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Naturalistic Photography for Students of the Art. cover

Naturalistic Photography for Students of the Art.

Chapter 76: INDEX.
By P. H. Emerson
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About This Book

The author lays out principles for a naturalistic approach to photography, arguing for faithful observation of nature and artistic intention. Practical chapters explain equipment choices, camera handling, exposure, development, and printing techniques aimed at producing pictorial images that emphasize tonal range and composition. Advice interleaves technical instruction with aesthetic guidance on subject selection, framing, use of light and texture, and methods to achieve expressive, painterly results. Illustrative examples and procedural notes demonstrate how to translate seeing into finished prints, while also addressing common pitfalls and practical considerations for students.

INDEX.

  • Abney, Captain, F.R.S., 13, 160, 182.
  • ——’s fog-clearing solution, 176.
  • —— hyposulphite of soda eliminator, 175.
  • —— on exposure, tables, 160.
  • —— “Photography with Emulsions,” 162.
  • —— “Treatise on Photography,” 294.
  • Abolition of medals, 226.
  • Accidents and faults in dry plates, 174.
  • —— to the camera, 132.
  • Adam Salomon, 147, 252.
  • —— —— on retouching, 187.
  • —— ——’s portraits, 279.
  • Æolus, 254.
  • Aërial perspective, 248.
  • After-treatment of plates, 173.
  • Agatharchos, 34.
  • Aim of “Naturalistic Photography,” 8, 29.
  • Albums, 220.
  • Alkaline developer, 170.
  • “Amateur” and “Professional” photographers, 12.
  • American art, 78.
  • —— wood engraving, 273.
  • Amount of landscape to be included in a picture, 255.
  • Analysis, 17.
  • Ancient Greek and Italian art, 33.
  • Anderson’s “Pictorial Arts of Japan,” 54.
  • Angelo, Michael, 64, 93.
  • Angle of view, 139.
  • “Antiques” for tourists, 39.
  • Apelles, 36.
  • Apollodoros, 35.
  • Apotheosis of Homer, 41.
  • Apparatus, 141, 257.
  • Appendix, I., 293.
  • —— II., 295.
  • Aquatint, 277.
  • Aristotle, 23.
  • Art, 17.
  • —— among the Philistines, 52.
  • —— and culture, 258.
  • —— and legerdemain, 255.
  • —— and photography, 5.
  • —— at home, 258.
  • —— blocks, 204.
  • —— criticism, 39.
  • —— division, 10.
  • —— principles, 114.
  • —— of feeling nature, 250.
  • “Artist photographer,” 254, 257.
  • Artistic, 18.
  • “Artistic opals,” 257.
  • “Art-Science,” 18.
  • Artificial light, 147.
  • Assyrian art, 32.
  • —— bas-reliefs, 33.
  • —— lion hunt, 33.
  • Astigmatism, 100.
  • Astronomical photography, 2.
  • Atkinson, Dr., 22.
  • Atmosphere, 115.
  • Bad wood engraving, 255.
  • Backgrounds, 146, 243.
  • Bags, 129.
  • Balance, 248.
  • Barometer of Naturalism, 95.
  • Baseboard of Camera, 126.
  • Bastien-Lepage, 90.
  • Beautiful poses, 256.
  • Bewick, 70, 273.
  • Binocular vision, 111.
  • Biting process, A second, 216.
  • Bitten plates, 212, 214, 216.
  • Blind spot, 100.
  • Blisters, 176.
  • Bloxham’s “Laboratory teaching,” 162.
  • Bolas' “Cantor Lectures,” 295.
  • Books on art, 293.
  • —— recommended, 294.
  • Boucher, 85.
  • Bouquet, 157.
  • Boy and thorn, 41.
  • Branches of Photography, 8.
  • Breadth, 18, 240, 255.
  • Breton, Jules, 91.
  • British Museum, 40.
  • Brown fog, 176.
