ISO Reviews. 
PROCEDES PHOTOGRAPHIQUES aux Couleurs d’Aniline, Applica- 
tion sur Vitraux, sur Nachre, et sur Ivorie. Par Geymet. Crown 8vo, pp. 
107. (Paris: Gauthier-Villars et Fils. 1888.) 
In this treatise Mons. Geymet has given us an interesting account of 
his experiments with the aniline colours, as tints for photographs, on glass, 
ivory, and pearl shell. He points out that these materials may be tinted with 
aniline colours, and then photographs placed on them, by means of a 
sensitive coating of bitumen or chromate-gelatine. 
L’ART DE RETOUCHER en Noir, Les Epreuves Positives sur 
papier. Par C. Klary. Cr. 8vo, pp. 32. 
TRAITE PRATIQUE D’IMPRESSION PHOTOGRAPHIQUE, sur 
Papier Albumine. Par C. Klary. Crown 8vo, pp. 132. 
TRAITE PRATIQUE DE LA PEINTURE DES EPREUVES PHOTO- 
GRAPHIQUES, avec les Couleurs a l’Aquarelle et a lHuile, suivi de different, 
Procedes de Peinture Appliques aux Photographies. Par C. Klary. Cr. 8vo, 
PP: 153: 
L’ART DE RETOUCHER les Negatifs Photographiques. Par 
C. Klary. Crown 8vo, pp. 86. 
(Paris : Gauthier-Villars. 1888.) 
In these four treatises, Mons. Klary has, we should think, almost 
exhausted the art of retouchment—and that it is an art, we think no reason- 
able person will deny. The photograph, pure and simple, may give an exact 
representation of your friend as he was at the timé when the negative was 
exposed, but it is probable that his expression at that moment was not what he 
usually wears. In fact, it may be a caricature, though the result of a process 
that does not admit of misrepresentation. We do not want a portrait of our 
friend in one phase only of his expression, and the clever artist knows how to 
soften this or that feature which is too harsh or too prominent, and to give us 
a portrait that more nearly represents the man as a whole, not so much what 
he is at any particular moment, but as his friends know him in the ordinary 
intercourse of life. At the conclusion of his last treatise, Mons. Klary gives 
us an amusing account of the claims that the public make on the photographic 
artists. | He seems to think that all classes, whatever be their professions, like 
to be flattered, and that if the photographer is to be successful he must know 
how to do this skilfully. 
PROCEDES DE REPRODUCTION DES DeEsIGNs, par la Lumiere. 
Par R. Colson. Crown 8vo, pp. 29. 
We have here instructions for the reproduction of drawings by the action of 
light. Only those processes are described which are employed when no 
alteration of scale is required, but explicit formule and directions are given for 
sensitising the paper with the salts of iron and bichromate of potash, the latter 
giving a print of greater permanence than the iron papers. 
TRAITE PRATIQUE DE PHOTO-MINIATURE, Photo-Peinture, et 
Photo-Aquarelle. _ Par A. Simons. Crown 8vo, pp. 44. (Paris: Gauthier- 
Villars. 1888.) 
This little work gives instructions for transforming photographs into 
pictures having the appearance of paintings, thus giving a more pleasing 
**counterfeit presentment” of real life. The method is very concisely 
described, the author especially recommending the ‘‘ Photo-aquarella”” method, 
on account of it giving a very close imitation of oil-painting, even when water- 
colours are employed. 
