Price, Fifty Cents 
 
 THE SCOVHL & ADAMS COMPANY, 
 
 423 Broome Street, New York. 
 
THE MODERN PRACTICE 
 
 OF 
 
 RETOUCHING 
 
 NEGATIVES, 
 
 AS PRACTICED BY 
 
 FRENCH, GERMAN, ENGLISH k AMERICAN EXPERTS. 
 
 FOURTH EDITION. 
 
 Revised and Enlarged. 
 
 NEW YORK: 
 
 THE SCOVILL & ADAMS COMPANY, 
 423 Broome Street. 
 
 1889. 
 
PREFACE. 
 
 Eetouching is a branch of photographic art that has taken 
 firm root in all directions, and by its judicious use has con- 
 ferred a beauty upon negatives previously unknown. It is to 
 be regretted that some carry it to such an extent as to far 
 transcend its legitimate functions and entirely destroy the 
 likeness in the desire to flatter the subject. 
 
 It is well said that the legitimate functions of retouching are 
 the removal of blemishes and the correction of such inequalities 
 as those caused in the photographic reproduction of colors, 
 which are often untrue to nature. Its debatable sphere is the 
 softening of shadows and lines in the features in conjunction 
 with attempts to alter the expression. 
 
 The author of the first part of this book refers to the treat- 
 ment and retouching of collodion negatives, but his technics 
 are exceedingly well adapted to retouching upon gelatine 
 films. 
 
 The latter part contains instructions for retouching on gela- 
 tine negatives as practiced by German, English and American 
 experts. The entire book has been thoroughly revised, con- 
 siderably enlarged, and brought down to date by 
 
 The Editor. 
 
 New York City, January, 1889. 
 
CONTENTS. 
 
 PAGE. 
 
 CHAPTER I. 
 
 Retouching — Its Use and Place 5 
 
 CHAPTER n. 
 
 Materials Necessary for Negative Retouching 7 
 
 CHAPTER HI. 
 
 Different Surfaces for Touching on Collodion Films 9 
 
 CHAPTER IV. 
 
 How TO Retouch 13 
 
 CHAPTER V. 
 
 Copies 17 
 
 CHAPTER VI. 
 
 Positives 20 
 
 CHAPTER VII. 
 
 Enlargements 22 
 
 CHAPTER VIII. 
 
 Landscapes 25 
 
 CHAPTER IX. 
 
 Preparing the Gelatine Negative for Retouching 28 
 
 CHAPTER X. 
 
 The Easel and Lighting 32 
 
 CHAPTER XI. 
 
 Retouching Details 34 
 
 CHAPTER XII. 
 
 Hints from the German Methods of Retouching 38 
 
 APPENDIX. 
 
 Retouching Large Heads 40 
 
 Retouching Gelatine Negatives with Red Chalk and Black 
 
 Crayon 42 
 
 Retouching the Negative by Chemical Means 44 
 
Retouching Collodion Negatves. 
 
 AS PRACTICED BY M. PIQUEPE. 
 
 CHAPTEE I. 
 
 EETOUCHING— ITS USE AXD PLACE. 
 
 The retouching of photographic negatives has become much 
 more general during the last few years. I shall not here seek 
 to prove the practical utility of it ; the favor with which the 
 custom has been received by photographers in general is a suf- 
 ficient proof of it. Unfortunately, it has been in this as in all 
 other arts ; a great many indijfferent operators, imagining that 
 it was sufficient to work more or less on a face, to add or take 
 away in certain places, without discretion, cleverness or taste, 
 have rushed into this work and have produced results so gro- 
 tesque and ridiculous that there are even now experienced per- 
 sons who deny that retouching is a means of improving their 
 work. This is certainly a mistake, because, though there are 
 bad retouchers, yet there are very clever disciples of this new 
 art. And this is so true that in many studios the operator 
 trusts entirely to the skill of the retoucher. He troubles him- 
 self very little with his manipulations ; he cares little whether 
 his sitter is well or badly lighted ; whether his negatives are 
 free from spots or stains ; if the negative is sharp and not too 
 hard, the retouching, he thinks, will do all the rest. In other 
 studios the operator is instructed to produce thin negatives 
 without any vigor, but over-exposed and full of detail; no 
 bright lights are left, the whole is flat and dead, and the re- 
 
6 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 toncher must give life to everything. This I do not hesitate to 
 say is all wrong. Probably in this way the public get prints 
 which flatter their caprice, but an experienced eye will soon 
 detect the faults of these productions, and will condemn them 
 at once from an artistic point of view, for everything is rounded 
 and cut off ; the figure and the background appear to be stuck 
 one on the other ; there is no depth, no atmosphere — nothing 
 but mechanical work, sometimes cleverly done, but powerless 
 to give truthful pictures. 
 
 Looking at it in this way, it is true that retouching Iras done 
 more harm than good to photography; but it must be acknowl- 
 edged that this sort of work is not general. There are photog- 
 raphers who have appropriated this new means to their require- 
 ments, only using it as a remedy for inevitable faults in pho- 
 tographic manipulations. These persons are right, and we all 
 admire their works. 
 
 Therefore, I cannot lay it down too clearly, that retouching, 
 even when done by a real artist, should be considered only as 
 a necessary continuation of very careful work ; not that the 
 part of the retoucher is inferior to that of the operator, but 
 that the two should work so well together that the final result 
 will be arrived at through the cleverness of both. 
 
 It is not everybody who can touch well. It is a work requir- 
 ing a great deal of taste, lightness of hand, close application, 
 and great patience, all of which qualities few people possess. 
 But every photographer is capable of correcting in his nega- 
 tives all faults which may occur, no matter how skilled the 
 operator may be. 
 
 These are the means which I shall describe as clearly and 
 practically as possible in the following pages, avoiding entering 
 into superfluous details of science, or, rather, of anatomy, a 
 knowledge of which being in no way indispensable, and vdiich 
 could only puzzle the learner, and in all probability lead him 
 astray. Perhaps even a clever retoucher may learn some hints 
 from them, while those who wish to learn the art will find, I 
 am sure, clear explanations, and will be enabled to succeed at 
 once, without going into a too exaggerated style of work. 
 
CHAPTEE II. 
 
 MATERIALS NECESSARY FOR NEGATIVE RETOUCHING. 
 
 The first thing wanted is an easel on which to work. This 
 should be a piece of fine ground glass in a frame, on which 
 the negative is placed. The bottom of this frame has hinges 
 as well as the top, which retain a cover of wood kept open by 
 means of small supports, which are lying on the sides of the 
 frame of the ground glass. The 
 necessary slant is given to this by 
 means of two other supports, en- 
 tering at will into some notches 
 on the edges of the surface of a 
 flat and square box, of which the 
 middle is covered by a looking 
 glass reflecting the light under 
 the negative. Several carriers, 
 same size as the ordinary photographic glasses, and fitting one 
 into the other, stop completely the light round the negative. 
 A little m.ovable rule goes up and down in front of the ground 
 glass, and serves as a rest for the hand of the retoucher. This 
 easel should be put upon a table before a window with a north 
 aspect. As there should be no light except what illuminates 
 the negative, a black blind should be thrown over the top, and 
 to fall down each side. There are easels sold on purpose, 
 and provided even with wooden shutters, which are kept open 
 by hooks fitting into the top shutter. The retoucher is thus 
 inclosed in a box, and gets no light except what comes through 
 the negative. 
 
 The choice of pencils and brushes is very important. The 
 " Faber " Siberian Graphite Pencil of various grades of hard- 
 ness being considered the best, and are universally employed. 
 
8 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 For cutting these pencils, nse a little file, on which they 
 should be rubbed, or very fine emery paper cut into narrow 
 slips. 
 
 The brushes should be sable, and very soft. It is very difii- 
 cult to get good brushes, so they should be chosen with great 
 care. They must be pretty thick, not too long, and with a 
 very good point. All this will be easily found out by dipping 
 them in water and bending them about. If a brush, then, at 
 once makes a fine point, it is a good one. 
 
 The two colors most required in negative retouching are 
 Indian ink and light blue. The first is the most opaque color, 
 but as the tint is the nearest to the negative, it will permit of 
 finer work. 
 
 A magnifying glass may be used, which will render some 
 parts more apparent — for instance, if a very small head is be- 
 ing done — but for general work it magnifies the faults too 
 much, and the general effect and modeling are lost in paying 
 too much attention to detail. 
 
 Finally, stumps of diJfferent sizes, and a very soft camel's-hair 
 brush for dusting the surface during the operation, will com- 
 plete the list of necessary implements for the retoucher. 
 
CIIAPTErv III. 
 
 DIFFERENT SURFACES FOR TOUCHING ON COLLODION FILMS. 
 
 Maj^y discussions liave been raised as to which varnish gives 
 the best surface for touching on, and many methods have been 
 proposed. Gum arabic dissolved in water has long been used ; 
 but there are certain drawbacks to this method which have 
 caused it to be very generally abandoned. The solution must 
 not be too strong, or the pencil will not mark on it ; and as, 
 in damp weather, it is never perfectly dry, working on it is 
 somewhat dangerous. Besides, the density both of the nega- 
 tive and of the touches on it changes after being varnished, 
 and gum being so easily affected by damp, the collodion films 
 will be sure to suffer more or less. 
 
 Dr. Yan Monckhoven advises the use of a varnish com- 
 posed as follows : Make a concentrated solution of carbonate of 
 ammonia, to which add some ordinary shellac ; let stand for 
 twenty-four hours, and, having decanted off the clear part, add 
 to it an equal quantity of water ; heat this to boiling point 
 stirring all the time, and there will then be a brown solution 
 of shellac in the proportion of eight parts to one hundred 
 parts of water. Filter before use. This solution must smell 
 of shellac ; if it smells of ammonia, it will not have been 
 properly prepared. Apply two coatings of this to the nega- 
 tive after it has been washed and drained. When dry the 
 film is brilliant, insoluble in water, and hard enough not to 
 require any other varish if only a few prints are required. 
 The negative can, however, be varnished as usual, and the 
 second coating, being quite unable to penetrate the first, will 
 not cause any change either in the density of the negative or 
 the touches on it. 
 
10 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 It lias become very general of late to find retouching done 
 on the varnish itself, though there are no varnishes made for 
 touching on which quite answer the purpose ; most of them 
 do not take the pencil well enough to allow of a very fine and 
 careful touching, while others fall into the other extreme, so 
 that regular work is impossible. Besides, in most of the ex- 
 periments in this matter, and in formulas given, people ap- 
 pear to think more about getting a soft surface than to get a 
 strong protection for the collodion film, which appears to me 
 to be a most important thing. Por this reason I do not ad- 
 vise the use of any cold varnishes ; they do not resist suffi- 
 ciently the change of the temperature, and often cause the loss 
 of negatives. However, as it is sometimes desirable to use a 
 retouching varnish, I give the following formulas : 
 
 Ko. 1. 
 
 Shellac, - - - 125 parts. 
 
 Gum sandarac, - - - 120 " 
 
 E,osin, - 5 
 
 Castor oil, - - - - 10 
 
 Alcohol, - - . 500 " 
 
 Dissolve the gums in the alcohol, let stand a day, and add the 
 castor oil. 
 
 Xo. 2. 
 
 Ko. 1. — Alcolol, - - 80 parts 
 
 Sandarac, - - - 15 " 
 
 Turpentine, - - 5 " 
 
 Oil of lavender, - - 4 " 
 
 No. 2.— Alcohol, - - 22 parts. 
 
 Ether, - - - 2 
 
 Camphor - - 5 " 
 
 Distilled water, - - 10 
 
 Mix the two solutions, let stand some days, and filter. This 
 formula is very much used. 
 
DIFFEEENT SURFACES FOK TOUCHING ON. 
 
 U 
 
 m. 3. 
 
 Gum sandarac, - - 30 parts. 
 
 Castor oil, - - - 6 
 
 Alcohol, - - - - 18 " 
 
 Dissolve the sandarac in the alcohol, and afterward add the 
 castor oil. 
 
 These varnishes are to be used hot. The greatest drawback 
 to them is that they depend too much on the amount of heat- 
 ing given to the negative. If applied too hot the surface is 
 very brilliant, and so hard that the pencil leaves no mark ; if, 
 on the contrary, it has not been sufficiently heated, the film is 
 soft, and scratches easily. 
 
 What appears to me to be the easiest and safest way is as 
 follows : Use a very hard and brilliant varnish, and deaden 
 the parts about to be touched with the following solution : 
 
 Pure turpentine, - - - 100 parts. 
 
 Gum dammar, - - 5 " 
 
 Apply this to the varnish with a rather dry brush ; let dry 
 three or four hours. This may be used with all hot varnishes 
 which do not contain castor or lavender oils. 
 
 Another method of making all varnishes fit for touching on 
 is the following : With a piece of cotton wool take a little 
 emery powder or cuttle-fish, and rub over the part to be 
 touched till the surface becomes mat and takes the pencil mark 
 easily. This operation should be done over the ground glass 
 of the desk, great care being taken not to damage the collodion 
 film by rubbing too hard. This way takes a longer time, and 
 is less certain than the other ; besides, the surface obtained is 
 not always uniform, and the pencil, therefore, works irregu- 
 larly. At times the varnish is too forcibly abraded, and as a re- 
 sult of this a halo of light shows in tbe printed proof. In such 
 cases the retouched negative should be heated enough to re- 
 store the original transparency of the varnish. 
 
12 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 The S. p. C. E-etouching Fluid having lately come into 
 prominence, answers exceedingly well, as pencils of any de- 
 gree of hardness take well to it. 
 
 A few drops of this fluid distributed evenly over the sur- 
 face of the portions of the negative to be retouched, will pro- 
 duce a thin cuticle of the medium, which after an hour's drying 
 offers a fine surface without grit, to work upon. Errors made 
 in retouching may be corrected by wiping off the pencil marks 
 with a finely pointed stump, moistened with spirits of turpen- 
 tine, and again retouching this portion of the negative. 
 
CHAPTEE IV. 
 
 HOW TO RETOUCH. 
 
 Before beginning to toucli, tlie artist sliould examine liis 
 negative well, so as to decide what lie will do to get tlie best 
 effects. If the negative is faultless as to lighting, the half 
 tints well defined, and the shadows are not too black, the work 
 will be easy. There will only be the little inequalities of the 
 skin to take out, to gently soften parts that always come out 
 too hard, such as the shadows under the eyes, nose and chin. 
 
 Always begin with the highest light, which is the most 
 opaque part of the negative. Touch out all little transparent 
 specks, which is done by leaning the point of the pencil, 
 which must be very finely cut, on to the middle of the spot. 
 The pencil must be so used that the lines made by it are not 
 more opaque than the surrounding part of the negative, and 
 put the touches as close together as possible, in order to get an 
 even result. So that the whole "shall blend well together, the 
 point of the pencil must work over all the specks and spots 
 that have to be eradicated, and go gradually downward from 
 the forehead to the eye, then the nose, mouth, and chin, in one 
 continuous motion. 
 
