 DICTIONARY OF PHOTOGRAPHY. For converting these weights into English, the following tables will be found sufficiently accurate for all purposes : — Conversion of Grammes into Grains. I gramme !5*43 2 grains. 2 grammes 30-864 „ 3 46-926 „ 4 „ 61728 „ 5 77-160 „ 6 ^ 92-592 „ 7 „ 108*024 „ 8 „ ... ... 123-466 „ 9 » 138-898 „ Conversion of Grains into Grammes. 1 grain = -0648 gramme. 2 grains ... ... ... = -1296 ,, 3 m = -1944 4 m = -2592 5 , = -3240 6 , = -3888 if 7 „ = -4536 8 „ = -5184 » 9 m = '5832 Supposing it is desired to convert 506-94 grammes into grains, the table is used as follows :— 500 grammes ... ... = 7716*0 grains. 6 „ = 92-592 n •90 gramme ... ... = 13 889 u •04 ft = * 6l 7 tt 7823-098 „ The numbers taken from the tables simply require the altering of the position of the decimal point. The following may be useful for those short of weights to obtain an approximate weight: — Weight. 1 sovereign, new ... ... ... 123 274 giuins. ' shilling 8/ z/3 „ 48 pennies ... 1 lb. avoirdupois. 1 halfpenny and 1 threepenny-piece \ ounce. DICTIONARY OF PHOTOGRAPHY. 217 Wcxbt I florin and 1 sixpence ... ... Jour:e. 3 pennies I ,, 4 half-crowns and 1 shilling 2 ounces. 4 florins, 1 half-crown, 2 pennies ... 4 „ 1 halfpenny 1 inch in diameter. Wet Collodion Process. This was the first process in which a vehicle for the sensitive silver salt was used. Either negatives or positives can be produced, and the latter, when taken upon thin enamelled-iron plates, are known as ferrotypes or tintypes. The following is a short resume of the process : — A well-cleaned glass plate is coated with Collodion (g.v.), and as soon as the collodion has set this coated plate is immersed in a bath made as follows : — Nitrate of silver 320 grs. Potassium iodide 1 gr. Distilled water 8 ozs. Dissolve the silver salt in 2 ozs. of water, and the potash in ^ oz. Add the latter to the former, and add the remainder of the water. Filter, and test for acidity. If the blue litmus paper is not turned red after an immersion of some short period, a few drops of a dilute nitric acid (1 in 12) should be added till the bath is decidedly acid. The plate is exposed whilst still wet, the exposure being about ten times that for gelatine dry plates of ordinary rapidity under similar circumstances. For development any of the following may be used, but the author prefers Nos. 2, 3, and 4, the last being especially useful, as shorter exposure is required, and more detail is brought out. With No. 5 longer exposure is required, but extreme contrast is obtained : — No. 1. Ferrous sulphate ... 300 grs. Glacial acetic acid ... 200 minims. Methylated spirit ... ... 1 oz. Distilled water 10 ozs. No, 2. Ferrous sulphate ... 200 grs. Cupnc ,, ... ... xoo Glacial acetic acid ... 200 minims. Methylated spirit ... ... i oz. Distilled water 10 ozs. 2l8 DICTIONARY OF PHOTOGRAPHY. No. 3. A. Ferrous sulphate ... ... 240 ers. Cupric , 30 „ Distilled water 5 ozs. D. Nitrate of baryta ... 30 grs. Glacial acetic acid ... 2 dims. Methylated spirit ... ... J oz. Distilled water ... ... 5 ozs. Dissolve A and B separately, then mix and filter. No. 4. Ferrous sulphate ... ... 300 grs. Glacial acetic acid ... 200 „ Formic acid (sp. gr. ro6o) ... ... 100 minims. Methylated spirit... ... ... ... 240 „ Distilled water ... ... 10 ozs. No. 5. 200 grs. ... 180 minims. 100 grs. ... 240 minims. 10 ozs. No. 6. Ammonio sulphate of iron 250 grs. Glacial acetic acid ... ... ... 250 minims. Methylated spirit 240 „ Distilled water ... ... ... ... 10 ozs. To develop the exposed plate it should be fixed upon a pneumatic holder and a little ol the developer poured evenly on to the surface, and gently rocked backwards and forwards till the image is sufficiently developed, when it may be poured off. The image nearly always requires intensification for negative work, and the following may be used : — Ferrous sulphate.*. Citric acid Distilled water Ferrous sulphate ... Glacial acetic acid Lump sugar Methylated spirit... Distilled water ... rs. 5 10 „ I oz. DICTIONARY OF PHOTOGRAPHY. 219 Add immediately before using a few drops of-* Silver nitrate 10 gis. Distilled water ... ... ... ... 1 02. Pour on to the unfixed negative, and rock backwards and for- wards till dense enough. Then fix in — Potassium cyanide ... ... ... 