Part 3

To obviate the shadows cast upon the floor by the lower parts of the figure, place it upon a thick, large plate-glass, supported by props of five or six inches in height, and spread upon the floor under the glass a piece of white muslin. The muslin must be free of folds or wrinkles, and be so connected with the white screen, that the division line between is not reproduced upon the plate.

The very feeble shadows of the feet can be easily touched away with pencil.

Single persons or groups of two or three figures can be photographed in this peculiar style with very good effect.

For heads and busts expose in the usual manner, but to obtain silhouettes similar to those our grandmothers had cut in black paper, and long before photography was thought of, cut an appropriate mask of black paper to cover the part not wanted during printing.

It should be borne in mind that in this class of work the white background only is the object to be photographed, hence the necessity of but very short exposures. With longer exposures absolute blacks and whites are impossible.

PHOTOGRAPHING THE INVISIBLE.

The following is a curious and interesting experiment, based upon the peculiar property possessed by fluorescent substances of altering the refrangibility of the chemical light rays. Take a colorless solution of bisulphate of quinine, and write or draw with it on a piece of white paper. When dry the writing or design will be invisible, but a photograph made of it will show them very nearly black.

HOW TO MAKE A PHOTOGRAPH INSIDE A BOTTLE.

Get a glass-blower to make an ordinary shaped wine-bottle of very thin and clear glass, and clean it well. Next take the white of two eggs and add to it 29 grains of ammonium chloride dissolved in 1 drachm of spirits of wine, and one-half ounce of water. Beat this mixture into a thick froth and then allow it to stand and settle. Filter through a tuft of cotton-wool, and pour into the specially made bottle. By twisting the bottle round, an even layer of the solution will deposit itself on the sides. Pour off the remaining solution, allow the film in the bottle to dry, and again repeat the operation.

The next operation is to sensitize the film with a solution of nitrate of silver, 40 grains to 1 ounce of water. Pour this in and turn the bottle round for a few minutes, then pour off the superfluous solution and again dry. Hold the neck of the bottle for a few seconds over another bottle containing ammonia, so as to allow the fumes to enter it. Printing is the next operation; this is accomplished by tying a film negative round the bottle, and covering up all the other parts from the light. Print very deeply, keeping the bottle turning round all the time. Toning, fixing, and washing can be done in the ordinary way by filling the bottle up with the different solutions. The effect is very curious, and can be improved by coating the inside of the bottle with white enamel.

PHOTOGRAPHS IN ANY COLOR.

These can be produced by what is known as the powder or dusting-on process. The principle of the process is this: An organic, tacky substance is sensitized with potassium bichromate, and exposed under a reversed positive to the action of light. All the parts acted upon become hard, the stickiness disappearing according to the strength of the light action, while those parts protected by the darker parts of the positive retain their adhesiveness. If a colored powder be dusted over, it will be understood that it will adhere to the sticky parts only, forming a complete reproduction of the positive printed form. Prepare--Dextrine, one-half ounce; grape sugar, one-half ounce; bichromate of potash, one-half ounce; water, one-half pint: or saturated solution bichromate of ammonia, 5 drachms; honey, 3 drachms; albumen, 3 drachms; distilled water, 20 to 30 drachms.

Filter, and coat clean glass plates with this solution, and dry with a gentle heat over a spirit lamp. While still warm the plate is exposed under a positive transparency for from two to five minutes in sunlight, or from ten to twenty minutes in diffused light. On removing from the printing frame, the plate is laid for a few minutes in the dark in a damp place to absorb a little moisture. The next process is the dusting on. For a black image Siberian graphite is used, spread over with a soft flat brush. Any colored powder can be used, giving images in different colors. When fully developed the excess of powder is dusted off and the film coated with collodion. It is then well washed to remove the bichromate salt. The film can, if desired, be detached and transferred to ivory, wood, or any other support.

If a black support be used, a ferrotype plate on Japanned wood, for instance, pictures can be made from a negative, but in this case a light colored powder must be used. The Japanese have lately succeeded in making some very beautiful pictures in this manner. Wood is coated over with that black enamel for which they are so famous, and pictures made upon it in this manner. They use a gold or silver powder.

With this process an almost endless variety of effects can be obtained. For instance, luminous powder can be employed and an image produced which is visible in the dark.

Some time ago we suggested a plan of making what might be termed "post-mortem" photographs of cremated friends and relations. A plate is prepared from a negative of the dead person in the manner described, and the ashes dusted over. They will adhere to the parts unexposed to light, and a portrait is obtained composed entirely of the person it represents, or rather what is left of him. The idea is not particularly a brilliant one, nor do we desire to claim any credit for it, but we give it here for the benefit of those morbid individuals who delight in sensationalism, and who purchase and treasure up pieces of the rope used by the hangman.

