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THE PHOTOGRAPHIC NEWS. EDITED B T- C- HEPWORTH, F_C.S Vol. XXXV. No. 1713.—July 3, 1891. CONTENTS. FAOE Burnt-in Photographic - 473 Photographic Perspective. By w. E. Dehenham 474 A New Method of Positive Printing. By Dr. 476 New Hand Cameras 477 Lens Diaphragms and Standards 478 Notices of Boohs 479 Notes 480 The Portraiture of the Sun. By James Mew 481 Notes on Landscape. By Francis L. Either..,,.. 482 Star Photographs 483 FAGE The Eder and Schiendl Controversy 434 Some New Addition Compounds of “ Thiocarbamide ” which Afford Evidence of its Constitution. By J. Emerson Reynolds 4g4 Colour Photography 435 Patent Intelligence 433 Correspondence.—The Boston Camera Club—Orthochromatic Photography 487 Proceedings of Societies 487 Answers to Correspondents 488 as good subjects for such treatment; indeed, the possibilities before this new application of our art are most extensive. Another use which may be found for this photo graphic vitrification is the production of lantern slides which will need no mounting or cover glasses. We are not sure whether the production of a picture of this kind on glass suitably thin will not present some diffi culty in the annealing operation, but of this we have no certain knowledge. It is also certain that in the case of a negative of great value—such as that of a royal personage, or a public character whose pictures sell well —the new process will be employed for the purpose of duplication in permanent form. We are not able to furnish details of the method employed, nor will those who desire to know all about it be able to assuage their curiosity by a visit to the Patent Office ; for Messrs. Oeffelein have determined to keep their invention unpatented—a course which w e think is wise in the case of a process which has cost many years to bring to perfection. tors state that they soon hope to have at their com mand in the production of these pictures all the varied tints which the richest palette can offer. Some of the work has a coarse grain which gives the softening effect of a stipple, and some is as fine in texture as a skilfully made lantern slide on a gelatine plate. It is thus within the power of the operator to produce fine or coarse work at discretion, and according to the use for which the pictures are destined. Within the past few years, coloured glass has been largely used for domestic decorative purposes, and there are very few who do not know what material is meant by the term “ cathedral glass.” By means of Messrs. Oeffelein’s new application of photography, this method of decoration is sure to receive a fresh impetus, for by it it will be possible to invest such decoration with an interest which it never before possessed. The life-sized heads taken direct which have formed such a constant feature of recent exhibi tions can now be produced in imperishable material, and can be used in windows, fire-screens, lamps, and for other purposes where glass can be employed decora tively. We are not quite certain whether portraits of this kind would be admissible in church windows, but we think that a memorial window might well con tain the portrait of the person honoured, inserted, of course, in a manner which would not be obtrusive. A photograph of a nineteenth century man or woman got up to look like a saint would most likely border on the ludicrous. There was a fearful example of this sort of thing shown in the shop windows only a few years ago, at the expense of good Mr. Spurgeon, who was pictured in full armour as Christian in the “ Pilgrim’s Progress.” The picture was not an artistic success. But, of course, the main use of Messrs. Oeffelein's burnt-in photographs will be for secular decorative purposes, and here it has a very wide field of applica tion. Witness the good effect obtained by the use of stained glass in the dining and refreshment rooms at South Kensington Museum. Here we have ornament relieved by apt quotations from many authors upon the subject of the pleasures of the table. How well these burnt-in photographs taken from suitable models would come in here. But we are by no means con fined to portraiture, although the specimens before us happen all to be of that nature. Studies of fruit and flowers will be available, and naturally the copies of well-known works of art can be reproduced in this imperishable form. The portraits of favourite animals — dogs, cats, and horses—will also commend themselves BURNT-IN PHOTOGRAPHIC TRANSPARENCIES. BEFORE us, as we write, are a number of specimens of photographic transparencies on glass, which have been produced by a new process which has been perfected after five years of incessant work by Messrs. Oeffelein and Co., of 54, Berners Street, Oxford Street. It is easy to see at a glance that no photographic film rests upon the glass, and that the pictures form part and parcel of the material itself. If, with the corner of another plate, we endeavour to scratch the surface, we quite fail in doing so, although a powdery mark is, for the moment, left behind by attrition from the point of glass employed. The photographs are burnt-in to the glass, and are presumably as imperishable as the sub stance of which they form part. They are of different colours—blue, red, orange, mauve, &c.—and the inven-