6. The formation of sections, or committees for experimental researches, &c.; the chairman of each having to produce quarterly a brief, comprehensive report, summing up the progress made in the direction of his own particular department. These reports to be printed with the rest of the society's proceedings.

Without going into further details, I place these suggestions before your readers, hoping they may receive attention at their hands. I am, sir, yours respectfully, PRUDENCE sans FEAR.

SIR,-Will Mr. J. C. Leake give us, in the next or following number of THE ILLUSTRATED PHOTOGRAPHER, working plans, by which an amateur mechanic, with the aid of his lathe, &c., and a country tinman may construct a magic lantern, with 4-inch condensers. The condensing lenses may be bought of J. Solomon, 22, Red Lion-square. He should also tell us whose paraffine lamp is the best, and the time required to enlarge to a certain size, with paraffine and other artificial lights respectively, and their respective effects on the resulting print.

I trust Mr. Sutton will also give, at an early date, working plans by which his miniature camera, &c., may be constructed by an ingenious amateur, and also remark upon the respective fitness of the collodio-chloride and wet collodion processes for the enlarged print.

The

Your editorial note, on page 20, is most important. thoughts there expressed are capable of being worked out to very great advantage.-I am, sir, your obedient servant, A COUNTRY SURGEON.

Heplies and Discussions.

SIR,-in answer to Mr. T. Howard's inquiries, I beg to say that:

1. I have found very little difference between a flat-wick

By an accident due to the late arrival of the blocks, many copies of our last issue were sent out in a very imperfect state; notably, our two chief illustrations in the centre pages. To those of our readers who may have obtained such copies, we tender our respectful apologies.

Several corrections escaped notice in our last proof-sheets; will our readers kindly correct the orthography of some wellknown names, and substitute "whom," for "which," in the last line of the last paragraph but two in "A Tax on Photographs ?”

by L. H. Michael; and articles by A. 11. W., Aliquis, and others.

"The

In type. "Notes of Experiments," by Major Russell; "Art Education," Column for Colourists" and some reviews are also uravoidably postponed. R. A. STUDENT-Of course! The character of the composition was alterel by cutting the piece from one of the stereotypes, but so far from that one being spoilt, as a picture, its composition, thus altered to what is called the wedge principle, was precisely that which some of our best masters of pictorial composition commonly adopt. The writer is evidently compiling from works on a subj.ct of which he has no real knowledge.

J. P.-1. You may avoid the distortion consequent upon cocking the camera in taking such views as you describe, by the use of a sliding front and a swing back with a small stop. 2. he reason is certainly an odd one, and rem ds us of the line in a poetical squib, "They praised a doll for eloquen e because it didn't speak."

HALF-A-DOZEN AMATEURS are thanked for their kindly expressions and good wishes. So far from falling off, we have every hope of improving as we go on, especially whi e encouraged by such flattering remarks. Mr. Wal. has received the photograph, and thanks you very warmly.

J. HORNER.-See article by Major Russell in our next number. G. W. H.-The photographs not yet to hand. We shall have pleasure in grouping. Thanks!

sperm oil, but I mentioned the paraffine, because it is more easily provided.

2. It is quite safe in a large wooden lantern like mine, which is well ventilated, and which keeps quite cool; but I should think it highly dangerous to use it in a small tin lantern, without some special arrangement to carry off the heat. I am much obliged to Mr. Howard for mentioning this, as I have overlooked it. I have used my lantern four hours at a time.

3. I have always used "Young's patent paraffine,” and have not tried the belmontine.

W. COBB.-We should like you to fulfil the prom se you made when in London.

Z.-Liver of sulphur, or poly-sulphide of potassium, as it is sometimes cal ed. Your negative reached us in minute tragments. Mr. Glaisher has given no sign. Our last number accidenta ly went so hurriedly to press that many errors escaped editorial correction besides those you point out. illustrated journal must go to press much earlier than one without illustrations.

An

P. S.-Mr. N. Henneman published what he termed "Picturesque Photographs in 1847, or before, but we have quite forgotten what they were like, and so can give you no further information. We should like to see the specimen you have, and perhaps to engrave it, if the requisite permission can be obtained.

