W. conceived a brilliant idea. We brought the big camera and tripod, a very tall one, under the tree, and covered the whole, so as to form a tent. Into this we two crept, leaving the boy to take shelter under the dark tent. Here we finished our dinner, and we sent the boy to the "Green Man" for some spirit in a lemonade bottle (we objected on principle to anything methylated). This we soon made short work of, and determined to make the best of the worst; we smoked our cigar and pipe, and discussed, and otherwise "cussed," various topics, especially that of the weather. Still, down came the rain harder than ever, and we soon became aware that our tent was wet through, and that the water was dripping through camera, cloths, and all. Now, we had prepared ourselves for work, and, as we knew working large plates in a tent was a rather dirty job, we had worn only such old clothes as could not well be spoiled. W., however, was a bit of a swell, and had mounted a light-grey overcoat. Presently he began to complain of the rain running down his back; and when we came to examine his condition, we found that the water had penetrated our covering, run down through the camera, and, carrying with it the nitrate solution which had drained off our first plates, had left a nice brown streak down his light coat. However, he was a jolly good fellow, and rejected our kindly offers to rub him down with a lump of cyanide with as good a grace as was possible under the circumstances. Thus, for three hours, we sat in the drenching rain, until at last we descried some signs of an end to the shower; and, to our great delight, the sun shone out, and we joyfully started to prepare a fresh plate. The state of our apparatus was now anything but favourable for the production of good work. The tent was wet through, and getting in and out of it was like wrapping one's self in wet rags. The cloths and brushes we had brought were also wet, and plates, bottles, and all were dripping. Nevertheless, we determined try a plate, and selected a group of blackberry brambles and ferns as our subject. This turned out well, and appeared in the first number of this periodical. We could now clearly see that the day was gone for further work. The sun had caused a mist to rise from the grass and moss, which effectually prevented anything like successful operating; so, with great reluctance, we packed up our traps and prepared for our journey home.

Pencil Jottings.

sense, a copy of the photograph, painting, engraving, or piece of sculpture from which I may have gleaned the idea. This week's jottings are from the following sources :Fig. 1. Is from a photograph by Mr. A. H. Wall. Fig. 2. From a photograph taken, if I am not mistaken, by Mr. Valentine Blanchard.

Fig. 3. Is from a photograph by the late Mr. G. W. Lacy, who, I am informed, used to keep a little book of pencil jottings like my own.

Fig. 4. Is from an elegant little water-colour sketch. Fig. 5. Is a capital idea, capable of being worked out in variety of pretty and picturesque ways, from a photograph by Mr. W. Cobb, of Ipswich.

a

My next examples will be from the collection of Mr. James Ross, of Edinburgh, and will illustrate value of some novel glass-room accessories.

to mention, of which there is not much to say either for or against. Morphia made a slight stir at first on account of the rapidity promised for it; but it was soon found that the plates would not keep for more than a day or two. It is astonishing how experimenters will forsake an old and tried process for a new one which seems to possess some particular quality to a greater extent, though it may be totally wanting in other qualities possessed by the old one. Witness the morphia process. As soon as there was a chance of obtaining increased sensitiveness, photographers were ready to rush headlong into morphia without waiting to ask if they would gain anything besides a slight increase in the rapidity of their plates. After all, less depends on the process you work than on the way you work it. Once secure a good process, and stick to it, without trying modifications; get to know it thoroughly, and it will work wonders. I have seen very good instantaneous sea views taken by the old resin process, which is one of the last processes a photographer of the present day would select for instantaneous work. In looking over a large collection of photographs by members of the Manchester Photographic Society, I was astonished to find in a great many of them the foreground and natural clouds rendered with equal delicacy. The whole were from negatives taken by the "Taupenot process, which has always been associated in my mind with long exposures and hard negatives.

At the soiree of the Manchester Photographic Society last month, I had the pleasure of inspecting Mr. Noton's newly invented method of manufacturing oxygen. The novelty consists in mixing the materials into a thick paste, and forcing the mixture into plugs to fit the retort, by which means a great economy is effected both in time and material, and all danger removed, as the hard plugs cannot be blown into the tube communicating with the receiver, and thus cause an explosion. With a small plug about 3in. or 4in. in length, and three-eighths thick, it is possible to make as much gas in five minutes as can be used in an ordinary lantern in a quarter of an hour; and by an ingenious arrangement of apparatus, Mr. Noton is able to keep up the supply for any length of time without the trouble of gas bags, &c., and after the performance to carry the whole apparatus home under his arm.