 If, when all this is done, the negative looks flat and thin, it 
 will be necessary to think about giving effects of light. To 
 do this, begin again at the upper part of the forehead ; put a 
 few well-rounded lines over the eyebrows, then a short line on 
 the bridge of the nose, starting from a little below the eye- 
 brow ; then, further down, a point of light which will round 
 off the end and bring it well in relief ; the same on the upper 
 part of the cheek bones, on the lips, and chin. All this must 
 be done with a delicate hand, though the lights must be well 
 
14 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 defined by the little fine touches, always avoiding a regular 
 hatching appearance. The touches should become less opaque 
 toward the lower part of the face ; the principal lights being 
 on the top of the forehead, over the eyebrows, the bridge of 
 the nose, and the cheek bone ; the side of the nose, the corners 
 of the mouth, and the cheek being the middle tints, while 
 under the eyebrows, the eyes, the line indicated by the aisle of 
 the nose, underneath the nose, and the line of the chin, are in 
 the deepest shadow. 
 
 With old people some lines and wrinkles may be taken 
 out, but not all of them, or else the character of the face is 
 lost. 
 
 With very thin faces avoid working too much on the hol- 
 lows, on the forehead, temples, and cheeks, or the face will be- 
 come too rounded, and the resemblance gone. 
 
 All these things must be determined upon by examining the 
 negatives very carefully from different distances, as it is im- 
 possible to judge of the effect of the touches and the general 
 harmony of the picture by looking at it closely. 
 
 It sometimes happens that the shadows under the eyes are 
 too dark to be worked upon by the pencil In this case a 
 brush must be used, and Indian ink mixed with water. The 
 brush must be very finely pointed, and with little color in it, 
 and nearly dry ; as, if the color is put on very wet, the density 
 of the work would change in drying, and the retouching 
 would be very rough and take longer to do. This mode of 
 touching may be used with advantage on places where the 
 pencil alone does not give a sufficiently strong tint. 
 
 Negatives that have been too much intensified with pyro- 
 gallic acid are very difficult to work upon, on account of the 
 opacity of the lights and the hard transparency of the shadows. 
 The same may be said of negatives taken with a weak silver 
 bath, or under-exposed ones. As no one is likely only to 
 have to do with perfect negatives, it will be useful to know 
 what are the best means to be employed in order to improve 
 imperfect ones. In the first place, as usual, a very black pen- 
 cil must be used, also a brush and Indian ink, as just described. 
 
HOW TO RETOUCH. 
 
 15 
 
 for the transparent shadows. Clean the back very well, and 
 pour on it, in the same manner as if collodionizing a plate, 
 Hance's ground-glass varnish. When dry, this should give 
 an even white surface, almost like very fine ground glass, 
 on which the pencil will work beautifully, and the touch- 
 ing, done with great discretion on the back of the nega- 
 tive, gives a very soft appearance to the prints. This 
 mode of retouching may be very profitably employed for 
 very large heads. A finer work will be done on the parts 
 which it has been impossible to finish on the collodion 
 side. Thus, in j^laces that are too transparent — in the hair, for 
 instance, or the beard — ^put in a few lights ; under the eyes and 
 nose soften the shadows, which are always too strong in that 
 part of the negative ; and if the forehead, the cheek, and the 
 lighted side be too dense, with a penknife scratch the varnish 
 at these places, so that they may print through quicker, taking 
 care to leave soft edges to avoid hardness in printing, which is 
 easily done by cutting the outlines into indentures unequally 
 pinked. By these means it will be easy to improve bad nega- 
 tives, but the density will be then greater. The lighting of 
 the clothing must now be proceeded with. All the parts 
 requiring lighting must be gone over with a stump dipped in 
 lead powder, following all the folds of the drapery, etc., apply- 
 ing the end of the stump to the middle of the part to be lit 
 and then softening off the edges with another larger and clean 
 stump. This part of the work may also be done with a brush 
 moistened with Indian ink. The results thus obtained are the 
 same ; tlieref ore, the retoucher can choose whichever method 
 he prefers. 
 
 Sometimes the white varnish does not give the required 
 opacity ; if so, the same varnish, to which add a few drops of 
 a solution of iodine in alcohol, may be used. This will give a 
 more or less yellow film, through which the light will pass 
 slowly. Eetouching can be done on this surface either by 
 means of a stump or brush ; if the latter, the tint of the Indian 
 ink may be softened down by tapping it with the end of a finger. 
 These two varnishes are very hard and solid when dry. 
 
IG THE MUDERK PIIACTICE OF KETOUCHIITG. 
 
 Some work may be done with tlie pencil on the neck, 
 shoulders, arms, and hands ; but none of the lines of muscles 
 should be touched. If these parts are too fiat, they may be 
 strengthened in the way previously described. 
 
 Any little spots or holes in the negative should be touched 
 with Indian ink or light blue. It will be easily understood 
 how useful this kind of touching may be when well done, as 
 by means of it passable or even bad negatives may be made 
 to give almost perfect prints. 
 
 Another way of giving a good effect to a negative is to dis- 
 solve dragon's blood in alcohol ; add a few drops of this, ac- 
 cording to the strength of tint desired, to a plain collodion ; 
 pour this on the back of tlie negative, removing it with a knife 
 from the parts to be kept transparent. This method is not so 
 good as the two varnishes previously described, because the 
 surface is too tender to be worked upon by brush or pencil, and 
 very apt to become scratched or rubbed ofE in printing. How- 
 ever, it may be used to get a considerable density on a very 
 thin negative. In this case the back of the negative is covered 
 with a layer of the solution, and when it is dry remove it from 
 the most opaque portions, and varnish all over with benzole 
 varnish, which will solidify the other and give a good surface 
 for touching either with stump or brush. 
 
CHAPTEE 7. 
 
 COPIES. 
 
 jS^egatives taken f I'om old faded photographs are sometimes 
 very dimcult to retouch, Negatives enlarged from photo- 
 graphic cartes always have a very granular and bad effect, and 
 this is inevitable, being the texture of the paper in the original. 
 The best thing to do is to use gum arable solution, as mention- 
 ed in Chapter III., applying it to the collodion negative when 
 still moist. If sufficient density cannot be gained, varnish, then 
 work with a pencil over all the parts that will take it, and 
 finish off with a brush. 
 
 It is better to aim at general effect than great fineness in 
 touching, for it will be found impossible, without going through 
 very long and complicated work, to entirely get rid of the 
 grain of the paper. Also, the retoucher should not have his 
 eye too close to the negative. The transparent spots must be 
 filled in by means of very fine fines drawn in the direction of 
 the spots ; then put in the Rights without exaggerating them, 
 having, if possible, the original at hand to compare with. If 
 the negative is so flat that neither brush nor pencil will give 
 the desired effect, use for a last operation Hance's varnish as 
 previously described. 
 
 The reproduction of daguerreotypes is less difficult, the 
 negatives being free from all texture ; and as the polished sil- 
 ver plates show a very bright surface to the light, there will 
 only be the modeling and general softening to be done. 
 
 If the background is too dark, which occurred frequently 
 with Daguerreotypes, and it is thought desirable to lighten 
 it, coat the back of the negative with a white or yellow 
 varnish, leave it to evaporate for an instant, and before it is 
 
18 
 
 THE MODERN PKACTICE OF RETOUCHING. 
 
 quite dry, run a line with, a penknife all around the figure, 
 from wliicb. remove the varnish, only leaving it on the back- 
 ground, which will then print much lighter. In removing the 
 varnish, it must be remembered that it is better to leave a little 
 line behind the figure than to scrape away too much. If it is 
 only found necessary to lighten one side of the background, 
 use benzole varnish, and then the stump, on the place wanted, 
 taking care to soften the edge well by rubbing with the finger 
 or cotton wool. 
 
 If, on the other hand, a white background has to be changed 
 into a black one, or any ugly accessories have to be removed, 
 proceed as follows : Put the negative on the touching easel, 
 and, with a needle stuck into a piece of wood, follow the out- 
 line of the figure with great precision, scratching through the 
 collodion film. In this operation the line should rather im- 
 pinge upon the background than upon the figure. If the face 
 is turned profile or three-quarter face, the operation is very 
 delicate, and wants the greatest attention. The safest way 
 will be to have the arm very firmly supported. In going 
 round the hair will be scratched into indentures as fine as pos- 
 sible; for the drapery, etc., less delicate work is required. 
 When the needle has been all around the edges, take a rather 
 thicker point, and enlarge the line drawn by the needle. It 
 will then be easier and quicker to remove all the rest of the 
 background with a penknife. If this can be done on the col- 
 lodion only, the surface, being soft, will take much less time, 
 and the negative can afterwards be varnished in the usual way. 
 If it has been done on a varnished surface, the rest of the film 
 must be cleaned off with a few drops of alcohol rubbed on 
 with some silver paper. This done, the whole line must be 
 softened, as the needle will have left a hard, sharp line. With 
 a fine brush and Indian ink stipple lightly all round, doing it 
 with the point of the brush, and leaving a tiny space between 
 each touch. This work must be done finer and closer as it 
 approaches the face, and requires as much care as the scratch- 
 ing with the needle, as it is to this stippling that will be due a 
 softness of outline in the prints which will make them resemble 
 
COPIES. 
 
 19 
 
 those done with a natural background. The back of the nega- 
 tive is then covered with either a white or a red varnish, ac- 
 cording to the effect wished for. One of these varnishes 
 should always be used to soften the outline, and make the 
 background less hard. 
 
 An intelligent artist, who, after a little practice, is able to 
 utilize these simple methods, will be surprised at the results he 
 gets. Besides, what I have said about copies in particular, ap- 
 plies equally to all bad negatives. There are times when it 
 would be very desirable to be able to render, by means of one 
 of these methods, if not perfect, at least satisfactory, a negative 
 which would have been judged unable to give a tolerable print, 
 even submitting it in printing to the most complicated manip- 
 ulations. 
 
CHAPTEE YI. 
 
 POSITIYES. 
 
 Positives that are taken in order to get enlarged negative 
 from are sometimes imperfect ; it is advisable to give them some 
 retouching which would give great f acihty for obtaining large 
 negatives. If, for example, there was a scratch on the collo- 
 dion of the small negative, and that had been touched out 
 with too opaque a color, that would make a white place on 
 the positive. In the same way a very hard negative would 
 give, in the positive, faces too white, and drapery, etc., too 
 black. 
 
 The work is done the same as in a negative, only in a 
 reversed way, as if one were touching a print ; the mark of 
 the touching, whether done by brush or pencil, tending to 
 hinder the light going through in the sjDot. When a positive 
 is being taken, the parts not receiving light remain perfectly 
 white — that is to say, transparent ; in copying this positive, all 
 these transparent places are at once penetrated by the light, so 
 that all effects existing in the original negative will be exactly 
 reproduced in the enlargement. It will, then, be easily under- 
 stood that by touching on all these transparent places on the 
 positive, the defect will be got rid of as it will be wanted — 
 defects, besides, which it would be impossible to remove on 
 the enlargement. It is only under these circumstances that I 
 advise retouching on the positive ; because, if the original 
 negative is perfect, and also the positive from it, no touching 
 will be required. 
 
 It is even better not to touch a small negative that is going 
 to be enlarged, but to do it all on the enlargement, that being 
 easier and quicker. If the positive requires much touching. 
 
POSITIVES. 
 
 21 
 
 it is best done on gum. The negative, when fixed and 
 washed, is covered with the following solution : 
 
 Gum arable, - - -6 parts. 
 
 Water, - - - - 100 " 
 
 If the positive is to be kept, it is better not to gum it, but 
 varnish with a retouching varnish. I should not advise to 
 use hard varnish. As there comes sometimes a sharp line of 
 demarcation where the brush stops, this line is never visible 
 on the prints, and is hardly seen on the small negative ; but on 
 the enlargement it might show very much, and necessitate 
 much labor in touching out. Still less should emery powder 
 or cuttle-fish be used, which always give lines ; all these 
 means will be in this case completely eliminated. 
 
 The touching should be done with great moderation. The 
 balf tones required must be put in on the positive, leaving 
 intact those parts which have been touched on the negative. 
 It must be borne in mind that the negative is worked for ob- 
 taining the lights, and the positive for obtaining the shadows — 
 that in the latter, in short, the effect is direct ; the work will 
 be, consequently, easier, as every touch shows the produced 
 effect. The touches should be a little less deep in tone than 
 the negative. 
 
 Among all the methods that I have described for the im- 
 provement of negatives, the retoucher will select the one which 
 appears to suit him best. 
 
CHAPTER YII. 
 
 ENLABOEMENTS. 
 
 It has not always been usual to touch enlarged negatives, 
 and each print had to undergo a long and tedious operation, 
 which, after all, very often gave but poor results. Besides, the 
 color of the touches always remained the same, and as silver 
 prints sooner or later always fade or turn yellow, the results 
 were very bad. It will be found always best to do the touch- 
 ing on the negative. 
 
 The best negatives for this kind of work are very thin and 
 transparent ones — that is to say, it is much better to have an 
 under-exposed negative, provided it is not hard, than one full 
 of detail, but fogged by over-exposure. 
 
 Either gum or varnish can be used. The retouching should 
 be done boldly with long Hues, endeavoring to give an even 
 surface, without at first going too much into the modehng. 
 The shadows should be carefully kept, only going over the too 
 transparent spots which are reproduced from the small nega- 
 tive. In an enlargement from a small photograph, the texture 
 coming from the original must be eliminated by means of the 
 pencil or the brush. Some touches largely done with a big 
 pencil will draw some lights in the hair, the outline of the 
 eyes will be sharpened, the pupil rounded, the lips accented — 
 in fine, the lights will be put in ; but in this case it will be - 
 better not to work in the same way for these large negatives 
 as it is usually done for the small ones. It would take a very 
 long time to produce the necessary effect by means of the pen- 
 cil alone. The best way will be as follows : Take a sheet of 
 very fine tracing paper, or papier mineral, damp it with a 
 sponge, and having run a line of gum round the back of the 
 
ENLARGEMENTS. 
 
 23 
 
 negative, stick the paper to it and let it dry. When dry, the 
 paper should be perfectly flat and smooth, and will give an 
 excellent surface for touching on. Proceed to touch as on 
 ordinary negatives, with the stump and black-lead powder, 
 softening down the hard shadows, taking care always to keep 
 the half tones. This can all be done in a few minutes by a 
 practiced retoucher, and as it is not difficult to do, only requires 
 a little habit and taste. 
 