"SOCIAL SAM."-Editors are sometimes sadly perplexed as to the steps they ought to take in certain matters. We were shown an invention some weeks

JAS. T. LEAKE.

Meteorological Report

you describe. Were we to publish your plan, inventor No. 1 would be sure to suspect our honesty and good faith. But in declining your communication with thanks, we are more influenced by our belief in its worthlessness than by the above considerati n.

R. RICHARDSON.-Iodide of zinc is subject to rapid decomposition in aqueous solution on exposure to air. It is soluble in paraffine oil.

"ELECTRO."-Tel him it was only in Fun. How long do you make your toning bath before using it?

J. BARTON.-Mr. Hartnup exhibited stereoscopic views of the moon in, we

mistaken, by Mr Dancer.

A YOUNG PHOTOGRAPHER.-At Solomo 's, Red Lion-square, Holborn. Some fi e specimens of Salomon's photographs are on view at Mr. Sanford's, which is also in Red Lion-square.

SUBSCRIBER. 1. Any good collodion. 2. See Advert sements. 3. We are unable to give you the required information. 4. Try acetic acid. 5 Caused probably by using your fixing bath too weak.

"SECUNI UM ARTEM."-If the photographs are of a suitable character we snall be glad to engrave them. we hope to give specimens of Mr. Oliver Sarony's posings in an early number. Some designs for pictorial backgrounds, selected and original, will shortly be given.

C. D. V. Any dealer will give you the information you require. For reply to your second question, see our advertisement pages. S. S. C.-Thanks.

Many thanks.

EDWARD B. FENNESSY. - Oriental Photographs to hand. Would it be possible to illustrate your paper by engravings from one or two of the more strikingly effective of Mr. Good's photographs?

W. MYERS, GUERNSEY.-Shall be very glad to receive some photographic notes from you now and then. Examples of posing suitable for theatrical portraits will be given, with an article or two on the subject.

PREPARI G PHOTOGRAPHS FOR COLO KING. You cannot do better than adopt the plan of Mr. Rees, as given in our first number. We have forgotten your signature.

J. A. A.-Received. Thanks.

S. S. C.-Your letter has been mislaid. Please write again and repeat your query, giving some particulars of the kind of work required by the lens. Your second letter will appear in our next.

The committee of "The British Association of the Blind" gratefully acknowledge the receipt of the following kid donations:-A Friend to the Need, 17. 18.; Miss Phelp Mitchem, Z.; T. Saunders, 10s; C. E., Postage Stamps, 2s. td.; A Reader, 2s. 6d; A Very Poor Photographer, 1s.

LONDON, MARCH 6th, 1868.

DISHONEST PHOTOGRAPHERS.

HE facilities which photography affords for fac-simile reproductions of engravings and other works of art, have, as most of our readers may be aware, opened wide a door for the admission of not a few dishonest men into our great art-science sanctum. The aim of these persons seems to be chiefly directed towards filching, for gain, the brain and purse-work of others, and that in the most sneaking and underhand fashion. We allude to that miserable class of photographers which has for some years gained an unenviable notoriety by plundering the property of Messrs. Graves, Gambart, and other publishers of high-class engravings by means of photographic reproductions.

Engraving is justly considered a fine-art. It attempts to represent, in monochrome, the ideas of a painter who may have spent years of labour over a single picture, which pleases the public because it conveys to the mind a visible embodiment of a subject upon which one loves to dwell. The painting is only one; copies of engravings can be multiplied to any extent. Yet it requires an immense deal of time and, more than that, the genius of an artist to reproduce satisfactorily, in lines or mezzotint, the full idea intended to be conveyed by the painter: Colour apart, some of our best engravers have succeeded in doing so, perhaps to a higher degree than those of any other country. A good steel engraving is in truth a very expensive thing, and a very large number of copies must be sold before an engraver can be recompensed for highly skilled labour, extending perhaps over some years, besides the price paid to the painter for copyright. Yet a proper recompense for the skill, labour, and capital necessary for carrying out so great an undertaking is often rendered quite hopeless by the dishonest practices of some photographers. They contrive to get hold of an early proof of an engraving which they think will become popular. They photograph it secretly on a reduced scale, and scatter broadcast throughout the kingdom, for a few shillings, exact fac-similes of a great work of art, which the real proprietor could not profitably sell, except for perhaps as many pounds. These persons are well aware of the illegality of their proceedings, for they photograph in secret, sell the copies in secret-all, in short, is done secretly, so that it is a very difficult matter, from the nature of the robbery, to obtain evidence sufficiently strong to convict the thief. No language of contempt and objurgation could express our sense of the infamy of such persons, nor is it likely any moral considerations, however powerfully urged, could have any influence on men-calling themselves respectable, forsooth!-so lost to a sense of shame and common honesty. The law does reach them sometimes, however, and with

