Chapter V: The New Home Printing Process

There is a method of making reproductions from photographs without any photographing process further than that required to supply the print. Any good photograph with a matt surface may be traced over with the ink supplied for the purpose by the inventor of the process, or with the ordinary lithographic autographic ink, which comes in sticks like India-ink, and then the superfluous portions faded away (or not) as directed on a preceding page. From that or from a crayon sketch, music, a written letter, plans, or circulars, in fact, from anything written with the proper ink with a pen or printed, reproductions may be made. The principal appliances needed are the “Universal Copying Machine” and its accessories.

Where the results desired need not be of as high a grade as those made by the Collotype processes, or where there is not time to make a zinc etching, this method will serve a good purpose and produce satisfactory results. The zinc plates used for etching will serve to hold the transfers. The methods for cleaning the plates, already given, will serve here also. The machine should be securely fastened to a table and _the bearings must be kept well oiled_.

Write, draw, or trace the original with a steel pen and the ink, on well calendered paper, not too thick. For drawing, a fine pen is the best. Then lay it, written side up, in a shallow dish, cover the paper with the transfer solution, leave it from four to five minutes. If the writing is several days old, leave it longer—about ten minutes. Lay it between blotting paper and dry gently by rubbing with the hand or a cloth. Then lay it, written side down, upon the polished plate, pass it from four to six times under the iron roller, having first placed a pasteboard over it. To prevent slipping, it is well to cover the original with a sheet of blotting paper before putting the pasteboard |179| over it. If you are not sure your press is screwed up evenly, run the plate through two or three times, then turn it end for end and pass it through as many times the other way.

Place upon the small distributing roller as much printer’s ink as will go upon the point of a knife, then holding the handle with the left hand, press it upon the inking roller, and turn the crank, moving the distributing roller from side to side, until the ink is evenly distributed.

See that the rollers are an equal distance apart at each end, so as to print evenly. The original is now carefully removed.

After washing the plate gently with a sponge and water and drying it, also gently, with a clean cloth, rub the whole printed or written side of the plate, by means of a cloth or sponge, with mixture No. 1, not pouring the mixture directly upon the writing, but upon an unprinted place upon the surface and rubbing over the whole plate. Wash off immediately with sponge and water, and dry gently; then pour about twenty drops of No. 2 upon the plate, not directly upon the print, and rub over the whole surface, so that there is a thin coating of it over the whole surface. This prevents the ink from sticking to the part of the plate not covered with writing or print. If there is too much, the paper of the copies will be yellow, and the negative may be injured.

Now lay the plate upon the pasteboard and pass it under the inking roller (the pressure does not need to be strong); it falls before the iron roller; place a sheet of clean paper upon the negative, lay a pasteboard over it, and pass it under the roller. For the first impression it is well to pass it under several times, until the negative comes out clearly and distinctly. From time to time, after every ten or twelve impressions, apply No. 2; if the paper used for printing is very coarse or porous, it may be necessary to apply No. 2 oftener.

As soon as the impressions become faint, apply a little more ink in the manner described. After applying fresh ink, apply No. 2. Only when too much ink is put on or unevenly distributed, or when the plate is not covered with the thin coating of No. 2, or not properly cleaned, can the negative or plate become soiled. If this should happen from any of these causes, remove the spots carefully by means of a cloth wet with preparation No. 2.

If the ink hardens on the rollers remove it with lye or washing soda.

If you wish to interrupt the work, the plate must be washed with a wet sponge, to remove the preparation, and then dried with a cloth. On using again, apply No. 2, as before. If the plate has not been used for several days, apply both No. 1 and No. 2. Do not use woollen cloths.

The mixtures No. 1 and No. 2 are supplied with the press. |180|

Thus it will be seen that photographs may be reproduced by many processes and in quantities to accommodate all sorts of demands. As an averment of what the future holds, our book is brought to a close by the following quotation from a recent issue of a daily newspaper:

“Some time ago the _Evening Post_ gave an account of a new process by which books were being reproduced in this country directly from photographic plates, and it was said that the field for such business would probably grow in proportion to the ease and certainty with which this kind of work could be done. Under this process the most important work issued so far has been seventeen volumes of the _Encyclopædia Britannica_, this production being sold at half the price asked for an American reprint already in the market, and at one-third of the price of the imported book. In order to make this reproduction, the sheets of the English volume are carefully photographed, and the glass negative placed over a thick sheet of specially prepared gelatine and exposed to the sun. Wherever the dark film upon the glass negative prevents the light from reaching the surface of the gelatine, this substance remains insoluble in water. Wherever the light penetrates, the gelatine undergoes a chemical change which makes it soluble. After an exposure to the sun or electric light for some minutes, the gelatine sheet is washed with water and the result is a plate in relief, every black line upon the glass negative being in high relief, and everything else washing away under the sponge.

