CONTENTS.

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]

NATURALISTIC PHOTOGRAPHY.