some effect.

Within the last week, at the Guildhall Police-court, two notorious "photographic pirates" have been tried and convicted. On Monday, a Mr. Beal, of St. Paul's-churchyard, was fined £130, or six months' imprisonment, for selling photographic copies of Mr. Graves's copyright engravings. To show what a profitable thing dishonesty may become, the fine was instantly paid, no doubt from the proceeds of the plunder. Again, on Friday, another notorious member of the photo-thief fraternity, who was caught after much trouble and expense, was brought up at the same court by Mr. Graves, on no less than fifty summonses for infringements of copyright. The defendant on this occasion was a Mr. Ashford, who, it appears, had been previously convicted on similar charges. He was very ably defended by his council, Mr. Treherne, who raised some new points of law, calculated to puzzle a

VOL. I.-No. 5

on paper.

After nearly a three hours' hearing, Mr. Ashford was fined £250, or in default, fifty weeks' imprisonment. As in Beal's case, on Monday, the fine was immediately paid. Now, these are, to say the least, very unpleasant scandals, which injuriously affect, more or less, in the eyes of the public, the whole photographic community. A skilful photographer has dangerous tools to deal with; and it is consistent with human nature that a few stray sheep will use them outside the fold of our beautiful art. But let all honest photographers do their best to expose and put down those sneaks who disgrace the art, and thereby reect odium on all others possessed of more honourable principles. It is the duty of the public to put down these mation as may convict the plunderer. But we fear the scandals by refusing to purchase, or by giving such informatters, especially when they happen to be for their own admajority of the public have very elastic consciences on these vantage. The real position, however, they should recollect, of stolen property; and, if we mistake not, the law conof those who purchase pirated wares is that of receivers siders it such. At all events, a case will soon be tried which will settle the point.

NOTES OF EXPERIMEN IS.

BY MAJOR RUSSELL.

A DESCRIPTION of a "New Honey Process," and of a "Modified Gum Process," by Mr. R. M. Gordon, were quoted in the last number of the Photographic Notes (Feb. 1st, 1868, pp. 31, 32). In the former, 2 grs. or 3 grs. of bromide of cadmium are added to 1 oz. of common bromo-iodised collodion, and, after being excited and washed, the film is treated with a 1-gr. solution of tannin, which is washed off again, and a final application is made of a solution of 20 minims of honey in 1 oz. of water. Although the use, of a very weak solution of honey, after washing off tannin, in hot, dry weather, was suggested by me in the "Tannin Process" (2nd edition, p. 133), yet I had never tried it. Repeated experiments had led to the conclusion that honey with tannin dried on the film gave no advantage in the ordinary condition of the air as to temperature and dryness in this country; but, my attention being drawn to the subject by Mr. Gordon's account, it seemed quite worth while to try the effect of honey on films from which tannin had been washed. Mr. Gordon has tried applying tannin to part of a plate, and coating the whole with honey, and found the part treated with honey alone to be very inferior; but he says nothing of the comparative effects of the tannin alone, and of the honey and tannin.

