| PAGE | ||
| Preface | vii | |
| Table of Contents | ix | |
| INTRODUCTION. | ||
| Daguerre at a séance of the French Academy, Aug., 1839 | 1 | |
| Retrospect of work done by Photography since 1839 | 2 | |
| Influence of Photography on the Glyptic and Pictorial Arts, and vice versâ | 5 | |
| Aim of this book | 8 | |
| The Naturalistic School of Photography | 8 | |
| A word to artists | 9 | |
| The three branches of Photography—Artistic, Scientific, and Industrial:— | ||
| A. Art Division | 10 | |
| B. Science Division | 11 | |
| C. Industrial Division | 11 | |
| “Professional and Amateur” photographers | 12 | |
| A College of Photography | 13 | |
| The Future of Photography | 13 | |
| BOOK I. | ||
| TERMINOLOGY AND ARGUMENT. | ||
| CHAPTER I. | ||
| Terminology. | ||
| Preamble | 17 | |
| Analysis | 17 | |
| Art | 17 | |
| “Art-Science” | 18 | |
| Artistic | 18 | |
| Breadth | 18 | |
| Colour | 18 | |
| Creative Artist | 19 | |
| Fine Art | 19 | |
| High Art | 20 | |
| Ideal | 20 | |
| Imaginative | 22 | |
| Impressionism | 22 | |
| Interpreting Nature | 22 | |
| Local Colour | 22 | |
| Low Art | 22 | |
| Naturalism | 22 | |
| Original Work | 24 | |
| Photographic | 24 | |
| Quality | 24 | |
| Realism | 24 | |
| Relative Tone or Value | 25 | |
| Sentiment | 25 | |
| Sentimentality | 25 | |
| Soul | 25 | |
| Technique | 26 | |
| Tone | 26 | |
| Transcript of Nature | 26 | |
| CHAPTER II. | ||
| Naturalism in Pictorial and Glyptic Art. | ||
| An inquiry into the influence of the study of Nature on Art | 28 | |
| Egyptian Art | 30 | |
| Monarchies of Western Asia | 32 | |
| Ancient Greek and Italian Art | 33 | |
| Early Christian Art | 44 | |
| Mediæval Art | 47 | |
| Eastern Art—Mohammedan | 52 | |
| Chinese and Japanese Art | 54 | |
| The Renascence | 59 | |
| From the Renascence to Modern Times | 67 | |
| A. Spanish Art | 67 | |
| B. German Art | 68 | |
| C. Flemish Art | 69 | |
| D. English Art | 69 | |
| E. American Art | 78 | |
| F. Dutch Art | 80 | |
| G. French Art | 84 | |
| H. Sculpture | 92 | |
| Retrospect | 94 | |
| CHAPTER III. | ||
| Phenomena of Sight, and Art Principles deduced therefrom. | ||
| Introduction and Argument | 97 | |
| Optic Nerves | 97 | |
| Le Conte’s Classification of the subject | 98 | |
| Physical characters of the eye as an optical instrument | 98 | |
| Direction of Light | 102 | |
| Intensity of Light | 103 | |
| Colour | 108 | |
| Psychological data, and binocular vision | 111 | |
| Perspective, depth, size, and solidity | 112 | |
| Art principles deduced from the above data | 114 | |
| BOOK II. | ||
| TECHNIQUE AND PRACTICE. | ||
| CHAPTER I. | ||
| The Camera and Tripod. | ||
| The Camera | 125 | |
| Choice of a camera; tripod and bags | 125 | |
| Manipulating the Camera | 129 | |
| Pin-hole Photography | 131 | |
| Accidents to the Camera | 132 | |
| Hand Cameras | 132 | |
| CHAPTER II. | ||
| Lenses. | ||
| Optics | 134 | |
| Dallmeyer’s long-focus rectilinear landscape lens | 135 | |
| False drawing of photographic lenses | 136 | |
| Hints on the correct use of the lens | 136 | |
| Lenses for special purposes | 137 | |
| Diaphragms or “stops” | 138 | |
| Physical qualities of Lenses | 138 | |
| Hints on lenses | 140 | |
| CHAPTER III. | ||
| Dark Room and Apparatus. | ||
| Dark Room | 141 | |
| A developing rule | 141 | |
| Ventilation of dark room | 141 | |
| Apparatus | 141 | |
| CHAPTER IV. | ||
| Studio and Furniture. | ||
| Studio | 144 | |
| Studio Furniture | 145 | |
| Studio effects. A rule for studio lighting | 147 | |
| CHAPTER V. | ||
| Focussing. | ||
| How to focalize | 148 | |
| The ground-glass picture | 149 | |
| Examples and Illustration in point | 150 | |
