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[May 7, 1869. IMPORTANCE of Names on MovNTING Cards.—A cor respondent says : “ A gentlemen called upon me the other day. ‘ Are you Mr. ?’ ‘ Yes, I am.’ ‘ Do you know this por- trait ?. ‘I do; it is my production.’ ‘ Can you tell me where the original is to be found ? ’ ‘I can ; but first inform me how you became possessed of that one.’ ‘ I received it in Bombay. I have written many times, but cannot get any reply or in formation to my letters.’ I gave the address of the original, and a mutual recognition took place. Letters had been inter cepted. Thus the advantages of a name upon the carte-de-visite mounts. Speaking of names on the mounts recalls a circum stance of a young lady destroying her carte-de-visite. She was sure they were not good, as the photographer had issued them mounted on cards without a name; her sister’s and mamma’s had names on.” Photographic Bible Illustrations.—The Athenceum says: “ The late Mr. John Gray Bell, of Manchester, an untiring print-collector and book-hunter, devoted many years to the illustration of the Bible, by inserting in Macklin's folio edition above a thousand original drawings and photographs, and nearly 10,000 engravings, with 360 specimen leaves of old and rare editions of the bible. The result was sixty-three hand somely bound folio volumes, with double the number of illus trations contained in the famous Bowyer Bible of 45 volumes.” The facilities presented by photography afford excellent oppor tunities for illustrating standard works, and adding to them a new interest. Q To Gorrespondents. A. Z.—The restoration of faded prints has repeatedly been attempted, but only with partial success. Immersion for a short time in a strong solution of chloride of gold is sometimes of service. Immer sion in a solution of bichloride of mercury is also restorative. 2. The process of transferring the collodion film requires practice to secure success. We have repeatedly described both the wet and the dry method. As a rule, we believe the wet method is regarded as the most expeditious and successful. We have succeeded both ways. One important element of success is the use of a tough collodion of good body. We cannot repeat the process in detail in this column, but must refer you to descriptions which have been given in the News and the last two or three Year-Books. 3. Permanganate of potash would assist in oxidizing the last traces of hypo, and converting them into harmless sulphates ; but, as it also discolours the whites of albuminized paper, it is not quite safe to use. C. E. F.—Filter out the flocculent deposit, and the solution will be all right. 2. Sometimes tracing-paper, with or without clouds painted thereon, is placed in contact with the sky on the face of the negative, but most frequently at the back. MUFFOGRAPHER.—We regret that we cannot efficiently help you in this column; you will see that we cannot with propriety recom mend special dealers as supplying “the best” goods without making invidious distinctions. Our advertising columns contain announcements which will help you. March.—A stop placed in its proper position between the lenses of a portrait combination has the effect of correcting distortion and securing straight lines. The same sized stop placed in front of the lens will, of course, obstruct more light, and make the exposure longer. In certain cases it has an advantage in flattening the field, and also in preventing the formation of a central spot of light in the negative. Auric Chloride.—The necessity of toning the prints deeper in some cases than others, in order to obtain the same tint in the finished picture, is more frequently due to varieties in the quality or preparation of the paper than to varying formula) employed in preparing the toning bath. It is also much influenced by the con dition of the fixing bath. A new, strong, fixing bath, neutral or alkaline, often weakens the image, when a weak, old, or acid bath would cause the prints to retain the colour assumed in the gold bath, or even make it blacker. But the first is best. A good plan to secure genuine toning, and not the factitious appearance of toning assumed by some samples of paper, is to examine the print by looking through it. The colour it presents when thus examined before fixing is a good guide to the colour it will have when finished. Mr. Hughes’s formula for the toning bath appeared in one of our Year-Books. As we answer this question when we are from home, and without means of reference, we cannot cer tainly say which. You will also find it, we think, in Mr. Hughes’s Manual. 2. A print toned after fixing is not safe. Being sub jected to the action of a chloride, a portion of the metallic silver image may be converted into chloride of silver, which, remaining as part of the picture, would assuredly darken under the action of light. X. Y. Z.—We are unable to answer your question authoritatively, but we believe he is. As Mr. Sarony has elected to be paid for the use of his process by the purchase of the hatched vignette de signs, we presume it will not matter to him whether each individual photographer purchases them, or whether some one executing work for the profession purchases them and supplies them together with the transparencies he produces from negatives sent to him. 2. You do not state the formula you employ, so that it is difficult to state in what point you err. A green and grey tint, instead of a warm black or brown, is often the result of short exposure and prolonged development, especially if an iodide be chiefly used in salting the paper. The best remedies are the addition of a little of a chloride to your salting bath, a moderately strong silver bath, and full exposure. When you use a strong silver bath, float the paper a short time. Tom Hicks.—Wo will make enquiry; but it often happens that wo do not know the names of advertisers to whom applications have to be addressed under their initials at our office, as they often call for the letters sent in reply. Possibly, as such a short time has elapsed, the matter is still under consideration. E. Fisher.—The lens you mention is not quite suitable for taking interiors, especially where a wide angle has to be included. All single lenses give curved marginal lines, ■which, in an interior, are particularly objectionable. One of the double combinations suit able for stereo work, of which there are many, will answer best. See our advertising pages. 2. Golden syrup is a name given to a fine sample of molasses, having a golden tint in place of the olive tint which characterizes some samples. C. R. (Holyhead).—We will make enquiry"; and if we fail to find a suitable person readily, we will insert the advertisement as you wish. Idoneous.—It is not necessary to print any announcement regard ing registration, date, &c., on the mounts of copyright prints. The conditions of the Act are different from those which obtain in regard to copyright engravings. The onus of finding out that any picture has not been duly protected by registration is placed on the intending pirate, and he must take the risk of frequently making a mistake and becoming amenable to the law from his in ability to distinguish between registered copyright pictures and those not so protected. The letter, with some remarks, next week. Rolloy Fils.— Thanks. Your letter shall have full attention in our next. Payne Jennings.—Received. Thanks. Dr. Van Monckhoven.—Thanks for portrait and letter. The latter shall duly appear, with one or two remarks of our own, in our next. We are compelled to leave over the Echoes of the Month and several other Articles until our next. *** A necessary absence from home renders a little delay inevitable in answering some of our correspondents. Those whose letters do not reach us in time for answer this week will kindly excuse the delay. • Aegistere. Mr. J. G. Smith, Gt. Grimsby, Photograph of Group of Primitive Methodists. Mr. J. Owen, Newtown, N. Wales, Two Photographs of Dr. Slyman. Two Photographs of Monuments in Montgomery Church Messrs. W. Wilby and Son, Northampton, Photograph of Eleanor’s Cross, Northampton. Mr. Heath, Plymouth, Five Photographs of Rev. C. Wilson. Messrs. Appleton and Co., Bradford, Photograph of Titus Salt, Esq. Mr. R. Fitt, Tunbridge, Five Photographs of Mark Lemon, Esq. Mr. T. Illingworth, Halifax, Three Photographs of Rev. E. Mellor. Mr. E. Downer, Watford, Two Photographs of Lord Ebury. All Communications for the Editor to be addres sed to 15, Gough Square, Fleet Street, London, E.O.
