THE
BARNET BOOK OF
PHOTOGRAPHY
THE BARNET BOOK of PHOTOGRAPHY EIGHTH EDITION. REVISED, REWRITTEN, AND INCLUDING NEW
MATTER AND NEW ILLUSTRATIONS, THUS CONSTITUTING AN
ENTIRELY
NEW WORK.
PUBLISHED BY
ELLIOTT & SONS, LTD. BARNET, HERTS.
MDCDV.
>
THE NEW YORK PUBLIC LIBRARY
K 338 A»TGH, LENOX AND
1LIW
FOUNDATIONS 1927
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PREFACE CHE
Barnet Book of Photography
has
be recognised as a standard work.
made
concise instructions have
it
come
Its clear
to
and
a useful and
practical guide to thousands of photographic workers, and,
since
first
published in 1898,
large editions
dented
it
has passed through several
which have met with an altogether unprece-
sale, until
with 1905
it
has again become necessary
to reprint.
Although from time
to
time the articles and illustrations
have been carefully revised and brought up to date, the production of the present edition has been taken advantage of to have the whole
Book
rewritten
;
new subjects have been
introduced as the progress of photography required, so that the
Eighth Edition
substitute
for
previous editions
revision, but constitutes
We
want
Book
of the Barnet
now
is
not a mere
out of print, nor a
an entirely new work.
The Barnet Book
to
even more than ever
remind Photographers throughout the world of our
readi-
ness to realise their needs, and to afford them help and
advice in a manner not perhaps usual with a commercial
house
;
moreover, this
Book
should keep in remembrance
that
and
vast
growing industry
whence
Films,
Plates,
of
Barnet
That the Barnet productions are prepared only
after the
Papers, Carbon tissues,
&c, bearing
the
name
are sent forth.
most painstaking
means of
all
and
as full
Book
is
We
for
sufficiently
tests,
and by
The
accounts for the ever increasing
them, to which
liberal
and
manufacturing resources of
the great
Barnet Works, demand made
investigation
scientific
it is
our aim to respond in
a manner as that in which the Barnet
planned. desire
no monopoly, but are content with
measure of support which uniform good quality and prices
room
that fair
must secure, and the record of the past leaves no to
doubt that our endeavours have been appreciated,
and should, moreover, be a guarantee that the photographer of whatsoever rank can at for the material
and
for
means of
all
times confidently look to us
realising his
practical guidance
in
Photographic Ideals,
difficulties
arising
course of his Photographic Practice.
ELLIOTT
<S
SONS, LD
BARNET, HERTS,
1905
D
in
the
BARNET BOOK OF PHOTOGRAPHY.
CONTENTS. PAGE
Negative-Making.
By A.
Horsley Hinton
9
.
.......
Orthochromatic Plates and Colour Screens Mcintosh
By
Film Photography.
The Hand Camera. Hints
By By
P.O. P.
M.A.
C.
72
Welborne Piper
85
.
By W. E. A. Drinkwater
Bromide Printing.
Carbon Printing. Ozotype.
By
By
.
.
in
Carpenter
Portraiture. .
60
S. L. Coult hurst
By Edgar H.
Amateur
on
Lambert,
42
Percy G. R. Wright
Lantern Slide Making. Photographic Lenses.
By John
Rev.
.
C. Winthrope Somerville
Bennett
.
By Thomas Manly
Pictorial Photography.
By A.
ELLIOTT & SONS,
128
181
225
259
....
Some Useful Formula
C.
156
.
By Henry W.
F.
Horsley Hinton
Ltd.,
265 278
BARNET, HERTS.
ILLUSTRATIONS. I'AGE
Close Gateway, Winchester.
A Haul
By
By Edgar H.
The Trysting
Robin's Nest.
C.
By John
The Seine Net.
C.
56
74 94
.
114
Douglas
134 158
.
Horsley Hinton
178
By F.J. Mortimer
226
By A.
The Majestic Main.
Facing page 30
G. R. Ballance
By J. W. Stamp
Hill and Dale.
Gulls.
Carpenter
By
Mountain Pastures.
Elliott
Frontispiece.
Douglas English, M.B,
By John
Place.
Kimber
By W. Thomas
Ploughing in Dorset.
Volendam.
G. S.
By Hubert J.
of Pilchards.
The Harvest Mouse.
By
248
Douglas
268
By W. Thomas
Rain from the Hills.
By
A. Horsley Hinton
Âť>
294
Diagrams Showing Result of Various Light Filters (Orthochromatic Photography)
Prints Illustrating
MENT Prints
Two
(Bromide Printing)
Illustrating
(Bromide Printing)
47
.
....
Stages in Develop
Combination
203
Printing â&#x20AC;&#x17E;
208
Negative'Making* AND AFTER-
EXPOSURE, DEVELOPMENT,
TREATMENT.
T
why
assume that the
to
fair
is
reader
of
the
or
plate
printed
is
and
negative,
negative
is
exposing
from
film
completed photo-
which the graph
knows
book
this
a
called
is
that
the
produced by
first
also
a
plate
the
in
camera and subsequently developing
in a chemical solution
it
;
but the beginner im-
patient to realise his results stays not to acquire a
understanding of
those
stages
initial
knowledge of which would go
far
to
of
the
ensure
right
process
more
a
uni-
formly successful results, instead of largely depending, as is it
and
so often the case, on mere luck or accident
may be
too
much
be willing to delay
to
his
expect that the novice should practice
an exhaustive knowledge
of
so long
elementary
could he be persuaded to devote just so tion thereto
as
shall
foundation to start nothing to unlearn,
purpose of
give
with, it
as
much
him something
and thus
would be
at
him imperfectly equipped
acquire
considera-
like
a
firm
a later stage have
for his good,
this article to give just so
to
principles, yet,
much
of negative-making that for the student to leave
whilst
and
it is
the
of the process
know
less will
for future practice, whilst
BARNET BOOK OF PHOTOGRAPHY.
IO fuller
may not be
information
may be
desirable, treatises
essential, though, if
combined with
practice.
Many, though of course not it
difficult to say precisely
all,
They began by
camera according
to directions,
time, not determined
plates
particular
But why
placing
exposed
and
No
similar
came out
it
what they know a plate in the for a period of
reliable than a guess,
a developing solution, and
it
accepted what the Fates gave.
readers would find
learnt
by anything more
and subsequently poured over
this
my
of
how they
of photography.
formed from
thought
derived by the study of more exhaustive
very definite idea was
first
attempts,
right
all
and
this was so remained for want of a
knowledge quite unanswered
;
except that
others little
didn't.
previous
and instead of being able
to
repeat the conditions which secured success,
deliberately
the lesson which experience should have taught was
Even now perhaps the reader
lost.
by no means certain of
is
securing even a majority of successful negatives from every
batch of exposed plates, and, like a spendthrift, would be astonished were an account rendered of the plates and time
wasted in producing those failures which he so readily forgets in the gratification
which
his few almost accidental
successes give him. Surely,
if
the careful perusal of a few printed pages will
give the beginner greater assurance, certainty, it
and economy,
were worth doing. Negative-making may be conveniently considered under
three headings
and
will
â&#x20AC;&#x201D; exposure, development, and afte r-treatment,
here be briefly so treated.
EXPOSURE. On
the principle of " safe bind, sure find," the
care that
is
exposure, the simpler and
quent
more
exercised in securing an approximately correct
operations
become.
more In
satisfactory will all subse-
ascertaining
the
correct
NEGATIVE-MAKING. exposure in any given instance,
—
II
six points
have
be con-
to
The speed of the plate. (2) The character of the subject. (4) The time of year. (3) The light. (5) The time of day. (6) The aperture of the lens. For general purposes we may regard plates and films as
sidered
:
(i)
being of four kinds, differing from each other in respect to their
These are
speed or light sensitiveness.
medium,
ordinary,
extra
and
rapid,
:
—Slow
specially rapid
three first-named
being, roughly speaking, each twice
rapid as the one
coming before
is
known under some
usually
"
or something similar, and
Now,
perhaps, half as rapid again as the extra rapid.
stands to reason that what
is
a correct exposure
" ordinary " plates will be too long for "
more so that
if
say,
medium," and
still
should hardly need explanation to show
it
one second be the right exposure
view in which there so bright as to sufficient for a
is
make
no dark
camera
is
object,
an open sea
for
and which indeed
one's eyes ache, then
it
woodland scene, which we value
Remember
dimness and cool shade.
through the
by the
affected lens,
it
for,
Next we have the character of
for " extra rapid."
the subject, and
as
specially rapid
fancy name, according to the
maker, as for instance " Rocket is,
The
it.
or
the
;
ones; hence distance
The sky
objects near at hand.
scenes where the sky
is
from the scene
reflect less
than remote
generally speaking, lighter than
is,
view, whilst at the other
for its very
that the plate in the
reflected
light
and near objects
is
not be
will
is
the lightest part of every
end of the
scale
would be indoor
intercepted by the roof, and light
only admitted by windows and doors.
The next three factors hour may be considered
—
— the
light,
the season,
and the
together presently, and next
we
have the lens aperture.
Your with the
lens, unless
means of
purpose of which
it
be of a very cheap kind,
is
furnished
altering the size of the opening, the chief
is
to increase the defining
power
of the
BARNET BOOK OF PHOTOGRAPHY.
12 lens, a
matter which does not concern us for the moment,
and which
Welborne book
be better understood by reference
will
but altering
;
amount
on
Piper's article
aperture
the
Mr.
to
lenses in another part of the affects the
incidentally
of light which enters the lens, hence, the smaller
the " stop " or aperture, the longer must the exposure be
admit more
in order to
light,
and the stops
by the next
smaller,
meaning l
1
fi
th,
half the
may be explained that the marked / 8,/ ii,/i 6, and so on,* these
stops
It
that the diameter of the aperture is ^th,
&c, of/ which
stands for the focal length
signs
TT tn or >
â&#x20AC;&#x201D;that
when
distance between the plate and the lens
that
admitted
light
and consequently only requires
exposure to be made. are usually
made
are so
each aperture admits double the volume of
is,
the
the scene
is
sharply focussed.
So now we have three
factors towards calculating the
exposure for any particular scene
â&#x20AC;&#x201D;the
speed of the
plate,
the aperture of the lens, and the lightness or darkness of
scene
the
If
itself.
you explain
general terms
in
the
nature of your subject and state the plate and lens aperture
you propose to a
little
give,
use,
it
might be expected that a person with
experience would
and indeed a
tell
you about what exposure to
made out
table of exposures can be
below
for your guidance, such a one being given
throughout the year and in every
power of the daylight
is
taken into consideration.
but
â&#x20AC;˘
hour of each day the
changing, and this
has
From midwinter
midsummer
to
to
be
the light gradually increases and then as gradually declines in power,
*
To
and so
in
each day from dawn to noon the light
avoid confusion
it
may be
said that in
accuracy the stops are marked in decimal /"
11*31,
&c,
some
cases for greater
thus
fractions,
or a different series of numbers are taken
;
:
^"8*6,
the relative
remain the same, each larger stop requiring right exposure being found with any one stop, that with another is ascertained by
exposures, however, half the exposure
of the next smaller, so that, the
multiplication or division.
NEGATIVE-MAKING. grows in
intensity,
and then
the
represents
maximum
off again
falls
In the Northern Hemisphere,
13
then,
and so
power,
light
towards sunset.
midsummer
noon
at
tables
of
approximately correct exposures are calculated as for noon sunshine
in
midsummer, and
portionately as the time of day
from.
Such a
table
is
must
be
increased
and year are removed
here given, in which some typical
classes of subjects are set
down
;
but
if
the subject does
not appear to come within this classification a
dependent judgment must be exercised, whilst or larger stop
is
in
if
little
for the next
must be made.
The
larger
or
in-
a smaller
used multiplication or division by
the exposures given respectively
prothere-
smaller
2 of
stop
exposures below are given
seconds or fractions of seconds.
EXPOSURE TABLE. Exposure required to give Bright Crisp Negatives with the Developing Formula given on the Plate Boxes. In Bright Sunshine in Jime, jnid-day.
BARNET BOOK OF PHOTOGRAPHY
14
Almost any text-book of photography
you
give
will
exact tables showing the alteration of the light at different
hours and seasons
say double the exposure in
sufficient to
and
end of January
to
double the noon exposure increasing
from
to
it
may be April,
from early
it
and, as regards time of day,
:
10 a.m. and 2 to 3 p.m.
at 9 to
four
it
March and
August and September, quadruple
also in
November
but for the present purpose
;
to six
when near
times
to
sunrise or sunset.
One more
If the
the weather.
exposure
if
;
gloomy four
is
the state of
lightly clouded over,
double the
consideration remains, and that
dull
sun be
and cloudy, multiply
by three
it
or five times the normal exposure
or
;
will
if
very
not be
too much.
Now
there
is
nothing really complicated in
table gives us a clue to start with,
time there
given according
to
all this.
Our
and then we increase the the season, hour, and
weather.
But
if
any hesitation be
meter, can be resorted
to,
felt,
a
little
a light-sensitive strip of paper. part of the subject,
an actinometer, or exposure instrument which contains
This
is
placed in a shady
and the time the paper takes
under the influence of the light
is
to darken
counted in seconds, and
by then adjusting certain series of figures representing those have been described above the required factors which length of exposure
is
automatically given.
There are many
contrivances of this kind, including sliding scales to assist in calculating, but
perhaps the best course
is
to
work out
the exposure yourself as above directed, and then seek by
using an exposure meter to corroborate your
In
this
way, after a very
little
laborious arithmetical exercise let
own
estimate.
time, what may appear now as a
comes
intuitively.
Do
not
the six factors and the columns of figures dismay you.
Put
F
16
stop
subject, use a
in
the lens, choose
medium
an open landscape
plate, refer to the table
on page
13.
NEGATIVE-MAKING.
1
In the third column, sixth line from the top, you read -^th of a second; but suppose
which
is,
double
and
if
it
it is
in
March, then double
^-th,
£ second, and if it be afternoon 3 p.m. then again, which gives | second if the sun is shining, say,
the sun
is
clouded double or
time— that
triple the
is,
from \ a second to one second according to whether the sky be lightly clouded over or quite dull.
But the reader may have a question to ask of the four speeds of plates to use.
decided by circumstances
;
which
as to
This must be largely
but at the outset, or until he has
learnt to get fairly accurate exposures,
he
do best by
will
keeping to the "happy medium," and except on some
medium
special occasions the
enough
plate will be fast
for
almost any purposes, and more easy to manipulate than a very rapid one, which should be regarded by the beginner rather in the light of an emergency plate.
Moreover, by
keeping to one speed of plate one factor in the calculation
remains the same. In very dull winter weather, however, an extra rapid plate
will
prove
compensating somewhat
useful,
feeble light; whilst in bright
for the
summer days an "ordinary"
comparatively slow plate will be
fast
And
enough.
having exposed a plate, we proceed to develop
or
now,
the
at
present invisible or latent image.
DEVELOPMENT. Although there
is
consist essentially of
a great variety of developers, they three
proper or reagent; (2) sets
the reagent
quickens (3)
its
going,
action,
bromide
of
and
an
and is
elements alkali,
as
—
(1)
the addition
the quantity
or
bromide
of
which retards action, and
is
may be made up
separate solutions,
in three
is
of which increased
hence called the accelerator
potassium
all
The developer
;
and
ammonium,
called the restrainer.
These
and by using
BARNET BOOK OF PHOTOGRAPHY.
1
a
of this and a
little
or
accelerated
to
by
profit
progress
the
as
of affairs
But perhaps we are not experienced
suggest as desirable.
enough
may he may
of that development
little
retarded
opportunity of controlling the
this
development, and hence
it
which due proportions of
will
be best to use a formula in
mixed
three are
all
together, thus
giving only one solution.
Here if
one such formula, which
is
easily
is
made
up, or
preferred a ready-made one solution metol-hydroquinone
developer,
may be procured
Metol
.... ....
Water Sodium sulphite Hydroquinone
The
:
.
.
200 grains, or 6 grammes 80 ounces, or 1,000 c.c. 6 or 75 grammes ,, 1 50 grains, or 4 ,,
.
.
Potassium bromide
.
Potassium carbonate
.
„
50
or i£
,,
2 ounces, or 25
,,
ingredients had better be dissolved in turn in the
order given, using hot water to begin with, but using the
mixed developer only when quite
cold.
Although we have now made a " one-solution yet
is
it
"
developer,
a good plan to have always ready in addition a ten
per cent, solution of potassium bromide
— that
is,
one ounce
of potassium bromide dissolved in ten ounces
This should be a stock item, always ready on a
hand
of water.
shelf, close at
to the developing table.
It
need
not, of course,
ready, white light
is
be said
that,
our solutions being
excluded from the room, and the dark-
room lamp, of whatever form
that
may
be,
is
alone used.
Placing the plate in a suitable developing dish, having previously lightly wiped the surface with a silk handkerchief or the soft part of the hand, provided the
clean
—
this
hand
is
dry and
being done in order to remove any particles of
dust on the surface
—
sufficient
developer
is
taken in a glass
measure or similar vessel to cover the plate when poured over
it.
The Baurnet Medium AND
Extra. Re^pid Plates ARE
HIGH. CLASS
LOW
PRICE.
ECONOMY.
LITTLE
BECAUSE
nc
ve
ROCKET
THE A
AT A
AND THEIR USE THERE-
FORE MEANS
IS
PLATES
IT
HIGHER
IN
PRICE
POSSESSES QUALITIES
WHICH ARE ESSENTIAL FOR SOME KINDS OF WORK. BUT ARE SUPER-
FLUOUS
FOR
OTHERS.
><
vc
^
FOR COPYING AND ALL SIMILAR CLASSES OF WORK
WHERE THE OBJECT AND
A
SHORT
IS
STATIONARY
EXPOSURE
THEREFORE NECESSARY. A
BARN
NOT
IS
^ ^ ^
ET
Ordinary Plate
IS
INVALUABLE, AND
FILM
ALLOWS
LATITUDE
IN
OF
ITS RICH,
THICK
EXTRAORDINARY
EXPOSURE,
n*
ve
^
NEGATIVE-MAKING.
And
here
am
I
going to make a suggestion which
outcome of experience, and
it
is
this,
we add
four fluid ounces of developer,
ounces of plain water, thus diluting formula given above is
very energetic and
the
is
we take
if
thereto one to two
The
in strength.
it
may be found
it
that,
a standard stock solution, but
is
The same suggestion
little.
1
the instructions with which
weaken
safer to
it
it
a
applies to ready-made developers,
you to
tell
one part
take, say,
to
four parts of water, in which case I should take five or six
The reason
parts of water.
may appear
for this dilution
presently.
Now in
pour the contents of the glass measure over the plate
one even continuous wave, and
to take too
of the solution
little
should be enough of
â&#x20AC;&#x201D; here
is
let it
to well cover the plate
it
be said that
a false economy
and a sharp look-out must be kept
when
â&#x20AC;&#x201D; there at rest,
that after flowing
no
corner or edge of the plate remains uncovered, also that no
bubbles have formed the
latter,
;
a touch with the finger will disperse
and then the dish
is
gently rocked so as to keep
The
the developer slightly moving.
patch
may
negative
is
finished,
and then appears
area which nothing can the developer acting
of
result of
an uncovered
not and probably will not be revealed until the
rectify
;
as an irregular thin
similarly, a
bubble prevents
on the plate by interposing a
tiny
dome
and this will produce a semi-transparent circular spot. Rocking the dish and watching the plate during the first
air,
half minute or so will be
an anxious period, and
if
exposure
has been correct and no error unwittingly committed there will presently
in
more or
those
appear a darkening of the film here and there less
of the
portions
strongest
well-defined
the
represent
light has
been
These should
and has affected the plate most. meanwhile other parts in turn darken, not
rapidly blacken
;
in very quick succession but with
now
These
areas.
scene where
that exposure has
been
due
correct,
precision.
and each
We
know
part of the
BARNET BOOK OF PHOTOGRAPHY.
20
view has duly impressed the plate according to
developer
rapidly, then
thing,
relative
after the
flowed on, the whole of the plate darkens, or
is
dark area appears the other parts follow very
after the first
After a
its
suppose we find that very soon
lightness; but
evident that the plate
it is
little
is
over-exposed.
experience has been gained at this sort of
such a plate may perhaps be saved by at once pouring
back into the measure, instantly flooding
off the developer
the plate with water to stop further action, adding a few
drops of the bromide solution to the developer and beginning over again
;
the bromide restraining the developer's action,
and giving what
will eventually
be the densest parts of the
With the
negative time to gather density before the others
developer
made up
as above, this course
recommended, because it includes bromide, and
will
is
not perhaps to be
be seen that the formula already
we may
easily get
an excess of
the addition of bromide to retard the action
it
;
but
mentioned
is
here to illustrate a principle which applies more particularly
some other developers
with
If,
on the other hand,
to be given later. after the first darkening, the re-
mainder of the film shows no sign of following on, and the first
dark area, probably representing the sky, grows black
with a well-defined edge to
then
it,
The
evidence of under-exposure.
we may
recognise the
sky, always so
luminous
as to impress a plate in a fraction of a second, has effect,
but the
have not had there
is
terrestrial objects, reflecting
sufficient time,
no
practically
and
for
much
had
its
less light,
an under-exposed plate
salvation.
Supposing, however, that the exposure has been approxi-
we
mately correct,
development. be to procure, tive,
shall next
want to know when to stop
Perhaps the most practical course if
possible, a
good or
fairly
and cover it with two or three thicknesses of
paper.
As soon
at first will
good finished negafine tracing-
as that portion of your plate which has
darkened has assumed a
fairly
deep
tint, lift it
out and hold
NEGATIVE-MAKING. it
so that you can look through
it
2
towards the dark-room
lamp, and hold the paper-covered pattern negative by
With a fully-exposed and fully-developed remains a certain thickness of film which
plate
its
side.
there
still
unaffected and
is
deprives the plate of a certain degree of transparency, and I
suggested the tracing-paper
have
addition to the clear
finished model negative as something like an equivalent
;
but
you have not to compare the general transparency of the two so
as the relative intensities of the various parts.
much
the darkest part of your
darkest part of the model, return careful that
again,
it
to the developer, being
no bubbles are formed, and
and
if
that the solution
After a minute or so examine
thoroughly covers the surface. it
you are uncertain perhaps
this plate
better be used purely experimentally, so rinse
place
it
If
plate seems less dense than the
made
in the fixing-bath
as follows
...
Hyposulphite of soda
it
had and
:
6 ounces 12
Water
in water
,,
To which when dissolved add — Metabisulphite of potassium
.
Or an
alternative is
1
.
... .....
6 ounces
Hyposulphite of soda
Water
When
dissolved add to
it
Water
... .
Both these are what are still
12
,,
—
....
Sulphite of soda Tartaric acid
ounce
10 ounces
Water
.
are
•
known
•
2J ounces 2
,,
o
»>
as acid fixing-baths,
and
use than the old-fashioned and
much
pleasanter
largely
employed plain hypo bath, consisting of 4 ounces
to
hyposulphite of soda in 20 ounces water. After a few minutes' immersion the opalescent appearance leave the at the back of the negative will have disappeared j
BARNET BOOK OF PHOTOGRAPHY.
22
and then wash
plate therein for yet another five minutes,
in
water.
You have now your
and
finished negative,
may be
it
examined by daylight and compared with your model with tracing-paper removed.
its
developed too long
and
recall its
if
;
If
too dense
is
it
it
has been
Try now
too thin, not long enough.
appearance when examined by the dark-room
lamp, and, remembering
this, try
and
by the experience
profit
in future.
A much simpler but not less important The
finished negative
must be
left in
than an hour and a half to two hours,
less
be limited,
it
operation remains.
running water for not or, if
the water supply
should receive ten changes of water with an
interval of five minutes' soaking
between the changes, and
then set on end to dry in an airy place free from dust.
VARIOUS DEVELOPERS. We may now briefly which are
at
review some of the
less distinctive characteristic, yet all
same
many
developers
our disposal, each possessing some more or being dependent on the
principles.
First
we have a developer somewhat
similar to the
one
already given, but in two separate solutions.
Solution No. Water Sodium sulphite Hydroquinone
160 grains, or 18
6o
,,
or
6
,,
Potassium bromide
3°
n
or
3
Âť
Solution No.
...
Caustic soda
These are 1
,,
Citric acid
Water
No.
i.
20 ounces, or 1,000 c.c. 2 or too grammes. ,,
.
and No.
to 2.
.
.
20 160
2.
ounces, or 1,000 c.c. grains, or 18
grammes.
be kept in separate bottles, and labelled
Were we
sure that the exposure
is
correct
NEGATIVE-MAKING.
we should merely ture over the
23
take equal parts of each and flow the mix-
plate
;
but to guard against over-exposure
taking us by surprise and the whole plate darkening before
we can apply a remedy, we as to
much as
will
only
it
take, say, 3 ounces or
first
comfortably cover the plate of No.
ounce of No.
1
will
Pour
2.
this on,
1,
and add
rock the dish
and watch. Should no darkening occur
after half a
minute or
so,
pour the developer back into the measure, add another
ounce of No.
may
like
in
and try again, and after another minute we manner add the third ounce of No. 2, thus
2
making the developer up
to
normal strength.
now, the image should seem to hang
If,
developer off; add to
it its
own bulk
ounce, or in extreme cases
1
fire,
pour the
of water, and half an
ounce more of No.
and
2
proceed as before.
We
are
accelerator,
now employing
the alkaline solution No. 2 as an
having added water to prevent the whole solution
being too strong.
Another standard developer of the same follows
No.
as
is
1.
Water
10 ounces, or 1,000 c.c. 35 grains, or 7*5 grammes or 15 70 ,, ,,
....
Potassium metabisulphite Ortol
No.
2.
Water
10 ounces, or 1,000
Sodium
sulphite
c.c.
\ ounce, or 60 grammes if ounces, or 180 grammes
Potassium carbonate .
Potassium bromide
As
class
:
5 grains, or
1
gramme
in the previous case, equal portions of each are to be
taken for normal
use
or
modified as before
and used
tentatively.
One more little
developer of the kind
more difficult to use
may be given,
which,
if
a
at first on account of its extraordinary
BARNET BOOK OF PHOTOGRAPHY.
24
when once mastered ;
rapidity, is exceedingly useful
Rodinal
Rodinal.
needs only to be diluted to be ready being from this the
for use, the proportions
With
to 70 parts of water.
1
10 per cent, solution of bromide of potassium
very useful,
image
the
to 20 parts to
i
this is
sold as a solution ready made, and
is
owing to
as,
often
its
up
flashes
is
extremely energetic character, a
in
rather
disconcerting
manner.
Now, with
the developers thus far mentioned, the
all
same portion of
solution can be used repeatedly
—
for several negatives in succession
are right
—and
To
of other more or
less
the same class belong a
modern
Edinol, Amidol, Eikonogen,
many
is,
they do not produce a stain on either the
fingers or the plate.
But
— that
provided the proportions
practitioners
introductions
number
— such
as
Kachin, Glycin, Synthol, &c.
remain loyal
still
to the older
fashioned pyrogallic acid or pyrogallol, the brownish stain
which
an in
it
some
imparts to the film being considered by
Two
advantage in printing.
formulae are
as
here given
which carbonate of soda and ammonia are respectively
used as the
alkali
:
Pvro and Soda Developer. No.
1.
Water
80 ounces, or 1,000
Nitric acid
.
.
.
.
.
.30 drops,
Pyrogallol
1
Potassium bromide
No.
