one. example-excuse my vanity-I really get a much better Still the credit is due to Mr. Seymour, and I most thankfully award it him, for until I got his articles, the old stock posings were as common in my cartes as in those of my neighbours." A. L. says, "I hope there is no fear of exhausting the mine of variety in Mr. Seymour's posings and groupings. His articles are really of immense value, and alone would, I should think, suffice to create a great demand for the ILLUSTRATED. I have his pencil jottings,' as he chooses to call the clever little sketches he gives us, cut out and pasted into a scrap-book. I introduce this to the notice of every sitter to select a pose, but reserving to myself the right of deciding as to its suitability, and I find they understand the sort of thing required at once when they see a picture of it, although I used to find the work of talking them or moving them about into a good pose most disheartening." Will the readers be good enough to pass their pens through the word is at page 130, line 20 from the bottom of my last article but one, and write against it the word "are." I forgot this last week. MAGIC-LANTERN PHOTOGRAPHY. BY EDWARD B. FENNESSY. THE renowned paintings of the great masters, copied by the camera, and enlarged by the magic lantern, are often exceedingly fine; for the drawing of those pictures is so correct, the grouping and pose of the figures so engaging, that even in monochrome their reflected image is radiant with almost sentient resplendence. It is true that the photograph is quite inadequate to express the faultless beauty and exquisite feeling of such a picture as that masterpiece of Murillo, that "Mary full of grace," which enriches and almost halos the Louvre, which seems rather a created image than a painted sentiment, and may well be regarded as the highest ideal of holy enthusiasm enshrined in womanly semblance. Indeed, not only the heliograph, but the best painted copies, seem as dry outlines when contrasted with the glorious original. Yet the photo is valuable, for, like a figure in "Euclid," it serves to explain where words seem insufficient to expressat least it teaches us to reverence the loftiness of that master-mind who has thus recorded the sublime conceptions of its own transcendent genius. The chef d'œuvres of Raphael, Da Vinci, Correggio, Titian, Angelo, and others, are suitably photographed for the lantern; and the art-student has thus an opportunity of beholding them enlarged even to their actual dimensions, and may therefore form more correct appreciation of their great and acknowledged excellence. We can also perceive the impossibility there exists of photographs rivalling those great paintings, as some ingenious persons who have made up pictures assume. Such must ever be failures; for, although we can dress and attitudinise a girl to represent a Madonna, we can never hope to impart, or find in any We ordinary face, the sublimity of the artistic ideal. cannot spiritualise a photograph; it tells the naked truth, whilst the painting is a florid poem where the artist has transcribed his own ethereal imaginings. Although quite of a different character, a very curious class of objects for the lantern are transparent photographs of the smaller microscopic objects, which are magnified and copied with great accuracy to sizes suitable for slides. These enlarged transcripts are further amplified by the combination attached to the lanterns. By this means it is possible to exhibit the tiniest diatom, or the most diminutive navicula, in a way pleasing and comprehensive to The price of this kind the general inquirer into science. of photo object is but a few shillings, whereas the price of a compound microscope sufficient to show them will be many pounds, the object-glass alone costing eight or ten guineas. Those most minute objects could not be shown by the lantern in any other way, and this is a method calculated to extend the interest of microscopic investigation. When we behold the regularity of the patterns displayed, and the exquisite adaptation of the creature to the apparent purposes of its being, we are forcibly impressed with the harmonious designs of the Almighty; and even from this analogy we might infer that man, whose physical nature is so perfect, should, in his moral attributes, be ever in conformity with the natural and revealed purposes and ends of his existence. Every possessor of a good lantern will value comic slides; and these may be original drawings on the glass, or photographic copies of the cartoons in Punch or Fun. Comic pictures, too, create a desire and feeling for better things; they appeal to the young and unsophisticated taste, when that taste is too tender to appreciate the lofty conceptions of gifted adolescence; they engender that love for pictorial representation which, as it is one of the most innocent of pleasures, may ever be indulged in with increasing moral advantage. When the story of " Aladdin and his Wonderful Lamp" sparkles through the lantern, the mind is Such sensibly influenced by its exquisite imagery. slides may be regarded as tangible picture-poems, teaching, as rational poetry ever does, delicacy of sentiment, vivacity of thought, and admiration for all the With boys beautiful in moral and physical nature. the story of "Robinson Crusoe" incites the spirit of adventure and bravery; when the tale is told them in pictures their imagination is indelibly impressed. Who would not foster that glorious spirit which has