“Until the last few years, it had been very difficult to get this relief sufficient to print from, but by improvements in the process effected by a number of different inventors, this result has been obtained. The gelatine sheet having been hardened, an electrotype is made from it which is put into the printing press. Owing to chance, the gelatine sheet itself was used one day for printing from directly, and it was found that a larger number of good copies could be made from the gelatine direct than from the hardest electrotype. The only drawback to the use of the gelatine plate itself in the printing press is its liability to crack, for no reason that has as yet been discovered. If some way is found of making the gelatine plate durable, it would be used entirely in place of an electrotype, as it costs almost nothing and can be made quicker than an electrotype.”

The way has been “found” and zinc etching is doing the work.

Finally, the essays of John Burnet, “On the Education of the Eye,” “On Composition,” and “On Light and Shade,” copies of which are hard to get for $100, have recently been reproduced by one of the processes given in this book, full size, and is sold at $4.00. There is a great future ahead for all process work.

|181|

INDEX.

Acid, lateral action of the, 80

Acids, on the use of, 100

Actinometer, to make an, 107

Air brush, grain with the, 100

Albumen, coating the zinc plate with sensitive, 41 ― etching in half tone, 69 ― printing on the zinc in, 45

Albumenized zinc plate, inking the, 46

Albumenizing the glass plate, 21

Alcohol lamp, the, 98

All sources, hints from, 94

Apparatus etching, 97 ― for printing upon zinc, 39

Appliances for making negatives, 9

As to the drawing, 94

Austrian method, etching on, 84 ― middle etching, 87

Bath, the nitrate of silver, 12, 16, 27

Beer, preliminary coating of, 164, 170

Bitumen, printing on zinc in, 48 ― etching in half tone, 70 ― image on zinc, developing the, 50 ― solution, to make the, 48

Black process, Colas’s, 109

Blackening in with a sponge, 78

Block, printing from the half tone, 72

Board, the developing, 141

Box, the best drying, 99

Bridge, the calibre, 93

Calibre-bridge, the, 93

Camera, the enlarging, 67

Carbon printing, 106 ― tissue for reproductions, 32

Chiseling illustrated, 90

Clean etching, 91

Clearing solution, the, 18 ― the glass, 21

Coating the zinc plate with sensitive albumen, 41

Colas’s black process, 109

Collodion process, the wet, 11 ― film, protecting the, 20 ― ― stripping, 34

Collotype process, the, 163 ― ― sensitizing solution for, 164 ― film, exposure at the back of the, 166 ― ― exposure of the, 165 ― operations, the, 167 ― plate, printing from the, 171 ― ― the finished, 67 ― process, drying oven for the, 167, 174

Copper, mordants for, 112 ― photo-engraving on, 119 ― ― in line, 119 ― relief, mordants for, 113 ― solution, etching with sulphate of, 103

Damping fluids for collotype printing, 173

Dark-room, the, 25

Deep etching, 89

Developer for wet plates, 24 ― for gelatine dry plates, 30

Developing the albumen image on the zinc plate, 42 ― the bitumen image on the zinc plate, 50 ― the paper transfer, 138

Developing-board, the, 141

Difference in processes, the, 117

Direct transfers to zinc, 51

Drawing, transfer of the, 83 ― as to the, 94 ― treatment of the, 73

Drawings, Colas’s process for reproducing, 109 ― for photo-engraving, 51, 73 ― the reversal of, 96

Dry plates in photo-engraving, 29

Drying-box, the best, 99

Drying oven for the collotype process, 167, 174 ― the zinc plate, 42

Dusting-box, the, 124

Dusting sieve, 98 ― the transfers, 54

Electrotype methods for half-tone intaglios, 127

Engraving, photo-, in half tone, 63

Enlarging camera, the, 68

Etching apparatus, 97 ― clean, 91 ― cleaning the, with a scraper, 88 ― deep, 89 ― ― illustrated, 90 ― finishing and mounting the, 92 ― fluids for collotype prints, 173 ― galvanic process of, 101 ― in half-tone (albumen), 69 ― ― ― (bitumen), 70 ― in relief, high, 104 ― intermediate treatment, 79 ― line transfers, 55 ― manipulations of the process of, 93 ― middle, Austrian method, 87 ― ― and deep, illustrated, 88 ― mordants for, 109 ― ― for electric, 113 ― ― for relief, 113 ― ― for tint, 113 ― ― for zinc, 115 ― on copper, 121 ― order of the manipulations, 86 ― round, 88 ― the Austrian method, 84 ― ― illustrated, 88 ― the first zinc, 57 ― the French method of, 76, 80 ― the second zinc, 58 ― with sulphate of copper solution, 103 ― zincographic, 115