  • Bruciani’s plaster casts, 93.
  • Brunn, 35.
  • Buddhism, 54.
  • Bunsen, Professor, 158.
  • Burnet’s “Treatise on Painting,” 238.
  • —— “Laws of Composition,” 238.
  • Burns, Robert, 24.
  • Busy Insanity, 258.
  • Byzantine art, 46.
  • Cadett’s studio-shutter, 146.
  • Callcott, 77.
  • Camera, 125.
  • ——, choice of, 125, 126.
  • —— clamp, 129.
  • ——, hand, 132.
  • ——, length of, 127.
  • ——, register test for, 132.
  • ——, size of, 126.
  • ——, square, 127.
  • ——, studio, 128, 146.
  • Camera obscura, 66, 149.
  • Cameron, Mrs., 152, 164, 189.
  • Canova, 94.
  • Caracalla’s bust, 40.
  • Carbon printing, 191.
  • Catacombs, 45.
  • Cellini-Benvenuto, 93.
  • Chalk drawing, 270.
  • “Character” in portraiture, 252.
  • Charcoal drawing, 276.
  • Charlemagne, 47.
  • Chemicals, 169.
  • Chemical solutions, 142.
  • Chemistry and Photography, 2.
  • Chiaro-oscuro, 35, 239.
  • Chinese Art, 54, 58.
  • —— renascence, 55.
  • Choice of district to work in, 246.
  • —— —— lens, 136.
  • Christmas Cards, 257.
  • Cimabue, 49.
  • Classification of Exposures, 154.
  • Clays, 75.
  • “Clearness,” 259.
  • Cloud negatives, 197.
  • Cold process in platinum printing, 194.
  • College of Photography, 13.
  • Collotypes, &c., 205.
  • Colls, W. L., 209.
  • —— —— on Photogravure, 211.
  • Colour, 18, 108.
  • ——, differences of, 108.
  • —— of Platinotype prints, 196.
  • —— of landscape in sunshine, 257.
  • Combination printing, 197, 199.
  • Commercial groups, 244.
  • Commodus' bust, 41.
  • Composite, photography, 137.
  • Composition, 237, 238, 240, 248.
  • Constable, 75, 227, 268.
  • Constable’s dicta on art, 75.
  • Contents of “Naturalistic Photography,” 8.
  • Cooke, 77.
  • Copper-plate printing, 210.
  • Copy of schedule for copyrighting, 222.
  • Copyright, 221.
  • Cordianus' bust, 40.
  • Corot, 85.
  • Correggio, 65.
  • Cover for developing dish, 142.
  • Cox, David, 73.
  • Creative artist, 19.
  • Creswell, 77.
  • Criticism, 29, 259.
  • Critics, 259.
  • Crome, Old, 75, 76.
  • Cuyp, 83.
  • Daguerre and the French Academy, 1.
  • Dallmeyer’s new long-focus lenses, 135.
  • Damages for infringement of copyright, 224.
  • Dark room and apparatus, 141.
  • —— ——, ventilation of, 141.
  • Darwin, Charles, on photographs, 278.
  • Daubigny, 86.
  • Da Vinci, 27, 64.
  • Dawson, A., 209.
  • Decoration, D'Oyleys, 264.
  • ——, of hangings, 264.
  • ——, wall papers, 264.
  • ——, windows, 262.
  • Decorative art, 260.
  • —— ——, enamels, 262.
  • —— ——, panels and friezes, 261, 262.
  • —— ——, tiles, 262.
  • Defects in gelatine plates due to damp, 178.
  • De Hooghe, 75, 83.
  • De la Croix, 85.
  • De la Roche, 85.
  • Del Sarto, Andrea, 65.
  • Della Robia, 93.
  • Dense negatives, 177.
  • Deposits on the film, 178.
  • “Depth of focus,” 139.
  • Descamps, 85.
  • Desideratum, A great, 206.
  • Developing rule, A, 141, 168.