 The lighting of drapery is done in the same way, the lines 
 of the folds strengthened, always keeping a gradation of tones. 
 The shadows should be left as much as possible alone, as very 
 little retouching is necessary on them. When the negative is 
 transparent, and not much intensified, the tracing paper alone 
 softens it very much. It will be seen that 1 here recommend 
 what for small negatives I advised should not be done. The 
 greatest pains should be taken to get small negatives that 
 require as little touching as possible, because work that is done 
 on the back of the glass gives to small prints a soft and mealy 
 appearance, which is very unpleasant. But when we come to 
 enlargements, however good the negative is, there are always 
 portions of it that require some touching — either lights that 
 are not light enough, or shadows that are too hard, according 
 to the value of the original. It is, therefore, much better to 
 have to correct parts that are too transparent, rather than those 
 which are too opaque, and the thickness of the glass is not 
 appreciable in large negatives, and touching can be done on 
 both sides of the glass without any loss of sharpness and vigor 
 being apparent in the print. 
 
 The Hance ground-glass varnish may be used instead of 
 tissue paper, especially if the glass on which the negative is 
 taken is not quite flat, and worked on in the same way with a 
 stump. The effect may be judged of by looking through the 
 negative with the collodion side toward the eye. 
 
 Both sides may be varnished, if required, with Hance's var- 
 nish, as the touching is more easily done on this ground sur- 
 face, and a greater softness is produced. 
 
24 
 
 THE MODERN PRACTICE OF RETOUCHIJSrG, 
 
 These metliods will be found successful, provided the 
 negative is thin. Its density should determine which plan 
 is to be followed — in fact, it is a good way to decide beforehand 
 that the negative shall only give the dark shadows and half 
 tones ; that the varnish or tissue paper shall give the whites ; 
 that the stump or pencil shall give the highest lights. The 
 result will thus be obtained in a far simpler and better way. 
 
 But where there are large, hard negatives, neither of these 
 methods is feasible. They must be treated as I have recom- 
 mended that hard negatives should be. The whole of the 
 print will not be so harmonious, though obtained with greater 
 difficulty; for I repeat that retouching done as I have de- 
 scribed, and on special kinds of negatives, offers no difficulty, 
 and enables one to get an excellent print even from a very 
 small and very bad original. 
 
CHAPTEH Yin. 
 
 LANDSCAPES. 
 
 In landscapes, the sky is very often not light enough ; ac- 
 cording to the moment when the negative has been taken, the 
 detail of foliage or building is somewhat lost on it, while a 
 more opaque sky would improve the whole and give more re- 
 lief. This is what should be done : After the negative is var- 
 nished and dry, go round the edge of all the picture part, 
 whether foliage or buildings, with a brush and yellow paint, 
 (Gamboge), taking care to keep all the details without covering 
 any of them. The yellow will be mixed with a little gum and 
 glycerine. When the outline is drawn, cover all the rest with a 
 large brush. The same thing should be done also on the back, 
 so as to remedy any inequality in the color if it has been put on 
 too thin. Besides, I advise not to put it on too thick, for fear 
 of its splitting up, and carrying away the collodion fihn with it. 
 The following formula is also very good : 
 
 Spirits of turpentine, - 1,000 parts. 
 
 Bitumen of Judea, - - 100 ^' 
 
 Wax, - - - 40 " 
 
 Black, - - - - 20 
 
 Ordinary asphaltum varnish, rubbed well with finely leviga- 
 ted lamp black, and thinned mth spirits of turpentine, will do 
 equally well. 
 
 Brushes used for this work should be kept in a bottle 
 containing a little turpentine. The bottle of varnish must 
 \e well corked to prevent evaporation. 
 
26 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 A print taken from a negative treated in this manner will 
 have a perfectly white sky, which will have a hard and dis- 
 agreeable effect ; it must be tinted afterward in printing, tak- 
 ing care to keep the horizon line lighter than the rest ; or even 
 some clouds may be printed in from another negative ; the 
 print will be softer and the effect more artistic* It is also 
 possible to get clouds without any double printing by putting 
 tissue paper on the back of the negative, and drawing some 
 clouds on it. Some transparent parts should be left to give 
 effect. Where touches have been put on too dark, they are 
 easily removed by rubbing with a little crumb of bread. This 
 does not require very fine work ; the thickness of the glass 
 will soften down what may appear too coarse. By following 
 this method there is no risk of spoiling the outlines, and, what 
 is of great importance in winter, the printing does not take so 
 long. Indian ink may be used instead of the stump, as well 
 as benzole varnish instead of tissue paper. 
 
 In landscape negatives, as well as in other negatives, all 
 hard shadows should be softened, and the lights strengthened ; 
 but all the work should be done on the back of the glass. In 
 foliage negatives, taken with a bright sun, the nearest trees are 
 often wanting in detail, while the more distant ones are quite 
 sharp. Prints from these negatives have an unpleasant effect, 
 the different lines of distances being too distinctly marked ; 
 this may be improved by touching with a brush, not too 
 pointed, and Indian ink or blue, representing some leaves ac- 
 cording to the lights which are already indicated. It is im- 
 possible to distinguish the trees retouched in that way from 
 the others finally obtained on the negative. 
 
 Finally, if there are any strong lights to be put on nega- 
 tives for obtaining effects of snow, it is best done on the back 
 of the negative, either on tissue paper or white varnish. 
 
 The same thing may be done in negatives of clouds which 
 are sharply lighted by sunlight. If the shadows are too trans- 
 parent, and the lights too hard, put in some half tones, and 
 
 * Printing-in Clouds, by Karl Klauser, page 71, American Annual of 
 Photography for 1887, Scovill Manufacturing Co., Publishers. 
 
LANDSCAPES. 
 
 27 
 
 remove the varnish from the lights. If, on the contrary, the 
 light parts are weak, strengthen them either with a stump or 
 brush, and remove the varnish from the shadows. For posi- 
 tives and enlargements the same work has to be done, and 
 always in the same way. 
 
 It will be seen, then, that in the art of retouching negatives 
 it is only in the first step that any difficulty is to be met with, 
 because, being the most important, all the rest follows from 
 it, and is, so to speak, only the same thing differently applied. 
 Therefore, with the knowledge of these few various methods, 
 and a little taste and use, one may always be certain of get- 
 ting good results. 
 
Retouching Gelatine Negatives. 
 
 CHAPTER IX. 
 
 PREPARING THE GELATINE NEGATIVE FOR RETOUCHING. 
 
 The first and most important operation to be carried out is 
 to prepare the surface of the negative so as to enable the pencil 
 to bite. There are two methods of doing this, either of which 
 may be made use of. The first is to roughen the varnish by an 
 abrasive powder — finely powdered pumice stone, such as is to 
 be purchased at many drug stores, being most preferred. 
 It is important that the right material be purchased, there 
 being a coarser and rougher kind made for the use of cabinet- 
 makers, which is quite unsuitable and would scratch the nega- 
 tive. It is employed by putting a pinch, or dusting a small 
 quantity out of a muslin bag upon the place to be worked 
 upon, and then rubbing it with the end of the finger with a 
 circular motion till the surface is deadened, and a tooth-like 
 fine ground glass is given. The entire absence of gritty par- 
 ticles must be insured or minute scratches which would ruin a 
 face would be the result. This method enables the greatest 
 amount of opacity to be produced by the lead laid on, and 
 hence is best for those negatives where large masses of bare 
 glass have to be covered. 
 
 The second method to be described may be used in the ma- 
 jority of cases, and the abrasive method only occasionly, or 
 the latter may be made use of entirely. We recommend the 
 second method, with the very occasional employment of the 
 other. The formula for the composition to be used is gum 
 dammar, 20 grains ; Venice turpentine, 5 grains ; turpentine, 
 1 ounce. The gum is to be powdered and the mixture well 
 agitated for a few minutes ; it will then dissolve quickly, and 
 the Yenice turpentine will easily liquefy and mix with a little 
 
PREPARING THE NEGATIVE FOR RETOUCHING. 29 
 
 shaking. If any difficulty is experienced in getting true Venice 
 turpentine it may be replaced by one-half of its weight of or- 
 dinary black resin. A drop of the solution is placed upon a 
 small pledget of cotton wool, and rubbed for a moment over 
 the surface to be worked upon so as to leave a mere visible 
 trace behind (if too much be put on the surface will be too 
 sticky or tacky). The negative is placed aside for a few min- 
 utes and is then ready for use, and a number of negatives may 
 be done one after another so as to save time. A score of them 
 may be treated in a couple of minutes, while with the pumice 
 stone process each negative occupies perhaps half a minute or 
 more — a length of time which, when many require to be treated, 
 becomes a serious item. 
 
 The S. P. C. Ketouching Fluid, especially prepared for gela- 
 tine work, finds here its most useful application. Most re- 
 touchers use it upon the unvarnished negative. If after 
 retouching a proof be taken, and additional retouching is 
 found to be necessary, the negative after being varnished and 
 prepared with the fluid, can again be retouched. 
 
 An important point to be considered with regard to this 
 treatment is : Does it injure the negative or render it Hable to 
 crack ? The infinitesimally small quantity of gum left behind 
 after the rubbing is not likely to harm any varnished surface, 
 but to render the matter entirely free from doubt we have 
 made inquiries among professional photographers who have 
 employed the plan, and we have ascertained that, at any rate 
 in five years, which was the oldest ease we could trace, no 
 harm whatever had occurred to the negative. Hence we may 
 safely subject the most valuable negative to the process without 
 any fear of danger. 
 
 Some retouchers make a special varnish which requires no 
 after treatment to enable the pencil to bite, but our experience 
 of such is not favorable. We do not consider them likely to 
 be so durable as other well-known, recognized negative var- 
 nishes, and the saving of time is so very slight that it does not 
 counterbalance the inconvenience of having two kinds in use — 
 one for negatives to be retouched and one for ordinary work — 
 
30 
 
 THE MODEKN PRACTICE OF KETOUOHING. 
 
 and they possess no otlier advantage over tlie methods we 
 recommend. 
 
 We know one gentleman who possesses a touch so fine that 
 he is able to retouch upon the dried fihn of an unvarnished 
 negative, and >v^e have seen one of a group where a large num- 
 ber of faces were so retouched by him ; but this is a mere tour 
 de force, not to be attempted in ordinary practice, and only 
 made use of by the artist in question under unusual circum- 
 stances. 
 
 We conclude this part of the subject by describing a method 
 suitable for occasional employment by any one who wishes to 
 improve a negative and has no special materials at hand. It is 
 simply to dilute ordinary negative varnish with about an equal 
 part of alcohol, pour on the negative cold, and allow to dry 
 spontaneously. If the right proportion of alcohol be employed 
 a surface of the most exquisite delicacy is obtained, but of 
 rather too fragile a nature for ordinary workers. It possesses 
 the advantage of being able to withstand a second coat of var- 
 nish applied with heat in the ordinary manner, and thus secures 
 the retouching from all danger, with even the utmost amount 
 of hard printing. On this latter account it may, at times, be 
 of great usefulness, the other methods not allowing of any fix- 
 ing of the pencil beyond that of mere surface nature, and for 
 this reason we may give a little more fullness of details, the 
 gentleman who communicated them to us informing us that 
 he employed this method for one or two years, and liked the 
 surface better than any he had ever worked upon previously. 
 
 The great point is to have the varnish diluted to the exact 
 strength, and this can only be found by experiment. If too 
 strong the varnish dries too bright ; if too weak it leaves a 
 dead and rotten surface, easily scratched, and taking too great 
 a hold of the black lead. Further, when a negative is under- 
 exposed or forced in the development, the film has a differ- 
 ent texture and requires a modification of the varnish, greater 
 strength being then needed. Instead of thickening the var- 
 nish, a second coating — always cold — will almost, but not 
 C[uite, answer as well. 
 
PREPARING THE NEGATIVE FOR RETOUCHING. 
 
 31 
 
 The drawbacks to this process are the nicety required in ad- 
 justing the strength of the varnish and the great tenderness, 
 even at its best, of the surface, which should be exactly analo- 
 gous to the gloss of an egg-shell, and is most beautiful to work 
 upon but for one defect, a special pencil being necessary. 
 
 Keeping to the mechanical aspect of the subject, we may 
 now describe the pencils to be used — the greater desideratum 
 being one with a tough texture, and capable of taking a fine, 
 hard point. Such a one is the best octagonal black-lead pen- 
 cils of Faber, which in contrast with many are, as a retoucher 
 once observed to us, " almost capable of doing the retouching 
 themselves." 
 
 It is desirable to have three or four different degrees of 
 hardness of pencil so as to suit every class of work, the HH, 
 H, F and HB being the most suitable. The H is for general 
 work ; the HH (the hardest of the four) for very fine and 
 delicate execution and where little labor is required. The F 
 and HB are suitable for heavier penciling when the shad- 
 ows are heavy and considerable opacity is needed. It is cus- 
 tomary to point them in a manner quite different from 
 what one is usually accustomed to. The lead is laid bare to 
 the extent of almost an inch and a more or less fine point 
 given to it, according to the negative under treatment. 
 
 When extremely fine work is to be executed, the American 
 retouchers give preference to metallic pencils, a very soft 
 composition of several metals, but still harder than the hardest 
 graphite, allowing the most delicate work to be done. 
 
 These pencils are fashioned into sharp points by rubbing 
 them over flour of emery or crocus paper. 
 
CHAPTER X. 
 
 THE EASEL AND LIGHTING. 
 
 Having now arrived at our surface for penciling upon and 
 our pencils for working with, it is time to describe the stand 
 for holding the negative, usually called a "retouching easel." 
 All that is needed is a sloping board with a central aperture, 
 and sustained at a proper angle by a leg or strut. From this 
 as a beginning, are built, with greater or less convenience and 
 variety of adjustments, all the more expensive and elaborate 
 stands. Some contrivance is required to keep negatives of 
 various sizes in their places, which is often done by a series of 
 frames fitting one into the other. The simplest and, we think, 
 the best arrangement of the kind we are acquainted with is 
 formed by means of a slight bar placed across the whole width 
 of the stand, with grooved side pieces attached to clip the 
 stand and retain the bar in its place. The bar is thus movable 
 upwards and downwards, and clamped by the simple act of 
 drawing one end a little downwards, and so tightening its hold 
 upon the stand by means of the groove. It is also necessary to 
 prevent the negative from receiving any light upon its upper 
 (the prepared) surface, and this may be done by suspending a 
 piece of black velvet, or even brown paper, over a wire or 
 other support fastened to the stand. It will be found much 
 better not to make this easel too diminutive, as it is apt to 
 cramp the hands if sufficient room be not allowed. 
 
 The light is to be thrown upon the negative from below, and 
 upon its due modulation depends much of the success with 
 which the negative may be finished. There is much discrep- 
 ancy of opinion among retouchers as to the kind of light to be 
 employed, some preferring artificial, and others not caring to 
 
THE EASEL AND LIGHTING. 
 
 33 
 
 work at all if they cannot have daylight. Yery possibly the 
 preference for artificial light may be due to the fact that so 
 many photographers find it easier to work at their negatives 
 when their day's work of negative producing, etc., is over, and 
 they can keep to their pencil without interference, there being 
 nothing so conducive to bad and uneven work as frequent in- 
 terruption. When daylight is to be used, the easel must be 
 placed in front of a window commanding a view of the sky, 
 and under the aperture should be placed a small mirror, so ar- 
 ranged by means of a little packing that the retoucher, looking 
 through the aperture, can see reflected in the mirror the sky 
 in front of him. 
 