elevated our country, not only to the noblest rank amongst nations, but, more glorious still, has raised her to be the most enlightened amongst kingdoms; that deathless love of home, and friends, and native land, which has made “the flag which braved a thousand years "the synonym of power, concord, and justice. Probably our own portrait, or the likeness of some wellknown friend, will afford the most perfect amusement when suitably adjusted for comicality; and I have thought of an arrangement of apparatus which may produce very curious effects. I know not if it is possible to grind a lens to an oval figure, but it is not difficult to mould one to such a shape, and yet have it true enough for this special This oval lens must be substituted for the purpose. ordinary amplifying glasses of the lantern, and, further, be capable of being easily moved round and round. Thus the image of the photograph, which, in one position of the lens, appears strangely broad. by a turn is made to seem preternaturally long. The features can be caused to twist and contort in a manner which is at once as animated as it is indescribable, ludicrous, and unique. If the usual object-glass of the lantern be hung on gimbals or pivots, so that it may swing a little from side to side, it is possible that with it some curious effects could be produced; but if the cone of light, previous to being thrown on the calico screen, impinge on a pliant mirror of silvered sheet-copper, we can, by bending this reflector, produce some burlesque effects of motion in our transmitted pictures. An inclined mirror may also be used to throw the lantern image upwards on the ceiling of an apartment, if it be thought inconvenient to hang up the common vertical linen screen. The usual method of producing apparent motion is by lever or rack-work slides; but it is possible to arrange pictures in various positions, as in the thaumascope, and by revolutions of the surface on which they are painted, the several images are blended together so as to seem but one, and that one apparently in motion. The objects, at proper distances and in suitable positions, should be painted on a circle of glass which, to increase This disc the phantasmagoric effect, ought to be made impervious to light everywhere save through the pictures. must revolve rapidly before the condenser in the focus of ¦ the amplifier. In a future number I shall probably speak of the ad vantage and ease of learning history and geography illustrated by the medium of magic-lantern photography; but in order to give zest to graver studies, let us sometimes indulge in the comic, remembering, too, the words of Dr. Franklin, "All work and no play, makes Jack a dull boy." It is reliance on Providence, and the correct and harmonious balancing of cheerfulness with gravity, that inspires and secures the truth, serenity, and perfection of our moral nature. The flowers bloom, the insects play, the birds sing, and whilst all external things teach us that the universe is not made entirely for gloomy care, let us sometimes give our hearts to joy, relaxation, and sunshine. He who believes this world to be a "vale of tears" deserves to find it so. Transactions of Societies. THE CAMERA CLUB. SECOND MEETING. (Reported for the Illustrated Photographer.) THE second meeting of this new club was held at the chambers of B., a bachelor and a barrister, in Barnard's Inn. The members came in cabs, because it was a damp, dirty, disagreeable evening. As each entered the room at the stroke of eight, a famous fire greeted him, and right glad was his host to take him by the hand. In another instant gingle went a little bell, and the first ten letters of the alphabet arranged themselves round the table. "Gentlemen," said B., rising to address the meeting, "the subject for discussion this evening is, the cause of the present commercial depression of photography, about which so much has been said lately in the journals, and in the studios, and in the shops of the dealers in chemicals and apparatus. Now, why is this? Shall I give you my opinion of this matter in a few simple words? It is not because photographs are not good, or because they fade sometimes, or because photographers are devoid of taste; for if it were so, there never could have been commercial success in photographic portraiture at all. (Hear, hear.) Photographs are not worse now than they were when that success was at its height, nor do they fade more now than they did then. The cause of the depression appears to me to be simply this that fashions change. The public get tired of a thing, and, like the Greeks of old, are perpetually crying out for novelty. Take dress as an example. Does that become more and more artistic every year, and the fashion less mutable in proportion to the development of taste? Not a bit of it. Pretty fashions are not more popular or more enduring than ugly ones, and the chignons and crinolines, and trains of our own time are just as silly and inartistic as the powdered periwigs, starched frills, and hooped petticoats of our grandmothers. So it is with everything. The artistic has nothing to do with fashion. The most abominably ugly thing in the world, and the most unreasonable, will have its run, if those who lead the fashion will only start it off, and kick it along until it gets a certain momentum. So long as commercial success in photography depends upon the existence of a fashionable mania in the direction of the art, carbon printing, better lighted studios, more