1176
was Vice President at the time of his death. Between
1868 and 1877 he published twelve communications in
the Society’s journal. He was treasurer of the Photogra-
phers’ Benevolent Association.
In 1880 Pritchard took over as editor of the Photo-
graphic News after the death of G. Wharton Simpson and
extended the journal’s reporting of news and scientifi c
coverage. His The Photographic Studios of Europe
(1882, second edition 1883) was based on his original
reports carried in the Photographic News between 1880
and 1883. He also edited the Year Book of Photography
from 1881–1884. Pritchard wrote or edited other pho-
tographic technical books and contributed numerous
papers to photographic, scientifi c and other journals.
He was elected a Fellow of the Chemical Society in
March 1872.
Although his photographic activities were prolifi c
Pritchard also published several novels and a play. He
died suddenly of pneumonia at Blackheath, Greenwich,
on 11 May 1884 at age forty-three.
Michael Pritchard
PROCESS PHOTOGRAM
The precursor to The Process Photogram was an ad hoc
series of articles and reports in The Photogram from
its launch in January 1894. Subsequently The Process
Photogram would claim its launch date as January
- The Photogram was edited by Henry Snowden
Ward who had a particular interest in photo-mechani-
cal processes and he justifi ed its inclusion in what was
primarily a photography journal by stating: ‘we believe
that photo-processes are on the eve of great advance-
ment.’ That statement was not misplaced as the 1890s
saw a signifi cant increase in interest in all methods
of transferring photographic images on to the printed
page through a mechanical press using inks. Three-
colour work and the reproduction of photographs in
periodicals and catalogues were particular concerns of
the magazine.
In January 1895 The Process Photogram was
launched as a separate supplement. Snowden Ward
stated: ‘The Process Photogram is the outcome of a
double wish. Photographic readers wished for less pro-
cess matter while photo-mechanical readers expressed
a wish for more. To meet both we start a new edition
at fi rst, with only eight extra pages, devoted to purely
process matter.’ The initial print run of 1000 was in-
creased to approximately 2000 after A W Penrose & Co
offered to send it free of charge to their customers. The
Process Photogram was strongly practical in its articles
and focused on trade news and apparatus, descriptive
visits to companies, theoretical articles on, for example,
printing screens and reviews of patents, new techniques,
processes and equipment. In 1896 the supplement added
‘and Illustrator’ to its masthead which it retained until
volume XII number 144 of December 1905. Number
145 of January 1906 number 145 saw the journal being
renamed The Process Engraver’s Monthly. The Process
Photogram.
From January 1907 it appeared as a totally separate
publication from The Photographic Monthly (the suc-
cessor to The Photogram). Its stated aim was to be the
representative organ of all who used photo-mechanical
and photo-chemical methods of illustration: workers
in zincography (line and half-tone), collotype, photo-
lithography, photogravure, Woodburytype and other
photo-reproduction processes and to provide an epitome
of technical progress and discovery and a means for
the discussion of commercial subjects. It’s size and
pagination was increased and it promised new pictorial,
confi dential (trade) and special supplements.
The Process Engraver’s Monthly, with the subtitle
Process Photogram until 1947, continued until volume
56 (1956) when it became Process: the photomechan-
ics of printed illustration, and from 1961 Graphic
Technology.
Michael Pritchard
See also: Ward, Henry Snowden; and Woodburytype,
Woodburygravure.Further Reading
Walter Koelzer, Photographic and Cinematographic Periodi-
cals 1840–1940 (in three languages), Köln: Der Foto Brell
GmbH, 1992.PROJECTORS
The projection of glass-based images was already com-
monplace when photography was introduced. The slide
projector, or magic lantern, had been invented in the sev-
enteenth century, perhaps by the Dutch scientist Chris-
tiaan Huygens, and was in widespread use in Europe
by the end of the century. The popular Phantasmagoria
was a ghost-show using lantern projections. Few projec-
tors dating from before 1800 have survived. A typical
magic lantern of that date comprised a rectangular or
cylindrical metal body containing the illuminant (an oil
lamp) capped with a chimney or cowl, hooded to reduce
lightspill. The arrangement of the internal components
was: concave metal refl ector, lamp, then a large glass
condenser lens to concentrate the light. The slide stage,
an external construction of grooved supports into which
long glass painted slides could be moved along, was
fi xed in alignment with the condenser. In front of the
slide stage was the objective, or focusing, lens; a sliding
tube containing one or more glass elements.
Soon after the introduction of photography, pho-
tographic images were being made on glass. To show