Exposed zinc, inking the, 44

Exposure and timing, 43 ― of the collotype film, 166 ― ― ― ― ― at the back, 166

Fading out the photograph, 96

Faults in strengthening, 78

Finishing and mounting the etching, 92

Fixing, solution, the, 18

Fluids, damping, for collotype printing, 173 ― etching, for collotype printing, 173

French method of etching, 76, 80

Further treatment of the transfers, 16

Galvanic process for etching, 102

Gelatine dry plates in photo-engraving, 29

Gillotage (Gillot’s process), 101

Glass, albumenizing the, 22 ― plate, the, 21 ― silvering the, for mirrors, 36

Grain on a negative, to produce, 100

Grained negatives, making, 65 ― ― transparencies for, 66

Graining the zinc plate, 40

Half-tone photo-engraving, 63 ― ― etching in (albumen), 69 ― ― ― ― (bitumen), 70 ― ― block, printing from the, 72 ― ― intaglios, 122, 124 ― photo-lithography in, 143

Heliotype process, the, 152 ― skin, the, 160 ― ― printing the, 158 ― ― mounting on pewter, 159

High etching in relief, 104 ― ― dusting-box for, 124 ― ― electrotype method for, 127

Hints from all sources, 94

Husband’s papyrotint process, 147

Ink for transfers, hard, 55

Inking the exposed zinc, 44 ― transfers, 54

Ink-photos, 144

Intaglios, half-tone, 122, 124 ― dusting-box for, 124 ― electrotype methods for, 127

Intensifier, the, 18

Lamp, the alcohol, 99

Lateral action of the acid, 80

Line, photo-engraving in, 9 ― ― on copper in, 119 ― photo-lithography in, 128

Line transfers, etching, 56 ― ― ink for, 56

Making grained negatives, 65

Manipulations in etching, order of the, 86

Manipulations of the etching process, 93

Manipulations, photographic, 24

Mask, the, 156

Middle etching, Austrian method, 87 ― ― French method, 80

Mirror, the reversing, 10, 35

Mordants for copper, 112 ― for etching, 109

Mounting and finishing the etching, 92 ― the cliché, before, 79 ― the zinc etching, 61

Negative printing, 96 ― ― to produce grain on a, 100 ― transfer process, Toovey’s, 139 ― washing, 19, 28

Negatives, appliances for making, 9 ― making grained, 65 ― screen for grained, 65 ― the reproduction of, 31 ― transparencies for grained, 66

Nitrate of silver bath, the, 12, 16

Oven for the collotype process, drying, 167, 174 ― using the, 168

Paper transfers, 132, 136 ― ― developing the, 138 ― ― ― ― sensitizing solution for, 137

Papyrotint process, Husband’s, 147

Pewter plate, mounting on the, 159 ― ― the, 156

Photo-engraving, half tone, 63

Photo-engraving in line, 9

Photograph, fading out the, 96

Photographic manipulations, 24 ― negatives, appliances for making, 9

Photo-inks, 144

Photo-lithographic transfers, to develop, 140

Photo-lithography in half-tone, 143 ― in line, 129

Plate, graining the zinc, 40 ― the glass, 21 ― the pewter, 156

Polishing the zinc, 39

Pomatum wax, how to make, 81

Positives for negative reproduction, 31

Preparation of the rollers, 154

Preparing the printing press, 176

Printing, carbon, 106 ― collographic, 172 ― ― damping fluids for, 173 ― ― etching fluids for, 173

Printing frame, the, 43

Printing from the collotype plate, 171 ― from the half-tone block, 72 ― press, preparing etchings for, 102 ― ― preparing the, 176 ― process, the new home, 178 ― the heliotype skin, 160 ― upon zinc, apparatus for, 39 ― ― ― in albumen, 45 ― ― ― in bitumen, 48