art-character in the work, will have but little to do with it. Another mania must now be started-that is just the long and short of the matter. Whether it be desirable or not to start such another mania will depend, I think, upon whether the new mania shall have some sense at the bottom of it, or be a pure and unmitigated folly. For my own part, I believe that card portraiture has done an immensity of good through all ranks of society, and I don't blame the poor photographers at all because that has now declined, or the stereoscopic mania either. I take their part through thick and thin. I look on the average quality of their work as something marvellous, and the rapid practical development of photography as highly creditable to their skill and perseverance. But the card portrait mania has ceased, and a new mania must be introduced, and then they will all be as busy as bees again. Cabinet portraits, cameo portraits, carbon printing, solar camera printing, enamelled photographs,eburneum photographs, &c., &c., are merely phases of the old thing, and more costly. Nothing of this kind can ever produce a mania which shall revive the old commercial The new style must contain the elements of greater success. cheapness, and more universality. Something cheap for the million must be at the basis of it. All experience proves this. Then what is the new mania to be? On that subject I think there cannot be a doubt. A has hit the bull's eye at the first shot, in what he said at the last meeting. The new mania of celebrities, sold at a penny a piece, or five shillings a can only be this-viz., small medallion, or stamp portraits hundred, or a pound the thousand, selected from a catalogue. You all know what a run the collection of the postage stamps has had, and how that mania is now dying the death. Supply its place, or fan it into a flame again, which shall spread ten thousand times farther and wider, by the substitution of stamp portraits of celebrities for old, used postage stamps. Let every professional photographer in every town take these portraits, and let every stationer sell them, and every maker of albums make albums for them, and every celebrity sit for them. What more simple or easy! And what an impetus it would give to everything photographic! Who can doubt it? Fancy a guinea for an album containing a thousand different portraits of the most celebrated men and women of England, or of the world! And imagine how the value of such a work would be enhanced when the originals were no more! You smile, and would remind me of the fading of prints; but I reply that the negatives do not fade, and faded prints could always be renewed for a penny. Don't laugh outright if I say that the very fading of the prints would add to the commercial success. Who would not give a penny for a stamp portrait, fading or unfading, of Faraday, or Claudet, or Brewster, if it were to be had for the money, at the first stationer's you might happen to pass tomorrow morning? I say no more. Look at these stamp portraits which I now lay before you, and judge for yourselves. I invite the discussion of this idea." Here the learned gentleman handed round some sheets of stamp portraits, fifty upon each sheet, 7 by 5, taken by Helsby and Co., of Liverpool. They were the same size as postage stamps, and exhibited the head and shoulders only of the sitter, the head being about the same size as in a card portrait. B.-" Well, gentlemen, what do you think of my new mania, and its chances? C.- "How were these taken? Let us know that first. I grant you they are very good; but can they be taken easily? B." They were taken by means of a camera invented by Mr. Helsby, and which takes twenty-five negatives at once. It is fitted with twenty-five small portrait lenses by Ross, all alike in every respect. By shifting the plate, another twentyfive negatives can be taken at the same sitting, and the whole fifty can be developed together. The instrument costs fifty pounds." D." Is it patented?" B.-" Yes, and a royalty of five pounds per annum is charged by the patentee for using it." E. "That I consider fatal to it. Fifty pounds for the camera, and five pounds a year license for using it, will restrict it to the few, and then there will be no mania. Is there no other way of taking these small portraits? Surely there must be?" F -"Suppose a single negative were taken of the head and shoulders, rather large, say an inch for the face; then a print from this might be "touched" or "corrected," and any number of beautiful small negatives taken from it upon one or more plates, in a camera having a shifting or repeating slide." G.-"That, I think, would be better than Mr. Helsby's plan, for two reasons, viz., the little pictures might have a nicely graduated background, the eyes be made more distinct, defects painted out, transparent shadows introduced, modelling, &c., &c., so that they would be prettier as pictures, and no expensive camera be required." Don't H." And the likeness be destroyed, and all the interest of the portrait sacrificed! No-no-no retouching, I say. let us meddle with the original photograph. Let us have pure photography or the thing would lose all its interest." G.-"The less retouching the better, of course; but correcting is nearly always done in photographic portraiture." II agree with G. I think his plan capital. Reducing from a touched print seems to me much better than printing from fifty uncorrected negatives. The original single print might be in carbon if extra permanence were required." J.