mens were occasionally wanting in the latter qualities where the nature of the subject appeared to demand them, or where the more bold and vigorous treatment of Salomon might have proved advantageous-his portrait of Gustave Doré, for instance-but I did not observe a single instance in which the instincts of the born artist had swerved from the governing sentiment where it was of a tender, delicate nature. The reader may remember one of these portraits, that of a pensive girl with a book, a sketch of which appeared in Mr. Seymour's jottings (see page 445), which would illustrate my meaning. Salomon's treatment would have been ruinous to such a subject.

which I considered successfully, and this one has already received in this journal the praise it honestly deserved. I might say the same of many other portraits by Mr. J. C. Leake, Mr. Valentine Blanchard, and others. Passing from the portraits, in which, undoubtedly, and by universal consent, evidence of great progress existed, I turn to the landscapes. Here progress was less conspicnous. Foremost amongst these for practical merit associated with perfect photography, were the charming little subjects by Mr. R. Gordon. I can conceive nothing finer than the best of these specimens, by which I mean nearly all of

Mr. N. Briggs's portraits did not aim at anything beyond mere ordinary portraiture; but as specimens of technical power his contributions were unsurpassed by the best in the room. Some portraits, with natural backgrounds, by this artist, displayed great skill in the way in which the background effects harmonised with the light on the model. It is not enough to take any two subjects by different lenses, and by merely associating them in one picture, suppose that you thereby produce an artistic whole; it requires careful study, power of observation, and taste, so to associate them that the parts shall agree in telling one story, and not convey conflicting meanings and assertions -that is, if the real and truly artistic be the object in view.

them.

Some photographs of sky effects in two pictures, called respectively "Clearing-up" and "Sunset," were particularly fine; but the landscapes associated with them by that mischievous mistake "combination printing," were incongruously and glaringly out of character and keeping. In the one we had a piece of water, the aspect of the sky over which had not the slightest effect upon its surface, and the light and shade of one part of which were in direct antagonism to the light and shade in another part; and in the other we had almost noonday light and shade in the landscape, with a sun low down towards the horizon. In each two beautiful sky pictures, calling up warm feelings of admiration for the skill and taste displayed in photographing them, were cruelly marred by the singular want of taste and knowledge displayed in associating them with landscapes taken under different circumstances and at different hours of the day. As the sun descends, not only does the colour and general character

Mr. Burgess contributed a wonderfully soft and delicate little picture of a sleeping child by the Eburneum process, which exhibited the perfection of delicate light and shade, and showed how fully roundness and relief might be secured without any of the stronger contrasts of light and shade where the nature of the subject rendered loud treatment undesirable. The ugly cheap chair and staring anti-macassar introduced into this picture would have quite spoiled it, if anything could have done so.

Messrs. Robinson and Cherrill exhibited some excellent portraits; but a very pretty and natural group of beautifully photographed children was irretrievably spoilt as a work of art by the cut-out effect of a printed-in background. I particularly noticed a comical result obtained where one head of a little boy, very soft and delicate in its rendering, came against a sharplydefined background of leaves, with quite forcible contrasts in light and shade, so that the pretty little head appeared to go back through a hole cut in a bush, and the bush to come forward a long way before the head. I heard many who noticed this effect wondering as to the cause of it. Why

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will these gentlemen so obstinately adhere to the clumsy, inartistic, and purely mechanical dodge, "combination printing?" so called, I suppose, because printings of this kind never do combine properly, even when managed by an artist and real observer of nature, at an awful cost in valuable time and misdirected effort.

Mr. H. C. Heath exhibited a frame of most artistically treated portraits of children, for taking which his reputation stands so high. Some of these were remarkable for the pretty fancifulness of their general treatment, which was in perfect keeping with the subjects, and the skilful use of very artistic, telling backgrounds, depending for their effect on simple combinations of light and shade rather than their elaborate pictorial character.

Some bold and unusually picturesque effects of lighting, and some famous examples of posing-good photography characterising all-were exhibited by Mr. Robert Gillo. In these broad, dark masses of shade were very transparent and full of definition. Mr. Samuel Fry exhibited some portraits in imitation of M. Salomon's style, only one of