Processes, the difference in, 117

Process, the collotype, 163 ― the heliotype, 152 ― the wet collodion, 11

Protecting the collodion film, 20

Relief, high etching in, 104

Reproduction of drawings, Colas’s process, 109

Reproduction of negatives, the, 31 ― with carbon positive, 32

Retrospective, half-tone photo-engraving, 63

Reversal of the drawings, 96

Reversing mirror, the, 10, 35

Rollers, the, 153 ― preparation of the, 154

Room, the dark-, 25

Round etching, 90

Running of a workshop, 104

Screen for grained negatives, the, 65

Sensitometer, to make a, 107

Sensitizing solution, a good, 105

Sensitizing solution for paper transfers, 132 ― ― for the collotype process, 165

Sieve, dusting, 98

Silver bath, the nitrate of, 12, 16

Silvering the glass (for mirrors), 26

Skin, the heliotype, 156 ― mounting on pewter, 159 ― printing from the heliotype, 160 ― printing the heliotype, 158

Solution, clearing the, 18 ― developing the, 17 ― fixing the, 18 ― intensifying the, 18

Sources, hints from all, 94

Stereotyping, zinc etching by, 102

Strengthening, faults in, 78 ― French process, 82

Stripping collodion films, 34

Sulphate of copper solution, etching with, 103

Table, the washing, 98

Timing and exposure, 43

Toovey’s negative transfer process, 139

Transfer process, Toovey’s negative, 139 ― and treatment of the drawing, 73 ― of the drawing, 73, 83 ― paper, 132, 136

Transfers, developing the, 138 ― dusting the, 54 ― etching line, 55 ― further treatment of the, 76 ― ink for line, 56 ― inking the, 54 ― photo-litho, 140 ― to develop, 140

Transfers to zinc, direct, 51

Transparencies for grained negatives, 66

Transparencies, how to make, 30

Transparent positive, making the, 120 ― ― sensitizing the, 137

Treatment before mounting, 78

Washing, Austrian process for, 85 ― French process for, 83

Washing table, the, 98 ― the negative, 19

Wax pomatum, how to make, 81

Whirler, the, 42

Work-shop, running of the, 104

Wrinkles and dodges, 105

Zinc, apparatus for printing upon, 39 ― ― direct transfers to, 51 ― etching the first, 57 ― ― by galvanic means, 102 ― ― by stereotyping, 102 ― ― mounting the, 61 ― ― the second, 58 ― ― the manipulations of, 93 ― in albumen, printing on the, 45 ― in bitumen, printing on the, 48 ― inking the exposed, 44 ― plate, developing the albumen image on the, 47 ― ― ― the bitumen image on the, 50 ― ― ― inking the, 54 ― ― graining the, 40 ― ― coating with sensitive albumen, 41 ― ― drying the, 42 ― ― whirling the, 42 ― ― inking the albumenized, 46 ― ― the, to coat with bitumen, 49 ― polishing the, 39 ― preparing on the press, 102

Zincographic etching, 115 ― printing press, the, 62

ADVERTISEMENTS

No. 591 Broadway, New York.

MANUFACTURERS AND IMPORTERS OF Photographic Instruments and Supplies

SOLE PROPRIETORS OF THE SATCHEL DETECTIVE, SCHMID DETECTIVE, CLIMAX DETECTIVE, CAMERAS FAIRY, NOVEL, AND “THE PHANTOM CAMERA,” the Champion Light Weight of the World.

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Fine Dry Colors for Lithographers. White and Tinted Hand-made Papers, Ingres, Crayon and Torchon, Gelatine Paper, Magnifying and Diminishing Glasses, Grained Papers for Process Drawing, Crayons, India Ink, Roulettes, etc., “Imperishable” Paste for Mounting Photographs.

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Catalogues of our various departments to dealers, on application.]

This press was designed and is now in successful operation for printing from zinc plates the kind of work hitherto produced from stone in the lithographic press; and by reason of its continuous rotation many more impressions per hour can be produced than by the stone method. Colors are printed by it in perfect register and with no loss of brilliancy or change of the color. The advantages of the use of zinc plates are fully set forth in our circular No. 1, “Zincography” which will be mailed to lithographers on receipt of their address.

To purchasers of the zincographic press, we give full instructions in zincography, and the chemical nature of the various preparations, etc., without extra charge.

Harris & Jones, Sole Selling Agents, No. 31 Pearl Street, Providence, R. I.]

Makers of all kinds of Cards required by Photographers.]

Price Lists and Testimonials Sent on Application.