Water Sodium sulphite Sodium carbonate
.
c.c.
or 5 c.c.
ounce, or 12 grammes
.60 grains,
or 2
,,
2.
.
.
(clear crystals)
80 ounces, or 1,000 c;c. 9 ounces, or 112 grammes. 8 ounces, or 100 ,,
For an ordinary developer equal parts of No. No. a
2 are taken, or the
solution
separate
formula
is
:
and used
as
1
and
may be used as required. The other
potassium bromide
NEGATIVE-MAKING.
25
Pyro and Ammonia. No.
.....
Water
Potassium bromide
dissolved add
Pyrogallol
For use take
dram of each
No.
1
will
it
and \ dram of No. dram of No. 2 as
other I
2 to it
of stain
and works
Some
c.c.
2 ounces, or 20 c.c.
from 4 to 6 ounces of
of
the
be best
plate
regards
as
to take
1
dram of
6 ounces of water, adding the
may seem
For a pyrogallic developer
grammes
ounce, or 120
8 ounces, or 800
to
but until the condition ascertained
1
2.
....
is
,,
:
Water Ammonia, -88o
exposure
5 ounce, or 60
..... i
c.c.
grammes
ounce, or 120
1
.
.
No.
water,
20 ounces, or 1,000
...
Potassium metabisulphite
When
1.
desirable.
this gives a
minimum amount
slowly.
other developing formulae are given in the article
entitled "
Some Useful Formulae"
(p. 265).
DENSITY. One
occasionally hears the complaint that such and such
a plate or formula will not give sufficient density
;
but
it
should be borne in mind that density can always be obtained if
the plate be
left
long enough in the developer, but a slightly
over-exposed plate
may
quickly darken on the surface and
appear nearly opaque when examined by transmitted but
will
prove after fixing to be
much
too thin.
light,
Indeed,
developers vary a good deal in the apparent density shown before fixation to
;
hence the
one developer and
desirability of adhering rigidly
always judging
development by one and the same
judgment may not be misled by the
the
light,
so
progress that
of
one's
specific variations of
different developers or the greater or less intensity of the light.
B
BARNET BOOK OF PHOTOGRAPHY.
26
SOFTER EFFECTS. It
common
quite a
is
much, so that they
" soot and whitewash,"
high
the
fault
to
develop negatives too
commonly dubbed
yield a print of a kind
on account of the harsh whiteness of
and the impenetrable blackness of the
lights
shadows.
Formerly, the ideal negative was held to be that
which was
all
but solid or opaque in those parts represent-
and
the highest lights
ing
deepest shadows
;
clear transparent
in
film
the
but closer observation and a better under-
standing of Nature have revealed the fact that, unless
it
be
in
some very small spot indeed, pure white and jet black in a but with most standard print are inartistic and unnatural ;
developers such as those given above
it
probable that
is
before the least affected parts have yielded to the developer the highest lights have accumulated such deposit as to have
quite or nearly opaque, and hence the
become
recommenda-
tion given earlier in this chapter to dilute the developer
with a larger proportion of water, for with this the negative is
very slow to gain density, whilst detail
come up negative
Of
in the is
shadow
parts,
and a
continues to
still
more
softer,
delicate
the result.
the fixing-bath, which has already been mentioned
and formulae given, nothing more need be
said.
WASHING AND DRYING. The above heading plicity
too
as to require
much
to
no
suggests operations of such simspecial description,
say that these
yet
it
is
not
commonplace performances
properly carried out are in their way as essential as any part of the procedure.
Hyposulphite of soda in solution
has, in the course of fixation, permeated every part of the soft gelatinous film,
and the subsequent washing must be of
such a kind that not a trace sure
way
to accomplish this
is
shall
remain
;
and the only
to leave the plate,
if
possible,
NEGATIVE-MAKING. in a vertical position for
two hours
in a constantly flowing
may be
Metal troughs
stream of water.
2^
obtained with
grooves to hold the plates vertically, from which the con-
taminated water passes out at the bottom as fresh water
from a supply-tap
flows in limited,
may be
it
running
left
;
or,
water be
if
soak the plate in water,
sufficient to
changing the water ten or a dozen times during an hour,
Nothing
at intervals of, say, five minutes. its
own punishment
is
so sure to bring
as careless or imperfect washing of a
negative, for in a day or two, or perhaps not for a
more, the hypo surface,
left
week
in the film begins to crystallise
and nothing can cure or
restore
or
on the
it.
Prescriptions are given for the elimination of hypo by
chemical means
but water, and plenty of
;
and the reader
eliminator,
it,
the best
is
recommended
not
is
to try
any
other as yet. After the long immersion in fluids that the gelatine film
warm weather
may be
it
it
will
be understood
sodden condition, and
in a very
is
in
necessary to have recourse to a
few minutes' immersion in a saturated solution of alum to prevent the film from partially dissolving and leaving the glass altogether
should
Ordinary pitfalls,
;
but in any case more than
be given to secure as drying
racks sold for the
the plates
trivial
attention
drying as possible.
rapid
purpose often prove
being so close together that unless a
vigorous draught of air be available
a most unnecessary time, and
which must be avoided.
it
is
some
portions will occupy
just this
unequal drying
Perhaps the readiest means
is
to
lay along the top of a shelf a strip of blotting-paper folded
to
two or three thicknesses, and, having allowed the water
to drip from the plate, stand let it
it
on end on the
rest against the wall at the
side outwards
;
or, better
still,
blotting,
back of the
French wire
shelf,
nails
driven into the wall, between two of which a plate cornerwise.
In
damp
weather,
and film
may be may rest
when the atmosphere does
BARNKT BOOK OF PHOTOGRAPHY.
28
not encourage rapid drying,
it
be wisest to soak the
will
plates in methylated spirit for a quarter of
drying
an hour before
they will then dry in ten minutes.
;
FACTORIAL OR TIME DEVELOPMENT. No
article
on negative-making or extended reference to
development would to-day be complete without including a brief explanation of what
at least
is
termed time develop-
ment, a system introduced more than ten years ago by Mr. Watkins,
Alfred
whose arguments
support are so
in its
difficult
to controvert that, although there are
ticularly
amongst older workers, who dispute
may be
it
recommended
confidently
having once mastered
more
surely guide
its
him
to success than
own unripe judgment and remain too long
plate to
too soon
;
who,
find that they
will if
he relied on his
Even the
unskilled eye.
in the
efficacy,
to the beginner,
simple rules,
deceived perhaps by appearances,
many, parits
will occasionally
developer or
will
expert,
allow the
remove
it
but in time or factorial development we have a
simple arithmetical formula whereby to solve that always difficult
problem, " when to stop development."
In the following brief description of time development
may
it
said
some points which
strike the student that there are
are in conflict with the teachings of
with reference
to
what has already been
modifying or controlling the de-
velopment, and these points have given controversy.
He may choose
either the older tentative
described, or the
by
factors,
newer
style of
without troubling to
structions for both are given reader's experience
be but
with adopt tne " time is
to frequent
rise
This, however, need not concern the reader.
"
him
slight
make them
agree.
in this article
he
method, and he
easier to attain oy learning
method, as already
determining development
will
do
but
Inif
the
well to forth-
will learn that success
and applying a
by depending on personal judgment.
;
fixed rule than
NEGATIVE-MAKING.
29
In the instructions already given for development
was
it
stated that by modifying the constituents of the developer
&c, could be may be shown that
the degree
of density,
other hand,
it
;
on the
developers have equal power in bringing out
(a) All
detail
the plate be
if
left
long enough
of bromide merely delays
power
only
if
;
the addition
it.
nearly equal
developers are
(b) All
controlled
development
in
density-giving
continued
be
long
Exception may have to be made in the
enough.
case of a developer like pyro, which gives a coloured
image or
stain
the ordinary black
in addition to
deposit, thereby producing an increased density.
When
(c)
comparing
highest light
â&#x20AC;&#x201D; that
is,
each
will also
provided that the time has
â&#x20AC;&#x201D;
is
alike in
be exactly equal,
been long enough to
bring out the lowest tone in each. in the
in
taken out when the
is
the greatest density
Every other tone
the two.
exposures "treated
similar
different developers, if
(Large variation
amount of bromide would
affect
the prin-
ciple.)
Here
are
may
reader
Watkins
fundamental
three
principles
which
the
accept without attempting to verify, and Mr.
insists
that the
addition of bromide or the
re-
duction of the proportion of alkali only affects the formation
of gradation
developer
is
if
the
alteration
is
made
before
contrast or density being the length of development.
urges that
all
He
photographers employ this power even when
they think they exercise other means.
A man
wishes to
get thinner negatives with less contrast than he has getting,
the
poured on, the only power of control over
so uses a
dilute developer
accustomed time.
He
down
virtue in the
to a special
and develops
been
for his
gets his desired result, but puts
it
weak developer, whereas
EARNET BOOK OF PHOTOGRAPHY.
3<3
he would have secured the same result negative out a
the
little
if
he had only taken
The broad
then,
is
on which time development
is
earlier.
rule,
longer development, greater contrast.
Now, based
the main principle that
this,
is
any change of temperature (and tem-
marked
perature affects development to a
change
amount of
in the
degree), or any
which lessens or increases
alkali
the time required to obtain a certain degree of density or
same
contrast also alters in exactly the elapses before the first if
we once
is
so
ratio the time
which
darkening of the plate begins, so
that,
ascertain that the time required for full density
many
times the period which elapses before the
may be
appearance, then the plate
first
always developed for a
given multiple of the time of appearance, and a standard
amount of
contrast will always
This multiple
result.
is
called the multiplying factor.
We
proceed, then, as follows
:
The developer being mixed, place the plate in the dish, and at the moment the hand of your watch touches an even and rock the dish
minute pour the developer on
moment
the
;
the high lights appear on the creamy surface note
the time.
The time first
that has elapsed
appearance
plied
is
between pouring on and the
and
the time of appearance,
by the multiplying
gives
factor
the
this multi-
total
time of
development.
To
take an example. Suppose
we
are
hydroquinone developer given on page also that the multiplying factor
of contrast that
we
between
require to be 14.
pouring
darkening of the 20
x
14 will
which
give
high 4
on
minutes,
seconds
and
has
proceeded for 4 minutes with
that
development
is
let it
developer
20
and suppose
will give the
Again,
the
lights
using the metol16,
when
amount
be supposed
and the elapses,
first
then
development
absolute confidence
complete, without
the
necessity
of
p
NEGATIVE-MAKING. examining the negative,
first
2ยง minutes, which
image should
appearance by be the
will
14,
total
we
get 140 seconds, or
time of development to
same density as the previous more slowly appearing
On
negative attained.
another
taken out, rinsed, and passed
quickly, say, in 10 seconds, then, multiplying this
shorter time of
attain the
is*'
If with the next plate the
into the fixing bath.
appear more
it
31
plate
the other hand, suppose
more
to possess
we
desire
we increase the
contrast,
multiplying factors say, from 14 to 20 and multiply the time of appearance by that.
This system of timing development
is
not dependent on
any particular developer, and, so long as we do not use one in
which the formation of density does not follow very closely
on the bringing out of is
detail,
it
matters
what developer
little
used.
Developers vary widely in one respect, and that rapidity with which density follows detail; list
of typical multiplying factors given below
much
that they vary as
as from 3^ to 40.
it
will
of
and
all
development,
slowly.
Hence
the
in the
be seen
In one class
of developing agents, such as metol, rodinal, and the image
is
and hence
amidol,
appear very early in the course
detail
density
being
this class are
attained
comparatively
commonly regarded
as not
giving sufficient density or contrast, simply because the user
does not leave the plate in long enough.
The
multiplying
and 18
factors for these are, with average formulae, 28, 40,
respectively,
high multipliers giving a long time for total
development. In the second class, represented by hydroquinone, pyro, and adurol, the lowest tones or detail appear quite slowly,
and by
the time they have appeared the high lights have attained
considerable density, sufficient contrast then being attained quite
rapidly;
hence
sufficiently long total
class
a
low multiplying
time for development.
of developers that
gives
factor It is
a
with this
bromide has most power,
for the
I
BARNET BOOK OF PHOTOGRAPHY.
32 restrainer
ones have stage the
is
able to hold back the lower tones until the upper
full density,
and
if
the plate be taken out at this
bromide has altered gradation
to
be neither the extreme of these classes
will
medium first
but one with a
multiplying factor, and in which density follows the
appearance
The
a considerable
The most convenient developer for time development
extent.
at a comfortable rate.
figures given
below have been worked out by Mr.
Alfred Watkins as a guide, and represent the factors of the majority
of developers
in use,
multiplying
or the ratio
between time of appearance and the attainment of a desired
amount varied
of contrast or density.
They must
of course be
according to the photographer's ideal as
desirable degree of density or for the particular
of negative required by circumstances Pyro soda
â&#x20AC;&#x201D;
:
to
the
character
NEGATIVE-MAKING. marked; a simple
plainly
33
sliding scale or calculator multiplies
the appearance by the factor, and points to the total time of
development.
A
modification of the factorial
method,
sextuple
method
in
way of using
"
Manual
" for
need be,
if
any further
to
make the time now been
but sufficient has
6,
said to put the beginner in the
lopment, and he may,
as the
adhered
is
throughout, and the developer diluted so as to of appearance suit the factor
known
is
which the factor 6
refer to
factorial deve-
Mr. Watkins's
particulars.
AFTER-TREATMENT OF NEGATIVES. Whilst a negative which has had
subsequent chemical treatment
is
which needs no doctoring,
is
it
its
faults
set right
by
not to be preferred to one often imperative that
we
should use any power within our reach to improve and
make
duction,
be
The two
the best of an unsatisfactory negative.
processes
under
and
sufficient
briefest
for the if
chief
heading are intensification and
this
purposes of the present
article
it
re-
will
a few formulas and their use be given in the
manner.
INTENSIFICATION.
A negative
which has been taken from the developer too
soon may be described as
lights
thin,
weak, or
and those corresponding it
will
fiat
â&#x20AC;&#x201D; that
is,
lacking
between the parts representing the
in sufficient contrast
to the
shadows, and the
yield will possess a dull, foggy appearance
hence we seek to add some fresh matter to the image to increase
its
substance and light resisting power.
Intensification is
finished
may
take place immediately the negative
or at any subsequent time, but
that the plate should have
thoroughly washed.
it
is
important
been thoroughly fixed and very
If the negative
soaked in water for half an hour.
be
dry,
it
had better be
BARNRT BOOK OF PHOTOGRAPHY.
34
Immerse the
plate in the following solution
Mercury bichloride Hydrochloric acid
Water
Now
Ammonium
film will gradually
grey and
5 parts
chloride 5 parts)
plate,
100 parts
become bleached,
turning
first
Occasionally rock the dish.
then milky white.
remove the
part
I
....... (or
The
.... .....
:
and wash thoroughly
running
in
water for two hours.
The bleached image Ammonia, '880 Water
Or
a
is
next blackened by immersing
.....
in
weak metol developer,
or a
sodium sulphite may take
As soon
solution.
found that first
or
is
the
the
as
through to the back of the minutes, the plate
of
blackening
plate,
which
washed and
ammonia method Sodium
penetrated
has
be in a few
will
when
dried,
it
will
intensity.
sulphite
is
not
be relied on
such a powerful
may be
repeated
to gain increased intensification.
Another method
is
" stain "
to
the image a
reddish
colour with a deposit of uranium, which greatly increases light-resisting
power
Uranium Water
:
nitrate
.....
I
.
.
.
.
1
Potassium ferricyanide
.
.
.
.
I
Immerse the negative
its
part
50 parts
Glacial acetic acid
judged to be
be
The
secures a greater degree of in-
blackener, but in any case the operation
from the beginning
ammonia
the
tensification, but the results are not always to
as permanent.
part
10 per cent, solution of place
has gained considerably in
it
I
20 to 30 parts
in the above, and, as
sufficiently "
part ,,
soon as
it is
browned," remove and rinse in
water to which a drop or two of acetic acid have been added,
and then wash under the tap
until the stain is
removed from
NEGATIVE-MAKING. If the water
the more transparent parts.
most house water
is,
35 is
at all alkaline, as
the whole of the intensification will be
removed, therefore a prolonged washing must be avoided, and hence all or part may be removed at will by a weak of carbonate of soda, ammonia, or other alkali.
solution
This
may be
desirable to
it
be thought
intensification locally
by applying
turned to
remove the
an alkaline solution with a
should
account
fine brush.
Yet another method of intensification following
is
to bleach in the
:
.... .... A.
Copper sulphate
Hot water
200 grains 1 ounce
B.
Potassium bromide
Hot water
When
cool,
add B
to A,
200 grains 1 ounce
and immerse the
bleached, wash for five minutes only, and blacken
.....â&#x20AC;˘!
44 grains ounce
Silver nitrate
Water
Or
When in-
plate.
for greater
intensity substitute for the silver solution an
ordinary developer.
REDUCTION.
We may now
pass to the reverse process, that of re-
ducing the density of
a negative
which
has been over-
developed. Such a plate yields prints in which the contrasts are too harsh, the
before
more transparent portions
the light has
had time
gradation in the denser parts, or
printing fully detail
and
the entire negative,
may
to
print the
be so opaque that printing takes an inconveniently long time.
We
have the choice of several reducers, each acting in a
special way,
which gives them
their respective values.
BARNKT BOOK OF PHOTOGRAPHY,
36
we
First
consider
will
ammonium
the
persulphate
method, which reduces the more opaque parts so,
first,
whilst generally reducing, also lessens contrasts.
and Im-
merse the thoroughly washed negative in
Ammonium Water
After a
and the
little
a
little
reached,
wash
persulphate
before
the
10 to 20 grains
.
ounce
1
imparted to the water,
is
examined
now proceeding
the
as
.
while a milkiness
plate should be
time, reduction plate
.....
carefully
desired
Remove
the
degree of reduction
continues after
action
from time to
very rapidly.
may be
in a gentle stream of water, or action
is
removal, and
its
instantly
arrested by immersion in a 10 per cent, solution of sodium sulphite.
Finally,
wash
an hour.
for half
In the second place we have what
is
known
as Farmer's
Reducer, which, contrary to the persulphate, attacks the thinnest portions before the denser,
and
so, whilst
density, generally tends to increase contrast.
plate in water, then prepare the following Hyposulphite of soda
...
Water
When
dissolved,
plate,
There are an acid
.5 ounce
add a few drops of 10 per
by the colour, which should be a
Immerse the
and remove when
Wash many
cent, solu-
The strength may be judged good medium yellow colour. sufficient reduction has
thoroughly.
other less used reducers of which one,
permanganate, must
suffice.
solutions of (A) strong sulphuric acid,
Make
20 per cent,
and (B) potassium
permanganate, and for use take 40 minims of
80 minims of B, and add 10 ounces water. permanganate or too will
soak the
:
4 ounces
tion of potassium ferricyanide.
taken place.
reducing
First
little
A
and
Too much
acid will result in staining, which
be best removed by treating in sodium sulphite 60
NEGATIVE-MAKING. grains, oxalic acid
12 grains,
water
37
ounce, after which,
1
however, the plate should be fixed in hyposulphite of soda bath.
SPOTTING AND RETOUCHING. Our
negative
is
due
now
and there only remains
finished,
to
done by way of making good any defects
see what can be
to accident, such as
tiny transparent
known
holes,
as
"pin-holes," because bearing a resemblance to pin-pricks; or
may be
there
small circular spots of thinner or more
transparent film, due to bubbles clinging to the surface for
The former would,
a portion of the time of development. of course, print as black specks, in,
and hence have
a process called " spotting."
For
this
to
be
filled
purpose, water-
colour paint applied with a dainty touch with the point of a fine camel-hair
brush
will serve, or there are certain
pared spotting colours.
been spotted out
will
turn be painted out on the print
Apply by means of the the
hand
until
semi-transparent spots,
medium
is,
no longer
to
then,
possible
about the region
and rub with the
sticky,
if
retouching.
tip of the finger the least
retouching
where the spot or defect the
;
may be removed by
small, or other markings
amount of
ready pre-
Of course the little holes which have now print white, and these must in
soft part of
with a very fine-
pointed moderately hard lead pencil, hardly touching the film but just grazing over until it
it is
it,
proceed to shade in the spot
as dense as the surrounding part, looking through
towards the light
touching desk
is
all
the time.
For
this
purpose a
re-
almost essential.
VARNISHING. The
final
step of varnishing the negative
should on no account be omitted its
preservation
:
the
if
any value
application of a
is
is
one that
attached to
varnish protecting
BARNET BOOK OF PHOTOGRAPHY.
38
from scratching, staining from contact with the
the film
printing paper,
and other sources of irreparable
Negative varnishes of various kinds
and most of them are
to
but, better
may be purchased,
be applied to the negative when
made hot. The negative may be supported side uppermost,
on the extended
horizontally,
fingers
of the
and
left
The
with a pneumatic holder.
still,
injury.
film
hand,
negative
is
heated by a gas-stove or other convenient source
then
of heat until as hot as one can bear to negative varnish tilting the
is
hold.
A
little
then poured near to one corner, and by
negative this
little
pool
induced to flow evenly
is
over the whole surface, finishing at the corner next the one it
started from, the surplus varnish being then allowed to
run off back into the bottle.
As soon
varnish ceases to drip, the plate
is
as the excess of
again warmed, which
causes the varnish to settle evenly, and
it
on one side
free
to cool
in
which would adhere to the surplus
surface.
varnish drain off into
which the main stock particles of dust,
quite
a place
&c,
it
from
dust,
It is best to let the
another bottle
kept, so that, should
is
then placed
is
it
to
that
in
acquire any
can be strained through cotton
wool before being again used.
A
few prescriptions should here be given, including
backing, clearing, stain-removing, and hardening.
BACKING. This consists of spreading on the glass side or back of the
negative a preparation which will absorb the super-
fluous light which, after penetrating the film,
probability be
reflected
would
in all
back again and cause a serious
blemish known as halation, and so commonly seen in
photographs of
amongst
trees
interiors
which
include
a
window, or
which are projected against a bright
sky.
NEGATIVE-MAKING.
39
Halation due to excess of light in certain parts present to a greater or less degree in
than
we
is
probably
many more
instances
and only the marked improvement
suspect,
in
sharpness and clearness which will be noticeable in photo-
graphs from " backed
The
"
plates will
make us aware of
before being placed in the dark
plate,
down on
laid face or film side
edges by |th of an inch, and to suit our
does not dry quickly
if this
convenience a piece of thin paper may
then be placed in the dark
itself.
The
plate
may
slide.
Another method whereby messing
is
an old printing frame with the glass
prevented
front, if
is
to use
has one,
it
Place the plate to be backed in the frame in the
removed.
way and
close the back
margin
a narrow
protects
mixture
short of the
thinly just
be laid down to keep the wet mess to
usual
is
clean blotting or other paper,
and the backing mixture spread enough
it.
slide,
is
When
frame
the rebate of the
;
round, whilst the backing
all
freely applied.
may be wiped
developing, the backing
off with
a
wet sponge before development, or the plate may be put into the developer as
it
is,
and half way through develop-
ment, when the backing has become thoroughly sodden, a rinse
under the tap
ment, when as
will
wash
away.
it
In
Time develop-
we do not need to have the plate so transparent examined by transmitted
to be able to be
light,
backing can
be removed at any time so long as
particles of
do not
it
settle
on the
developer obtaining access to
Backing mixtures
in
Gum
variety can
Methylated
Mix and
strain
spirit
through muslin.
the simplest course
is
be purchased, or the
may be made
..... ....
powder
arabic
and so prevent the
it.
following excellent preparation Crystal caramel
film,
the tiny
:
1
J 3
ounce
â&#x20AC;&#x17E; drachms
This dries quickly.
to purchase plates ready backed.
By far The
BARNET BOOK OF PHOTOGRAPHY.
40
Barnet plates are backed by the makers, and the greater
convenience and avoidance of what operation
is
apt to be a messy
is
well worth the trifling extra price.
CLEARING.
A
makes
yellowish stain which
be cleared following
off
This stain may
printing slower.
immersion
by
sometimes contracts a
in
one
.
•
20
to
Hydrochloric acid
.
.
50
,,
.
the following
is
an old favourite bath
25 ounces
100 drops
:
Alum
ounce
1
20 ounces
Water Iron protosulphate
Sulphuric acid
A
ounce
I
•
Water
other of the
or
......
:
Alum
Or
development or due
negative, either through prolonged
to discoloration of the fixing-bath,
2 „ 20 to 60 minims
.
new
clearing bath containing a
substance, and one
which seems to considerably brighten and clear a stained negative,
is
the
following
thoroughly washed
free
the
Citric acid
.
Water Chrome alum
.....
discolouration
recognised on
.
.
known
.
.
yield to
when
:
very
—
5 grains
10
,,
7
,,
ounce
I
as dichroic fog,
the back or glass side
immersion
in
is
....
Thio-carbamide Citric acid
Water
be
used
it is
which may be
account of the negative having a reddish or
pink colour when viewed by transmitted or green
must
negative
....
Thio-carbamide
A
;
from hypo before
.
.
.
.
.
but yellowish
light,
looked
1 1
at,
part ,
10 parts
should
NEGATIVE-MAKING.
41
Iridescent edges to a plate, sometimes due to the plates
being stale or to the composition of the developer, are best
removed by rubbing
firmly
moistened with methylated
with
plug of cotton
a
spirit, or,
wool
instead of cotton wool,
the finger-tip covered with chamois leather. Silver stains,
which an unvarnished negative
will
some-
times contract from contact with the silver printing paper, are best disposed of by soaking the negative in the following Potassium iodide
....
Water
1
:
part
20 parts
Iodine (metal) enough to impart a deep brown colour
Even
if
a negative
its intensification,
clearing, spotting,
negative
when
is
is
not to be printed from immediately,
or reduction,
if
either are required, as also
and varnishing, should be done before the
put away as finished
;
it
will
then be always ready
required.
A. Horsley Hi?iton.
42
Orthochromatic Plates and
Colour Screens*
1 i
t
9
| i
ORTHOCHROMATIC PLATES AND COLOUR SCREENS. other colours, but
the
graphs
we can contrive
if
and the blue we
brilliance of the violet
which every colour
in
monochrome with
is
the
represented in
exactly the shade of brilliance
This sensitiveness to colour
nature.
lower
to
shall obtain photo-
be
shall
43
has in
it
obtained by the use
of dyes, of which there are a large number, each of which has a different effect from the others, so that we
most suitable
plates that are
may buy and
for landscape purposes,
others that are better fitted for subjects in which there
is
a
preponderance of red.
For landscapes, amateur (and worker),
matter of
it
in
and
plate
and
yellow, leaves
convenient to use, as
is
plenty of
Such a
light,
so long as "
the
is
I
in the present instance, as
is
it
it is
that
all
development
is
is
Yellow Sensitive
additional
necessary, but alteration
As
is
if
care to
it
and capable So
far as
to
be
backing the plates
and during development, a
them
shield
the dark-room lamp
from the
light
is
good type no
is
of a
is
set forth in
needed.
the formula for the developer
the box,
Ortho-
nothing new
is
slides, in
as a preventive against halation, little
be
work
an exceedingly rapid plate
there
In loading the dark
to
chiefly restrict myself
shall
required in the ordinary way.
concerned
sensi-
is
little
possible to
(quite equal in speed to the Barnet Extra Rapid)
learned.
professional
of the right quality.
is
it
Barnet
chromatic Plate," and to that
of doing
which the
in
the
that
most generally interested a plate that
is
tive to violet, blue, green,
desired,
and the work
portraits,
the
for
is
unnecessary to give
who work
in detail here,
it
full
on
but for
10 per cent, system,
the
benefit of those
may
say that each working ounce contains approximately
3
grains of pyro, f
\ grain
of
carbonate,
grain
potassium
and 27^
the
of potassium meta-bisulphite,
bromide,
grains
I
22
grains
of sodium
developers may, of course, be used
if
of
sulphite.
preferred,
sodium Other with the
BARNET BOOK OF PHOTOGRAPHY.