45

of its light rapidly change, but these effects are faithfully associated with, or indicated by, corresponding changes in the cast shadows of all the objects exposed to its influence. To discourage these false attempts to represent nature artificially instead of truthfully, by mechanical dodges instead of by honest photography, I append a diagram, which the engraver, by-the-bye, has cut unduly large. The cast shadows of the sun not only lengthen as the sun declines from its zenith (4), but they are otherwise changed in character. The light from the descending luminary changes in colour as it descends into, or rather is seen through, the misty exhalations arising from the earth, which, increasing in thickness, constantly change both its colour and the intensity and general character of its light. Thus at (5), where it is still white, the light is clear and powerful, the cast shadows have sharply-marked outlines, and are full of reflected light. At (6) the shadows lengthen considerably, but they are still as sharply defined at their edges, but the light being less powerful, they are less transparent-that is to say, are less influenced by re

flected light. At (7) the edges of the shadows are very long, but they have become blurred at their edges and much less distinct. At (8) shadows become lost in the general gloom of the deepening twilight. At (9) they are very indistinct, and at (10) they cease, the light being then so very feeble and diffused. Now these changes are not sudden but gradual, and any observant eye will therefore readily enough detect such anomalies as Messrs. Robinson and Cherrill's" combination " landscape pictures present, which, we think, is a very good reason for avoiding them. And here I must once more put aside my pen, and as it has been suggested to me, that coming so long after the closing of the exhibition, my remarks might not be received generally in good part, I do not think I shall resume the subject, more especially as I should have to postpone doing so until after the appearance of the Christmas number, and so carry them into the first part of another volume.

In conclusion I will venture to apply, slightly altered, Hamlet's advice to the players, as a concluding moral drawn from the Salomonesque and combination prints, I pray thee "o'erstep not the modesty of nature, for anything so overdone is from the purpose of photography, whose end, both at the first, and now, was and is, to hold, as 'twere, the mirror up to nature." Even if the artificial, meretricious effects I have always consistently denounced please the unskilful," they cannot but make the judicious grieve; the censure of which one must, in your allowance, o'erweigh a whole theatre of others."

Keviews.

Picturesque "Bits" from Old Edinburgh. A series of Photographs. By Archibald Burns. With Descriptive and Historical Notes by Thomas Henderson. Edinburgh: Edmonston and Douglas. WHETHER regarded historically, pictorially, or archæologically, there are few places more interesting than the ancient capital of Scotland. Volumes might yet be compiled upon its many romantic associations and various antiquities without exhausting the subject; and although the tastefully "got up" little book before us is neither a big one nor very pretentious in its aims, yet it is one of the most charming and interesting gift-books of the season. Mr. Archibald Burns's illustrations, singularly beautiful as photographs, are treated in choice of subject, point of view, light and shade, &c., with great knowledge of artistic effect, and are truly "picturesque.' Mr. Henderson is a graceful, pleasant, and generally well-informed writer, determined to interest his readers, and at the same time to avoid boring them by any solemn display of mere technical knowledge, or plunging into abstruse antiquarian speculations and controversies. The combined labours of photographer and author have resulted, as we have said, in one of the best giftbooks of the season-one which will prove equally interesting and instructive to readers of all ages and all classes, whether they reside in the ancient capital of the sister kingdom, or in our own "little village" called London.

The noblest and most striking trait in the Scotch character is that love of country which our English humorists so often make capital of in their published jokes, but which, in our estimation, is at the root of nearly all that is of sterling worth in the national character. It may occasionally display itself in prejudice and bigotry, from ignorance and personal conceit; for "where's that palace whereinto foul things sometimes intrude not?" But, honestly speaking, does it not far more often find expression in the helping hand stretched out to a needy brother, because he is a Scotchman-in the self-respect which guards a man from injuring his public character because he is a Scotchman-in the bravery which seeks a foremost place in danger-the enterprise which seeks a noble reputation, because the fame and honour won by the individual will also reflect itself upon his country? We are Cockney born and Cockney bred; we love our country, and are proud of its history; but we are also very proud to take a worthy Scotchman by the hand, and say not, you are Scotch and we are English, but rather, we are Britishers. To this honest, wholesome love of Scotland in its most popular form the present work, in a strictly popular way, appeals; and the " bits from the camera are only equalled in picturesqueness by the "bits" from Scottish

We

history which Mr. Henderson so delightfully realises. should wish no better guide for an antiquarian ramble through old Edinburgh than this little volume, only that it is far too smart and handsome for a traveller's pocket, and morefitted for the table of a drawing or reception room, where its outer covering would attract the eye, and its inner furnishing make any the host, the hostess, or a photographer. ordinary visitor oblivious of time's progress while waiting for