-"I am sorry to say that I don't agree with any of you. I think you are taking a rather mean view of the whole question. You seem to me to be approving of something that is cheap and nasty. Why need there be any more photographic manias? They only lower the status of the art; rather let us try and raise the character of photographic portraiture, and let those professionals who can't reach a high standard of excellence go to the wall, and follow some other occupation. In my opinion, the great source of all the mischief is, that cheapness and that easiness of production which B so strongly advocates the extension of, but which, in my opinion, are precisely those things which have already overstocked the market, and caused the demand so greatly to exceed the supply. Prices so low as to be unremunerative, and quality so inferior as to render photographs unattractive to the public, are the natural consequences.' A." But the stamp portraits need not be cheap and nasty; they may be both cheap and nice. There are many reasons why their average quality would be much higher than that of card portraits. For instance, the exposure and the lighting would have reference to the face only; there would be no black unmentionables, or velvet mantles to interfere with it. The face would receive the artist's whole attention, and he would not be bothered with background and accessories. He might work also in a short studio, or in a room with a common window, instead of in a glass-house; and his expenditure might be greatly reduced. A stamp portrait will present fewer difficulties than a card portrait, and it will therefore be done better. I have seen many execrable card portraits, in which the face was well rendered; and in scores of instances I have cut away all but the head and shoulders from portraits which I possessed, and the result has been all the better for the pruning. They then became stamp portraits, and I mounted them, four on a card, diamond fashion. I venture to say that if one-half of the card portraits you see were treated in this way, they would be much improved. The head is the seat of intellect; the rest is mere tailoring and millinery, which can be assumed. Get rid of it, I say, and the loss will be a gain. The only real difficulty will be to introduce the mania; and for this purpose some leading printseller must advertise to give a certain price per thousand for the portraits. Professional photographers will then set to work and supply him no doubt. Here is a hint for Messrs. Marion and Co. As soon as one firm is busy at it, and making money, others will follow, and the thing will be taken up like wildfire. It only required a little pluck and enterprise to set it going, and plenty of advertising. Let one spirited firm advertise at once to give a guinea per thousand for stamp portraits of celebrities of all kinds, and in six months from this time the mania would be at its height. As for the best mode of taking the portraits, I approve of Mr. Helsby's plan, and think that the simplest and best; but experience will soon settle that point. The present negative and printing process will do excellently well. Silver printing will do famously. We shall none of us live to see that superseded by carbon, or anything else. With real washing, and no soaking, the prints will be permanent enough; but I should like to see mercury toning, if that could be introduced, instead of gold. The refreshments were now brought in, and the discussion ended. When the married men had left, the bachelors and reporters drew round the fire and lighted their cigars. After a cozy chat about matters public and personal, grave and gay, the cigars were reduced into smoke, and the friends of the barrister took their leave. And thus ended the second meeting of the Camera Club. Questions and Suggestions. DIPPERS. SIR,-Having read much on the subject of dippers, and tried most of the kinds recommended, permit me to describe my last dodge, being one with which I am so well satisfied that I shall probably never try any other. I bought a common slate, price 6d., took off the frame, cut off a strip the proper size for a dipper, then cut off a narrow strip for the cross piece, heated the two ends that were to be cemented, not over hot, but just sufficiently to melt marine glue when applied to them, and then, when the two pieces were smeared with this, I clapped them together, and pinched them together hard and steady for two or three minutes, until set. With a file, or even a penknife, the cross piece can easily be brought to any angle necessary for permitting the liquid bath to drain away from the plate. I have now used my dipper three years, and shall probably never want another, as I cannot conceive of any possible objection or drawback to this style.-Yours, &c., DABBLER. MR. WARNER'S PRINTING PROCESS. SIR,-The argento-carbon process, which I have discovered, consists in abstracting from the albumen, and from the paper itself, and also from the hypo, all the sulphur, leaving in its place a minimum of silver and pure carbon. Thus, without complicated machinery, silver prints can be obtained, that shall consist of silver only, plated or coated with gold; thus such pictures mounted on mounts free from sulphur, with the organic impurities of the mountant destroyed, must be permanent in themselves. Now, we all know silver tarnishes or oxidises on exposure to the air; over each print let a little white wax in ether be rubbed, and the pores being thus stopped I have placed my discovery as to the removal of sulphur from or coated, the picture is complete, brilliancy being gained. makers, and I hope that on same being represented to the paperpaper in the hands of one of our largest firms of cardboard makers, they may avail themselves of it, as it is both cheap and durable. It has been practically used by me for more than twelve months, and I have no cause to regret it, as it considerably tends to economy of working.