44
exception of hydro-ammonia and hydroquinone, which are
recommended.
not
Beginners
manipulation of the plate
is
whom
to
the
general
a matter of uncertainty are
referred to other sections of this book.
may be pointed
It
do
out that an orthochromatic plate will
any other plate of the same speed
that
all
do a great many things
in addition will
and
will do,
that the others will
not do, so the photographer need not hesitate to load his
use them in precisely the
may employ
or he
plates,
noted
He
changing-box with them.
slides or
which
later on,
same way
he chooses,
if
would ordinary
special contrivances to be
the
will
may,
as he
him
enable
get the full
to
advantage out of them.
We
know
all
and
colours,
seven
tints
red.
We
â&#x20AC;&#x201D;
that white sunlight
that the spectrum violet, indigo,
also
know
of these colours, or
a matter of
fact,
our eyes, and
is
is
is
composed
If this
and
blue, green, yellow, orange,
that every colour
composed
we
of two or
see
is
one
either
more of them. As
every colour we see in nature reflects to
incidentally to the lens of
proportion of white light in addition to colour.
of various
arbitrarily divided into
its
camera, a
the
own
particular
were not so we should be unable with an
exposure of reasonable length on an ordinary plate to get detail in green, yellow, orange,
and red
subjects.
the white light which these objects reflect give representations of them, though
all
somewhat
imperfectly.
already stated, the orthochromatic plate
the
colours, though chiefly to the violet is
it is,
sufficient to
As
(indigo as a purely arbitrary term
As
is
is
sensitive to
and the blue
generally considered in
photographic matters to be included in these two), and
we were
to give a sufficient exposure
colours time to impress themselves on the plate, these
would be hopelessly over-exposed.
If,
if
to allow the other
however,
we
first
inter-
pose somewhere in front of the plate a screen which shall reduce in brilliancy the most powerfully-acting
light rays
we
ORTHOCHROMATIC PLATES AND COLOUR SCREENS.
45
and oranges an opportunity As the plate at present under
shall give the greens, yellows,
of asserting themselves.
consideration it
is
not specially sensitive to red
we may
leave
out of account.
The media used stained
and
troughs
glass
used.
The
work,
as the
be
glass
glass,
easily
for
screens
coated filled
of
are
with
dyed
with
and
strength
but
for
to
being
very
about,
and are
and studio work.
field
would be the best of
all
if it
and used, but
I
that will correct the colours perfectly, so glass
coated
some dyed
with
ex-
Stained glass
were possible to get
material.
it
Many
of the correct colour and of the required strength. glass screens are sold
all
may
of the dye
also the tint
addition
are
and experimental
troublesome to carry
pensive they are
not suitable
in
kinds
or collodion,
solutions
last are useful in laboratory
altered,
various
gelatine
have found none
we are left with These may be
bought or they may be made by the photographer with comparatively
trouble.
little
I
have said that the different
dyes used in preparing the plates give widely different degrees of colour sensitiveness, and that
follows that a screen
it
one maker's plate may be quite un-
perfect with
is
suitable for use with another, so
when
perfect correction
is
required and the maker of the plate does not issue a screen it
is
make
better to
The
reader
is
screens for ourselves.
of course aware, as a matter of general
knowledge, that each colour in the spectrum
mentary to some other
â&#x20AC;&#x201D; thus
violet
is
comple-
and yellow are com-
plementary to each other, blue and orange the same, and green and red.
A
pass through
the deeper the yellow the less the violet,
and
if
orange
it,
yellow screen permits very
a proportion will also
duce the
be cut
of blue off.
It
activity of the violet
we may employ
is is
little
violet to
added a portion of the evident, then, that to re-
and blue rays upon the
an orange-yellow screen.
Those
plate
who
BARNET BOOK OF PHOTOGRAPHY.
46
have access to a spectroscope
or
possess
find
will
interesting to note the effect of holding between
As,
source of light different tints of transparent colour.
however, the effect on the plate the eye
we must
test
is
it
and the
it
not the same as upon
the screens by actual exposures, and
the spectroscope need not be employed.
We
must have, however, some coloured objects
and we cannot do
as tests,
tions given
by
Sir
William Abney.
patches, but with the plate yellow, green,
and
blue, will
we be
He
are
suggests five colour
using three
sufficient,
chromium
green,
Pieces
blue.
stained
yellow (silver
an inch
square
are
are to be arranged side by side
They
glass.
The
the
best)
is
and
shade)
signal green (blue
half
of these,
and the materials
can be obtained from most workers in stained colours wanted are
to act
better than follow the instruc-
on a
cobalt
enough.
large
ground
bit of
glass, separated and surrounded by black paper, which will
hold them in position. piece of
The
yellow
chromium green and one of
imposed
for the green,
imposed on one of
One
stands alone.
signal green are super-
and one of cobalt blue
signal green for the blue.
super-
is
It is
then
necessary to bring them to equal visual brightness by covering the brightest with
little
pieces of celluloid film which
have been developed to a grey
most
difficult part of the
pany tester,
A Sir
article
this
tint.
This graduating
The
work.
figures
is
the
which accom-
were made by a Chapman Jones Plate
a most useful instrument. different
form of colour patch, also recommended by
William Abney, may be more easily made by the photo-
grapher.
Pieces of cardboard
yellow, emerald green,
lamp-black
same
is
also
are
painted with
and French ultramarine
wanted
to
bring
visual brightness or dulness.
blue.
the
colours
The
colours
bought in the powder form from any colourman.
gum
or size
is
mixed with the
blue,
and
it is
chrome
A little to
the
may be
A
little
painted quite
Fig.
Fig.
i.
Fig.
Fig.
6.
Fig. 3
2.
Fig
4.
Fig.
7.
5.
Fig.
8.
ORTHOCHROMATIC PLATES AND COLOUR SCREENS. on the
thickly
the green,
bring
which
than they are
when
wet,
it is
the yellow
;
it is
well to paint quite a
of pieces of card with each colour, adding a
a selection.
may
I
is
lighter
not easy to judge the exact
black each time, and from these
make made
the blue
as
shade while they are moist, and
number
painted with
As the colours dry
same way.
in the
is
black has been added to
sufficient
same shade
the
to
it
darkened
card, another piece of card
to
47
it
not be
will
little
difficult to
say that although I have not I have made and used satisThey may be arranged side
a set of the glass patches,
factorily the painted patches.
by side on a piece of white or black card, and are copied the camera in the same
way
that
any other design
graphed, and different screens must be tried
till
is
in
photo-
the desired
effect is obtained.
Lest
what
it
should be supposed from the above, and from
to follow, that the use of orthochromatic plates
is
beyond the
skill
out that while
it
much
stand as
of the average worker, is
it
is
may be pointed
desirable that everyone should under-
as possible about the principles of colour
work, and even at some sacrifice to carry out the operations here suggested, with
plates,
better
yet
and
I
in
than
ordinary
with
have endeavoured to state the methods of mak-
ing the screens in such a
secured
work can be done with them
most primitive apparatus
the
the
manner
that
good
may be
results
absence of the colour patches described
above.
Before proceeding to a description
of the
which the colour screens are made and tested, to
examine and compare
Figs,
i,
2,
3
and
4.
made on a Barnet orthochromatic Chapman Jones plate-tester, in which
a negative a
strip is
grey, the lowest square
blue, the next higher
is
With a suitable screen
on the
right
it
means by will
Fig.
be well is
from
plate through
the
hand
green, and that at the top all
1
is
upright side
is
yellow.
four ought to be equally dark, and
BARNET BOOK OF PHOTOGRAPHY.
48 it
be seen that the print
will
The
squares on the
left
and do not concern
poses,
is
hand
not far from being correct.
side are used for other purFig.
us.
plate,
not sensitive to colour, and
blue
only
traces of the green.
from an ordinary
is
be seen that the
will
it
though there are
impressed,
strongly
is
2
remaining figures) exposed without a screen,
(as are all the
and exhibits a great advantage over the ordinary was exposed to candle-light, and
Fig, 4
the green
a
is
is still better,
little
dark and the blue a
for
some purposes very
shows that
it
faint
from a Barnet orthochromatic
Fig. 3 is
plate.
though
too light
little
still
;
may be
fair results
obtained without a screen by photographing by candle-light.
We
must now consider the actual making of the
and although collodion that gelatine
method required is
is
to
is
tint,
is
sometimes used
a solution of gelatine, to dye
and then to coat
dry another piece of glass
on top of the
first,
made when working in a tion of gelatine
is
glass with
way
all,
for
the drying
is
injury.
but the
A
are great.
must be made
and, above
When
it.
from
screens in this way,
small
usual
to the
the film
each
I
have
difficulties
separate solu-
tint,
it
must be
a troublesome matter
in the absence of a proper drying cupboard.
my
it
cemented with Canada balsam
to preserve the film
successfully
filtered,
The
easier to manipulate in all ways.
make
screens,
would suggest
I
I
am
told
by
Mr. Newton, the Principal of the Bolt Court
friend
Technical School, that to ensure the absence of the curious worm-like markings sometimes seen, the conditions must be
To keep
so arranged that drying shall take five days.
the
temperature regular for such a time involves the use of apparatus which everyone cannot possess.
The method I
stain
it
in
squeegee it
I
have adopted recently
is
much
simpler.
purchase a sheet of clear gelatine of a suitable thickness,
it
as before
an aqueous solution of dye to the required
upon
glass to dry, strip
between two sheets of
it,
glass.
tint,
and then cement
The
gelatine can
IMBIBE
'
,111
**flHili!lf!"!'
BABNET
CHROMATIC
«$
EASY TO WORK SO MANY USE IT EVERY DAY IN
Wr
STUDIO
«i
FIELD
Can be used with |
a screen
ably
—very
free
or without
rapid
from
—remark—
balation
as
easy to use as an ordinary plate
APPROXIMATE SPEED.
1
I
»
|
|L»
I
——
BARNET Cut T^HESE
LIE
MADE
IN
PERFECTLY
FLAT AND
THREE GRADES—
"ORDINARY," "EXTRA RAPID," ^
CAN BE USED
IN
ARE
*•
V»
V
AND "ROCKET."
ANY PLATE CAMERA
IF
BACKED WITH CARDBOARD. THEY ARE JUST AS EASY TO MANIPULATE AS GLASS PLATES,
BUT HAVE ALL THE ADVANTAGE
IN
POINT
OF WEIGHT,
"*•
HENCE THEY ARE
GREAT
«*»
*-
FAVOURITES
WITH
v»
v»
TOURISTS,
BEING PORTABLE
AND *•*»*•*• UNBREAKABLE.
*»
ORTHOCHROMATIC PLATES AND COLOUR SCREENS. be bought from
J.
5
Bousquet, of 28 Barbican, London, E.C.
in large sheets of a thickness of about one-hundredth of
inch, at sixpence each.
form
in thickness,
trifle
thicker at one
pieces or so,
and
It is perfectly clear
although
it
end than
may happen
at the other.
an
uni-
fairly
that a sheet
is
a
As, however, the
we want need not be more than two inches square the variation in thickness is negligible. The same
firm sells thinner sheets at threepence each, but these are
useless for our purpose.
Of
many dyes
the
Yellow
"
and
have tried
I
I
would suggest "
&
Brilliant
Naphthol Yellow S.E.," both imported by
Company, and obtainable
the Bayer
Penrose
"
in small quantities
Co., of 109 Farringdon Road,
from
London, E.C, and
from other chemists and dealers who stock Bayer's prepara-
One ounce
tions.
pensive item,
from
of each will
and the cost
screens,
as
it
is trifling.
must be
make many hundreds of The glass is the most ex-
clear,
perfectly
flat,
and
free
flaws, otherwise the definition of the picture will suffer.
Old negative
together
it
been suggested, but although
glass has
this is
when two thicknesses are cemented introduces an amount of distortion fatal to good
the best of
its
A
definition.
kind, yet
thin so-called parallel glass can sometimes be
obtained from Hetley's, of Soho Square, at a moderate price,
but
it is
the
make a personal
necessary that the purchaser should
selection.
most
Plate-glass perfect,
ground optically
but
is
flat
by an optician
extremely expensive, so for
is
all
ordinary purposes I suggest the thinnest patent plate which
can be obtained.
It is sold
good way of business. will
by most glass merchants
The
size to
which
depend upon the aperture of the
it
in a
to be cut
is
but three
lens,
inches square will be found generally suitable, and as the cost of
cutting
it it
is
up,
chiefly in the labour of it is
better to get a
looking
it
out and
dozen or so of pieces
at
one time.
The
gelatine should be cut at least an inch larger each
BARNET BOOK OF PHOTOGRAPHY.
52
way
than
the
glass
it
be
to
is
do very
well, as if the
the pieces will
The
away.
still
and ammonia
it
A
up.
in a solution of the
and has absorbed five
damp may
fingers are
gloves while cutting
all the
minutes' immersion will
till
or two, and a piece
the
all
till
when
it,
of the gelatine
it
and rinsed
It
then
is
for a
minute
of the clean negative glass slipped
the two are lifted out and allowed to drain
corners
the
may
and the
film
has
glass
then be clipped off with a pair
of scissors and the edges folded under the plate
â&#x20AC;&#x201D;
prevent them from cockling up during drying.
may then be
is
thoroughly limp
is
be long enough.
water between
The
escaped.
be cut
possible,
capable of taking up
it is
transferred to a dish of clean water
under
little as
with advantage wear
piece
dye
dye
faulty in places
for the faults to
gelatine should be handled as
and those whose immersed
dyed gelatine proves
be large enough
Old
upon.
dried
quarter-plate glasses well cleaned with whiting
this will
The
glass
stood on the bottom of a tumbler, and the
surface of the film lightly dried with fluffless blotting-paper.
Care must be taken that no dust while
it
is
drying
;
but this
upon the
settles
film
a precaution to which
is
all
photographers are accustomed.
In a moderately dry room the film will dry completely in
about twenty-four hours, and then
round with a knife the film should be applied to the with the whiting and gelatine will not
sticking.
If
glass.
ammonia
It is
if
will fly off.
the edges are cut
No
it
is
there
is
grease or talc
properly cleaned
no
of the
risk
quite possible that every piece
be quite perfect, so
it is
desirable that two or three
of each useful strength should be prepared, from which a selection
suggested
may be made, and later
it
is
well to apply the tests
on before cementing
the
film
the
to
glass.
This cementing operation small
bottle
of
Canada
is
by no means
balsam,
to
be
difficult.
obtained
A
from
ORTHOCHROMATIC PLATES AND COLOUR SCREENS.
53
dealers in microscopes or from most photographic dealers,
The
required.
a
little
of the balsam
placed in the middle of one side of
is
each piece, and they are placed in a warm, for the
balsam to
A
soften.
larger than the glass
is
placed on top of one glass, and the
By
balsam can be made
spread outwards
A
the edges.
to
pressing on the
couple of "bull-dog"
glasses
and
ment
again placed in the oven.
is
the oven must only be moderately
When
spoiled.
it
is
bringing the
if
the whole arrange-
It
must be noted that
warm or
the screen will be
seen that the excess of balsam has
been driven out the screen may be hung up place
till
the balsam at the edges
protruding gelatine
the
exudes
it
letter clips, or
of bicycle trouser-clips will help in into close contact
the
centre
till
a pair
film
oven
but'.not hot,
perfect piece of the film rather
other glass laid on that.
from
is
been thoroughly cleaned,
plate-glass having
is
cleaned with benzole, and a
moderately hard,
is
to be
in a
trimmed
strip of lantern
the
off,
warm when glass
binding pasted
round the edges.
The
nature of the dye and the strengths of the solutions
depend upon the work
will
sible to use a screen
blue to the orange
to be done.
When
it
pos-
is
that will correct the plate from the
we should do
so,
but as such a screen
requires about three or four times the normal exposure
must
some work employ one
for
correction.
I
cannot,
number of
tests
made
and
therefore,
that gives only
do
better
give a
with screens of different intensities
worker to select those that purposes
partial
than
state the nature of the solutions used, leaving
stock
will best suit his
one drachm of
brilliant
it
to each
comparing
In other,
each
may be made up the
following
no attention need be paid
â&#x20AC;&#x201D;a
in the
slight variation in the
For
purpose.
yellow
may be
dissolved in one hundred drachms of water and filtered
napthol yellow
we
;
the
same way.
illustrations
with
each
to the relative darkness of
time of development given
BARNET BOOK OF PHOTOGRAPHY.
54
to the negative, or of the exposures in
making the
prints,
will affect this, and as the negatives had each to be made and tested before the next could be made it was impossible to develop them all at the same time, which would
The
have been preferable.
point to be looked for
which equal density in the upright
extent to
squares
the three right-hand
showed a
negatives
is
Some
obtained.
considerable action in the
although too feeble to appear in the prints
and
of the
red,
would
it
the
is
strip
and
still
be
of importance as giving a better rendering of orange. Fig. 5
from a negative made through a screen dyed
is
with brilliant yellow,
i
10,000
in
â&#x20AC;&#x201D;that
is,
one ounce of
the stock solution was diluted with one hundred times
For
bulk of water.
much
subjects
general
contrast of colour this screen
camera work, as posure,
there
useless, but for
twice
requires
only
the
its
is
hand-
normal
ex-
and when open landscape with
permissible,
is
it
it
is
which
in
distant hills are being photographed, or for seascapes, or for delicately-tinted spring flowers
it
was made with a screen dyed
100.
in
corrected,
It will
and
if
be
this screen
cirrus clouds, in
Made
contrast.
naphthol yellow,
which
it
is
been over-
was employed with landscape
would have
however,
screen,
in
noted that the yellow has
subjects, totally false renderings
good
spoils distant hills
be particularly useful.
will
Fig. 6 1
prove of service,
will
it
whilst by cutting off the blue haze that
Such a
would be given. its
uses in
so difficult
with a solution of
1
in
photographing
to get sufficient
500
it
screen, for taking general cloud effects.
would be a
The
screen
used required an exposure of ten times the normal. Fig.
yellow,
7 1
was
taken
in 5,000.
with a
It required
screen dyed in
an exposure of four times
the normal, and although the blue it is
brilliant
is
still
under-corrected,
a good screen for general subjects in which there are
strong
contrasts
of colour,
and when longer exposures
ORTHOCHROMATIC PLATES AND COLOUR SCREENS. cannot be
It might,
given.
be photographed, and
to
it
be used with a
for instance,
when
lens working at a large aperture
55
rippling water
had
to get fairly correct
was desired
renderings of the colour values in the surrounding foliage. In portraiture also it would give good results without
unduly prolonging the exposures.
was taken with a screen dyed with brilliant yellow, It required an exposure of about six times the 1,000.
Fig. 8
in
1
be seen, approaches very nearly to what is desired, but the yellow is a shade too brightâ&#x20AC;&#x201D; it is in fact A number of experiments were made to over-corrected.
normal, and, as
bring
all
will
four tints equal, but at
much
without
first
Either the blue or the yellow predominated, or level the green
was too dark.
of one sheet of gelatine dyed
At
in brilliant yellow also
and another dyed
used with the result seen in Fig. nearly
full
correction for the red
over-correction for the yellow.
in 5,000,
1
In
normal.
screens for use with red sensitive plates
found that
is
very
more
exposure
light,
will
and
as
making
probably be
it
will
accompanied by
This may be adjusted by
much
in 5,000.
1
darker visually, and
a deep citron colour, but photographically little
was
is
adding a third film stained with methyl violet
Such a combination
in 5,000,
i
The exposure was
1.
times the
three
possible
as
made up
screen
last a
in naphthol yellow
success.
they were
if
in practice
little
its
if
is
of
cuts off very
any additional
be required.
Aniline dyes cannot always be mixed together, but these I
have mentioned may be compounded in any proportions.
It
therefore,
is,
brilliant
stain
quite
possible to
add the
yellow and the naphthol yellow
violet to the
in solution,
only one film to cement between the glasses. of working in the way to
and
one piece of gelatine, with the advantage of having
make
direct
I
instead
have described, anyone prefers
the screens by pouring
on to one of the
If,
glasses,
the
gelatinous
the proportions
solution
named
BARNET BOOK OF PHOTOGRAPHY.
56
Those who do not care
will give similar results.
make
to
colour patches as test objects can, by following the
the
directions given, get results that will at least be
much
better
than those given by bits of yellow glass chosen at random.
In whatever way the screens are made to
plan
simplest
apparatus
will
be necessary
in
:
pinned up
cardboard
camera
can suggest without the use of special
I
as follows
is
should be
be
should
â&#x20AC;&#x201D;A
bromide or platinotype
good
in
placed
the
in
dark slide
the
bellows
of
the
is
pro-
such a way that one-half of the plate
exposure for such a subject
is
closed.
is
and a piece of
daylight,
tected from the image thrown by the
of
it
determine the exposures required with them, and the
The
lens.
correct
and the shutter
then given,
The cardboard
shield
is
then shifted so as to cover over the other half of the plate,
and the colour screen
placed in front of the lens.
is
The exposure must now be
given in sections by partially
One end
drawing the shutter between each. should receive very
much
less than
is
of the plate
supposed
be the
to
required exposure with the colour screen, and the other end very
a
much more, a
less,
little
while the middle sections should be given
little
more, and the section exactly in the
centre should have just that which
When
the plate
is
developed
it
is
will
supposed to be
not be
correct.
difficult to
decide
which exposure corresponds with that given without the screen.
It is
exposure
is
then a simple matter to decide what additional
needed when the screen
Those who
are at
all
advanced
is
used.
in pictorial
work need
not be told that scientifically correct colour renderings
be quite
false
from a
and colour values happen
that
are
two
two objects
different things.
It
in close proximity are
may
tints of
uniform grey.
If,
often
visually of
equal brilliance, and with the screen used in Fig.
be rendered in
may
Colour contrast
pictorial standpoint.
1
would
however, one was
a blue and the other a vellow the contrast that was visible
PLOUGHING By W.
IN DORSET.
THOMAS.
ORTHOCHROMATIC PLATES AND COLOUR SCREENS would be
to the eye
Even without assuming
entirely lost.
such an extreme case,
57
might well be that the correct
it
screen would completely upset the pictorial balance.
such cases the choice
would yet give the truer
^orrect colour values
The
dering of the subject. screens
In
might not give
screen that
of a
possession
pictorial ren-
a battery of
of
and an intimate knowledge of their
effects
will
place a power in the photographer's hands that cannot well
be over-estimated.
little loss
be
of course,
It will,
making the screens
is
of actinic light in the camera as
does
its
work on the
the conditions are to
action on
the
may
some extent
We
reversed.
we can
it is
The
be.
as
want the
get with the least pos-
Bearing in mind the way in
plate.
which the complementary colours cut each other that the Barnet plate
in
In lighting the dark room
plate.
brightest light visually that sible
object
no importance so long
visual intensity of the light is of it
that our
gathered
to get the colour correction with as
and
out,
sensitive to yellow but not to red,
is
obvious that we must for our greatest convenience use
the brightest red
we can
Ruby
beyond the orange. red,
and
get,
that will be the red just
passes very
glass
little
of this
but does pass a considerable amount of dangerous
violet light, so that
trouble can
it
is
necessary to supplement
it
with a
Those who do not mind taking a
sheet of yellow.
make
for themselves a
Reference to Fig. 6
will
show
much
that naphthol yellow
base for the purpose, particularly as
In conjunction with
yellow visually.
little
better combination.
is
it
is
a good
a very bright
this
we must have
A
second sheet of
some
dye that will cut out the green.
glass
coated with gelatine, dyed with rosaniline, will do
this effectually,
orange that visible.
and we are
will
left
with a plenitude of bright
make everything
With ordinary
in the
care, plates
dark room clearly
of the nature of that
we have been considering may be worked
in such a light,
C
BARNET BOOK OF PHOTOGRAPHY.
58 since
not be necessary to go closer than within a
will
it
With
couple of feet from the lamp.
and
to red,
sitive
manipulation,
may be
it
give a
good working
plates that are sen-
not
are
advisable to add a
This
blue to the yellow.
who
workers
for
will
speedy in
little
methyl
cut out the orange and
still
light.
The lamp should be
glazed with a piece of ground glass,
and the compound screen
fitted half
an inch or so in front
of it to lessen the risk of the gelatine being scorched.
Since writing the above
have made a number of
I
screens dyed with a combination of naphthol yellow and
naphthol green with excellent
results.
Various proportions
have been used, but a good working formula
is
two grains
of naphthol green
and one grain of naphthol yellow
ounces of water.
The depth
is
to be
dyed
depend
will
largely
upon the
which the screens are being made.
class of
work
for
For landscape work
which there are strong contrasts of colour, and even the
in six
of tint to which the gelatine
in
in
which
faintest traces of clouds present in the sky are to
be preserved in printing strength, screens requiring times the normal exposure will be found useful.
such screens the gelatine
may be immersed
six
In making
in a solution
of
dye of the concentration given, and allowed to take up
all
it
will absorb.
cold water
It
the tint
till
more regular
should then be rinsed several times in is
to the strength required
A
six
way than by dyeing
and then rinsing
briefly.
times screen necessitates inconveniently long ex-
posures for
many
studies, so
it is
and a
Better and
sufficiently reduced.
results are obtained in this
half times
such a series
subjects,
as well to
is
up
to six.
little
and
is
make The
more
unsuitable for most flower
a series ranging from one cost
whilst
and trouble of making one
is
engaged
matter than in making one, and a good plan
is
in
the
to dye, say,
three pieces as described, then to dilute the solution to half strength, to
dye three more, and so on.
The
pieces of
orthochromatic plates and colour screens. gelatine
may be washed
may be mounted,
all
out to different degrees of
or a selection only
and the remainder stored away
till
fixed,
may be pointed
washed, dried, and dyed
somewhat It
it
so treated
to
make one
out that a piece of is
and
wanted.
For the benefit of those who wish screens only,
may be
tint,
59
practically as good,
easier to manipulate, than plain
or two
roll film
and
is
sheet gelatine.
must, of course, be cemented between two pieces of clear
glass.
Naphthol green stops but
little
of the red, and with the
screen described correct colour values are given well into the orange.
In conclusion,
it
may be
said that those
mastered the orthochromatic plate the
ordinary
conspicuous
type for subjects
will
in
who have once
be loth to revert to
which colour plays a
part.
John Mcintosh.
6o
Film Photography*
NQUESTIONABLY mous
popularity
has
graphy
the enor-
photo-
that
during
attained
the
last
few
years
due
to
the
introduction
films.
Both newer
the
films
roll
largely
is
daylight
of
and
films
flat
loading
have contributed to the
this popularity, for
intro-
duction of celluloid as a base for the sensitive gelatine
emulsion
maker material
add
to
himself with at
enabled
has
to
his
outfit
dead
a
the
camera
a
and
traveller
and
without,
weight
dread stant
obtaining
of
necessity
through
as
hitherto,
careless
The
ever-present
handling,
dark-room
the
con-
accommodation, roll film
has
tended to increase the troubles of
amateur photographer, who has ere now discovered
the that
on
all
burdening
of glass plates, which are
an accompaniment to the holiday which the almost abolished,
holiday-
adequate supply of
once an incubus and an annoyance. of breakage
the
an
it
is
just as
films as ever
the attendant
possible to get perfectly it
good negatives
was on glass plates and with none of
risks.