To test thoroughly the effects of honey, a number of trials were made with collodions of different kinds; some were very old, some quite new, some prepared with commercial pyroxyline of three different makers, some with my own; some collodions were bromo-iodised, others simply bromised. The tannin and honey solutions were intended to be of the strength recommended by Mr. Gordon; but, by mistake, the latter contained only ten minims to the ounce. mistake was not found out until after the conclusion of the

The

experiments, which extended over two or three weeks. The honey was pure originally, but had been long kept in the dark room, and was partially converted into grape sugar; the upper portion, which was thinnest, and least changed, was used. The plates were prepared in two ways; over some of every sort the tannin was poured three-quarters of the length from one end, and well washed off under a tap, keeping that end downwards. The honey was then poured over three-quarters of the length from the other end, and the plate set up to dry with that end down. When a plate thus prepared was exposed in a stereoscopic camera, half of one picture was taken on collodion treated with tannin only, one-half of the other picture on that treated with honey only, while to the remaining half of each picture both agents had been applied. Other plates of all sorts had tannin applied at one end, honey at the other, so that half of each picture nearest the centre of the plate was simply washed and

dried.

The results of all the trials were very similar; they confirmed Mr. Gordon's experience, that the portions treated with honey only were very inferior, but in no case when the films had dried spontaneously could the slightest difference be detected between the half-picture treated with honey and tannin, and the other half with tannin only. Both appeared, on the closest examination, as if their treatment had been exactly the same. On comparing the honey-treated half pictures on the other plates, with those simply washed and dried, a barely perceptible improvement caused by the honey could just be detected. The effect of the tannin in promoting sensitiveness and vigour was well marked.

To ascertain whether the honey was likely to be of any service in hot, dry weather, a bromo-iodised and a bromised collodion plate, prepared with tannin and honey overlapping each other, as has been described, were dried, faces upwards on a plate, over water heated by a spirit-lamp, for about half an hour. Towards the latter part of the time, the temperature of the glasses was about 120°. The plates were put, still hot, into slides, which had been dried inside and out before a fire, and were then exposed in the camera. When developed about thirty hours later, the whole pictures came out with a little less vigour and richness than those on plates exposed at the same time, but which had not been dried by heat. On comparing the darker parts of the subject on the differently treated portions of the heat-dried plates, the films, where treated with honey and tannin, were found to have been slightly more sensitive than where tannin only had been used; in other respects there was but little difference. As the honey caused a slight improvement, but not great enough to make up for the loss by over-drying, no doubt a greater effect would have been produced by more honey. The portions treated with honey only were again very inferior in all respects to those treated with tannin only.

From all the results, it would appear, that when the film is not very dry, the effects produced by the honey, be they chemical or merely physical, or both, are so slight as to be imperceptible when the honey is applied after tannin; and that the honey is of no use unless to prevent the overdrying of the film.

Other deductions, which go to confirm opinions formed from the results of former experiments, are, that bromide of silver requires the presence of a trace of moisture at the time of exposure, to give full sensitiveness and vigour of development; but that a very slight trace of it is sufficient, so much so, that no moisture beyond that of the air during the greater part of the year in this climate is of any service; and that when the air is very dry, the use of a little honey is advantageous. It is evident that it is better not to use honey enough to keep the films sensibly moist, otherwise dust will adhere to them, and they will not bear brushing.

In the course of making the experiments just described, it was observed that the simply washed and dried portions

of the films developed far better than in some former experiments. The application of a solution of tannin of only one grain to the ounce had a marked effect in all cases, the improvement being greater on new than on old collodions; but in no instance was the difference nearly so great as in some former trials, when a good picture was obtained by the aid of tannin, while only a faint trace of the sky could be developed on the simply washed part. Whether the improved results, without any so-called preservative, were due to improved management of the alkaline developer, or to difference in the quality of the pyroxyline, is uncertain. Some of the collodions used in the recent trials were made from cotton which had been prepared in strong acids at a temperature of 130°, with an immersion of twenty minutes. The increase of weight was 343 per cent. This cotton was expected to make collodion which would scarcely yield a picture when simply washed and dried; but that, when thus treated, it developed tolerably well, might possibly be the result of decomposition by keeping. It had been stored for several years in paper in a dry place, and the paper which held it was found to be so weak and brittle that it would scarcely bear handling, apparently the effect of evolution of acid from the cotton. Yet no free acid could have been left in it when prepared, for it was washed till it would not redden litmus-paper, then saturated with weak solution of bicarbonate of soda, and then well washed again. The collodions were made with this cotton only two or three days before being used; they were rather too thick to flow well.