At the soiree of the Liverpool Amateur Photographic Association, on Tuesday week, a number of pictures were exhibited, forming a portion of a series, by Braun, of Dornach, of copies from the pencil, chalk, and sepia drawings by the old masters from the principal continental museums. As photographs, they are quite unique, and cannot fail to be of interest both to photographers and artists. They are printed (by Swan's process, I presume) in the same material as the original, whatever it may be, if it be a red chalk drawing, the photograph is in red chalk; if it is a sepia, the photograph is formed in that pigment. They are certainly the most extraordinary photographs I have seen; indeed it is difficult to believe that they are photographs at all, so much do they resemble old drawings; even the grain of the paper, and the discoloration caused by age, are rendered with the greatest accuracy. They are quite new, having been introduced in London only about three weeks ago. understand that the series already consists of about three thousand subjects. The most astonishing thing about them is their extremely low price. The agents in London are Messrs Hayward and Leggatt, of Cornhill.

I

I have seen some specimens of cartes with natural backgrounds. The cartes in question are by Mr. Thomas Edge, of Preston, and Messrs. Robinson and Thompson, of Liverpool; and though the idea is the same, the way in which it is carried out is slightly different in the two I do not know how those of Mr. Edge are produced, whether by double-printing or not; but, in my opinion, though very beautiful, the backgrounds are too faint and hazy, not haziness caused by distance or atmospheric effect, as all the backgrounds represent trees a

cases.

few yards from the figure. There appears to be a mist or veil between the figure and the background, reminding one forcibly of the " fog" effects produced in some of Leech's hunting sketches in Punch. In Messrs. Robinson and Thompson's pictures, which are produced by doubleprinting, the backgrounds possess every gradation of tone, according to their nature, distant mountains, of course, not requiring the same amount of vigour and clearness as objects in the middle distance or foreground. The effect produced is much more harmonious, much less like a picture taken in a studio; and though Mr. Edge's pictures have more finish about them, I prefer the others-which are, however, only crude experiments-as coming more under the designation of natural backgrounds. Another difference is that in Mr. Robinson's pictures the feet are visible, while in the others they are not. Disordered baths are now getting their share of public attention in the journals, and it is to be hoped that ere long they will cease to form part of a photographer's troubles. A great deal more, however, is laid to the charge of the bath than that important and sometimes overworked article deserves. I made a new bath a few days ago, which worked well, and I took two or three good portraits with it, when suddenly, with the same collodion, developer, and everything else, it refused to give a picture without fog. Thinking that the bath could not be out of order so soon, I tried the other materials. I had but the one sample of collodion at hand, so I could not change that, but made a fresh developer, when, rather to my astonishment, I must confess, my bath worked as well as at first. I intend to try it with the old developer some day, to see if it will then work.

ONCE A MONTH.

BY A GOSSIPING PHOTOGRAPHER.

VERY intimate friend of
mine, whose life is chiefly
devoted to his tailor's inte-
rests, having at last got trou-
sers tight enough, and a coat
short enough to satisfy his
exacting taste,' and the un-
reasonable demands of the
present fashion, recently ven-
tured to be polite to a lady
who had let her umbrella
fall. The result of that act
I dare not describe, but the
little sketch appended is ac-
knowledged to
give a tolerable
idea of the ex-
pression his face
assumed on re-
ceiving the fair

one's thanks. I hope he will forgive me for alluding to that very distressing circumstance.

Why do I repeat this anecdote?

Bless my heart, and deary, deary me! Have I not been doing the polite to Miss Photography in stooping to pick up one of the photographic papers which for her dear sake alone I read, and is not my friend's expression of dismay even now on my face as I peruse the following awful state

He (the photographer who loves his art) is never satisfied with the result he obtains; each improvement only makes him more

anxious for higher attainments; hence many hours are spent in thought and experiment; and then, when rest is required, there is work which must be done. The result is, that exercise in fresh air is neglected, and work continued to unreasonable hours. Meanwhile, the excitement and pleasure afforded by the pursuit blind him to any symptoms of injury to the constitution, until it is almost too late for recovery; too late, at least, for air and exercise alone to effect a cure. Indigestion, wind, spasms, violent colic pains, extreme nervousness, and something like local paralysis, are induced, until the sufferer is brought to such a state of weakness as to be unable to digest any solid food. (!!)