 For some negatives it is sufiicient to place a piece of white 
 paper in place of the mirror, while most others will require a 
 piece of obscured glass, placed either between the mirror and 
 the sky or between the negative and the mirror, as may be 
 found most convenient — taking care, if the latter method be 
 adopted, not to place the glass too close behind the negative 
 or the grained surface will interfere with nicety of touch. 
 
 Those who employ artificial light generally prefer to have a 
 slight blue tinge imparted to it to soften the heating and irri- 
 tating effect which accompanies the flame of gas, etc. An or- 
 dinary kerosene lamp is preferred by many, but we find a good 
 fishtail gas burner, fastened to a small stand, to be much more 
 handy, and equally useful — the former, of course, being pre- 
 ferred by those who have not gas connections at hand. The 
 blue tinge may be produced by procuring an ordinary plain 
 bedroom water-bottle and filling it with water, and throwing 
 into it a brushful of indigo color. This, placed in front of the 
 light, softens and cools it in a most pleasant manner. 
 
CHAPTEE XI. 
 
 RETOUCHING DETAILS. 
 
 The negative .being placed on the frame, as described, the 
 light should be regulated according to its density — the greater 
 the density of the negative the stronger the light required — 
 taking care always to use the lowest degree of illumination con- 
 sistent with the complete visibility of all detail and half tone 
 If too strong a light be used, the retouching will show more 
 forcibly than appears in the negative, and would ruin its 
 delicacy. The aperture in the retouching easel should not be 
 too large, or there will be a flood of Hght running into the eyes 
 that will not only dazzle and tire them, but render the lighter 
 and more delicate tones invisible. The plan we adopt is to 
 have a sufficiently large aperture to see the greater part of a 
 carte negative, for instance, and to diminish it while working 
 by placing on the negative a piece of black card-board in which 
 a hole about an inch in diameter has been cut out. The pencil 
 is to be pointed in the manner described, the final " sharp- 
 ening" being best given by a piece of emery paper or cloth 
 not too fine, a little ^ care being necessary to avoid breaking the 
 long and fine point. The easiest and surest mode is to work 
 the point by repeated strokes away from the body, and not to 
 rub it sideways or backward and forward. This hint will be 
 found very useful, as the breaking of half an inch of point is 
 very irritating. We have not had much experience with 
 "ever-pointed" leads, our preference being for the ordinary 
 make of black-lead. 
 
 Our mode of practice is to take out of faces all freckles and 
 marks, blotches of unequal color, etc., first, and then very care- 
 fully to make the smallest possible amount of alteration in 
 what is usually termed the " modehng " — that is, softening 
 
RETOUCHING DETAIL-S. 
 
 35 
 
 Yeiy heavy shadows and increasing the prominence of some of 
 the leading lights. This is done by delicate " dabs " or dots, 
 so to speak, with the point of the pencil, which must be made 
 of the right intensity at once, as the depth cannot be increased 
 by successive washes of color, as in painting, though if the re- 
 touching be done in very fine dotting or stipphng, extra depth 
 n::&y be got by carefully filling in between the first pencilings. 
 
 The terms stippling" and hatching" as they are often 
 employed, may be briefly described as dotting and lining re- 
 spectively. When there are transparent parts requiring a con- 
 siderable amount of intensity given to them it will be found 
 next to impossible to do it at once, and then the only plan is to 
 make the first retouching upon the Toughened varnish as deep 
 as possible, to soften by the aid of alcohol vapor, and then to 
 heat strongly. This will fasten the retouching and allow 
 another coat of varnish, quickly applied, to be given. After 
 the spots are all taken out by stippling, the modeling may be 
 done by hatching, making small lines only, as regular in size 
 and distance apart as possible, and as much as can be done 
 causing them to follow the lines or contours of the features, or 
 those particular facial developments that are being worked 
 
 upon. It is important that the hatching should be done in a 
 regular manner, or a very scratchy and uneven effect will be 
 produced. Great care must be taken to avoid crossing the 
 lines, or making two strokes touching one another, this being 
 
36 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 a fertile source of " lumpy - ' or " scratchy " work, as it is forci- 
 bly called. 
 
 It will be found of great use, if not an actual necessity, to 
 have a magnifier for especially delicate work — not to be made 
 use of from beginning to end, but merely for particular por- 
 tions of tlie work, and to aid a general scanning of the whole 
 when completed, so as to pick out any unevenness or rough- 
 ness. 
 
 If used all through it causes tne work, strange as it may 
 appear, to be less real and flesh-like, and, we may almost say, 
 less delicate. The glass should be of good width, so that both 
 eyes can be used, and it is better if it can be affixed to a per- 
 manent support which will holi it at one distance from the 
 negative; and this will matarlilly lessen the fatigue of the 
 eyes in using it. 
 
 The hatching may be suitably begun at the forehead and 
 finished at the lower part of the face, working from the high- 
 est lights to the shadows, and not vice versa. We do not in- 
 tend to enter into a description of the anatomical development 
 of the face, but, instead, we say, go to nature. Every face will 
 impart hints as to the leading lights and shadows under vary 
 ing modes of illumination. A gentleman who was one of the 
 earliest of retouchers in this country used to make a point of 
 scrutinizing his own face in the mirror, observing the disposi- 
 tion of high lights and shadows under every possible variety 
 of illumination, and he recommends the method still as being 
 better than all the books in the world. To the younger mem- 
 bers of the profession we, apart from its entire desirability 
 from other points of view, strongly recommend a study of 
 drawing ; the benefit would be great in many ways. 
 
 We conclude by pointing out some alterations which may 
 be made or avoided with advantage. One of the commonest 
 faults of a photograph is the stern or " cross" expression so 
 frequently seen, which is caused by a too strong light, or it is 
 the natural expression of a face at rest. One of the chief 
 seats of this expression is between the eyebrows. It is not 
 caused by the perpendicular line or lines, more or less pro- 
 
RETOUCHING DETAILS. 
 
 37 
 
 nounced, always seen there in persons somewhat advanced in 
 life, but is produced by the contraction of the eyebrow, which 
 at the end nearest the nose will be found, when under this ex- 
 pression, to liave taken an angular form, and produced a de- 
 cidedly darker shadow underneath in the orbit. If the corner 
 of this angle be taken off, and the heavy, dark shadow be 
 slightly lessened, the effect at times is almost magical ; and yet 
 any one can see, by looking at a retouched negative, that very 
 few retouchers are aware of this simple expedient, it being 
 generally thought that the upright furrow^s cause the frown. 
 
 It is generally advised to heighten the toning of the eyelids. 
 "We can only say, except to such experienced artists as need no 
 advice from us, " do not touch them," for in ninety-nine cases 
 out of a hundred the face gets spoiled by such work. That 
 portion of the cheek nearest the nose should be most carefully 
 and thoughtfully done ; there is often a delicate shadow which 
 is liable to be taken out by the unskilled retoucher with the 
 effect of producing a swelled cheek. The line pften found 
 running down from the wings of the nostrils should be care- 
 fully lightened with the aid of the knowledge which would be 
 obtained by a slight study of the artist's own face in a mirror. 
 The difference between a smile and a sneer is caused by an 
 almost imperceptible difference in the shading of this furrow 
 that cannot be conveyed in words. 
 
 Finally, there is the corner of the mouth, where much may 
 often be done if it be borne in mind that in a smile the cor- 
 ner of the lip is slightly turned up, and with a serious, grave 
 or crying expression it takes an opposite direction. The hands 
 may often be improved by taking out the swollen veins they 
 frequently present in the photograph, though it often happens 
 that this can only be done on each individual print. 
 
 We believe our instructions, if attended to, will be found 
 to present nearly all that is necessary to learn — beyond what 
 experience alone will teach — to enable any person to become 
 a proficient retoucher. 
 
CHAPTEK XII, 
 
 HINTS FROM THE GERMAN METHODS OF RETOUCHING. 
 
 The late Johannes Grasshoff, in an elaborate work on E-e- 
 touching, devoted mainly to the aesthetic side, has also described 
 its technical qualities. A few points, which he therein makes, 
 may not be uninstructive to the general readers of this little 
 book. 
 
 Most of the German photographers, to the present day, re- 
 sort to " retouching the original," that is, to rendering certain 
 parts of face, arms or hands more impressible for photo- 
 graphic surfaces than they are ordinarily found to be. Pow- 
 dering red hair and beard, darkening very light blond eye- 
 brows or mustaches, retouching birth-marks, scars or other 
 defects with stump or brush, belong to this class of work. 
 
 Retouching the negative is generally done upon unvarnished 
 films, prepared with a medium similar to the S. P. C. retouch- 
 ing fluid ; and if a second retouching after varnishing is de- 
 sired, great attention must be paid to a proper composition of 
 the varnish. Seed lac dissolved in alcohol, with due propor- 
 tions of sandarac and Venetian turpentine, being used by many 
 with good success ; but Flandreau's S. P. C. retouching fluid 
 is unsurpassed as yet. 
 
 When retouching is done on unvarnished negatives, the film 
 must be absolutely dry, or the pencil will refuse to work evenly, 
 and will therefore make gritty marks. The parts of the nega- 
 tive to be retouched upon should not be exposed to moisture ; 
 even breathing and handling with greasy fingers must be abso- 
 lutely avoided. 
 
 Very dry varnish is naturally hard, and according to the 
 state of the varnish the grade of pencil must be chosen. The 
 Siberian lead is principally used, although the American 
 method of retouching with metallic points is becoming popular. 
 
GERMAN METHODS OF RETOUCHING. 
 
 89 
 
 When excessive densities are wanted, which are not procura- 
 ble with the pencil, brush and India ink are resorted to in many 
 cases, although neutral tint mixed with Yan Dyke brown, re- 
 sembling the color of the negative deposit, is more generally 
 used. Blue allows too much light to pass, yellow and red are 
 too non-actinic for negative work, although carmine is used oc- 
 casionally to cover large surfaces, to make them less actinic. 
 
 Large heads are retouched on the glass side of the negative, 
 by means of stump and powdered graphite. 
 
 An important part of retouching in Germany is considered 
 the reduction of undue density ; that is, the softening of single 
 parts of negatives when too much developed for harmonious 
 effects. A fine linen rag, moistened with alcohol, is steadily 
 rubbed over the parts to be reduced, or if they be very small, 
 a pointed piece of flexible wood is used instead. With long- 
 continued friction the superfluous silver deposit is rubbed off, 
 making the negative less intense, according to the desire of the 
 retoucher. This method is preferable to chemical means, but 
 requires time, patience, and skill. 
 
 In landscapes and interiors a great deal of retouching is done ; 
 high lights introduced where they are wanted; details carried 
 out, and general harmony established. 
 
 The Grerman mode of working does not essentially differ 
 from that of other nationalities, but more attention is given 
 to the retouching of landscape negatives, perhaps, and better 
 ^ artistic effects gained in that country than elsewhere. 
 
APPENDIX. 
 
 RETOUCHING LARGE HEADS. 
 
 Photography has made considerable progress during the last 
 few years. A high sensitiveness of plates and the rapid action 
 of newly-constructed objectives, have contributed mainly to the 
 perfection of our technical work ; but these facilities, applicable 
 to every branch of photography, have been utilized by few 
 operators only in the portrait line. Improvements made in 
 aesthetic photography can be claimed merely by a select class, 
 although efforts to do better are generally manifested. To make 
 an artistically good photograph, and make it acceptable to a 
 critical or refined public, requires taste in posing and good judg- 
 ment in lighting the subject, not to speak of the technical part of 
 the work. Besides all the requirements for a good photographic 
 portrait, a certain amount of liand-work is absolutely necessary, 
 especially with direct large heads. One of the main tasks of 
 the retoucher is the preservation of the general face-character ; 
 all details should be seen in the finished picture, without deep 
 and black shadows, and without, in comparison with them, 
 chalky lights. Light draperies, and the highly illuminated 
 parts of the face, show details, or gradations of tone, in a well- 
 developed negative, and must remain so. The retoucher must 
 improve the negative, where corrections are needed ; by no 
 means should the pencil encroach upon a field, by which finally 
 the negative may be rendered entirely worthless. 
 
 To facilitate the artistic work of the retoucher, the technist 
 should make a very large head upon a thin glass plate. If the 
 negative be covered upon the reverse — that is, the glass side — 
 with ground glass varnish, retouching will be much facilitated. 
 Pencils of various grades are necessary to shade in various 
 ways, as the negative will require ; often the stump and finely 
 
RETOUCHING LARGE HEADS. 41 
 
 pulverized graphite may be resorted to. With them large 
 surfaces may be bleached off, and a beautiful harmony given 
 to the photograph. Wrinkles, deep lines, the pores of the 
 skin, and accidental faults may be softened, so as not to inter- 
 fere with the general effect, to do which, light and shade must 
 remain well balanced. The very fact that large heads are 
 never viewed in close proximity to the eye, allows the retoucher 
 to take certain artistic liberties with the subject before him. 
 Negative retouching on the film side of the plate is very apt 
 to smooth whole surfaces of large heads, in such a manner as 
 to lose all details, giving nothing but well-polished planes, 
 without any undulations, no matter how well they were 
 rendered in the negative. ]^[othing but a loss of time, labor, 
 and, possibly, of a good negative, can result from poor re- 
 touching. 
 
 The portrait painter obtains flesh effects with colors, but 
 they are not available to photographers, and as our portraits 
 are rendered in nothing but black and white, with intermediate 
 gradations of tone, any possible faults of the negative, and 
 strong shadows, thrown by projections, can only be overcome 
 by the retoucher's pencil. The positive on paper must be 
 attended to with equal care. Mechanical faults may be taken 
 away, and high lights be toned down. In no way should the 
 positive retouching be coarse or hard. 
 
 A well-posed and lighted large head, when the plate is 
 technically well treated, may finally become in reality a work 
 of art. 
 
 The great efforts made in all quarters to present photo- 
 graphs to the public which, besides other merits, have artistic 
 value, make it fair to suppose that every little hint given to 
 accomplish the desired results will be accepted by the diligent 
 photographer as well as the conscientious retoucher. — Fritz 
 EiLENDER, in the American Annual of Photography for 
 1887. 
 
 \ 
 
42 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 RETOUCHING GELATINE NEGATIVES WITH RED CHALK AND BLACK CRAYON. 
 
 To COVER the strongest lines and spots of gelatine negatives 
 superficially, I have of late used black crayon— Faber's black 
 chalk points No. 1 and 'No. 2, also the best Coute's crayon 
 pencils. 
 
