Naturalistic Photography for Students of the Art.

by P. H. Emerson

Conclusion.

And now I must finish my remarks. I have not perhaps told you very much, but if I have succeeded in impressing upon beginners and some others the vital and fundamental distinction between Science and Art, something will have been achieved. And if those students who find anything suggestive in my paper are by it led to look upon photography in future from a new mental attitude, something more important still will have been attained. For, in my humble opinion, though it is apparently but a little thing I have to tell, still its effect may be vital and far-reaching for many an honest worker, and if I have helped a few such, my labour will have been richly rewarded indeed.

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 transcripts[transcripts] 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].