Do you now wonder at my look of dismay, or that my unfortunate friend's disaster should be recalled to mind? But this, even this, is not all! Oh, Miss Photography! Miss Photography! thou sweet-singing siren, luring fascinated photographers to their frightful doom! But your evil wiles are exposed, Miss, and the miserable fate of your victims is no longer a secret! The writer continues, and, shuddering, I read,

So violent at times is the pain, that the sufferer is convulsed, and symptoms not unlike poisoning by strychnine produced. The face assumes a leaden hue, the limbs become rigid, with the hands tightly clenched, and the back arched, so that the body rests on the back of the head and heels!

|

cases of discoloration which have come under his notice, more have followed the use of the oxide than of the nitrate, clearly showing that the nearly insoluble oxide must have been taken up by the fluids of the stomach; and yet no mention is made of any further deleterious effect being produced.

Dr. Alderson, the accomplished President of the Royal College of Physicians, in his Lumleian Lectures, delivered at that College in 1852, "On the Effects of Lead on the System," mentions various methods in which that highly poisonous metal may be introduced into the blood; and in every method detailed by him-such as the contamination of drinking water, the diffusion of minute particles in oily matter, or as finely divided dust, carried into the lungs-the principle I have menis a fair inference, from the first of these authorities, that silver tioned is evidently borne in mind. I think, therefore, that it has no such effect as supposed by your second correspondent; and, from the latter, that it must be soluble salt, if any, which is the "fons et origo mali."

With regard to the less definite accusation against any particular chemical, such symptoms are "too common outside photography." It may well be that your correspondent is not too careful, if working large plates, to avoid inhaling the highly-stimulating vapours of ether and spirit necessarily given off during coating; and in that case it is not unreasonable to suppose (indeed I have myself experienced it occasionally) that a degree of reaction may follow the stimulating effect, and these two states, if continued, may produce, by their alternate action, forms of dyspepsia and hepatic derangement similar to those produced by indulgence to a great extent in spirituous liquors.

Now, I think this reply a very fit one, and thank Mr. Fitt for restoring us unfortunate photographers to a more contented and peaceable state of our mind.

ments?

But there's another "fitt" coming on-a Mr. George Robert Fitt—who, having been educated to the medical profession, points out

1. That if any effect be produced on the system by chloride of silver; "it must surely be by the soluble, not by the insoluble compound," and adds, "It is a rule admitting scarcely of any exception in therapeutics, that the activity of a body introduced into the system depends on its solubility, either in water (e.g., iodide of potassium), or in the juices of the alimentary canal; as carbonate of lime, though per se insoluble, is dissolved by acid in the stomach; or in a third case (an example which may be found in mercurial inunction), where the metal in a finely divided state, is, by application to the thinnest portion of the skin in combination with fatty matter, made to effect an entrance into the animal economy. So also many solutions are now used by hypodermic injection (ie., are forced into the cellular membrane underlying the cuticle), and so become absorbed, it not being found by any means sufficient, even in the case of soluble salts (e.g., acetate of morphia), to apply them to the unbroken skin. This would seem to dispose of the supposition of the effects complained of being due even to the nitrate, the soluble salt, of silver. And I would further remark, as to the frequent use in surgery of the solid nitrate as a caustic to extensive sloughs and raw surfaces of every kind, no instance of deleterious effect is on record from such procedure. Of course the question must be looked at in two aspects: Does the silver, in any form, find an entrance into the system? and, if so, Does it produce evil consequences? The first question should be inclined to answer in the negative; and, for still stronger reasons, to be stated presently, I say "No" to the second also.

Nitrate of silver, and the oxide also, are favourite (and in many cases I have known them to be effectual) remedies for certain forms of obstinate dyspepsia, they being administered in the form of pills, in doses of a grain or more, once or twice daily; the only evil, so far as I am aware, attending their employment being the liability to discoloration of the skin, which is often permanent, arising obviously from the silver entering the fluids of the body, and being so conveyed to the surface. Sir Thomas Watson, in his admirable "Lectures on the Principles and Practice of Physic, mentions these remedies; and, if my recollection serves me, he says that of several

Pall-mall. They consist of very admirable reproductions firm in Conduit-street, Regent-street, and at Colnaghi's, in of sketches and drawings by great masters. The Athenæum

has stated that M. Braun is the inventor of the carbon process; the fact is, I believe, that he has merely modified some of its operations, but even on this point I may have been misinformed.