120 grs. Distilled water 10 ozs. Wash thoroughly, dry, and varnish. Woodbury type. This is a very beautiful photo-mechanical process, and consists of exposing a thick film of bichromated gelatine to light under a negative, and when fully exposed it is washed to dissolve the unacted-upon soluble portions, and after being soaked in alum is dried. When dry, the gelatine print, which at this period looks like a delicate piece of silk with the image in relief, is placed on to a bed of metal, and a pressure of from four hundred to five hundred tons brought to bear on it. This forces the gelatine into the metal, and makes an impression the same as a seal on hot sealing wax, the film of gelatine itself being unharmed and used over and over again. The metal sheet bearing the impression now becomes a mould, and this is placed in a press and some special liquid gelatine ink is poured on to it, and a sheet of non-absorbent paper placed over. The press is now closed, and pressure being applied, it is obvious that the ink will leave the high-lights and collect in the shadows. When the gelatine ink has set, the paper is removed, bearing the image, and is fixed in alum and dried. Stannolype. This is also an invention of Mr. Woodbury, and in this process an image in intaglio is produced by exposure of a bichromated gelatine film under a positive, and this is coated with tinfoil, and used for printing from in almost the same manner as in Woodburytype. Yellow Fog. See Fog. Yellowness of Prints. See Toning. Yellow Stain. See Clearing Bath. Zinc (Zn = 65) exists as calamine or carbonate, as sulphide in zincblende, as oxide, and occasionally in a pure state. It is but little used in photography, and its salts, the bromide, iodide, and chloride, which are formed in somewhat similar manner to the cadmium salts, are not much used. Zinc hypochlorite has lately 220 DICTIONARY OF PHOTOGRAPHY. been recommended for making hypo eliminator. The formulae for the salts of zinc are — Bromide, ZnBr 2 — 225 ; Iodide, Znl 2 = 319 ; Chloride, ZnCl 2 = 136 ; Hypochlorite, ZnCl 2 ZnCl 2 0 2 = 304. Zincography. A photo-mechanical printing process, in which the image is impressed upon a zinc plate by means of a greasy ink, and an etching fluid being applied which eats away the groundwork, leaving the image in relief, so that it can be printed from like ordinary type. Usual Sizes of French and Italian Dry Plates. French. Inches. 6\ by 9 Centimetres ... 2-5 by 37 9 tt 12 M • • • •• ... 37 1, 47 12 M 15 i> ... 47 11 5*9 18 11 ••• ... 51 11 7'o 12 „ 20 n • • • • • ... 47 „ 7-8 15 21 11 ... 5*9 „ 8-2 15 » 22 ... 5*9 „ 8-6 18 „ 24 n • • • •• ... 7-0 » 9*4 21 „ 27 11 • • • » • ... 8-2 11 io*6 24 1, 30 ... 9'4 „ ir8 27 1, 33 ... 106 ,1 12-9 27 f 1 35 M ••• io-6 11 137 30 H 40 II • • • « • ... 11-8 11 157 40 n 5o II ••• •« ... 157 11 i9' 6 50 M 60 II • •• • ... 19*6 ,1 236 Italian. Inches. 9 by 12 Centimetres ... 37 by 47 12 n 16 ... 47 ,1 6-3 12 „ 18 ... 47 n S'9 13 .. 18 ... 5-1 ,1 To 12 „ 20 ... 47 „ 7'8 18 „ 24 II • • • • ... 70 11 9*4 21 „ 27 II • • • • « ... 8'2 ,, io-6 24 11 30 II ••• •« ... 94 ,1 irS 27 33 II ••• •« ... 106 11 ^'9 3° it 36 II ••• u-8 11 H 1 40 5o *57 I, 196 SO n 60 II ••• • 196 „ 23 6 DICTIONARY OF PHOTOGRAPHY. 221 Sizes of Glass, Mounts, Paper, Etc. Petite cards if by rj One-ninth plate 2 „ 2\ One-sixth plate 3f 3^ One-fourth plate 3i „ 4\ Half plate ... by 6J and 4J „ si Half plate (English) ... A 4f „ 64 Whole plate (4-4) 6J „ 81 Extra 4-4 8 „ 10 Other sizes are expressed by inches. Sizes of Mounts. Stereoscopic 3^ by 7, 4 by 7, 4£ by 7, 4» by 7, 5 by 8 Victoria H by 5 Imperial ... 7i it 9i Boudoir 51 H H Panel 4 fi 8J Minette ii », 2f Card 2* 11 4| Cabinet 4i 11 6j Promenade 4£ » 7i Sizes of Albumen Paper. 18 by 22f, 20* by 24J, 22 by 36, 26 by 40, 27 by 42 Sizes of blotting paper 19 by 24 Freezing Mixtures. Reducing the Temperature From Degrees To PARTS. of the Celsius Thermometer. 3 Nitrate of sodium 4- 4 water + 13-2 deg. — 5*3 deg. 9 Phosphate of sodium 4 dilute nitric acid + 10 „ — 9 » 3 Sulphate of sodium -+- 2 dilute nitric acid + 10 „ -—10 „ I Nitrate of sodium + 4 water — io-6 „ I Chloride of potassium + 4 water ... -H-8 „ 5 Sal-ammoniac -f* 5 saltpetre ••• 8 Sulphate of sodium + 5 cone, sul- phuric acid + 10 cieg. — 17 „ 2 22 DICTIONARY OF PHOTOGRAPHY. Reducing the Temperature From Degrees To parts. of the Celsius Thermometer. I Sulphocyanate of potass. + I water -f 18 deg. — 21 deg. 1 Chloride of sodium + 3 snow — 21 „ 1 Sal-ammoniac + 1 saltpetre -f- 1 water +8 deg. — 24 „ 3 Crystal, chloride of calcium -{- 1 snow — 36 n 1 Snow + I dilute