-Yours, &c., W. HARDING WARNER. Keplies and Discussions. LONG versus SHORT EXPOSURES. J. KENT writes to combat the assertion made by our correspon"Instantaneous' dent, "Audi Alteram Partem," and says, photography may be most true to nature, but unfortunately for our very positive friend, the long Latin quotation gentleman, it is an impossibility. However, taking what he evidently means, and not what he says, I still differ from him, and can give him a very simple illustration of the falsity of his view on this subject. When we see a wheel in motion, the spokes are not visible to the eye, and in a photograph should appear thus invisible, their place being supplied by faint ray-like ghosts of the spokes, because they pass too quickly to be perfectly impressed upon the retina. But in what is called 'instantaneous' photography we see vehicles in which every spoke of the rolling wheel is visible, and which is consequently not in motion, so far as the eye is concerned, although it was really in motion when taken. Such photography is therefore false to nature, although what Audi, &c., would call instantaneous." " SURFACE-PRINTING BLOCKS.-MR. RENRAW'S SUGGESTION. SIR, With reference to Mr. Harding Renraw's process for obtaining surface-printing blocks for printing at type-press. From what little experience I have had in this line, I think his process altogether a bad one-for the following reasons:Fluoric acid is very dangerous to work with. Glass is too brittle (even lin. thick) for a printing-block, especially for large sizes and machine-printing. It would not be possible, without great trouble, to obtain a depth necessary for printing where open spaces are required. The acid would undermine all the fine lines. I question if Mr. Renraw would care to make a drawing with fluoric acid, and the metal points of a ruling pen in the way he describes. As to finer and cleaner lines than what is obtained by other methods :-I have not seen anything for surface-printing superior to lines produced by the graphotype process, nor do I think it possible for anyone to produce printing-blocks so well adapted for every class of printing and style of work. It is possible by graphotype to obtain a depth sufficient for the production of printing-blocks for oil-cloth, wall-paper, &c., &c. In conclusion, I may add, that glass printing-blocks were tried in Scotland, years ago, but were found useless.-I am, &c., G. S., Birmingham. TO REDUCE OVER-PRINTED PROOFS. SIR,-I think the enclosed recipe would be very useful in saving albumenised paper, &c., to many amateurs who, like myself, chance, by accident or otherwise, to waste a few prints by "over-doing" them. I think I saw it in some of the photographic almanacs, and have used it for some time. It is to float the print after toning, fixing, and washing in a weak bath of cyanide of potassium--ordinary fixing solution, diluted, will do; to which had better be added a drop or two of chloride of gold solution, to preserve the tone. has been sufficiently reduced, take it out and wash again for some hours.-I am, &c., J. ARCHIBALD HEASTIE. As soon as it Keviews. A NEW STEREOSCOPE AND A NEW PRINTING PROCESS. The Darwen Exhibition should be a great success, judging by the character it is likely to assume. A very fine and large collection of modern paintings, such as are rarely got together, will doubtless prove widely attractive. Amongst the works already promised are specimens of Turner, Landseer, OUR attention has been drawn to a striking and attractive Millais, Maclise, David Cox, Ansdell, Clarkson Stanfield, Linnovelty in the shape of a new stereoscope for pictures, 3 by 54 nell, Ward, Elmore, Rosa Bonheur, Cooper, Hunt, Copley in., instead of the ordinary slides. The inventors, Messrs. Fielding, Rosetti, Cattermole, Birkett Foster, Taylor, and a long Warner and Murray, claim to have discovered" a new and imlist of other eminent painters. Choice works by Vandyke, portant feature in optics, viz., that the angle of vision horizon- Guido, Gainsborough, Northcote, and other eminent detally, is only half of that vertically, enabling pictures to be ceased painters are promised. A circular informs us, "the taken from and off great heights, to be viewed stereoscopically, art and science of photography will have a locale and an exand as seen with the eye, each object being represented in a position not surpassed, if ever equalled, in the provinces. better relative proportion to each other than in the old form of Photographic apparatus, lenses, and cameras will be exhibited instrument." Without discussing the inventors' theory, we in all their latest perfections, by Messrs. T. Ross and J. H. Dallmay state that the slides in this instrument certainly convey a meyer, and P. Meagher, of London, a fact which needs no greater impression of truthfulness, and are likely, we should comment to those familiar with the details of this rapidly-dethink, to prove very popular. Why the pictures should veloping art. Those eminent opticians will send also