The author says "A decade of years in the nineteenth century often produces as many changes as a century did in former times; and probably in other twenty years Edinburgh of the sixteenth and seventeenth centuries will have passed entirely away. Each year now requires its own guide-book, so quickly does the new appear and the old pass away. To preserve a slight record of some of these vestiges is the object of this little book; which pretends to be nothing more than a few photographs of some of the most picturesque 'bits' in the 'auld toun' that might be of interest to the antiquary or of use to the artist, and which could be got within the camera's range. point of view, and may humour' his sketch, it must be rememWhile the draughtsman can generally choose his own bered that the photographer has not the same licence, but must 'take' things as they are, and nothing extenuate.' Thus, many objects which it might have been desirable to include have of necessity been omitted; and of others it may be said that the point of view from which they were taken was only considered the best within reach. Photography is seldom more successful than in the representation of architectural subjects; and the sun, which for so many centuries looked down on the storied streets of this old capital, has in the nineteenth century been discovered to be their truest limner. The descriptive letterpress only appears as cicerone to the pictures. It is little more than a réchauffé of already used materials; but the writer ventures to plead the sauce is his own." Its readers will, we are sure, be glad that the author-who, on his own behalf, and that of the photographer, is altogether too modest-did

not keep his sauce to himself.

detail, as Sir Walter Scott has done in outline, the old city of Mr. Henderson wishes "some one had conjured up for us in the fifteenth or sixteenth century." Were it not that it would spread our review over an amount of space we could ill spare, we should like, by way of trying to repay Mr. Henderson in some sort for the pleasure he has given us, to here introduce a description of the city of Edinburgh, as it stood before the invasion of the English in 1544, by Alexander Alesse, a Scotch priest, born in 1500.* It is a very interesting and full description, the existence of which is, perhaps, not generally known.

OUR CHRISTMAS NUMBER.

AT the pleasant season we have reached, when good-humour and good-nature laugh in the very teeth of icy Winter with his gloomy scowl, when every trade, calling, and profession combine to swell the outburst of fun and amusement, we photographers are not going to be the dull boys made by all work and no play. Shall the butchers decorate their glowing shows of red and white with gay ribbons and gleaming red-berried holly-bushes in a blaze of rich light? the grocer's shops gleam resplendent with fruits and flowers, tinsel and colour, and, in short, everything we eat or drink, use or wear, be made gay with ornament or arranged for decorative show, yet the photographers illustrated journal retain its every-day aspect of plodding work? By our fay-no! We shall next week find room for an illustrated Christmas story-a real photographic story. We shall have our comic and humorous photographic poems, all illustrated; and in the red glow of the Christmas fire-light, the hard working man we all know so well, who has done so much for photographic progress-even if he have, as some think, like the rest of us, his little foibles and eccentricities-shall begin the log of his last summer's yachting trips on the Erdre and the Isac, with illustrations graphotyped from drawings by himself and a clever son of hisA. Sutton. Nor shall the past with its learnt lessons, its

* "Edinburgi_Regia Scotorum Urbis Descriptio, per Alexandrum Alesium, Scotum, Sacræ Thologiæ Doctorem." It may be seen, we believe, in the British Museum.

LONDON, DEC. 25th, 1868.

COMPLETION OF OUR FIRST VOLUME.

ITH this number -bearing date December 25th,

1868-we complete our first volume, and we cannot help feeling it a kind of pleasant augury that we do so-of all mornings in the year on a Christmas morning. The clang and clash of the merry bells, ringing in, from hundreds of tall steeples, this glorious holiday, seems almost like a lusty peal in honour of THE ILLUSTRATED PHOTOGRAPHER'S first volume. With a little of that quality for which the "Marchioness" of Dickens has become so famous, namely, that of "trying very hard," we might perhaps fancy all the decorating and feasting, dancing and singing, laughing and joking, had come about in our special honour, and that the kindly, ancient custom, so genially expressed in good wishes for the coming year, had special reference to ourselves.

In commencing our career we were assured on all hands that there was no room for us, that photography was declining, that the public were losing interest in the art, and that its professors were abandoning it, that the photographic journals already in existence were doomed, and

that bands of devoted amateurs in all parts of the

kingdom were growing weary of their hobby. These, and many other pleasant things, were the proprietors and conductors told by way of encouragement. But we felt sure that the "fresh fields and pastures new 99 we saw before us would prove attractive; that the gloom of bad business was not peculiar to professional photography, and therefore could not last for ever; that photographic journalism had always been so useful that it had become a kind of necessity, and that the love of amateurs for their fascinating and beautiful mistress could never prove so fickle or so false. Well, we suppose the circulation of the Times is still a little larger than that of THE ILLUSTRATED PHOTOGRAPHER. But we know full well that there are more than a few old-established journals, each with a much smaller circulation. And we point proudly to this fact, viz., that of all classes represented in the literary world by special organs, photographers alone can boast one liberally illustrated with original designs and drawings. Publishers usually suppose an undertaking of this kind can only be successful in connection with journals appealing to vast masses of general readers, and not to a special and comparatively very small section of the public.