  • Development, 162.
  • —— by artificial light, 172.
  • ——, meteorological conditions in, 167.
  • ——, method of, 167.
  • ——, slow, 167.
  • De Wint, 73.
  • Diagrammatic blocks and plates, 204.
  • Diaphragm, 138.
  • Direct and indirect vision, 102.
  • Direction of light, Law of, 102.
  • Dirty backs of negatives, 178.
  • Dishes, 142.
  • Dispersion of light, 99.
  • Dixon and Gray’s Orthochromatic Photography, 284.
  • Doctoring negatives, 189.
  • Donatello, 92.
  • Double-backs, 129.
  • Drainage rack, 142.
  • Drawing of photographic lenses, 118, 136.
  • Dull spots and pits on negatives, 179.
  • Dulwich Gallery, 68, 69, 70.
  • Duplicate plates, 173.
  • Durer, Albert, 23, 61.
  • Dutch Art, 80.
  • Early Christian Art, 44
  • Easel pictures, 35.
  • Eastern Art, 52.
  • Eder’s, Dr., Intensifier, 175.
  • —— ——, “Modern dry plates,”plates,” 294.
  • —— potash developer, 171.
  • —— reducer, 177.
  • Educated sight, 233, 238.
  • Edwards’s, B. J., clearing solution, 177.
  • —— —— orthochromatic plates, 182.
  • —— —— yellow screens, 182.
  • Egypt, Ancient, works to be studied, 31.
  • Egyptian art, 30.
  • —— artists, 32.
  • —— lions, 31.
  • Emerson on “Ventilation of the dark room,” 141.
  • ——’s “Ammonia poisoning,” 141.
  • —— “An ideal photographic exhibition,” 227.
  • —— “Photography; a pictorial art,” 9.
  • —— “Pharyngitis and Photography,” 141.
  • Emperors' School, 46.
  • Engineering and Photography, 3.
  • English Art, 69.
  • —— sculpture, 94.
  • —— v. French photogravure, 209.
  • Enlargements, 200.
  • Enlarging and tonality, 201.
  • Enquiry into Naturalism in Art, 28.
  • Etching, 81, 274.
  • Eupompos, 36.
  • Evolution in Art, 61.
  • Exhibitions, 225.
  • Experiment for forming a rough rule for use of lenses, 136.
  • Exposure, 154.
  • ——, method of, 154.
  • ——, variation of, 157.
  • Exposures, classification of, 154.
  • ——, lens and stop in, 157.
  • ——, meteorological conditions in, 157.
  • ——, no rule for, 159.
  • ——, quick, 154, 155, 156.
  • Exposures, time, 155.
  • ——, shutter, 156.
  • ——, tables of, 160.
  • Expression, 252.
  • Fabius, 38.
  • Fading of prints, 192.
  • Failure, 257.
  • Falsity of photographic portraits, 255.
  • Fantin’s flowers, 152.
  • Fechner’s Law, 107.
  • Ferro-prussiate printing paper, 194.
  • Ferrous-oxalate developer, 169.
  • Fiddle-brown trees, 258.
  • Figure and landscape, 251.
  • Fine Art, 19.
  • Finish, 257.
  • Flare-spot, 139.
  • “Flat and weak” negatives, 255.
  • Flemish Art, 69.
  • Fluorescence, 100.
  • Focussing, 101, 148.
  • ——, example of, 150.
  • ——, mental attitude in, 148.
  • ——, rule for, 119, 150.
  • —— the eye, 101.
  • Fog, 175.
  • Forensic medicine and photography, 4.
  • Forfeiture of pirated works, 224.
  • Fortuny, 68.
  • Foster’s, W. Michael, Physiology, 97.
  • Fovea Centralis, 101.
  • Frames, 219.
  • Framing, 218.
  • French (Modern) Art, 84.
  • Frilling, 176.
  • Fuseli, 70.
  • Fuzziness, 120.
  • Gainsborough, 70.