 Grinding down the film I have abandoned altogether. I 
 merely roughen it by rubbing it with a piece of calico. To 
 avoid finger-dirt or greasy matter being carried upon the plate, 
 which would eventually destroy the surface for drawing pur- 
 poses, it is best to enclose a tuft of cotton in the calico and 
 tie up the ends. Thus a tampon with convenient handle is 
 secured, well adapted to do the work, without exposing the 
 surface of the plate to finger-marks. When by long-continued 
 rubbing, gelatine powder clogs up the fabric, it may be cleaned 
 by striking it over the edge of the glass plate. 
 
 Crayons should be finely pointed and dexterously handled. 
 To use them with force is required only when drawing in 
 strong details, high lights in eyes or on jewelry, for the con- 
 tours of laces, linen, etc. The handles belonging to Faber's 
 " B " and " C " points are too heavy and clumsy, and allow 
 easy breaking of the pencils. It is far better to wind a piece 
 of moistened albumen paper spirally around the pencil, and 
 stick the ends together. This furnishes the best handle I 
 know of. 
 
 All crayon retouching is usually rather coarse, and whenever 
 it is necessary should be blended down with paper stump or 
 fine erasing gum, just as is done with crayon drawings upon 
 paper. 
 
 When it is desirable to lighten up large surfaces like the 
 dark side of a face in Hembrandt style, or to brighten the shad- 
 ows of a neck, I dip the point of a soft paper stump in crayon 
 scrapings or black pastel color, lay the color on the negative 
 lightly, and without using much force, blend it carefully and 
 easily over all the various places, and rub in gradually. 
 
 Crayon powder intensifies somewhat more than it appears to 
 do. Pastel black is of much purer gray tone. 
 
 Another remarkably good material for the brightening up 
 
APPENDIX. 
 
 43 
 
 of large planes is extremely fine red crayon (Rotliel), which 
 possesses great intensifying properties. I do not use the ordi- 
 nary kind, but that manufactured by La Franc & Co., of Paris. 
 Coute's red crayons are less appropriate for blending, but are 
 better for putting in points and high lights, lied crayon can 
 not very well be employed for brightening up face shadows, 
 as its color will conflict with that of the lead-pencil afterwards 
 used, but in general landscape work, and in frequent cases in 
 portraiture also, it will be found to be a most useful material 
 to work with. 
 
 Naturally none will attempt to cover whole surfaces with 
 uniform layers of crayon, especially upon under-exposed plates. 
 With them only a detailing of the shadows is required, or to 
 create harmony between them and the brighter lights, while 
 with other negatives the deeper shadows may require a 
 more thorough covering. The difference in the color of the 
 material used facilitates judging of the intensity desired to be 
 produced. 
 
 Negatives retouched with crayons or crayon powder require 
 a protecting varnish. Red crayon adheres, however, so tena- 
 ciously to the negatives that even de-varnishing a retouched 
 negative cannot remove it entirely. Red crayons can be used 
 for retouching upon varnished films as well, also when pre- 
 pared with the usual media, the compound turpentine retouch- 
 ing fluid, or its modern rival, castor oil, and particularly with 
 great advantage when, after varnishing, a plate requires correc- 
 tions, like the briglitening up of the hair or beard. 
 
 In ordinary practice graphite is used for that purpose. 
 But varnish never adheres well to graphite, and an intensity 
 like that produced by red crayon can never be obtained with it, 
 besides no additional drawing can be effected upon^a graphited 
 ground. 
 
 It is preferable to varnish the negative after the crayon re- 
 touching, the sketch for the whole work, has been finished, and 
 then continue to work in the usual manner. A direct applica- 
 tion of the retoucliing fluid upon the unvarnished film will 
 obliterate the crayon work. — Anton Baumgartner, in the 
 American Afinual of PJiotography for 1888, 
 
44 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 RETOUCHING THE NEGATIVE BY CHEMICAL MEANS. 
 
 Presumably there are but few photographers, professional 
 and amateurs as well, who are acquainted with the nature of 
 chemical retouching; but there are certainly a great many 
 more who know nothing at all about it, hardly the name of 
 the method. Still it is such an important and efficient factor 
 in the making of faultless and artistically finished negatives, 
 that it must be wondered at why so little of it has been men- 
 tioned publicly. 
 
 Chemical retouching is far more important to the landscape 
 photographer than to the portraitist. Let us, for instance, 
 consider the effects of a forest scenery, with broad and open 
 vista, then a white building or interior view ; there are in 
 frequent cases such enormous contrasts, which, to harmonize 
 and to put the negative into printable condition, chemical re- 
 touching must be resorted to. 
 
 To communicate to your readers my experience in this new 
 field might possibly be of interest to many of them. 
 
 Chemical retouching is actually nothing else but a local re- 
 duction or intensification done with brush and the requisite 
 media. All the solutions serving these purposes may be em- 
 ployed here. Especially useful are the red prussiate of pot- 
 ash or ferri-cyanide of potassium in combination with a solu- 
 tion of fixing soda ; also the green double salt potassio-ferric 
 oxalate with hypo, and chloride of iron in neutral solution. 
 
 The application of these reagents is done in the following 
 manner : 
 
 Of either of the first two substances prepare five or six solu- 
 tions of various strengths, ranging from half per cent, to one 
 of perfect saturation, and of the hyposulphite of soda one 
 of circa 15 per cent. Keep the former in small phials and the 
 hypo in suitable trays. Several fine camel's-hair brushes of 
 different sizes and widths are requisite, and also a retouching 
 desk, not, however, one with an inclination of 45 degrees, as 
 we use in ordinary retouching, but so constructed as to lay the 
 negative upon it horizontally, else the liquids when applied 
 would run, preventing clean and accurate retouching. 
 
APPENDIX. 
 
 45 
 
 Before retouching can be connnenced, the negative is to be 
 laid in pnre water for fifteen minutes, to soften the gelatine 
 film, and then be removed for five minutes to the hjpo solution. 
 The plate taken up is then well drained and all still adhering 
 liquid touched up with clean, white bibulous paper, or the film 
 wiped with a clean linen or cotton cloth, and placed upon the 
 retouching desk, the reflecting mirror set at such an angle as 
 to give it full illumination. 
 
 The phials containing the solutions should be kept at the 
 right hand, and at the left two large jars of water. 
 
 Two brushes, corresponding in size to the dimensions of the 
 surface to be reduced, are then selected, one of them taken 
 with the right hand, dipped into the reducing solution, and 
 drawn over the place uniformly, but rapidly, and with pre- 
 cision, always commencing with the weakest solution. The 
 left hand holds the second brush ; with it and pure water the 
 outlines are washed once to prevent sharp lines of demarca- 
 tion. The action of the reducer becomes perceptible within 
 a few seconds. Too strong solutions, in the first instance, 
 should be carefully avoided. They may act too forcibly, caus- 
 ing incorrigible errors, resulting in the loss of the negative. 
 
 Has the reducing agent not acted sufficiently after one 
 application, it should either be used repeatedly or a more con- 
 centrated solution be taken instead of it, washing the outlines, 
 however, after each application, with the water brush. It 
 requires but little experience to reduce, in this manner, parts 
 of the negative with distinct outlines, when the water brush 
 can be dispensed with. To produce a gradation of tone or 
 blending off, sharp lines are avoided by washing with the 
 water brush repeatedly, cleaning the brush in pure water after 
 each application, a second touching with the reducing fluid, 
 and further advancing into the plane to be reduced, with care- 
 ful washing the outlines with the water brush after each appli- 
 cation. This mode of working may be continued till the de- 
 sired effect has been nearly reached. By no means should 
 reducing be carried any further. As the action of the chemi- 
 cal will continue for some time, even after placing the nega- 
 
46 
 
 THE MODERN PRACTICE OF RETOUCHING. 
 
 tive ill the water, washing the reduced part with the brush, 
 and rocking the plate vigorously in a tray with pure water, is 
 absolutely necessary to arrest its action. 
 
 If it is required to reduce surfaces with sharp outlines, all 
 adhering water must be carefully removed from the plate, and 
 the brush moistened but sparingly with the solution, that is, 
 just enough to shape it into a sharp point, with which outlines 
 can be followed accurately. When the action of the reducer 
 becomes perceptible, the plate must be at once immersed in 
 water and well brushed. But when the effect of reducing is 
 to be a tone gradation or blending off, the plate, after having 
 been soaked in water and hypo solution, is well drained, laid 
 upon the desk, and, by blowing sharply upon the place to be 
 reduced, all water dispelled from it, so that it may appear 
 ■Blmost dry. Then apply the brush, moistened with potassio- 
 ferric oxalate solution, drawing it first over the outlines, and 
 blending with the water brush afterwards. The action of this 
 solution gives more delicate effects, because it is slower and 
 more controllable than the ferri-cyanide of potassium, de- 
 duction becoming visible, repeat touching with a broader brush 
 and the same solution, advancing at the same time more to- 
 wards the darker portions, and continue to do so, advancing 
 the brush towards the outlines, and tempering the effects pro- 
 duced by means of the water brush. Finally, the plate must 
 be washed for at least four hours in several changes of water, 
 or over night. 
 
 There may be occasion to retouch very small, sharply-defined 
 places, often, perhaps, to brighten up solitary spots or lines. 
 To do so well the plate, after being soaked as usual, must be 
 freed as much as possible from adhering water, and the part 
 to be brightened up be touched with a sharply-pointed brush 
 and concentrated solution, to produce effect at once, and with- 
 out repetition of the operation. 
 
 AH the reducing solutions mentioned give satisfactory re- 
 sults ; but, it should be remembered, ferri-cyanide of potassium 
 acts most energetically of all, and very rapidly, hence great 
 care must be observed with it. 
 
APPENDIX. 
 
 47 
 
 Much slower is the action of potassio-ferric oxalate. Chlo- 
 ride of iron is the slowest of all, and should be employed only 
 in strong and neutral solutions, the plate be softened in the 
 water, but not in the second or the hypo bath. 
 
 With chloride of iron the silver deposit is not dissolved, 
 neither is it destroyed. The metallic silver is merely trans- 
 formed into chloride, a process much accelerated when to the 
 neutral solution, of acid reaction, a small amount of hydro- 
 chloric acid is added. When inadvertently the reduction with 
 iron has gone further than intended, the original intensity of 
 the negative can be restored by re-developing with ferrous 
 oxalate. 
 
 With some negatives, certain portions may need reducing, 
 and others intensification. In such cases, the negative plate, 
 after the desired reductions have been accomplished, must be 
 thoroughly washed for at least twelve hours, to remove from 
 it the last traces of hyj)o or iron, and, without being washed, 
 laid upon the retouching desk, the adhering water dispelled 
 from the parts to be intensified, by blowing a strong current 
 of air upon it, and touching it with a strong solution of bi- 
 chloride of mercury and sodium chloride, using at the same 
 time the water brush dextrously, to prevent the forming of 
 sharp outhnes. If the mercurialized place is but very small, 
 holding it over the neck of a bottle containing strong ammo- 
 nia will blacken it speedily. For large surfaces, sulphite of 
 sodium may be used. To keep within outlines it is essential 
 to remove all water from the plate and use the bi-chloride of 
 mercury in saturated solution. 
 
 To retouch correctly by chemical means, requires first a 
 steady hand, diligence, patience, and some experience. To be 
 too hasty results often in the loss of the negative ; to work 
 with caution and circumspection is essential. 
 
 Beginners had better make their experiments with negatives 
 of but little value, for many of tliem may be spoiled before 
 experience is attained to finish a plate to entire satisfaction. 
 Failures should, however, not discourage ; with diligence and 
 
48 
 
 THE MODERN PKACTICE OF RETOUCHING. 
 
 close attention to the work, difficulties will soon be conquered, 
 leading to the production of faultless plates. 
 
 The advantages offered by chemical retouching are incalcu- 
 lable. 
 
 To mention the poisonous nature of ferri-cyanide of potas- 
 sium, and particularly that of the bi-chloride of mercury, 
 should not be omitted. The latter, when brought in contact 
 with a cut or abrasion of the skin, may lead to serious conso- 
 quences ; neither should brushes moistened with its solution 
 be pointed between the lips, as artists are in the habit of do- 
 ing with paint brushes ; it is of great danger to the operator. 
 — Carl Schiendl, in The American Annual of Photog- 
 raphy for 1889. 
 
1 N DEX. 
 
 PAGE. 
 
 Abrading the Surface of the Negative, - - - - 29 
 
 Applying Cold Varnish, - - - - - - 29 
 
 Artificial Light for Retouching, ----- 32 
 
 Cloud Effects in Landscapes, - - - - - - 25 ' 
 
 Cold Varnish Unsuitable, ------ 10 
 
 Condition of Negative, - - - - - - - 12 
 
 Cross Expression, How to Cure, ----- 35 
 
 Drapery, ---------22 
 
 Emery Powder in Retouching, ----- 11 
 
 Hints from the German Methods of Retouching, - - - 38 
 
 Improving Bad Negatives, ------ 14 
 
 Landscapes ; Improving the Skies, - - - - - 24 
 
 Lighting the Negative, 31 
 
 Magnifying Glass, Use of, - - - - - 8, 34 
 
 Modeling. 36 
 
 Obtaining Effects of Snow, - - - - - - 25 
 
 Old Faded Photographs, ------ 16 
 
 Pencils and Brushes, - -- -- -- 7 
 
 Positions for Producing Enlarged Negatives, - - - 19 
 Preparing the Surface, - -- -.-_9 
 
 Removing Accessories, 17 
 
 Reproducing Daguerreotypes, - - - - - - 16 
 
 Retouching Details, ------- ^3 
 
 Retouching Enlarged Negatives, - - - - - 21 
 
 Retouching Frame, ------ - 7 
 
 Retouching Gelatine Negatives with Red Chalk and Black Cra)'On - 42 
 
 Retouching Large Heads, - - - - - - 40 . 
 
 Retouching the Negative by Chemical Means - - - 44 
 
 Retouching Varnishes, - - - _ - _ 10 
 
 Shadows Under the Eyes, - - - - . - - 13 
 
 Specks — How Removed, ------ 12 
 
 Swollen Veins on the Hand, - - - - - - 36 
 
 Tracing Paper— Its Uses, ------ 21 
 
 Uses of Dragon's Blood, - - - -- - - 15 
 
 Utility of Retouching, 5 
 
 Venice Turpentine, Substitute for, - - - - - 28 
 
 Wrinkles, . - - 13 
 
The Semi- Centennial !! ! 
 
 HALF A HUNDRED PHOTOGRAYDRES 
 
 In Series of 
 
 Landscapes, Portraits, Figure Compositions, Groups, 
 Marines, Special Subjects and Copies of Pictures 
 
 that will interest and educate Photographers, Professional 
 and Amateur alike, will be brought out 
 
 In the PHOTOGRAPHIC TIMES during' 1889. 
 
 These series of Photogravures will consist of pictures selected from the best work of 
 American and Foreign photographic artists, professional and amateur. All readers of the 
 Photographic Ti MES being invited to send in their best results for selection for this purpose. 
 
 Special Numbers of the Photographic Times, like the Holiday Illastrated 
 Double >iiinber for 1888, will contain 
 
 MORE THAN ONE FULL-PAGE PICTUME, 
 
 and there will be occasional illustrations by other Printings Processes. 
 