The danger
of halation has also been practically banished
by the introduction of
films.
With a
glass plate, unless
it is
properly backed with a soluble caramel backing or paint,
FILM PHOTOGRAPHY. there
6l
an amount of halation which renders
is
impossible, to secure
good
it difficult,
effects against the light or
where
and shadows, such
there are violently contrasting lights
or
as
the outline of masts against a sunset sky or the delicate
of twigs and
tracery
dows
are to be included,
plate
is
absolutely useless
and there
For
landscape scene.
leaves in a
unbacked
interiors the
are
many
win-
if
other drawbacks
which only the unfortunate user of unbacked plates
The
covers.
celluloid basis of a film
even the thinnest glass light
so
much
No
backing
except in the most extreme cases, and seldom,
more than the
dis-
thinner than
plates, that this trouble of reflected
non-existent.
practically
is
is
The
is
required
ever,
is
there
even with very
slightest trace of halation
troublesome subjects.
if
saving of weight and storage
space, either before or after development, are advantages that
do not
require to be urged, as they are patent to the
most casual observer
;
but
it is
not until one has accumulated
a large stock of negatives both on glass plates and celluloid films that the really marvellous
saving of space
is
quite
realised.
Films, then, have the advantage of being lighter, less liable to breakage, take
produce halation.
They
up
less storage-room,
are a
little
but the other advantages perhaps outweigh films the price rises to rather
backed
plate,
but the
and do not
dearer than glass plates,
With
that.
more than double
difficulties of
roll
that of a
manufacture must be
taken into account, and the incalculable advantage of being able to dispense with that holiday bugbear, the dark room,
both when loading and unloading the camera, are surely
enough
to justify the extra expense.
As some willing to
are
still
film.
of the readers of this article
may
still
be un-
concede the advantages already enumerated, there
one or two more points
Being
light
and
flexible,
an ordinary envelope with
in favour of the celluloid
they
little
may be
sent by post in
or no packing; and this
BARNET BOOK OF PHOTOGRAPHY.
62
who
should appeal to any amateur his negatives to
some
ments or
made.
sides,
prints
is
may be
Films
which does away with the need
carbon work.
Some
to the use of glass
celluloid films
printed from both
for
of those workers
double transfer in
who
can ever approach them say that one of their that they
is
do not keep
Perhaps before development in hot climates they do
development they
will
keep
deterioration before development
and even
plates have
well.
not, but
indefinitely, providing, of
course, that they have been properly fixed
tional cases,
wedded
are so
that they will not admit that
plates
principal objections to films
after
sending
in the habit of
trade retoucher or to have enlarge-
is
The
and washed.
only found in excep-
been known to
in the
fail
same way. Flat films are cut sheets of celluloid coated with sensitive
emulsion and made
same
in the
They
sizes as glass plates.
are put into an ordinary carrier, dark-slide or changing-box,
same way
just in the
as a plate,
tions of development, fixation,
and
in the
subsequent opera-
and drying there
and rapid drying with alcohol would prove fact that the celluloid
alcohol
films.
â&#x20AC;&#x201D; therefore,
The
three A's
is
fatal
â&#x20AC;&#x201D; acetone,
liable to
Both play
ammonia, and
be devoted to the use and
deservedly popular
endeavour to show how, with film
owing to the
inadvisable.
rest of this chapter will
treatment of the
special
had better be avoided, while yet another
A, the acid fixing bath,
The
no
would probably dissolve away.
pyro-ammonia developer and acetone are havoc with
is
Certain developers must be avoided,
treatment required.
roll
film,
and
will
intelligent treatment, the roll
can produce not only perfect negatives, but can be
manipulated with both celerity and certainty. Photographers
and
flat
films
difficulty in
who
are
frequently
accustomed to handling plates complain that they have great
making the short sections of
rollable films
keep
under the developing solution, and many and curious are
FILM PHOTOGRAPHY. have been adopted to secure
the devices that
Some
63 this end.
of them, although undoubtedly ingenious, are
trouble than
discover
the use of a
pinning
down
the
wood-bottomed corners
four
Another man
developer. tions flat
One
he attempts to use them.
if
mended
more
worth, as the reader will no doubt
they are
dish,
before
states that
writer recom-
and suggested
on the
pouring
he keeps his film sec-
by placing coins on the edges of the
film,
but he
acknowledged that the rocking of the dish was apt
to dis-
lodge his makeshift weights, and the remedy was almost
more trouble than the
original
complaint.
Personally
I
never had any serious trouble in keeping the films quite flat
when developing them
to the
fact that
which
in short sections,
is
due
always gave them a long preliminary
I
soaking before attempting to start development.
We
suppose that a spool of a dozen has to be de-
will
veloped, and the nature of the exposures, or the inclination
demands that they shall each be treated The seal is broken, and the black paper unwound until the white sensitive material
of the exposer, separately. is
gradually
can just be seen by the light of the red lamp.
Turn
the
spool over in the hand, and then with a pair of scissors
make a good the
division
clean cut along the white line that marks
between exposures
eleven
and
twelve.
In
unwinding, the film must be held firmly in contact with the black paper, care being taken not to let
paper as
it
unwinds.
Section
it
number twelve
slip will
over the
be rather
longer than any of the subsequent sections, and this should
be noted so as to avoid cutting into the exposed surface in
number
eleven.
by being cut
into a
off badly,
Each of the
mind.
may think this is a now and then hear of
Experts
of advice, but one does
and
it
sections as
and the winding
films
damaged
should therefore be borne in it is
cut off should be dropped
deep ewer or bowl of water and
quired,
needless piece
spool,
left
to soak until re-
with such black paper as
BARNET BOOK OF PHOTOGRAPHY.
64
By
remains, can be thrown away. tions
will
it
following these instruc-
cut-off pieces of black
be found that the
paper
and can be secured with the of the left hand, so that they do thumb the and first finger well. Now cover the ewer up as water not drop into the up above the
roll
sensitive film
A deep
and get the developer ready.
carefully
always be used, and plenty of developer.
dish should
no good
It is
attempting to use two or three ounces for a quarter-plate
5x4
a
in
film
With
disaster.
of success, and then there
is
above is
room the
ready,
because you
dish,
for
you
and
arch up a
to
We
surface.
chance
far greater
your film does not keep quite
if
it
are simply courting
you have a
eight ounces
little
dipped
into
the
flat
not get
still
now suppose
will
have
and
everything
ewer
for
a
film.
The and
it
the section quite limp,
it
evenly,
and as soon as
this
The
dish.
slightly in the middle,
into the
has happened you should
turn the film over so that the sensitive side
bottom of the
it
This allows the developer to flow
solution face upwards.
across
made
water has probably
should be immersed quickly by sliding
film will
but after a few seconds
no need
to touch
next to the
is
then probably arch it
will flatten
again for a few minutes.
out,
and there
The
progress of development can be watched from the back
of the film,
is
it
and the amount of density
can be judged to a
that
it
has attained
nicety.
Another convenient method of developing the separate exposures which measure,
may be
or, better still,
put the sections into film
preferred
is
to
fill
a flat-bottomed
a thin tumbler, with developer, and
that.
The
go conveniently into the
slight curling
glass,
makes the
and the progress of
development can be watched through the sides of the Air bubbles, if they form on the gelatine surface,
tumbler.
can be shaken
off instantly
hand over the top of the
by pressing the palm of the
glass,
and shaking the
glass
and
FILM PHOTOGRAPHY.
65
may
contents once or twice with the other hand, or the film
be
up and dropped back again two or three times.
lifted
There are one or two useful commercial appliances for flat, and in this connection I might
keeping film sections "
mention the
"
Primus
film-holder,
which consists of two
small clips, which grip the edge of the film, and are them-
This
by a spring handle.
selves held in place
and
one's fingers in the developing solution,
pyro this
is
piece
little
dabbling
the necessity of
of apparatus entirely removes
in the case of
an advantage not to be overlooked.
This method of tentative or personal development has
many to
adherents, and
than
it
I
I
have therefore devoted more space
perhaps should have done otherwise.
Roll film
and
users have, however, discovered that there are other easier
ways of obtaining negatives, and the majority of them
have adopted the
strip
method.
is all
unwound, and the
sensitive film
A
before development.
development are
is
conducted
of a very varied
is
up
in the
hand
by most
attached to the two is
carried out
bowl of clean water, and the
same
it,
Big
fashion.
of developer;
plenty
nothing like
series
first
much
in
necessary and
expedition there
rolled
preliminary washing
film through a
by drawing the
dishes
The
strip.
is
pair of strong clips, sold
photographic dealers, should be
ends of the
name implies, The black paper
This, as the
means developing the whole spool at once.
but for
although, in the case
of exposures, one
may now and
then find one negative that requires longer development than the others.
If
such a case occurs, that negative must
be cut out and allowed to remain in the developing bath after the others are done, but the occurrence is rarer than
one might be led
As
far as
entirely factor,
ing
to suppose.
my own
practice
is
concerned,
I
have almost
adopted Mr. Watkins's method of development by
and
find
it
by
good and regular
far the results.
most
satisfactory
way of
In the chapter of
obtain-
this
book
c*
BARNET BOOK OF PHOTOGRAPHY.
66
devoted to Negative-making the described, so that I scarcely
here
A
;
still,
factorial
method
is
fully
need occupy space with
it
there are just a few points to be remembered.
slow developer, with a high
multiplying factor,
not
is
particularly suitable for the ordinary strip development, as
continual and
the
necessary
movement
one before development
liable to tire
my
Rodinal, which, in
opinion,
is
is
arms
of the
is
really complete.
the simplest and
best
commercial developing agent obtainable, had practically to
be discarded on
Negatives developed
account.
this
with rodinal lose some of their density in the fixing bath,
and the time of development for this.
I
used
therefore
is
for
rather long to compensate
some time the following
pyro-soda formula, which gives negatives of a particularly
As
useful character. little
be seen, however,
will
it
differs
but
from the Barnet pyro-soda developer given in the
chapter on Negative-making.
.... ...... No.
i.
Sulphite of soda
Water
Pyrogallic acid
.....
....
No. Carbonate of soda Carbonate of potash
Water
.
.
6 ounces 32 ounces 1 ounce
2.
3 ounces 1
.
.
.
.
ounce
32 ounces
For normal exposures use equal parts of No.
1
and No.
2,
together with sufficient water to double the quantity used of the two solutions.
As
this
is
somewhat apt
rapidly, a little metabisulphite of potash should
The
factor
for
this
formula
is
ten,
to
oxydise
be added.
and development
is
usually complete in six or seven minutes.
As, however, negatives that
and
at the
I
have a great liking for the delicate
rodinal alone
same time was
seems capable of yielding,
sufficiently
enamoured of the
" always ready " character of that estimable preparation,
I
devised a means of overcoming the tiring way of " sawing"
BARNET Roll Films
RE
A'
AND
ORTHOCHROMATIC
NON-CURLING.
MADE TO
FIT
ALL DAYLIGHT-LOADING CAMERAS,
CAN
BE
CONFIDENTLY
RECOM-
MENDED. PERFECTLY COATED WITH
AN EXTREMELY RAPID EMULSION. VERY RICH GREAT
IN SILVER. GIVING
LATITUDE
IN
VERY
EXPOSURE
THE BARNET Lantern Plates TWO BRANDS WARM TONE. :
COLD
F
l
JLL
TONE.
INSTRUCTIONS
ENCLOSED
WITH EVERY BOX FOR
OB-
TAINING A WIDE RANGE OF TONES. q THE BEST PLATES FOR
TRANSPARENCIES.
3
3
WINDOW 5
5
FILM PHOTOGRAPHY.
69
up and down during the twelve long minutes that demands and this is what I did. A screw eye was fixed into the wooden ceiling of my dark room, and a the film
rodinal
:
thin cord with a small weight attached was passed through it.
To
and
this clip received
end of the cord a strong
the other
patterns
several
are
one end of the developing
of the special film
film.
dishes
was fastened,
clip
then got one
I
which
(of
there
mounted on a wooden
obtainable)
base with an adjustable arm for passing the film under.
This arm carries a vulcanite the film
is
and by means
roller,
of this
kept beneath the surface of the solution
the
;
weight attached to the cord keeps everything taut, and then all
one has to do
end
to
and
fro,
is
to pull the clip attached to the other
and the whole
film
is
developed with an
ease and convenience that must be tried to be believed.
A
similar device
was recently described and
illustrated in
the " Photogram."
The
use
of
developing machines has
daylight
removed any necessity
certain extent quite
even to possess a dark room or a red lamp
who
a question whether the amateur
own sake and
;
but
a
quite
it is
hobby
loves his
revels in all the various
to
for the dilettante
for its
and necessary opera-
Even
tions will ever take kindly to mechanical methods.
with the proper application of the Watkins system (multiplying the actual time
of
appearance in seconds by the
first
factor of the developer), there
is
a popular desire to watch
the image built up, although relying on the result of the calculation to determine
the developer. shall
we say
Perhaps
faith, in
how long it
the film shall remain in
requires too
the system, for
much
courage, or
some photographers
desert their beloved negatives in the
making
;
but
if
to
only
they would have this faith and either screen their lamp or
cover the dish and filter
let
through the red
results
no
light,
glass,
even the " safe
come
would be much more
to their films
satisfactory.
" rays that
at
The
all,
best
the of
BARNET BOOK OF PHOTOGRAPHY.
70
that
produce
sometimes
lamps
the photographer
comes a
there frequently
soon because right
it
Then,
appearance," there
too,
desire to take the film out too
and you made
is
"first
it is
enemies
of
contend with.
appears to be getting too dense.
factor
wrong, and
to
worst
that
fog,
has
If
your
no mistake about the time of no possible chance of going
is
better to let things take their course
and not
meddle.
A
few hints about washing and drying the
one good method
is
small cork and let
it
The
water.
hypo there
each film by one corner to a
to pin
about in a large bath
float
gradually
falls
down
then drops to the bottom
lath, say,
about four or
strip of film
in a similar
five feet
If
of
bottom corner and
With
bath.
strips
long
pin one end of your
;
lath
your lath
is
of
Get a
in useful in this way.
on to one end of the manner.
to the
of the
come
film the bath will also
fairly full
hangs downwards, and what
naturally
film
is
film will
If the exposures are cut off separately,
probably be of use.
and
thick
fix
the other
end
enough you can
put the pins actually on the end, and then the heads will act as buffers to keep the floating lath from scraping against the sides of the bath
;
but,
if
not, turn
The
strip of film
about half an inch of the
down on hang down in a
film over the end and pin will
it
floating lath (if the loop is too big, pin
and make two smaller
all-night soak.
up
in the
middle
and the hypo will drain out in Of course, in adopting this idea
to give all your films a
swill after they leave the fixing solution
This
it
ones),
a most exemplary fashion.
you must remember
the upper surface. big loop from the
is
much
good preliminary
and again
after the
simpler and gives less trouble
than any other method, and the results are absolutely certain.
Those who have not a good supply of water at their Take half a dozen might try this alternative.
disposal
tumblers and
fill
them
all
with water.
The
films should
be
cut into sections, and as they leave the fixing bath they are
FILM PHOTOGRAPHY.
7 I
Each
passed through the half-dozen tumblers in succession.
film should be drained before being changed, blotted with fluffless blotting-paper,
hypo
is
and
removed, and a
minutes' soak in each glass
five
By doing
should be allowed.
final
this the greater part of the
soak for an hour in a tumbler
of clean water will remove the last traces of hypo that are likely to
washed
do any harm, so that a dozen in little
now
hypo eliminators that are also be
films are efficiently
more than a gallon of
employed
One
water.
of the
advertised so freely might
to advantage, but
is
it
best to use an
eliminator in conjunction with washing rather than instead
of
it.
For drying
I prefer to
short lengths of board,
set these
good dry place well out of the way. employed
to
practically
Perhaps some of diffuse,
little
exactly
Blotting-paper can be
and by
any excess of moisture,
off
to
boards up in a
boards against the wall with the films face
leaning the
downwards
take
down on
pin the four corners
and then
for
it
is
no dust can
my
difficult
on them.
settle
explanations
may have been
now and then
some of these time-and-trouble- saving devices
practice has taught one.
and many enemies, but
I
The
roll
film
has
a
to describe
many
that
friends
venture to say that the objectors
only object from a want of knowledge,
or,
knowing too
condemn too much. To the traveller, to the photographer who is enthusiastic enough to have a camera in
little,
his
pocket on every available opportunity, the
roll
films
Many
have made themselves absolutely indispensable.
treasured negative might never have been obtained had
not been for the invaluable daylight loading reliable
and the equally invaluable folding pocket camera seems invariably to associate with
film,
that
one
it.
Percy G. E.
a it
Wright.
72
Lantern Slide Making.
THINK
we may take
granted
most
that
graphers
know what a
slide
even
is,
made one It is
glass,
if
it
for
photolantern
he has never
or seen one made.
a transparent print on
and one which
is
in-
tended to be viewed by being projected
upon a white screen
by means of an optical or what was formerly called a "
magic
made,
lantern.
"
for
on
purposes,
This transparent print
is
now always
convenience of handling, storing, and optical
one
of glass,
size
which
in
England
is
3^ inches square (3^ x 3 J).
Lantern
slides of to-day are
made
generally
upon com-
mercial lantern plates, and which are to be bought from any
photographic dealer.
There are many ways and means of
making lantern
but
slides,
when
I
say that 99 out of every
100 slides made, and by the best workers, are on plates
bought ready coated, such as Barnet Lantern Plates at is. per dozen,
it
will
of the ordinary worker
Now
let
me
is
be easily seen that no other method
worthy of our consideration here.
say at once that any photographer
make a decent negative can also make The making of technically good slides
who can
decent lantern slides. is
purely one
of
LANTERN SLIDE MAKING. which the worker
practice, in
will find
73
many
out
unwritten
laws as his experiments proceed. Yet,
one wishes
if
ordinary slides there
paper printing.
and has the
above the
knowledge and good
artistic
making
level of
claim that the slide-maker,
and colour,
printing
as
rise
if
taste,
him
as in
he wishes
commands
same power of expression, the same power of control
the
if
I
to
just as big a field before
is
each
as does the pictorial
shown with knowledge the
is
man on
paper,
perfect slide will stand
artistic production just as well as a paper print
an
production, not
artistic
Now making
let
me
advise
â&#x20AC;&#x201D;an
art.
be perfectly practical
to
in
and
all
matter of
in the
slide-
workers to take interest in details
of their work, and observe cleanliness in
all
branches of their
slide-making.
We
will take
it
for
granted that negatives for slide-making
are already at hand, say ^-plate or less (the larger size
deal
will
with
later)
all
the
work
we
conducted in the
is
ordinary dark room, where a' good supply of water can be at
The dark room
command.
illuminated with a greater
when
can,
amount of
safe
slide-making, be light
than when
negative developing.
Now i.
A
us see that
let
hand ready
for use
we have
the following articles at
:
quarter-plate printing frame, or better
the
many
excellent
lantern
slide
still
one of
frames,
made
especially for the purpose. 2.
Dish, for development.
3.
Dish of hypo,
for
fixing the
slides just as
in
fixing
negatives after development. 4.
Bottles of developer as described under " Develops
5.
Box
6.
A
ment." of lantern plates as bought from the dealer at
about
is.
per box of 12.
by-pass gas-burner, fixed to gas
(if
used).
BARNET BOOK OF PHOTOGRAPHY.
74 It will
be thus seen that one has not a new
appara-
lot of
tus to purchase for slide-making. First of all
these three rules
Sort out
i.
would recommend
I
make up each
class into
In this way one
touching the next.
slides before
soon find the exposure of each batch, and
much
of failure will be
Make
2.
workers to follow
negatives into three or four classes accord-
all
ing to their densities, and
will
all
:
each
a series of class, the
trial
risk
reduced.
exposures on one negative from
development of
it
will
soon show the
correct exposure.
Make
3.
a standard distance from the lights for
posures.
Thin negatives, however,
and dense ones nearer with advantage.
further away,
Now we
take our printing-frame and place in
open the box of lantern
tive,
j
place the negative film
face to face just as in
upon
plates
the nega-
it
and place one upon
the negative you want to appear on the
portion of
that
lantern-slide
and lantern
plate film
making a P.O.P. print; now place
the back of these a piece of dark cloth or red blotting-
paper, and fasten the exposure, If gas
down
the back,
and we
are ready for
upon which much depends.
be used in the dark room a by-pass burner
be found of advantage, because not requiring to be after
will re-lit
each exposure.
Using the same
light,
whatever
it
may
and holding the frame at the same distance, process
much more
There note
ex-
all
may be exposed
in
distance.
is
will
make
holding the frame to the
The
the
certain.
one point which the beginner should
trated as follows
The
be, each time,
light,
theory of illumination
and
may be
carefully
that
is,
the
briefly illus-
:
intensity
of illumination
on a given
surface
is
By
DOUGLAS ENGLISH,
M.B.
LANTERN SLIDE MAKING. inversely as the square of
This means, that
if at
its
75
distance from the source of light.
a distance of one foot from a gas-jet
or candle-light an exposure of 30 seconds
should the distance be increased to two
feet,
is
correct,
and
the correspond-
ing exposure will be two minutes, and so on as this diagram
shows. 4!
times
4
Fig.
But there
is
.
Âť
rn
'-F
Btimas
ffi
ultimas
i.
this difference in practice, the light
has less
power to penetrate the dense portions of a negative as the distance increases,
and as previously stated, dense negatives and weak ones further away from the
are best exposed nearer light.
Let us expose our plate that frame say
thirty
how
burner and see If
seconds at far
2
ft.
is
we have been
any part of the negative
waiting in the printing
from a good Bray No. 6
is
successful.
unequally dense
requires more exposure than the rest to bring
it
and
fully out,
the ordinary portion of the negative should be shaded with
moving, whilst the dense
a piece of brown paper kept portion receives
more exposure.
If the negatives are
upon
films a piece of clean glass
should be placed at the bottom of the printing frame so that
it
will
be held quite
flat.
DEVELOPMENT. Our
plate
veloper
is
now ready
we make up the
purpose :
for
development, and for
following
this
good all-round de-
76
BARNET BOOK OF PHOTOGRAPHY. No.
i.
LANTERN SLIDE MAKING. It
nicely
is,
its
however, advisable, when the image comes
and gradually, with
develop
That
it.
it
and the
result should
and appear
to
be
be reduced away in the
will
be correct.
plate out of the developer
a flow of clean water and
picture has reached
further
little
This
15 per cent, overdone.
Take the
when the
go a
up
parts in order, to just over-
all its
to say,
is
best to the eye let
fixing,
77
fix,
and wash well under
as in negative-making, for ten
or fifteen minutes.
FIXING BATH. is
The made
fixing bath,
as follows
which must always be used quite clean,
:
... ......
Hyposulphite of soda
Water
When
the slide
washed
well
comes from
5 ounces
20
this fixing
,,
bath
must be
it
a negative, and dried away from
just as
all
possible chance of dust.
The
slide is best
examined when dry, as we can then
better judge the points.
black, which
The
is
The
colour should be a
colour, to a great extent,
is
regulated by the quality of
the negative, the exposure given to
A
used.
veloped with a normal developer the same negative
Thus
result in a colder colour.
will
and de-
fully
yield a nice
warm
it
will
be seen
it is
will
possible
upon the same make of
and developer by varying the exposure.
Good
negatives give the
slide-making, as in
A scope,
very poor,
all
thin
harsh
satisfactory
negative does
and whilst a good
hard,
most
results
in
other photographic processes.
slide
negative by skilful treatment,
A
and the developer
exposed just enough
to obtain a long range of colours
plate
it,
good average negative exposed
colour, yet
warm
very pleasing for a great variety of subjects.
negative
not give the same
can be made from a poor
it is
only a makeshift.
should
be
given
a liberal
BARNET BOOK OF PHOTOGRAPHY.
78
exposure
or be even over-exposed to aid in building
up
gradations that are not easily printed from such a negative.
The worker It will
is
strongly advised to keep to one developer.
be really surprising what can be got out of
one comes to know
it
well,
and
to
do
this
it
it
when
must be
in
constant use.
Two given
other formulae of well-tried developers are here
:
METOL DEVELOPER. No Metol
LANTERN SLIDE MAKING. There slides,
one important point to observe
is
and
that
by
lime-light, the
same
the
shown
slide
double the
shown
is
slides will
appear best; yet
in a large public hall
and with the same
size
appear hopelessly black.
if
upon a sheet
lantern, the slide will
make
best to
It is
If
room and upon a small
in a small
dense
developing
in
We will explain.
as regards the density.
is
the slides are to be
sheet
79
average density to suit public-hall work, and
if
slides of fair
they at any
time have to be used in a smaller room and they appear too
can be used upon them through the lantern.
thin, less light
Thus
it
often happens
when
slides are
judged
at exhibition
better
and so gain
upon small sheets the dense ones look
the awards, yet the slides look hopelessly at
they are shown in public.
upon a
A
sheet to
full-size
good lantern
slide
whole of the image
is
These
do them
may be
fault
when
should be judged
slides
justice.
one
said to be
in
which the
of the most translucent character, in
which the colour of the deposit caused by the developer pleasing,
and
in
is
which the tone values and gradations are
proportioned in such a manner as to be suitable to the character of the light that
comes from the
lantern.
SLIDES BY REDUCTION. Thus contact
same
we have been dealing with
far
â&#x20AC;&#x201D;the lantern plate or smallerâ&#x20AC;&#x201D; but
size
in contact with
slides
made by
a negative of the
this limits us to
making
slides
from a negative or a portion of the negative 3^ in. square. But the negative or the image to be included may exceed this,
and we must then adopt some method of reducing the
subject to the size
we
negative being set
portrait, the subject glass,
and the
plate.
Thus
plate
it
will
require.
This
is
done by copying, the
up and photographed being
used
made 3^ x 3^ in the
be seen that
just as a view or in.
on the ground
dark slide being a lantern it is
possible to copy any size
BARNET BOOK OF PHOTOGRAPHY.
80
of negative, however large, and
make a slide 3 J
in.
square to
the lantern just as easily as one from a small negative.
fit
Some
workers assert that slides made by contact are never so good as those
contact
made by
reduction
a good deal of what
much
and
;
method much may be put
is
if
care
is
not used in the
lost in sharpness,
down
but perhaps
to superiority is not
technical merit as a certain artistic quality.
failed after
I
repeated tests to discover any technical
ference between a slide reduction, the
made by
same subject and
contact and one exactly
the
so
have dif-
made by
same portions
of the negative being used in each case.
There are cheap pieces of apparatus
upon
use
for daylight
the market for reducing negatives to slides which will
save the worker endless trouble
;
they are most efficient and
speedy in use, and are to be recommended to any who can afford the few shillings they cost.
For reducing by is
more expensive apparatus
artificial light
needed, on account of the condenser being required.
simple plan
is
to
have two cameras
negative at one end, and a small
large
lantern plate.
one to hold the
Place the two on a long board, remove the
lens from the larger camera,
and through the hole thus
point the lens of the small camera.
Now
place
position in the big camera,
whole board to the
and draw both light
and
shutters.
left
the big
negative to be reduced in the dark slide, and place
the
A
â&#x20AC;&#x201D;a large one to hold the
it
in
Adjust
photograph the
big
negative with the small camera, using a lantern plate for the purpose.
