LIGHTS AND LIGHTING.

A great deal has been written and said about lights and lighting—a great deal too much; yet more must be said and written.

Light is to the photographer what the sickle is to the shearer—a good reaper can cut well with an indifferent sickle, but an indifferent reaper never gets a good sickle in his hand. A good photographer, who also understands light and shade, can produce good pictures in an ordinary studio. It is the indifferent photographer who runs after “fancy lights,” and is, like a benighted traveller in pursuit of a will-o’-the-wisp, eventually left floundering in a bog. It is folly to construct powerful concentrators if powerful reflectors have to be employed to counteract their defects. If a limited amount of diffused light be absolutely necessary it is best to retain it and use it in its simplest and least expensive form.

When I commenced photography glass houses were scarcer in England than comets in the heavens, and the few that were in existence were all constructed on false principles. It was not until I visited America that I saw a properly-constructed studio. The Americans were, and are, prone to give stupid names to sensible things; and the names they gave to their studios were no exceptions. This, that, and the other photographer advertised his “mammoth skylight.” I went to sit, see, and be satisfied that their mode of lighting was very superior to ours. I was convinced instanter that the perpendicular sides and sloping roofs of our miserable little hothouses were mistakes and things to be abhorred, while their spacious rooms and “mammoth skylights” were things to be admired and adopted.

In one of these rooms, and almost without blinds or reflectors, the sitter could be “worked” on a semi-circle or half oval, and “lighted” either in front or on either side at pleasure, and with the greatest facility. I determined, there and then, to build my next studio on similar principles; but until recently I have had no opportunity of carrying out my intentions. To get what I required and to make the best of my situation I had to “fence and fiddle” the district surveyor: but I gained my point, and the victory was worth the foils and the fiddlestick.

My studio can be lighted from either side; but the “light of lights” is the north one, and that is a large fixed window 11 by 9 feet with a single slope of two and a half feet in the height; that is, two and a half feet out of the perpendicular at the top, with no other top light and no perpendicular side light. With this light I do all ordinary work. I can work round the light from one side of the room to the other, as under a mammoth skylight, without using either blind or reflector. If I want Rembrandt effects I have only to open a shutter on the south side, and let in subdued sunlight. That at once becomes the dominant light, and the north light illumines the shadows. The bottom of the north light is three feet from the floor.

The advantages of this form of studio are these. It is cool, because no more light is admitted than is absolutely necessary. It is neat, because no rag-like curtains are hanging about. It is clean, because there is nothing to collect dirt. It is dry, because the pitch of the roof renders leakage impossible. It is pleasant to the sitter, because of these desirabilities, and that the light is not distressing. It is agreeable to the operator, because the work is easy and everything is comfortable.

Printed by Piper & Carter, 5, Furnival Street, Holborn, London, E.C.

SEVEN NEW SIZES,

ALL WITH

TRANSPARENT
FILM.

No apparatus connected with Photography has ever excited so much interest as

THE KODAK.

The No. 1, making a round picture, was only the entering wedge, and served its purpose admirably, in introducing to the public the vast advantages of a Camera using films over any form of Camera using glass.

This year we beg to call your attention to SEVEN NEW SIZES, viz.:—

No. 2, 31⁄2 inch Circular Picture,one finder.
No. 3,Regular, 31⁄4 × 41⁄4,SquarePicture,two finders.
No. 3,Junior, „
No, 4,Regular, 4×5,
No. 4,Junior, „
No. 4,Folding, „
No. 5,„5×7,„„„

Send for the New KODAK PRIMER, fully describing all sizes and styles.

THE EASTMAN PHOTOGRAPHIC MATERIALS COMPANY, Limited,
115, Oxford Street, London, W.

IT IS ADMITTED by
Every Competent Authority THAT
WRATTEN’S
‘LONDON’ PLATES
ARE THE
UNIVERSAL STANDARD OF EXCELLENCE
AND COMPARISON.
This high reputation has been sustained against a host of competitors for twelve years:—a fact without parallel in the annals of the Gelatine process.

Messrs. Wratten & Wainwright’s Complete Illustrated Catalogue contains full Particulars and Prices of a large and varied Stock of Photographic Requirements, together with specially-written Instructions for developing the “London” Plates, Printing, Toning, and other operations, and will be forwarded free upon application to
WRATTEN & WAINWRIGHT, PHOTOGRAPHIC CHEMISTS AND APPARATUS MAKERS,
AND
Sole Proprietors and Manufacturers of the
“London” Dry Plates,
38, GREAT QUEEN STREET, LONG ACRE,
LONDON, W.C.