 Examine the Holiday Number for 1888 to judge the style and quality of the illustra- 
 tions which will embellish the Photographic Times during 1889. 
 
 INSTRUCTIVE READING MATTER by the Highest Authorities, including the Gallery Exper- 
 iences of leading Practical Photographers at home and abroad. Only the best writers con- 
 tribute to this journal. Following are the names of a few : 
 
 H. McMichael, President of the P. A. of A. 
 
 Andrew Prikgle, F^resident of the Photographic Convention of the United Kingdom. 
 Ernest Edwards. President of the Photo-Gravure Co. 
 
 Prof. W. H. Pickering, of Harvard University. 
 Rev. W. H. Burbank. John Carbutt. 
 
 W. H. Sherman. J. R. Swain. 
 
 J M. Mora. Prof. Karl Klauser. 
 
 C. W. Canfield. Charles Wager Hull. 
 
 W. Jerome Harrison, F.G.S. Dr. J. M. Eder. 
 
 Prot. W. K. Burton. G. Watmough Webster. 
 
 $5.00 per year, $2*50 for six montlis. 
 
 One montli's trial, 50 cents. 
 
 Single copies, including the ILLUSTRATED DOUBLE HOLIDAY 
 NUMBER for 1888, 15 cents. 
 
 The Photographic Times Publishing Association, 
 
 423 Broome Street, New York City. 
 
THE 
 
 American Annual of Photography 
 
 AND 
 
 Photographic Times Almanac 
 
 For 1887. 
 
 C. W. CANFIELD, Editor, 
 
 A STllJDARD BOOK OF REPEREICE. 
 
 It contains five full-page illustrations : 
 
 AN EXQUISITE PHOTOGRAYURE, by Ernest Edwards. 
 A BROMIDE PRINT, by the Eastman Company. 
 
 A SILYER PRINT, by Gustay Cramer, of St. Loais. 
 
 TWO MOSSTYPES, by the Moss Engraying Company. 
 
 197 pages of Contributed Matter, consisting of articles on various 
 subjects, by 80 representative Photographic writers of this country 
 and Europe. 
 
 Also, in addition to the contributed articles : — Yearly Calendar. Eclip- 
 ses, the Seasons. Church Days, Holidays, etc. Monthly Calendar, giving 
 Sunrise and Sunset for every day in the year ; Moon's phases ; also, dates 
 of meetings of all American Photographic Societies. A list of American 
 and European Photographic Societies. Photographic Periodicals, Ameri- 
 can and European. Books relating to Photography, published 1886. Ap- 
 proved Standard Formulfe for all processes now in general use. Tables 
 of Weights and Measures. American and Foreign Money Values. Com- 
 parisons of Thermometric Readings. Comparisons of Barometric Read- 
 ings. Symbols and Atomicity of the Chemical Elements. Symbols, 
 chemical and common names and solubilities of the substances used in 
 Photography. Tables for Enlargements and Reductions. Equations re- 
 lating to Foci. Tables of Comparative Exposures. Freezing Mixtures. 
 Photographic Patents issued 1886. Postage Rates. All Tables, Formulae, 
 etc.. brought down to date and especially prepared or revised for this work. 
 
 I^rice, per Copy, SO Cents, By mail, 12c, extra. 
 Library Bdition, $1.00. 
 JEdition de Luxe, 2,50, " 
 
 For sale by all dealers, and by the publishers, 
 
 THE SOOVILL & ADAMS COMPANY. 
 
 ii 
 
THE 
 
 American Annual of Photography 
 
 AND 
 
 Photographic Times Almanac 
 For 1888, 
 
 O. W. CDJ^^:^:B'i:HZT^rD, Editor 
 
 It contains EIGHT (8) full-page high-grade Illustrations ; 
 and over NINETY (90) Original Contributions, written expressly 
 for its pages, by the most eminent Photographic writers of Europe 
 and America. 
 
 TRE ILLUSTRATIOJSrS COMPRISE 
 
 A PHOTO-LITHOGRAPH, showing an improved new pro- 
 cess, by the Photogravure Company of New York. 
 
 A PHOTO-COPPERPLATE ENGRAYING of a Pictorial 
 Landscape Subject, by E. Obernetter, of Munich. 
 
 A MEISENBACH of " The Old Stone Bridge " by Kurtz. 
 
 A ZINC ETCHING, from the Engraving, which is itself as fine 
 as an engraving, by Stevens & Morris. 
 
 A CHARMING CHILD PORTRAIT, by Crosscup & West s 
 improved process. 
 
 THREE MOSSTYPES of popular subjects. And 
 
 NUMEROUS CUTS, DIAGRAMS, Etc., throughout the 
 letter-press. 
 
 The " Annual " is a yearly publication wherein the year's progress photographically 
 in the world at large, and especially in America, is summarized, and improvements in 
 theory and practice discussed freely by the prominent workers and writers in this and other 
 countries. In addition, it contains an almanac and calendar ; lists of American and 
 Foreign photographic societies, with their officers and dates of meeting ; a list of American 
 and Foreign photographic periodicals ; photographic books published and patents issued 
 during the year ; approved formulae for all the photographic processes now in general use ; 
 and the usual tables of weights and measures, chemical equivalents, specific gravities, etc., 
 specially revised and corrected. 
 
 The size — royal octavo — and style of binding is uniform with last 
 year's issue. 
 
 330 pag-es of iraluable information. 
 
 PAPER COVER, $0 50 
 
 LIBRARY EDITION, i 00 
 
 By Mail, 10 cents additional. 
 
 The American Annual of Photography and Weekly Photographic Times, 
 for one year to one Address, post-paid, $3.50. 
 
 For Sale by all Dealers in Photographic Materials, the American News Company and 
 its Branches, Books Dealers, and the Publishers, 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 iii 
 
American Annual of Photography 
 
 and Photographic Times Almanac 
 
 C. W. C^lSrp^IELlD Kditor. 
 
 o I-on. 1880 o 
 
 SURPASSES EVEN ITS TWO PREDECESSORS. 
 
 The full-page pictorial illustrations are more numerous and superior in quality than 
 have ever before been presented in any Photographic Annual, and the reading-matter is 
 in accord with the high standard of the illustrations. 
 
 THE FULL-PAGE PICTURES ARE AS FOLLOWS: 
 
 A CHAEMING POETEAIT of the beautiful Lillian Russell, from a negative by Falk,. 
 printed on the New A merican A ristotype Paper. 
 
 " WATERING HIS HOESE." A characteristic group, by Geo. B. Wood, of Philadelphia,, 
 printed in Highest Grade Photo-gravure, by the Photo-gravure Co., New York. 
 
 "YES'M, I'M COMING." A picture of the Small Boy. By Gutekunst, of Philadelphia, 
 in his exquisite manner of mechanical printing. 
 
 "THE AEAB SHEIE." A study of Orthochromatic Photography, by William Kurtz, 
 printed by the Meisenbach process. 
 
 A SCENE IN THE TYEOLESE ALPS. From an original photograph by Charles Scolik. 
 By the Crosscup & West Engraving Co. 
 
 "THE DI7EES." An instantaneous study on a Carbutt plate, reproduced in Meisenbach. 
 
 "AFTER THE THBATEB." Magnesium Light Negative. By Mons. Flammang. Repro- 
 duced by Photo-electro Engraving Co. 
 
 "BY THE SEA." An Eastman Bromide Picture of Coney Island. By E. W. Newcomb. 
 
 THEEE MOSSTYPES, 
 
 )and( 
 
 SEVERAL OTHER FULL-PAGE ILLUSTRATIONS. 
 
 The Standard Formulae, Useful Receipts, etc., have been thoroughly revised by com- 
 petent authorities, rearranged and enlarged. This department alone, including, as it does 
 — Yearly Calendar, Eclipses, the Seasons, Church Days, Holidays, etc. ; Monthly Calendar, 
 giving Sunrise and Sunset for every day in the year; Moon's Phases; also. Dates of 
 Meetings of all American Photographic Societies. A list of American and European Pho- 
 tographic Societies. Photographic Periodicals, American and European. Books relating 
 to Photography, published in 1888. Approved Standard Formulae for all processes now 
 in general use. Tables of Weights and Measures. American and Foreign Money Values. 
 Comparisons of Thermometric Readings. Comparisons of Barometric Readings. Sym- 
 bols and Atomicity of the Chemical Elements. Symbols, Chemical and Common Names 
 and Solubilities of the Substances used in Photography. Tables for Enlargements and 
 Reductions. Equations relating to Foci. Tables of Comparative Exposures. Freezing 
 Mixtures. Photographic Patents issued in 1888. Postage Rates. All Tables, Formulae, 
 etc., brought down to date, and especially prepared or revised for this work — is worth 
 more than the price asked for the entire book, with its Dozen Full-page Illustra- 
 tions, and innumerable Practical Contributions. 
 
 The Price remains the same, $0 50; by mail 12 cents extra» 
 Library Edition, - - 1 00; 
 
 THE SCOVILL & ADAMS COMPANY, Publishers. 
 
 iv 
 
The Photographic Instructor 
 
 Scov 
 
 ILL S 
 
 Ph 
 
 OTOG 
 
 RAPHic Series No. 26. 
 
 FOR THE PROFESSIONAL AND AMATEUR. 
 
 Editoci. Toy I. Xjixxoolxx .A.<3La,^[3a.m^ 
 
 With an Appendix by Prof. Charles Ehrmann. 
 
 The most thoroughly practical instruction book yet published and the 
 most complete, consisting, as it does, of the Comprehensive Series of 
 Practical Lessons issued to the students of the Chautauqua School of 
 Photography, revised and enlarged, with an Appendix of over thirty pages, 
 on the Nature and Use of the Various Chemicals and Substances Employed 
 in Photographic Practice, besides valuable Tables of References, etc. 
 
 The original Lessons were contributed by such competent photographic 
 writers as 
 
 Charles Wager Hull, Superintendent of the Chautauqua School of Photog- 
 raphy ; Prof. Randall Spaulding, Superintendent of the Montclair 
 Public Schools; Prof. Karl Kl.\user, of Farmington, Conn. ; 
 Dr. Maurice N. Miller, of the University of the City of New 
 York ; John Carbutt, the well-known Diy-plate Manufac- 
 turer of Philadelphia ; O. G. Mason, of Bellevue 
 Hospital, New York City; Prof. Chas. Ehrmann, 
 Instructor of the Chautauqua School of P hotog- 
 graphy ; and W. L Lincoln Adams, 
 Editor of the PHOTOGRAPHIC Times. 
 Each being an authority on the subject of which he treats. 
 The Appendix is a complete chemistry of reference in itself, and is 
 invaluable to every photographic worker. 
 
 A glance at the complete Table of Contents show the scope of the book : 
 
 Lessons. 
 
 XV. Photogfraphing Interiors and In- 
 animate Objects. 
 Copying, Enlarging, and Reduc- 
 
 Lessons. 
 
 Preface. 
 Introduction. 
 
 Apparatus. 
 
 Management of Apparatus in the 
 
 Field. 
 The Dark-room. 
 Exposing. 
 Developing. 
 
 Fix ing, Washing, Varnishing, In- 
 tensifying, and Reducing. 
 
 Printing on Albumenized Paper. 
 
 Printing on Various Other Papers. 
 
 Printing on Permanent Bromide 
 Paper. 
 
 Artistic Printing. 
 
 Trimming and Mounting the Prints. 
 Spotting and Burnishing the Prints. 
 Portraiture. 
 
 Retouching the Negative. 
 
 I. 
 II. 
 
 III. 
 IV. 
 V. 
 VI. 
 
 VII. 
 VIII. 
 IX. 
 
 X. 
 XI. 
 XII. 
 XIII. 
 XIV. 
 
 The book is embellished w^ith Five Full-page Pictorial Illustratio7is^ besides numer- 
 ous Cuts, Diagrams, etc., illustrating the letter-press. 
 
 Two hundred pages of valuable Reading Matter, uniform in type and page w^ith the 
 other numbers of the excellent series, of which it is the latest issue. 
 
 Price, in illuminated paper covers, . . . $0 75 
 Price, library edition, uniform with other numbers 
 
 of the series, gilt stamp and lettering, - 1 25 
 For sale by all dealers in photographic goods, or sent by mail, post-paid, on 
 receipt of price, by the publishers, 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 XVI. 
 
 XVII. Orthochromatic, or Color-sensitive 
 
 Photography. 
 XVIII. Transparencies, and How to Make 
 Them. 
 
 XIX. Landscape Photography. 
 XX, Stereoscopic Photography. 
 XXI. Light and Lenses. 
 XXII. Photo-micrography. 
 
 XXIII. Photographing by Artificial Light. 
 
 XXIV. Emulsion Making. 
 
 Appendix on the Nature and Use 
 of the Various Chemicals and 
 Substances Employed in Photo- 
 graphic Practice. 
 
TWO 
 
 TH 
 
 COMPLETE ♦ PHOTO 
 
 By the: Re:v 
 
 The Photographic Negative" 
 
 (Scovill's Photographic Series No. 25.) 
 A PRACTICAL GUIDE 
 
 TO THE PREPARATION OF SENSITIVE SURFACES BY THE 
 CALOTYPE, ALBUMEN, COLLODION, AND GELATINE PRO- 
 CESSES, ON GLASS AND PAPER, WITH SUPPLEMENTARY 
 CHAPTER ON DEVELOPMENT, Etc., Etc. 
 
 CONTENDS. 
 
 Chapter. 
 
 Preface. 
 
 I. General Remarks on Sensitive Surfaces, etc. 
 II. Preliminary Remarks on Exposure, Development, Fixing, etc. 
 
 III. Calotype. 
 
 IV. Sensitive Surfaces on Glass— Preparation of the Glass. 
 V. The Albumen Process. 
 
 VI. The Old Collodion Process, Wet Plates. 
 VII. The Collodion Process, Dry Plates. 
 VIII. Collodion Emulsion— Collodio-bromide of Silver. 
 IX. The Gelatine Process. 
 X. Coating: the Plates. 
 XI. Development, Fixing, etc. 
 
 XII. Paper Negatives— Stripping Films on Paper, Card-board, and Collodion, 
 
 XIII. Failures in the Gelatino-bromide Process. 
 
 XIV. Methods of Stripping Films from Glass Plates. 
 XV. Color-sensitive Plates. 
 
 XVI. Black and White Negatives. 
 XVII. Instantaneous Photography. 
 XVIII. TouchiDg-up the Negative. 
 XIX. Photo-micrography. 
 XX. Micro-photography. 
 
 XXI. The Transformation of Negatives into Positives. 
 XXII. Obernetter's Method for the Direct Production of Negatives from Negatives. 
 Index. 
 
 It contains a Meisenbach Frontispiece of a pictorial subject from a 
 negative made b);- the author. Full description of his method for making 
 the Emulsion ; also, much other valuable information, never before pub- 
 lished. 
 