  • Gambling for medals, 227.
  • Ganot’s “Physics,” 134.
  • Gelatino-bromide paper, 192.
  • Gelatino-chloride paper, 192.
  • Geography and photography, 3.
  • German (Modern) Art, 61, 68.
  • Ghiberti, 92.
  • Gibson Gallery, 43.
  • Giotto, 49.
  • Girtin, 73.
  • Glass slabs, 143.
  • Glazing a studio, 145.
  • “Good Art,” 256.
  • Goodall, T. F., on colour, 18.
  • —— ——, on composition, 287.
  • —— ——, “Mere transcriptstranscripts of Nature,” 26.
  • —— ——, on photography, 297.
  • Good work, 257.
  • Gothic Art, 48.
  • Greek and Græco-Roman sculpture, 39.
  • —— and Italian Art, 33.
  • —— chiaroscuro, 35.
  • —— coins, 42.
  • —— landscape art, 38.
  • —— painting, 34.
  • —— perspective, 35.
  • —— scene-painting, 35.
  • —— vases, mosaics, and stone paintings, 38.
  • Green fog, 176
  • Green plates, 252.
  • Greuze, 85.
  • Ground-glass pictures, 149.
  • Groups, 244.
  • Grown plates, 212.
  • Guilds, The, 48, 50.
  • Halation, 177.
  • Hamerton on Photography, 278.
  • Hand cameras, 132.
  • Hardwich and Taylor’s “Photographic Chemistry,” 294.
  • Harrison, 78, 79.
  • ——'s, J., “History of Photography,” 294.
  • Head-rests, 146.
  • Heffner, 68.
  • Helmholtz, Professor, 103, 108, 109, 110, 111.
  • Henderson’s enamels, 262.
  • Hering’s theory, 108.
  • Hick’s opaque measuring-glasses, 142.
  • “High Art,” 20, 185.
  • Hints on copper-plate printing, 210.
  • Hints on development, 164, 165.
  • —— — lenses, 140.
  • —— — photo-etching, 210.
  • —— — pictorial art, 254.
  • —— — platinotype printing, 195.
  • Historical value of Assyrian bas-reliefs, 33.
  • History of Greek painting, 34.
  • Hobbema, 83.
  • Hodgson’s “Modern methods of book illustration,” 294.
  • Hogarth, 69.
  • Hokusai, 58.
  • Holbein, Hans, 63.
  • Homer’s bust, 41.
  • Hood for camera, 128.
  • Horizon line, 44.
  • Horse of Selene, 42.
  • Hunt’s, W., “Talks on Art,” 79, 124, 292.
  • Hydrokinone developer, 171.
  • Ideal, 20.
  • Idealism, 29.
  • Imaginative, 22.
  • Impression, 118, 249.
  • Impressionism, 22.
  • Impressionists, Modern, 120.
  • Impressions v. absolute fact, 131.
  • Index, 303.
  • Individuality, 258.
  • Indoor work, 243.
  • Industrial arts and photography, 4.
  • Industrial division, 11.
  • Ingres, 85.
  • Intensification, 175.
  • Intensity of lenses, 138.
  • —— —— light, 103.
  • Interiors, 257.
  • Interpreting nature, 22.
  • Introduction, 1.
  • Israels, Josef, 83.
  • Ivan the Terrible, 47.
  • Japanese Art, 54, 58.
  • —— ——, 1st Period, 54.
  • —— ——, 2nd Period, 54.
  • —— ——, 3rd Period, 55.
  • —— ——, 4th Period, 57.
  • —— —— at British Museum, 58.
  • —— —— Commissioners, 58.
  • Japers at photography, 259.
  • Jewellery, 244.
  • Justinian, 46.
  • Kano School, 56.
  • Kauffman, 70.
  • Kaulbach, 68.
  • Kôrin, 57.
  • Lamp for developing-room, 195.
  • ——, travelling, 142.