THE AUTOTYPE COMPANY
MANUFACTURES
AUTOTYPE TISSUES, TRANSFER PAPERS, & MATERIALS FOR PERMANENT PHOTOGRAPHIC PRINTING.

AUTOTYPE ENLARGEMENTS.—Portraits and Views produced of any dimensions up to 5 ft. by 3 ft. 6 in.; their grandeur, beauty, and unalterability secure public favour.

AUTOTYPE DRY PLATES, manufactured with Burton’s Coating Machine, are rich in silver, very rapid, yielding clear vigorous negatives, of uniform quality. The plates are of superior glass, and packed in strong metal-grooved boxes up to 15 by 12 inches. To be obtained only of the Autotype Company.

BOOK ILLUSTRATIONS, by Sawyer’s Collotype Process, employed by the Trustees of the British Museum, by the Royal, Palæographical, Hellenic, Numismatical, and other learned Societies, and by the leading publishers. Prints direct on the paper with suitable margins.

AUTO-GRAVURE.—The Autotype process as applied to Photographic Engraving on Copper is of wide application in the reproduction of Works of Art, and is highly appreciated by the disciples of Naturalistic Photography as efficiently rendering the qualities of negatives direct from nature. Examples of Auto-gravure, in the reproduction of paintings by Holman Hunt, the late Frank Holl, R.A., W. Ouless, R.A., Val. Prinsep, A.R.A., of drawings by Hy. Rylands, of a frieze, “Spring,” by Herbert Draper, of a Group from the frieze of the Parthenon, &c., &c., can be seen at 74, New Oxford Street.

The AUTOTYPE FINE ART GALLERY,
74, New Oxford Street, London,

is remarkable for its display of Copies of celebrated Works by

“THE GREAT MASTERS”

from the Louvre, Vatican, Hermitage, and the National Galleries of Italy, Spain, Holland, and London, including H.M. Collections at Buckingham Palace and Windsor Castle.

Albums of reference to the various Galleries are provided, are easily looked over, and of great interest to lovers of Art. Send for the new Pamphlet, “AUTOTYPE: a Decorative and Educational Art,” per post to any address.

The AUTOTYPE FINE ART CATALOGUE, 186 pp., free per post for 6d.

THE AUTOTYPE COMPANY, LONDON.

Offices: 74, New Oxford Street, w. c. — Works: Ealing Dene, Middlesex.

Grand Prix & Gold Medal, Paris Exhibition, 1889.
Council Medal and Highest Award, Great Exhibition, London, 1851.
Gold Medal, Paris Exposition, 1867. Medal and Highest Award, Exhibition, London, 1862.
Medal and Diploma, Antwerp. 1878.
Medal and Diploma, Centennial Exhibition, Philadelphia, 1875.
Two Gold Medals, Paris Exposition, 1878. Medal and Diploma, Sydney, 1879.
Gold Medal, Highest Award, Inventions Exhibition, 1885.
ROSS’ LENSES AND APPARATUS.
IMPORTANT ANNOUNCEMENT.
In consequence of the greatly increased demand for their Photographic
Cameras and Apparatus, Ross & Co. have fitted up the first floor of
112, New Bond Street, as
SPECIAL SHOW ROOMS.
for exhibiting the newest and most improved forms of
CAMERAS AND ACCESSORIES OF ALL DESCRIPTIONS.
For the convenience of purchasers, they have also constructed
A FULLY EQUIPPED DARK ROOM.
where the Apparatus may be practically tested, and
USEFUL INSTRUCTIONS GIVEN TO BEGINNERS.
Amateurs are invited to inspect ROSS’ COMPLETE OUTFITS.
ROSS’ IMPROVED CAMERAS.
Extra Light and Portable; Double Extension.
New Form DOUBLE SLIDE,
Less Costly than the Ordinary Form of Dark Slide.
Absolutely Light-proof. Smaller than Ordinary. No Superfluous Openings.
No risk of Plates being broken by pressure. Certainty of Register.
Lighter than Ordinary. No Hinges or Clips to get out of order.
No chance of Warping.
SPECIAL SMALL & LIGHT CAMERAS,
For use with the New Form Double Slide.
~~~~~~~~~~
Catalogues and Full Particulars, with Estimates, on application to
ROSS & CO., 112, NEW BOND STREET, LONDON.
Works: Clapham Common, S.W.

H. MOORSE,
Photographic Apparatus Manufacturer
TO THE GOVERNMENT (Established over 25 years),
154, High Holborn, London, W.C.
(Near New Oxford Street and Museum Street.)
~~~~~~~~~~
SQUARE CAMERA.
LIGHT CAMERA.
Both one price. Cash with Order, 10 per cent. off.