Development
is
the
same
as in the case of contact slides,
which has already been described.
CLOUDS IN LANTERN A
SLIDES.
lantern slide with a clear white sky
production, and that there
is
it
is
is
an unfinished
so simple a matter to put in clouds
no reason why such
slides
should be shown at
LANTERN SLIDE MAKING.
The beginner must
all.
and
reveal
make a
will call the
be more or
is
it
a
difficult
way of a
slide in the usual
foreground or landscape sky showing on
less
We
clear.
not think
matter;
that the following brief description will
simplicity.
its
First
we
hoped
is
it
8
subject,
but this must be quite
it,
take a sky negative, the lighting of the clouds
being in accordance with the light in the foreground
Mark
which
There may
slide.
slide.
from the sky negative with brown paper that
off
portion of the sky negative on which the landscape would
encroach, and proceed to
make an exposure on
a separate
lantern plate for the sky only.
These two lantern film,
should
not at
fit
plates
dry,
and placed
film
together and form one whole slide.
a difficult matter,
all
when
and a
little
to
It is
practice will quickly
turn even a beginner into quite an expert with the process.
REDUCING AND INTENSIFYING. Lucky
little
is
the
man who can
always
make
the slide he
Oftentimes a slide comes out of the fixing-bath a
wants.
too dense or just a
trifle thin,
or
maybe
corner too dense, which spoils the whole.
a reducing-bath must be resorted First
we
will take in
hand
there
is
just
one
In such cases
to.
slides that are heavy, dense,
or over-developed either in whole or part.
The Howard- Farmer reducer it is well known and is
purpose
â&#x20AC;&#x201D;
No.
is
I.
...
Hyposulphite of soda
Water
No.
a standard one for this
generally satisfactory
I
ounce
10 ounces 2.
Saturated solution of ferricyanide of potassium.
These should be mixed only
Take
2
ounces of No.
1
for
immediate
use.
and 10 drops of No.
2.
:
BARNET BOOK OF PHOTOGRAPHY.
82
Soak the watch
tion,
be reduced and place
slide to
and take
carefully
it
reduction you require
it
in the solu-
it
out before the
If only partial reduction
required use a soft camel-hair
is
The
brush, and apply the solution to the parts required. solution
may
full
reached, and wash well at once.
is
be used stronger or weaker as the density of
the slide requires.
This reducer acts more quickly upon the high
upon the dense
half-tones than
watched on
carefully
upon
require acting
attacks the dense portions
Slides
as
most,
first
and
should be used, as other parts
must be
it
well
slide
washed quite
and place
it
p. 36.
to
and flow :
2 drachms
chloride
make
dish,
cover the plate well
... ....10
Mercury perchloride
Water
flat
Intensification.
from hypo.
in a clean
of the following sufficient to
Ammonium
free
it
For
later.
which from over-exposure or other causes are
Take the over
and
must be
dense portions
and thin may be made more useful by simple First they
lights
it
generally the case, the
is
composition and use see
its
and
If the
this account.
Ammonia Reducer
Persulphate of
particulars of
portions,
I
.
.
.
drachm ounces
This can be used repeatedly.
When
the slide has
out and wash
it
assumed a white appearance take
well for five minutes
dish and place the slide in liq.
ammonia
*88o
once darken the
methods of
1
it,
now
and flood over
slide
and make
it
much
identical with
may be found
in the
it
take another
it
part in 10 parts water.
Intensification
negative-making
;
a solution of
This
denser.
will at
Other
those given in
chapter under that
heading.
There are many points
making
that have
only
in
the practice of lantern-slide
been
briefly
touched upon on
account of space, but the slide-maker will have had given
LANTERN SLIDE MAKING. him
sufficient to indicate a'
course of work and study
means of
earnest slide-maker finds out ways and his
extends,
practice
and
of experience that go. to
83
such
is
it
make up our
every
;
own
his
as
arising out
matters successes.
MOUNTING AND BINDING. When is
from
we
injury,
connection are
known
as
our
and a
The
as cover glasses
3^
in.
fixed lantern plate
it
so as to protect
and neatness
these must be the
;
same
and should be as
square,
it
in this
things to obtain are what
first
purpose
this
beginner
the
size
as
thin find
will
his
with the old emulsion cleaned off
lantern plates
Wash them
just the thing.
mount
certain exactness
essential.
is
For
possible.
require to
shall
slide,
spoiled
and
the exposed, developed,
finished
and
well
polish,
and only use
those that are free from scratches and bubbles.
Next some paper masks sold for the purpose,
known
be required such as are
will
are square pieces of opaque paper 3J cut-out openings of various shapes
shapes
recommended
are to be
Binding
are
strips
and
and with Oblong
sizes.
Ovals
and
circles
are
narrow
all.
required
also
gummed
black
strips of
least of
square,
in.
be found the most useful.
will
These
as lantern-slide masks.
â&#x20AC;&#x201D; these
paper, which are used to bind the
mask and cover glass together. Take a piece of clean white paper,
slide,
the table see is
it
is
before
you.
perfectly dry.
coated
Examine
the
and
lantern
lay
on
it
slide
and
Gelatine such as the lantern plate
absorbs moisture, and undergoes decom-
with
much more readily when damp. Hence it is a good plan to warm
position
before binding
before the
fire
mask
bone-dry.
is
or film side up,
This
it
up,
done,
and place
the
slide
well
also see that the
the
slide,
upon the sheet of paper, and upon
face it
lay
BARNET BOOK OF PHOTOGRAPHY.
84 the
mask of paper
taste
that
suits
See that
paper
print.
slide,
and place upon
it
best
in
;
trimming a
in
dust has been brushed off the
all
the cover glass
it
same
the
this
used as
be
and judgment should
(or, if
a cloud
is
to be introduced, the sky slide) having the film of the slide
and the paper mask between the two. doing
now
is
All that requires
they are well
glasses with the binding strips, seeing that
secured
keep
all
of the two
bind round the four sides
to
This
round.
will protect the
whole
and
slide
from scratches and damage.
it
now important
It is
that the slide shall be
such a way that there shall be no doubt as to
be put in the lantern,
for
marked
how
it is
must be remembered
it
in
to
that
the lanternist works mainly in the dark.
A
recognised
tablished simple.
to
standard of
Hold
the slide
see the subject just
corners
With a
of the
in
as in
slide
become
marking has
and
working,
ensure correct
this
is
es-
quite
such a position that you can nature, then place
two round
spots
of
on the top
white
paper.
marked, any lanternist who may happen to
slide so
handle the slide
will
know
the screen in the right in the lantern with
on
that for the picture to appear
way he
the spots
will
have to place the slide
downward and towards
the
light.
Before being shown, slides should be carefully cleaned of
all
gum and
dirt,
and
finally
polished with a soft rag. S. L.
Coulthurst.
35
Photographic Lenses*
-H 1
1
BARNET BOOK OF PHOTOGRAPHY.
86
defined with a pin-hole, though finer definition
than
is
generally
possible
is
supposed by those who have had no
experience of pin-hole work.
The
pin-hole has also the defect of transmitting such a
small quantity of light that very long exposure
is
necessary
Fig.
to produce
any developable
effect
on a
sensitive plate, but
it
has the virtue of always drawing form correctly and in true
shows that
the
beams of
light
perspective.
Fig.
that reach the
image screen must pass through the pin-hole
and
intersect
i
one another
at the point
Fig.
the case, the image
is
object be solid the image is
true
called if
its
little
h,
and, this being
2.
a true geometrical representation of
the object, whether the latter
h
all
is
a plane or a solid.
is
in
" station point," and perspective
a true station point
If the
" plane perspective," while
exists.
is
always
PHOTOGRAPHIC LENSES.
87
ACTION OF THE LENS. With a good remedied. and,
if
lens both
defects of the
It transmits a very
properly " corrected,"
it
much
larger
produce a
will
and accurately drawn image of the most Fig. 2 is similar to Fig. i,
the pin-hole.
It is,
pin-hole are
amount of light,
but shows a
finely defined
intricate detail.
lens, l,
in place of
however, only an emblematic lens, and
not illustrative of the form of a photographic lens, which
much more complex
a
the lens must transmit
but
larger area,
it
arrangement.
more
light
than the pin-hole, being of
also obvious that to act perfectly
is
is
seen that
It is easily
must concentrate all the light that
it
it
from any one
collects
object point on to the corresponding image point, or " focus,"
and
at the
foci that
same time must
make up
correctly locate all the
the complete image.
are essential to the formation of a well defined
drawn image, but they are not
fulfilled
numerous
These conditions
and
correctly
unless the lens
is
especially constructed, or " corrected," for the purpose.
The
light received
by the lens from any object point
is
of necessity always divergent, as shown in the diagram, and
forms a divergent " pencil object
is
that the pencil
photographic of
"
of light,
though when the
at a very great distance the divergency
lenses,
may
lens,
practically
be called
is
so small
parallel.
The
whether a single lens or a combination
must have
the
power of converting such a
divergent or parallel pencil into a convergent one, otherwise it
can form no real focus of the object point
lens
must be of the class
lenses.
A combination
;
known as convergent of lenses that
is
used alone, cause
and render divergent pencils
parallel
still
more
or " positive "
positive as a
may, however, include one or more " negative lenses, which,
therefore the
whole
" or divergent
pencils to diverge divergent.
Single
lenses of the two classes can be distinguished apart from their effects, a positive lens
always being thicker in the centre than
88
BARNET BOOK OF PHOTOGRAPHY.
at the edges,
and having
a negative lens
is
one concave
least
one convex
at least
surface, while
thinnest in the centre, and always has at surface.
CORRECTION OF LENSES. A
photographic objective
bination of a
number and
various forms
almost invariably a com-
is
of positive
and negative lenses of so arranged that the
varieties of glass,
of one
errors, or "aberrations,"
lens or set
of lenses
is
counterbalanced or "compensated" by opposite errors pro-
duced by the other
Negative lenses are introduced
lenses.
for this purpose, as their errors are generally of
nature
of
those
to
positive
attempts to thus compensate
an opposite
The
lenses.
optician
when the proves impossible he makes
all
perfect balancing of the errors
aberrations, but
use of a " stop " or "diaphragm," which
is
virtually a per-
forated screen with which very erratic and quite uncontrollable light rays can be obstructed or " cut out," while those
submit
that
diaphragm tion
control
to
the aperture
if
allowed
are
will eliminate the effects of
Even a
able results.
pass.
small enough, therefore
is
and cheapest means of making a
easiest
to
it
affords the
lens produce pass-
single uncorrected lens will
work with a small stop put
in just
Such a
most forms of aberra-
do good
the right position
;
but,
with any lens, the use of a small stop aperture reduces the quantity
of light
that
passes
" slow," or of low " intensity," If great rapidity
a small stop
utmost
is
skill in
the
lens,
which becomes
and requires long exposures.
and short exposure
is
necessary, the use of
impossible, and the optician has to use his
applying the principle of compensation.
He
cannot do altogether without the stop, but he must place as little
reliance
hence the lenses
and
upon
it
difficulty
as possible for purposes of correction
of making very rapid perfectly acting
their relatively high cost.
PHOTOGRAPHIC LENSES.
89
TESTING CONDITIONS. All the single lenses used in photographic combinations
have either spherical or plane surfaces, and
together with
all,
the diaphragm, are centred on an axial line which intersects
every surface angles to
all
normally
:
which means that
the plane surfaces
centres from which
all
is
it
at right
and passes through the This
the others are struck.
called the " principal axis " of the lens,
and any
line is
light pencil
joining object
and image points which are situated on the
principal axis
is
guish
it
principal axis.
mainly
described as a "direct" pencil, to distin-
from the oblique pencils which have
its
foci off the
In testing the quality of a lens we consider
performance in representing a plane object upon
a parallel image plane, both planes being at right angles to the principal axis.
Fig. 2 will serve to illustrate these test
q
conditions, for the line p
is
the principal axis of the lens
l, while the object plane 0, and
both at right angles to p
"direct" one, while that
the image plane
b,
are
The pencil from p to Q is a from/ to q is, of course, oblique.
q.
For experimental purposes pin-holes
in o, with a bright light
behind each, form good object points, and with
ment the aberrations about
this arrange-
to be described can be easily
identified.
CURVATURE OF THE With a
test object
FIELD.
such as that just described, every point in
the object plane should be reproduced exactly in the parallel
image plane.
If this condition is secured the lens
a "flat field," but of the field,"
if
and when received on a
sharply defined at the direct pencil
has
not the image suffers from "curvature
same
time.
and an oblique pencil
time the existence of curvature
curved with a plane object
it
is
flat
plate cannot all be
If
you cannot get a
in focus at the
manifest.
may be
flat
same
If the field
is
with a curved
D
BARNET BOOK OF PHOTOGRAPHY.
90 object, but
that
The
understood.
commonly
not "flatness of field" as
is
form of the field varies with the distance
of the object, hence the test object should be placed at a distance likely to be used in practice.
away, vital
a matter of
for, as
importance when copying
condition
of
It
need not be
absolute flatness
fact,
An
diagrams, &c.
flat
far
only of
is
ideal
can only be secured with highly-
flatness
corrected lenses that produce perfect image points.
CHROMATIC ABERRATION. This
one cause of ill-formed
is
by any natural object analysed
into
uncorrected lens always performs such an analysis
number
sents one object point by a
image points
at various distances
and many
visible
from the
The
afterwards substituted for the screen,
formed
active rays
plate
is
blurred.
;
visible
hence,
in the
The
lens,
if
is,
plate,
which
chromatic aberration
wrong place and the
come
is
present, the
resulting negative
is
to a focus nearer the lens is
not over-
and we can roughly adjust the plate it
is
little
rays, the developed image being by invisible " actinic " or chemically
actinic rays
former by pushing
an
in the
however, very
than the visible rays (provided the aberration corrected),
some being
we place the focussing screen
almost entirely
repre-
visually focussing
plane of the visible image points.
by the
it
of differently coloured
When
invisible.
object in the camera
affected
emitted
light
very various colours, and as an
of
light
The
foci.
always mixed light that can be
is
nearer the lens
;
to the
but in a corrected lens
both visible and actinic rays have the same focus, and no such adjustment '
achromatic," or
is
A
necessary.
" apochromatic "
is
about
than the visible focus, but the
if
is
2
styled
corrected for more
With an uncorrected
than one set of actinic rays. lens the actinic focus
corrected lens
single
per cent, nearer the lens
latter focus is the nearer in
an
rpHE
EXQUISITE DEFINITION OF MODERN
WILL
LENSES
VALUE
IF
BE
OF
BUT LITTLE
THE GRAIN OF THE EMULSION
ON THE PLATE USED BE NOT VERY ESPECIALLY
NEGATIVE
IS
IS
THIS THE CASE
WILL
WHEN THE
TO BE SUBSEQUENTLY USED
LANTERN
MAKING
FOR
FINE.
EVENTUALLY
WHICH
SLIDES,
ENLARGED
BE
PROJECTION ON THE SCREEN, OR
BY
IT IS
TO
BE ENLARGED FROM, DIRECT ON TO BRO-
A LARGE
MIDE PAPER, OR ON TO
q THE
ALL
OF
EMULSION
PLATE.
THE
FIVE
BARNET PLATES IS
OF
ESPECIALLY FINE GRAIN.
q THE ADVANTAGE TERISTIC
OF
WORK
IN IS
OF
THIS
CHARAC-
PRACTICALLY ALL CLASSES NOT,
APPRECIATED
AS
PERHAPS. IT
AS
SHOULD
FULLY BE.
SNAP-
SHOTS FOR SPECIAL HIGH-SPEED
WORK-
EXPRESS TRAINS, TROTTING HORSES,
USE
ATHLETIC
&c—
SPORTS,
BARNET
ROCKET PLATES FOR
SEASIDE
COUNTRY 3 USE
AND VERY 5
3
5
OPEN 3
3
BARNET
MEDIUM PLATES FOR GENERAL SNAP-SHOT HAND-
CAMERA PHOTOGRAPHY USE
3
3
BARNET
EXTRA RAPID PLATES AND BARNET ORTHO. GOOD QUALITY MEDIUM THICKNESS GLASS, ALWAYS ACCURATELY CUT, TRUE TO SIZE. 3 3 3
PHOTOGRAPHIC LENSES.
The
over-corrected combination.
and develop.
focus carefully, then expose
image
The most convenient
achromatism If the
one the lens
as sharp as the visible
is
test for
93
object for this test
from the camera.
line but find another
is
If
we
to
developed
achromatic.
is
is
a printed
surface slightly inclined so that each line of print different distance
is
is
at a
focus on one
the sharpest in the developed image
chromatic aberration obviously
exists.
SPHERICAL ABERRATION. If
we can
get nothing but a blurred image of a point,
wherever we put the
some phase
of
it,
plate,
must
then spherical aberration, or
In a direct pencil
exist.
aberration can exist only in
its
of which
This may be a
is
a circular blur.
this
simplest form, the effect disc, or
an
ill-
defined bright spot surrounded by a feeble blur, or a bright ring
around a
comparatively dark
space,
a
or
similar
appearance with the addition of a bright spot in centre.
moved
These
different
or from
to
surrounding blur with dark centre
is
the
is
and the bright spot with
lens,
The
the best focus attainable.
most
the
appear as the screen
effects
and
ring
if it
is
found
nearer the lens than the best focus the aberration
is
under-
corrected and
is
styled " positive," while if the ring is
the focus the aberration
Any cheap form mount,
will
characteristic,
is
of photographic lens,
show these
beyond
over-corrected and " negative."
effects
on a
if
removed from
its
fairly large scale.
ASTIGMATISM. When
a focussing screen intersects an oblique pencil in
a certain place a point
may be
represented
by an oval
pointing towards the principal axis of the lens. the screen slightly, another oval
is
Moving
then found with an axis
BARNET BOOK OF PHOTOGRAPHY.
94
at right angles
to
of
that
the
is
and somewhere
one,
first
between these two ovals the point
represented by a disc.
These appearances can usually be observed with any cheap
and they are a
so-called "rectilinear" doublet lens,
that spherical aberration
is
complicated by the effect
produced
in oblique pencils only.
The two
ovals are the astigmatic foci of the oblique
and the
pencil,
disc
the
is
towards the principal axis focus
the other
;
the primary focus
is is
mean is
The
focus.
oval pointing
the " secondary
"or
" radial
the " primary " or " tangent " focus.
If
nearest the lens, then the aberration
is
under-corrected or " positive," but is
known
photographic lenses, can be
astigmatism, which, with
as
sign
if
the foci are reversed
it
over-corrected or " negative," this being the usual state of
affairs.
As there
there are three foci in each oblique astigmatic pencil
must be three image
foci,
and
will
be
in
it
an object
One
fields.
line radiating
is
formed by
because each point of the line
fairly well defined,
angles to a radial line, or a tangent line,
field of the
extended
is
line at right
will,
however, be
mean
tangent foci radial lines are blurred laterally,
is
represented by a disc.
three fields can be field,
then
and
flat,
preferable that the
mean
not corrected, and a
aimed
at
When
if
only lines
direction can be in focus
is
on a
field
flat
that
is
flat
Only one of the
either the radial or
plate
should be
mean
field of
a small extent,
running in one particular it
;
flat if
field is the
is,
therefore,
the astigmatism
condition usually
by the optician. astigmatism
is
perfectly corrected
and good
there
is,
of
may be
either curved or
definition will be possible in
any part of that
course, only one image field, which flat,
In the
foci all lines are equally blurred to
as every point
tangent
In the image
laterally.
while tangent lines are comparatively sharp. the
is
A
extended mainly in a longitudinal direction.
blurred, as each point
radial
from the principal axis
Vole^dam 9*c.
By
EDGAR
H.
CARPENTER
photographic Lenses. field if the
95
removal of the astigmatism leaves no residue of
A
spherical aberration.
is now generally name only is new, not the The modern anastigmats are
corrected lens
an " anastigmat," but the
styled
condition that
expresses.
it
distinguished by the fact that they are rapid field,
curved flat
and have a
flat
whereas the older ones when rapid had a violently rendered them practically useless, and a
field that
field
The
anastigmat was extremely slow.
only well
known specimen
of the old type of anastigmat belongs to
the second class,
and
is
called the Concentric lens.
very fine lens so far as correction aperture
is
is
a
It is
concerned, but
its
only about a quarter of the diameter of that of
New
a modern anastigmat.
methods and new materials
have enabled opticians to overcome the defects that once appeared to be inevitable, and the modern anastigmat not only of extreme rapidity, but well corrected for
is
all
errors.
COMA. This only astigmatism,
an additional complication
occurs as
and therefore in oblique pencils
be identified by the
lateral
symmetrical astigmatic principal axis, or
foci,
away from
it.
distortion of
either
alone.
It
of
may
what should be
inwardly towards the
The primary
focus becomes
a lopsided oval, while the secondary focus develops a wing or pear-shaped projection at one
an inexcusable defect as
it is
in a
end of the
oval.
Coma
is
complete photographic objective,
the easiest aberration to correct.
It
can be readily
observed with any single positive lens used without a stop.
DISTORTION.
A
lens
may be comparatively
hitherto described
and yet draw
free
untruly.
from the defects
The
various foci
composing the image are then incorrectly situated to
each other
;
hence the image
is
distorted.
relatively
A common
BARNET BOOK OF PHOTOGRAPHY.
96
result of distortion is the curvature of straight lines situated
near the margin of the view.
A
square
with concave or convex sides, the
"cushion
" distortion
and the second
The
absence of either effect
lens
is
from
free
ceptible
is,
as " barrel " distortion.
however, no proof that the
may be
distortion, for curvature
The cause
of distortion
of a true station point, which reference to
the
pinhole,
imper-
fault, as
check the truth of the perspective.
good angle without
position, set the swing
before implied in
untrue drawing
test for distortion is to
camera upwards
Tilt the
from
shifting the lens
back perfectly
its
vertical with a
usual
plumb-
then focus on a subject with long truly vertical
If these are perfectly parallel in the
is
the non-existence
is
involves both
and wrong perspective, and the best
line,
represented
being known as
even when a considerable amount of distortion
really present.
to a
may be
first effect
lines.
image the perspective
is
and
but
if
they are not the station point
the lens
is
incapable of drawing correctly under any con-
ditions.
Certain lenses that show no curvature in ordinary
true,
is
defective,
circumstances will show most alarming distortion with this test.
FOCAL LENGTH AND CONJUGATES. Before a lens can be used to advantage certain facts
concerning
it
must be known to the
Fig.
The
user.
3.
focus of a very distant point lying on the principal
axis of the lens
is
lens has two such
known
as a " principal focus,"
principal foci
â&#x20AC;&#x201D; one, f
in
and every
fig. 3,
for
the
PHOTOGRAPHIC LENSES. from
parallel pencil travelling
direct
diagram) and another,
object point
If the
focus moves in the
brought nearer the
is
same
direction,
These two points are called conjugate
When
f 2 the
image q
the point p is
distance p f 2 or q f
dimension
is
at is
fixed absolutely
is
is
at
lens, say
from f to
foci.
when q
p being the image of q
and the position of each other.
the
,
to p,
reversible,
to right (in
left
f 2 for a pencil travelling from right
to left. its
97
is
They
q.
are
the object,
by that of the
one particular distance from
an equal distance from the " focal length " of the
a most important factor in
all
f,
and the
lens,
which
calculations re-
lating to the adjustments of the camera.
If
we
from both f and f 2 we arrive at two points, ,
n and # 2 called ,
may be
towards the lens distances equal to the
set out
focal length
" principal
points,"
and while
f2
and n 2
distinguished as the front principal focus and princif and
pal point respectively, principal focus
The
and
may be
?i
called the back
point.
position of object or image
may be
fixed
by
distance either from principal focus or principal point.
measurement from the former point is the
its
A
extra-focal distance
of the object or image, but one from the principal point
is
distinguished as the focal distance, and a pair of such focal distances are called conjugates.
If
we multiply a
pair of
conjugate focal distances together and divide the result by their
sum
the quotient
is
the focal length of the lens.
This
equation represents the " law of conjugate foci," from which
we can always
The
find
simpler rule which
much
one distance
extra-focal distances is
are,
if
the other two are known.
however, connected by a
much more
easily applied,
and of
greater practical use.
Each
extra-focal
focal length divided
the distance p f 2
distance
in the
focal length [divided
is
equal to the square of the
by the other extra-focal distance.
by q
fig. is
f] (all
Thus
equal to the square of the of course in inches), while
BARNET BOOK OF PHOTOGRAPHY.
98
qf
equal to the square of the focal length divided by p f 2
is
Supposing the extra-focal distance of the object, or p f 2 to
be 10
and the
ft.
.
,
focal length of the lens to be 6 in.,
then the extra-focal distance of the image, or q
The
divided by 120, or three-tenths of an inch.
36
in.
rule can
be
f, is
thus applied to set the plate at the right distance from the lens
when
the distance of the object
known.
is
Knowing
the extra-focal distance of object or image you can at once
distance by simply adding one focal
arrive at the focal
In the above example the focal distance of the
length.
object
is
10
+
ft.
6
and
in.,
image 6
that of the
in.
+
three
tenths of an inch.
SCALE OF IMAGE. Focus being secured, the image and object are equal
Thus image and
focal distances.
when while
relative linear proportions of
to those of the relative conjugate
object are the
same
they are equally distant from the principal if
the focal distance of the image
the object the image
The
ratio of
one-third that of
one-third the size of the object.
is
image
is
size
points,
to object
is
image
extra-focal distance of the
also equal to that of the
to the focal length,
and
to
the ratio of the focal length to the extra-focal length of the object.
the
That
object,
while p f 2
is
is
fq
to say, (in
fig.
if
the image
3)
is
is
one-third the size of
one-third
the
image, therefore, varies directly with
its
focal length,
The
three times the focal length.
size of the
distance from the
back principal focus, and inversely with the distance of the object from the front principal focus. the latter distance you must double plate from the
the image
These
is
If
you halve
the distance of the
back principal focus to secure definition, and
then doubled in
size.
rules are of great importance in
practical work.
Suppose, for example, we wish to copy a diagram negative on
the
scale
of one-quarter
full
size.
or
With a
PHOTOGRAPHIC LENSES. 6-in.
24
we must
lens
in.
the object four
set
99 focal lengths, or
from the front principal focus of the
lens,
and the
plate one-quarter of a focal length from the back principal
focus
—that
is
i^
in.
the image four times
however, we wished to enlarge
If,
set the object one-quarter
we should
of a focal length from the front principal focus, and the plate four
focal lengths
from the back focal point.
having once set up the camera, scale
—say reduce —we reduce
we wish
Or,
to alter the
the image to three-quarters
slightly
present size
if
its
its
distance from the principal
focus in the same ratio and increase the distance of the object in the inverse ratio, which
by four thirds or add one
third.
means It
that
we
multiply
it
should be noted that
such adjustments can seldom be made so accurately as to ensure perfect focus
—they must always be supplemented by
visual examination of the image.
With
different lenses
used upon an object at a fixed
focal distance the size of the image varies with the focal
In the case of very
distance of the plate from the lens. distant objects the plate
and the length
size of the
image just twice the is
placed at the principal focus,
image then varies directly with the focal
of the lens.
the object
is
distant.
Thus an
8-in.
size of that
an
lens will produce
formed by a
4-in. lens, if
With a near object the camera has
to be racked out to secure focus, and size then depends on
the focal distance, which
is
greater than the focal length.