 Profusely illustrated with cuts, two full-page pictorial Mosstypes, and 
 more than two hundred pages of valuable reading matter. 
 
 Price, cloth bound, with gilt stamp and lettering, $1.50. 
 
 For sale by all dealers in photographic goods, or sent, post-paid, by 
 mail, on receipt of price, by the publishers, 
 
 THE SCOVILL & ADAMS COMPANY. 
 
300KSsE====:=. 
 
 iRM A 
 
 GRAPHIC ♦ LIBRARY, 
 
 V. H. BURBANK. 
 
 (Scovill's Photographic Series, No. 22.) 
 
 A Practical Guide for the Professional and 
 Amateur Worker. 
 
 A volume of more than two hundred pages, profusely illustrated. 
 Thoroughl)^ Practical. 
 
 CONTENTS. 
 
 Chapter. 
 
 Introduction— Theory of Light ; Action of Light upon Sensitive Compounds ; 
 Resume of Printing Processes. 
 I. Printing with Iron and Uranium Compounds. 
 II. The Silver Bath. 
 HI. Fuming and Printing. 
 
 IV. Toning and Fixing— Washing. 
 
 V. Printing on other than Albumen Paper. 
 VI. The Platinotype. 
 
 VII. Printing witii Emulsions. 
 VIII. Mounting the Prints. 
 IX. Carbon Printing. 
 
 X. Printing on Fabrics. 
 XI. Enlargements. 
 
 XII. Transparencies and Lantern-Slides. 
 
 XIII. Opal and Poi'celain Printing. 
 
 XIV. Photo-Ceramics— Enameled Intaglios. 
 
 XV. Photo Mechanical Printing Methods. 
 
 XVI. Various Methods for Putting Pictures on Blocks and Metal Plates for the use of 
 
 the Engraver. 
 
 XVII. Recovery of Silver from Photographic Waste— Preparation of Silver Nitrate, 
 
 Etc. 
 Index. 
 
 The only book in photographic literature to-day, which covers this 
 ground, and it does so completely. 
 
 It contains two (2) full-page illustrations, which alone are worth the 
 price asked for the complete book. 
 
 Price, in substantial cloth binding-, uniform with 
 "The Photographic Negative," $1.00. 
 
 For sale by all dealers in photographic goods, or sent, post-paid, by 
 mail, on receipt of price, by the publishers, 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 vii 
 
THE COMPLETE WORKS 
 
 OF 
 
 H. P. ROBINSON. 
 
 The Art and Practice of Silver 
 
 Printing. (Third Edition.) Paper covers, 
 50 cents. Library edition, 75 cents. 
 
 Picture Making by Photography. 
 
 Finely illustrated. Paper covers, 75 cents. 
 Library edition, ll.OO. 
 
 The Studio : and What to do in it. 
 
 Finely illustrated. Paper covers, 75 cents. 
 Library edition, $1.00. 
 
 Pictorial Effect in Photography. 
 
 Finely illustrated. Paper covers, $1.00. 
 Cloth bound, $1.50. 
 
 Letters on Landscape Photography, 
 
 with Photogravure Portrait of Author, and 
 other illustrations. Cloth bound, $1.50. 
 
 The Pictorial Effect in Photog- 
 
 raphy. Finely illustrated. A new edition 
 in press, to be ready shortly. 
 
 For Sale by all dealers in Photographic Materials, or sent 
 post-paid, on receipt of pi ice, by the Publishers, 
 
 The Scovill & Adams Company. 
 
 viii 
 
[NUMBER NINJETEEN OF SCOVILL'S PHOTOGRAPHIC SERIESj, 
 
 By w. I. chadwick:. 
 Third Edition just issued. With 105 Practical Illustrations. 
 
 154 pages, 7x4?;^, cloth bound 75c. 
 
 Bky Plate Makih© 
 
 [Number twenty of Scovill's photographic series]. 
 
 By QE)0. L. SINCLAIR., ML.D. 
 
 Reprinted from "TJiePhotogrphicTimes,' ' with additions and corrections. 
 
 A SERIES OF PRACTICAL ARTICLES ON 
 
 •/^DQaleui* Etr)ulsi0r) rF)ca:^ir)^ ; ^l)e ^irr)ple ^etppciliar) 0^ 
 
 THE EMULSION, 
 
 WASHING, 
 
 MELTING, 
 A RAPID EMULSION 
 
 IT TREA TS OF 
 
 GELATINE, 
 
 PREPARING THE GLASS 
 FOR COATING, 
 
 COATING, Etc., Etc. 
 
 Royal octavo, leatherette binding 50c. 
 
Photographic Publications. 
 
 Selected from Scovill's Catalogue of Books. 
 
 • Price, 
 Per Copy. 
 
 HOW TO MAKE PHOTOGRAPHS —Containing full instructions for making Paper 
 Negatives, Sent free to any practitioner of the art. New edition just out. 
 
 ART RECREATIONS.— A guide to decorative art. Ladies' popular guide in home 
 
 decorative work. Edited by Marion Kemble $2 00 
 
 THE FERROTYPERS' GUIDE.— Cheap and complete. For the ferrotyper, this 
 
 is the only standard work. Seventh thousand 75 
 
 THE PHOTOGRAPHIC STUDIOS OF EUROPE.-By H. Baden Pritchard, 
 
 F.C.S. Paper, 50 cts. ; Cloth i 00 
 
 HISTORY AND HAND-BOOK OF PHOTOGRAPHY.-Translated from the 
 
 French of Gaston Tissandier, with seventy illustrations. Cloth 2 00 
 
 AMERICAN CARBON MANUAL.— For those who want to try the carbon print- 
 ing process, this work gives the most detailed information. Cloth i 00 
 
 MANUAL DE FOTOGRAFIA.— By Augustus Le Plongeon. (Hand-Book for 
 
 Spanish Photographers.) Reduced to i 00 
 
 SECRETS OF THE DARK CHAMBER.— By D. D. T. Davie i 00 
 
 A COMPLETE TREATISE ON SOLAR CRAYON PORTRAITS AND 
 TRANSPARENT LIQUID WATER-COLORS.— By J. A. Barhydt. Practical 
 ideas and directions given. Amateurs will learn ideas of color from this book 
 that will be of value to them. And any one by carefully following the directions 
 on Crayon, will be able to make a good Crayon Portrait 50 
 
 THE BRITISH JOURNAL ALMANAC FOR 1888 25 
 
 PHOTO. NEWS YEAR BOOK OF PHOTOGRAPHY for 1888 25 
 
 PADDLE AND PORTAGE.— By Thomas Sedgwick Steele i 50 
 
 AMERICAN HAND-BOOK OF THE DAGUERREOTYPE.— By S. D. Hum- 
 phrey. (Fifth Edition.) This book contains the various processes employed in 
 taking Heliographic impressions 10 
 
 THE NEW PRACTICAL PHOTOGRAPHIC ALMANAC- Edited by J. H. 
 
 FiTZGIBBON 25 
 
 MOSAICS FOR 1870, 1871, 1872, 1873, 1875, 1882, 1883, 1884, 1885, 1886, 1887, 1888, each 25 
 
 BRITISH JOURNAL ALMANAC FOR 1878, 1882, 1883, 1887 " 25 
 
 PHOTO. NEWS YEAR-BOOK OF PHOTOGRAPHY FOR 1870, 1871, 1887... . 25 
 
 THE PHOTOGRAPHER'S FRIEND ALMANAC FOR 1873 25 
 
 ART OF MAKING PORTRAITS IN CRAYON ON SOLAR ENLARGE- 
 MENTS. (Second Edition). By E. Long. Price 50 
 
 PHOTOGRAPHY APPLIED TO SURVEYING. Illustrated. By Lieut. Henry 
 
 A. Reed, U.S.A. Cloth bound 2 50 
 
 AMERICAN ALMANAC OF PHOTOGRAPHY 25 
 
 X 
 
ScoYill's Complete Photographic Series. 
 
 Price, 
 Per Copy . 
 
 No. I.— THE PHOTOGRAPHIC AMATEUR.— By J. Traill Taylor. A Guide 
 to the Young Photographer, either Professional or Amateur. (Second 
 Edition.) Paper covers, 50 cents. Library Edition $1 00 
 
 No. 2.— THE ART AND PRACTICE OF SILVER PRINTING.— By H. P. Robin- 
 son and Capt. W. de W. Abney, R.E., F.R.S. (Third Edition.) Paper 
 covers, 50 cents. Library Edition 75 
 
 No. 3. — Out of print. 
 
 No. 4.— HOW TO MAKE PICTURES.— By Henry Clay Price. (Fourth edition.) 
 
 The A B C of Dry-Plate Photography. Paper covers, 50 cents. Library 
 Edition 75 
 
 No. 5.— PHOTOGRAPHY WITH EMULSIONS.— By Capt. W. De W. Abney, 
 R.E. F.R.S. A treatise on the theory and practical working of Gelatine 
 and Collodion Emulsion Processes. (Second Edition.) 1 00 
 
 No. 6. — No. 17 has taken the place of this book. 
 
 No. 7.— THE MODERN PRACTICE OF RETOUCHING — As practiced by M. 
 
 Piguepe, and other celebrated experts. (Fourth Edition) 50 
 
 No. 8.— THE SPANISH EDITION OF HOW TO MAKE PICTURES.— Ligeras 
 
 Lecciones sobre Fotografia Dedicados a Los Aficionados i 00 
 
 No. 9.— TWELVE ELEMENTARY LESSONS IN PHOTOGRAPHIC CHEM- 
 ISTRY.— Presented in very concise and attractive shape. (Second Edition.) 25 
 
 No. 10.— Out of print. 
 
 No. II. — Out of print. 
 
 No. 12.— HARDWICH'S PHOTOGRAPHIC CHEMISTRY.— A manual of photo- 
 graphic chemistry, theoretical and practical. Ninth Edition. Edited by 
 J. Traill Taylor. Leatherette Binding 2 00 
 
 No. 13.— TWELVE ELEMENTARY LESSONS ON SILVER PRINTING. 
 
 (Second Edition) 50 
 
 No. 14.— ABOUT PHOTOGRAPHY AND PHOTOGRAPHERS.-A series of in- 
 teresting essays for the studio and study, to w^hich is added European 
 Rambles with a Camera. By H. Baden Pritchard, F.C.S 50 
 
 No. 15.— THE CHEMICAL EFFECT OF THE SPECTRUM.— By Dr. J. M. 
 
 Eder 25 
 
 No. 16.— PICTURE MAKING BY PHOTOGRAPHY.— By H. P. Robinson. 
 
 Author of Pictorial Effect in Photography. Written in popular form and 
 finely illustrated. Paper covers, 75 cents. Library Edition i 00 
 
 No. 17.— FIRST LESSONS IN AMATEUR PHOTOGRAPHY.— By Prof. Ran- 
 dall Spaui.ding. a series of popular lectures, giving elementary instruc- 
 tion in dry-plate photography, optics, etc. (Second Edition.) Paper 
 covers, 25 cents. Library Edition 75 
 
 No. 18.— THE STUDIO: AND WHAT TO DO IN IT.— By H. P. Robinson. 
 
 Author of Pictorial Effect in Photography, Picture Making by Photog- 
 raphy, etc. Paper covers, 75c. Library Edition. .... i 00 
 
 No. 19.— THE MAGIC LANTERN MANUAL.— (Third edition.) By W. I. 
 
 Chadvvick. With one hundred and five practical illustrations ; cloth bound. 75 
 
 No. 20.— DRY PLATE MAKING FOR AMATEURS.— By Geo. L. Sinclair, M.D. 
 
 Pointed, practical, and plain. Leatherette binding 50 
 
 No. 21.— THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- 
 GRAPHIC TIMES ALMANAC FOR 1887.— (Second Edition.) Paper cover 50 
 (postage, ten cents additional). Library Edition i 00 
 
 No. 22.— PHOTOGRAPHIC PRINTING METHODS.— By the Rev. W. H. Bur- 
 bank. A Practical Guide to the Professional and Amateur Worker. Cloth 
 bound I 00 
 
 No. 23.~A HISTORY OF PHOTOGRAPHY : Written as a Practical Guide and an 
 Introduction to its Latest Developments, by W. Jerome Harrison, F. G. S., 
 and containing a frontispiece of the author. Cloth bound i 00 
 
 No. 24.— THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO 
 
 GRAPHIC TIMES ALMANAC FOR 1888.— Illustrated— Paper cover. ... 50 
 (when bv mail, ten cents additional.) Library Edition i oa 
 
 No. 25. -THE PHOTOGRAPHIC NEGATIVE.— A Practical Guide to the prepar- 
 ation of sensitive surfaces by the calotype, albumen, collodion, and gelatine 
 processes, on glass and paper, with supplementary chapter on development, 
 etc.. by the Rev. W. H. Burbank. Cloth bound i 50 
 
 No. 26.-THE PHOTOGRAPHIC INSTRUCTOR FOR THE PROFESSIONAL 
 AND AMATEUR.— Being the comprehensive series of Practical Lessons 
 issued to the students of the Chautauqua School of Photography. Re- 
 vised and enlarged. Edited by W. T. Lincoln Adams, with an Appendix 
 
 by Prof. Charles Ehrmann. Paper covers 75 
 
 Library Edition i 25 
 
 No. 27.— LETTERS ON LANDSCAPE PHOTOGRAPHY.— By H. P.Robinson. 
 
 With a photogravure portrait of the Author, and nine illustrations from 
 
 his own photographs. Cloth bound i 50 
 
 No. 28.— THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- 
 GRAPHIC TIMES ALMANAC FOR i88q. Finely illustrated. Paper 
 (by mail, 12 cents additional), 50c. Library Edition- i 00 
 
 xi 
 
WIL-SON'S 
 
 FOR SALE BY 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 WILSON'S QUARTER CENTURY IN PHOTOGRAPHY. By 
 Edward L. Wilson, Ph.D. "The best of everything boiled 
 out from all sources." Profusely illustrated, and with notes 
 and elaborate index $4 00 
 
 WILSON'S PHOTOGRAPHICS.— "Chautauqua Edition," with 
 Appendix. By Edward L. Wilson, Ph.D. A most complete 
 photographic lesson-book. Covers every department. 352 
 pages. Finely illustrated 4 00 
 
 BURNET'S ESSAYS ON ART. A /ar-ww?'/^ reproduction of the 
 costly original edition. Will help every portrait maker, every 
 view taker, who will study them understandingly. They teach 
 the rudiments and the rules of art entire. You cannot appre- 
 ciate or understand the enjoyment there is in pictures, and in 
 making them out or indoors, until you have read " Burnet's 
 Essays" and studied the 145 etchings which illustrate them. ... 4 00 
 
 PHOTO-ENGRAVING, PHOTO-ETCHING, AND PHOTO- 
 LITHOGRAPHY. By W. T. Wilkinson. Revised and en- 
 larged by Edward L. Wilson, Ph.D. Illustrated. 180 pages, 
 all new. Cloth bound 3 00 
 
 WILSON'S PHOTOGRAPHIC MAGAZINE. Edited by Ed- 
 ward L. Wilson, Ph.D. A semi-monthly magazine, illustrated 
 by photographs. $5 a year ; club rate with weekly Photo- 
 graphic Times 9 00 
 
 THE PHOTOGRAPHIC COLORISTS' GUIDE. By John L. 
 