The discussion in the journals, concerning the present state and future prospects of "the parent society," as it has been called, seems to have mainly turned upon financial matters; but I quite agree with Prudence sans Fear" in thinking that it is not its solvent or insolvent state that is of most importance, but its reputable or disreputable character. Some people judge everything from the breeches-pocket point of view, and can conceive no no other to be of the least importance.

The M. Salomon controversy is a very amusing one, in which he, who is most concerned, takes no part, although, as I am informed, he derives considerable amusement from watching it. There is now no doubt about all M. Salomon's photographs being "worked up," more or less; not simply touched, but worked up; and, what is more, they need the working up. I have lately seen many of his photographs in an "untouched" state. They are decently good photographs, evidently from negatives of a dense and somewhat peculiar character, pre-eminently suitable for producing prints to be afterwards worked up. An acquaintance of mine, who professes to know a good deal about Salomon's mode of "touching-up," says wax crayare, as I suspected, largely used upon them. As photographs, they are decidedly inferior to those of Rejlander; and as works of art they cannot for one instant be compared with that gentleman's photographs. I stumbled, the other day, over an old volume of the Literary Gazette, in which, amongst many other short articles of photographic interest, I found a long notice of M. Adam Salomon's photographs described as effecting "a revolution in photography." It gives the following anecdote, which I quote, as it may prove interesting :-"A few days since the famous Nadar-the man who does' the photography of the whole

ons

world-went to see this (M. Salomon's) gallery. At the first inspection he was quite taken aback, and murmured, "Yes! this is the last expression of photography!' but a few minutes afterwards he added, as though speaking to himself,' 'Ah! bah! I don't care, it will not hurt me; and," adds the Gazette, "Nadar was right. The crowd is everywhere inartistic, and nowhere more so than here; and the million will flock to the mere mechanic who 'does' Cousin or Villemain indifferently, with his tailor, or porteur d'eau, and the élite only will apply to the real artist, who forces the sun to paint a picture." But there is another view of this matter. It is easy to satisfy the crowd, but to please the élite is a far more difficult task. Hundreds will succeed in doing the first where one succeeds in the latter case. The greater the competition the lower the prices, the more rare the ability the higher is the price it can command.

THE PHOTOGRAPHIC SOCIETY OF LONDON. THE usual monthly meeting was held in the Conduit-street Rooms, on Tuesday evening. The Chairman (Rev. J. B. Reade), after a few preliminary remarks, read, from a Scottish newspaper, some passages bearing on the educational value of photography, by the late Sir David Brewster. These passages formed part of a discourse intended to have been read by Sir David before the Royal Society of Edinburgh, had not death intervened. Thereafter a long paper was read by Dr. Mann, of Natal, South Africa, on the difficulties of photography in that climate. His difficulties were merely of the ordinary kind which all photographers meet with at home, but which only the skilled operator can altogether surmount. His paper was illustrated with a large number of specimens, which clearly showed that his difficulties arose from his own lack of skill, rather than from any peculiarities of the climate.

In the infancy of our art, such papers were of some value, and would have given rise to considerable discussion and diversity of opinion among scientific photographers; but now-adays they are out of place, unless it is desired to again go over the A, B, C of our art science, and raise difficulties which most tyros now understand.

After the lengthy paper was read, Mr. Good, whose beautiful photographs of "Bible Scenes" in the Holy Land have placed him in the foremost rank of photographers, made some practical remarks, and snubbed the idea of there being any practical difficulty whatever of working in hot climates. After which, Mr. Fry uttered a few harmless platitudes, and thus terminated

the discussion.

In conclusion, some one, whose name we could not learn, exhibited some photographs, of his own taking, a la Salomon, of Paris. He said he had been in Salomon's atelier, and learnt the whole secret, if secret there was. The photographs shown were good-indeed, excellent; but not anything like up to Salomon's standard of excellence. They were fitted up to the glass, as Salomon's are, and toned as nearly as possible the same, perhaps a little colder, yet the soul of Salomon was not there.