MEASUREMENT OF FOCAL LENGTH. If the position of the
back principal point of a lens
is
known, then by focussing on a distant object and measuring the distance from screen to principal point you find the focal length.
If the principal point
is
not known, focus on
a distant object, and then rack out and focus on a near one, measuring the extra extension. ratio of object to image,
multiply the
Then determine result
the
by the extra
*Z
''
\ *
BARNET BOOK OF PHOTOGRAPHY.
IOO extension length.
previously
and the
found,
result
the
is
focal
convenient to use a finely divided scale as
It is
the test object, and then measure the image either with the
same
scale or another exactly similar.
As an example,
pose we find that the extra extension of the camera
and the object
is
two and a half times the
is
in.,
image
size of the
then the focal length must be 2*4 multiplied by 2-5 6
sup-
2*4
in.,
;
or
in.
APERTURE. The
next important particular that must be
regard to a lens
is
its
largest parallel pencil of light that the lens
Knowing
will pass.
relative
known
with
effective aperture, or the size of the
and stop together
each stop we can estimate
for
this
exposures with different stops, for the amount of
light passing the lens varies with the area of the pencil,
the exposure must vary inversely with the
For example,
if
we
much exposure
is
much
required.
light passes
As
aperture must vary with the square of sufficient to
best
expressed
therefore,
//22,
know
is
and only
the area of the
its
diameter
as a fraction
of the focal length.
&c, by which the apertures
The /stands
of lenses
the fraction
An //8
is
the "ratio
aperture
f/16 aperture;
it
is,
is
number"
is
This,
are always
stands for focal length
&c. of the focal length.
is
//n, //16,
fraction simply denotes that the effective aperture r T th, ^(-th,
it
the diameter only, and this dimension
the meaning of the fractions //8,
represented.
and
light.
so alter the aperture as to double the
area of the light pencil twice as half as
amount of
and the is
^th,
The denominator
of
of the stop.
naturally twice the diameter of an
therefore, four times the area, passes
much light, and requires one-fourth as much An//xi aperture (really// 11 '3) is half the area exposure. Therefore, by changing of //8 and twice that of// 16.
four times as
from f/S to //11, or from
//n
to// 16, we reduce the
PHOTOGRAPHIC LENSES.
IOI
by one-half and must double the exposure.
light
These
stops belong to a universally useful series in which
each
stop requires twice the exposure of the next larger one, the series
being//4,//5-6,//8,//ir3,//i6,//22-6,//32,//45-2,
The
//64.
modern
stops in
lenses belong to this series,
with the occasional exception of the largest stop, which, in rapid lenses, being simply the biggest one that can be used,
not always
will
The
when
only
plate
in.
fit
effective aperture
the
the size of the hole in the stop
is
stop
To
in front of the lens.
is
measure the true
effective aperture in other cases first focus
on a very distant
object, then replace the focussing screen
by some
opaque screen perforated
sort of thin
with a small pin-hole.
Put a bright
hole, then lay a piece of
ground
of the lens, light seen
light
glass flat against the
and measure the diameter of the
on
this little screen
this will
;
in the centre
behind the pin-
hood
circular disc of
be the diameter
of
the effective aperture.
The result
is
a distant object forms the
effective aperture for
basis of calculations in
the case of near objects, but the
sometimes wrong owing to the
fact that, with certain
lenses, the effective aperture really varies with the distance
To
of the object.
constant
" or not,
with the lens in
test
whether the aperture
measure
its
it
hood points
to the pin-hole.
two measurements agree the aperture distance of the object, but
if
the
first
than the second then the aperture while
if
the second
measurement
increases with near objects.
lens
is
not at
all
is
"
" lens
Telephoto
is is
desirable.
so great that
is
If the
constant for any
measurement
is
larger
smaller for near objects, the greater the aperture
is
only a matter of
or enlarging, for which
inconstancy
in-
Excepting with a few lenses
of very special type, inconstancy
when copying
thus "
and then again with the
usual position,
lens reversed so that the
is
just as described above, first
With it
moment
work an inconstant
certain lenses, however,
must be allowed
being a notable example.
for;
the
BARNET BOOK OF PHOTOGRAPHY.
102
EXPOSURE. When
the aperture alone
is
varied exposure varies with
number of the
the square of the ratio
same stop we
If with the
by focussing on a
lens to plate
Thus the
stop.
exposures with//8 and//i6 are as 64
tive
:
256, or as
alter the focal distance
rela1
:
4.
from
different distance, exposure
varies with the square of the focal distance of the plate.
Thus,
if
we rack out
must be
the camera from 7
increased in the ratio of
49
in.
to 10 in. exposure
must be ap-
100, or
:
proximately doubled.
When
copying to various scales with any one stop
exposure varies with the square of
Thus
to object.
and
if
at
another three times
at
ratio of (1
2
+^)
to (1
plus the ratio of image
1
one time the image
+ 3)
2 ,
full size,
or in that of 2\ to 16.
So long as the aperture has the same distance of the plate exposure lens
used or
is
not.
apertures
with //8
exposure
is
is
and both focussed on
is
if
one lens
distant objects
racked out and the focal distance
Relative exposure with pin-holes the
same
focussed on a near
is
and then a longer exposure
same way
ratio to the focal
constant, whether the
Therefore with two different lenses both
equal, but
distance the camera increased,
half full size
is
exposures vary in the
is
required.
may be
calculated in
as with lenses, the distance of plate
from pin-
hole divided by the diameter of the latter being the " ratio
number."
To
a certain extent the rapidity of lenses varies, apart
from inconstancy, with the materials used and sundry small structural details, but the variation it
can be neglected.
ture
is
result
in
generally so small that
when a
very large aper-
use and an exceedingly brief exposure
may be
affected to
small variations, and this those
is
Nevertheless,
who have
is
given the
an appreciable extent by these is
a matter of some
to deal with high-speed
work.
moment to Some lenses
PHOTOGRAPHIC LENSES.
103
at// 6*5 seem to be quite as rapid as others at f/6, but the differences are more marked when apertures of between f\\
and// 5
are in question.
DEPTH. Strictly
points
speaking only one object point out of a series of
all at
from the camera can be in
different distances
focus at one time; but, practically, no want of sharpness
can be detected in the other points provided their images are not blurred
beyond
maximum
limit of "
certain limits.
If
permissible confusion "
definitely the positions of the nearest
and
we fix such a we can express
farthest points in
approximate focus, and so gain a clear idea of the " depth
Thus
of field."
in
image q of a point
fig.
p,
4
if
the lens
l produces a sharp
then other points within a depth c to
Fig.
4.
d will also appear to be in focus, and the positions of c and d can be fixed if we decide on the maximum amount of confusion allowable. The point c limits near depth, or the distance from c to p, while d limits far depth or the distance from p to
We
d.
can
fix
any
limit
of confusion,
but
T -J
-
in.
is
amount allowed, though a smaller limit, say necessary if we want really acute definition.
generally the
2^0
in., is
As a
rule
it
is
most convenient
extra-focal distances of the nearest
sharp focus.
Thus
the depth
to express depth
and
shown
4
is
best de-
d from
F,
the front
in fig
scribed by giving the distances of c and
by the
farthest points In
principal focus of the lens.
In the case of a lens focussed on a very distant object there
is
no question of
far depth,
near depth alone
exists,
BARNET BOOK OF PHOTOGRAPHY.
io4
and when found
it is
described as the " hyperfocal distance
"
for the particular stop.
the limit
If
distance
of confusion
always equal
is
focal length divided
by the
y^
is
hyperfocal
the
in.
ioo times the square of the
to
ratio
number
of the stop
thus
;
with a six-inch lens and stop //8 the distance
is
36 divided by
This hyper-
distance
focal
8,
which
serves
is
450
or 37^
in.
ft.
purposes.
several
ioo times
First,
when
distance of the nearest object in approximate focus
we
focus sharply on an infinite distance.
Second,
the
is
it
it
is
the
we should focus to obtain a maximum depth of field, for when we so focus total depth
distance on which
amount of
extends from half the hyperfocal distance right up to Third,
a constant factor in
it is
depth, and
To
may be
all
infinity.
calculations relating to
truly described as the "
depth constant."
when
find the limit of near depth
focussing on a
near distance, with a lens of constant aperture, multiply the distance by the depth constant
sum
and divide the
of the distance and the constant.
result
Far depth
is
by the found
by multiplying the distance by the constant and dividing the result by the difference of the distance and constant.
Thus 10
ft.,
if
the constant
is
30
ft.
and we focus on a distance of
the distance of the nearest object in focus
times ten divided by thirty plus ten, or 7^ of the farthest distance in focus
by
thirty
minus
for the centre
"
ten, or
5
ft.
is
is
thirty
while that
thirty times ten divided
These
results are only correct
of the image excepting with well corrected
flat field " lenses.
be useful
1
ft.,
The
following table of constants
may
:
HYPERFOCAL DISTANCES OR DEPTH CONSTANTS FOR STOP //8. Focal
length
PHOTOGRAPHIC LENSES.
we
If
divide
we
succession,
by
constant
the
2,
105 &c.,
5,
4,
3,
in
get a series of distances of "consecutive
depth," such that
we
if
focus on any one of
them the two
adjacent dimensions are the nearest and farthest distances in focus with the stop for
Thus,
which the constant
and
15, 10, 7^, 6,
5
ft.,
depth extends from 6
f/8,
depth
calculated.
10
to
ft.
we use//i6,
If
ft.
shown by the second dimension from the distance
is
focus, so that focussing
from 5
is
f/8 is 30 ft., we get the series, 30 and if we focus on, say, 7^ ft. with
the constant for
if
to
ft.
15
on i\
On
ft.
ft.
in
with// 16, depth extends
this principle a depth-indicating
focussing scale can readily be set out.
With inconstant lenses depth theoretical
may
amount, while
vary to a large extent.
spherical
it
Generally speaking, positive
reduces
aberration
varies slightly from the
spherical aberration exists
if
all
depth distances,
while
negative aberration increases them.
The
length the less rapidity
as in
the
greater
aperture
and the greater the
and considerable depth are both desirable
hand camera work, a
focal
Hence, when great
the depth available.
is
qualities,
lens of short focal length
is
absolutely essential.
FOCUSSING SCALES. When
focus
is
secured on a certain distance the exact
camera extension can be recorded by a mark on some convenient portion of the apparatus, so that the camera
may
be again set to the same mark when the same distance
is
be focussed upon. scale, trial,
but
it
is
A series
not usually possible to
and some have
to
to
of such marks forms a focussing fix all
the marks by
be determined by calculation.
It is
easy to find the mark for an infinite distance by focussing
on a very
distant object,
and
also
one or two marks
objects at extra-focal distances of from
these marks
;
5
to
10
for near ft.
from
others can then be found by the following
BARNET BOOK OF PHOTOGRAPHY.
106 rules v
:
â&#x20AC;&#x201D;The distances represented by any two marks on the
scale are inversely proportional to the respective distances
of those marks from the
mark and the way
ft.
5
between the
between the
number
of
from the
The mark
and 10
to that for 5
half-
A
ft.
by dividing the space
set out
by
ft.
different factors.
beyond the
actual extension of the camera
is
mark
and one halfway
ft.,
mark represents 20
ft.
marks may thus be
mark
the infinity
if
are both determined a
two represents 10
infinity
infinity
Thus,
mark.
infinity
mark
infinity
always equal to the square of the focal length
divided by the extra-focal distance of the object in focus,
dimensions being in inches, and by
all
when
out marks for any distances
this rule
we can
set
mark alone
the infinity
is
known.
The most convenient series of distances to show is the one of " consecutive depths " before described. The infinity mark is, of course, included in this series, the scale marks for
which are
all
equal distances apart.
circle of confusion of 1/100 is
equal to 1/100
in.
in.,
multiplied by the ratio
stop for which the series
number
Thus, with a
calculated.
is
Allowing for a
each division of the scale
of consecutive depths for//8, each division
is
-
o8
of the series
in.
TYPES OF LENSES.
A
wide angle lens
exceptional obliquity,
is
one that passes
and
its
image
cover an exceptionally large plate.
mount
to allow very oblique
must be
It
light pencils of will,
therefore,
must have a short
complete pencils to pass, and
specially well corrected,
increase with obliquity.
field
as
aberration
tends to
Exceptionally wide angle lenses
are usually slow, as very oblique pencils will only give decent
definition with small stops to
;
big pencils are also
more
liable
be mutilated by the obstruction of the mount, which
As a loss of light near the margins of the plate. " wide" or "narrow," called we the angles to guide rough
means a
PHOTOGRAPHIC LENSES
may
consider a lens to cover a wide angle
dimension of the plate that focal length, while
its
I07
covered
A
covers
is
when
the greatest
equal to or less than
the greatest length of the plate
than two-thirds the focal length the angle
is less
narrow.
if
it
wide angle lens can, of course, be used
narrow angle on a small
is
at a
plate.
Doublet lenses consist of two separated lenses with a between
stop
;
" single " lenses
usually consist of several
lenses in close contact with a stop
"View"
bination.
" single
on one
"landscape"
or
" variety, are usually
;
they are therefore slow.
of the
medium angle They are in-
but the variations in aperture are so
variably inconstant,
small that they
are
very imperfectly corrected for
astigmatism and distortion, and only cover a with a small stop
com-
side of the
lenses
may be
disregarded excepting
when copying
or enlarging, for which purposes such lenses are not well
Their
adapted, though often used.
which they are most
for
titles
suggest the work
suitable.
Doublets styled "Rectilinear," "Symmetrical," "Aplanats," or "
Euryscopes
" are
errors except astigmatism,
Most
less quantity.
will
constant and corrected for most
which always cover a
exists in greater or
medium
and a moderately wide angle with a small will
angle with f/8
aperture.
Some
open out to f/6, but will then only cover a very moderate If the
angle.
mount
is
short enough, a very wide angle can
be covered with a small stop, but in such a case the marginal definition
is
somewhat
imperfect.
Anastigmats are the only
lenses that will cover wide angles perfectly,
and many of
them
High
will
do so
at a relatively large aperture.
and good correction over a large but well
A
it
if
should be noted that cheaper types
for
will
work
most ordinary purposes.
anastigmats possess
is
well at
The
//8
do equally
will
neither a wide angle nor extreme rapidity
mid-angle lens that
rapidity
field are their characteristics,
is
flatness
is
required.
good enough of
field
that
of advantage mainly in copying,
and
BARNET BOOK OF PHOTOGRAPHY.
108
Apertures of
not by any means essential for other work.
//6 and over are only required
extremely rapid shutter
for
exposures or for short exposures in bad
light.
Aldis, Collinear, Planar, Unar, Tessar, Protar,
though
are anastigmats,
lenses
centric
the
The Cooke, and Homofact
not
is
indicated by their names. Portrait lenses are doublets of extreme rapidity (//4 or
thereabouts), highly corrected for direct pencils but not for
oblique ones, the perfection of which
sake
and
of rapidity,
They
portraiture.
The Grun
lens
sacrificed for the
is
much moment
not really of
is
is
of the most extreme rapidity, and
is
The rapidity
specially intended for short exposures indoors. is
in
often show considerable distortion.
gained by peculiar construction, and at the sacrifice of
acute definition. fluid,
and
is
It is
a doublet lens
therefore heavy.
apparently more rapid, and
Its
filled
with a special
advantages are, that
it is
also gives greater depth than
other lenses of similar aperture.
Uncorrected lenses are sometimes used
for the sake of
Simple lenses with a stop are thus em-
soft definition.
"
ployed, while the
Bergheim
"
is
a very special type of
uncorrected doublet of adjustable focal length.
The Telephoto
lens
one designed
is
to
extension of the camera and an extreme focal length
is
adjustable,
the camera extension
point being a long
may
way
and when
very large
appear
is
scale
set to,
say, three feet
in front of the lens.
on small
images.
distortion, and,
The
not exceed one foot, the principal
being very long, only a small angle lens can only be used
work with a short
focal length.
The
is
plates,
The mount
included, hence the
though
it
produces
only aberration likely to
though curvilinear
effects are
not
met with, perspective may be badly distorted with The Adon is a rapid some patterns of the Telephoto. variety of Telephoto lens of a rather more convenient often
pattern.
All Telephoto lenses are very inconstant, so
much
PHOTOGRAPHIC LENSES.
IO9
so that with near objects the ordinary rules of exposure, &c.,
not apply.
will
The
lens
Special rules are therefore adopted.
adjusted to
is
produce an image
on the
required scale by altering the separation of the front and
back combinations, the former being a positive doublet of ordinary type, and the latter a negative combination which
The
magnifies the image formed by the front doublet. ratio of magnification varies with every adjustment,
easily
is
determined with the aid of a scale on the lens mount.
By considering
first
then multiplying
by
but
the
all
the action of the front lens alone,
and
essential factors (such as aperture No.)
the
magnification,
effects
of
inconstancy
are
eliminated.
Supplementary lenses are single lenses added to ordinary photographic combinations to modify the focal length and size of the image.
If themselves of great focal length
in substance, they
do not materially disturb the corrections of
the other lens.
A
thin
negative lens increases focal length by
slightly counteracting the
convergency of the
while a positive lens has the opposite
The change
the focal length.
and
Two
the following rules.
light pencils,
and shortens
effect,
effected can be estimated
by
lenses in contact have a focal
length equal to the product of their focal lengths divided by the sum, the focal length of a negative lens being treated
Two
as a minus quantity.
separated lenses have a focal
length equal to the product of their focal lengths, divided by their
sum minus
the
amount of
separation, which
Two
distance between their principal points.
is
the
single lenses
close together are practically in contact, but a single lens
cannot be placed in contact with an ordinary doublet of the " rectilinear " type; there must always be a separation equal to at least half the
length of the doublet,
supplementary
is
position
for
lens
placed.
a supplementary lens
wherever the
The most convenient is
generally
of the original lens, but a negative lens
is
the
front
best placed at
no the
BARNET BOOK OF PHOTOGRAPHY. back, as a
smaller
extension of the camera
is
then
required.
With a
fixed focus
camera unprovided with any focussing
arrangement a positive lens can be added to shorten the focal length,
and thus bring near objects
supplementary lens used for
this
purpose
is
into focus.
A
often called a
" magnifier." Its focal length should be equal to the distance
of the near object, hence a set of magnifiers
is
generally
required. C.
Welborne Piper.
Ill
The Hand Camera* AN ELEMENTARY ARTICLE ON
ITS
MANIPULATION.
MONGST the very large number who have acquired a hand either as a means
camera,
towards
summer
records
securing
perpetuating
memories
holidays,
it
or of
would
be interesting to know what proportion
forehand taining to the subject of few,
and
it
have the
hand camera work.
studied
literature
Probably very
therefore seems superfluous to give advice
the type of camera to buy, as
it
is
beper-
more than
on
likely that
the reader will be already the happy possessor of one 01 the various
makes on the market
at the present time.
Instead then of advising " what to buy "
deavour learnt
It is
to a
we
shall en-
few pages to give advice on matters
by actual experience and practice, and such, we
hope, as
has
in the next
may be
of practical use to the beginner.
only comparatively recently that the hand camera
come so prominently to the fore both as an adjunct summer holiday, or as an important accessory to the
picture-maker's outfit.
This
made
is
partly
owing to the great increase that has been
in the sensitiveness of the dry plate, the introduction
BARNET BOOK OF PHOTOGRAPHY.
112
of the daylight loading rollable film,
of small but highly efficient folding
Each of
these two distinct types has
and having employed is
at various times
which
difficult to say
points, it
obvious
or magazine camera are, that
always ready for use, usually in focus, and the plate
is
For the purposes
or films in situ ready for exposure.
which used
good
its
one or the other,
The most
preferred.
is
Box Form"
advantages of the " it
and the production
and box form cameras.
camera
this class of
â&#x20AC;&#x201D; street
advantages
;
&c, &c.
scenes, groups,
folding,
little
or,
â&#x20AC;&#x201D; these
almost a sine
;
qua non
the
method and
makes an
instru-
for long tours
too, the focussing scale,
when
To
the
more
which
will
admit
cumbrous impedimenta are inadmissible. advanced worker,
mechanism
often called, " pocket
as they are
ease of loading in daylight with rollable film this type
are important its
chance of going wrong.
cameras have also very distinct advantages
ment of
for
in fact mostly
is
and, moreover, the simplicity of
gives the beginner
The
intended and
is
of a general view or a " near to " one of a single figure or
group
will naturally appeal.
of the lens, which is
of
Its
the worker
to
various
types of hand cameras such
other of these two
spread popularity.
some experience
have gained for one or the
that
points
with
These, then, are just a few
a very necessary feature. the
extension will often permit
double or single combination
use of either the
of the
Were
possible to
it
a wide-
combine the advanhand
tages of both in one, something approaching an ideal
The
other hand cameras most in use
camera would
result.
at the present
time are but variations of these two, which
may almost be looked upon
as primary types.
The
differ-
ences in the several parts of the camera are, however,
The
numerous. shutter
may
lens
may be
fixed
operate directly in front
of,
or
focussing
;
the
between or behind
the lens, or as in the case of the focal plane directly in front
of
the
sensitive
film
;
the
methods
employed
in
THE HAND CAMERA. may be
loading are many, and
113
for plates or films in sheaths
or in dark slides, films in packs or rollable film, and so on.
Perhaps,
however,
more
a
" full-size is
finder."
It
is
what
a contrivance
is
enabled, by means of a
reflector,
known
is
as the
with which
one
not only to see the
object on the screen, but to focus right up to the
moment
of
For figure work, where the correct composition
exposure. is
in the
feature
distinctive
cameras of the more expensive kind
the desideratum, and for
rapidly
form of camera has no equal the former class of work
by reason of
is,
it
moving objects
this
unfortunately, however, in
;
rather con-
its
spicuous appearance, apt to attract more attention from the " victims " than
is
quite desirable.
With these few
brief
remarks
let
us
now
pass to what
will be of perhaps more interest and use to the reader.
THE HAND CAMERA We
will
IN USE.
suppose that you have one of the two types
of camera briefly referred to above, and that at the time of reading this you are to a
both as to
powers or
its
foremost in importance of this essential
your negatives
is
more its
the lens.
feature that the
will
or less extent ignorant
manipulation. It is to
technical
be mostly due.
The
First
and
the quality
excellence
beginner
of
who
has recently acquired a small camera for say half-a-guinea
must not expect that
will
the considerably if
he
will
much
his
instrument to be
fitted
have such wide capability as one
more
with a lens fitted
with
costly anastigmat, but nevertheless
from the very commencement recognise just how
his lens
may be expected
to achieve,
he
will
be well
along the path toward securing satisfactory negatives.
The
first
point that the amateur ought to be conversant
with in regard to his lens
is
what
is
generally called " the
working aperture," and which means the
size of the circular
BARNET BOOK OF PHOTOGRAPHY.
114
opening of his lens with which a perfectly sharp image the extreme corners of the size
to
With the more highly
obtained.
lenses
present day this working aperture might be/5,/6, the cheaper varieties, however,
fix
with
known
usually that
is
of the
&c,
as
but for an explanation of these terms and further
;
information the reader
book on
As is
it
can be
use
plate in efficient
" Lenses,"
referred to the chapters in this
is
and on
"
Negative-Making."
be readily understood, the smaller the aperture
will
the less the quantity of light that can pass through in a
given time
we
shall
therefore, in
;
knowing the
have to commence with the
size of this aperture, first
factor that helps
towards correct exposure, and consequently a rough idea as to
when
that exposure
importance
is
likely to
a countless variety used on the
and but
day,
be
to the lens is the shutter.
service
little
efficient.
Next
hand cameras of the present
would be rendered
He
by a detailed description of any.
to the reader
has his camera, and
with his camera his shutter, and he naturally wants to the best of
him
is
The
it.
words
one may be
told that this
exposures from gives
more
1
its
range of capability,
On
purchasing a camera
or that shutter gives a range of
second up to y^uth, or that another exposures.
Probably the
truthful, for the instantaneous
may be anything
time and
latter is
varying speeds.
its
make
best possible advice that can be given
to find out, as with his lens,
in other
in
There are of these
instantaneous
from x^th second to
-^-th.
Too much
reliance
should not
be placed on these statements, and we would urge the possessor of a camera with an unknown shutter speed to
make himself acquainted at the outset with an approximate From time to time there have appeared idea of its rapidity. in the photographic press many descriptions of means, more or less complicated, by which one may test by experiment the speed of his shutter. One such method which needs no special apparatus was described in the " Amateur Photo-
THE TRYSTING PLACE. By JOHN C. DOUGLAS.
THE HAND CAMERA.
ll<
grapher" of February 19, 1903, and was found by actual be
trial to
far
simpler perhaps than
somewhat condensed,
Turn a
;
down and
place in front of a dark
of white paper to cover the
a piece
place
The method,
reads.
it
here given.
bicycle upside
background interval
is
between three spokes of the driving-wheel near the
which
rim, use a fast plate in the camera,
placed as near the cycle as
practicable, the
is
some known
Then
rate.
should be
ground
glass
Let a friend now
being parallel to the plane of the wheel. turn the crank at
latter
take a photo-
graph and measure the streak made by the paper on the
The speed
resulting negative.
of rotation of the wheel
known, the angle through which
known, and a comparison of
it
this
turns in a second
with
angle
is is
the angle
through which the wheel has turned, obtained by measuring the streak in the picture, will give the time of exposure.
There
is
a simpler way.
Carefully pack
and send
one of
to
the well-known dealers with instructions to test speed of shutter.
There
is
which undertakes
one well-known London house to
scientifically
test
way will do as long as you find the Knowing now the working aperture
either
it
of any
Anyhow,
shutter for a nominal charge of a few pence.
the speed of your shutter,
at least
the speed
speed.
of your lens and
but remains to choose just
that plate or film which, under the conditions in which will
work,
exposure.
is
you
of just a sufficient rapidity to ensure a correct It
will
be necessary here to
call
the
tiro's
and
films
attention to the fact that at the present day plates
can be bought of a widely different degree of sensitiveness,
and is
that all the recognised brands
known
as a speed
number.
on the market have what
The speed number
is
higher
or lower according to the sensitiveness of the emulsion with
which the support
is
coated.
" extra rapid " are not of the
An
Again,
all
which are styled
same degree of
sensitiveness.
exposure that would be amply sufficient for one brand
BARNET BOOK OF PHOTOGRAPHY.
Il6
might not be correct
It therefore
for another.
possible to use that one plate only
mistakes
made by
idiosyncrasies
little
changeable-
is
All plates have their
some develop slower and gain density
;
and
quicker, others vice versa,
if
as
far
one of the greatest
;
the majority of beginners
ness in reference to the plates used. little
behoves the
a choice of one plate, and as
make
beginner to
stands to
it
knowledge and fewer good negatives
reason that
be secured
will
the beginner hover between several brands of plates of
widely different characteristics.
The
next and most important point of
camera man, concerned,
is
knowing the strength of the
various times of the day or year less actinic is
is
for, say,
power of
to judge
middle day in June than
by the
light
tripod, to a
more
who
it is,
or
and very large
to give
As
December.
had by a
eye, recourse is
little
in
to judge,
is difficult
photographers, especially those
meter."
is
Light at
light.
said to be either
an extreme example, the same time actinic
hand
in other words, a considerably shorter exposure
;
required
to the
all
exposure of his plates
in so far as correct
this
difficult
number
of
use their cameras on a
mechanical device known as an " actino-
Briefly described,
which on exposure to
it is
light
a strip of sensitised paper,
darkens to a standard
tint in
this gives
a basis
a time varying with the strength of light
;
on which to calculate the necessary exposure.