  • Landscape, 245.
  • Landseer, 77.
  • —— ——’s lions, 31.
  • Lantern slides, 202, 203.
  • Law of projection, 102.
  • —— —— corresponding points, 102.
  • —— —— visible direction, 103.
  • Laws of composition, 237.
  • Lawrence, Sir Thos., 120.
  • Lea, Carey, Dr., 180.
  • Lead-pencil drawing, 270.
  • Le Brun, 84.
  • Le Conte’s, Prof., Division, 98.
  • Lenses, 134.
  • —— for special purposes, 137.
  • —— recommended, 135.
  • L'Envoi, 266-269.
  • Leslie, 77.
  • ——’s “Life of Constable,” 293.
  • Lewes, G. H., 20.
  • Lhermitte, 91.
  • Libraries and Photography, 4.
  • Liesgang’s “Manual of Carbon Printing,” 295.
  • “Life” of the model, 256.
  • Light, 98.
  • Lighting of picture, 118.
  • Limits of art, 256.
  • Limpet-shell markings, 178.
  • “Lines,” 247.
  • Line Engraving, 271.
  • Linnell, 77.
  • Lithography, 271.
  • Little Masters, 271.
  • Local colour, 22.
  • —— development, 171.
  • Lömmer’s, Dr., “Optics and Light,” 294.
  • Lorraine, Claude, 84.
  • Low-Art, 22.
  • Ludius, 38.
  • Maclise, 77.
  • Macula lutea, 101.
  • Makart, 68.
  • Man and vulgarity, 254.
  • Marblings in negatives, 178.
  • Masks, 199.
  • Mason, 77.
  • Massys, Quintin, 60.
  • Masters, 96.
  • Masters of the minor arts, 289.
  • Matahei, 56.
  • Material for dresses, 244.
  • Measuring-glasses, 142.
  • Medals, Art, 226.
  • Mediæval Art, 47.
  • —— ——, glass paintings, 48.
  • —— ——, guilds, 48, 50.
  • —— ——, miniaturists, 47.
  • Medical and Biological Photography, 3.
  • Meichō, 55.
  • Melanthios, 36.
  • Merit of photographs, 254.
  • Metallic patches on negatives, 179.
  • Meteorology and Photography, 3, 157.
  • Meteorological conditions and development, 167.
  • Method of copyrighting, 221.
  • —— —— reproducing negatives from nature for copperplate process, 212.
  • Mezzotint engraving, 277.
  • Microscopy and Photography, 2.
  • Military and Naval Photography, 4.
  • Millet, Jean François, 44, 86, 232.
  • ——’s dicta on art, 86.
  • Miniatures, 46.
  • Modern French School of Painting, 43, 91.
  • —— —— —— —— Sculptors, 94.
  • Modified stops, 138.
  • Mohammedan Art, 52.
  • Monarchies of Western Asia, 32.
  • Monochrome Painting, 276.
  • Morland, 70.
  • Mosaics, 45, 46.
  • Mouldings, 219.
  • Mountants, 218.
  • Mounting, 218.
  • Mounts, 219.
  • Müller, 77.
  • Müller’s Law, 102.
  • Mulready, 77.
  • Munkacsy, 68.
  • Murillo, 68.
  • Muybridge’s cantering horse, 42.
  • —— —— photographs, 161.
  • Mystery of Nature, 257.
  • Nasmyth, 77.
  • National Gallery, 60, 63, 65, 66, 67, 69, 73, 77, 80, 83.
  • Naturalism, 22.
  • —— in Art, 28.
  • —— in decorative Art, 260.
  • Naturalistic photography, 259.
  • —— work, 258.
  • Nature and photography, 259.
  • —— —— pictures, 258.
  • Nature and sanity, 258.
  • Nature of a copyright, 223.
  • Negative finishing, 179.
  • Negatives for decorative work, 262.
  • Nero’s bust, 40.
  • Newton, Sir W. J., 152.