fine necessarily assume this elongated form, we do not clearly specimens of work done by their apparatus, and practical photounderstand, but the inventors assure us, as the result of ex-graphy will be richly illustrated by the following London periment, that the effect we admire is lost when the pictures' artists:-Valentine Blanchard, Bedford, Elliot and Fry, Ernest proportions more nearly resemble those of the old stereograms. Edwards, Kirby, Nelson, Scaife, Vernon Heath and England, The photographs which we have examined in this instru- Messrs. Mayall, Heath and Maul, who will send specimens of ment are Mr. Warner's, and are printed by a new process, of their latest productions. From Manchester, frames of very which he is the inventor. It is called the Argento-carbon interesting pictures are promised by Messrs. John Eastham, Process, but we can give our readers no account of it beyond Silas Eastham, Mr. Winstanley, Mr. A. Brothers, Mr. McMr. Warner's statement, that the whole of the sulphur and the Lachlan, and Mr. Mudd. Mr. Edge, of Preston, already familiar surplus silver are eliminated both from the albumen and the to many in the district, will exhibit a case of his fancy cartes. paper. The pictures have all the appearance of excellent silver Arrangements have been made to secure a complete illustration prints, and in the absence of Mr. Warner's statement to the of the new and brilliant art of Chromo-lithography. Messrs. contrary, we should have concluded that they were produced Rowney, of London, Mr. Whaite, of Manchester, and other by the ordinary process. As photographs they are very beauti-art-tradesmen, will fill a department devoted solely to chromoful, and their subjects are full of interest and picturesque lithographs, and will furnish a display never before attempted effect. All of them were taken with long exposures, in which in any exhibition." Mr. Warner is a staunch and strong believer and neither as photographs nor as pictures have we seen many works surpassing them. The stereoscopes, which are made in different forms, with the slides, may be obtained of Messrs. Murray and Heath, 69, Jermyn-street, S.W. Bits of Chat. In some remarks on Mr. M'Lachlan's Novel Process, described in our last-Mr. John Spiller, F.C.S., states his belief that the only new feature in the above gentleman's scheme consists in the efficacy of nascent chlorine, and says, "This suggestion, if supported by the further particulars which that gentleman has promised shortly to give, will then turn out to be a practical realisation of M. Balard's chemical reaction, which, eight years ago, I had the honour of confirming in its photographic connection, and of fully describing in a paper. On the Composition of the Photographic Image,' inserted in the Philosophical Magazine, for March, 1860." Mr. Nelson K. Cherrill has also commented upon Mr. M'Lachlan's discovery, and sums up by saying, "that though it is difficult to see how Mr. McLachlan's plan is better than any other for producing what seems to me a similar result, still, as there is no knowing when we may come to an end of the wonder of photography, it may be that a new light has sprung up among us. In France, a patent costs £4 at first, and an annual tax of £4 a year maintains it for fifteen years. In England, a patent at first costs £25, and, to maintain it for fourteen years, further sums amounting to £150, besides the fees for agency. This is a tax not upon the produce of invention, because it is levied before anything is produced, but directly on genius itself; and yet there could be no reason why a patent should cost more than the sum necessary to defray its proportion of office expenses. Every application should, as in America, be subjected to the scrutiny of a scientific board, whose business it would be to refuse a patent when the invention is not distinctly a new one. While in England the number of patents averages 2,000 annually, in America last year, 11,000 were granted. There they last for seventeen years, and cost about £7. A large majority of the English patents are dropped at the end of the third year, when the £50 duty has to be paid.-Scientific Review. * See "Questions and Suggestions." An article published in the Mechanics' Magazine says, "For some months past there has been an outcry demanding small photographic cameras for tourists, because now that enlarging is getting so common, a large picture on collodion may be taken from a very small negative, if needed, Moreover, it is a boon to amateurs, as well as to professionals. to be able to carry landscape apparatus and plates in the pocket, and the legs in the hand in the shape of a walking-stick. to make up in beauty what the positives want in size, by Although negatives so taken must be small ones, it is possible printing them as transparencies upon opal glass. The demand but Messrs. Negretti and Zambra have just began constructfor such small apparatus did not quickly call forth a supply, ing pocket cameras, which at present sell as fast as they are made, and we hear of two or three other firms about to follow the example. The camera by Messrs. Negretti and Co. is made of mahogany, upon Kinnear's principle, and takes negative plates 34 in. square. This size has been chosen because the measurement is just right for magic lantern pictures, to be used with the ordinary 34-in. condensers, the most useful size for dissolving views, and the glass paintings ordinarily on sale in the shops. Hence, without enlarging