Hand camera work door photography, and
more equable, and a
is,
light
little
however,
essentially
out-of-
are considerably
conditions
judgment, coupled with the high
excellence and wonderful latitude in exposure that the
modern day
plate gives,
makes
it
hardly necessary at the
outset to advise the beginner for ordinary
actinometer.
Instead, however, there are
work
many
to use
an
small useful
pocket-books on the market which contain amongst other information tables that give the light values for each
such a one
is
month
Wellcome's " Photographic Exposure Record."
THE HAND CAMERA.
To
the beginner
will
it
117
be found of material assistance,
exceedingly simple, and with a
judicious allowance for
little
the varying conditions of subject, distinctly helpful as a guide
Here, for instance,
toward a correct exposure. of the light table for
May
Sunlight
9 a.m. to 3 p.m.
Sun through
Diffused
light clouds
light
X
.
an example
1
and 5 p.m.
5
Dull
1
$
6
8 a.m. and 4 p.m. 7 A.M.
is
:
1
1
6
i
1
3
These are the approximate exposures
would be
that
required with an " ordinary " plate and a lens working at
/8
the subject to be photographed being described as one
;
having a strong foreground,
With the
to the camera.
i.e.
a good deal of shadow near
plates of a speed that
probably use in a hand camera
one would
â&#x20AC;&#x201D; say Barnet Extra Rapid
the exposure would only be one quarter as long for the subject, itself
and
was,
if
we
space without
used,
will
say, a
much
more rapid
same
plate the subject
snapshot of figures on an open
dark shadows, a
would take
in exposure
are the
as well as the
place.
The
still
greater reduction
principles of exposure
same whether a hand camera or stand camera be
and are treated
at greater length
in the article
on
Negative Making.
Knowing shutter,
the aperture of your lens, the speed of your
and the
rapidity of the plate
you are using,
needs but reference to your " light table
" for
hour to determine what length of time
shall
will
the
it
now
month and
be given that
ensure correct exposure for any given subject.
Having found
this correct exposure, the greatest difficulty
toward producing a good negative in this
book
will refer
more
is
overcome.
Other writers
specifically to the development
BARNET BOOK OF PHOTOGRAPHY.
Il8 of the
negative, so that
not proposed to give here
is
it
any but a very brief description of
perhaps most
this
To
interesting phase in photographic procedure.
who let
it
are not developing their
own exposed
those
plates or films,
be said at once and plainly that they are deliberately
foregoing one of the chief pleasures connected with turning
work to
their photographic
palls
is
one many times
watch a
a pleasure that never the
consummation
for the trouble
which making
even on the oldest workers, and
that repays
To
pictorial account.
correctly exposed plate developing
is
the exposure has involved.
Development
is
not
difficult,
and although,
different developers for different subjects, for the
as time goes
becomes more experienced
on, the worker as he
it is
knowledge to know when
this course is
advan-
As a developer, a solution of Adurol can be Properly compounded there is recommended.
tageous. strongly
nothing messy or staining with
it,
and
for ordinary every-
day out-of-door work development may be
Such a solution
chanical.
is
made up
purely
as follows
Carbonate of soda
.
.
.
.
.
5 oz.
.
.
.
.
.
2ยง
oz.
15 oz.
dissolved add
:
Adurol filter
me-
:
Sulphate of soda
Water
then
use
beginner to vary his developer until he has gained
sufficient
When
will
not advisable
^
.
oz.
through blotting paper and mark bottle
ADUROL SOLUTION. For use one part
This, solution,
if
to seven parts of water.
properly compounded, will give a clean bright
and
will
keep
longed development
for a considerable time,
will
show no tendency
and
in pro-
to stain.
As
hand camera exposures generally betray a tendency to under exposure, the metol and hydroquinone one solution
THE HAND CAMERA.
II9
developer given in " Negative- Making " deserves attention
on account of
ment
energy, whilst time or factorial develop-
its
offers especial
advantage in hand camera work.
THE HAND CAMERA As probably the
greater proportion of the readers of this
whom
short article are those to
be the most
will
sary, if
two
etceteras that
burnings.
First of all
one that
are going
plates or films
may
will fold
and
;
it
save you later on
bright
slight
may is
If the
â&#x20AC;&#x201D; some
one or two working
trial plates,
six
this fault
Owing
lamp become
all
shutter,
is
which in
dozen negatives
A
to
fogged
sufficient light
would have been
discovered and easily remedied. to
elastic
so that he
satisfactorily.
damage, unseen, to the
become jambed owing
â&#x20AC;&#x201D;
light
photographer
sunshine of June allowed just
been developed
heart-
also take the few necessaries
through to effectually fog some plate
one or
many
up and burning a small night
fixing
see that everything
owing to a
more
be neces-
will also
neglect of this the writer's holiday negatives were
the
little
be sure and take a small lamp
especially methodical he for developing
or
is
for a
intelligent work, to take
bands, and some light-proof paper.
may
away
such a one costing but a shilling
do,
will
holiday
and with your camera you are
you are trying to do
little
fabric
You
period,
some dozens of
taking
summer
to the preparations needful before
on one's holiday.
or less extended
the
exposed negatives, some
prolific in
may be devoted
space
starting
ON TOUR.
IN USE
spool
;
had a
at
once
of film
may
uneven winding, and a dark room
to the daylight loading
man an unexpected
necessity.
In changing plates at night time the ordinary bedroom will do, taking care to see that
no bright
light,
such as a
gleam under the door or through the window from a gas outside,
is
in a direct line with the plates.
jet
Always pack
the plates film to film, wrapped in their original papers
and
BARNET BOOK OF PHOTOGRAPHY.
120
placed in their empty box
box as to where the subjects, thus
make a
;
distinctive note
on the
and an outline of
plates were exposed,
:
Wednesday, June 16. " Groups on Pier and Promenade."
Hastings.
Diffused light, /8,
There
is
much need
not
camera work
mark each
to
^th
second.
in the earlier stages of plate,
and
in
hand
most instances
these brief particulars on the plate box will be a sufficient guide. If plates are being
used in reloading your camera, a
sharp tap on the edge will dislodge any particles of dust
never dust them with rags or brushes
â&#x20AC;&#x201D;
this
method
is
a
productive cause of subsequent " pin-holes."
Another important item that the beginner would do well to observe
is
:
place the order for whatever quantity
some time before
of plates or films are thought necessary leaving
This
home.
means
you
that
will
get
your
plates fresh, and probably coated with an emulsion of a
uniform speed, instead of a possible variety of makes of an
unknown age and If
it is
rapidity.
to the seaside that
you are going, there
is
no need
indeed, you would
to choose a very rapid brand of plates
;
be courting disaster were you to do
so,
being ample for seaside work during the
medium speed summer months.
a
In our own practice we take one brand of plates of two speeds, half of
medium rapidity, medium these
the rapidity of the
;
work or market-places, where
the other
fast,
or double
latter are
used
for street
their greater
sensitiveness
counterbalances the prevalence of shadow. If
you are a
cyclist,
stringent precautions
the camera free the
mysterious
and carry your camera with you, very
must be taken
to
keep the inside of
from dust, as owing to the constant jarring dust
particles
have
always
the greatest
predilection for the most important portion of the plate.
FOR
.
.
Hand Camera Photography I5he
BARNET ORTHOCHROMATIC
PLATE YELLOW AND GREEN SENSITIVE
?
3
3
HAS ALL THE QUALIFICATIONS ESSENTIAL FOR THIS
CLASS
OF WORK,
AND CAN BE USED WITH ADVANTAGE AT ALL SEASONS OF THE YEAR.
E
THIS
MEDIUM HAS STOOD
THE TEST OF YEARS, AND IS
STILL
MADE ACCORDING
TO OUR VALUABLE OLD FORMULA.
^
ns
nc
^
qUSED BY THE LEADING^ ARTIST RETOUCHERS.
^
THE HAND CAMERA.
The methods
that have
123
been advocated from time
Some
many.
are
bar; others will
to time
when
as to the best position for carrying the camera
cycling
advocate a carrier on the handle-
will
you that behind the saddle
tell
is
the
best place to carry the camera; but, notwithstanding just
a
little
inconvenience
very hot
in
weather,
we
strongly
advocate the web strap and the camera slung across the shoulders
and
â&#x20AC;&#x201D;
in this position the
weight
is
hardly noticeable,
jarring quite obviated.
The
next lesson
may now
suitably be called " Exposing
the Plate."
We for
will
suppose you have reached your destination, and,
example, we
will say at
camera man such a place
The moving
figures, the
is
a market-place.
To
the
hand
usually prolific in possibilities.
groups at the
and the freedom
stalls,
from observation with which exposures may be made, are
some of the
factors that help to give the
for seeing suitable subjects
needed
in
camera plenty of
Presence of mind and a quick eye
material to work upon.
such a place.
are
the two qualities that are
Don't get excited or impatient
make up your mind what you want and devote a thought before releasing your shutter.
If
little
you have not
already done so, work out the exposure that you think the subject
demands, making
the
allowances that
may be
necessary, as, for instance, the distance at which you propose
exposing, whether the figures are in the shade or not, &c.
Next from
afar note the position of the various items, such
as baskets, &c.
the subject
is
;
see which will be the best position so that
well
lit.
It is
recommended
that at
first
the
sun should shine on the side of your subject or diagonally across your shoulders from the back, thus obviating any
very pronounced shadow contrast, for
shadows that
difficulty
may
arise in
adage, " expose for the shadows and care of themselves,"
is
it
will
be owing to the
development let
â&#x20AC;&#x201D;the
old
the high lights take
a good one for the beginner.
Having
BARNET BOOK OF PHOTOGRAPHY.
124
now made
sure that
is
opportunity you
first
The
film unobserved.
as
arise
this
his eyes intent
wonder
from the
become
the market folk
if
and
of buying
and
finder," which, after all is said
Given a
pense with
it,
and
as
"view
finders,"
he
he must not
a group of people in their charac-
Probably
selling.
this is all
placed on the " view
is
and done,
astonishing
is
it
without the finder altogether.
is
seldom necesto dis-
how soon one can do
Let the beginner will
move-
back bent
and a determination
practice
little
his
interested in his " goings
camera instead of
owing to the implicit reliance that
eyes
finder,
his resulting negatives betray
teristic attitudes
plate or
photographer
of the
fault
market people to
on the mirror or
earnestly staring at the
sary.
continuing along so
may change your
If he will persist in stalking about with his
ments.
on,"
plate,
to the selected
great majority of failures in such
attracting the attention of the
and
up
ready, stroll
and quickly expose your
position
that at the
work
all
train his
soon find by actual ex-
perience that he will be able to secure quite as good a selection of subjects,
and without being nearly so
liable to
attract attention.
If
it
found that the figures or group are painfully
is
conscious of the
brought into play
presence
â&#x20AC;&#x201D; be
of the camera, tact must be
aggressively unconscious that one
attracting any attention whatever,
about the
last
thing that
is
and
that photography
being thought about.
A
is
is
pipe
can be ostentatiously loaded, a placard on a hoarding can or, in fact, anything that may suggest itself to man with the camera until watching his time opportunity may come when a successful exposure may
be studied
;
the " wily "
the
be made.
At
first,
posure, you blurred.
even although giving only
may
This
is
find
^th
on development
of a second ex-
that the picture
is
because on rapidly bringing the camera
into position you released the shutter before the
camera
THE HAND CAMERA. was quite at the
still.
There
commencement
however,
will
is
give you the
you
tell
Practice,
confidence that means being at the
and thereby securing a sharp image.
moment of exposure, Some operators will
hold your breath as a cure, others
to
and so
deflate your lungs,
you
his cures for a cold,
25
"shake"
often this tendency to
of hand camera practice.
and self-possessed
quite calm
1
will try
them
say
will
Mark Twain and
on, and, like
and
all,
will,
perhaps,
succeed none the better. If
your camera
one of the folding
is
different extensions,
it is
type,
seldom advisable
to
and capable of work with the
bellows racked out so that everything
is
may be
over general view
is
all
very well
wanted, but
it is,
when a sharp
all
This
in focus.
to say the least, a disadvantage from
an
interesting, as well as a pictorial, point of view, if in expos-
ing a plate on a figure as close as ten to fifteen feet you also
secure the detail in the architecture of
hundred yards away. a
some houses two
Just a slight blur amounting only to
softening in these latter
would have thrown up more
prominently the object photographed, and would do
much
to centre the interest.
Next there
will
come
moving objects such as
&c,
will
a time
when photographs
trains,
men
of rapidly
&c,
walking, cycling,
be the reader's aim, and these owing to the more
or less rapid
exposure.
movement will require a The little table herewith
proportionately brief will
give
a rough
estimate of the exposure necessary to secure sharpness
Walking
:
BARNET BOOK OF PHOTOGRAPHY.
126
is
how
be seen, however, from this
It will
object.
useless
it
to attempt an exposure on a subject that requires say
^th
second,
known
to
work
when
speed the shutter
greatest
the
^th
at is
second, also
that at such a time of day,
plate in use the
and with the
Nor
only result can be gross under-exposure.
The moving
well advised in attempting.
are
these
the ordinary outfit
the subjects that the amateur with
is
calculation shows
if
train,
is
we know,
always has a fascination for the beginner, but he should
remember
even
that
if
can
he
enough
short
a
give
exposure for a railway train travelling at
fifty
an
miles
come up to his expectations, and an exposure ten times as long made on a train just starting will usually give an infinitely more pleasing reBreaking waves are also another temptation upon sult. hour, yet the result will seldom
which a
little
a second this will
is
may be
advice
the exposure required
—a shorter
;
A
so undesirable.
is
dull
it
is
;
often
is
best to hold one's
To
practice.
single figure a height of three feet from the
often
day
in the resulting print.
varying heights at which
camera can only be found by
right
exposure than
sea foam and a blue sky have a tendency of both
coming out white
The
about one-thirtieth of
;
destroy the signs of movement, and give the water
a petrified look that the best
offered
accentuate a
ground
higher for a general view.
A
desirable than a high one
—painters
low view point
is
about
is
more
in fact nearly
always take a low view point.
made some few You must not expect to
Having now indicated.
with every exposure
—
a
you more than pages of
do not be too a
little
exposures, develop as get first-class negatives
practical experience will teach
Go
letterpress.
slowly at
lavish with your exposures,
good negative aim
at turning out
one
first,
and
and when you get really
good
rather than dozens of mediocre ones.
Study diligently the
other articles in this book, for they
have a more or
all
less
THE HAND CAMERA. direct bearing
1
be well advised
if,
after
will
some months of hand camera work,
and when you have mastered the smaller craft,
You
on the work of the hand camera.
27
you make up your mind
details
of the
and instead
to specialise,
of snapping everything that comes along, from a breaking
wave
you may become
one better than the majority. graphic paper weekly, and
a photographic society. invested,
some
one type of
to a roadside cross, devote yourself to
subject, so that in time
and don't give
failures.
if
in this particular
Invest in a copy of a photopossible
become a member of will
be money well
in because at first
you may have
In each case
it
Steady and persistent striving
that will lead to
is
the
way
success in photography, as in everything
else.
Edgar H.
Carpenter.
128
Hints on Amateur Portraiture*
7-TMflv
^
M
HINTS ON AMATEUR PORTRAITURE.
1
29
APPARATUS.
A
hand camera may sometimes
portraiture
as a rule a stand (tripod)
Not only does
it
— but
desirable for several reasons.
is
enable one to give a generous exposure,
a second or more) without fear of the camera moving,
{e.g.,
but
enables one to
it
of foliage,
&c, and
of the change from
upon a view
fix
camera, and go up to the bit
be used for outdoor
full-length figure, groups, figure studies
i.e.
sitter to
point, leave one's
arrange a fold of drapery,
return to the camera to see the effect
same view point
the
as before.
the camera being properly placed one has
we
thinking about whether
no need
Also, to be
are aiming straight, holding
it
&c.
level,
Focussing Screen.
—A stand camera
usually
is
provided
with a ground glass focussing screen, and for portraiture this has only to be used a few times to be appreciated.
placing of the figure
and
it is
by no means easy to space out the picture quite
satisfactorily
Swing back
is
when
back.
—
a small view-finder It
is, if
relative positions of
one's only means.
camera and
it
various portions of the picture,
one to use a larger stop
A
—
swing
(sharp focus)
of
but this at times enables
in other words, give a shorter ex-
— than would otherwise be practicable.
long extension of the camera bellows
tage soon appreciated, as sitter,
a mistake.
enable one to exercise some measure
of control over the degree of definition
posure
is
figure the
not absolutely essential, at any rate highly desira-
Not only does
ble.
is
sometimes thought that the swing
is
only used in architectural work, but this
For certain back
The
a matter of very great importance,
is
it
And
portraitist often
long bellows
is
incidentally
wants to
another advan-
when a large scale picture is may be mentioned that the copy other portraits, when again a
or use a long-focus lens
wanted.
is
enables one to get nearer the
it
greatly valued.
BARNET BOOK OF PHOTOGRAPHY.
130
A
also
rising front
considerable
of
often
is
help,
enabling us to shift the " placing of the figure " on the plate
without altering the relative position of camera and
In fact we
sitter.
roughly say that the rising front enables
may
us to
add or remove space above and below the head,
which
is
often equivalent to altering the apparent tallness
or shortness of the deal to
sitter,
with conveying a truthful impression of the sitter.
do
The focal length of beginner
may have a good
a point which
is
lens
is
apt to go astray.
one of the points where the
Very often he has but one
lens of length suitable for ordinary landscape work.
This,
probably, has a focal length between 5 and 6 inches, in the
case of a quarter-plate outfit.
away the
sitter's
With an adult
io t0 ^4 natural size
â&#x20AC;&#x201D;
something
say,
long on the ground glass.
less
sitter
10 feet
may be about
head, with such a lens,
than half an inch
This seeming too small, the photo-
grapher approaches his subject to get a larger scale of picture*
and consequently
focus a larger scale picture the
sitter,
which increases
gets a degree of distortion
as he gets nearer his subject. is
But by using a lens of longer obtained without going so near
and consequently without apparent
proportion.
short focus lens of the doublet type he can clear to himself in a few minutes
Take any
distortion or
If the reader has a long bellows camera and
make
all this
by a homely experiment.
object, a vase, book,
adult head, say 9 inches or so long.
&c, about the size of an Set up the camera at
10 feet and focus the object with the 5^-inch focus lens.
With a
strip of
paper applied to the ground glass tick off
with a pencil the length of image
Now
remove one portion of the
of the selected object.
lens,
i.e.
either the
back
or front half, re-focus without changing the position of object It or camera, and again measure the ground glass image. one thing to know that such and such " must," " will,"
is
"ought "to be
so-and-so,
actual personally
and another thing
made experiment
that
it is
to
know from
so.
Therefore
HINTS ON AMATEUR PORTRAITURE.
131
experiment should be made by every
this
beginner
in
portraiture.
what has
Choice of a lens naturally follows from
been
The
said.
may be contemplating
reader
just
the purchase
of a lens especially for this purpose, and asks for guidance
on
(1) focal length;
Focal length. is
" going in " for
on whether he
head and shoulders only or
The
figures as well.
from a given
(2) type of lens.
â&#x20AC;&#x201D; This must partly depend
length
full
larger the scale the longer the focus
standpoint.
Therefore a longer focus
will
be more useful for head and shoulders than for standing Again, he must bear in mind the size of the room.
figures.
A
we need to get well away we may not be able to get in as much we wish to include. For outdoor work
long focus lens means that
from our
or
sitter,
of our subject as consideration
this
not
will
trouble us.
often
For
length figures a focal length of double the length
be found
side of the plate will
Thus
useful.
half-
of the
for a
4x3
a matter of costs,
may be from 6 to 8 inches. This will in many cases be governed by i.e. how much the worker is disposed to
pay
But
picture the focal length
Type of Lens.
â&#x20AC;&#x201D;
for his lens.
amateurs,
let
us say,
in
Do
costly, they are bulky,
stoop
down
price
is
so
much
any case, as an amateur's advice to not buy a portrait lens.
and
that the quality for
usually supposed
aperture),
is
modern
often
type.
may be used
the rapid
door work portraiture.
working
at
are
to
be paid,
which the extra
viz.
rapidity (large
annulled.
All things considered,
of
They
in nearly every case one has to
at full aperture.
symmetrical these
we recommend a
This usually works
are
stigmatic lens
about //6*5, and
Next come lenses of
type,
working at //8.
quite
quick enough for ordinary
Next cheaper are the
//n.
at
For out-
single landscape lenses,
Indeed, for a well-lighted room or a
conservatory this type
of lens
holds
its
own
against
all
BARNET BOOK OF PHOTOGRAPHY.
132 others
when
good
quite
get
with
portraits
unmounted, about
costing,
ordinary
6d. each,
we can
Finally,
soft definition is appreciated.
spectacle lenses,
provided we do not
look for great speed or very sharp definition over a large
These lenses can
area.
card
with a
tube,
meniscus form the
is
easily
be mounted on a home-made
the best
;
the concave side turned towards
and the stop between the lens and
sitter,
The
blackened card.
stop of
fixed
First
sitter.
ascertain the equivalent focus of the lens by focussing a distant object,
and make the diameter of the
circular opening of the
As
stop ^g of this equivalent focal length.
to the position of
the stop, focus on a building and get a friend to shift the stop
and
to
fro
you get the position of most even
until
and
definition, illumination,
The
visual
ground
one must
glass,
focus as sharply as possible on the
first
and then bring the ground
How much
nearer " the lens. the kind of glass
and
approximate correction. or, say,
^
depends on
and curvature of the the
focal
length
(This, for a 7-inch lens,
as
lens.
the
would be
In portraiture, however, we do not
J inch.)
want the sharpest possible definition therefore
glass ,a " little
this " little " is
focal length
In general, we may reckon
fa
of such a lens will not
foci
Therefore, to get the sharpest definition on the
coincide. negative,
least distortion.
and chemical
we should only take about
for pictorial effect,
and
half this correction (say,
I inch with a 7-inch lens).
SIZE OF STOP. The
size
of the stop to be
used in portraiture and
the degree of definition are matters calling for a hint or two for the beginner,
who
is
often tempted to think that the
sharper the definition the better the picture.
means
so,
and especially
general impression special detail.
is
This
in the case of portraiture,
is
by no
when
a
of far greater importance than any
Let the reader pause a
moment and
attempt
HINTS ON AMATEUR PORTRAITURE.
133
accurately to draw or describe the exact shape of the features
of any tolerably familiar acquaintance.
It is
easy to get as far
"a prominent nose, firm lips, laughing eyes," &c, &c, but when it comes to exact shapes, sizes, &c, what then? A as
friend
may have
shape,
size, colour, position,
the portrait.
True,
other factors.
;
we may know its exact
is
not that which makes
a scar on his cheek it
But an experiment
dogmatising raises antagonism. take two portraits of the
among many
but only one
part,
is
it
but
same
will often
Therefore,
convince when the reader
let
Let one be "sharp-
sitter.
even to the collar stud and pattern of the
all-over,"
tie,
&c.
Let the other be only just sharp enough to show shapes and forms, but not to
show the threads of the draperies or
hairs in eyebrows, &c.
Or, again, print a
negative on smooth paper
single
sharp-all-over
and on rough, and
let
the
com-
parison of results speak for themselves.
No is
rules can be laid
down, nor are they desirable.
better to look at one's sitter,
and then slowly
It
close one's
eyes until just the desirable degree of softness of definition is
seen through the partly-closed
aim
to get this effect
lids.
on the ground
Note
glass
this,
and then
by changing the
stop and using the focussing screw.
One is
principle
seems of general application
â&#x20AC;&#x201D;
viz.
that
it
not good for pictorial purposes (landscape or portrait) to
have such sharp or such fuzzy definition as to extreme.
to itself for either
If
call attention
one part of a picture be
conspicuously sharp or out of focus as compared with the
extreme
this
rest,
part,
neighbouring parts, itself.
Portrait
have but also
little
is
by sheer force of contrast
and other lenses of depth of focal
large aperture are apt to
field or
some have curvature of the sharply defined,
telligible.
Or one
depth of focus, and
field as well, so that
such a lens we may have one eye portrait
to the
apt to call (unworthy) attention to
in a
with
" three-quarter
and the other eye almost unin-
part of a man's beard
may look
like
BARNET BOOK OF PHOTOGRAPHY.
134
and the other part
pin-wire,
cotton-wool
like
or
smoke.
Clearly such inconsistencies have only to be mentioned to
At the same
be condemned.
time, a warning against the
other extreme (monotony of definition)
One
symptoms of
of the
epidemic
is
We
focus."
is
equally called
the all-absorbing desire to " get
Kate or uncle
see cousin
background of brick
for.
the early stages of the photographic
The
wall.
Tom
it all
in sharp
posed against a
shows us every
leaf,
every joint of brickwork, every button, every stripe of the
garments. detail.
The total is a bewildering mass of irritating The more the eye looks the more irritated it
becomes.
This naturally brings us to the vastly important
subject of
BACKGROUNDS. It is
not too
pictorial
thing
much
portrait
is
is certain, viz.
largely
due
that
is
good
portrait without a fore
to say that the success or failure of a
it
{i.e.
make a good
suitable) background.
behoves the amateur never to lose sight of
This point
is
One
background.
to the
not possible to
It there-
this factor.
here insisted on, because in the majority of
cases the amateur's
first
portraits are obviously taken with-
The
out any thought whatever being given to this matter. victim
is
made number to
bewildering
stand
some other
a brick wall,
with
a
of lines or joints showing, or against
a trellis-work screen, which ivy or
against
foliage,
patch of light to catch and
may
or
may
where every irritate
not be covered with leaf has
the eye.
a glittering
Or perhaps he
stands in the middle of the lawn, with a fowl-pen or row of
houses in the distance.
If these are sufficiently sharp to
recognisable they appear as objects of ugliness, or focus they form distracting blotches. are
made
in a
room we have perhaps a
is
only one rule to be laid down,
be
out of
If the experiments
fidgeting wall-paper
pattern, or irritating patches of pictures
There
if
on the
viz.
wall,
&c.
that the back-
C/5
pi
(4
u H z w
< pa
H O
HINTS ON AMATEUR PORTRAITURE. ground, whatever itself,
may
it
must not
be,
and therefore away from the
The background building, should do tatiously.
attract attention to
portrait.
of a portrait, like the foundation of a
important work unosten-
vastly
its
may be
It
135
or
light
dark,
may be
it
plain,
graduated, or have some pattern or design, but in no case
should
which
compete with the
it
Now
portrait.
the two things
extremes of definition
attract the eye are
(i.e.
sharp-
ness or fuzziness), and extremes of chiaroscuro (light and
We
shade).
must, therefore, be at
some pains
to avoid
these extremes.
For example,
we have a
if
portrait slightly softened in
definition against a sharply-defined wall-paper pattern, or unintelligibly-out-of-focus object, then the
assuredly attract to itself far too if
much
background
attention.
will
Or, again,
the portrait be sharply defined against an equally sharply
defined background, then they will compete with each other,
and
the background, instead of attending to
and doing what back, will
seem
name
very
its
to
come
tells
it
as forward as
own
its
business
to do, viz. to
though
it
keep
were on a
level with the figure.