41⁄4 × 31⁄261⁄2 × 43⁄481⁄2 × 61⁄210 × 812 × 1015 × 1218 × 1624 × 18
£s.d. £s.d. £s.d. £s.d. £s.d. £s.d. £s.d. £s.d.
Camera and Three Double Backs.600710098011150141401818024002600
Rectilinear Lens with Iris Diaphragm Traveling Bag.30031005006100810010100161502500
(2 cases)
Brown Canvas with Spring Lock.01801001201150210031204140600
Solid Leather Spring Lock.15018011202503504150650800
Rotating Turn Table with Tripod Stand.1701120112020025021002150350
Brass Binding Camera and Slide.150150110011202002120330440

CAMERA BELLOWS.

Outside Size.Length.Leather.Black Cloth.
6×583/32/3
6×693/63/-
71⁄2×71⁄2128/-6/-
91⁄2×91⁄21812/-8/6
11×111814/-9/-
13×132015/-11/-
17×172220/-15/-
18×243040/-30/-
24×2460100/-80/-

POCKET OR HAND CAMERAS, WITH THREE DOUBLE BACKS.

41⁄4 × 31⁄4, £3 3s. 61⁄2 × 43⁄4, £4 4s.

MARION & CO.’S PLATES.

Manufactured at their Works, Southgate.

BRITANNIA ORDINARY PLATES(Yellow Label.)
BRITANNIA EXTRA RAPID PLATES(White Label.)
INSTANTANEOUS PLATES(Brown Label.)
Prepared specially for extremely rapid work.
ACADEMY LANDSCAPE PLATES(Cream Label.)
Specially prepared for Landscape work; very thickly coated and rich in Silver.