sulphuric acid ... — 5 deg. — 41 „ Table of the Elements. Symbol and Atomic Value. Atomic Weight. /iiuminium ^•^■i 2 / ••• Al iv 27 5 /\ntimony ^od ••• oD 1 22 Arsenicum j ••• ... A cv 75 Barium ... ... Ra" 1 37 r>eryiiium, or vjiucnium . . . ... R^" 9 5 Dioinuui \ ) *** *•* **" Bi v 208 Boron ... ... B'" 11 J_>1 UllllilC/ ... ... ... ... Br' 80 V_-CtV-llll 1 M. HI ... ... ... ... Cd" 112 Lttbl Uill ... ... ... ... Cs' i^ V^dl\^lU.lil ... ... ... ... Ca" 40 Carbon (C fr ) C iv 12 Cerium (Ce'"> \^/\_»l 1 14.111 I V> \-» I • • « ••• ••• Ce vi Q2 s Chlorine ... ... cr 355 Chromium (Cr 2 vi J Cr vi 525 Cobalt (Co") Co vi 58-8 Copper Cu" 63*5 Davyum Decipium ... Didymium D" Erbium (?) Eb" 1 12-6 Fluorine F 19 Gallium Gold Au'" 1967 Hydrogen , ... H' 1 Indium In' 1 75-6 Iodine r i?7 Iridiurr Ir> «-7 Iron (Fe" & Fe, v ') Fe vi 56 Lanthanium La' i * Lavoesium DICTIONARY OF PHOTOGRAPHY. 223 1 1 ^ivmVirfcl and! ujinuui aiiu Atomic Value. Atomic Weight. Lead(Pb") ... Pb iv 207 Lithium L' 7 Magnesium Mg" Mn vi 24 Manganese (Mn" & Mn iv ) 55 Mercury Hg" 200 Molybdenum Mo* 96 Mosandeum — Nephmium Nickel (Ni") Ni* 58-8 Niobium Nb v 97-6 Nitrogen (N' & N'") N v 14 Norwegium — Osmium Os iv 199 Oxygen O" 16 Palladium Pd iv 1065 Phillipium — — Phosphorus (P"') pv Platinum p t iv 198 Potassium ... K' 39 Rhodium Rh* 104-3 Rubidium Rb' 853 Ruthenium ... Ru iv 1042 Scandium — — Selenium ... Se vi Silicon Si iv 28 Silver Ae' Na' 108 Sodium ... ... j Strontium... Sr" 87-5 Sulphur (S" & S iv ) gvi 32 Tantalum Tav 182 Tellurium Te vi I2Q Terbium (?) Thallium Tl" 204 Thorinum... Th" 232 Tin (Sir") Sn iv Il8 Titanium ... ... Ti iv 50 ^ Tungsten W vi I84 Uralium — Uranium ... Tjvi I20 Vanadiun ... Vv Yttirbium ... ... Yttrium | Y" Try Zinc Zn" 65 Zirconium Zr iv 895 224 DICTIONARY OF PHOTOGRAPHY. Table of the Formulae of Chemicals » used in Photography. Formula. Molecular Weight. /\ciq, /\cciic.»» ••• ••• T7C H O OO Ror^irir nr Rorif* 3 v 3 *l V/ul U\J ... ••• HC«H ft O 94 Cirri f* H.l,. XTeC 1 1 „ ( ) ■*- 3 6 5^7' 2 210 • I X Ul 1111^. • • ••• ••• HCH0 2 40 i, Gallic ••• ... HCH O I70 T-Tx?m m nrntn l r* i, xi. yui U Ul Ulllll* . . • ••• HBr 0 1 ii n. y lii uciiuji ic ... ... HC1 3°*5 Nitric HNO s Ova lir II v_y -^v ci 1 1 ... ... ... H„C O 2HO 1 26 Pvrocallif* 1 26 SjiIip vlif* II OctllCVllC ... ... 11^11^3 135 ^klllTkrlllTlf* II ouipiiuiic ... ... H SO 9s II OUipilUlUUo ... ... oz Tannic h c *h 0 . uio Tartu rip H C H O. 1 4^4 2 W 6 T fn «r\l(_OHUl ... ... ... P H HO 40 Methvl II 1VXC 11 IJy 1 ... . .. CH HO V^X lol X V-/ 3 J Alum... Al fSO ") K SO 24.H 0 V4° fhrnmp II Vvlll UJ11U ... ... Cr Hydrate I -6 5 1 sol. „ Hyposulphite i*5 1 insol. „ Iodide •5 •3 sparingly „ Nitrate 1-136 1 I in 37 „ Phosphate 4 2 insol. „ Sulphate ... 2 *4 sol. „ Sulphite 4 2 sparingly M Tartrate 175 1 insol. „ Tungstate Strontium Bromide 4 2 insol. 1 75 sparingly „ Chloride 1-8 1 sparingly „ Iodide •5 •27 sparingly Uranium Bromide 1 •5 sol. „ Nitrate •5 •25 sol. ,, Oxalate... Zinc Bromide ncarlyinsol. 30 insol. 1 5 v. sol. „ Chloride •33 v. sol. „ Iodide *33 v. sol. „ Sulphate 7 •5 insol. List of Dry Plates, and Sensitometer Numbers. Abney (Bromo-Iodide) ... 60 times 23-25 Academy ... 121 •» about 19 „ (Extra Rapid) ... 26 11 t t 22 Advance ... 12 if m 22 Albert Alliance (30 times) ... 30 f» 18 (60 11 ) ... 60 »» 23 Apollo (Ordinary) ... 12 «> about 19 230 DICTIONARY OF PHOTOGRAPHY. Apollo (Extra Rapid) 26 times about 22 Appleton 12 it 19 Azaline 60 tt tt 25 Beernaert 60 ti 25 Brightonian (Ordinary) 20-25 tt l 9 „ (Extra Rapid) 60 tt 24 Brilliant — — Britannia (Ordinary) 12 tt about 19 „ (Extra Rapid) 26 99 „ 22 British — — Cadett (Rapid) — 20 „ (Rapid Lightning) — 25 Chapman's — about 1 8 Charterhouse (A.) ft — ft ( B «) 60 tt — 11 (S^*) ••• ••• ••• — — Clapham — about 19 Clarke ... ... ... ... ... — 19 Cranbourne — — Derby (Ordinary) 20 tf 20 „ (Extra Rapid) 40 ft 22-24 Derwent — — Don — — Eclipse ... ... 60 tf 25 Edwards' XL (Extra Sensitive) 30 »f 15-19 „ XI. (Special Instantaneous) 5o if 20-22 „ XI. (Isochromatic) 50-100 If — Elliott & Fry — — England (Ordinary) ... 4 ft „ (Extra Rapid) tf 20 Facilis — Favourite (Slow) — — „ (Rapid) — — „ (Extra) — — Flexible Films 15-17 Freeman Fry's Slow Landscape ... 6 99 12-15 „ (30 times) 30 *t 20-22 11 (60 „ ) 60 tt 25 German (Ordinary) 30 20 DICTIONARY OF PHOTOGRAPHY. German (Extra Rapid) ... ... 60 times Globe — Gresham — Ilford (Ordinary) 30 „ (Extra Rapid) 40 „ „ (Special) 60 „ Imperial 60 M Jerome ... — Jubilee — London (Ordinary) ... 