LUDOVICO HART

• Melbourne Camera Club was founded in 1891, making it one of the oldest photographic clubs in Australia.
• The club was the inspiration of Ludovico Wolfgang Hart, the instructor in photography at the Working Men's College and was known then as the Working Men's College Photographic Club.

Thursday 4th April 1878 Page 6 - The Sydney Morning Herald (NSW)

We learn that Mr Richards the Government Printer, during his recent visit to Europe, secured for the Government the right to use the Woodbury Process. It will henceforth be carried on in the Government Printing Office and in conjunction with it will be worked the Heliotype and Carbon Permanent Processes and some other photo-mechanical modes of printing. Ludovico Wolfgang Hart, the operator selected by the Government Printer in England to work these processes, has arrived and the machinery and appliances are on board the Tweed. In the meantime Ludovico Wolfgang Hart is producing, with improvised arrangements, specimens of some of the processes in question - the first he has undertaken is the permanent Carbon process. The specimens produced indicate the uses to which it can be applied. They consist of views of Government House and of the Botanic Gardens, the original negatives being cabinet-size (6 1/2 inches x 4 3/4 inches) and the enlargements 26 inches x 21 inches The Carbon process is particularly well adapted for the representation of mountain scenery and landscapes. The photographic apparatus taken into the field may be very small and the picture can be enlarged subsequently in the studio. The Carbon print is perfectly permanent, whereas a photograph no matter how well fixed, is always liable to fade and even to disappear altogether.

"The heliotype is also a permanent process and gives a perfect gradation of half-tones, as in the original photograph and it is peculiarly applicable to book illustration, because the prints coming from the press ready for binding do not require to be mounted.

"The Woodbury process has been about ten years in use. It is worked on a large scale in London and Paris. The process is based on the properties of bichromatized gelatine. A sheet of gelatine with a slight admixture of coloring matter and sensitized, is placed in contact with the negative and treated like an ordinary carbon proof. After it has undergone various manipulations the gelatine becomes impressed with a faithful image of the negative picture - the lights being hollowed out and the shadows formed in relief. The gelatine sheet is then placed between a plate of steel and a plate of soft metal, with its face to the latter and subjected to hydraulic pressure. The pressure imparts to the plate an intaglio picture of the gelatine relief, the shadows sinking below the level of the plate and the lights rising to its level; the gelatine is not injured by this treatment, but comes out perfect and may be used again several times. The plate thus manufactured is used for printing from. The press employed is peculiar to the process. The ink is composed of gelatine and Indian ink, toned with sepia or other colors. The prints may be of any size up to 15 x 12 inches and are capable of being turned out at the rate of 10,000 a week. As many as 30,000 copies of the same picture have been reproduced. Woodbury type stands unrivaled as a copier of objects for instructional, scientific and business purposes. It is well adapted for the representation of landscape scenery, for architectural and engineering purposes, for statuary, for geological, mineralogical, botanical and natural history specimens, fossils.

The above mentioned processes, especially the Woodbury type, will be well adapted for illustrating fossils and other geological specimens in the mining museum, as well as drawings and models of mining machinery and photographs of scenery characteristic of geological formations. They will also be advantageous for the natural history illustrations in the proceedings of the Royal and Linnean Societies. In an educational point of view these processes should prove of great value, for they afford the means of placing before the public, at a low cost, illustrated scientific and other works which would otherwise remain unpublished.

We believe it is intended to publish a Railway Guide Book with Woodbury illustrations as early as possible. The operator is about to proceed along the Western line to take views indicated by the Commissioner for Railways; and at Easter he is to accompany the Surveyor General (Mr P.F. Adams) and the Geological Surveyor (Mr C.S. Wilkinson) to the Fish River Caves, which possess peculiar interest to scientific men. It is stated that the Woodbury type is not the first photo-mechanical art introduced into the Government Printing Office. A process of photo-lithography was perfected in the office in 1863 and has been employed there ever since with the utmost advantage, as reproducer of maps and plans and of linear drawings and manuscripts, for which work in general it is not to be surpassed in economy, convenience, or expedition. But as photo-lithography is incapable of depicting half tones, owing to its printing with equal intensity every shade that has depth to transfer itself to the lithographic stone, the want of a process better adapted for the execution of pictorial work has been very much felt and Woodbury type is introduced to fill up the gap.



Saturday 14th December 1878 Page 22 - Australian Town and Country Journal (Sydney, NSW)

Mr Ludovico W. Hart then read a very interesting paper on the "Rise and Progress of Photography," describing at length various processes of reproduction, which he illustrated with a magnificent collection of carbon enlargements and numerous specimens of photolithography, phototypography, the fatty ink processes, comprising heliotype, woodbury type, photochromolithography and photochromography. The latter is one of the latest inventions and was described as a process by which any number of colors can be placed on a prepared woodburytype by one operation. The examples of this process were greatly admired. In the course of his excellent paper Mr Ludovico W. Hart mentioned the remarkable application of photography to articulate speech, by the use of the telephone in connection with the camera. Professor Blake, of Brown University, had succeeded in transfixing the sounds produced by the human voice, as shown by a series of curves. The words so photographed were, "How dy'e do" and "Brown University." As illustrating the wonderful progress in photography, some of Fox Talbot's productions were exhibited, in which little more could be seen than a faint shadow of the subject. At the close of his remarks a very hearty vote of thanks was accorded to Mr. Ludovico W. Hart.



Wednesday 15th January 1879 Page 6 - The Sydney Morning Herald (NSW)

THE RISE AND PROGRESS OF PHOTOGRAPHY
An interesting paper on "The Rise and Progress of Photography" was read before a recent meeting of the Royal Society of New South Wales, by Mr L.W. Hart. After a few introductory remarks, Mr Hart said he would divide his paper into two parts: "The history and progress of Photography" and "Its practice and applications". Passing by the assertion that both the Chinese and the Japanese possessed a knowledge of photography, he adverted to the certainty that the ancient Egyptians were acquainted with the process of making sun-pictures by means of the salts of silver. Coming to more recent times the Alchemists of 300 years ago were familiar with chloride of silver and the action of light upon that substance. Both England and France lay claim to the honor of being the cradle of the infant art of photography and both countries deserve credit for its rapid development. The principles of the Camera Obscura was discovered in 1544 by a Neapolitan monk named Della Porta. More than 230 years afterwards the learned Scheel, a Swedish philosopher, in experimenting with chloride of silver, discovered a method of taking copies of pictures by contact ; he also found out that the different rays of the solar spectrum have different degrees of actinism. Priestley and Senebrier, later still, made pictures on glass by means of nitrate and muriate of silver. A step further in advance was made in 1802, by Mr Wedgewood and Mr (afterwards Sir) Humphrey Davy. It was shown that, for three years previously, Mr Wedgewood had been making experiments in conjunction with Mr Daguerre, father to the gentleman who afterwards invented the process known as the daguerreotype. The pictures produced at this time, however, were of little value, as the process of fixing them and rendering them permanent had not been discovered. In 1814 the celebrated French philosopher, Niepce, by means of a camera, contrived to effect a sort of etching through the agency of light. Ten years afterwards the second Daguerre commenced experimenting with nitrate and chloride of silver, employing the agency of a camera. For some time he acted in conjunction with Niepce, but after the latter died in 1833, Daguerre persevered alone, until he perfected the process called after his name. The effect of the discoveries made by Daguerre was to stimulate scientific men in all countries to fresh investigations and in the hands of Morse, Claudet and others fresh discoveries and further improvements were continually being made. At the same time Mr Talbot was engaged in experiments which finally resulted in the process known as the Talbotype and soon afterwards the collodion process of Messrs. Scott, Archer and Gustave came into use and was gradually improved until it attained its present perfection. Referring then to the many applications of photography and the assistance it affords to other arts and sciences, the Autotype process and photo-lithography were described, more especially the latter, which Mr Hart stated he had come out to this colony to carry out in connection with the Government Printing Office. Photo-chromo-lithography and photo-chromography were also alluded to and briefly described. In conclusion, Mr Hart referred more particularly to the practical uses of photography in copying Government plans and documents, in representing even such an intangible thing as the human voice, which is done by photographing the vibrations of the metallic plate of a telephone, in recording the variations of scientific instruments and in making permanent records of astronomical observations.



Thursday 17th July 1879 Page 9 - The Sydney Morning Herald (NSW)

The third of a series of popular lectures in connection with the Technical or Working Men's College at the School of Arts was delivered on Tuesday evening in the hall of the Institute by Mr Ludovico W. Hart, the subject being "Photography: its past and present". The place was crowded and the lecturer was listened to throughout with the greatest attention, the different experiments he performed being received with hearty applause.

It was arranged that the Hon. W.C. Windeyer, M.L.A., should occupy the chair, but his Ministerial engagements compelled his absence during the early part of the lecture and his place was filled by Mr J. Alderson, one of the vice-presidents of the institute.

Mr Hart, who was received with applause, said that, in glancing through the world's history, they found that in every epoch important discoveries had been made. Among the many which had occurred during the present century one of the chief was photography, of which, as Dr Vogel said, there was scarcely any field in science and art to which it did not contribute as a handmaid and graceful satellite. Its progress had been more rapid than that of almost any other discovery and its influence was commensurate with its greatness. He would trace first its history and progress and next its practice and applications. Assertions had been made giving the Chinese and Japanese the credit of the discovery of the process, while others had attributed the place of honor to the Egyptians as being the first to employ the salts of silver in making sun pictures. However three centuries ago, Fabricius in his work "De Rebus Metallicus" proved that the ancients knew of the existence of chloride of silver. Again we found it in a very singular work by Tephaigne de la Roche, entitled "Giphantie a Babylone", who supposed himself transferred to the palace of the genii of the element, the chief of whom thus addressed him: "You know that the rays of light reflecting various bodies paint them on the retina of the eye, on the surface of the water and on mirrors. The spirits have sought to fix these images, they have composed every subtle adhesive material which hardens very quickly, by means of which a picture is made in the twinkling of an eye. They spread this substance on a piece of cloth and expose it to the object they wish to depict. The first effect of this prepared cloth is that of a mirror, near and distant objects being shown upon it, but that which a glass cannot effect, this cloth with a viscous covering does, namely, it retains the image faithfully. It is taken away directly to a dark place and an hour after you have a picture far more precious, truthful and lasting than any that art can produce. The spirit then entered into a physical disquisition, first on the nature of the glutinous body employed; secondly, on the difficulties of preparing and employing it and thirdly, on the mutual action of the light and glutinous body, three problems", adds Tephaigne, on waking from his trance, "I propose to the philosophers of our days". Both France and England laid claim to be the cradle of this giant baby and each had some reason for its claim, for while France had achieved much in way of early experiment the names of Herschell, Wedgwood, Davy and Fox Talbot in England would ever hold a prominent position in the history of the art. The camera obscura was discovered in 1544 by a Neapolitan monk named Giovanni Baptista della Porta, who noticed that objects from without were reflected upon the white walls of his cell through a hole in the window shutter. The next thing we had record of was chloride of silver and in 1777, Scheele, a Swede, while experimenting with this, decorated that paper covered with it turned black when exposed to light. Priestly and Senebier experimented , with the nitrate and muriate of silver and in 1802, in the month of June, there was published in the journal of the Royal Institution, 'An Account of the method of Copying Paintings upon glass and making profiles by the agency of light." by Wedgwood, with notes by Mr Davy, afterwards Sir Humphrey Davy. These pictures were called heliotypes. As early as 1790 Wedgwood was experimenting with a Mons. Daguerre, who died between 1798 and 1802. This Daguerre was the father of the inventor of the process bearing his name and Wedgwood was the son of the great Josiah Wedgwood. Wedgwood and Davy then continued their experiments together and obtained many beautiful plates, which however soon darkened over on exposure to light. In 1814 the celebrated Niepce began to study the process and in 1824 Louis Jacques Daguerre, the inventor of the diorama, also began to experiment. In 1827, Niepce was introduced to Daguerre and they continued to work together until about 1833. Niepce died and left Daguerre to perfect his process alone. He used to expose a highly polished silver surface to the action of iodine and after exposure to light, to bring out the latent image by development with petroleum. The lecturer then related how the accidental deposit of some plates in a cupboard, containing a small saucer of mercury, revealed to Daguerre the medium for developing his pictures. Humboldt, Biot and Arago became his confidants and at last he ceded his discovery to his country for a pension of 4000 francs and on the 19th August, 1839, at the public seance of the French Academy of Science, in the Palais Mazarin, he illustrated his process by development. The news spread and experimenters began to work in America, Berlin and England. While these events had been going on in France Englishmen had not been idle. Mr Fox Talbot had been working with the salts of silver, preparing his paper by immersing it in a solution of common salt and then in one of nitrate of silver, thus getting the chloride of silver as a medium, but, like those of Wedgwood and Davy, his pictures soon became dark. It was the eminent astronomer Herschell who discovered that pictures could be fixed by means of hyposulphite of soda and in 1852 Fox Talbot resigned his patent rights. However, paper was found to be an inconvenient medium and this troubled investigators very much, until the nephew of Niepce, Niepce de St. Victor, came to the rescue and in 1814 used glass as a support for the substance he used to hold the silver salts. This was starch and in 1847 it was abandoned for albumen, which, in its turn, was replaced by collodion and perfect negatives were obtained. The lecturer then described how perfect negatives and receiving papers were procured, concluding with the statement that silver prints were believed to be not permanent. Many had already faded away and the rest were likely to go. Two things were now required to complete photographic printing-printing in natural colors and permanent printing. Later investigators had succeeded in securing the latter, but the former might be a long way off. The lecturer then spoke of the advantage photography was to artists, to scientists and to professional men of every order. There were so many applications of photography, that he could not attempt to recapitulate them. The study of photography was necessary, as a benefit to the human race and no place was fitter for its study than the Technical College. In London and Paris lectures on the science were at this day delivered, under Government patronage and its importance seemed to be at last fully recognized.

The Hon. W.C. Windeyer here entered and the chairman resigned his seat to him.

The lecturer then proceeded to make a number of experiments, first photographing a plaster cast by means of the magnesium light. He showed how tho iodide of potassium in the collodion first poured upon the glass plate, uniting with the nitrate of silver contained in a bath in which it was submerged, became iodide of silver, sensitive to light. This plate fixed in the camera received an impression of the object it faced and this impression or likeness was fixed by means of hyposulphite of soda, or cyanide of potassium. The lecturer then showed how, from the negative he thus obtained, a likeness was produced upon prepared paper and the ordinary photograph was procured. He then spoke of the importance of the art in book illustrating, wood engraving and described the Carton process, the heliotype process and the Woodbury process. He demonstrated the great utility of photography in educational matters, by casting upon a screen by means of the oxy-hydrogen light the images of a number of objects in nature, art and science, explaining that the instrument he used for the purpose was the sciopticon, sometimes misnamed the magic lantern. These experiments concluded the lecture and after a vote of thanks to Mr Hart had been carried by acclamation, the audience dispersed.



Friday 1st August 1879 Page 3 - Evening News (Sydney, NSW)

TECHNICAL OR WORKING MEN'S COLLEGE

SYDNEY MECHANICS SCHOOL OF ARTS

SYLLABUS of LECTURES on "PHOTOGRAPHY"

to be delivered by Mr LUDOVICO HART

Lecture 1 — August 18 — History of Photography
Lecture 2 — August 25 — Salts of Silver and Negative and Positive Baths
Lecture 3 — September 1 — Collodion, Sensitive Surfaces and Action of Lights Thereon
Lecture 4 — September 8 — Theory of Development, Fixing
Lecture 5 — September 15 — Dry Plate Photography, Emulsions
Lecture 6 — September 22 — Silver Printing on Paper, Glass, Porcelain, Silk
Lecture 7 — September 29 — Carbon Processes and their applications.
Lecture 8 — October 6 — Photo-lithography, Photo typography, photo-engraving
Lecture 9 — October 13 — Fatty Ink Processes, Woodbury Process, Photoxylography
Lecture 10 — October 20 — Processes, other than Silver and Photo-mechanical.
Lecture 11 — October 27 — Applications of Photography.
Lecture 12 — November 1 (Saturday) — Invitation, to the Students to accompany Mr Hart to the Middle Heads or Harbour, to receive a practical lesson in out-door Photography.

Fee for the course of Lectures, 1 Guinea.
All applications to be made to the Secretary, Technical College, Sydney Mechanics School of Arts.



Tuesday 19th August 1879 Page 6 - The Sydney Morning Herald (NSW)

PROTECTION AGAINST COUNTERFEITS BY NON-ACTINIC PHOTOGRAPHY
The constantly increasing number and variety of forms in which paper and printing are used for transferrable documents of value and the liability of these, however carefully or artistically produced, to spurious imitation must render any process which affords an effectual protection against dishonesty an acceptable novelty. The subject, when broached by Messrs. Thompson and Garlick, the patentees of the non-actinic process and the representatives of an American photographic company, at once attracted the attention of the Exhibition Commissioners. A banknote, photographed by the actinic process by Messrs. Thompson and Garlick, was sent to Mr Thomas Richards, the Government Printer, to test. The prima facie quality of value was that it could not be reproduced by photography. Failure resulted from the first attempt to photograph it-nothing but a mere blank appeared; but the second experiment was successful, a clearly printed note on a reduced scale being produced. Another note, photographed at the Government Printing Office and which was there regarded as non-actinic, was sent to Messrs. Thompson and Garlick, who, similarly failing in the first instance to reproduce it, in a second attempt succeeded in obtaining a photograph copy. The matter is, therefore, at present in suspense. What has occurred with a view to ascertain the actual advantage of the patent will appear from the correspondence that has taken place. Messrs. Thompson and Garlick, on the 22nd April last, addressing the Colonial Treasurer, brought this patent under his notice, stating that their object had been to discover a method of printing or writing which would defy photography and therefore photo-lithography. They said that this had been crowned with success and that they had discovered and patented an invention for the admixture of all the colors of the spectrum and the blending of the colors so as to produce all the intermediate tints of the same and the application of them to all paper and printing or writing material so that they would form pleasing contrasts to the eye. They added that the print so produced was non-photographic - that is, it would not produce any image. They were prepared to print by their process debentures, postage stamps, deeds of grant, or any other documents of value which require protection against forgery by photo-lithography.

It may here be stated that Messrs. Thompson and Garlick succeeded in reproducing a very fair imitation of a sheet of our postage stamps. The consideration, however, arose whether in the printing of a large number the stamps could be produced well and cheaply. This point could not be settled by the production of a good specimen copy.

The Secretary to the International Commission (Mr Augustus Morris) called the attention of the Government Printer to the specimen bank-note before referred to, saying it was represented to be non-actinic and the Commission requested Mr Richards to have the question determined. It was desired (1st) that an imitation be attempted by photography, capable of being reproduced by photography, or by any process of which photography is the base; (2nd) that a report be made of the result of the operations to photograph the note, giving the Commission his view of the value of the alleged non-actinic process. Mr Richards handed over the matter to Ludovico W. Hart, who is in charge of the photo-mechanical branch and on the 29th July he reported that the bank-note was certainly non- actinic and could not be copied so as to be of any practical value. But he enclosed a photograph of the note, as also one produced in the Government Printing Office, possessing the properties of non-actinism.

On the 30th July, writing to the Secretary to the International Exhibition Commission, Mr Richards enclosed a photographic blank as the result of one trial made and as affording proof that the bank-note submitted for test was really non-actinic. It was therefore, he said, incapable of being reproduced by any photographic process at present known here.

We learn that Ludovico W. Hart is making a series of experiments with the endeavor to prove that, whatever the color may be, it can be photographed; but the process is lengthy and requires very great precision and careful manipulation. It is purely scientific photography. As soon as he obtains specimens, or when he has made it a complete success it may be made known. Mr Richards, in his communication to the secretary of the International Exhibition Commission, pointed out that the idea of employing non-actinic colors as a protection against forgery by photography was not new to him. More than a year ago it was, he says, brought under his notice by Ludovico W. Hart, his photographer, but not perceiving any practical use to which it could be put at the time he did not pursue it. In his letter of the 30th July he enclosed a specimen of a Bank of Honor note, the blank of which was executed in the establishment and also enclosed.

That photograph was not produced by Ludovico W. Hart, but by an assistant who was told to obtain a good reproduction. He found that it would not reproduce; the attempt resulting in a perfect blank. With this for the time they were satisfied and did not then pursue the matter further.

Mr Richards further states, in his communication of the 30th July, that probably the employment of non-actinic printing as a preventive against forgery by photography will prove valuable and maybe largely availed of in the future. He was not prepared to express any decided opinion as to its present commercial value, but he would like very much to see the plan tested and to ascertain especially how far it is applicable and in what manner it may be applied to the printing of bank-notes.

The Secretary to the International Exhibition Commission, on the 5th of the present month, expressed a regret that the Government Printer did not think so well of the process as the Commission imagined it deserved. To this Mr Richards replied, stating that, although personally, owing to the press of business, unable to take the matter up himself, he was far from wishing to interpose any obstacle to its introduction. The proprietors of the patent had, he said, shown an unwillingness to exhibit to him any phases of the process. It appears he had also asked for more specimens in various colors, with a view to further test. The Secretary of the Exhibition Commission, on the 12th instant, wrote that Mr Garlick declined to furnish any more specimens of his workmanship, but stated that should the Government Printer or the Government agree to pay for the temporary use of his patent, he would fall in with such arrangement and personally superintend the working of the process. To this letter Mr Sharkey, of the photographic and lithographic branch, appended a memorandum to the effect that, having been able to copy the specimen of non-actinic printing submitted to him, he did not think it desirable further to entertain the application.

At this stage the matter rests. It is hardly conceivable that Messrs. Thompson and Garlick and the company they represent, having sought for this effectual means of checking the counterfeit production of valuable documents and being satisfied with their success, should have been deceived to so great an extent as would appear from the photographing at the Government Printing Office of a note which they regarded as incapable of affording an image. It is just possible that some small error has been made in the process by which the specimen submitted was produced, or that the materials were not all of the required quality. In view of the importance of such an invention for securing the genuineness of bank-notes and other interchangeable and circulating paper, the subject is worthy of further exposition.



Tuesday 14th September 1880 Page 4 - The Maitland Mercury and Hunter River General Advertiser (NSW)

An expedition, under the direction of Mr E.C. Cracknell, for visiting the famous Fish River Caves, was recently successfully carried out and one of the results of the trip was the taking by electric light, of a number of excellent photographs of the caves by Ludovico W. Hart. The party, after a pleasant journey over the mountains and a night's rest at the Railway Hotel, Tarana, started from Tarana at 10 am and under the guidance of Mr. Jeremiah Wilson, the protector of the caves, they succeeded in reaching the caves, by easy stages, the following evening. The same evening they enlisted the services of Wilson as guide and paid a visit to the Cave Imperial. Entering the Grand Arch by the western side, they groped their way over the boulders and ascended by a couple of ladders to the entrance of the Cave Imperial, which was guarded by an iron grating. This having been unlocked by the guide, they passed through a number of narrow openings and tunnels, passing many beautiful formations and at length emerged upon one of the most charming parts of the cave, called the Margaretta. Mr Ludovico W. Hart says:— "It would be very difficult to find language that would adequately render justice to this fairy spot as we beheld it, but to convey the faintest notion of what the scene was like when lit up by the electric light is quite impossible, more particularly when different colored glasses rendered the walls and stalactites red, blue, yellow. Whichever way you turn, the most varied forms are viewed, bunches of stalactites forming clustered columns, reaching from ceiling to floor, recesses containing the most lovely formations, putting one in mind of some richly carved and ornamented cathedral, with its numerous little side chapels and altars. You take up another position and your eye meets other forms which cannot well be described, except that it leaves an impression upon your mind that you have seen one of nature's greatest achievements". The party next visited the Helena Cave, with its beautiful columns of stalagmite, including the Madonna and Child, the Crystal Rock, Lot's Wife, the Salt Pans, Nellie's Grotto, the Crystal Walls, the Fairy Bower, the Crystal Palace, the Bride's Veil and the beautiful Gem of the West. Next morning the iron cell battery and apparatus were carried into the Margareta Cave. Each set of six cells weighed 96 lbs; the whole, together with the acids and electric apparatus, exceeding 15 cwt. The electric light having been fairly started, the photographic apparatus was placed in position, the plates exposed and in fifteen minutes the first negatives were ready. The Helena Cave was afterwards photographed in the same manner and several very fine negatives were obtained of other portions of these wonderful and beautiful caves. A couple of days were spent in this work, after which the party started on their homeward journey and reached Sydney safe and sound after just a week's absence. Mr Ludovico W. Hart, writing in reference to this visit to the caves, says :– "Oberon is 18 miles from Tarana station and the caves are about the same distance from Oberon; the whole distance of 36 miles may be traveled in the summer in one day; but few persons would think of visiting the caves in winter and we would have preferred the summer, but had no choice, as the Commissioners for the Melbourne Exhibition were desirous of having the photographs with as little delay as possible, to adorn the New South Wales Court".



Saturday 5th July 1884 Page 3 - Mercury and Weekly Courier (Victoria)

AMATEUR PHOTOGRAPHIC ASSOCIATION OF VICTORIA
As we were unable to give our readers a full account of the proceedings in our last week's edition, we now have very much pleasure in giving, a verbatim report. The first annual exhibition in connection with the Amateur Photographic Association of Victoria, was opened in the Royal Society's Hall, Victoria-street, on Monday evening, June 23rd, in the presence of a large number of visitors. The walls of the building were profusely studded with portraits, executed, principally by amateur artists and which would compare very favorably with the productions of some of the professionals in the photographic business. The fact that the views were chiefly Victorian gave the exhibition an additional interest. Mr Ludovico Hart and Dr Browning delivered instructive lectures on photography, showing its rise and progress.

Mr J.H. Harvey, the indefatigable Secretary of the Amateur Photographic Association of Victoria, worked with a will and deserves, the highest eulogiums that may be paid to him, as it was only through his exertions that the Exhibition was such a decided success.

The following are the principal exhibitors:

Mr Levens, JP, of Collingwood, showed "The Austin Hospital," "The Fernery and views of the Melbourne Botanical Gardens," and other original specimens, all of which are deserving of the highest praise, especially "The New Rotunda," and "The Lakes" (including swans), in the Melbourne Botanical Gardens, taken by the instantaneous process. All these views are really worthy of mention.

Rev. W. Bradley exhibited transparencies (portraits) of himself, wife and daughter; also the "Congregational Church, Oxford-street" and views of the various pieces of statuary in the Melbourne Botanical Gardens; including "Dorothea", "The Gladiator Defying the Lightning", also "The Bridge over the Yarra", leading to the Gardens and last, though not least, the renowned fat man of Hobart, Mr. Jennings, weighing 32 stone, 7 lbs. All these pictures were excellent and showed that this gentlemen was almost proficient in the art of photography.

Messrs J. M'Ewen, who had several frames, illustrating the celebrated "Omeo Track" and "Mount Feathertop".

E.C. Bell showed a stereoscopic camera, his own invention and several frames of photos produced in it.

E. Purton exhibited an improved camera for obtaining transparencies invented and made by himself and several pictures, also a view of Dunedin (panoramic) produced by a new method, the work of a new Zealand amateur.

Mr Kirkland had a magnificent microscope and spectroscope, as well as a complete set of the "elementary bodies."

H. Vanheems showed a " Sutton's" panoramic camera and three prints of views taken with it.

Mr Fawcett sent some excellent instantaneous views of yachts, steamers going at full speed, taken by a special camera of his own construction.

Mr Musgrove, of Greenvale, also showed some frames of work all taken on gelatine plates of his own make, as well as a revolving stand for exhibiting negatives and prints at the same time and mask printing. These pictures were very life-like and good.

Mr Watts exhibited several large prints, some from gelatine plates, prepared by himself.

Mr Himen showed some interesting photos of natives of Japan, the work having been executed by Japanese operators.

Mr Newman showed a camera of his own make, which was a model of lightness.

Miss Thomson and Miss Burns exhibited some beautiful specimens of crystoleum painting.

Mr J.W. Lindt whose name is well-known in connection with both portrait and landscape photography, sent a frame of views in the Ovens District, also a portable camera and stand containing all the latest improvements.

Mr Ludovico Hart, late Superintendent of the Photomechanical Printing Department, of the N.S.W. Government and also formerly lecturer on photography at the Technical College, Sydney Association, Royal Society, Victoria, showed specimens of photomechanical printing of all descriptions, some of the productions exhibiting beautiful work and were portions of an exhibit by him at the Melbourne International Exhibition, 1880. The work which can be produced by these processes is little known in this colony and is worthy of finding a place in commercial photography.

Mr Stubbs, proprietor of Bacheldor and Co.'s establishment, sent some fine specimens of portrait work.

Mr C. Nettleton, exhibited several frames of colored photos, being views of different places of interest in the colony.

Mr J. Noone, Government photographer, sent several magnificent reproductions of engravings, executed at the Crown Lands Photographic Establishment.

Dr Browning showed opaloid portraits, transparencies and several useful pieces of apparatus.

Mr Ellery, Government Astronomer, lent various photographs of the moon and stars, taken in the great Melbourne telescope, which excited considerable interest.

Sergeant Fenton exhibited an album, still and gun cotton (his own make), which were greatly admired.

The other principal exhibitors were - Messrs. Atkin, Walker, J.J. Fenton, J. H. Harvey, Saverner and Smellie. The exhibitors of general chemicals, appliances, apparatus, were the firms of J.W. Small and Co. and R. Marriage, each of whom sent a magnificent and complete collection.

The Exhibition terminated with a number of views and photographs of Collingwood identities, shown in the optical lantern, Mr Scales being the lantern operator.

The success of the Exhibition was mainly due to the exertions of Messrs J.H. Harvey, M'Ewen, Paxton and Fenton, who worked with indefatigable zeal to make it successful and their efforts were rewarded beyond their most sanguine expectations.






Thursday 7th April 1887 Page 5 - The Telegraph, St Kilda, Prahran and South Yarra Guardian (Victoria)

The course of lectures on photography to be given by Ludovico W. Hart, photographer of High-street, St. Kilda, will begin on Tuesday the 19th inst., when the "History of Photography" will be selected as the subject. These lectures will be given at the Pharmaceutical Society's Hall, Swanston-street, Melbourne, the price of admission to the whole series being £1 1s. As Ludovico W. Hart bears a high reputation in this line his lectures should prove exceedingly profitable.



Saturday 23rd April 1887 Page 6 - The Telegraph, St Kilda, Prahran and South Yarra Guardian (Victoria)

LECTURE by Ludovico W. HART, of ST. KILDA
The first of a series of lectures on Photography was delivered in the Pharmaceutical Society's Hall, on Tuesday evening, by Ludovico W. Hart, of "Avenal", High-street, St. Kilda, a gentleman who has been professionally engaged in the art for upwards of 30 years past and has at various times held responsible positions both in Europe and the colonies. Mr C.R. Blackett presided. The lecturer devoted his initial discourse to a history of photography. It was said to have been known to the Chinese some 2000 or 3000 years ago and there was evidence that the Egyptians had also some knowledge of its uses. The camera obscura was the invention of Giovanni Baptista Della Porta, a Neapolitan monk, in 1544, but it was not until the close of the 18th century that any practical suggestions were made for the actual taking of photographs. The lecturer referred to the labors of the French experimenters, notably Daugerre and then briefly adverted to those of England - Wedgewood, Sir Humphrey Davey, Fox Talbot, Sir John Herschel and Scott Archer. The art had advanced with such rapidity that it was now possible to take negatives in the 300th part of a second. A French professor stated that he had taken photographs of the sun in the 8000th part of a second. The lecturer also touched upon the educational benefits of the art and demonstrated some of the methods adopted, concluding a very interesting lecture by exhibiting a number of photographs of colonial scenery by means of a magic lantern.



Saturday 14th May 1887 Page 6 - The Telegraph, St Kilda, Prahran and South Yarra Guardian (Victoria)

A PHOTOGRAPHIC VISIT TO THE FISH RIVER CAVES
By Ludovico W. Hart
These remarkable and beautiful natural productions being now largely visited thanks to the recent improvements made in facilitating the journey from Sydney perhaps a few lines on the reminiscences of a visit paid to them some years ago might interest your readers and as this was the first time that the caves were lit up by electricity it may add some weight to the raison d' etre of this description. The New South Wales Government kindly rent all the electric apparatus and our expedition was under the direction of a well-known gentleman in the Government service, assisted by an accomplished electrician, the photographic staff being composed of my two assistants and self, four other gentlemen volunteering to assist us in our rather troublesome task of getting 18 cwt. of necessary apparatus for the work.

We left Redfern at 9am and passing rapidly through the charming suburbs around Sydney found ourselves by 11 o'clock getting up the Lapstone Zig-zag. Up we go, now the engine in front of us, then behind pushing us along, now in front again, passing through a forest of verdure, mountain after mountain covered with the renowned eucalyptus; whilst here and there are scattered the malleluca, acasia, banksia, casuaina, ever and anon broken up by huge masses of rocks of the most fantastic shapes and colors, with innumerable gorges, making so many valleys; whilst in the now far distance we have left behind us the lingering form of the plains, looking like a mere cloud. Another two hours drive along the ridge of the mountains, passing through the lovely scenery of the ever-interesting Blue Mountains and we come to the Great Zig-zag. Nothing can exceed the effect of awe and wonder that this zig-zag produces. It seems as if the genius of man had been in severe contest with nature and one is lost in amazement in looking at the stupendous and superb work that is frowning down on all round. Massive and immense, it seems as it were to reign supreme-certainly a magnificent triumph of railway engineering. Rapidly passing through the beautiful Lithgow valley, with its coal, iron, copper, tweed, pottery and a host of other industries, we soon perceive the Tarano mountain and very shortly afterwards we are, comfortably lodged in the Railway Hotel, where host and hostess are unwearied in their attentions to the comforts of hungry travelers. After a comfortable night's rest and a good breakfast, we make preparations for a start; our caravan consisting of three buggies and a four-horse waggon for the baggage. At 10am, crack ! crack ! goes the whips and we bid a temporary adieu to Tarano; passing by that fine bridge of rocks, McEwan's crown, but after a while, finding the roads rather heavy, it is decided to proceed only as far as Oberon (please not to confound this place with a city of the same name in Fairyland), where we duly arrived at 4pm and put up at the house of our guide, Jeremiah Wilson, where, it is needless to say, our natural craving for food was soon appeased by the care and prodigality of our hostess, Mrs Wilson. The evening was passed as most evenings of that sort are, a little shooting, a game of whist, one or more glasses of whisky hot (winter time) and then to bed to dream of the scenes that all are looking forward to for the morrow. The night was soon passed and after once more paying the necessary attention to the inner man, away we go. Bush, bush and more bush, up and down, across creek and over bridges; but hallo, our first buggy, has halted at a creek-now the second one is up to it and does ditto, evidently something is wrong and No. 3 arrives. What has happened ? Oh nothing much, only the bridge washed away, but what was that to men determined to find no obstacle to prevent their arriving at the caves before nightfall. It took but a short time for all hands to dismount and under the able directions of our commander we went to work in a very smart manner to rebuild the bridge. (the stream was the Buckenrol creek), logs of wood, old trees, boughs, sods of earth and anything else we could utilize, were quickly procured and aided by a nip of whisky served to us by the commisariat in a very short time the work of building a new bridge was completed. Foundation stone, progress of work and opening, were accomplished in about two hours, being the most rapidly constructed bridge, perhaps, in the colony and all without any strikes occurring. Employer and employees in this case having the same interest and when our stately four-horse waggon made its appearance upon the scene and was successfully driven across this amateur but noble pile, a hearty cheer was given for the success of the undertaking - some naughty and thirsty member of our troupe proposed that the event should be celebrated by another nip of whisky, but he was hurriedly put into his place and we proceeded onwards, leaving the now proud chargers to have a banquet off the grass in commemoration of this auspicipus event. Still mounting for another hour, we come to the top of the ridge from where we were to make our descent to the halting place about 1800 feet below. Nature here seems to have chosen, one of her loveliest spots; before you lies an amphitheatre, mountain after mountain, covered with verdure mixed up with rocks, as vast as they are grand, rising up in all directions, making ugly and huge precipices, language indeed can scarcely describe their grand immensity. The zig-zag path reached, down we go, winding in torturous route the edges of the mountains, until at last the hollow resounds with our merry and contented - though somewhat noisy accents - among which may be heard the following, uttered by our commissariat, "Hullo, doctor, won't you take a glass of - good spring water." The doctor, a gentlemen of delicate and abstemious appearance, replies, " No, thank you, Major, I would rather not," but puts away a decent-sized panikin of whisky and water instead. At the camping ground the guide was having built an accommodation house, which no doubt when finished will prove very comfortable; but in its state then it required a roof and one end, which caused some little trouble to those who did not sleep well that night. The horses were soon taken out, whilst baskets and boxes containing many of the dainties (solids and liquids) of this world were soon stored away in the safe custody of the major and soon all were busy in discussing away the many good things provided for us Coo-ee, Coo-ee, Coo-ee ! - Ah, the waggon - here it is, turning the last round of the Zig-zag, conducted by "Jerrie" himself. All had safely arrived , so one more cheer was given for everything and everybody. As we were all anxious not to lose any time, we asked our indefatigable guide if it were possible to pay a first visit to the Imperial cave that night; he willingly agreed to satisfy our curiosity, so we changed our clothes and doffed a costume well appropriated to the occasion, which presented a very diversified and original appearance. Now for the candles; each take one - and the procession was en route.

I wish Mr Editor and kind readers, that you could have seen this picturesque procession of gentlemen in disguise. I hardly know whether you would have taken us for a gathering of mendicant lunatics, or a band of unarmed brigands grouping their way silently along in the stillness of the night; however, you must picture us entering the grand arch by the western side, stumbling over the numerous boulders that form a rather uneven floor to this very mysterious looking place. After a few tumbles we perceive the ladders in one corner of the eastern sortie leading up to the entrance to the "'Imperial." Here an iron grating effectually bars our entrance, looking very much like Darlinghurst gaol, I only speak as a voluntary visitor to this latter interesting establishment. However, the keeper, I beg his pardon, I mean our guide takes out a formidable key about 9 inches long and unlocks the door and in another moment we enter the caves with fast beating hearts and full of impatient curiosity. Strict injunctions are given to all to avoid touching the beautiful and varied formation we pass and also not to drop any grease inside the iron ropes. A few stoopings down and sundry squeezings through not over large holes and we enter one of the most charming parts of the cave called the " Marguerita cave." It is difficult for me to find words that would sufficiently render justice to this fairy spot, which forms the most varied, stalactites and stalagmites forming columns reaching from floor to ceiling, recesses containing the most lovely formations and a hundred other effects impossible for me to describe, made up this delightful grotto - which to be understood must be seen. We could have stayed here much longer, feasting our senses on this inimitable scene, but there are others to be visited and so we enter the "Helena cave." Here again are stalactites of every imaginable form, one might almost fancy themselves in Pompeii, or Ancient Rome. We now retrace our steps for a few yards to what might be called the vatican gallery of this cave. I fear that those persons who have visited this cave will laugh at my poor description of it, but I am only taking a hurried glance at it and must move on.

Proceeding along the gallery, we come to the subterranean river, about 60 feet below us. Here you are requested not to fall over into it, as it might cause loss of time and inconvenience in getting up your remains. Now comes the crystal rock - a marvel of beauty. Then a little further on sheets of drapery fall from the roof in elegant and natural folds, which when slightly tapped by the hand produces tones rivaling the finest cast bells. Still proceeding onwards we perceive in the distance a grand stalagmite about seven feet high, resembling fine alabaster and called "Lot's wife."' Now we pass the salt pan, the show rooms, etc and turning off a little we see some beautiful columns. Then we find ourselves amongst a most varied collection of stalactites called the "Mystery," and further on is Nelly's beautiful grotto. We now enter the Vestry, pass on between walls sparkling like thousands of diamonds called "The Crystal Walls." Then comes the Fairy Bower, the Crystal Palace, the Bride's Veil and lastly, but by no means the least beautiful, is the Gem of the West. By this time we are getting rather tired and after doing our best and succeeding fairly not to knock ourselves about too much we return in the same manner as we arrived to our camping ground, highly delighted with our first visit to the Imperial.



Saturday 21st May 1887 Page 6 - The Telegraph, St Kilda, Prahran and South Yarra Guardian (Victoria)

A PHOTOGRAPHIC VISIT TO THE FISH RIVER CAVES
By Ludovico W. Hart
Concluded from last, Week

The doctor, having a kindly regard for our bodily welfare, ordered us all a "potion," or anti-humatic, as we had to shift more or less and camp as best we could. Being used to mixing drugs, I was requested to make up sufficient of the following formula for all hands:

Rhumioum lactibuaqus ... G. S.

Aqua pura ... nil

I accordingly made up a gallon, which was not at all too much. This we found to be an excellent preventative for rheumatic pains of every description. Some vulgar minded people will insist on saying that it is nothing but rum and milk, but of course we knew better. However that might be, the effect produced was so very comforting that it was considered better to continue the medicine daily, which was done until the medicine chest was emptied, which fact pleased the commissariat much, as he insisted on saying, with all respect for the doctor, that his cure was still better - Londonium gini unmcum lactibui.

There are a good many wallabies in the surroundings, making it very agreeable for sportsmen - and wallaby soup in camp is not to be despised; so one evening our worthy amateur cook and sportsman went out in search of game and soon brought down a magnificent stump of an old gum-tree; but was enabled, after being out nearly all night, to retrieve his character, bagging two wallabies. One of these he put whole into the stewpan - I am not sure whether he skinned it or not - and after being boiled dry, partially roasted, almost burnt to a cinder and then re-boiled, the majority of us decided that to appreciate wallaby soup one must have acquired the taste.

But I am digressing and let us away to Lucas Cave. The entrance to this cave is situated at about half-a-mile from the camping ground and is reached by winding along the ridge side of one of the mountains until you come to a hole in a rock. We commence the journey along a corridor at the end of which is now a very decent descent by stairs, but at the time I speak of the ascent was made by means of a terribly shaking and cruel looking iron rope ladder, vividly suggesting a broken neck, or being dashed to pieces by a sudden impulse to fall. Arrived at the bottom one sees, by a dim light produced by our candles, an immense cave masses of rock lying pell-mell in every direction; and imagination paints all sorts of strange forms and things, not unworthy of Dante. This ball being traversed, we find ourselves in a sort of passage,rather troublesome to cross, ushering us into the Cathedral, a place noted for its wondrous beauty; it is from near this place that you descend, or more properly speaking, wriggle yourself into the "Bride's Chamber."

Off again - climbing, squeezing, tumbling, until you reach the" Couch," where a grand view is to be had by lighting some magnesium wire. This serves as a sort of half-way house; a rest, a bite, a drink and for those who do not know any better, a smoke. After the usual three minutes, up again and through the Nettle Cave, Lurline Cave, Elder Cave and the variety of archs, creeks, that one has to visit are simply to be named "legion."

It would not interest your readers were I to enter into a description of the apparatus, appliances, that we needed to get the electric light into the caves, but will merely mention that 18 cwt. of baggage had to be dragged in, besides photographic instruments. The effect of the light on these lovely spots produced results beyond all description and our photographs (10 x 12 inches) were all that could be desired. I believe now the caves are permanently lit be electricity. All things come to an end and so did our visit to the caves.

On the morning of our departure snow had fallen during the previous night and lay about four inches thick on the ground, so our journey back was cold and weary. We left about 10am, reaching Oberon at 4 pm and after a good hearty meal everybody decided that they felt better. We were anxiously looking out for the baggage-wagon, but 6, 7 and 8 o'clock came, but no wagon. A messenger was accordingly sent along the road to "scout," with instructions to hurry back as soon as any news was obtainable. Nine o'clock no tidings; 10 o'clock the anxiety became general and another party was being prepared to search when a "coo-e" was heard - was all right - no, a breakdown nobody hurt; baggage-wagon was lying in the snow 14 miles away. Here was a pretty go; rugs, apparatus, were needed for the morning, so very early (5am) the buggies started off for the principal things, leaving the heavy part to be brought in when the wagon was repaired. By evening we were once more in our own homes and describing energetically our interesting and never-to be-forgotten visit to the caves. Should any of your readers feel disposed to visit them, let them do so in the summer-time.



Tuesday 5th July 1887 Page 10 - The Argus (Melbourne, Victoria)

DISCOVERY OF PHOTOGRAPHY
TO THE EDITOR OF THE ARGUS
I see from a paragraph in The Argus of today that you quote an extract which observes that the art of photography began early in the reign of Victoria. Will you allow me to put you right in this matter?

The first real portrait taken by any photographic means was executed by Professor Charles in 1760 G. Tissandier remarks:- By means of a strong solar ray he projected a shadow of the head of one of his pupils on to a sheet of white paper which had been previously soaked in a solution - chloride of silver. Under the influence of the light, it was not long in becoming black in the parts exposed, remaining white on that portion of the sheet that had been shaded.

From 1814 to 1839 Niepce and Daguerre were experimenting and perfecting their processes. It was not £25,000 that the French Government gave to either of them for the discovery, it was a life pension of 6,000f, (£240) to Daguerre and 4,000f (£160) to Niepce.

The English experimenters also commenced their work on the discovery of photography towards the close of the last century and early in the 19th century, in 1802, we read in the journal of the Royal Institution, a paper entitled, "An Account of a Method of Copying Paintings upon Glass and of Making Profiles by the Agency of Light upon the Nitrate of Silver," by Thomas Wedgwood, with observations by Mr H. Davy (afterwards Sir Humphrey Davy). These experiments in England culminated with the success in 1834 of Fox Talbot in his process known as Talbotype. As regards Natural Colors in Photography, many and many have been the false alarms and canards that have been perpetrated, but up to the last mail out from home nothing is mentioned in any of the English or European journals devoted exclusively to photography that would guarantee such an assertion as that you quote concerning Mr Mayall having found the great desideratum "color". Despite the great efforts of such men as Biot, Herschel, Hunt, Becqueret, Niepce, de St. Victor and others, down to our day in the person of Major Abney, we are really at the same point as we were in 1838. Color is obtained, but we have no knowledge of how to keep it. I must not trespass on your valuable space, but the subject is so interesting and so little known that I have permitted myself to send you these few remarks.

LUDOVICO HART
Avenel, High Street, St Kilda, 4th July 1887



Tuesday 13th September 1887 Page 6 - The Argus (Melbourne, Victoria)

NEW INSOLVENTS
Ludovico Hart, of High-street, St. Kilda, photographer. Causes of insolvency - Falling-off in business. Liabilities, £973 8s. 1d.; assets, £519 4s. 9d.; deficiency, £454 3s. 4d. Mr. Jacomb, Assignee.



Friday 17th April 1891 Page 6 - The Argus (Melbourne, Victoria)

WORKING MEN'S COLLEGE PHOTOGRAPHIC CLUB
The first meeting of the Working Men's College Photographic Club was held in the Working Men's College on Tuesday evening.

The following officers were elected :- President, Professor Kernot ; vice-presidents, Messrs F.A. Campbell and R. Camm; Hon.Instructor, Mr Ludovico W. Hart; committee, Messrs. Reed, M'Mahon, Hislop; Hon.Secretary, Mr W.G. Rae; Hon.Treasurer, Mr Poole.

The advantages offered to the members of the club, who must be either students or ex-students of the college, are the use of the dark room, with chemicals for development, access to the library containing the latest works on photography and the assistance of the Hon.Instructor, who is at present the photographer in charge of the college classes. The annual subscription of 10s. covers all the fees in connection with the club.



Saturday 18th April 1891 Page 11 - The Argus (Melbourne, Victoria)

NEW MUSIC
We have received the following for review:

Some church music by Mr Ludovico W. Hart a member of the choir of Christ Church, South Yarra, includes a morning service in C, communion service in D and an anthem, "My God my God, look upon me." Viewed as amateur productions, these are very creditable though they would be still more acceptable if overhauled and revised by a thorough musician.

A serenade for mixed voices by the same author, is tuneful and pleasantly effective.



Friday 3rd July 1891 Page 4 - North Melbourne Advertiser (Vic)

PHOTOGRAPHY
By Ludovico Hart

Read before the Working Men's College Photographic Club.

ONE of the most interesting as well as one of the most artistic of all the photographic processes is the Photogravure process.

It is a method of putting a picture on copper by means of bichromated gelatine and etching it with acid or some other mordant, so that impressions may be taken from it as from an engraved plate.

There are many methods by which this may be done, but to-night I will ask your attention for a few minutes while I try to explain one of the ways and that the one most generally practiced and best known.

Before going into the details of this process, I presume that all present know the manipulations of the Carbon or Autotype process, as a thorough knowledge of it is essential in photogravure. But should any not understand it, I would recommend that, if not in the first year Photography Class, they should take advantage of one of the benefits of our club, that is, "Permission to attend any lecture or class in connection with the photographic classes of this College on the payment of a nominal sum at the office;" and there they would see it practically demonstrated and I am sure they would never regret it. It would be impossible for me in this short paper to go into the details of the carbon process; suffice to say, that it is one of the most beautiful processes of pure photography.

In Photogravure the first thing necessary is a copper plate.

This plate must be free from scratches and absolutely free from grease. To get rid of the scratches polish the plate with a piece of charcoal and finish off with rotten stone and water. To get rid of grease, well, there should not be any grease to be got rid of. When the plate is thoroughly clean, it should be put aside to dry.

In all photographic processes, where half-tone pictures are required to be reproduced, a grain of some sort is necessary, so the next thing to be done is to get something that will give us a grain and this is obtained in a very simple manner.

A square box is procured and fixed on a stand by two pans of wood or metal to act as pivots, so that it can revolve. An opening at the lower end of the front is fitted with a door hinged from the bottom. The bottom of the box should have a number of wire nails driven in about an inch apart to rest the copper plate on.

In this box there is placed about a pint of resin and bitumen finely powdered. The door is closed and the box rapidly revolved for about a minute, then it is fixed in its original position and allowed to remain so for two or three minutes, to allow all the coarser particles of dust to fall to the bottom.

The copper plate is now placed in this box and allowed to remain there from 10 to 20 minutes, according as the subject to be reproduced requires; it is then taken out, when it will be found to be covered with minute particles of resin and bitumen, which form the grain.

Great care must be taken in removing the plate from the box, as any draught or even breathing on it will disturb the small particles of dust that have fallen on it and destroy the grain.

It is now carefully placed on a heater (a piece of iron or brass on a gas stove does very well for this purpose) and allowed to remain there until these minute particles of bitumen are heated sufficiently to make them adhere to the copper.

This operation requires great care, for the plate must not be heated too much, else the resin and bitumen will melt and become a film through which no acid can etch, instead of being a grain to break up the picture and allow the acid to attack the copper plate.

To a certain when the plate is heated sufficiently, touch the corner of the plate with the finger every now and then and when it is found that the dust is not removed by touching, it has been heated sufficiently and should now be put aside to cool.

The next thing to look to is the negative. Any good negative will do for this purpose as long as it has good detail in the shadows and if it is a reversed negative so much the better, for we can make a positive by contact; but if not, a reversed positive is necessary and it can be made either by an enlarging camera, or by making a carbon transparency on glass. Of the two ways, I think the latter is the more preferable, as no detail is lost by it if it be well done.

When we have the positive from it, it is necessary to make a carbon print which has to be developed on the prepared copper plate.

This operation is the same as making a transparency on glass. The printed tissue and the copper plate are immersed in water. When the tissue is sufficiently limp, it and the plate are brought together under water. They are then lifted out and contact is obtained by the use of the squeegee. It is then covered with blotting, upon which is covered a piece of glass, or something flat, with a weight upon it. In five minutes it is ready for developing. To develop, the plate with the print on it is placed in warm water at about 95 deg. F., until the unaltered gelatine is noticed oozing out from under the backing paper, then catching the paper by one corner, it will be found to come away easily, leaving the gelatine film on the copper plate. Then add more warm water until all the unaltered or soluble gelatine is washed away.

We now have a negative picture on a grained copper plate. The plate is washed in cold water and put aside to dry.

The next thing to be got ready is the etching fluid.

For this purpose a saturated solution of perchloride of iron is used and here it might be well to remark a peculiar property of this mordant. It is this: "That the stronger the solution, the less it etches the copper."

It is well to start the etching with almost a saturated solution and, as the etching advances, a little water is occasionally added, especially if the print on the copper be very dense, but great care must be taken in making this addition, for if it be carelessly done it is liable to take the film off the plate.

When the plate is dry the edge and back of the copper is painted with a strong resisting varnish; Brunswick Black doing very well. When this is dry the plate is ready for the etching.

It will be noticed that the high lights are very dense as in a negative and the shadows are almost clear copper. The reason for this is that the acid gets through the thin parts first-that is, the shadows-and by the time it is through the high lights the shadows are pretty deeply etched.

The etching operation must be watched very closely, as the etching fluid staying on a minute too long will spoil the picture.

The effect of the mordant on the copper can be easily noticed by the change of color and instead of a negative picture being visible, it is turned into a positive and gradually again into the negative. As soon as it is noticed that the copper under the high lights is attacked, yon know the etching is finished and the plate is taken out of the etching bath and washed.

The resist and varnish are cleaned off with a little turpentine and the plate polished with a little rotten stone and oil.

The etching operation only occupies a few minutes and when the resist is cleaned off it must not be expected that the plate is deeply etched, for it is hardly etched at all, merely the surface of the copper taken off; but for all that, it is sufficient to hold strong copper plate ink.

The edge of the plate round the picture is now cleaned with a piece of charcoal and then the plate is ready for the printer.

When an impression is obtained, if there be not sufficient contrast, or if the shadows are not deep enough, the plate may be rolled up with a glazed roller and etched again, but this is a very risky operation and needs a good deal of practice before it can be accomplished successfully. There is another way to improve the plate and one almost always used, but it requires a good deal of skill to accomplish it with success and that is, to burnish the high lights with a burnisher and deepen the shadows by means of a roulette, which is an instrument with a small dotted wheel at the end of it.

In conclusion, I do not wish it to be thought that I have gone thoroughly into the subject of my paper in this short sketch; for it would require many more pages to explain it fully. But I have tried to give a rough outline and, I venture to trust, have thrown a little light on a process that is responsible for the reproduction of many of our finest pictures.

I will now ask you to look at the specimens that I have brought with me illustrative of the various stages of the process. You will find the original negative, the reversed positive, the carbon tissue print on the prepared copper plate, the etched copper plate and last of all the proof from the copper plate. These will give all who have not studied the process a better chance of understanding it and I hope of trying it for themselves.



Saturday 25th July 1891 Page 10 - The Argus (Melbourne, Victoria)

On Tuesday evening next, at the Athenaeum Hall, which has been kindly lent for the occasion by Mr John Roberts, the champion billiard player, an entertainment will be given for the benefit of Ludovico W. Hart, who has lost everything by the recent floods. Mr. Hart will lecture on the Story of Photography and the assistance of the Metropolitan Liedertafel (of which he is a member) has been secured for the performance of several part songs.



Friday 9th December 1892 Page 2 - North Melbourne Advertiser (Vic)

A paper was read by Mr Somerville on Photo-mechanical Methods before the members of the Working Men's College Photographic Club, last Tuesday evening. The Hon.Instructor of the club, Mr Ludovico W. Hart, presided and during the evening congratulated the writer on his efforts. The club members will meet at Heidleberg by 1.51 pm train tomorrow week,cameras in hand,for snap shooting.



Tuesday 7th February 1893 Page 9 - The Argus (Melbourne, Victoria)

NEW MUSIC
We have also received a morning service in C ("Te Deum" and "Benedictus"), communion service in D and an anthem, "My God, my God, look upon me," composed by Ludovico W. Hart, which, whilst they exhibit the possession by the composer of natural musical instinct, give abundant evidence of the necessity of studying the laws of harmony and composition before committing undeveloped ideas to paper.



Saturday 10th August 1895 Page 30 - The Australasian (Melbourne, Vic.)

THE AUSTRALASIAN SECOND PHOTOGRAPHIC COMPETITION
The second photographic competition just closed is, when compared with the first, remarkable for the all-round advance in the quality and merit of the work. All the colonies are well represented and with few exceptions the photography is excellent, in the majority of cases admirable. Land and seascapes, especially the latter, are the strong points of most competitors. The stormy weather of the winter has given us many pictures of the sea in its most furious moods, the instantaneous shutters having caught admirably the white-crested waves as they roll on shore or break against rocky coasts. Landscapes, too, show that photographers have realized the fact that in order to make a picture there must be something more than a mere transcript from nature. Some beautiful effects have been realized and the arrangements and composition are so good, the balance of light and shade so true, that at first glance the views give the impression of being copies of pictures. Figure studies, although in the minority (and they should not be), have been carefully thought out and many of them artistically posed. The humorous subjects range from the comicalities of childhood to the broad farce of cyclist dilemmas, blackfellows and animal whimsicalities.

We hope to announce the awards next week. Mr Ludovico W. Hart, of the Working Men's College, Mr A. Barrie (of "Talma" and Co.) and Mr T. Carrington, of The Australasian, have kindly undertaken the adjudication, which has already been entered upon.

Contributions not previously acknowledged: F.A. ARCHER, Christchurch, New Zealand: T.WEST, Colyton, New Zealand: D.H. Fox, Kew (omitted from last week's list): E.H. LEWIS, Hobart.



Saturday 10th August 1895 Page 4 - Bendigo Advertiser (Vic)

PHOTOGRAPHY
The council of the School of Mines having decided to add photography to the list of subjects taught at the school will, if a sufficient number of students hand in their names make arrangements with Ludovico W. Hart, F.R.M.S., to instruct the class. Ludovico W. Hart, whose reputation as a first-class photographer and successful teacher is well established, is at present instructor at the Working Men's College and the Ballarat School of Mines. The registrar of the School will be glad to supply full information in regard to the proposed class.



Saturday 17th August 1895 Page 30 - The Australasian (Melbourne, Vic)

THE AUSTRALASIAN SECOND PHOTOGRAPHIC COMPETITION - PRIZE LIST
Judges - Ludovico W. Hart (Working Men's College), A. Barry (Talma and Co.), T. Carrington.

FIGURE SUBJECTS
First Prize, £6 - "Mother's Treasure-box" by Mrs E.M. Hocken, Moray-place, Dunedin, N.Z: Second Prize, £2 - "Such a Big Basket and We Have Caught Nothing" by P. Say, Taieri Lake, Rock Pillar, Otago, N.Z: Highly Commended - " A Study" by W.J. Hawkey, 119 Glenferrie-road, Kew.

LANDSCAPE OR SEASCAPE
First Prize, £4 - "On the Graceburn, Healesville" by A.E. Wallis, Chesterfield, Malvern: Second Prize, £2 - "The Ever-restless Sea" by E.A. Bradford, 15 Barcom-avenue, Sydney: Highly Commended - "Becalmed," by David H. Foz, St. Ives, Barry street, Kew: "Group of Lincoln Sheep in New South Wales" by F. Lodge, 579 Collins-street, Melbourne: "Templestowe-road" by J.B. Nobel, 78 Lennox-street, Richmond: "Country Road Near Templestowe," by J.H. Waghorne, May-road, Toorak: "The Blackwood Pool, Werribee Gorge," by A.J. Campbell, Elm-grove, Armadale: "Where Scattered Waters Rave" by R.N. Kirk, Bondi, N.S.W.

HUMOROUS SUBJECTS
First Prize, £4 - "The First Buster" and "Something Gone Wrong with the Works" by T.G. Moore, Geelong: Second Prize, £2 - "The Wreck of the Clipper" by O.F. Plucke, Maryborough: Highly Commended - "Full and Plenty" by O.F. Plucke, Maryborough: "A Native of Currajung" by C.H. Tuckey, Currajung.

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