THE DISAPPEARING PHOTOGRAPH.

A method of making a photograph which can be made to appear at will is thus described in _Les Recreations Photographiques_.

Take a convex watch crystal, V, or any similar larger glass if desired--for instance, those used for colored photographs; clean the glass well, place it perfectly level, convex side down, and fill it even full with a mixture of white wax and hog's lard. When it has solidified, apply to the back a flat glass plate, P, cut exactly to the largest dimensions of the convex glass, secure the glasses together with a strip, B, of gold-beater's skin, fastened by strong glue as shown in the figure. Now mount a portrait, with the front towards the convex glass, on the plate P. The combination is now ready; by heating it the wax between the two glasses melts and becomes transparent, allowing the portrait to be seen; on cooling it will lose its transparence and the portrait will disappear.

FREAK PICTURES WITH A BLACK BACKGROUND.

If an object be placed against a non-actinic background and an exposure made, the black parts surrounding it will not have any effect upon the plate, and the object can be shifted to another part and another exposure made. In a recent article published in _La Nature_, and translated in the _Scientific American_, a number of curious effects obtained by photography by M. R. Riccart, of Sainte-Foix-les-Lyons, are described and illustrated.

The system employed by the author of these photographs is that of the natural black background obtained through the open door of a dark room, combined with diaphragms skillfully arranged in the interior of the apparatus, between the objective and sensitized plate. This is the surest method of obtaining the desired effect with the greatest precision, without the junctions being visible, and with perfect sharpness in the cutting of the parts removed. For this effect, it is necessary to place the diaphragm at three or four centimeters from the ground glass, in the last folds of the bellows of the camera.

The following are a few data as to the manner in which the scenes that we reproduce were obtained. The first, representing a decapitation by means of a saber (Fig. 37), was taken by means of an exposure in which the head was placed upon the block, the subject inclining forward upon his knees, and a diaphragm, occupying about two-thirds of the plate, completely masking the body up to the neck. Then, without changing the position of the apparatus, the diaphragm was placed on the other side in order to conceal the head, and the body was photographed in the second position along with the person representing the executioner. It would have been possible, by a third exposure, to so arrange things as to make the executioner the decapitated person. It was by the same process that the three following scenes were obtained: A person with his head placed before him in a plate (Fig. 38); a man carrying his head in a wheelbarrow (Fig. 39); and a person to whom his own head is served in a plate (Fig. 40). Such scenes may be varied to any extent. Fig. 41 is a photograph of a decapitation, while Fig. 42 is made by two exposures of an individual at different distances but so combined as to give the appearance of one exposure. Fig. 43 is that of a person in a bottle. The individual represented was first photographed on a sufficiently reduced scale to allow him to enter the bottle. This exposure was by using a screen containing an aperture, as for the Russian background. But this precaution was taken merely to conceal the floor, and yet it would perhaps be preferable in such a case to have the subject stand upon a stool covered with a very black fabric. However this may be, when once the first impression has been made, there is nothing more to be done than to photograph the bottle on a larger scale and the result is obtained.

HOW TO COPY DRAWINGS.

There are three principal methods of copying mechanical drawings, tracings, sketches, etc. These are: (1) A process to obtain white lines upon a blue ground; (2) a process by which blue lines upon a white ground are obtained; and (3) a process giving black or violet-black lines upon a white ground.

The first process is undoubtedly the simplest, as after printing upon the paper it is developed and fixed by simple immersion in cold water; but, at the same time, the white lines on the blue ground are not so clear and effective as the other processes. The cyanotype paper, as it is called, can be obtained ready for use at any draughtsman's stores, but if you prefer to make it yourself, here is the recipe: Two solutions are made--20 parts of red prussiate of potash are dissolved in 100 parts of water, and 10 parts of ammonio-citrate of iron in 60 parts of water. These two solutions should be mixed together immediately before using, and the operation must be performed in the dark. Paper is floated on this solution, or applied with a broad camels-hair brush, and hung up to dry. If it is well dried and carefully preserved from light, moisture and air, this paper will keep for some time. After printing--which, when sufficient, should show the lines copied of a yellow color upon a blue ground--the prints should be washed in several waters, and if a few drops of chlorine water or dilute hydrochloric acid be added to the washing water, the blue ground will appear much darker and the lines rendered clearer and whiter. The commercial paper sold is generally prepared by this method.

