Naturalistic Photography for Students of the Art. - P. H. Emerson

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].