A complete supply in stock of every requisite for PHOTOGRAPHY, PHOTO-ENGRAVING, PHOTO-ETCHING, and PHOTO-LITHOGRAPHY.]

STRIPPING PLATES for Photo-Gelatine Printing, Sensitometer 22, kept in stock, and made to order more or less sensitive when desired.

STRIPPING PLATES, giving great contrast, for the Zinc-Etching Process, Sensitometer 14 to 16.

PROCESS PLATE B, 14 to 16, capable of giving clear glass lines and great density in ground, for Photo-Engravers.

FOR COPYING COLORS

CARBUTT’S ORTHOCHROMATIC PLATES will be found the greatest improvement in Dry Plate making. They are kept in stock of Normal Sensitometer 22, but made to order more or less sensitive as may be required. They are used extensively by F. E. Ives, Philadelphia, and the Photo-Gravure Co., New York.

“If I may venture the prediction, I think the history of photography for the next decade will be the history of orthochromatic work. Surely next to the production of the colors themselves, there is nothing to be desired so much as the rendering of the true values of these colors. I place the orthochromatic negative as the highest point yet attained in negative making, and as constituting the outcome to-day of that germ which was brought into being nearly one hundred years ago.”—Extract from Ernest Edwards’ article on “The Art of Making Photo-Gravures.”

“With reference to the Orthochromatic Plates. The Photo-Gravure Co. is greatly pleased with its success in the use of your plates of this description. They enable us to obtain results which otherwise would be impossible, and to do work that otherwise we should have to decline, placing a great power in the hands of an intelligent operator....”—Ernest Edwards, for Photo-Gravure Co., Brooklyn, February 13, 1888.

CARBUTT’S DRY PLATES can be obtained of all Dealers in Photo Materials, or direct from the KEYSTONE DRY PLATE WORKS, Wayne Junction, John Carbutt, Proprietor. PHILADELPHIA, PA.

SEND FOR PRICE LIST]

The New Magic Vignetter, (Illustration: Patented May 31st, 1887.) For producing the Popular Black Background or Ebony Photographs.

Endorsed and in use by the Leading Photographers of the United States.

No more trouble or expense than making plain photographs.

It is easily attached to any camera by fastening it on the inside of the diaphragm of the box (as shown in the cut).

The opening can be adjusted to the proper size by simply turning the thumb-screw. Focus and expose as usual. Every one guaranteed.

PRICE, EACH, $8.00.

For sale by all dealers in Photographic Goods.

Sample photographs of work done with it furnished on application to

H. A. HYATT, Sole Agent, Dealer in Photo Supplies of Every Description. N. E. Cor. Eighth and Locust Streets, ST. LOUIS, MO.]

(Illustration: Medals: American Institute 1884, Franklin Institute 1885, Franklin Institute 1887.)

The Brush applies dilute liquid pigment by a jet of air. To photographers producing large work, its use is especially recommended in place of crayon, and for water colors. With equal skill on the part of the artist, the work is accomplished with far more elegance, and with wonderful saving of time. The Brush will be sent upon trial.

The Air Brush has been found one of the most useful helpers in Process Engraving that has ever been discovered. See instructions given in this book.

For full description, terms, and any particulars desired, address, AIR BRUSH MANUFACTURING CO.

69 Nassau Street, ROCKFORD, ILL.]

Pictures Made in the Darkness.

Do not waste DRY PLATES trying to make NEGATIVES AT NIGHT WITH CHEAP, FROUZY MIXTURES.

Use the best. Sure Pop. No Animal Charcoal. No Chlorate of Potash. No Acid. VIOLET LIGHTNING FLASH, the most powerful light under the sun.

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Write for particulars and catalogue of all Photographic Materials. BUCHANAN, BROMLEY & CO., Manufacturers, PHILADELPHIA.]

ARE THE BEST IN THE WORLD FOR ALL KINDS OF Photo-Mechanical Work.

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COPIES PRINT, WRITING, TYPE-WRITING, WOOD-CUTS, LITHOGRAPHS, CRAYON DRAWINGS, PRINTED OR WRITTEN MUSIC, ETC.

The original is written with our copying ink or with our ribbon, and then, by a simple and sure process, transferred to a plate, from which any number of copies can be taken. Print is transferred to the plate without spoiling the original, and then copied like writing.

A great number of copies can be made from one original. As printer’s ink is used, all impressions are alike clear and legible, and can be of any color desired.