Blue prints may be given a black tone by plunging them into a solution of 4 parts of caustic potash in 100 parts of water; then, when the blue color has entirely disappeared under the action of the potash, and a yellowish color has taken its place, they are immersed in a solution of 4 parts of tannin in 100 parts of water; then washing them again, we obtain prints whose tone may be assimilated to that of pale writing ink.

In the process giving blue lines upon a white ground, it is necessary that the action of the light shall be to convert the iron compound into one that can be discharged from instead of being fixed on the paper, so that we obtain a positive from a positive. Abney describes the process as follows: Thirty volumes of gum solution (water 5 parts, gum 1 part) are mixed with 8 volumes of a citrate of iron and ammonia solution (water 2 parts, double citrate 1 part), and to this is added 5 volumes of a solution of ferric chloride (water 2 parts, ferric chloride 1 part). This solution thus formed is limpid at first, but will gradually become thicker, and should be used soon after mixing. It is then applied with a brush to the paper (which should be well sized) and dried in the dark. Exposure is accomplished in a few minutes, the paper being placed under the drawing in the printing frame. It is then developed with potassium ferrocyanide, 50 grains, water 1 ounce, applied with a brush until all the details appear of a dark-blue color. The print is then rapidly rinsed, and placed in a dish containing the clearing solution, made of 1 ounce of hydrochloric acid and 10 ounces of water.

The third process, which gives violet-black lines on a white ground, is the following: Make up the sensitive solution with water, 16 ounces; gelatine, 4 drachms; perchloride of iron (in a syrup condition), 1 ounce; tartaric acid, 1 ounce; sulphate of iron, 4 drachms. The paper is floated on or brushed over with this and dried. The exposure is about the same as with the last process. When sufficient, the greenish-yellow color will turn white, except the lines, which should be somewhat dark. The developing solution is composed of 1 part of gallic acid in 10 parts of alcohol and 50 of water. When immersed in this solution the lines will turn blacker. The finish is then made by thoroughly washing in water.

SYMPATHETIC PHOTOGRAPHS.

These are obtained as follows: A sheet of paper is coated with a ten per cent solution of gelatine, and when dry this is floated on a ten per cent solution of bichromate of potash. Again dry and expose beneath a positive transparency. The print thus obtained is then immersed in a ten per cent solution of chloride of cobalt. The parts unacted upon by light will absorb the solution. Wash and dry. We then have a faint image which will alter its color according to the state of the atmosphere. In damp weather it will be almost if not entirely invisible, but when the weather is fine and dry, or if the image be heated before a fire it will turn to a bright blue color.

DRY-PLATES THAT WILL DEVELOP WITH WATER.

Some time ago dry-plates were placed on the market which would develop, apparently, with water and a little ammonia only. The secret of the method was that the backs of the plates were coated with a soluble gum, containing the developing agents, and, of course, when the plate was immersed in the water, they instantly dissolved and formed the developer. Plates thus prepared are useful in traveling where it is not always possible to get the necessary developing solutions. To prepare them the backs are coated with the following mixture:

Pyrogallic acid 154 grains Salicylic acid 15 grains Gum or dextrine 154 grains Alcohol 1 fluid dr. Water 5 fluid dr.

This is allowed to dry at an ordinary temperature. After exposure, all that is necessary to develop is to immerse the plates in water containing a small quantity of ammonia.

CARICATURE PHOTOGRAPHS.

There are quite a number of different methods of making caricature portraits. A simple one is to make two photographs of an individual, one of the head alone and another of the entire body on a much smaller scale. From these two negatives prints are made, and the larger head is cut out and pasted on the shoulders of the full length figure. Any signs of the cutting out are removed by the use of a brush and a little coloring matter. From this combined print another negative is made so that any number of these caricature prints can be made without extra trouble. The effect is shown in Fig. 44.

Foregrounds for making caricature portraits are sold in this country. The method of using them is shown in Fig. 45. The card containing the grotesque drawing is held by the sitter on his knees and arranged by the photographer in such a way that his head rests just above the neck of the painted body. A white background is arranged behind and when the negative is made all traces of the edges of the foreground are removed by careful re-touching.

Another method of obtaining grotesque caricature portraits has been devised by M. Ducos du Hauron. His apparatus, which he calls "La Photographie Transformiste," is thus described by Schnauss in his "Photographic Pastimes." A, Fig. 47, is the front of the box, which is furnished with an exposing shutter formed of a simple sliding piece fitting into the grooves R R, R R. B P are two screens pierced with slits _a a_, _c c_. C is the rear end of the box where the dark slide is placed. D is the lid of the box, which is lifted either for placing the slotted screens or for putting in the sensitive plate. When not working direct from nature, the transparency is placed in the grooves R R, R R, at A.