5 ff „ (Instantaneous) 15 „ „ (Drop-Shutter Special) ... 60 „ Ludgate — Manchester ... ... ... ... — Matchless (Extra Rapid) 60 „ „ (30 times) ... 30 „ Mawson (Ordinary) 60 N „ (Cheap) — „ (Photo-Mechanical) — Miall (Ordinary) — „ (Extra Rapid) — Mirror — Monckhoven — North British — Paget (30 times) 30 „ » (50 » ) 5o it Perfection (Rapid) — „ (Extra Rapid) ... ... — Premier — „ (Extra Rapid) — Regent (Slow) — „ (Extra Rapid) — Richmond (Ultra Rapid) 60 „ „ (Special Instantaneous) ... 15 „ Rouch , — Soho 30 „ „ (Extra Rapid) 60 „ Stanley — Sun — Tailfer 50-100 M 23* DICTIONARY OF PHOTOGRAPHY. Thomas (Thickly Coated) 15 times 15-18 „ (Extra Rapid) 60 M 25 Trafalgar (Slow) 3 „ 15 „ (Extra Rapid) 12J M 20 Unique United Kingdom ... ... ... 20 „ 21 Uranium ... Vectis Verel (30 times) M (6O „ ) Vogel ... Woolwich (Ordinary) ... „ (Extra Rapid) These results have been to some extent collected from other sources, and from the statements of the makers of the plates, or from information from amateurs who may have used them, or from the author's own trials. 30 60 Cadett's Table, showing the relative Rapidities of Plates of varying Sensitometer Numbers. Number of times more sensitive than — 25 24 23 22 21 20 19 18 17 16 15 I If 2* 3 4 5 7 9 12 16 1 H if 2* 3 4 5 7 9 12 1 14 I* 2j 3 4 5 7 9 1 H If 3 4 5 7 1 I* I If I 2i if 1 3 2i If H 1 4 3 2* If I* 5 4 3 2i If I ii 1 25 24 23 22 21 20 19 18 17 16 15 A To use this table to compare the rapidity of two plates, the sensitometer numbers of which are known, run the eye up the column^ till the sensitometer number is reached, and then along the line of figures till it reaches the column of figures under the sen- sitometer number of the second plate, when the figure there shown will tell at once the difference in rapidity. Example — A plate has B DICTIONARY OF PHOTOGRAPHY. been used of ordinary rapidity showing 18 on sensitorneter, and it is desired to use a plate of sensitorneter No. 22 : what will be the reduction in exposure ? Find 22 in column A f and carry the eye along the line of figures opposite to it till it meets the column under 18 in B line — the number 3 will be found ; therefore the 22 plate is three times as sensitive as the No. 18, and will therefore require one-third of the exposure. SUNDRY FORMULAE. Wilde's Iodine Restrained Iodine 19 grs. Alcohol (methylated) 200 minims. Distilled water 200 „ Dissolve in above order; from 8 to 1$ drops to 4 ozs. of iron developer gives great strength to the negatives. Belitzki's Hypo Eliminator. Chloride of lime 308 grs. Distilled water 35 ozs. Stir well, and add to the milky liquid Sulphate of zinc 616 grs. Distilled water ... 5 ozs. Filter ; the clear supernatant liquid is hypochlorite of zinc solution. One part to sixty of water will remove the last traces of hypo in five minutes. The solution is active as long as it smells of hypochlorous acid. Wet Collodion :— Liesegang's. Alcohol 10 ozs. Ether 10 „ Pyroxyline 154 grs. Iodiser. Alcohol 7 ozs. Iodide ammonium 90 grs. „ potassium 45 Bromide tt 30 Mix in equal parts. 234 DICTIONARY OF PHOTOGRAPHY. Silver Bath. Nitrate of silver ... 154 grs. Distilled water 5 „ If the bath fogs, add a few drops of iodine solution (1 part of iodine in 10 of alcohol). Bromine Hypo Eliminator. A solution of bromine in water of a light sherry colour will remove the last traces of hypo in negatives. Dr. Eder's Intensifier. Whiten the negative by soaking in a saturated solution ot mercuric chloride ; wash well, and immerse in Potassium cyanide 10 grs. „ iodide ... ... ... 5 Mercuric chloride 5 „ Distilled water 4 ozs. Wash and dry. Eau de Javelle. Chloride of lime ... ... 2 ozs. Carbonate of potash ... 4 „ Water ... 40 „ Mix the chloride of lime with 30 ozs. of water ; dissolve the potash in 10 ozs. of water. Mix, boil, and filter. Used as an hypo eliminator. Labarraque's Solution. Chloride of lime ... ... 2 ozs. Carbonate of soda 4 , Water 40 „ Directions to make the same as for Eau de Javelle. Aqueous Shellac Varnish. Shellac 16 ozs. Borax 3 „ Distilled water 3 pints. The whole must be kept boiling some time. When solution is effected, it may be diluted as desired without fear of precipitation. DICTIONARY OF PHOTOGRAPHY. 235 Crystal Varnish for Ferrotypes. Dammar ... 25 grs. Benzole ... ... ... ... ... I oz. Rivot's Self-Toned Paper. Chloride of gold ... ... ... ... 