apparatus, pictures taken in the little camera may be printed direct upon dry collodion plates, for the magic lantern. The camera, when shut up for the pocket, occupies a space about 4in. square by 24in. thick. The sliding backs carrying the plates, must, of course, be carried separately. These are rather thicker than desirable in outside measurement, and perfection in small apparatus of this kind will not be reached until some manufacturer devises double dark backs not much thicker than the two glass plates inclosed inside. Probably thin metal would answer better than wood for this part of the camera. The camera itself has no spare space inside for the lenses." The artist, like the poet, must instruct himself by studying the works of those who have excelled in his art; by the accurate observation of nature, and the assiduous exercise of his faculties in every way conducive to invigorate his fancy, correct his judgment, and refine his taste.-Sir Martin Archer Shee, P.R.A. When embodied in the artistic results, with which every one is more or less familiar, photography, as an art, is capable of contributing to an exhibition matters of the greatest and most universal interest, embracing every variety of subject which can gratify curiosity and afford pleasure.—Frederick Pollock. The Photographers, James Proctor, senr. and junr, still carried on, and hundreds of such valueless instruments continue to find of Aberdeen, who some months ago were committed to take their trial for forging bank-notes by means of photography, have been convicted. The father was sentenced to five years' penal servitude, and the son was released on account of his extreme youth. These forgeries were very clumsily executed, and it seems surprising that any one could have been deceived by them for a moment. Yet several of these forged notes got into circnlation. THE NEW YORK PHOTOGRAPHIC CONVENTION.-We have received a full account of this great mass meeting of photographers, which took place on the 7th ult., as announced by our American correspondent. About 100 delegates from every part of the Union were present. The chair was taken by Mr. Bogardus. Officers were nominated, and a committee appointed to draw up the resolutions, four of which were unanimously adopted; but respecting the last two, an animated discussion ensued. Subscriptions poured in. The meeting was resumed on the following day, and energetic steps were taken to combat the bromide patent, and take other steps to improve the position of the photographic community. Over 400 dollars were subscribed on the first day. The Government tax on photographs has been withdrawn. The wind continues very unsettled, and sometimes shifting through several points of the compass in as many hours. This constant commingling of the currents, tropical and polar, is usually followed by a precipitation of moisture in the form of rain, by virtue of the polar current being capable of sustaining a large amount of moisture, until the southerly, or tropical, current mixes with it, causing the moisture to expand beyond the sustaining power of the warmer atmosphere. The instrumental data at present, however, would suggest finer and dryer weather for the following week, and the wind probably steadier. Moisture is but comparatively small; temperature is seasonable; and barometrical pressure rather above mean height for England, each and all inducing a belief in more settled weather. To Correspondents. In the article on the "M'Lachlan Secret," at p. 138. line 14 of the article, for "new-fogging bath," read non-fogging bath," and in same article, column 2, line 3, for "gases," read "bases." G. W.-We will endeavour to obtain the formula, and to publish it. A LITTLE HELP.-Under the circumstances, Mr. Wail states that he will willingly give the lessons gratuitously if the lady can visit him at Hampstead, when he has a little spare time at his disposal. Drawing on graphotype plates is not more difficult than drawing on wood, to those who do not feel about for their drawing and effects, but conceive quickly, and execute promptly and with certainty. JOSEPH GUNNY.-Beware of purchasing lenses at pawnbrokers. Knowing, as a rule, nothing of such instruments beyond the names of the best makers, in" taking them in "mine uncle" is very commonly himself taken in. Some time since it was discovered that a regular systematic and flourishing swindle was carried on in the manufacture of mounts, bearing the names of wellknown makers of photographic lenses. These being fitted with worthless glasses, were pawned all over the country. The same practice is doubtless their way into pawnbrokers' shops, and other places where second-hand miscellaneous goods are vended. A. B. C.-You may rely upon the respectability of our advertiser. A. S. SCRIVEN. We regret that we cannot give you the address. L. CARSTAIRS.-We have no bias in the matter whatever. We simply wished to express our candid opinion, and we hope did so fairly. We shall be very glad to hear further from you. J. S. Ross. We do not think a swing-back to the camera of any use in landscape work. On the other hand it is rather objectionable than otherwise. However, if you have got no other camera, you will not find it much in the way perhaps. 2. No. 2 on your list. A 'common single achromatic objective is all you require, say about 12 inches focus. 3. Use glass for your negative bath, by all means. 4. Iodine dissolved in alcohol is tincture of iodine. You may make it as strong as you please. J. H. W.