| CHAPTER VI. | ||
| Exposure. | ||
| Ways of Exposing | 154 | |
| Rule for Exposing | 154 | |
| Classification of Exposures | 154 | |
| A. Quick Exposures | 155 | |
| B. Time Exposures | 155 | |
| Exposure Shutters | 156 | |
| Variation of exposure, and conditions causing them | 157 | |
| On Exposure Tables | 160 | |
| CHAPTER VII. | ||
| Development and Negative Finishing. | ||
| Study of Chemistry | 162 | |
| On Plate making | 163 | |
| Wet-plate process | 163 | |
| Tonality and development | 166 | |
| On developing | 170 | |
| On developers | 171 | |
| Local development | 171 | |
| On the study of tone | 173 | |
| Accidents and faults, and their remedies | 174 | |
| Varnishing the negative | 179 | |
| Roller slides and paper negatives | 180 | |
| Orthochromatic photography | 181 | |
| CHAPTER VIII. | ||
| Retouching. | ||
| Definition of retouching | 184 | |
| On working up photographs | 184 | |
| On retouching | 186 | |
| Adam Salomon and Rejlander on retouching | 187 | |
| CHAPTER IX. | ||
| Printing. | ||
| Various printing processes | 191 | |
| The Platinotype process | 195 | |
| Vignetting | 196 | |
| Combination printing | 197 | |
| On cloud negatives and printing in of clouds | 198 | |
| CHAPTER X. | ||
| Enlargements. | ||
| On enlarging | 200 | |
| CHAPTER XI. | ||
| Transparencies, Lantern and Stereoscopic Slides. | ||
| Transparencies | 202 | |
| Lantern Slides | 202 | |
| Stereoscopic Slides | 202 | |
| CHAPTER XII. | ||
| Photo-mechanical Processes. | ||
| Photo-mechanical processes | 204 | |
| A. For diagrams and topographical work | 204 | |
| B. For pictures | 204 | |
| Photo-etching | 207 | |
| The Typographic Etching Co. | 208 | |
| Hints for those having plates reproduced by photo-etching | 210 | |
| W. L. Colls on “Methods of reproducing negatives from Nature for the copper-plate press” | 212 | |
| CHAPTER XIII. | ||
| Mounting and Framing. | ||
| Mountants | 218 | |
| Mounts | 219 | |
| Frames | 219 | |
| Albums | 220 | |
| CHAPTER XIV. | ||
| Copyrighting. | ||
| On copyrighting | 221 | |
| Method of copyright | 221 | |
| Law of copyright | 222 | |
| CHAPTER XV. | ||
| Exhibiting and Exhibition. | ||
| Exhibitions | 225 | |
| Medals | 226 | |
| Judges | 227 | |
| CHAPTER XVI. | ||
| Conclusion. | ||
| Conclusion | 229 | |
| BOOK III. | ||
| PICTORIAL ART. | ||
| CHAPTER I. | ||
| Educated Sight. | ||
| Men born blind | 233 | |
| Education of Sight | 234 | |
| CHAPTER II. | ||
| Composition. | ||
| On Composition | 237 | |
| Burnet’s “Treatise on Painting” | 238 | |
| CHAPTER III. | ||
| Out-door and In-door Work. | ||
| Out-door portraiture | 243 | |
| Landscape | 245 | |
| On picture-making | 250 | |
| Figure and Landscape | 251 | |
| Studio-portraiture | 252 | |
| CHAPTER IV. | ||
| Hints on Art. | ||
| Practical hints | 254 | |
| CHAPTER V. | ||
| Decorative Art. | ||
| Decorative art | 260 | |
| Naturalism in decorative art | 260 | |
| Photography as applied to decorative art | 261 | |
| Principles of decorative art | 261 | |
| Practice of decorative art | 261 | |
| L'ENVOI. | ||
| Photography—a Pictorial Art. | ||
| On different art methods of expression | 269 | |
| Answers to criticism on “Photography a pictorial Art” | 278 | |
| Artists on Photography | 279 | |
| Some masters of the minor arts | 289 | |
| APPENDIX I. | ||
| On Photographic Libraries. | ||
| Art books | 293 | |
| Art-teaching | 293 | |
| Books recommended | 293 | |
| Photographic Libraries | 294 | |
| APPENDIX II. | ||
| “Science and Art,” a paper read at the Camera Club Conference, held in the rooms of the Society of Arts in London on March 26th, 1889 | 295 | |
| Index | 303 | |