AMATEUR PHOTOGRAPHY. 



NATURAL COLORS IN PHOTOGRAPHY. 



Lippmann's process of color photography 

 is merely interference ! Ives's is only a 

 color-screen analysis of light. Three-color 

 process work — superposed monochromes, 

 everybody understands that. But how dif- 

 ferent with other processes ! Chassagne- 

 Dansac, for instance. How the luminaries of 

 the photographic firmament gloried over 

 that, and how much was said by those who 

 knew the least ! Unfortunately, all things 

 mundane must have an end. The simplicity 

 of the process (and incidentally that of some 

 photographers) was at last demonstrated, if 

 not to satisfaction, yet at least conclusively; 

 and the public gaze wandered in search of 

 another object upon which to rest its hopes 

 and affections, though in a somewhat more 

 wary fashion, on the principle of " once bit- 

 ten, twice, shy." 



Sensations, like misfortunes, seldom 

 come singly ; and, at present, there exists 

 an embarrassing plethora of color proc- 

 esses, all possessing the required element 

 of mystery. Three men at least have abso- 

 lutely succeeded in reproducing the hues of 

 Nature by " photography alone." Their 

 work has been shown, its perfection 

 demonstrated. We shall all be artists in the 

 sweet by-and-by, when the experiments 

 are completed ! Yet it seems strange that 

 extended research is required after the pro- 

 duction of perfect specimens ; the observer 

 of cynical tendencies can only await results 

 while noticing the strange similarity in 

 methods of publicity, if not in the processes 

 themselves, and take a languid interest in 

 the question as to the nationality of the win- 

 ner in the race. For Briton, Teuton, and 

 Gaul have entered the lists, and national 

 pride calls on us to stimulate Mr. Bennetto 

 in the publication of his researches. We 

 have watched with interest the various re- 

 ports of his demonstrations and results ; we 

 have ardently desired the conclusion of his 

 commercial arrangements ; we rejoice to 

 hear that he will shortly convince the world 

 of # his success, for another prophet has 

 arisen, not in Israel but in Munich, and we 

 fear for Mr. Bennetto, knowing as we do 

 the traditional fate of prophets in their own 

 country. 



Herr Reichel, of Munich, has also discov- 

 ered (according to his account) the secret of 

 color reproduction by pure photography. 

 He claims to produce his views (we quote 

 his own words) " by a physical-chemical 

 process ; the colors are developed in the 

 same manner as a photographic negative." 

 The difficulty of fixation has been Over- 

 come ; reproduced paintings, flowers, por- 

 trait studies, all have been prepared and 

 shown, meeting with the highest praise. 



They are the result, says the discoverer, not 

 of lucky accident, but of painfully worked- 

 out theory, of long-continued research con- 

 ducted on definite preconceived lines. The 

 most celebrated firms of the Father (and 

 other) lands have broached the question of 

 purchase, and all is for the best in this best 

 of all possible worlds. An artist expressed 

 the opinion that the rendering of human 

 flesh was attained in a manner impossible 

 by hand, and the impatient public stands by 

 asking only, How is it done? Hardly, how- 

 ever, have we commenced to pin our faith 

 on Herr Reichel when the news arrives of 

 some wonderful specimens exhibited to the 

 Academe des Beaux Arts by M. Grenier- 

 Villerd, who rouses our curiosity by the 

 support on which he exhibits his pictures. 

 They are all on fabrics ; reproductions of 

 old masters, tapestries simulated on cotton, 

 portraits of actors, all in their true colors 

 (physically speaking) and all produced — ac- 

 cording to the usual formula — by photog- 

 raphy alone. M. Grenier-Villerd, in vulgar 

 parlance, goes one better than his competi- 

 tors ; for he promises his textile color 

 photographs at a less price in many cases 

 than — can you guess it, sapient reader? — at 

 a less price than wall paper ! After which, 

 we, having arrived at such a climax, refresh 

 ourselves appropriately, and think — deeply! 

 — Canadian Photographer. 



TRAYS. 



I make trays which cost less, and last 

 longer, than any I have seen described. 

 For toning I use a tray nxi'4 inches, of 

 sheet iron with wired edge. This may be 

 bought at any hardware store for 25 

 cents. I scrub it well with soap and water, 

 wipe dry, and set back of the stove until 

 thoroughly warm. Then I give it 2 or 3 

 coats of asphaltum varnish, allowing each 

 coat to dry before applying the next. Such 

 a tray has been in constant use 2 years, and 

 only needs an occasional coat of asphaltum. 

 It should be allowed to dry in the sun for at 

 least 3 days before using. 



For a washing tray any old box, 10x12 to 

 24x36 inches, may be used. My largest one 

 is 32x48, and isrnade of ^$-inch wood, ex- 

 cept the short sides, which are 1 inch thick. 

 Nail securely, and line with rubber-coated 

 carriage-top cloth, which costs about 35 

 cents a yard. Fold the corners neatly with- 

 out cutting, and tack with copper tacks, as 

 iron ones will rust. Such trays will last 

 years, are light, and easily handled. Be 

 sure to mark one hypo, and use it for 

 nothing else. By attaching a rubber hose 

 to your spigot, you can use the hypo tray 

 for washing prints, after they are fixed, and 

 the hypo poured out. C. 



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