60 grs. „ ammonium 120 ,, D stilled water 20 ozs. Float albumenised paper on this bath to salt, allow to dry, and then on Ammonio-nitrate of silver 60 grs. Distilled water ... 1 oz. Dry quickly. Red Prints. Citric acid 100 grs. Chloride of ammonium ... ... ... 100 Gelatine 10 „ Distilled water ... ... ... ... 10 ozs. Dissolve the citric acid in a small portion of water, and exactly neutralise with carbonate of soda (228 grs. of common washing soda will be about enough). Mix with the other ingredients. Float the paper on this solution for two minutes, and sensitise upon a 50-grain nitrate of silver bath. Do not tone ; simply fix and wash. A New Developer. The following formula is recommended by a Russian amateur, who states that it has been used for some two years with very good effects, the colour being somewhat similar to a wet plate. No. 1. Sodium sulphite 300 grs. Ferrocyanide of potassium 700 „ Carbonate of soda 700 „ Distilled water ... 7\ ozs. No. 2. 1-yiogallic acid 150 grs. Chloride of ammonium ... ... ... 150 „ Distilled water J U/:s. 236 DICTIONARY OF PHOTOGRAPHY. No. 3. Trimethylamine 5 minims. Distilled water ... 95 fi Developer. No. I solution 5 drms. 11 2 „ 40 minims. tt 3 » ••• • •• ••• ^5 $1 Nos. I and 2 are perfectly stable, and will keep some little time ; but No. 3 should be added only when required for use. Development proceeds rapidly ; and if sufficient density is not obtained, three or five drops more of No. 3 can be added. Trimethylamine, (CH 3 ) 3 N = 59, is an oily liquid, very alkaline, of strong fetid odour, intensely disagreeable, and persistent. It is a common product of decomposition, and is also a bye-product in the distillation of beet spirit. FurneH's New Developer. This has been recommended by Mr. Furnell, who states he has kept pyro in solution by means of this for four years, and no sign of deterioration or darkening of colour showing. It is especially useful for plates inclined to frill ; it gives extreme latitude of exposure with any plates, and gives clear glass in the shadows, and is especially useful for positives. It is obviously unsuited for stripping films, the action of the alum being a sure preventer of stripping. Stock Sodic Solution. Sodium sulphite , Powdered alum Distilled water, to make Dissolve, allow to stand until clear, and filter, indefinitely. Stock Pyrogallol Solution. Stock sodic solution .., I oz. Pyrogallol 8 grs Nitrate of soda 12 This wilJ keep indefinitelv. 300 grs. 60 „ 18 ozs. % This will keep DICTIONARY OF PHOTOGRAPHY. 237 Stock Ammonia Solution. Liquor ammonia ( 880) ... Bromide of ammonium ... Distilled water, to make ... 90 minims. 3° M 15 drms. Developer. Sol. pyro 4 drms. Water, to make ... ... ... ... 2 ozs. Flood the plate without previously wetting, add to the de- veloper 10 minims of ammonia solution, and repeat the dose if the required density is not obtained. When fully developed do not wash the plate, but flood with a saturated solution of alum, rinse, and fix in the following bath : — Hyposulphite of soda ... ... ... 4 ozs. Carbonate ,, ,, ... ... ... 1 „ Saturated solution of alum 1 „ Water 20 ,, Allow it to clear ; then filter. It can be used almost indefinitely. Mr. Furnell states he has used some for three years, and no sign of staining. If it gets turbid it should be allowed to settle. The author has tried this, and it certainly seems an improvement upon many developers in the market, the negatives being full of detail, and of a good chocolate quick-printing colour, due to the nitrate of soda. The alum should be omitted from the fixing bath, as it decomposes part of the hypo and weakens the fixing power, besides rendering sulphur deposition liable. No Old Stock. New Goods in Every Department. W. H. WALMSLEY, Ltd., 1022 WALNUT ST., PHILA., Of Every Description for the AMATEUR OR PROFESSIONAL. WRITE FOR ESTIMATES, CORRESPONDENCE SOLICITED, We are direct Importers of the celebrated ROSS LENSES. Also American Agents for the New HELIOGRAPH LENS. SEND FOR PRICE LIST. "W_ IEE_ WALMSLEY, ILVbcL--, 1022 WALNUT STREET, PHILADELPHIA. ESTABLISHED 1878. EAGLE STOCK HOUSE, Photographic Goods of Every Description, AND HEADQUARTERS FOR SEED DRY PLATES, SEED'S NEGATIVE FILMS. SEED'S POSITIVE FILMS, SEED'S DEVELOPER, EAGLE LENSES, IMPERIAL LENSES, HERMAGIS LENSES, ANCHOR BRAND ALB. PAPER, GREEN'S SHUTTERS, EAGLE CAMERA BOXES, WHITE'S POSING APPARATUS, WHITE'S POSING CHAIR, EAGLE CAMERA BOXES, IDEAL BEVELERS, SPURR'S NEGATIVES, FLOWER SCROLLS, BARNETT'S