The ferrotype and how to make it - The Grian Press

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162 THE FERROTYPE. versed Medallion Ferrotype, better than many words. The apparatus consists of a light pine wood frame or support, upon which is suspended a sheet of white or gray card-board, through the center of which is cut an oval opening. The background should be dark, and, if graduated in shade, the better. The one seen in the cut is" a Biglow graded revolving ground ; a dark-cloth ground will answer the purpose quite well. The background need not be more than four feet square, and may be stretched on a light frame. Through the center of the bar, which should be across the middle of the frame, a hole may be bored, by which it may be suspended on the back of the head-rest, upon the rear end of the rod which supports the head. The medallion frame may be of light pine wood, 2 inches by 1 inch, 6 feet high, and 30 inches wide. The one in the cut is 25 inches wide; it is better to be wider. The medallion matt may be of white card- board, smooth or pebbled. The one in the cut is gray, and pebbled, the better to imitate the Photograph. A strip of white paper is pasted on ihe edge of the upper left portion of the oval, ind a similar piece, but black, on the correspond- ing lower right. The matt is 30x40 inches square, and glued to a light frame of J-inc^ pii^e; the oval opening is 16 X 22 inches.
NON-EEVERSED MEDALLION FERROTYPE. 163 This Style of picture is much finer when made with the Rembrandt effect of h'ght. A very beautiful effect is produced in this style of pict- ^ure, after making the proper exposure, by cover- ing the tube, and pushing the plate-holder about J of an inch farther in ; then remove the cover of the lens and replace it immediately. This heightens the imitation to one of the best and softest of Medallion Photographs. The first cut explains the method of focussing the instrument ; this one shows the exposure, the position of the camera, the background, re- flector, etc., etc. By it also an idea may be ob- tained as to the method of illumination to pro- duce the Rembrandt effect.
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PUBLISHERS' PREFACE. We do not feel
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PUBLISHERS' PREFACE TO THE FOUKTH E
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POSITIVE PHOTOGEAPHY. 13 made the F
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POSITIVE PHOTOGRAPHY. 15 libraries,
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POSITIVE PHOTOGRAPHY. 17 exposure s
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POSITIVE PHOTOGRAPHY, 19 ploy agent
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POSITIVE PHOTOGRAPHY. 21 that gentl
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THE FERROTYPE. 23 as a vehicle for
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THE FERROTYPE. 25 the meeting of th
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THE FERROTYPE GALLERY. 27 artist—
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THE GLASS ROOM. 29 shape and exposu
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THE GLASS ROOM. 31 " Combined " lig
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THE GLASS ROOM. 33 light, liowever
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THE GLASS ROOM. 36 and side light ;
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THE GLASS ROOM. 37 wood. (A good de
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THE GLASS ROOM. 39 Tliere should be
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THE GLASS ROOM. 41 and lias sold th
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THE GLASS ROOM. 43 are those made b
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THE GLASS ROOM. 45 the small or Gem
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THE GLASS ROOM. til they indeed bec
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THE GLASS ROOM. 49 ited in the choi
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THE DARK ROOM. 51 with alcohol. Set
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Developing Solution : THE DARK ROOM
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THE DARK ROOM. 55 water-tight. Afte
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THE COLLODIO>\ 57 tion to give, in
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COLLODION. 59 the same time perfect
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COLLODION. 61 Those that are genera
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COLLODION. 6;j "Double Iodides, 5 t
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COLLODION. 65 way without injury, e
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COLLODION. 67 can not be diminished
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8ILVEB. 69 CHAPTER YIl. SILVER. J "
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SILVER. 71 The different salts of s
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SILVER. 73 a metallic powder—with
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SILVER. 75 plosive force may be obt
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SILVER. 77 bath it is always best t
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SILVER. 79 through the solution. Fr
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SII.VER. e or iodide of silver they
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SILVER. 83 mouth bottle, and can be
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SILVER. 85 are varnished, and the b
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DEVELOPEE AND DEVELOPMENT. 87 The a
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DEVELOPER AND DEVELOPMENT. 89 moved
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DEVELOPER AND DEVELOPMENT. 91 or as
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DEVELOPER AND DEVELOPMENT. 93 place
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DEVELOPER AND DEVELOPMENT. 96 not b
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DEVELOPER AND DEVELOPMENT. 97 heat
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DEVELOPER AND DEVELOrMKN f. 99 paii
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DEVELOPER AND DEVELOPMENT. 101 salt
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THE COLLODION PROCESS. 103 the samp
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THE COLLODION PROCESS. 105 firm and
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THE COLLODION PROCESS. 107 some obj
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THE COLLODION PROCESS. 109 drapery.
