The Photographic art-journal . teparticles of the solid composition of silverwhich every where encloses the ligneousfibres ; the clear and dark spots, visible tothe naked eye, are then produced muchsooner through the equality of the distri-bution of the sensitive precipitate, by itsremoval arising from the washes, and es-pecially by departure frcni the contact ofthe fixing liquid. For example it isthis departure, in the hyposulphite or bro-mide of potassium, which is the cause ofthe want of success of Mr. Bardon deGenes. I became assured of this by com-paring with a magnifying glass the positi
The Photographic art-journal . teparticles of the solid composition of silverwhich every where encloses the ligneousfibres ; the clear and dark spots, visible tothe naked eye, are then produced muchsooner through the equality of the distri-bution of the sensitive precipitate, by itsremoval arising from the washes, and es-pecially by departure frcni the contact ofthe fixing liquid. For example it isthis departure, in the hyposulphite or bro-mide of potassium, which is the cause ofthe want of success of Mr. Bardon deGenes. I became assured of this by com-paring with a magnifying glass the positivesand negatives which he sent me ; in thenegative there is a statue, the head ofwhich, on a back base, bears very distinctwhite traits indicating the eyes, nose andmouth, while in the positive this head k>represented by a completely white oval. M. A. Guadin.( To be continued.) 1853. The Photographic Art-Journal. 36* SOME THOUGHTS ON THE FITTING UP OF DAGUERREAN ROOMS. Extract from a manuscript volume soon to I e 0 artist needs be told, that 1 expression constitutes themief beauty and power ofthe human face. No mereconfiguration or tinting canproduce these results. And lit were equally superfluous saying,that expression is the product ofthought and feeling, either habiualor occasional; in a word, of char-acter or mood. How mttc/i of expression abidesperennially in the face, we are seldomaware, in the case of our familiar , however, peculiarly observant or impres-sionable, an encounter with a strangershows us what a wondrous expositor of thesoul within is found in the few square inch-es of muscular tissue constituting thehuman countenance. The infaot, too, whose native suscepti-bilities have not as y< t been indurated byattrition against the hard conditions of life,is in his way a more sagacrous reader ofcharacter, than the adult. All of us, 1dare say, have seen both men and women,from whom the delicately organised infanthas shrunk vehemently at fi
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Keywords: ., bookcentury1800, bookdecade1850, booksubjectphotogr, bookyear1851