FILM CAMERAS, BARNETT'S HOLDERS, PIZZIGHELLI PAPKR, HIGGINS' PAT. FINDER, ECLIPSE VIGNETTE R, SEED'S VIGNETTER, SUCCESS PRESERVATIVE, EAGLE LENS-IRIS DIAPHRAGMS. GMSO. MURPHY, Mrfm East of Broadway. -9-BoncHSk, New York, 2 STAMP PORTRAITS Patented July 12, 188 7. THE ONLY AND ORIGINAL ARE THE ONLY ONES COV- ERED BY LETTERS PATENT ISSUED JULY 12th, 1887. T^HESE STAMP PORTRAITS are the exact size of the ordinary postage (§) stamp, are also gummed and perforated. They are invaluable as adver- tising mediums for all branches of business, being always ready to mount on letter-heads, business, visiting and exchange cards for conventions, re- unions, etc. Send for samples, which will be furnished on application. In lots of 1,000 or more we photograph any name or autograph free of charge; on less than 1,000 an extra charge of $1-00 will be made. Mail us your best photo (cabinet, bust or three quarter preferred), with money order enclosed, and we will fill your order promptly by mail (eight or ten days required) returning your original picture. Do not send tintypes or wood-cuts as they do not give satisfaction. Complete outfits and territorial rights for sale. Having purchased the entire right and the Letters Patent covering the manufacture of Stamp Portraits, also on the Apparatus for making the same, we hereby notify and caution all infringers thai legal action will be taken to protect said Letters Patent. Send for trade price list, samples and circulars. No less than one hundred made from one subject; for larger orders special prices will be made. Address all orders to H, A, HYATT, So le Agt., Eighth anil Locust Sis,, St, Louis, Ha , IheIevv MAGIC ilGNETTER, Patented May 31, 1887. For Producing the Black Background or Ebony Photographs. Hundreds of these Yignet- ters are now in use, Giving Universal Satisfaction. They can be easily adjusted to any Camera and require no more trouble or expense than maldrg plain photographs. Every one guaranteed. Price Each $8.00 Send for sample photograph of work done with it, also descriptive circular. Address, HE. A_ HYATT, Sole Agent, DEALER IN PHOTOGRAPHIC SUPPLIES, IM. E. COR. EIGHTH and LOCUST STS., ST. LOUIS, MO. JOHN H. DALL, 618 & 620 Clay Street, SAN FRANCISCO, HENRY G. PEABODY, DEALER IN Photographic * Supplies, 53 BOYLSTON STREET, BOSTON, MASS. Sole American Agent FOB THE WRAY LENSES. £ Send for Catalogue. PUBLISHER OF "THE COAST OF MAINE." S Printed for AlliafeiirS. Wide Angle Landscape Lens, with Iris Diaphragm ANTHONY'S S PEC I A LTI £ S LENSES. CAMERAS. Camera Stands. DALLMEYER, PHANTOM, FAIRY, ARISTOSCOPE, PLATYSCOPE, FAIRY, NOVELETTE, TRIPLEX, CLIMAX, v a t> \ pin E. A. WIDE ANGLE. Front Fhpik "Mn vpIpI tp LILLIPUT, BIJOC, ItiLtsLUrll, BOWDISH, E. A. VIEW, 0. 1. c. GEM CITY, E. A. PORTRAIT, E. A. GEM. CLIMAX. DETECTIVE, REVERSIBLE BACK, BONANZA, MAGIC, HOLDERS. VICTOR. PAPERS. NOVELETTE, CHEMICALS. N. P, A, Albumen Paper, ScDsitized " Ferro-Pruss, Paper, Negative Aristotype " Bromide ECLIPSE, ZEPHYR. PHAITOM, BENSTER, COLLODIONS, COTTONS, VARNISHES, DEVELOPERS, PYRO, S. G. C. HYDR0KIN0N. Pizzighelh " ^msvteup Outfit^ \n Ecdle^ Variety. SEND FOR ILLUSTRATED CATALOGUE. E. & H. T. ANTHONY & CO., 591 BROADWAY, NEW YORK } 04 £/. LENSES. DALLMEYER VOIGTLANDER PRAZMOSKI. LAVERNE. DARLOT. THe^PERISCOPE.' Catalogue on Application. OUTFITS, American Optical Company, Scovill-Adams Mfg. Company, Anthony's, Blair's, Eastman's, Rochester Optical Company, \\ i / /y Boston Camera Company. CATALOGUES MAILED. Instructions Free to Patrons. COMMODIOUS DARKROOMS IN CHARGE OF Experienced Photographers, at your service. EiZERV CONVENIENCE FOR THE TOURIST. SPECIAL APPARATUS for PHOTOGRAPHY Applied to the Sciences, Legal and Medical Professions, Manufactures or Experimenting. GAYTON A. DOUGLASS & CO. MERCHANTS IN Photographic Supplies 185 & 187 Wabash Avenue, 34 Years' Experience. CHICAGO 7 ESTABLISHED 1857. ejL/ig. eooPEi? ^ eo., MANUFACTURING CHEMISTS 11 IMPORTERS. $T0I(E: 194 WO^TjI gT, flEtf YOlft. WORKS: NEWARK, N. J. A circular, "HOW TO SAVE WASTE," mailed on application. EASTMAN'S Transparent * Films. ( NO N-ST11IPPING.) FOR EOLL HOLDEES. As thin and flexible as paper and transparent as glass. PRICE LIST On Patent Spools for Roll Holders. 3H inch 4 4% 5 for 2^4: x 4/i Exposures, "4 x 5 " 4 3 ^x6M " 5 x 8 " 6^x8^ "8 x io " PRICE. 2i Exposures. $1 OO 1 50 2 OO 2 25 3 00 4 00 6 00 TRICE. 