  • Nicol, Dr., on sensitometer, 160.
  • Ni Ō, The, 54.
  • Nobuzané, 55.
  • Nude, 54.
  • Ōkió, 57.
  • On breadth and simplicity, 255.
  • —— copyright agreement, 221.
  • —— “form,” 256.
  • —— “going in for photography,” 255.
  • —— impression and fact, 118.
  • —— opinions on art, 258.
  • —— publishing, 257.
  • —— reproduction, 256.
  • —— studying photography, 256.
  • —— success, 257.
  • Optic nerves, 97.
  • Optics, 134.
  • Original Artist, 24.
  • Origin of retouching, 186.
  • Ortho-chromatic Photography, 181.
  • Out-door portraiture, 243.
  • —— work, 243.
  • “Outings,” 246.
  • Outline drawing, 269.
  • Over-exposure, 174.
  • Over-production, 169.
  • Palæolithic stone scratchings, 269.
  • Pamphilos, 36.
  • Paper negatives, 180.
  • Paris Salon, 91.
  • Parrhasios, 35.
  • Parthenon Frieze, 42.
  • Pausias, 36.
  • Pecuniary Penalties for infringing copyright, 224.
  • Pen and Ink drawing, 270.
  • Perspective, 35, 112, 239.
  • Perspective, four kinds of, 112.
  • Pertinax’s bust, 40.
  • Phenomena of sight and art principles deducted therefrom, 97.
  • Photographs as historical records, 257.
  • “Photographic,” 24.
  • —— —— haunts, 247.
  • —— —— Libraries, 294.
  • —— —— Society of Great Britain, 185, 227.
  • “Photographics,” Dr. Wilson’s, 144.
  • Photographing Clouds, 198.
  • Photography, 277.
  • —— —— and Art, 259.
  • —— —— a pictorial art, 269.
  • —— —— applied to decorative art, 261.
  • Photo-etching, 207.
  • Photo-mechanical printing processes, 204.
  • —— —— classification of, 204.
  • Pictorial Art, 230.
  • Picture-buyers, 53.
  • Pin-hole photography, 131.
  • “Pisanello,” 93.
  • Pisano, Andrea, 92.
  • ——, Niccola, 49, 92.
  • ——, Nino, 92.
  • ——, Vittore, 93.
  • Plate-making, 163.
  • Plates, 163.
  • Plate-washer, 142.
  • Platinotypes, 205.
  • —— —— for book illustration, 205.
  • —— ——, framing of, 219.
  • —— ——, “sinking in” of, 205.
  • —— ——, spotting, 195.
  • —— ——, texture of, 195.
  • Platinotype Company, 195.
  • —— ——, new cold process, 194.
  • Poetry in works of art, 250.
  • Point of sight, 254.
  • Poitevin’s method of enamelling, 263.
  • Polygnotos, 34.
  • Portraits taken with rapid rectilinear lens, 137.
  • Portraiture, 243, 252.
  • —— in studio, 252.
  • Posthumous portraits and busts,185.
  • Poussin, 84.
  • Practical Hints, 254.
  • Preface, V.
  • Pre-Raphaelites (modern), 25.
  • Prettiness, 256.
  • Principles of studio lighting, 252.
  • —— of Decorative art, 261.
  • Printing, 191.
  • —— frames, 143.
  • —— clouds, 198.
  • —— papers, 191.
  • Prints, 191.
  • ——, carbon, 191.
  • ——, gelatino-chloride, 192.
  • ——, gelatino-bromide, 192.
  • ——, permanency of, 192.
  • ——, platinotype, 191.
  • ——, silver, 191.
  • ——, tonality of, 192.
  • Print-sellers, 7, 81.
  • Pritchard’s, Baden, “Studios of Europe,” 262.
  • Prizes for “set subjects,” 254.
  • Procrastination, 255.
  • Prolonged and patchy fixings, 178.
  • Protogenes, 37.