The decomposition of pyroxyline, as shown by evolution of acid which destroys the paper, is very slow, but it has taken place in every sample which I have kept long. No reason is apparent why this decomposition should be prevented by dissolving the cotton in alcohol and ether. This may be worth the consideration of those who expect to preserve positive prints by coating them with collodion. It may be said, that as collodion does not fade negatives, therefore it will not injure paper positives. This does not follow, for negatives are well known to be much less liable to fade than prints on paper; probably because the former contain a much larger quantity of silver than the latter; the metal is, moreover, in a different state in the two cases.

modified gum process. I propose before long to make a few remarks on the

LANDSCAPE PHOTOGRAPHY FOR THE ARTIST AND THE AMATEUR.

BY THOMAS SUTTON, B.A.

(Continued from page 45.) ENOUGH has now been said by way of introduction. In the present article I will pass on to a discussion of the negative process to be employed.

now

But first let me sum up briefly what has been advanced. The new methods and appliances, to which I am earnestly inviting the attention of the reader, are especially adapted for taking photographic studies of natural scenery, such as he will find illustrated in the articles entitled Photographic Wanderings," in this journal. I do not recommend the process for photographic views, properly so called, particularly if a large number of prints are required. Those who desire to take views rather than studies had better, perhaps, employ the common methods, and the common forms of apparatus for that purpose. But, as I have already observed, studies are much better adapted to the capabilities of photography than views, and are to be regarded as its peculiar speciality. It is in studies that photography excels, and beats the work of the artist, and it is in studies that photography is so extremely useful to him. Now, the best way to take these charming "bits" is, I firmly believe, that which I shall endeavour to describe in these articles. Let the artist carry with him, on his

in favour of an old and obsolete method of working, would prefer a process which will give none but slow pictures. Still, I am aware that all the writing and talking in the world will not convince people so well as specimens. Last year I published a series of articles on photographic portraiture in my "Notes," in which I endeavoured to show that the portraits commonly taken by English photographers were sadly deficient in chiaro-oscuro. And what was the result? Nothing, so far as I could perceive. But, after a time, the marvellous portraits by M. Adam Salomon became the subject of conversation in every photographic studio, and the subject of analysis by chemists; and yet it was this very kind of portrait that I had in my mind's eye when I wrote those articles, and described a new form of photographic portrait-room, in which fine effects of light and shade could be readily secured. And so, perhaps, it may be now. The wholesale condemnation of all slow dry processes, and the earnest advocacy of the best and simplest rapid one, may be followed before long by specimens from various artists like Mr. Griffiths, until at length the most sceptical are convinced, and the bigoted left in the rear. These are strong expressions, and I pray that they may offend none, but truth and common sense ought not to offend, however unpalatable they may be.

Well then, having eliminated all slow dry processes, there now only remain for us to consider those rapid ones, in which the plate is developed by the alkaline method. Of these there are three-viz., tannin, with bromo-iodised collodion; tannin, with bromised collodion; and new Fothergill.

Which of these three is the best?