According to the arrangement of the slits, the caricatures obtained will be different. If, for instance, the first slit be a vertical one, and the other, _i.e._, the one nearest the picture, a horizontal one, the picture, in comparison with the original, will be distorted lengthwise. If, however, one of the slits forms no straight line, but a curved one, the transformed picture will show either lengthwise or sideways curved lines, according to the slit being a vertical or a horizontal one. The form of the resulting picture will also be different according to which one of the slotted plates is placed more or less obliquely in the box.

The slits must be made very exactly; above all, their edges must be absolutely sharp, every incorrectness being transferred to the picture. They may be made about one-third of a millimeter wide; if they are too narrow the picture will not turn out sharp. In making the slits it is a good plan to cut them in thin black paper, and to mount the latter on glass plates.

In a later description of the apparatus we learn that the discs containing the slits are often made circular in shape and so arranged that they can be revolved as shown in Fig. 53. This, of course, allows of a still greater variety of positions of the two apertures in relation to each other and an increasing number of grotesque effects. Reproductions of some of the pictures obtained are given.[3] See Figs. 48 to 52.

[3] Reprinted from _La Science en Famille_.

PHOTOGRAPHING SEAWEEDS.

Of all the glorious creations of nature few are more beautiful than the delicate sea mosses to be found by the sea shore. Many delight in preserving them in a dry state, mounted on cards, but unfortunately they are usually so fragile that after a little while they fall to pieces. The photographer, however, is able to reproduce these beautiful formations and preserve them in a more permanent form by means of his camera. It is true that he cannot reproduce their delicate colorings, but the photographs can, if so desired, be lightly printed on platinum paper and colored as well as possible by hand.

STAMP PORTRAITS.

A SPECIAL camera is sold for making these little pictures.

It contains a number of lenses all of the same focus. In front is an easel where the portrait is attached, surrounded by a suitable border. The images given are about the size of postage stamps (see Fig. 56), and when the negative is printed on a printing out or developing paper, toned or developed, they can be perforated and gummed at the back. They are very useful for sticking to letters, envelopes, and for business purposes.

LUMINOUS PHOTOGRAPHS.

There are several different ways of making these. Obtain some Balmain's luminous paint, and coat a piece of cardboard with it. Place this in the dark until it is no longer luminous; place this behind a glass transparency and expose to light, either daylight or, if at night-time, burn a small piece of magnesium wire. Return to the dark, remove the transparency, and a luminous photograph is obtained on the prepared card. A simple plan is to merely expose a piece of the prepared cardboard to the light and place it behind a transparency; then retire to a darkened room. The luminous paint, showing through it, will have a very pretty effect. If no glass transparency is at hand, a silver print can be used, if previously oiled and rendered translucent by vaseline or any other means.

FLORAL PHOTOGRAPHY.

Perhaps the beauties of nature are nowhere better exemplified than in flowers, and nothing can be prettier than photographs of them carefully arranged. When we say carefully arranged we mean, of course, artistically. The secret of arranging flowers--an art in itself--is to hide the fact that they have been arranged.

Among the best pictures of flowers which have appeared in print, are those by John Carpenter, an English gentleman, who has made this particular branch of photography his chief study, and has been awarded many prizes and medals for flower studies.

Some time ago we wrote to him asking for a few particulars of his method adopted, and he has been so very kind as to send the following valuable notes:

_Suitable Flowers._--I find that the best colors to photograph are pale pink, yellow, white or variegated colors. Reds, browns, and dark colors generally, do _not_ answer well.

Flowers of irregular form are most suitable, such, for example, as chrysanthemums, lilies, poppies, etc. These give beautiful gradations of light and shade.

_Grouping._--There is great scope here for artistic feeling. All appearance of formal arrangement must be avoided and a natural grouping should be aimed at. This becomes more difficult as the flowers must be somewhat on one plane to get them in proper focus. A round bunch of flowers which may appear very pretty to the eye would probably be utterly wrong to make a picture of.

_Lighting._--I have never worked in a studio, but have a small lean-to glass house in which I work. The top light is softened down by light shades so that the strongest light comes from the side. This gives solidity to the subject and is more pleasing than a flat lighting. Of course, the sun should never shine on the subject.

_Plates and Exposure._--If colored flowers are being photographed, orthochromatic plates are a necessity, but for white flowers and light-green foliage ordinary plates may be employed. I generally use a medium isochromatic, stop the lens to _f_:22 and give exposure of from thirty to sixty seconds in summer and vary according to the season; sometimes twenty _minutes_ is not too much.

_Development._--My usual and favorite developer is pyro-ammonia, and in careful hands it cannot be beaten. I commence development with a minimum of pyro and work tentatively.