48 Exposures. $2 OO 3 00 4 00 4 50 6 00 8 00 12 CO MODEL OF 1889 MOLL HOLDERS. Patented May 5, 1885. Other Patents applied for. 3M x 4/4 inches, 4 x 5 PRICE. $10 OO IO OO IO OO IO OO 12 50 SIZE. 5 x 7 5 x 8 6* inches, x 10 PRICE, M 5° 12 50 16 OO 20 OO 434: x 63^ " All fitted with the new single revolution audible indicator and intermittent marker. SEND FOR CIRCULARS. THE EASTMAN DRY PLATE AND FILM CO., SOLE MANUFACTUItBKS, ROCHESTER. N. Y. ON THE PAC I F I C COAST HAS THE MOST COMPLETE AND CAREFULLY SELECTED STOCK OF PHOTOGRAPHIC GOODS, MAGIC LANTERNS and LANTERN SLIDES, and is HEADQUARTERS for PROFESSIONALS, AMATEURS, AND TOURISTS VISITING THE COAST. KODAK CAMERA AGENCY. SAN FRANCISCO,- PORTLAND, OR., 529 COMMERCIAL STREET, 69 MORRISON STREET. Acknowledged the Best Book on the Subject Published. A NEW EDITION OF All AT EUR PHOTOGRAPHER Being a hand-book for all lovers of that delightful amusement. By ELLERSLIE WALLACE, Ju. 12mo. Morocco, Flexible, Sprinkled Edges, $1.00. Chap. I II III Introduction. Photographic Apparatus. Emulsions. IV. Developers. V. Wet Collodion. VI. Bath Dry Plates. VII. Washed Collodion Emul- Chap. VIII. Gelatino Bromide. " IX. Printing. " X. Gtneral Consideration — Posing and Arrange- ment. " XL Paper Negatives. " XII. Microscopic Photogra- phy. The Third Edition of the Amateur Photographer contains, besides the above, an account of the more important novelties to which attention has been directed during the last two or three years, such as the Magnesium Flash Light, Secret and Detective Cameras. New and reliable methods of Intensifying the Gelatine Plate, Ortho-Chromatic Photography, etc., etc. *** For sale by all booksellers— or sent by mail, post-paid, on receipt of price. PORTER & COATES, Publishers, PHILADELPHIA. IO ANTHONY'S SERIES OF PHOTO PUBLICATIONS. No. i. Lea's Manual of Photography. Second edition, octavo, cloth, 440 pp., fine toned paper. 150 woodcuts. The most scholarly work of its kind. $3.75. No. 2. The Silver Sunbeam. By ProL Towler, M.D. Ninth edition, cloth, 650 pp., large i2mo. The most popular and complete of all the photographic manuals. 100 wood- cuts. $3.00. No. 3. El Rayo Solar (Spanish). Octavo, cloth, 540 pp., fine toned paper. The only re- liable treatise on the art of photography in that language. Second edition. $6.00. No. 4. How_ to Paint Photographs. By Geo. B. Ayres. Sixth edition. Cloth, 208 pp. Revised and enlarged and brought up to every present requirement. Price again reduced to $1.00. No. 5. The Ferrotype and How to Make It. By E. M. Estabrooke. Fifth edition. Cloth, 176 pp., 12 mo. The standard. $1.00. No. 6. The Art of Retouching. -Revised by the author, Mr. J. P. Ourdan. Cloth, large i2mo. Tinted super-calendered paper. Illustrated with lithographic drawings, photographs, and woodcuts. $1.00. No. 7. Modern Dry Plates, or Emulsion Photcgraphy. By Dr. J. M. Eder, the eminent German authority on gelatine. Translated by Mr. Horace Milner and edited by Mr. H. Baden Pritchard, F.C.S. 138 pp., large i2mo. Cloth, $1.00; in paper cover, 30 cents. No. 8. The Art and Practice of Silver Printing. By Capt. W. de W. Abney and Mr. H. P. Robinson. 128 pp , large i2mo. Clofeh, 75 cents ; in paper, 30 cents. ' No. 9. Burton's Modern Photography. A revised and enlarged edition of the ABC of Modern Dry Plate Photography. By W. K. Burton, C.E. 126 pp.; paper, 35 cents. No. 10. The (Photographic) Studios of Europe. By H. Baden Pritchard, F.C.S. 280 pp., large i2mo : 40 woodcuts. The cheapest and most practical handbook ever pub- lished. Cloth, $1.00 ; in paper cover, 50 cents. No. 11. Elementary Treatise of Photographic Chemistry. By Arnold Spiller. 72 pp., paper cover, illustrated. Companion to the A B C of Modern Photograpy. 25 cents. No. 12. How to Make Photographs, By T. C. Roche. Edited by H. T. Anthony. Revised and enlarged. With an appendix by Arthur H. Elliott, Ph.D., F.C.S. The best, most comprehensive and reliable work published on amateur photography. Il- lustrated with photographs made with amateur outfits, and profusely illustrated with woodcuts. 