In point of sensitiveness, bromised collodion with tannin appears to have a decided advantage over the other two; while, in point of simplicity, it has this immense advantage, viz., that the development can be effected without the use of nitrate of silver, and consequently with clean fingers. Moreover, the plates can be developed slowly or quickly, according to the convenience of the operator. But are there any other advantages, or any disadvantages, as a set off, for it is important to state the case fairly? It must be confessed then, that there is one slight drawback to the process, but only one, and that is, that an exciting bath of nitrate of silver is required, which is double the strength of that required in either of the other two rapid processes; and also that the time of immersion of the plate in this bath must be double of that required in the other cases. These are the drawbacks, and apparently the only ones; but, strange to say, they seem to have deterred photographers generally from giving the process a fair trial, although they have been so inconsistent as to adopt freely such methods as the collodio-albumen, and Mr. England's modification of it, which require two successive excitations of the plates in two separate nitrate baths, and, on the whole, a vast deal more time and trouble in the preparation of the plates. As a set off, however, to the disadvantage above named, of the bromised collodion process, there is less liability to pin-holes in the film, and better keeping qualities of the plate before exposure, than in any other process. There are no plates which keep better than these, before their exposure, without deterioration; and this is an inestimable advantage. All plates, such as the new Fothergill ones, in which free nitrate is left in the film, in contact with albumen or other organic matter, are liable to rapid deterioration by keeping, particularly in hot weather; and this is a very bad quality in plates prepared for the tourist. Good keeping properties, before exposure, are a sine quá non. The question of which is the best rapid dry process really lies between the two tannin ones-viz., that with bromo-iodised, and that with bromised collodion. Shall we add a soluble iodide to the collodion, and excite in a weaker nitrate bath, and wash the film less thoroughly, and develop with pyrogallo-nitrate of silver, and blacken our fingers, and make a detestable mess wherever we have the bad luck to develop our plates? or shall we use bromised collodion, and a strong bath, and work with

clean fingers in the development? The answer will be surely in favour of the latter, unless there should be any inferiority in the result.

But there is no such inferiority. On the contrary, there has been nothing yet done in photography, even by wet collodion, to surpass Mr. Griffiths' views upon bromised plates. So, at least, says Major Russell; and I can quite believe it, for I have in my own possession six of that gentleman's transparencies, taken the summer before last, one or two of which, taken instantaneously, are as fine as any of Mr. Breese's. Seeing is believing, and I am not now writing from hearsay. The only wonder is, that so few persons should, as yet, have taken up so magnificent a process; and here I must plead guilty myself to having been rather a slow convert, so pertinaciously do we all cling to old methods with which we may have succeeded tolerably, and have come to understand, after a fashion. It is so unpleasant to have to go back to the A, B, C of a new language, and throw overboard all the knowledge and experience which we have gained in following a wrong direction.

But there is one more consideration involved in the choice of a process, and it is this:-The negative suitable for yielding an enlarged print in a copying camera must be exceedingly thin; it must not be nearly so dense as a common negative for printing by contact. All negatives for development printing should be thin, but those should be especially so which are intended for use in a copying camera. Something about half-way between a collodion positive and a negative is the right thing. The reason why camera prints and solarcamera enlargements are so often hard, and deficient in the delicate shades of the high lights, is because, generally speaking, the negatives are much too dense; one-half the usual density would be quite sufficient. This I learnt by some experiments made in company with Mr. Woodward, of Baltimore, a few years ago; and I was then amazed to find what powerful, vigorous, enlarged prints could be got from negatives scarcely denser than collodion positives. Mr. Warren de la Rue has complained lately that his enlarged proofs from negatives of the moon show a loss, in places, of some of the details; and I have no doubt the reason is because his negatives are too dense. It must never be forgotten that a new method of printing requires a new style of negative altogether. And here I will mention a hint which was given me once by Mr. T. R. Williams. He suggested that whatever camera prints were required from a negative should be taken before it was intensified; and that after these were taken, it might be intensified with mercury to the proper degree for contact printing. This was an excellent suggestion; and it would no doubt be perfectly practicable in the present case, so that a negative of the usual density for paper printing could be made out of the others, when they had served for taking a few enlarged prints in the copying

camera.

The

We have to consider, then, whether the bromised collodion process is suitable for taking very thin negatives, very delicate and full of detail, with perfectly clear lights? Now it happens, most fortunately for us, that no other process is so suitable for taking clear, delicate, thin ncgatives as this, because no silver is used for intensifying. process of development may be made as slow and gradual as you choose, up to any point, and may be easily watched, without flurry or excitement, and stopped when you choose. Nothing could be imagined more perfectly under control, or more suitable than it is for the purpose desired. To this may be added, that there is no process which does such full justice to the details of deep shadows and dark foliage, which allows so much latitude in the exposure, and which is so little subject to solarisation of the lights. Enough, I hope, has now been said to interest the reader in this important bromised collodion process, and to shake any prejudices which he may have formed respecting it. An interesting feature of it is, that its