  • Pseudo-scientific photographers and art, 254.
  • Psychological data of sight, 111.
  • Quality, 24, 256.
  • —— of greatness, 257.
  • Qualities of a picture, 251.
  • —— of good lenses, 140.
  • Queer judges, 227.
  • Raphael, 65.
  • Realism, 24.
  • Red-carbon process for decorative work, 262.
  • Red fog, 176.
  • Reflections and shadows, 256.
  • Reflectors, 146.
  • Reform in exhibitions, 227.
  • Registration of photographs, 223.
  • Rejlander, O., 199.
  • ——, on combination printing, 199.
  • ——, on retouching, 188.
  • Relative tone or value, 25.
  • “Rembrandt pictures,” 254.
  • Rembrandt’s etchings, 81.
  • —— paintings, 80.
  • Remedies for infringement of copyright, 224.
  • Removal of varnish from negatives, 178.
  • Renascence, European, 59.
  • Replicas, 224.
  • Resolution, 254.
  • Retouching negatives, 184.
  • —— ——, Adam Salomon on, 187.
  • —— ——, Cameron, Mrs., on, 189.
  • —— ——, Definition of, 184.
  • —— ——, Rejlander on, 188.
  • Retrospect of Photography, 2.
  • Reubens, 69.
  • Reynolds, Sir J., 69.
  • —— on rules, 241.
  • Rhetoricians, Roman, 39.
  • Rhyparographi, The, 37.
  • Ribera, 66.
  • Rising front of camera, 129.
  • Roller slides, 180.
  • Roman Art, 38.
  • Roscoe’s “Lessons in Elementary Chemistry,” 162.
  • Rousseau, 85.
  • Ruby glass, 141.
  • Sable-hair brush, 142.
  • Sargent, 78, 79.
  • Sawyer’s, J. R., “ABC of Carbon Printing,” 294.
  • Scales, 143.
  • Scene-painting, 34.
  • Science and Art, 295.
  • —— division, 11.
  • Scientific diagrams, 152.
  • —— photographic work to be reconsidered, 136.
  • Scratches on plates, 179.
  • Sculpture, 92.
  • Sea-air and dry plates, 178.
  • Sensational in nature, 256.
  • Sensitometer, Warneke’s, 159.
  • ——, Dr. Vogel on, 159.
  • Sentiment, 25, 256.
  • —— and poetry, 256.
  • Sentimentality, 25.
  • Sesshiū, 56.ū
  • Setting up the Camera, 129.
  • “Sharpness,” 257.
  • Shijo School, 57.
  • Shiūbun, 55.
  • Sight, 7.
  • Size of plate, 127.
  • Slabs of glass, 143.
  • Slow development, 167.
  • Soga chokman, 56.
  • —— Jasoku, 55.
  • Soul, 25.
  • South Kensington Museum, 74, 77, 79, 93.
  • Spanish (modern) Art, 67.
  • Spherical aberration, 99.
  • Spiller, A., “on permanency of gelatine-bromide prints,” 192.
  • Spirit-Levels, 126.
  • Spontaneity, 257.
  • Spotting negatives, 189.
  • —— prints, 195.
  • Spurious pictures, 224.
  • Standard developer, 170.
  • Stansfield, 77.
  • Stereoscopic Slides, 202.
  • Stolen bits, 258.
  • “Stopping down,” 149.
  • “Stops,” 138.
  • St. Peter’s Statue at Rome, 45.
  • Studio, 144.
  • ——, building, 144.
  • ——, camera, 128, 146.
  • ——, Dr. Wilson’s specifications for, 144.
  • —— effects, 147.
  • —— furniture, 145.
  • —— glazing, 145.
  • —— lighting, 147.
  • ——, objets d’art, 145.
  • ——, principles of lighting, 144, 252.
  • ——, rule for lighting, 147.
  • ——, top and side light, 144.
  • —— walls, 145.
  • Study of Chemistry, 162.