-1. Declined. More suited for our advertisement columns. 2. You are quite wrong in your opinion, which, we fancy, has been forced on you by the persons with whom you have previously corresponded printing. In the meantime we have forwarded to you privately a half-sheet of 3. We should like to hear further from you on your new ideas of carbon Marion's indurated India-rubber, described by Mr. Sutton. That is about the thing you want, as we suppose. J. HOGAN.-Apply to Solomon, Red Lion-square, for the first, and to Rouch and Co., Strand, tor the second. There should be no iodide in the collodion for the rapid dry process. If we were allowed, we should be glad to publish the instructions for development issued by the "Liverpool Dry-plate Company." Mr. Mawdsley will send you them, no doubt, if you apply. J. T.-Mr. Jabez Hughes is not a manufacturer, and could not therefore very well do so; but if he were, it is possible enough your surmise might turn out correct. We do not admire the productions you mention, nor are they admired by the Royal personages they misrepresent. Mr. M'Lachlan is an earnest enthusiast and a clever photographer. He believes that he has made an important discovery, and generously places it before his photographic brethren. We think he is mistaken in his assumptions; but your communication is not in good taste, under the circumstances, and we feel compelled to decline it. J. A. H.-The ordinary organic salts referred to, are those met with in sensitised albur enised paper. It is very doubtful whether they have anything to do with conferring richness of tone to a photographic print. On the other hand, we think some of them are antagonistic to that effect. 2. Your hypo bath is weaker than we would recommend. Four ounces of hyposulphite crystals to a pint of water will be nearer the mark. Of course it will rob the prints of their rich purple colour to some extent, but you must make allowance for that in the toning. 3. You seem to be using an over-dose of gold in your toning bath. Let us know more precisely how you compound it, then we can better advise. EXCELSIOR.-We shall be pleased to hear further from you. I. O. U. Declined with thanks. J. E. OTWAY.-To take out the necessary material from this country is by far the safer plan. GEORGE R. The side light is not sufficiently in advance of your sitter, and you want just a little more top light, otherwise the portraits are very good specimens of effective lighting. J. W.-1. May be obtained at Negretti's. 2. We know nothing of the parties named. 3. Cadmium collodion is liable to thicken, even when kept in a well-stoppered bottle. AN ARTIZAN.-1. We are sorry we cannot provide you with such information. 2. The writer of the article in a contemporary is on our staff, and there is therefore nothing remarkable in his not acknowledging a quotation from it in another article written for these pages. 3. Thanks, but it is not suitable. R. S.-On the contrary, repetition is sometimes a source of harmony and effect in pictorial composition, which no other means could so well secure. You must not dogmatise in matters of taste. and condemn a picture because this or that rule of art is violated. Consider the ends it was intended to serve, and whether it could best do so by violating or by according with such rule or rules, and you will then come to a more sound conclusion. You cannot make a picture as you would a pudding, by following out the particulars of a printed receipt. Even the most formal and monotonous kinds of repetition sometimes serve to give force to the expression of certain feelings or sentiments in the works of many of our best artists. Leslie's" Handbook for Young Painters," gives instances in illustration of this, which you would do well to read, and think about. You will never become an artist by mere reading. Such study is one, and but one, of the means to be adopted. T E. B. FENNESSY, G. W. W., AND J. D.-Mr. Dawson says, "I have received a great many communications relative to my mode of treating the M'Lachlan discovery," in the last number of THE ILLUSTRATED PHOTOGRAPHER. Most of my correspondents quite agree with me. To these I have nothing to say ublicly, except to thank them for their sympathy with me, in endeavouring to keep photography clear from anything that may savour of quackery. To the gentlemen whose names or initials head this answer, and who have taken exception (although I must say in a very friendly way) to my remarks, I have only to repeat my p.ofound conviction of Mr. M'Lachlan's great mistake. Unquestionably I should not have put the case so strongly, had it not been for expectations widely trumpeted abroad, and encouraged; which, a'as, have turned out delusive. There has been a vast deal 100 much of empirical ' nostrum' work in photography, much to the detriment of the art. Let us all strive to clear the atmosphere." A VERY DRY MAN.-Such articles are now in preparation, and will shortly appear in our pages. ARTHUR COPPETT.-We are promised an article on the proper treatment of exciting baths, which will probably confirm your views as to the err. neous notions on this subject commonly entertained. X. Y. Z.-We do not see the use of your invention, and your ideas as to its scientific value are altogether erroneous. We should only expose you to ridicule by giving your paper a place in our columns. Thanks for the truble you have been at to make our journal better known. W. GARRICK.-We have already published two articles on the subject. |