But having been unusually successful so far, with reason we look forward to a larger measure of success in the future. The merit is not our own. We have been specially fortunate in securing a staff of talented, industrious, and energetic contributors, fortunate in the personal interest displayed in our progress, and the generous efforts voluntarily made in our behalf, in the springing up of quite a little army of active friends, and again fortunate in awakening an interest amongst contemporary editors of the outside press. To each and all these tried friends we now tender, heartily and warmly, our grateful thanks.

But we are anxious to do more than we have done. No one but an editor who works con amore, can know the pang with which he sees opportunities of enlisting good and true men into the ranks of his contributors, or chances of introducing attractive features, of which he is unable t

VOL. I No. 47.

avail himself, merely for want of space. If our readers. could sometimes see our perplexed expression as we sit nibbling the end of our editorial pen, scheming and contriving, cutting and condensing, in order to get into our columns as many of the good things provided for them, by pen or pencil, as possible. If they could see the reluctance with which we exclude this, or the hesitation with which we make our choice, could realise the pang with which we are sometimes compelled to decline proffered and most valuable services-they would understand how an editor's bed is not quite a thornless one. Now we want to give more pages for the old price, and to do this it becomes necessary that we should get more subscribers, and, therefore, we ask you to make special efforts, in the year we are about to commence, to increase our circulation. Surely we have a right to ask this, because the chief pleasure and satisfaction we shall derive from the accomplishment of our wishes will be in giving you even more for your money than you already receive.

Our ambition is to go on improving, to gradually gather about us every one of ability, at home or abroad, the publication of whose practical and theoretical, scientific or artistic, experience can serve the cause of progress in photography. Our pride is in knowing that this journal is received by thousands as a pleasant, useful, trustworthy friend; that our pages are not loosely or carelessly compiled from contemporary journals, but garner up carefully selected stores of information, every scrap of which has been brought to the test of thought and experience. And so, humbly realising the responsibilities and privileges of our position, we hope to go on for many years to come, increasing in usefulness and power. In conclusion we wish each and every reader of THE ILLUSTRATED PHOTOGRAPHER

A Merry Christmas and a Happy New Year.

PRINTING ON MAT PAPER.

BY GEORGE DAWSON, M.A., LECTURER ON PHOTOGRAPHY,
KING'S COLLEGE.

I WISH to make a distinction between what may be called plain printing and printing on albumen, or other glossy surfaces. Albumen and collodion have had their go-let them go, and little luck to them say I.

Last week I promised to give some details of printing on plain paper, so as to get the tone of print that may be required, without a glossy surface. Many years ago (photographically speaking) we ignored albumenised paper, and got sometimes the tone wanted, but at other times we were all abroad in a heavy sea, or among the breakers on an unknown shore. My predecessor at King's College, Mr. Hardwich, was the first to lay down the compass points and show the signal lights to photo adventurers on our dangerous main. Since his time, improvements have been made in photographic practice, although, I am sorry to say, very little indeed in photographic philosophy or theory. Let me be practical.

Without assigning any reasons at present, I would discard altogether the method of printing on plain paper by means of ammonio-nitrate of silver. That plan has some advantages, but the per contra account more than swallows up the profits. Therefore let us dismiss that sensitising bath from our account.

Take the ordinary plain photographic paper that is now in the market-Rive or Saxe-medium thickness. Both these, I find, are excellently adapted for printing, and can be made to suit themselves to any tone which may be required, provided the salting solution is properly regulated and applied. Therefore there is really no foundation for the remarks I have heard made, that there is not at present a good printing paper in the market.

In salting any sample of paper, we must bear in mind the tone of print we wish to produce; inasmuch as the sizing of the paper, and the substances used for salting, very much

affect the photographic properties. Generally speaking, albumen, gelatine, and kindred animal products have a tendency to produce a reddish tone in the print, while starch, arrowroot, &c., tend to blackness of tone. Tartrates and citrates, mixed with the salting solution and citric acid in the sensitising bath, have al a powerful effect in modifying the colour of the image towards a warm sepia tone. Besides these, other substances might be mentioned which have a similar effect.

A paper which gives a fine, warm, rich tint, with very little gold toning, may be prepared by the following formula:

:

Float for one minute, not longer, otherwise the solution will penetrate too deeply into the paper, and thus cause the image to be less on the surface than is compatible with clear and vigorous printing.