  • —— Tone, 173.
  • Subject of a picture, 250.
  • Sun and shadows, 259.
  • Supplementary poles, 129.
  • Surveying and Photography, 3.
  • Swing-backs, 130.
  • ——, use of, 130.
  • Swiss Art, 63.
  • Table of contents, ix.
  • Taine’s “La philosophe de l’art Grec,” 43.
  • Teaching of Art, 294.
  • Technical criticism, 43.
  • Technique, 26, 123, 293.
  • —— and practice, 123.
  • Teniers, 69.
  • Terminology, 17.
  • Textures of printing papers, 195.
  • Theban-Attic School, 36.
  • Theon of Samos, 37.
  • Thirteenth Century Sketchbook, 49.
  • Thorwaldsen, 94.
  • Thumb-screws, 126.
  • Timanthes, 35.
  • Timomachos, 38.
  • Titian, 66.
  • Tonality and development, 164.
  • Tone, 26, 115, 248.
  • Topography, 258.
  • Torso at British Museum, 41.
  • Trajan’s bust, 40.
  • “Transcript of Nature,” 26.
  • Transparencies, 202.
  • Transparent spots in negatives, 177.
  • Travelling lamps, 142.
  • “Treatise on Painting,” 237, 238.
  • Treatment of model, 244.
  • Tripod head, 128.
  • Tripods, 128.
  • Troyon, 86.
  • Turbidity of media of the eye, 100.
  • Turner, 73.
  • ——’s “Frosty Morning,” 74.
  • Tyndall, Prof., 158.
  • Tyndall’s “Lectures on Light,” 12, 294.
  • Typographic blocks, 205.
  • —— Etching Company, 208.
  • Under exposure, 174.
  • Undeveloped Islands, 179.
  • Value of a picture, 256.
  • Van der Velde, 83.
  • Vandyck, 69.
  • Van Eyck, The brothers, 59.
  • ——’s portrait, 60.
  • Vanity, 257.
  • Van Ostade, 69, 82.
  • Varnish, Dr. Carey Lea’s, 180.
  • ——, removal of, 178.
  • Varnishing a negative, 179.
  • Velasquez, 67.
  • Verestchagin, 68.
  • View-finder, 138.
  • —— -maker, 100.
  • Vigilance committees for plates, 163.
  • Vignetting, 196.
  • Vogel, Dr., 177.
  • ——, on chemical action of sky, 158.
  • ——, exposure tables, 160.
  • —— Warneke’s sensitometer, 159.
  • —— altochromatic plates, 182.
  • Vulgarity, 255.
  • Walker, F., 77.
  • Walker and Eastman films, 180.
  • Water-colours, 53, 71.
  • Watteau, 84.
  • Welford and Sturmey’s “Photographer’s Indispensable Handbook,” 295.
  • Wet-plate process, 163.
  • Whistler, J. M., 16, 78.
  • ——, on mounts, 218.
  • ——, “Art and Art critics,” 78.
  • ——, “Ten o’clock,” 78.
  • Wilkie, 77.
  • Wilkinson’s “Ancient Egyptians,” 32.
  • Willis, W., Jun., 193.
  • Wilson, 69.
  • Wilson’s, Dr. E., “Burnet’s Treatise on Painting,” 237, 294.
  • Wilson’s, Dr. E., “Photographics,” 144.
  • Woermann, Dr., 28.
  • Woltmann, Dr., 28.
  • Wood-engraving, 71, 272.
  • Work and faith, 255.
  • “Working up” in oils, &c., 184.
  • Wu-Tao-Tsz, 59.
  • “Year’s Art for 1887,” 223.
  • Year-book of Photography and Photo News Almanac, 1885-87, 141.
  • —— —— and British Journal Almanac, 1887, 141.
  • Yellow fog, 176.
  • Yellow stains on negative, 177.
  • Young Satyr at British Museum, 41.
  • Zeuxis, 35.