122 pp., paper, 50 cents ; cloth, 75 cents. No. 13. La Fotografia Hecha Facil. The Spanish edition of How to Make Photo- graphs. Revised and enlarged as above. A complete manual of dry plate photog- raphy. Cloth, $1.00. No. 14. Wie Photographische Bilder Gemacht Werden. The German edition of How to Make Photographs. Cloth, $1. No. 15. Comment on Fait Les Photographies. The French edition of How to Make Photographs. Cloth, $1.00. No. 16. Out of print. No. 17. Como Fazer Photographias. The Portuguese edition of How to Make Photo- graphs. Cloth, $1.00. No. 18. How to Photograph Microscopic Objects By I. H. Jennings. The best practical treatise on the subject of Photo-micrography. Cloth, 75 cents. No. 19. The Magic Lantern and Its Applications. By L. H. Laudy, Ph. D. The most complete manual on the Magic Lantern published. Octavo, cloth, 75 cents. No. 20. Photography in the Studio and in the Field. By E. M. Estabrooke, author of the Ferrotype and How to Make It. A practical manual for the amateur or pro- fessional photographer. Profusely illustrated, 121110, cloth, 238 pages, $1.50. No. 21. On the Choice and Use of Photographic Lenses (with additional papers and tables). By J. H. Dallmeyer, F. R. A. S. Sixth edition. Revised and enlarged. Paper, 50 cents. No. 22. Photography for All. An Elementary Text Book and Introduction to the Art of Taking Photographs. By W. Jerome Harrison, F. G. S. 112 pages, i2mo, illustrated. Paper, 50 cents ; Cloth, handsomelv bound, with gold side stamp, $1 00. No. 23. The International Annual of Anthony's Photographic Bulletin for 1888-9. Edited by W. Jerome Harrison, F. G. S., Birmingham, England; and Arthur H. Elliott, Ph. D., F. C. S. A Summer Annual of Photography. Illustrated. Paper, 50 cents ; cloth, $1.00. No. 24. Pictures in Black and White; or Photographers Photographed. A racy col- lection of historical sketches. By George Mason (*' Mark Oute "). i2mo, 188 pp., illus- trated, paper, 50 cents. No. 25. Dictionary of Photography for the Amateur and Professional, by E. J. Wall, containing concise and explanatory articles. Illustrated by many specially prepared diagrams. Printed on heavy coated wood cut paper. Handsomely bound in cloth. Price in cloth, 240 pp., $1.50. No. 26. The Chemistry of Photography. By Raphael Meldola, F. R. S., Professor of Chemistry in the Technical College, Finsbury ; City and Guilds of London Institute for the Advancement of Technical Education. Crown 8vo, $2.00. No 27. The International Annual of Anthony's Photographic Bulletin for 1889-90 by W. Jerome Harrison, F. G. S., Birmingham, England ; and Arthur H. Elliott, Ph.D., F. C. S. A Summer Annual of Photography. Illustrated. Paper, 50 cents ; cloth, $1.00. Anthony's Photographic Bulletin. Edited by Prof. Charles F. Chandler, of the School of Mines, Columbia College, New York City. 82 pp., octavo, semi-monthly. The most popular photographic journal in America. Illustrated. $3.00 per annum in advance. In addition to the foregoing, we shall be happy to supply any of the following: Wilson's Quarter Century in Photography, $4.00. The Chemistry and Light of Photography. By Dr. H. Vogel. $2.00. Progress of Photography since 1879. By Dr. H. Vogel. $3.00. Wilson's Photographies. Second edition. $4.00. Photographic News, London. Edited by Thomas Bolas. Weekly. $5.00 per annum. British Journal of Photography. Edited by J. Traill Taylor. Weekly. $5.00 per annum. British Journal Photographic Almanac and the Year Book of Photography. Genuine English edition. 50 cents each. Back volumes of British Journal Photographic Almanac. 25 cents. Back volumes of the Year Book of Photography. 25 cents. Mosaics, 1888. Paper cover, 50 cents. Pictorial Effect in Photography. By H. P. Robinson. Cloth, $1.50 ; paper cover, $1.00. The Art of Making Portraits in Crayon on Solar Enlargements. By E. Long. Price 50 cents. E. & H. T. ANTHONY & CO., 591 BROADWAY, NEW YORK v foy, IJNRIVALI.ED STE1NHEIL LENSES "Aladdin" Dark Room Lamp. Entirely new system of dark room illumination. k< Aladdin " Lamp, $3.50. u Safety " Flash Igniter, "Safety" Igniter, $4.00. The only one to burn without a flame. Write for full illustrated catalogues and price lists to your dealer or to H. C. RAMSPERGER & CO., Sole Agents, 180 Pearl Street, New York ; k % V. bulletin- ^ EDITED BY W. JEROME HARRISON, F. G, S „ Birmingham, Eng. ARTHUR H. ELLIO TT, PI, D, F. C. S, New York. Containine articles bv the most prominent Contributors to Photographic Literature in the world, and m^SPw^AMm^.us Photographic or Photo-Mechanical illustrations by the best processes. ^ . . $0.50 Price per copy, in paper, • • • , . • . , _ " " handsomely bound in cloth, with above cut stamped in gold on side, . 1.00 When sent by mail, 10 cents additional. For sale by all dealers. E. & H. T. ANTHONY & CO., Publishers, 591 Broadway, New York. GETTY RESEARCH INSTITUTE 3 3125 01410 4158