Sensitise for two minutes on a 60-grain neutral nitrate of silver solution. Should there be any tendency in the print to assume a feeble, slaty-blue colour in the toning bath, one grain of citric acid, added to each fluid ounce of the nitrate of silver solution, will correct that disposition.

Another formula for salting, which I discovered accidentally last week, gives exquisitely beautiful effects for large portraiture and for printing negatives from engravings. The image is almost entirely on the surface; the tone is an intense black, just tempered with enough of red to convey a warm effect, and the whites are pearly pure and clear-more so than on any other photographic medium that I have ever tried. How I found it out might as well be mentioned.

In the course of a few experiments I was making last week on plain-paper printing, I salted a piece of arrowroot paper, prepared for the Wothlytype process, by Mr. Sanford, of Red Lion-square, some three years ago. The results were, as I have said, exquisitely fine, although this paper was never intended for such work. Mr. Sanford was kind enough to give me the formula; and his factotum at the paper manufactory demonstrated the mode of operation.

Mix thoroughly, so that there shall be no lumps. Add to the above, and intimately mix the whites of three eggs previously beaten up with one half ounce or more of water and four drops of acetic acid. Put the whole in a pipkin and place on the fire. Continue stirring till the mixture begins to boil. Then remove; but whilst cooling it should be frequently stirred; and, if any skin forms on the surface, remove it.

When the sizing mixture is cold, lay a sheet of Saxe, Rive, or any other paper selected, on a slab of glass, or pin it down to a drawing board. Then with a soft sponge dipped in the mixture, smear, or rather rub in, the arrowroot in all directions, till the paper will take up no more. With another clean, soft sponge, rub off all superfluous sizing, and hang up to dry. The paper may be afterwards rolled

if deemed desirable.

Such was Mr. Sanford's modus operandi in preparing the Wothlytype paper, which I found so good for common silver printing. Now if, to the above formula, there be added 10 grains of chloride of ammonium or sodium for each ounce of water, there will be no necessity for an after salting; and should a warmer tone of print be required, if a little citrate of soda also be added, or in lieu thereof, citric acid in the sensitising solution, we have all that can possibly be desired for the finest mat-surface silver printing on the photographic paper now in the market.

The very small quantity of albumen in the above formula seems to have a wonderful effect. It makes all the difference, apparently, between a good and a bad arrowroot paper. Probably the albumen acts only mechanically by cementing together more closely the particles of arrowroot, and thus renders the paper more impervious to nitrate of silver solution. But this is merely a speculation, for which I have no better reason than analogy.

PHOTOGRAPHY.

A SONG FOR THE SEASON.

I.

OUR tables are groaning with volumes of tours, Adventures on far-away mountains and moors, And samples of Lunar Geography;

We've reprints from Sanskrit, Chinese, Japanese, Which Young England studies quite at its ease, And Scientific Biography.

II.

We treasure the stamps brought by every post,
Or made, and by dealers who vend them, a host,
Both the stamps and the buyers are sold.
And other odd things, in odd sorts of ways,
Are done in these modern and go-a-head days,
Which all sorts of people uphold.

III.

But to others I leave such commonplace themes,
A topic more fitting my ryhming beseems,
So sing we Photography's praise;
Old Sol, who gives joy to the song of the lark,
His images formed in the womb of the dark,
Now raises by means of his rays.

IV.

In her all employments appear to combine, Many strands go to make up her multiple line, Each fitted beholders to please.

With lawyers she's solemnly making her proofs, With architects fixing up chimneys and roofs, With gard'ners developing trees.

V.

She's as careful of tones as a musical gent,
But, alas! to confess it, she's often intent
On taking her glasses and drops.
She is often at press, like a maker of books.
Like Rachel she's ask'd to improve ladies' looks
And make them attractive to fops.

VI.

A medium is she, where the spirits combine,
Her ethereal works are as subtle and fine

As Shelley's, or Browning's, or Byron.
And her subjects, whenever she finds them too weak,
No physician a better prescription could seek-
She strengthens them duly with iron.

VII.

Her acetic works are more acid than those Acetic works o'er which piety glows,

Tho' divines may not like them as well. As long as the sun of good fortune illumes, Like a popular minister's levee, her rooms With enlarged acquaintance she fills.

VIII.

And the tribe of logicians surpassing,
She dreams not of negatives classing,
With things of indefinite form.
And, beating philosophers at their own game,
Better even than Comte, of sophistical fame,
Her positive's clear as the morn.

IX.

Her malt no teetotaler ought to refuse,
For, though light-excitation she often renews,
Her glasses must always be dry.