The History and Practice of the Art of Photography by Henry Hunt Snelling
New York: PUBLISHED BY G. P. PUTNAM, 155 Broadway, 1849.
https://www.gutenberg.org/files/168/168-h/168-h.htm
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The camera in most general use is that manufactured by Voitlander and Son of Germany. Their
small size consists of two seperate acromatic lenses; the first, or external one, has a free
aperture of 1 1/2 inches; the second, or internal, 1 5/8 inches; and both have the same
focus, viz: 5 3/4 inches. The larger size differs from the smaller. The inner lens is an
achromatic 3 1/4 inches diameter, its focal length being 30 inches. The outer lens is a
meniscus--that is bounded by a concave and convex spherical surface which meet--having a
focal length of 18 inches. For every distant view, the aperture in front is contracted by a
diaphram to 1/8 of an inch. By this means the light is reflected with considerable intensity
and the clearness and correctness of the pictures are truly surprising.
https://www.gutenberg.org/ebooks/49640
The Mentor: Photography, Vol. 6, Num. 12, Serial No. 160, August 1, 1918
Starts with Daguerreotype!
Color Photography
Many workers have tried, with varying success to devise a means whereby photography could be made to reproduce not only the outlines and gradations of natural objects but the colors as well, and there is now available a method of great worth for this purpose. In brief, it consists in making, by one exposure in an ordinary camera, a set of three-color negatives, each of which represents that portion of one of the primary colors—violet, green and red—which was reflected from the subject. That is, one negative represents the violet “sensation,” the second the green, and the third the red. Prints are made from these negatives in suitable dyes on transparent films, which are cemented together, one over the other, thus giving a true color photograph, in which the secondary and tertiary colors—blue, yellow, orange, purple, brown, etc.—are obtained, as in painting, by the mixture in proper proportions of two or more of the primaries. This is the first method of color photography to possess the great advantage of producing prints—not transparencies, so that any number of duplicates may be made. No special camera is required, and the process is within the reach of any careful amateur. The writer believes the artistic value of color photography is relatively slight—a black and white art is capable of the fullest intellectual expression, and color is merely sensuous in its appeal. After much experiment with different color processes, he finds his own monochrome (single tone) prints more satisfying than the color work. However, the value of color to the scientific worker is incalculable, as will be realized at once on considering only one of the possible applications—namely, the study of skin affections. It is interesting to note that several methods have been devised for the reproduction of natural colors in motion-picture work—the familiar method of coloring the positive film by hand being only an approximation to truth. But none of those presented up to this time is fully satisfactory, though the prospects of future development are good.
When we consider the manifold and widespread uses of photography and the pleasurable diversion that
it affords, it seems safe to say that there is no other form of industry not an actual
necessity that is of such importance to the welfare and happiness of the human race.
https://www.gutenberg.org/files/42982/42982-h/42982-h.htm
Photography in the Studio and in the Field by Edward M. Estabrooke ++
NEW YORK:
E. & H. T. ANTHONY & CO.,
591 BROADWAY.
1887.
Starts with darkroom practices,
Good description of lenses of the time
"Fig. 8 represents the Dallmeyer Wide Angle Rectilinear Lens. It consists of two cemented combinations, p95 each composed of a deep meniscus crown and a deep concavo-convex flint glass lens; between the two, dividing the space in the proportion of their respective diameters, is placed a revolving diaphragm, the largest aperture of which is f15; the position of the stop being nearer the back combination avoids the central spot or flare."
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Naturalistic Photography for Students of the Art. by P. H. Emerson
https://www.gutenberg.org/ebooks/56833
Copyright, 1889.
P. H. Emerson.