 GiHON, The newest and best work on painting photographs.. . 1 50 
 
 PHOTOGRAPHIC MOSAICS, 1889. Cloth bound, U ; paper 
 
 cover 50 
 
 xii 
 
Send for Latest Revised Catalogue containing Reduced Price List of 
 
 Tlie irnieiicaii Optical Coiqpaiijj's 
 
 APPARATUS, 
 
 INCLUDING ALL STYLES OF 
 
 View and Portrait Cameras, Plate Holders for Wet or 
 Dry Plates, Gallery Stands, Tripods, Printing 
 Frames, Negative Boxes and Racks, 
 Retouching Frames, Ama- 
 teur Outfits, etc., etc., 
 
 mmm for beauty of desigs, uiqualed for Mumm of construction, 
 
 AND 
 
 UNAPPROACHED FOR FINENESS OF FINISH. 
 
 THEY ALWAYS GIVE UNQUALIFIED SATISFACTION. 
 
 THE SCOVILL & ADAMS COMPANY, Sole Proprietors, 
 
 423 Broome St., New York City. 
 
 For Sale by all Reputable Photographic Dealers. 
 
TO PROGRESSIVE PHOTOGRAPHER?; 
 
 The New Magic Yignetter, 
 
 FOR 
 
 Producing the Black Background, 
 or Ebony Photographs. 
 
 Hundreds of these Vignetters are 
 now in use, giving universal satis- 
 faction. They can be easily ad- 
 justed to any camera, and require 
 no more trouble or expense than 
 making- plain photographs. Every 
 progressive photographer should 
 have one. Its work will attract 
 attention in your case and increase 
 your business. Every one guaran- 
 teed. 
 
 PRICE, each, 
 
 .00. 
 
 Patented May 31, 1887. 
 
 Sample Photographs made with it sent 
 on application. 
 
 Improved Vignetting Attacliiiieiit 
 
 For Vignetting the Negative. 
 LIGHT, STRONG and PURABI I 
 
 It is perfectly reliable and qui( 
 adjusted to any lens by the means 
 of a thumb-screw. It can be raised 
 or lowered at will to any position 
 desired by the operator, by simply 
 pulling a cord, without leaving his 
 position behind the camera. 
 
 PRICE, each. 
 
 $3.50. 
 
 Patented September 6, i 
 
 These articles can be procured through your dealer, or 
 
 AND DEALER IN 
 
 PHOTOGRAPHIC SUPPLIES OF EVEEY DESCRIPTION. 
 
 N. E. cor. Eighth and Locust Streets, St. Louis, Mo. 
 
 j^^" If you have not received our 300-page Catalogue, send for it...^^ 
 
 STAMP PORTRAITS. 
 
 Patented July 17, iS 
 
 These are the only stamp portraits 
 that are gummed and perforated, 
 and being the exact size of the ordi- 
 nary postage stamps, photographers 
 and others will find them an inter- 
 esting novelty in advertising their 
 business. 
 
 Send for prices and sample v^hich 
 will be sent on application. 
 
 Address 
 
 H. A. HYATT, 
 
 N. E. cor. 8tl& and L.ocust Sts., 
 
 ST. LOUIS, MO. 
 
185 & 1 87 WABASH AVE., 
 
 C HIC AQO. 
 
 Everything pertaining to Photography, for Pro- 
 fessional and Amateur, of the highest grade and 
 
 at LOWEST PRICES. 
 
 Dark-rooms in charge skillful photographers, at the 
 service of our patrons without charge. 
 
 Negatives developed," stripped, and printed. 
 
 ''How to Make Photographs" and Catalogues 
 mailed free on application. 
 
 Photo-micrographic Outfits. 
 
 Lavene Sciopticons. 
 
 Subscriptions taken for Photographic Journals 
 published in any part of the world. 
 Correspondence invited. 
 
 XV 
 
Established 1857. 
 
 HO., 
 
 194 WORTTH ST., 
 NEW YORK. 
 
 WORKS AT NEWARK. N. J, 
 
 OFFER A COMPLETE LINE OF 
 
 Photo. Chemicals, Dresden Albumen 
 Paper, Saxony Evaporating 
 Dishes, Etc. 
 
 Our chemicals are of Standard 
 Quality, of correct weight and 
 measure. 
 
 A circular, *' How to Save Waste," 
 mailed on application. 
 
 xvii 
 
* 
 
 S. p. C. RETOUCHING FLUID, 
 
 For Varnished or Unvarnished Negatives. 
 Price, per bottle, - - 25 cents. 
 
 GIHON'S OPAQUE. 
 
 Is designed for completely obscuring the imperfect backgrounds 
 of copies, retouching faulty skies in landscape negatives, coating 
 the inside of lenses or cameras, backing solar negatives, cover- 
 ing vignetting boards, etc., etc. Wherever you want to keep out 
 light, use Opaque. It is applied with a brush, dries quickly and 
 sticks. Price, per box $0 50 
 
 RED SABLE BRUSHES. 
 
 In Tin Ferrules. Cedar Handles. 
 For Fine Painting in Oil Colors, or for Coloring Ferrotypes. 
 
 No. 
 
 Each. 
 
 No. 
 
 Each. 
 
 No. 
 
 Per Doz. 
 
 No. 
 
 Per Doz. 
 
 1 
 
 $0 07 
 
 7 
 
 $0 18 
 
 1. , 
 
 $0 80 
 
 7 
 
 $2 12i 
 
 2 
 
 08 
 
 8 
 
 20 
 
 2 
 
 83 
 
 8 , 
 
 2 25 
 
 3 
 
 09 
 
 9 
 
 22 
 
 3 
 
 I 00 
 
 9 . , 
 
 2 50 
 
 4 , , 
 
 10 
 
 10 
 
 24 
 
 4 
 
 1 15 
 
 10 , 
 
 . . 2 75 
 
 5. . . . 
 
 12 
 
 11 
 
 30 
 
 5 .. 
 
 1 25 
 
 11 
 
 3 37 
 
 6 
 
 15 
 
 12 
 
 38 
 
 6 
 
 . 1 50 
 
 12 
 
 . . . . 4 25 
 
 RETOUCHING PENCILS. 
 
 Finest Siberian. 
 
 Faber's, 1 to 4 B's, soft, each $0 15 
 
 HB & F, middling, each 15 
 
 " 1 to 4 H's, hard, each 15 
 
 The above, Hexagon, per doz 1 25 
 
 Holders for Leads, each . . . 25 
 
 Crowell's Metallic Leads, each 25 
 
 Wor Sale by 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 xviii 
 
RETOUCHING GLASSES. 
 
 German Silver Band. Ebony Handle. 
 
 Each. 
 
 2 inch Lens $0 85 
 
 2i " 1 25 
 
 3 " 1 75 
 
 3i inch Lerts 2 25 
 
 4 " 3 25 
 
 4i " 3 75 
 
 RETOUCHING FRAMES. 
 
 No. 1, for 1-4 to 8 X 10 negatives, 
 
 black walnut $3 75 
 
 No. 2, for 1-4 to 11 x 14 negatives, 
 
 black walnut 7 50 
 
 They have a drawer and all 
 modern improvements. 
 
 the 
 
 For sale by 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 TWELVE PHOTOGRAPHIC STUDIES. 
 
 No. 1. 
 
 -A COLLECTION of PHOTOGEAVUEES from the BEST EEPRESENTATIVE PHOTOGEAPHIC 
 NEGATIVES by LEADING PHOTOGEAPHIC ATBISTS. The Collection includes- 
 
 " From Dawn to Sunset,".. H. P. Robinson. 
 
 "Childhood" H. McMichael. 
 
 " As Age Steals On " J. F. Ryder. 
 
 " A Portrait Study " B. J. Falk. 
 
 " Solid Comfort" John E. Dumont. 
 
 Ophelia" H. P. Robinson. 
 
 No Barrier " F. A. Jackson. 
 
 El Capitan" W. H. Jackson. 
 
 Still Waters" J. J. Montgomery. 
 
 Surf" James F. Cowee. 
 
 A Horse Race " George Barker. 
 
 " Hi, Mister, may we have some Apples ? " Geo. B. Wood. 
 
 Printed on Japan Paper, mounted on boards. Size 11x14, in ornamental 
 port-folio envelope. Price, $3.00. Sent post-paid on receipt of price. 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 DOUBLE NUMBER of the PHOTOGRAPHIC TIMES for 1888. 
 
 CONTAINING 
 
 A Photogravure Frontispiece, from a negative by H. P. Robinson. 
 
 *' Niagara in Winter," also in Photogravure John E. Dumont. 
 
 " Instantaneous Studies in Italy " W. J, Stillman, 
 
 Prof. W. 
 
 K. Burton. 
 
 3oS\S 
 
 AND ARTICLES BY 
 
 W. I. Lincoln Adams, 
 .G.S. C. W. Canfield, 
 
 John Carbutt, 
 Prof. Peter T. Austin, 
 
 Dr. Julius Schnauss, 
 Frank La Manna, 
 W. J. Hickmott, 
 Miss Adelaide Skeel, 
 
 A 71 d others. 
 
 1, Prof. Karl Klauser, 
 
 nailed to any address on receipt of 15 cents. 
 
 :OVER, Pictorial, and illustrating DRAWINGS THROUGH- 
 is. TWENTY-EIGHT pages of Reading Matter, IN ADDI- 
 PAGE PLATES. Just the thing to mail to a friend who is 
 raphy. 
 
 THE PHOTOGEAPHIC TIMES PUBLISHING ASSOCIATION. 
 
 XIX 
 
S. p. C. RETOUCHING FLUID, 
 
 For Varnished or Unvarnished Negatives. 
 Price, per bottle, - - 25 cents. 
 
 GIHON'S OPAQUE. 
 
 Is designed for completely obscuring the imperfect backgrounds 
 of copies, retouching faulty skies in landscape negatives, coating 
 the inside of lenses or cameras, backing solar negatives, cover- 
 ing vignetting boards, etc., etc. Wherever you want to keep out 
 light, use Opaque. It is applied with a brush, dries quickly and 
 sticks. Price, per box $0 50 
 
 RED SABLE BRUSHES. 
 
 In Tin Ferrules. Cedar Handles. 
 For Fine Painting in Oil Colors, or for Coloring Ferrotypes. 
 
 No. Each. No. Each. No. Per Doz. No. Per Doz. 
 
 1 $0 07 7 $0 18 1 $0 80 7 $2 12^ 
 
 2 08 8 20 2 83 8 2 25 
 
 3 09 9 22 3 I 00 9 2 50 
 
 4 10 10 24 4 1 15 10 2 75 
 
 5 12 11 30 5 1 25 11 3 37 
 
 6 15 12 38 6 1 50 12 4 25 
 
 RETOUCHING PENCILS. 
 
 Finest Siberian. 
 
 Faber's, 1 to 4 B's, soft, each $0 15 
 
 HB & F, middling, each ^ ^ 
 
 " 1 to 4 H's, hard, each 
 
 The above, Hexagon, per doz 1 
 
 Holders for Leads, each . . . 
 
 Crowell's Metallic Leads, each 
 
 Wor Sale by 
 
 THE SCOVILL & ADAMS COMPANY 
 
 xviii 
 
RETOUCHING CLASSES. 
 
 German Silver Band. Ebony Handle. 
 
 Each. 
 
 2 inch Lens SO 85 
 
 2i " 1 25 
 
 3 1 75 
 
 3i inch Lens 2 25 
 
 4 " 3 25 
 
 U " 3 75 
 
 RETOUCHING FRAMES. 
 
 No. 1, for 1-4 to 8 X 10 negatives, 
 
 black walnut $3 75 
 
 No. 2, for 1-4 to 11 x 14 negatives, 
 
 black walnut 7 50 
 
 They have a drawer and all 
 modern improvements. 
 
 the 
 
 For sale by 
 
 THE SOOVILL & ADAMS COMPANY. 
 
 TWELVE PHOTOGRAPHIC STUDIES. 
 
 No. l.-A COLLECTION of PHOTOQEAVUEES from the BEST EEPEESENTATIVE PHOTOaEAPHIC 
 NEGATIVES by LEADING PHOTOGEAPHIC ATEISTS. The Collection includes— 
 
 " From Dawn to Sunset, "..H. P. Robinson. 
 
 "Childhood" H. McMichael. 
 
 "As Age Steals On " J. F. Ryder. 
 
 " A Portrait Study " B. J. Falk. 
 
 "Solid Comfort" John E. Dumont. 
 
 Ophelia" H. P. Robinson. 
 
 No Barrier " F. A. Jackson. 
 
 El Capitan" W. H. Jackson. 
 
 ■ Still Waters " J. J. Montgomery. 
 
 Surf" James F. Cowee. 
 
 A Horse Race " George Barker. 
 
 " Hi, Mister, may we have some Apples? " Geo. B. Wood. 
 
 Printed on Japan Paper, mounted on boards. Size 1 1x14, in ornamental 
 port-folio envelope. Price, $3.00. Sent post-paid on receipt of price. 
 
 THE SCOVILL & ADAMS COMPANY. 
 
 DOUBLE NUMBER of the PHOTOGRAPHIC TIMES for 1888. 
 
 CONTAINING 
 
 A Photogravure Frontispiece, from a negative by H. P. Robinson. 
 
 " Niagara in Winter," also in Photogravure John E. Dumont. 
 
 " Instantaneous Studies in Italy " W. J. Stillman, 
 
 AND ARTICLES BY 
 
 Prof. W. K. Burton, 
 
 W. Jerome garrison, F.G.S. 
 
 Rev. W. H. Burbank, 
 
 W. J. Stillman, 
 
 Prof. Charles Ehrmann, 
 
 Dr. Julius Schnauss, 
 Frank La Manna, 
 W. J. Hickmott, 
 Miss Adelaide Skeel, 
 
 A nd others. 
 
 W. I. Lincoln Adams, 
 C. W. Canfield, 
 John Carbutt, 
 Prof. Peter T. Austin, 
 Prof. Karl Klauser, 
 WIN be mailed to any address on receipt of 15 cents. 
 NEW SPECIAL COVER, Pictorial, and illustrating DRAWINGS THROUGH- 
 OUT the Letter-Press. TWENTY-EIGHT pages of Reading Matter, IN ADDI- 
 TION to the FULL-PAGE PLATES. Just the thing to mail to a friend who is 
 interested in Photography. 
 
 THE PEOTOGEAPHIC TIMES PUBLISHING ASSOCIATION. 
 
 xix 
 
i 
 
 I