The negitive can be kept for years, or it can be removed in a minute, and the plate used over and over again.

This process has been awarded medals at recent exhibitions in different European cities, and is patented in Great Britain, Germany, France, Belgium and the United States.

It is simple, cleanly, not liable to get out of order; can be used in any climate, and is not affected by the weather.

Its importance to men of business, teachers in day and Sunday schools, photographers, musicians, and others, is obvious.

The samples sent out are printed by ourselves, and on the Universal Copying Machine.

Price of machine with outfit, plate 9 × 13-1/2 inches, legal-cap size, $20.00. Price, with process to copy print, etc., $5.00 extra. Ribbons for different type-writers, $1.00 each.

Larger machines can be furnished, if desired; but this is a very convenient size.

Samples of work sent free of charge.

UNIVERSAL COPYING MACHINE CO., J. R. PALEN, Treasurer. No. 1343 Arch Street, Philadelphia.]

WE CARRY IN STOCK A VERY LARGE SUPPLY OF

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27 Boylston St. Boston.

Gelatine Printing (Phototype), Photo-engraving, Photo-lithography, Photographing on Wood.

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Whoever uses Photographs in quantity can save a large per cent. by our Gelatine Printing.

Permanent ink in any color on any kind of paper.

REPRESENTED IN NEW YORK BY Brandon Moses, 52 Beaver St.]

JOHN G. HOOD, CHAIRMAN.

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Which has no equal for producing Negatives for Photo-Engraving, Etching, and Lithography.

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No 853 Broadway New York

SOME OPINIONS OF THE PRESS.

New York Evening Post.

“As a work of pure illustration it is unique.

“Unequalled by any similar collection produced on this side of the Atlantic. For the Photo-Gravures not even this qualification need be made.

“Several of these are gems of their kind, and will surprise even photographers who are not fully conversant with the recent advance in that branch of engraving, in which the Photo Gravure Co. stands unsurpassed now, when it is a question of dealing with negatives from nature.”

Philadelphia Sunday-School Times.

“The pictures like those of The Art Review, are the work of the Photo-Gravure Company, which has here produced a distinctly American art work unexcelled in the present season.”

New York Mail and Express.

“Reproduced by the Photo-Gravure Company in a most admirable manner. They are not to be described, however, for there is a charm about them, interfused in their soft lights and tender shadows, which evades words.”

Philadelphia Times.

“One of unusual beauty.

“The execution of nearly all of them is admirable.”

The Nation.

“Our publishers have hardly begun to realize the resources which this process offers for the decoration of books, with a very slight enhancement of the cost.”

New York Independent.

“These illustrations are reproduced in deliciously soft tones by the Photo-Gravure Company, of New York.”

The Evening Transcript, Boston.

“A volume of unusual beauty.

“Most of the illustrations are perfect gems.”

The Public Ledger, Philadelphia.

“The result is an art production by chemical and mechanical processes, that is in its way comparable to the best work of the engraver or etcher. It is something far beyond the ordinary work of the photographer, and may be considered the highest development of his art.”

The New York Commercial.

“Admirably reproduced by Photo-Gravure.”

The Commercial Gazette.

“Here again, the advance of the American engraver’s art is strikingly apparent.”

The Literary World.

“We wish always to be sparing in the use of superlatives, and guarded in the use of strong language, and to preserve carefully what reputation we have for a conservative and temperate judgment; but restraint is hard to bear in speaking out our minds about the work which, at the present writing, lies open on the editorial table.

“The Photo-Gravures introduced here and there by way of border decorations are exquisite, and the occasional vignettes dropped upon the corner of a larger plate introduce a charming irregularity and variety.”

The Susquehanna Evening Transcript.

“The illustrations are the finest we ever saw in a newspaper supplement.”

PHOTO-LITHOGRAPHIC AND PHOTO-MECHANICAL PRINTING OF EVERY DESCRIPTION.

Catalogues of our Publications on application. Estimates of work cheerfully furnished and correspondence solicited.

Portfolio of specimens, worth $10, containing examples of all our processes, forwarded on receipt of price, $1.00.]

THE WHOLE ART IN TWO BOOKS.

Wilson’s Quarter Century in Photography.

THE LARGEST AND BEST PHOTOGRAPHIC INSTRUCTION BOOK EVER ISSUED.

By EDWARD L. WILSON,

Editor of the “Philadelphia Photographer,” Author of “Wilson’s Photographics,” etc.

$4.00. “The best in the English language.”—Photographic News. $4.00.