Naturalistic Photography for Students of the Art.

by P. H. Emerson

• Raphael, [65].
• Realism, [24].
• Red-carbon process for decorative work, [262].
• Red fog, [176].
• Reflections and shadows, [256].
• Reflectors, [146].
• Reform in exhibitions, [227].
• Registration of photographs, [223].
• Rejlander, O., [199].
• ——, on combination printing, [199].
• ——, on retouching, [188].
• Relative tone or value, [25].
• “Rembrandt pictures,” [254].
• Rembrandt’s etchings, [81].
• —— paintings, [80].
• Remedies for infringement of copyright, [224].
• Removal of varnish from negatives, [178].
• Renascence, European, [59].
• Replicas, [224].
• Resolution, [254].
• Retouching negatives, [184].
• —— ——, Adam Salomon on, [187].
• —— ——, Cameron, Mrs., on, [189].
• —— ——, Definition of, [184].
• —— ——, Rejlander on, [188].
• Retrospect of Photography, [2].
• Reubens, [69].
• Reynolds, Sir J., [69].
• —— on rules, [241].
• Rhetoricians, Roman, [39].
• Rhyparographi, The, [37].
• Ribera, [66].
• Rising front of camera, [129].
• Roller slides, [180].
• Roman Art, [38].
• Roscoe’s “Lessons in Elementary Chemistry,” [162].
• Rousseau, [85].
• Ruby glass, [141].

• Sable-hair brush, [142].
• Sargent, [78], [79].
• Sawyer’s, J. R., “ABC of Carbon Printing,” [294].
• Scales, [143].
• Scene-painting, [34].
• Science and Art, [295].
• —— division, [11].
• Scientific diagrams, [152].
• —— photographic work to be reconsidered, [136].
• Scratches on plates, [179].
• Sculpture, [92].
• Sea-air and dry plates, [178].
• Sensational in nature, [256].
• Sensitometer, Warneke’s, [159].
• ——, Dr. Vogel on, [159].
• Sentiment, [25], [256].
• —— and poetry, [256].
• Sentimentality, [25].
• Sesshiū, [56].ū
• Setting up the Camera, [129].
• “Sharpness,” [257].
• Shijo School, [57].
• Shiūbun, [55].
• Sight, [7].
• Size of plate, [127].
• Slabs of glass, [143].
• Slow development, [167].
• Soga chokman, [56].
• —— Jasoku, [55].
• Soul, [25].
• South Kensington Museum, [74], [77], [79], [93].
• Spanish (modern) Art, [67].
• Spherical aberration, [99].
• Spiller, A., “on permanency of gelatine-bromide prints,” [192].
• Spirit-Levels, [126].
• Spontaneity, [257].
• Spotting negatives, [189].
• —— prints, [195].
• Spurious pictures, [224].
• Standard developer, [170].
• Stansfield, [77].
• Stereoscopic Slides, [202].
• Stolen bits, [258].
• “Stopping down,” [149].
• “Stops,” [138].
• St. Peter’s Statue at Rome, [45].
• Studio, [144].
• ——, building, [144].
• ——, camera, [128], [146].
• ——, Dr. Wilson’s specifications for, [144].
• —— effects, [147].
• —— furniture, [145].
• —— glazing, [145].
• —— lighting, [147].
• ——, objets d’art, [145].
• ——, principles of lighting, [144], [252].
• ——, rule for lighting, [147].
• ——, top and side light, [144].
• —— walls, [145].
• Study of Chemistry, [162].
• —— Tone, [173].
• Subject of a picture, [250].
• Sun and shadows, [259].
• Supplementary poles, [129].
• Surveying and Photography, [3].
• Swing-backs, [130].
• ——, use of, [130].
• Swiss Art, [63].

• Table of contents, ix.
• Taine’s “La philosophe de l’art Grec,” [43].
• Teaching of Art, [294].
• Technical criticism, [43].
• Technique, [26], [123], [293].
• —— and practice, [123].
• Teniers, [69].
• Terminology, [17].
• Textures of printing papers, [195].
• Theban-Attic School, [36].
• Theon of Samos, [37].
• Thirteenth Century Sketchbook, [49].
• Thorwaldsen, [94].
• Thumb-screws, [126].
• Timanthes, [35].
• Timomachos, [38].
• Titian, [66].
• Tonality and development, [164].
• Tone, [26], [115], [248].
• Topography, [258].
• Torso at British Museum, [41].
• Trajan’s bust, [40].
• “Transcript of Nature,” [26].
• Transparencies, [202].
• Transparent spots in negatives, [177].
• Travelling lamps, [142].
• “Treatise on Painting,” [237], [238].
• Treatment of model, [244].
• Tripod head, [128].
• Tripods, [128].
• Troyon, [86].
• Turbidity of media of the eye, [100].
• Turner, [73].
• ——’s “Frosty Morning,” [74].
• Tyndall, Prof., [158].
• Tyndall’s “Lectures on Light,” [12], [294].
• Typographic blocks, [205].
• —— Etching Company, [208].

• Under exposure, [174].
• Undeveloped Islands, [179].

• Value of a picture, [256].
• Van der Velde, [83].
• Vandyck, [69].
• Van Eyck, The brothers, [59].
• ——’s portrait, [60].
• Vanity, [257].
• Van Ostade, [69], [82].
• Varnish, Dr. Carey Lea’s, [180].
• ——, removal of, [178].
• Varnishing a negative, [179].
• Velasquez, [67].
• Verestchagin, [68].
• View-finder, [138].
• —— -maker, [100].
• Vigilance committees for plates, [163].
• Vignetting, [196].
• Vogel, Dr., [177].
• ——, on chemical action of sky, [158].
• ——, exposure tables, [160].
• —— Warneke’s sensitometer, [159].
• —— altochromatic plates, [182].
• Vulgarity, [255].

• Walker, F., [77].
• Walker and Eastman films, [180].
• Water-colours, [53], [71].
• Watteau, [84].
• Welford and Sturmey’s “Photographer’s Indispensable Handbook,” [295].
• Wet-plate process, [163].
• Whistler, J. M., [16], [78].
• ——, on mounts, [218].
• ——, “Art and Art critics,” [78].
• ——, “Ten o’clock,” [78].
• Wilkie, [77].
• Wilkinson’s “Ancient Egyptians,” [32].
• Willis, W., Jun., [193].
• Wilson, [69].
• Wilson’s, Dr. E., “Burnet’s Treatise on Painting,” [237], [294].
• Wilson’s, Dr. E., “Photographics,” [144].
• Woermann, Dr., [28].
• Woltmann, Dr., [28].
• Wood-engraving, [71], [272].
• Work and faith, [255].
• “Working up” in oils, &c., [184].
• Wu-Tao-Tsz, [59].

• “Year’s Art for 1887,” [223].
• Year-book of Photography and Photo News Almanac, 1885-87, [141].
• —— —— and British Journal Almanac, 1887, [141].
• Yellow fog, [176].
• Yellow stains on negative, [177].
• Young Satyr at British Museum, [41].

• Zeuxis, [35].

THE END.

LONDON: