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 Chapter 2
Welcome App
2.1 Introduction
1. A app is an app that can run on iPhones, iPod touches and iPads.
a. multi-purpose
b. global
c. unrestricted
d. universal
Ans: d. universal

2. You can your apps so that they can display strings in different spoken
languages based on the user’s device settings.
a. limit b.
restrict c.
confine d.
localize
Ans: d. localize

2.2 Technologies Overview

2.2.2 Labels and Image Views

1. Which of the following statements is false?
a. Text can be displayed in a Label (an object of class UILabel from the Cocoa
Touch’s UIKit framework) and a picture can be displayed in an Image View (an object
of class UIImageView).
b. Using Cocoa Touch, you can (without programming) drag and drop a Label and an
Image View onto the UI.
c. iOS’s auto layout capabilities can maintain various relationships among GUI ele-
ments when the user rotates the device.
d. You can edit UI component attributes (e.g., the Text attribute of a Label and the
Image attribute of an Image View) to customize them for your apps.

© Copyright 1992-2015 by Deitel & Associates, Inc. and Prentice Hall. All Rights Reserved.
Ans: b. Using Cocoa Touch, you can (without programming) drag and drop a
Label and an Image View onto the UI. [Actually, using Interface Builder, you can
(without programming) drag and drop a Label and an Image View onto the UI.]

2.2.3 Asset Catalogs and Image Sets

2. Which of the following statements is false?
a. When your app is installed on a device, its icon and name appear with all other
installed apps in the iOS home screen.
b. You specify the icon for your app as part of the app’s settings-.
c. iOS supports asset catalogs, which manage image resources that require different
resolutions for different devices-. An asset catalog contains image sets from which iOS
automatically chooses the appropriate image based only on the device running the app.
d. Your app’s icon will appear in different sizes and resolutions based on the device
and context in which it’s displayed.
Ans: c. iOS supports asset catalogs, which manage image resources that require
different resolutions for different devices-. An asset catalog contains image sets
from which iOS automatically chooses the appropriate image based only on the
device running the app. Actually, an asset catalog contains image sets from which
iOS automatically chooses the appropriate image based on the device running the
app and the context in which the icon is used—such as in the iOS Settings app, in
Spotlight search or as the app’s icon on the home screen.

2.3 Creating a Universal App Project with Xcode

2.3.2 Projects and App Templates

1. Which of the following statements is false?
a. A project is a group of related files, such as the Swift code files and any media
files (e.g., images, video, audio) that compose an app. b. Select File > New > Project…
to create a new project.
c. Selecting File > New > Project… displays a sheet containing the design patterns that
you can use as your new project’s foundation. Design patterns save you time by
providing preconfigured starting points for commonly used app designs. d. A sheet is
a type of dialog that slides down from the top of a window.
Ans: c. Selecting File > New > Project… displays a sheet containing the design pat-
terns that you can use as your new project’s foundation. Design patterns save you
time by providing preconfigured starting points for commonly used app designs.
[Actually, this sheet contains templates, not design patterns.]

© Copyright 1992-2015 by Deitel & Associates, Inc. and Prentice Hall. All Rights Reserved.
2.4 Xcode Workspace Window
1. A new project’s window is known as a window, which is divided into
four main areas below the toolbar: the Navigator area, Editor area, Utilities area and the
Debug area.
a. workplace
b. workbench
c. workspace
d. workdesk
Ans: c. workspace

2.4.5 Xcode Toolbar

2. Clicking the Xcode 6 toolbar’s Run button builds then runs the project on the cur-
rently selected simulator or device as specified in the Scheme selector. Clicking and
holding on this button displays Run, Test, Profile and Analyze options. The Test op- tion
allows you to run unit tests on your app. The Profile option collects information about
your running code to help you locate performance issues, memory leaks and more. The
Analyze option checks your source code for .
a. syntax errors
b. current programming
idiom c. compilation errors
d. potential logic errors
Ans: d. potential logic errors

2.5 Storyboarding the Welcome App’s UI

2.5.2 Providing an App Icon

1. The manages image resources that require different sizes and resolu-
tions for different devices and contexts.
a. asset catalog b.
image catalog c.
device manager d.
context manager
Ans: asset catalog

2.5.4 Overview of the Storyboard and the Xcode Utilities Area

2. Which of the following statements about size classes and auto layout tools is false?
a. Size classes help you design scenes for different screen sizes and orientations.
b. By default, the scene is configured for Any width and Any height, meaning that the
scene is designed for any iOS device and any device orientation.

© Copyright 1992-2015 by Deitel & Associates, Inc. and Prentice Hall. All Rights Reserved.
c. The Any/Any scene is 256-by-256 pixels.
d. The auto layout tools enable you to specify how UI components adjust their sizes
and positions based on a device’s size and orientation.
Ans: c. The Any/Any scene is 256-by-256 pixels. Actually, The Any/Any scene is
600-by-600 pixels.

2.5.8 Using Auto Layout to Support Different Screen Sizes and

Orientations
3. You use constraints to specify how UI components are positioned rela-
tive to other components and how components should resize and reposition based on
the device and device orientation.
a. relative layout
b. auto layout
c. position layout
d. device-based layout
Ans: b. auto layout

2.6 Running the Welcome App

No questions

2.7 Making Your App Accessible

1. Which of the following statements is false?
a. For people with visual and physical disabilities, iOS’s VoiceOver can speak the
screen text (such as the text on a Label or Button) or text that you provide to help the
user understand the purpose of a UI component.
b. When VoiceOver is enabled and the user touches an accessible UI component,
VoiceOver speaks the accessibility text associated with the component.
c. All UIKit framework components support accessibility and many have it enabled
by default. For example, when the user touches a Label, VoiceOver speaks the La- bel’s
text.
d. VoiceOver is supported in the iOS simulator.
Ans: d. VoiceOver is supported in the iOS simulator. Actually, VoiceOver is not
currently supported in the iOS simulator, so you must run this app on a device
to hear VoiceOver speak the text. However, in the simulator you can use the
Accessibility Inspector to view the text that VoiceOver will speak.

© Copyright 1992-2015 by Deitel & Associates, Inc. and Prentice Hall. All Rights Reserved.
2.8 Internationalizing Your App
1. Using layout to design your UI is a key part of internationaliza-tion—
when used correctly, it enables iOS to present your UI in a manner appropriate for each
locale. For example, a UI arranged left-to-right for some languages (e.g., English,
French, Spanish, etc.) would typically be arranged right-to-left for others (e.g., Arabic,
Hebrew, etc.).
a. adjusting
b. customizing
c. regulating
d. auto
Ans: auto

2.8.1 Locking Your UI During Translation

2. If you’re still developing your app and want to have your string resources trans-
lated in parallel, you can your UI components for an entire storyboard or
individually so they cannot be modified accidentally.
a. load
b. lock
c. parallelize
d. freeze
Ans: b. lock

© Copyright 1992-2015 by Deitel & Associates, Inc. and Prentice Hall. All Rights Reserved.
 Chapter 2 Introduction to
Java Applications; Input/Output
and Operators
1.1 Introduction
No questions

1.2 A First Swift Program: Printing a Line of Text

1. Any scoped statements in main.swift—that is, statements that are
not written inside function, method or type definitions—serve as the app’s entry
point.
a. locally
b. outer
c. generically
d. globally
Ans: globally
2. String literals cannot span multiple lines of code, but you may concatenate mul-
tiple Strings into a longer String by using the operator.
a. @
b. -
c. ^
d. +
Ans: d. +

3. As you type code in the source-code editor, Xcode displays con-text-

sensitive, suggestions that help you write code quickly and correct-ly.

a. code-anticipation
b. code-fill
c. code-fulfillment
d. code-completion
Ans: code-completion

© 2016 Pearson Education, Inc., Hoboken, NJ. All rights reserved.

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4. Where the standard output appears depends on the type of program and where you
execute it. Which of the following statements is false?
a. If you execute a println in a playground, the result displays in playground’s
Console window.
b. If you execute any app from an Xcode project, the output appears in the Debug
area at the bottom of the Xcode window.
c. If the statement is part of a Command Line Tool application, when you execute the
application in a Terminal window, the output appears in that window.
d. If you execute an iOS app on a device, the result is sent to a log file that you can
view in Xcode’s Devices window.
Ans: a. If you execute a println in a playground, the result displays in play-
ground’s Console window. Actually, if you execute a println in a playground, the
result displays in playground’s Assistant- Editor window.

1.3 Modifying Your First Program

1. How many lines of readable text does the following statement print?

println("Welcome\nto\nSwift\nProgramming!")

a. 1
b. 2
c. 3
d. 4
Ans: d. 4

2. The backslash (\) is a(n) character, which has special meaning in a

String literal—\n, for example, represents the line-feed special character.
a. outbreak
b. escape
c. release
d. break
Ans: b. escape

1.4 Composing Larger Strings with String

Interpolation
1. Swift uses type to determine a constant’s or variable’s type from its
initializer value.
a. interpolation
b. conjecture
c. inference
d. interpretation
Ans: c. inference

© 2016 Pearson Education, Inc., Hoboken, NJ. All rights reserved.

2. Constants and variables of the type are limited to the range –32,768 to
32767.
a. Int8
b. Int16
c. Int32
d. Int64
Ans: Int16

3. Constants and variables of the type are limited to the range 0 to

4,294,967,295.
a. UInt8
b. UIntnt16
c. UIntnt32
d. UIntnt64
Ans: c. UInt32

1.5 Another Application: Adding Integers

1. Which of the following statements is false? a.
Whole-number values are treated as type Int.
b. Use constants rather than variables when you know a value will not change after
it’s initialized.
c. Compilers can perform optimizations on variables that cannot be performed on
constants.
d. Constants also eliminate accidental modifications of data that should remain con-
stant.
Ans: c. Compilers can perform optimizations on variables that cannot be per-
formed on constants. [Actually, compilers can perform optimizations on con-
stants that cannot be performed on variables.]

2. An expression is any portion of a statement that has a(n) associated

with it.
a. name
b. constant
c. variable
d. value
Ans: d. value

1.6 Arithmetic
1. Among the arithmetic operators, the asterisk (*) indicates multiplication, and the
percent sign (%) is the operator.
a. division
b. integer division
c. remainder

© 2016 Pearson Education, Inc., Hoboken, NJ. All rights reserved.

d. interpolation
Ans: c. remainder

2. Integer division yields an integer quotient. For example, the expression 7 / 4

evaluates to 1, and the expression 17 / 5 evaluates to 3. Any fractional part in integer
division is simply —no rounding occurs.
a. rounded
b. averaged
c. truncated
d. interpolated
Ans: c. truncated

3. 9 % 4 yields .
a. 1
b. 2
c. 39
d. 5
Ans: a. 1

2.6.2 Operator Precedence

4. When we say that operators are applied from left to right, we’re referring to
their .
a. associativity
b. commutativity
c. idempotence
d. transitivity
Ans: a. associativity

1.7 Decision Making:

The if Conditional Statement and the
Comparative Operators
1. (True/False) An empty control-statement body is represented as in
Swift.
a. blank space
b. ;
c. {}
d. ()
Ans: c. {}

© 2016 Pearson Education, Inc., Hoboken, NJ. All rights reserved.

 Another Random Document on
Scribd Without Any Related Topics
 to give black tones, 127;
cannot be used with Albumen, 246;
increases permanency of print, 169;
old Nitrate Baths not easily convertible into Ammonio-Nitrate, 248;
mode of preparing, 247;
best applied to the paper by brush or rod, 248;
Oxide of Silver in Nitrate of Ammonia, a useful substitute for it,
249.
Ammonio-Nitrate paper, formula for, 246;
a more simple formula, but less sensitive than the last, 258.
Atomic theory explained, 322.

Bath for fixing and toning Positives. See Fixing and toning Bath.
Bichloride of Mercury, whitening action on glass Positives explained,
113;
solution for, 207;
used to intensify Negatives, 118;
bleaches paper prints, 151;
should not be added to paste used in mounting prints, 164;
removes Silver stains, 377.
Binocular vision, phenomena of, explained, 66.
Blackening Negatives, 37, 117.
Black tones, mode of obtaining, in paper Positives, 168, 246.
Bromide of Silver, its preparation and properties, 17;
its superior sensibility to coloured light, 63;
less acted on by white light than Chloride, 19;
less sensitive to invisible image than Iodide, 25;
employment in Collodion, 101;
found useful in Photographing by artificial light, 66;
diagram of chemical spectrum on, 64.
Bromo-Iodide of Silver, 173.
Brushes, mode of applying Silver solutions by, 248.

Calotype process, theory of, 176.

Camera, its first invention, 7;
theory of its construction, 54;
 mode of testing accuracy of, 229;
cause of the image being inverted, 53;
the term "flatness of field" explained, 54;
best position of the Camera for portraits, 220;
for architectural subjects, 231;
a funnel-shaped tube placed in front of the lens, 229;
stereoscopic Camera, 234;
microscope Camera, 236.
Causes of failure in Collodion process, 276.
Chemical affinity, illustrations of, 312.
Chemical elements, 306.
Chemical focus, directions for finding, 229;
shorter than visual in non achromatic lenses, 60;
longer than visual in microscopic objectives, 237;
varies slightly with the nature of the light, 238.
Chemical spectrum, 61.
Chemicals, Photographic, Vocabulary of, 327.
Chloride of Silver, its preparation and properties, 14;
more sensitive to white light than Bromide or Iodide, 19;
less sensitive to invisible image, 24;
its blackening by light explained, 20, 141;
accelerated by excess of Nitrate, 19;
by organic matter, 20, 142;
experiments illustrating darkening of papers prepared with, 21;
simple explanation of the mode of preparing sensitive papers with,
22;
agents which dissolve it, 42;
mode of reducing it to metallic state. 374.
Chloride of Gold, its preparation and properties, 342;
action of Ammonia upon it, 343;
use of an alkaline solution of, for toning, 132, 271;
compounds formed on adding it to Hyposulphite of Soda, 133;
mode of preparing the fixing and toning Bath with, 250;
the Sel d'or Bath with, 267.
Chromatic aberration, 54.
Citric Acid, forms a red compound with Suboxide of Silver, 21, 338;
 used in printing to give purple tones, 128;
formula for preparing paper with, 246.
Cleaning glass plates, theory of, 39;
details of, 213.
Collodion, its discovery, 10;
chemistry of Pyroxyline, 75;
physical effect of Ether and Alcohol in, 83;
of water in, 85;
glutinosity of, 83;
coloration of iodized, explained, 85;
sensitiveness and intensity affected by the change, 97, 99;
details of manufacture of Collodion, 185;
Positive Collodion, theory of, 108;
formula for, 201;
Negative Collodion, theory of, 113;
formula for, 208;
Collodion for copying engravings, 231;
for keeping processes, 298;
for hot climates, 210;
for working by artificial light, 238;
to remove the brown colour from Collodion, 86.
Collodion film, the proper time for immersing it in the Bath, 219;
a thin film often good for direct Positives, 109;
a thicker film for Negatives, 113;
cause of the film falling away from the glass, 83, 293;
spots and markings on, 281;
conditions which affect its sensitiveness to light, 92;
causes influencing its behaviour with the developer, 98;
mode of preserving sensitiveness of film, 289.
Collodio-Albumen process, theory of, 181;
practical details of, 294.
Colours, their nature explained, 47;
their chemical action on sensitive film, 64;
their photographic action assisted by reflection of white light, 66.
Combination, laws of, 307.
Conjugate foci, explained, 52, 272.
Crookes, Mr., remarks upon chemical spectrum, 63;
upon waxed paper process, 180;
preservative process for Collodion films, 289.
Curvature of luminous image formed by lens, explained, 53.
Cyanide of Potassium, its fixing action explained, 44;
preparation of solution of, 207;
used to remove stains, 377.
Daguerreotype, its invention, 8;
theory of the process, 171.
Development of invisible image, explanation of, 34-40;
second, or intensifying stage explained, 37;
details of developing glass Positives and Negatives, 221-223;
development of paper Positives, 259;
conditions which increase or diminish rapidity of development, 98;
irregularities of development, 103.
Developers, their preparation and properties, 26;
comparative strength of, 98;
theory of, for Positives, 111;
for Negatives, 117;
formulæ for Positive developers, 205;
for Negative, 211.
Diagrams, mode of copying, 232.
Diaphragms for lenses. See Stops.
Double decomposition, illustrated, 14;
explained, 314.
Dry Collodion process, 298.

Elementary bodies, table of, 306;

combination of, 307.
Engravings, mode of copying, 231;
often yield dark-coloured prints, 255.
Equivalent proportions, 320.
Ether, properties of, 339;
purification of, for Photography, 195;
must be kept in a dark place, 196;
should not be distilled from residues of old Collodion, 96.
Experiments, illustrating action of Light upon Chloride of Silver, 21;
illustrating formation and development of invisible images, 25;
illustrating photographic action of coloured light, 62.
Exposure in the Camera, rules for Positives, 221;
for Negatives, 225;
for preserved Collodion plates, 292;
for microscopic photographs, 238;
effects of under and over-exposing, 35;
exposure required in Calotype process, 177;
in waxed paper, 180;
in Albumen negative process, 181;
in dry Collodion process, 301;
in Taupenot's process, 297.

Fading of Positives, explained at length, 160;

Author's researches on, 153.
Film, sensitive. See Collodion film.
Filters, mode of cutting, 376.
Fixing, theory of, 41;
of paper prints explained, 128;
solution for fixing glass Positives and Negatives, 212;
manipulatory details of fixing, 225;
fixing paper Positives with Ammonia, 271.
Fixing and toning Bath, its preparation, 250;
conditions which favour or retard its action, 135;
certain states of the Bath injurious to the proofs, 136;
importance of keeping it in an active condition, 168;
must not be employed immediately after mixing, 251;
must not be allowed to become acid by constant use, 168;
theory of the gradual change of properties it undergoes, 156.
Foci, actinic and luminous, 60;
actinic, mode of finding, 229;
variation between them in microscopic objectives, 237.
Focussing the object, 220.
Fogging, theory of, 103;
mode of detecting causes of, 276.
Formulæ for solutions required in Collodion process, 201;
for papers used in Positive printing, 241;
want of correspondence between, 257.

Gallic Acid, its preparation and properties, 27;

used in paper processes, 178;
becomes mouldy by keeping, 261.
formula for developing paper Positives with, 261.
Gallo-Nitrate of Silver, 177;
discolours rapidly when developing dishes are not clean, 179.
Gelatine, its properties, 341;
forms a compound with an Oxide of Silver, 21;
employed in dry Collodion process, 299;
modified form of, 302;
affects the colour in printing processes, 128;
used in Positive printing to form an even surface layer, 126;
as a cement to mount Photographs, 257.
Glass plates, rules for cleaning, 39;
details of cleaning, 213;
mode of coating with Collodion, 215;
with Albumen, 180.
Glutinous Collodion, explained, 83.
Glycyrrhizine, its nature, 342;
its action in Collodion, 114;
formula for solution of, 209.
Gold, Chloride of. See Chloride of Gold.
Gold salts, their use in Photographic printing explained, 131;
in the Daguerreotype process, 175.
Gradation of tone, in Collodion Photographs, affected by the density
of the film, 109, 113;
by use of Glycyrrhizine, 115.
Gradation of tone, in paper Positives, conditions affecting it in prints
obtained by direct exposure, 123;
in Positives printed by development, 266.

Hadow, Mr., researches on Collodion, 77;

 formula for making Pyroxyline, 187.
Heliography, invented by M. Niépce, 7.
Historical sketch of Photography, 6.
Honey keeping process, 289.
Hunt, Mr., introduces Protosalts of Iron in developing, 111.
Hypo Bath. See Fixing and Toning Bath.
Hyposulphite of Silver, its peculiar changes in colour, 129;
the sweet compound which it forms with Hyposulphite of Soda,
44.
Hyposulphite of Soda, preparation and properties, 43;
theory of its fixing action, 43;
blackens Nitrate of Silver, 129;
causes a milkiness with acids, 137;
its decomposition by constant use in fixing, 138;
the salts it forms with Chloride of Gold, 133;
its conversion into sulphuretting Tetrathionate by Iodine and
Perchloride of Iron, 139;
test for presence of, 169.

Iceland moss, its use in Positive printing, 128;

formula for preparing paper with, 245.
Imperfections in Collodion Negatives, 282;
in Positives, 284;
in paper Positives, 285.
Intensity, explanation of term, 92;
mode of increasing in Negatives, 99, 114;
effect of Acetate of Silver upon, 116;
of Nitrite of Silver upon, 102;
mode of diminishing, in glass Positives, 109, 110;
conditions affecting intensity in paper Positives, 123;
in developed paper Positives, 266.
Invisible images, theory of formation of, 34;
development of, 36;
experiments illustrating, 25.
Iodate, how formed in Collodion film, 94;
produces insensitiveness, 198.
Iodide of Ammonium, preparation of, 198;
not fitted for iodizing Collodion required to be kept long, 210.
Iodide of Iron, an accelerator to Collodion, 116.
Iodide of Potassium and Silver, properties of, 42;
mode of iodizing Calotype papers by, 177.
Iodide of Potassium, tests of purity of, 197;
extent of solubility in Alcohol, 351;
dissolves Iodide of Silver, 42.
Iodide of Silver, its preparation and properties, 16;
unaffected by direct action of light, 19;
highly sensitive to invisible image, 24;
hypothesis of formation of latent image on, 34;
possibility of its reduction by Pyrogallic Acid shown, 33;
excess of Nitrate of Silver essential to its blackening by developer,
36;
diagrams of chemical spectrum on, 61, 64;
fixing agents for, 42;
its solubility in the Nitrate Bath, 86;
retards the action of Hypo fixing and toning Bath, 136;
superior permanency of developed prints on, 167;
details of Negative printing process on, 263.
Iodine, in Collodion, diminishes sensitiveness, 94;
forms Nitric Acid and Iodate in the Bath, 94;
often useful in Positive Collodion, 110;
in Negative Collodion, if fogging occurs, 105;
mode of removing from Collodion, 86.
Iodized Collodion. See Collodion.

Kaolin, properties of, 335;

used to decolorize Nitrate Baths, 91;
importance of purifying it before use, 245.

Landscape Photography, with preserved Collodion plates, 288.

Latent image. See Invisible image.
Laws of substitution explained, 78.
Le Grey, M,, his toning process with Chloride of Gold, 132;
 his waxed paper Negative process, 178.
Lenses, various forms of, 51;
foci of, 52;
formation of images by, 53;
use of stops, 58;
portrait, 59;
chemical foci of, 60;
chromatic aberration of, 54;
spherical aberration of, 56;
simple directions for using lenses, 227;
for finding chemical focus, 229.
Light; its action upon Silver Salts, 19;
experiments illustrating, 21;
formation of invisible images by, 24;
its alternating action upon Daguerreotype plate, 39;
its compound nature, 46;
photographic action of coloured light, 60;
refraction of light, 49.
Llewellyn, Mr., his Oxymel process, 291.

Manipulations of Collodion process, 213;

of Photographic printing, 251;
of toning by Sel d'or, 267.
Manuscripts, mode of copying, 231.
Markings on Collodion Pictures, 281.
Measures and Weights, 379.
Microscopic Photography, 235.
Moser, M. Ludwig, his researches on the development of invisible
images, 37.
Mounting Positive Prints, substances which should be avoided in,
155, 164;
details of, 257.

Negative processes for printing Positives, 259, 263.

Negatives, definition of, 106;
Collodion Negatives, theory of production of, 113;
 Calotype, 176;
waxed paper, 178;
Albumen, 180;
Collodio-Albumen (Taupenot), 181;
mode of developing Collodion Negatives, 37, 117, 223;
of converting Positives into, 117;
formula for solutions for Negatives, 208;
the Collodion best adapted for Negatives, 114;
spots and markings upon Negatives, 282;
decomposition of Pyroxyline a cause of fading of, 166.
Nitrate of Silver, preparation and properties of, 12;
preparation of from standard coin of realm, 362;
often contains free Nitric Acid, 13;
when very strongly fused, contains Nitrite (see Nitrite of Silver),
14;
not acted on by light, 18;
its reduction by Pyrogallic Acid explained, 31;
the melted Nitrate more certain in its action, 13, 101;
its presence essential in developing the image, 36, 98;
increases sensitiveness of Collodion plate, 92;
dissolves Iodide of Silver, 86;
discoloured by Albumen, 245, 329;
forms a compound with Honey, 289;
with various other organic bodies, 21;
very little acted on by Glycerine, 342;
mode of recovering the Silver from, 372.
Nitrate Bath, mode of preparing for glass Positives, 110, 203;
for Collodion Negatives, 116, 211;
its power of dissolving Iodide of Silver, its occasional acidity and
alkalinity explained, 86;
the mode in which Acetate of Silver may be formed in it, 89;
a list of the substances by which it is decomposed, 90;
changes by use, 91;
effect of these changes on sensitiveness, 97;
on intensity, 102;
care required to prevent it from yielding foggy pictures, 104;
 a caution against the too frequent addition of alkali, 204;
quantitative testing of the Bath, 371.
Nitrite of Silver, adds to rapidity of development, 102;
tends slightly to produce fogging, 104;
solarizes the high lights, 111.
Nitric Acid, its preparation and properties, 355;
its oxidizing powers, 12;
impairs sensitiveness of Collodion film, 93;
lessens rapidity of development, 98;
tends to prevent fogging, 104;
sometimes usefully employed for glass Positives, 110;
contra-indicated for Negatives, 116;
its accumulation in the Nitrate Bath explained, 94;
mode of removing it, 90;
cannot exist in contact with Acetate of Silver, 116;
produces stains on cloth, 215;
mode of determining the strength of Commercial Nitric Acid, 186;
table of strength of Nitric Acid of different densities, 378.
Nitro-Sulphuric Acid, explained, 77;
process for making by mixed acids, 186;
by Oil of Vitriol and Nitre, 190;
should not be used cold, 83.
Nomenclature, chemical, 315.
Norris, Dr., his dry Collodion process, 298.
Notation, chemical, 318.

Organic bodies, chemistry of, 324.

Oxide of Silver, preparation and properties, 17;
dissolves in the Nitrate Bath, rendering it alkaline, 88;
properties of its solution in Ammonia, 362;
preparation of ditto, 247;
its solution in Nitrate of Ammonia used in Photography, 249.
Oxymel, keeping process, 291;
preparation of Oxymel, 360.
Paper, Photographic, selection of, 240;
peculiarity of English papers, 241.
Paper, sensitive, for printing. See Sensitive Paper.
Perchloride of Iron, preparation of toning Bath with, 160.
Permanence of Positives, mode of testing, 169.
Photographic image, chemical composition of, 140;
action of destructive tests on, 145.
Photographic properties of Salts of Silver, 18;
of Iodide of Silver upon Collodion, 74.
Photographic researches by the Author, 140.
Photography, historical sketch of, 6;
the term explained, 61.
Portrait lenses, theory of their construction, 59;
rules for their use, 227;
mode of finding chemical focus, 229.
Portraits, drapery for, 66;
directions for taking, 220;
the position of the Camera, and other points of importance, 228;
the time of exposure, 221.
Positive printing, on Albuminized paper, formulæ for, 241;
on plain paper, formulæ for, 245;
on Ammonio-Nitrate paper, formula for, 246, 258;
by development, formulæ for, 259;
manipulatory details of printing, fixing, toning, washing, and
mounting, 251;
process of toning by Sel d'or, theory of, 134;
practice of, 267;
reasons for the want of correspondence between different
formulæ, 257;
use of Chloride of Gold in toning, 132, 271;
theory of the preparation of the sensitive paper for Positives, 122;
theory of the process of fixing, 129;
of toning by Gold, 132;
the Author's researches, 140;
rationale of the printing process, 120;
composition of the image, 140;
fading of Positive prints, 160;
destructive action of Sulphur on, 145;
 of oxidizing agents on, 148;
of Chlorine, acids, boiling water, etc., on, 151;
of combustion of coal-gas on, 153;
effect of damp air on, 153;
theory of mode of washing Positives, 162;
comparative permanency of prints, 166;
mode of testing permanency, 169.
Positives, definition of, 106;
Collodion Positives, theory of production of, 108;
formulæ for solutions for, 201;
development of, 111, 221;
Collodion and Nitrate Bath best adapted for, 109;
mode of whitening by Bichloride of Mercury, 112;
solution for whitening, 207;
mode of backing up, 226;
spots and markings on, 284;
mode of printing Positives on Collodion, 272.
Positives, enlarged, mode of printing, 272.
Practice of Collodion process, 183.
Preservative processes for Collodion plates, 289.
Printing, Photographic, theory of, 120;
practical details of, 240.
Prism, refraction of light by, 51;
diagram of formation of spectrum by, 47;
explained, 54.
Prismatic spectrum, 47, 61.
Protonitrate of Iron, preparation of, 206;
a feeble developer when free from excess of Sulphate of Iron, 98;
theory of its mode of action, and rules for its use, 112;
cannot be prepared in quantity by adding Nitrate of Potash to
Sulphate of Iron, 314;
sometimes requires the addition of Nitrate of Silver, 206.
Protosulphate of Iron, its preparation and properties, 29;
its characteristics as a developer for Collodion Positives, 111;
not well adapted for developing Collodion Negatives, 117;
preparation of the solution for Positives, 205;
 mode of applying it to the plate, 221;
to remove iron stains on glass, 215.
Pyrogallic Acid, its preparation and properties, 28;
solution for developing glass Positives, 205;
for Negatives, 211;
cannot be used without Acetic Acid, 105;
less adapted for developing paper pictures, 178;
requires addition of Nitric Acid when used for Positives, 111;
superior to Sulphate of Iron for developing Negatives, 117, 144;
mode of obviating the brown discoloration of developing solutions,
212.
Pyroxyline, its nature and properties, 75;
preparation of, by Mr. Hadow's formula, 186;
by a rule-of-thumb mixture of the acids, 188;
by the Oil of Vitriol and Nitre process, 190;
details of immersing, washing, and drying, 191;
the glutinous variety produced by cold acids, 83;
recapitulation of the effects of varying the strength of the acid
mixture, 193;
spontaneous decomposition of Pyroxyline, 166.

Reduction of metallic oxides by developers, theory of, 26;

of Silver salts by developers, theory of, 30;
practical details of reducing Silver compounds to metallic state,
372.

Salts nature of, 310.

Salts of Silver, their preparation and properties, 12;
their Photographic action, 18;
theory of their reduction by developer, 30;
directions for obtaining metal from, 372.
Sel d'or, toning process by, its theory, 134;
its practical details, 267;
its advantages, 271;
gives permanent prints, 167.
Sensitiveness, term explained, 92;
 conditions favourable to, 97.
Sensitiveness of Collodion film, causes influencing, 92;
superior sensitiveness partially explained, 74;
preservation of sensitive film, 288.
Sensitive paper, theory of preparation of, 22, 122;
its darkening by light described, 123;
preparation of Albuminized paper, 241;
of plain paper, 245;
of Ammonio-Nitrate paper, 246, 258;
of paper for Negative processes, 259;
causes which affect the sensitiveness of Positive paper, 123;
which alter the colour of the image, 126;
spots and markings on, 285;
a large excess of Nitrate of Silver essential, 124;
the paper should not be kept too long, 130, 286.
Serum of Milk, preparation of, 262, 355;
used in Negative printing process, 262.
Shadbolt, Mr., his Honey keeping process, 289;
employs artificial light in Micro-Photography, 237.
Silver, properties of, 362;
estimation of, in Nitrate Baths, 371;
recovery from waste solutions, 372;
reduction from Chloride, 374;
stains, removal of, 377.
Size, mode of removing, from paper Positives, 255.
Solar spectrum, 47, 61.
Soluble paper. See Pyroxyline.
Specific gravity of liquids, mode of finding, 375.
Spherical aberration, 56.
Spirits of Wine, preparation and properties, 330;
not always sufficiently strong for Collodion, 84;
mode of rectifying, 196;
sometimes contaminated with, fusel oil, 96.
Spots on Collodion plates, 279;
on paper Positives, 285;
on prints obtained by development, 266;
 on preserved Collodion plates, 293.
Stains, Silver, removal of, 377.
Stereoscope, invention of, 67;
theory of, 68;
Wheatstone's, 69;
Brewster's, 70.
Stereoscopic Photographs, rules for taking, 71;
practical details of, 232.
Stops, theory of use of, 57;
simple mode of making, 228;
position of the stop often important, 230.
Strength of acids, tables of, 378.
Subchloride of Silver, its preparation and properties, 15;
decomposed by fixing agents, 141.
Suboxide of Silver, its properties, 18;
forms compounds with organic matters. Citric Acid, Albumen, etc.,
21.
Substitution, laws of, explained, 78.
Sulphate of Iron. See Protosulphate of Iron.
Sulphate of Quinine, absorption of chemical rays by, 65.
Sulphuric Acid, table of strength of, 378.
Sutton, Mr., theory of Sel d'or toning process, 134;
practical details of, 267;
Negative printing process, 262;
preparation of Serum of Milk for, 355.
Symbols, use of, 318.
Syruped Collodion film, 289.

Talbot, Mr., his discoveries, 9;

theory of Calotype process, 176.
Taupenot, M., his Collodio-Albumen process, 181;
practical details of, 294.
Temperature, its effect upon development of Collodion film, 102;
upon fogging, 105;
upon keeping Collodion, 210;
upon action of fixing Bath for paper Positives, 130;
 upon Hypo toning Bath, 136.
Test-papers, use of, 376.
Toning Bath for Positives, with Sel d'or, 134, 267;
with Hyposulphite and Gold, see Fixing and Toning Bath;
with Chloride of Iron and Hyposulphite, 160.
Toning of Positives, term defined, 121;
may injure the stability of the proof, 154;
points to be kept in view to avoid fading, 167;
manipulatory details of, 253;
by Sel d'or, 267.
Transparencies, mode of printing, 273.

Varnishes for Collodion Photographs, 226.

View Lenses, directions for using, 230.
Vocabulary of Photographic chemicals, 327.

Washing Positive prints, rules for, 162;

details of, 255.
Waxed paper process, theory of, 178.
Weights and Measures, table of, 379.
PRINTED BY JOHN EDWARD TAYLOR, LITTLE QUEEN
STREET, LINCOLN'S INN FIELDS.

Transcriber Note
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materials provided by The Internet Archive and are placed in
the Public Domain.
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