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	<title>PhotoHistory</title>
	<link>http://www.photographyhistory.net</link>
	<description>Documents and Resources on the History of Photography</description>
	<lastBuildDate>Tue, 24 Jun 2008 15:19:50 +0000</lastBuildDate>
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	<item>
		<title>Tannin Dry Plate - 1865</title>
		<description><![CDATA[DRY PLATE PHOTOGRAPHY
OR,
THE TANNIN PROCESS,
MADE SIMPLE AND PRACTICAL
FOR OPERATORS AND AMATEURS
BY JOHN TOWLER, M. D.
New York and London: 1865
[excerpts]
The peculiar advantages of Dry Plate Photography are but little understood by the ordinary photographic operator; and, when these advantages are understood and recognized, there is a difficulty in withdrawing the artist from the general routine of [...]]]></description>
		<link>http://www.photographyhistory.net/tannin-dry-plate-1865/</link>
			</item>
	<item>
		<title>The Purse of Fortunatus</title>
		<description><![CDATA[Here is an interesting advertisement for a photography correspondence course. Disguised as a one-page article, it is from a British photographic annual, published during World War One:
THE PURSE OF FORTUNATUS
By M Nesbit
From: Photograms of the Year 1915
F J Mortimer, editor
Every child and every grown-up is familiar with that most alluring of fairy stories, Prince Fortunatus [...]]]></description>
		<link>http://www.photographyhistory.net/the-purse-of-fortunatus/</link>
			</item>
	<item>
		<title>Pictorial Photography (Part 4 of 4)</title>
		<description><![CDATA[From: THE BARNET BOOK OF PHOTOGRAPHY
Pictorial Photography (Part 4 of 4)
By: A. Horsley Hinton, 1898
Compare for a moment the two photographs, fig. 1 and fig. 2.

The first is by no means an extreme case of the ordinary photograph, and notice that although the composition is fairly good as far as grouping goes, there is an [...]]]></description>
		<link>http://www.photographyhistory.net/pictorial-photography-part-4-of-4/</link>
			</item>
	<item>
		<title>Pictorial Photography  (Part 3 of 4)</title>
		<description><![CDATA[From: THE BARNET BOOK OF PHOTOGRAPHY
Pictorial Photography  (Part 3 of 4)
By: A. Horsley Hinton, 1898
The angle of view included by different lenses is an auxiliary not to be neglected, for by substituting a narrower angle lens, that is, one of longer focus, we may cut off or leave out undesirable objects which the shorter focus [...]]]></description>
		<link>http://www.photographyhistory.net/pictorial-photography-part-3-of-4/</link>
			</item>
	<item>
		<title>Pictorial Photography (Part 2 of 4)</title>
		<description><![CDATA[From: THE BARNET BOOK OF PHOTOGRAPHY
Pictorial Photography (Part 2 of 4)
By: A. Horsley Hinton, 1898
Reverting now to our argument, I have in other words suggested that obvious violation of truth will prevent the sentiment or effect of the picture from being paramount, and now I will submit that an excess of accuracy to detail is [...]]]></description>
		<link>http://www.photographyhistory.net/pictorial-photography-part-2-of-4/</link>
			</item>
	<item>
		<title>Pictorial Photography (Part 1 of 4)</title>
		<description><![CDATA[From: THE BARNET BOOK OF PHOTOGRAPHY
Pictorial Photography (Part 1 of 4)
By: A. Horsley Hinton, 1898
Unlike the subjects of the other articles in this book, in pictorial photography we are not brought to consider one of the many processes which go to make up the photographic craft, but merely a special and exceptional application of any [...]]]></description>
		<link>http://www.photographyhistory.net/pictorial-photography-part-1-of-4/</link>
			</item>
	<item>
		<title>Can Photography Lie</title>
		<description><![CDATA[Can Photography Lie?
From: THE BRITISH JOURNAL OF PHOTOGRAPHY
No. 1392. VOL. XXXIV. JANUARY 7, 1887.
ON THINGS IN GENERAL
By FREE LANCE
&#8220;CAN photography lie?&#8221; What a terrible implied imputation! And I am indeed afraid that photography cannot be at all likened to Caesar&#8217;s wife, for it is not above suspicion. When one finds a well-known photographer putting the [...]]]></description>
		<link>http://www.photographyhistory.net/can-photography-lie/</link>
			</item>
	<item>
		<title>Porcelain Printing (part 5 of 5)</title>
		<description><![CDATA[From: THE PRACTICAL PRINTER
A COMPLETE MANUAL PHOTOGRAPHIC PRINTING
By Charles W Hearn, 1874
PORCELAIN PRINTING
CAUSES OF FAILURES IN PORCELAIN PRINTING
MANIPULATION
Proper manipulation is the great secret of success in photography, and without it we cannot hope to succeed.
What is it that lies at the foundation of successful manipulation? It is care! and as we are proportionally careful in [...]]]></description>
		<link>http://www.photographyhistory.net/porcelain-printing-part-5-of-5/</link>
			</item>
	<item>
		<title>Porcelain Printing (part 4 of 5)</title>
		<description><![CDATA[From: THE PRACTICAL PRINTER
A COMPLETE MANUAL PHOTOGRAPHIC PRINTING
By Charles W Hearn, 1874
PORCELAIN PRINTING
TONING THE PORCELAIN
Make up, while your porcelain is printing, a toning solution as recommended below, so that it will have a chance to ripen before it is required.
The toning solution for porcelains, as well as for prints, should have a chance to get [...]]]></description>
		<link>http://www.photographyhistory.net/porcelain-printing-part-4-of-5/</link>
			</item>
	<item>
		<title>Porcelain Printing (part 3 of 5)</title>
		<description><![CDATA[From: THE PRACTICAL PRINTER
A COMPLETE MANUAL PHOTOGRAPHIC PRINTING
By Charles W Hearn, 1874
PORCELAIN PRINTING
PORCELAIN PRINTING-BOARDS
For the purpose of printing the porcelain successfully, different printing-boards have been invented, which are constructed in a different style from the ordinary negative-boards or frames.
Those which are now generally used are known by the name of &#8220;Jacoby&#8217;s Porcelain Printing-Frames.&#8221; Use them, [...]]]></description>
		<link>http://www.photographyhistory.net/porcelain-printing-part-3-of-5/</link>
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