Marion’s Argentic-Bromide Opals.
Principally used for Enlargements and Contact printing. Very effective.
COWAN’S GELATINO-CHLORIDE PLATES (Green Label).
For Lantern Slide Work.
COWAN’S CHLORO-BROMIDE PLATES (Violet Label).
For making Transparencies in the Camera.
COWAN’S GELATINO-CHLORIDE TRANSPARENCY PLATES.
On ground glass.
COWAN’S ORGANIC CHLORIDE OPALS (Red Label).
Printed and toned like ordinary sensitised paper. Very artistic. They must be used fresh.

~~~~~~~~~~

MARION & CO., 22 and 23, Soho Square,
LONDON.

For PHOTOGRAPHIC
GOODS AND PROMPT ATTENTION
GO TO
J. WERGE,
PHOTOGRAPHIC STORES,
11a, Berners Street, Oxford Street, London. W.

WERGE’S “Sans Ammonia Developer” is used by numerous expert amateurs. A 1/- bottle will develop 128 quarter-plates, any make.

WERGE’S Dry Plate Varnish dries without heat, and protects the negatives from silver and platinum stains, 1/- per bottle and upwards.

WERGE’S Retouching Medium, 1/- per bottle.

WERGE’S Sensitised Paper is the best. 12/6 per quire; sample sheet 10d. post free.

WERGE’S Borax Toning Solution gives the best tones, and is simplest and most economical. 1/- per pint.

WERGE’S Ferro-Prussiate Paper gives the best results with least trouble. 1/- per sheet.

WERGE’S Shilling Lantern is the best ever introduced.

WERGE’S Dry Plate Instructions are the best ever published. 1/11⁄2 post free, including Jabez Hughes’s “Principles and Practice of Photography.” Wet Plate Process, Printing, &c., &c.

J. H. DALLMEYER, OPTICIAN,

25, NEWMAN STREET, LONDON, W.

Has obtained the highest awards for his Lenses wherever exhibited, and at all the great International Exhibitions.

CASH PRICES OF THE PRINCIPAL PORTRAIT AND VIEW LENSES:

EXTRA RAPID (C).

in.in.
2C,For Children,23⁄4 dia.41⁄2f.£15150
3C„31⁄2 „6f.2650

QUICK ACTING (B).

in.distance.
1B,for C.D.V.2dia.12 ft.£650
1BLong,”21⁄8„14 ft. 6150
2B,”23⁄4„18 ft.12160
2BPatent,”23⁄4„18 ft.1350
3B”Cabts. and31⁄2„18 ft.2000
4B”larger41⁄2„25 ft.4000

NEW RAPID RECTILINEAR PORTRAIT LENSES.

See descriptive Catalogue.

ORDINARY INTENSITY (A)—Patent.

1A,for Cabinets, in short rooms.dia. 23⁄4 in., distance 14 ft.£1300
2A,for Cabinets up to 81⁄2 × 61⁄2, dia.31⁄2 in., distance 20 feet1800
3A,for Cabinets up to 9 × 7, dia.4 in., distance 24 feet2750
4A,for Imperial Portraits and 10 × 8dia. 41⁄2 in., focus 14 in.38100
5A,for plates 15 × 12 and under, dia.5 in., focus 18 in.5000
6A,for plates 20 × 16 and under, dia.6 in., focus 22 in.6000

PORTRAIT AND GROUP (D)—Patent.

3D,Portraits81⁄2×61⁄2,Views 10 ×8, dia.21⁄2in.,focus 101⁄2 in.9100
4D,Portraits10×8,Views 12 ×10, dia.21⁄2 in.,focus 13 in.13100
5D,Portraits12×10,Views 15 ×12, dia.31⁄4 in.,focus 16in.17100
6D,Portraits15×12,Views 18 ×16, dia.4in.,focus 191⁄2 in.26100
7D,Portraits18×16,Views 22 ×20, dia.5in.,focus 24 in.4800
8D,Portraits22×20,Views 25 ×21, dia.6in.,focus 30in.5800

STEREOSCOPIC LENSES.

Patent Stereographic Lens, 33⁄4-in. f.450
Ditto, with rack-and-pinion4150
No. 1, Quick-acting Single Combination
Landscape Lens, 41⁄2 in. focus		200
No. 2, Ditto ditto 6 in. focus250
Rect. Stereo. Lenses, 2 in. & 21⁄2 in. focus400

NEW RECTILINEAR LANDSCAPE LENS (Patent).

No.Largest
Dimensions
of Plate.		Diameter
of Lenses.		Equiv.
Focus.		Price.
161⁄2by43⁄4in.11⁄2in.81⁄2in.£4150
281⁄2„61⁄2„13⁄4„111⁄2„600
310„8„2„131⁄2„800
412„10„21⁄4„161⁄2„1050
515„12„21⁄2„20„12100
618„16„3„25„1600
722„20„31⁄2„32„2100

OPTICAL LANTERN LENSES ONLY (Patent).

No. 1 Lens,11⁄2in. and 13⁄4 in.dia.with Rack Motion£ 40
No. 2 do.13⁄4in. and 2 in.do.do.50
Condensers—31⁄2in. dia.mounted,ea.£ 50
Do.4in. do.do.do.60

RAPID RECTILINEAR (PATENT).
The best Lens for general use out-of-doors, and for Copying.

Size of
View or
Landscape.		Size of Group
or Portrait.		Equiv.
Focus.		Price,
Rigid
Setting.
41⁄4by31⁄4in.31⁄4by31⁄4in.4in.£3150
5„4„41⁄4„31⁄4„6„4100
6„5„5„4„81⁄4„5100
81⁄2„61⁄2„8„5„11„700
10„8„81⁄2„61⁄2„13„900
12„10„10„8„16„1100
13„11„French size171⁄2„1200
15„12„12by10in.191⁄2„1500
18„16„15„12„24„2000
22„20„18„16„30„2700
25„21„22„20„33„3200

WIDE ANGLE RECTILINEAR (Patent).
For Views in Confined Situations.

No.Largest
Dimensions
of Plate.		Back
Focus.		Equiv.
Focus.		Price.
[A]AA71⁄4by41⁄211⁄2in.4in.£4100
1A81⁄2„61⁄241⁄2„51⁄4„5100
112„1061⁄4„7„7100
215„1271⁄2„81⁄2„10100
318„1611„13„1400
422„2014„151⁄2„2000
525„ 2117„19„3000

[A] To be had in pairs for Stereoscopic Views.

WIDE ANGLE LANDSCAPE LENS (Patent),
for Landscapes, pure and simple.

No.Size of
Plate.		Equivalent
Focus.		Price.
1A5by451⁄4in.£350
171⁄4„41⁄27„3150
281⁄2„61⁄281⁄2„4100
310„810„5100
412„1012„700
515„1215„8100
5A15„1218„9100
618„1618„10100
722„2022„1400
825„2125„1900

NEW RAPID LANDSCAPE LENS.
For Distant Objects and Views.

No.Largest
Dimensions
of Plate.		Diameter
of Lenses.		Equiv.
Focus.		Price.
161⁄2by43⁄4in.1·3 in.9in.£4100
281⁄2„61⁄2„1·6„12„5150
310„8„2·125„15„7100
412„10„2·6„18„9100
515„12„3„22„11100
618„16„3·5„25„1400
722„20„4·25„30„17100

DALLMEYER “On the Choice and Use of Photographic Lenses.”
Eighth Thousand (Greatly Enlarged), 1s. Descriptive Catalogue on application.
25, NEWMAN STREET, OXFORD STREET, LONDON, W.