Page 115 and 116: THE COLLODION PROCESS. Ill panied b
Page 117 and 118: THE COLLODION PKOCESS. 113 having s
Page 119 and 120: FOG. . 115 they are of the class of
Page 121 and 122: Foa. 117 What we call " Fog/' is a
Page 123 and 124: FOG. 119 black spots on the plate w
Page 125 and 126: FOG. 121 image upon which will not
Page 127 and 128: COMPOSITION AND ILLUMINATION. 123 C
Page 129 and 130: COMPOSITION AND ILLUMINATION. 125 k
Page 131 and 132: COMPOSITJON AND ILLUMINATION. 127 f
Page 133 and 134: COMPOSITION AND ILLUMINATION. 129 W
Page 135 and 136: COMPOSITION AND ILLUMINATION. 131 h
Page 137 and 138: DEVELOPER AND DEVELOPMENT. 133 the
Page 139 and 140: DEVELOPER AND DEVELOPMENT. 135 comp
Page 141 and 142: ! DEVELOPER AND DEVELOPMENT. 137 As
Page 143 and 144: DEVELOPER AND DEVELOPMENT. 139 acqu
Page 145 and 146: VIGNETTES, MEDALLIONS, ETC. 141 CHA
Page 147 and 148: VIUJSETTES, MEDALLIONS, ETC. 143 be
Page 149 and 150: VIGNETTES, MEDALLIONS, ETC. 145 equ
Page 151 and 152: VIGNETTES, MEDALLIONS, ETC. 147 der
Page 153 and 154: THE JSrOI^-REYEESED FERROTYPE, POSI
Page 155 and 156: AUTHOR'S PREFACE. Each copy of the
Page 157 and 158: NON-HEVERSED FEKKOTYPES. 163 NON-RE
Page 159 and 160: NON-REVERSED FERROTYPES. 155 been l
Page 161 and 162: NON-REVEESED FERROTYPES. 157 ities
Page 163 and 164: KON-KEVEESED FERROTYPES. 159 exposu
Page 165: NON-REVERSED MEDALLION FERROTYPE. 1
Page 169 and 170: CONCLUSION. 165 rich, velvety black
Page 171 and 172: CONCLUSION. 167 Prisms, referred to
Page 173 and 174: author's addenda. 169 AUTHOE'S ADDE
Page 175 and 176: THE FEKROTYPE. TABLE FOR ENLARGEMEN
Page 177: THE FERROTYPE. >A/'EIGHTS AND MEASU
Page 180 and 181: ANTHONrs Itm Ferrotppc Collodion Ex
Page 182 and 183: 5x7 IMPROVED VICTORIA CAMERA. For m
Page 184 and 185: Ferrotype Outfits. We detail a few
Page 186 and 187: Climax Portrait and Gem Camera (No.
Page 188 and 189: CLIMAX QNCINNATI GEM CAMERA. FITTED
Page 190 and 191: THE KNICKERBOCKER STAND. The Acme T
Page 192 and 193: Photographic Card and Ferrotype Pla
Page 194: For cAnything and Everything USED B
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The ferrotype and how to make it - The Grian Press

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