Naturalistic Photography for Students of the Art.

by P. H. Emerson

Chiswick, March, 1889.

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.

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INTRODUCTION.

Daguerre and the French Academy.

At a meeting of the French Academy of Sciences, held in Paris on the 19th day of August, 1839, Louis Jacques Mandé Daguerre, in the presence of the flower of Parisian art, literature and science, gave a demonstration of his new discovery—the Daguerreotype. The success of the séance was complete, and the gathering of illustrious men was intoxicated with enthusiasm in favour of the Daguerreotype. It is, then, almost fifty years ago that the result of the work of the father of photography, Joseph Nicéphore de Niepce, who had died six years previously, and of the partner of his latter days—Daguerre—was given to the French public, for though Arago declared that “France had adopted the discovery and was proud to hand it as a present to the whole world,” Daguerre, sharp business man that he was, took out a patent for his process in England on the 15th of July, 1839.

It may be said, then, that for fifty years the influence of photography has been working amongst the people for better for worse; but a short half-century has photography had to develop, and we naturally feel a little curious to know what it has been doing all that time. Has the art been lying idle and stagnating, or has it been developing and extending its roots into all the industrial, scientific and artistic fields of enterprise? Let us see what this cool young goddess, born of art and science, who generally comes to stay and finally to oust the old goddesses from their temples, has been doing these fifty years.

Retrospect of progress of photography in astronomy.