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.