NORTH LONDON PHOTOGRAPHIC ASSOCIATION. THE Contributor who was to have provided a report of this month's meeting of the above has, at the last moment, not sent in his copy; we are, therefore, compelled to go to press without it.-ED.

Questions and Suggestions.

(We are not always responsible for the opinions of our correspondents.-ED.) TO THE EDITOR OF THE ILLUSTRATED PHOTOGRAPHER.

SIR,-I am so pleased with Mr. Seymour's idea of the posing and grouping sketches, that I wish to suggest, what I believe would be of considerable service to us photographers, both to ourselves and our sitters, namely, the striking off on a separate sheet of paper, say once a month, impressions from the blocks of the previous four weeks, to enable us to refer at a glance to them all, or to show to our sitters any one as a suggested pose. I should be glad to take half a dozen each month for my own use, and have no doubt many others would like to do the same. Of course any extra charge might be made for them.-Yours truly, ALEX. WALKER.

SIR,-Many persons have asked me what is graphotype? and I have referred them, for an account of the process, to a back number of the Journal of the Society of Arts, containing a descriptive paper which was read before that society by the tion, I am sure it would interest many readers. But if Mr. Wall would give a few words of descrip

narrator.

It has occurred to me, and no doubt to many others also, that if, instead of the chalk which is now spread upon the plate in that process, oxalate, or chloride of silver, were used, a photographic print could be obtained under a negative, which would be a great help to the artist. Has this sort of thing been tried yet?

Suppose, for instance, I were to send you pen-and-ink sketches upon thin paper, waxed; a negative could be taken from these by direct contact, or otherwise; and from that negative a proof might be printed upon the white silver salt, which was spread upon the plate, which the artist might afterwards draw upon with the point of his brush. Could not this sort of thing be done with success? There would be no need to fix the photograph upon the plate. The window at which the artist works might be covered with yellow paper. The undecomposed salt, when brushed off the plate, could be saved for use again. Think this matter over, and give us the benefit of your THOMAS SUTTON. opinion.-Yours faithfully,

Replies and Discussions.

TO THE EDITOR OF THE ILLUSTRATED PHOTOGRAPHER.

SIR,-In the Photographic Notes of January 15th, I told my readers that I had written to Mr. McLachlan respecting his discovery, and would inform them with what result. The following is the letter which I have received from him in reply. Will you kindly make what use you think right of it, as most of the readers of Notes are also readers of THE ILLUSTRATED PHOTOGRAPHER, and are no doubt curious to know what Mr. McLachlan's reply to me was ?-Yours faithfully, THOMAS SUTTON.

MR. MCLACHLAN'S REPLY.
"Stamp Office-buildings, 9, Cross-street,
Feb. 8th, 1868.

"DEAR SIR,-Your letter has placed me in a very painful position, or I would have answered your letter at once. "I beg to apologise for the delay. When I said that I would communicate my secret to any scientific man not engaged professionally in photography-by that I meant, one that was perfectly neutral, such as Hardwich-and as you are a writer in the journals, that is to me practically as great an obstacle, if not greater, than as if you were a professional.

My secret is much more than a formula, and would not do to be communicated without a long personal explanation touching upon our present system of working, and pointing out its defects; in a word it would be impossible to communicate it as a receipt only.

"I know of no one, unless it be Hardwich, that is so competent to decide upon the merits of my process as yourself. In fact, I have the most perfect confidence in your honour, fidelity, and impartiality, but I cannot see how it is possible for anyone to write upon the subject without communicating my ideas. If I could get over this difficulty I should choose you above all others, so that you will see at once how painful it is for me to refuse your kind offer.-Yours faithfully, "L. MCLACHLAN.

"T. Sutton, Esq."

To many of our readers Mr. McLachlan's announcement of a grand discovery in photography may probably be something new. The announcement was made by himself in a letter addressed to the Editor of Photographic Notes, and was published in that journal, on Feb. 15, 1868, and perhaps also in other journals. It would worthlessly occupy too much space in our columns to reproduce the whole of this singular document. We shall merely give a summary and a quotation containing the germs of the great mystery which Mr. McLachlan has under

taken to solve.

He opens his subject by referring to "gambling," the "turf," and two-and-sixpenny "tips." All such nefarious practices he repudiates, and writes "only at the request of a number of friends." He was diffident in writing because he "differed materially from the first chemists and photo