Then shade
again,
if
contrasts
example,
our background exhibits strong light and
unduly
will
it
framed and glazed
strong light patches.
reflect
foliage,
patches
of
attract
pictures
a wall
often
Similarly the shiny leaves of
showing
sky
For
attention.
on
through
openings
of
buildings, or leafage, &c.
Lininess gate, or
masonry,
is
a quality better absent in a background.
row of
a wall
palings,
showing regular
a bookcase, or panelled woodwork are better
avoided, unless the worker has experience and to put
A
lines of
them
into a duly
subdued
skill
tone, or light
enough
and shade
value.
Contrasts.
â&#x20AC;&#x201D; In
thought desirable,
general, it
will
where
strong
contrasts
be found better to put a
are light
BARNET BOOK OF PHOTOGRAPHY.
136
figure against a
dark ground, than a dark figure against a
light ground.
Gradation.
â&#x20AC;&#x201D; The
question of a
shade) or graduated background left to
that a slightly varied likely to flat
a matter which must be
is
may demand may be said
the taste of the worker as the occasion
both are useful and desirable.
a
(even in light and
flat
ground
In general,
;
it
more decorative and more
is
harmonise with and therefore help the figure than
ground, which, by
very monotony,
its
may
attract
Again, a background varying somewhat in light
attention.
and shade enables one
to accentuate a contrast here, or
subdue a contrast there as occasion may demand. In general, one
may
say that a ground
upper
have more of
its
liable to give
a top-heavy and dramatic
light tones in the
varied should
if
half,
otherwise
effect
â&#x20AC;&#x201D;a
it is
not
style
uncommon in the crude early Victorian days. The amateur will be wise to hesitate before spending much money in the purchase of commercially-made backThey
grounds.
and proper, and most useful
are right
studio
properly-equipped
something more homely few suggestions that
is
may
and ready
We
preferable.
in a
studio
can only
offer a
serve their intended purpose,
on the look-out
of stimulating the reader to be suitable
domestic
but for the
;
An
to hand.
viz.
for things
open doorway often forms Again, by suitable choice of
an excellent dark background.
may be made to act as a graduated Some excellent studies may be made with this
angle the door
ground.
itself
hint as a starting point.
Curtains as free of pattern as possible and of a soft
non-shiny
material
are
often
may be used often with Brown paper some 5 ft. wide
blanket again
rolls
a few
at
carpets)
:
this
duster folded
pence
per
makes up
into
an a
A
useful.
yard
or
so
(used for
and
or
yellow
excellent effect.
excellent
ball
grey
is
sold
in
underlaying
background.
A
dipped into a plate
HINTS ON AMATEUR PORTRAITURE. of
powdered whiting enables us
1
one
to lighten
37
and
part,
lamp-black applied with another duster gives us a means of darkening others. The paper should be laid flat on the floor or nailed
kettle
up against a
of boiling water
applied white or black off
when
it
prevent so
will
the background
If the
wall.
flat
steam of a
allowed to play briefly on the
is
much powder falling
A
moved.
is
thin
wooden
lath
This
should be nailed to the paper at the top and bottom. prevents the paper tearing quite so readily.
Background
stand.
â&#x20AC;&#x201D;We have not space
may be made, but content
this
hint that a large clothes-horse
ground fixed
to this
If a curtain
pins.
these rings serge " is
on
to
ourselves with the alternative
may be
used,
and our back-
by means of a few tacks or drawingused
is
brass rings sewn to
how
to describe
French
made about
it
convenient to have small
is
edges at six-inch intervals and hang
its
ft.
5
A
nails.
material called "art
wide, in various colours
and
at
a moderate price. Position
background.
of the
room one can
ordinary
the ground by so or less light
falls
importance.
turning
upon
And
â&#x20AC;&#x201D; When
alter the light
it.
it
this
This
is
working
or that
way
In general
it is
more
to get this to full advantage the back-
ft.
7
ft.
high
wide.
best to have the background a couple of
more away from the figure. reminder to get the background feet or
that
a point of great practical
ground should be as large as convenient, say
and not less than 5
an
in
and shade value of
This just
will serve as
slightly
out
a of
focus. It
that
it
is
sometimes possible to arrange a small screen so
casts a
little
shade on the background, and converts
what might be a monotonous blank space into something slightly
more
from the
interesting, but not sufficiently so to detract
portrait.
BARNET BOOK OF PHOTOGRAPHY.
138
REFLECTORS. These come next a second
again
clothes-horse
material of the reflector
vided
it is
white.
prove
will
not of
is
We may
much consequence
its
put out of action by the printing ink.
one as the
The
other as the background manipulator.
keep in the same position
way and
this
in the
screen
mind
is
effect
in
his
so that at any future time this or that effect
Two
points should be observed
that the reflector not only reflects the it
on
to the
cases throws
shadow
some
accentuated
its
between the
reflector
effect,
on
When
obtained.
and
and
window
:
first
light falling
side of the figure, but in nearly
light
to the
also that the nearer the reflector
is
on the
effect
on the focussing
produced he should observe and store up
can be obtained.
all
should
sitter
the relative position of background, reflector, camera
and window,
upon
the
while the student keeps his head
that,
But of course as each
glass.
enlist the sitter,
room, and the reflector
under the focussing cloth and watches the
ground
better than
In order to see the
services of a couple of patient friends,
moved
is
surface has been
an admirable plan to
is
it
pro-
thus use a sheet or tablecloth
nothing, although a large proportion of
effect of the reflector
The
useful.
Indeed, a newspaper
or plain white paper.
Here
importance to backgrounds.
in
that
sitter
is
background or wall
to the figure the
more
by increasing the distance a more diffused, even
effect
working in a room with two windows
care must be taken not to produce a cross light effect.
may
arise if
light
coming through one window and the shadow
one side of the
figure
This
be illuminated by the side by
light entering
by the other window, and reflected on to the
shadow
of the figure.
side
from one extreme of no reflected light,
This
is
The beginner
is
apt
reflector to the other of too
and may be even tempted
a grave mistake.
as large as the background.
The
reflector
to fly
much
to use a mirror.
may
desirably be
FOR PORTRAITURE FOR
"AT HOME" PORTRAITS ROOMS
LIGHTED
POORLY
DAYS
DULL
FOR
OR
IN
Barnet Rocket, and Extr©L Rapid Plates PHOTOGRAPHER WITH THE
FURNISH
THE
UTMOST
POWER AS REGARDS
q BUT
ORDINARY
FOR
THE LIGHT GENERAL
PURPOSES
>€
WHERE
FAIRLY GOOD. AND FOR ALL
IS
WORK. WE
STUDIO
OVERWHELMING CUSTOMERS.
SPEED.
EVIDENCE
NUMEROUS
PROFESSIONALS
BOTH
AMATEURS. AS
OF
HAVE THE
TO
AND
THE SUITABILITY OF
BARNET MEDIUM PLATES
BARNET
THE
Self-Toning Paper
GLOSSY. MATT,
AND POST-CARDS.
THE USUAL TONING BATH WITH AND PERMANENCY REASON
OF THE
GOLD CONTAINED
IS
LIBERAL IN
IS
ASSURED BY
AMOUNT
THE PAPER
q THIS PAPER STANDS QUITE
ALL
OF
ITSELF.
AHEAD OF
— WHOLE BATCHES OF UNIFORMLY TONED.
OTHERS
PRINTS
DISPENSED
HINTS ON AMATEUR PORTRAITURE.
Of
course,
goes almost without saying that in
it
door work we seldom, times a light wall,
sail
say that in indoor
ever,
And
work a
may well happen that and
if
it
the walls of the
it
and shade.
means whereby the
It
are effectively re-
Or again we may with marked contrast
get strongly
But
any case the golden rule
in
If a reflector
must not be so ostentatiously employed
to the
at
give very charming
room
" Ars est celare artem," prevails.
art,
out-
though
would be quite a mistake to
scattering the light.
effects of light
reflector,
reflector is always needed.
deliberate purpose desire to
of
need a
&c, may
of vessel,
effects of this nature.
flecting
141
be used
as to attract notice
The
has been secured.
effect
observant worker will soon see the difference obtained by using a large reflector at some and a smaller one near to him.
little
distance from the sitter
The former
is
generally pre-
ferable.
Lighting.
â&#x20AC;&#x201D;This
is
Do
the crux of the whole matter.
not forget William Hunt's saying that picturesqueness
The
matter of light and shade. places
(when working
his sitter
window for
the
light
a
a room) as near the
in
as possible, with the result that half the face
strong light, the other half in
is
beginner nearly always
strong shadow.
and ignoring the shadow, he
is
in
Exposing
greatly under-
exposes, and then, wrongly thinking that prolonging develop-
ment
what
will rectify
obtains a black
in truth
and white
will
it
tend to exaggerate,
These three mistakes
effect.
(harsh lighting, under-exposure, over-development) are the
cause of quite nine out of ten early It is
is
nothing
in art one little
or
Pictorial
breadth shade,
failures.
a safe working hypothesis quite
may
white and
translate this
that in nature
nothing
quite
by saying that
nothing should be quite white effect
depends
upon
two
and
in a picture
or quite black.
chief
factors:
in
the
arrangement of the masses of
and
(2)
gradation
of shadows.
there
black,
If
light
(i)
and
your shadow
BARNET BOOK OF PHOTOGRAPHY.
142
portions are fairly right in tone value the high lights will
Applying
frequently look after themselves. portrait
work
can take
in a
this to
all
room we must remember
range of light and shade greater than our
in a
negative can record or our printing papers yield. is
that the eye does not, at
shade
our
that the eye
first,
Hence
realise the strong light
it
and
of interior lighting, or at any rate the un-
effects
trained photographic eye does not realise
how much stronger
the difference of light and shade will probably seem to be in
the print than in nature.
The
nearer the
window
the stronger the light, but as the
sides are not proportionally strengthened the nearer
shadow
window means the stronger the contrasts, unless proper and position of the reflector.
the
care be taken about the size Portraiture
is
no exception
the shadows/'
pose for
thinking that
against
the exposure
is
to the general rule of " ex-
therefore
the beginner guard
let
window the
the nearer the
a rule in this matter.
shorter
Indeed, the opposite
might more often be the case, on account of the contrast being likely to be greater than the
effects
negative
or
printing process can adequately render.
Where
the composition includes only a very small bit of
strong dark then at times
we may
ignore this and adjust our
exposure for the more important proportions of dark, but not darkest part. will
It
be found advisable to give a somewhat
fuller
exposure for those arrangements of light and shade which give
a
picture chiefly
often called
Rembrandt
shadow
â&#x20AC;&#x201D;
for instance, in
what are
lightings.
DEVELOPMENT. This
calls
only for a few words to the worker
familiar with this subject in general.
who
is
In portraiture we do
not, as a rule, desire such a great range of contrast as in
ordinary landscape.
Our high
lights are
not so bright, our
HINTS ON AMATEUR PORTRAITURE.
shadows are not
Again, we do
dark.
so
relatively
143 not
usually desire so strong a light for portraiture as a sunlit
Hence,
landscape.
range of densities
â&#x20AC;&#x201D;
in general
we do not desire so long a much contrast in a
â&#x20AC;&#x201D;
in other words, so
Other things being the
portrait as in a landscape negative.
same, this means one of two things, either shorter time of
development or more water
may
contrasts
As a rough
one may say to the beginner
start with,
your landscape negatives take
six
that
so
developer,
the
in
not be the same.
sort of guide to
in portraiture that if
minutes to develop, then
your early portrait experiments should not be developed for
more than four or four and a
Of
half minutes.
course,
experience will justify the worker modifying this to meet his
own
requirements.
In the not unlikely case that the reader has already covered the " quite best " developer
now on
twenty
conviction.
be said
the market,
If,
the negative,
is
dis-
the eighteen or
desire to disturb this
may
seeking advice, a word
an unprejudiced
Metol, Rodinal, or Ortol. failures will
we have no
however, he
in favour of
among
being given to
trial
Seeing that the beginner's early
most probably be due to excess of contrast
in
member
of
we suggest metol because
shadow
that class of developers that bring out after the high lights
this is
a
detail quickly
have made their appearance.
then,
If,
the worker guards against prolonged development, he will
not err on the side
of excessive
contrast
exposure has been enough to impress shadow It will suffice if
what
the
practice
writer
provided the detail.
one formula be given as an example
has
found quite
satisfactory
in
of
actual
:
Water 18
oz.,
When
soda sulphite
decant or metol,
i oz.,
soda carbonate
dissolved, allow any sediment to settle, filter
off the clear part
and make up
This single solution
is
;
add
i
i
oz.
and
drachm
to total bulk 20 oz.
used just as
it
now
is,
and
will
BARNET BOOK OF PHOTOGRAPHY.
144
keep
A
working order a month, but
in
week
is
gets slower with age.
it
a desirable limit of keeping time
best results
if
are desired.
The image
of a correctly exposed negative appears in
according
seconds,
ten to fifteen
brightness of high light, and so on.
temperature,
to
With most
plate,
one
plates
should get a nice soft range of gradation in about twenty of appearance.
times the time
Thus,
the image
if
first
appears after twelve seconds' immersion in the developer,
may
carry
on development
or four minutes. contrast,
for
If this ratio is
we can
we
twenty times twelve seconds,
found to yield too
easily prolong the time of
little
development
for
greater contrast.
With some little
plates
may be found
it
necessary to add a
potassium bromide to the developer
The
in detrimental degree.
if
fog
is
present
quantity of bromide for the
one grain per
foregoing developer
is
ounce,
twenty grains for the twenty ounces.
ten
or
to
at the rate of half to
But as the presence of bromide
in the
developer tends to
hold back shadow detail in the early stages of development, its
presence
is
not desirable unless some peculiarity in the
particular plate
demands
it.
PORTRAIT The as
tiro
may
synonymous
they do to portrait
painters
portraiture.
hitherto have regarded these two terms
â&#x20AC;&#x201D;as
many Nor
versus LIKENESS.
meaning "the same
photographers. find is it
fault
to
This
with
is
thing." just
average
And
photographic
be wondered at that the majority
of professional photographers only aim at supplying nesses
when
so
where good
like-
their patrons ask for nothing different.
Happily, however, there are a certain number of professional
portraitists
who
are
aiming
at,
and oftentimes
succeeding, in adding to the likeness that characteristic yet
HINTS ON AMATEUR PORTRAITURE. indescribable subtle something which
makes
it
1
45
a portrait as
well.
If
we took
at
random a score of
portrait
examples of the
more advanced amateurs and a like number of ordinary professional works, we should probably find the latter showing better technique, but the former would show us better portraiture. in a
This point, therefore, should teach us to see that portrait
we must aim
avoiding the air of self-conscious-
at
ness in the sitter which accompanies the professional studio
As some people have a special set of (theoretical) morals which they assume with their Sunday clothes, so
example.
others
seem
to
series of
have a special
and poses which they assume portraits to
much
in the
abnormal expressions
for the sake of photographic
same way
as Sir Joshua's sitters
have spent their whole existence
prunes,
in
seem
saying " Plums,
and prisms."
In a portrait we seek to find some intimation of the character of
the
person,
outward form and shape.
something This
in
may be
addition
portrayed in
different ways, independently or conjointly.
the lolling pose of the indolent
sitter,
to
his
many
For instance,
the alert wide-awake
turn of the sitting or standing figure, the pose and poise of the
head on the shoulders, the
facial
expression,
the
position and suggested action of the hands, the engagement of the whole body, the dress
:
these are
some of the matters
which properly engage the attention of the
portraitist.
And
one or two very brief hints may serve to indicate some of the lines of study
Pose of Body.
and observation.
â&#x20AC;&#x201D;A
resting, leaning back, reclining
does not harmonise with a wide-awake alert
pose
facial expression.
Again, the pose must be in harmony with the surroundings.
Thus, a reclining pose would not harmonise with a rocky background, nor should we usually look for a dramatic pose
surrounded by flowers and
foliage.
A
child holding a toy-
BARNET BOOK OF PHOTOGRAPHY.
146
boat would look " out-of-place
" in the
midst of a garden or
with a woodland background.
Head.
—The
and balance of the head on the
position
shoulders are vastly important factors in conveying character.
The
reader,
memory
doubtless, will readily recall the
some one who wards, or has
habitually hangs his
a
it
bit
little
on one
of
head forward or backside
— this
latter trick is
often the result of astigmatic vision.
Hands. pose
— Most
people
have some characteristic hand
which they unconsciously assume when
engaged
in
they
are
One
an interesting conversation or occupation.
man twiddles his watch-chain and another
similarly patronises
another dives his hands into the lowest
his moustaches,
depths of his pockets, while another seems to fear his coat is
slipping off his person,
So many of our hands
? "
The
question
Perhaps the best answer "
We
What am I to do with my shows how self-conscious they are. "
is
an
artistic (poetic)
need not trouble about the hands
more important flowers
away
and so on.
sitters say,
on the
to
think
table,
or two points are
hand
The
straight.
spicuous either by reason of
not desirable to place
A its
is
the
size,
For
more shapely and
fingers are preferable
hand
If
vertically
it
mind
matter.
worth bearing in mind.
instance, the edge or side of a
look larger than in shadow.
sitter's
some other
graceful than the back or palm.
curved rather than
e.g.,
It is
about the arrangement of the
&c," and so turn the
from the self-conscious hands to
One
evasion
present.
at
in
strong light will
hand be
at all con-
pose, or lighting
it
is
under the head.
Photographers sometimes try to evade the subject of
hand posing by arranging them out of expedient, as often as not, carries
showing that
The hands
it
is
its
sight.
But
this
own condemnation by
a forced and not natural arrangement.
are often
an important factor
success of the portrait, therefore to hide
in the general
them
is
an obvious
HINTS ON AMATEUR PORTRAITURE.
One should
mistake.
always observe
whatever comes behind the hands
147
the tone
— clothes,
value
table,
&c.
of
— so
as to avoid excessive contrasts.
— For portraiture
Facial expression. forced.
Our aim
character,
and it is not unreasonable
shall
us
is
know some one who companionable
ful
to say that our preference
usually a light-hearted
who
but
fellow,
it
might be true
is
which can
easily
be applied in
Posing.
way
many
expression to avoid
am-being-photographed involuntarily
fits
To
portray
would not be true
at the
moment.
This
an exaggerated instance to point the moral,
of course
The one
has a violent
our friend in a towering rage.
though
portraiture,
also
Most of
and cheer-
or person which, like the prover-
one of these quite abnormal
in
best
is
some one thing
bial red rag, puts
him
should never be
to his virtues rather than his vices.
be given
antipathy to
this
produce a record of the person's
to
"
is
other directions.
the conscious "know-I-
look which so
many people almost
assume before the camera.
—There
is
a
common
to pose one's sitters
is
saying to the effect that the to leave
them alone
i.e.
to
engage them in some interesting conversation or occupation
and
to watch
and wait without
that they are being watched,
letting
them even suspect
and then having observed some
characteristic turn of the head, disposal of the hand, facial
expression, to store this
up and arrange
for its
continuance
or revival.
The amateur
has one great advantage over the
fessional, for the latter perforce has sitters
per day,
many
of
whom
But the amateur generally his acquaintances,
he
pro-
many
may
selects his
and can previous
in half-an-hour's gossip,
to " execute " so
not have seen before. " patients " from among
to the operation
engage
such as easily follows when portraits
of mutual friends are being examined and criticised.
Orthocbromatic Plates and
Colour Screens are often
ruled out of court for portraiture, on the not always sound
BARNET BOOK OF PHOTOGRAPHY.
148
assumption that they entail exposures impracticably long.
For ordinary room portraiture they can generally only be
employed under such favourable conditions a
a steady
plate,
fast
necessitate exposures
as a
good
light,
and screens which do not
sitter,
But
beyond two or three seconds.
for
outdoor portraiture under favourable conditions their use by
no means need be exceptional. truthful rendering slight
is
Moreover the gain of more
quite worth the risk of occasional or
movement rendered probable by
the increased time
of exposure.
The
directions wherein
lie
some of
more noticeable
their
advantages are better rendering of tone, value of drapery, colours,
and
textures, a
marked advantage
also in the ren-
Moreover
dering of various complexions and hair colour.
they considerably reduce the work of the retoucher, and also often convey a certain atmospheric quality in lieu
â&#x20AC;&#x201D;
of a better
to a portrait
which
â&#x20AC;&#x201D; using
this
term
nearly always
is
absent in portraiture with ordinary plates.
Of course
for entirely satisfactory results
one must use a
plate sensitised for all colours with a suitable colour filter
or screen.
This often entails increasing normal exposure
about 40 times, resulting in an exposure too long except
under very favourable conditions.
and of course not so
But by the use of a paler
truthful colour filter results vastly
better than those obtained without screens
Thus a
six
may be
obtained.
or eight times yellow or pale orange screen
enable us to get a
full
may
exposure with an exposure of not
more than a second. Vignetting
is
not nearly so
much
in
ten or fifteen years ago, and this change able direction. that
its
But
it
vogue as is
was some
it
happily in the desir-
should not be too hastily concluded
general avoidance should be followed by
its
absolute
Occasionally the vignetted portrait
is
entirely
exclusion.
successful
and
satisfactory.
In such cases we
observe the following conditions.
The
may
sitter
generally is
simply
HINTS ON AMATEUR PORTRAITURE. dressed
i.e.
149
absence of marked patterns or contrasts.
The background is
draperies are. white or light.
though not quite white, and out pattern, though
it
and shade. The pose ing at the camera.
of the plain variety
is
i.e.
may be somewhat graduated
is
so arrranged that the sitter
There
is
is
with-
in light
not look-
absence of very sharp focus in
The
any part of the picture.
The
fairly light,
face
not very
is
much
darker
or lighter than the background. Relative Position of
Camera and Sitter
does not usually receive the attention
Very often he supports
amateur. tripod,
seated
and
his
is
a matter which
deserves from the
it
camera on an ordinary
this usually brings the lens too
high up above the
This looking-down-upon the
figure.
sitter
effect
and unpleasant view. We see too much head, and his shoulders seem too high, which
often gives a distorted
of the top of his
at times gives a suggestion of
to our sitter the
humpback. The nearer we are
more marked
exalted view point.
the evil effect of this too
is
Moreover,
the floor of the
if
room be
seen this elevated position of the lens gives an unpleasantly exaggerated perspective
effect,
and seems
suggest an
to
uprising rather than a level floor.
Draperies often go a long way in the making or marring of a portrait.
The former
is
very noticeable in
masterpieces of painting, while
the latter
is
many of
the
the rule
in
With so many people there seems what gardeners used to call a " throw
photographic portraiture. a lingering tendency to
back
"
i.e.
return to primitive and wild forms.
a photographic portrait so often means, ancestral war-paint
and
feathers, at
any
if
Dressing for
not returning to
rate putting
on
their
newest and most striking and startling up-to-date latest fashion garments.
If anything is calculated
conscious expression either of vanity in in
man, surely
it
to induce a
woman or
discomfort
seems to be the putting on of new clothes.
The portrait student
will
do
well to
make
careful notes of
the tone value for light and shade effect of various colours
BARNET BOOK OF PHOTOGRAPHY.
i5째
and
those that
new
clothes
and put on
by reason of being well worn and have had
fit
time to accommodate themselves to their wearer
may
;
Strong contrasts, such as white lace on black left
stripes,
Fur
Such marked
alone.
be "noisy"
&c,
always useful, and often very helpful.
is
stiff
dangerous, and best passed by.
are
more
clinging materials are
and hard
are
silk,
differences are very likely to
Again, pronounced patterns,
in the picture.
checks,
but also
what to use and what to avoid.
offer suggestions as to
best
may
such as are usually worn, so that he
textures
advise his sitters not only to eschew
Soft pliant
graceful in their folds than are
Well-worn velvet often gives beautiful
things.
passages of light and shade. If lace
is
worn
it
quite white.
The
photography.
Ladies
less
other head-gear, but
better
is
jewellery
may wear
it is
slightly
tinted,
visible
hats
and not
the better
for
and
and bonnets
seldom indeed that a man does
not look better without than with his hat.
In that
arranging draperies
of light
the student should
chief pictorial purpose
its
and shade,
to
show
is
remember
to give agreeable masses
graceful
and harmonious
lines
and forms, to suggest the general disposition of the form of the person wearing
it,
and never
qualities of texture or colour. its
soft
outline has always
most useful aids
to
draw attention to the
Hence
it
is
that fur with
been esteemed as one of the
in portrait draperies.
Due harmony and
fitness
should be observed between
the tone value of the chief draperies and background. figure in light
dark draperies
is
A
seldom satisfactory with a very
ground.
The Placing of the Figure in
the Picture space
important than the beginner might suppose.
is
We
far
more
can only
mention one or two of the more important matters, and refer
him
to
this
subject as
illustrated
pieces in our public picture galleries.
The
by the masterfigure
must not
HINTS ON AMATEUR PORTRAITURE. be so large or have so
movement would bring him
slight
the
on a quarter-plate, frequently
head and shoulders
makes the mistake of overcrowding his the head comes too near the top of the of tallness
with
contact
in
photographer, in his desire to get a
The young
frame. large
space round him that a
free
little
151
may be conveyed.
If
picture space.
picture a false idea
Conversely,
there be too
if
much space above the head the impression may be equally false in conveying the notion of a short and stumpy figure. If there
then
be a marked excess of space in front of the figure
may
this
backing
easily give the notion of a figure
out of the picture
;
and
be too much side
similarly, if there
may imagine
space behind the figure one
the figure to be
passing out of the picture on the face side.
Trimming
the
a matter calling for great care on
is
In
the part of the portraitist.
may
matter one
this
often
glean useful hints from the study of engravings and etchings
by
us choice while a
The use of a large how much shall be left
of eminence.
artists
as to
small
plate
gives
often
because we have not quite or the figure has picture
moved
when
â&#x20AC;&#x201D;The
if,
prompted
to imitate the style of
style
the ground glass
the
introduce
As we
starting
budding
some brother
time-honoured
may be is
professional,
with
table
vase
of
are not dealing with studio portraiture this
does not concern us just now.
But
as the
style
traiture
tiro
photographic portraiture, he
pardoned
flowers.
after
effect,
placed the figure,
had been composed.
Accessories, Furniture, &*c.
and
here or there,
overcrowded
an
satisfactorily
slightly
plate thus gives
anything
so
would be quite out
formal of
Ordinary people in their
harmony
with
for
just
the
own homes do not
home
por-
suggested chief idea.
as a rule put
themselves with their backs to a wall and give up their time to staring into vacancy.
Nor do
they find
much com-
fort or convenience from the too close proximity of small
BARNET BOOK OF PHOTOGRAPHY.
152
top-heavy tables overloaded with vases, picture-frames, and other drawing-room nicknacks.
have a practical one, and
you
elect to use a table
be
it
real,
and appropriate.
practical,
A man
may have a
book and paper-
writing-pad, or
A woman
knife, a pair of gloves, &c,
&c,
basket, fancy work, knitting,
and
If
the articles on
let
or
may have her worksome other outward
visible sign of her laudable occupations.
The "engagement" always be quite
who does not
or occupation of the figure
To
real.
instrument
play this
your ignorance of your
must
put a violin into the hands of one
for
craft,
is
at
once to betray
almost certainly
he
will
O
Fig.
hold
But
Fig.
i.
such a way as to show that he
it
in
if
he be a fiddler he
wi' strings,"
violinist.
when handling
his
most "little
but also his hands, which without the
strument seem ungainly, graceful
not a
probably have his
will
characteristic facial expression
box
is
2.
directly
he
will at
begins
to
in-
once seem natural and handle
his
favourite
companion.
Some Schemes of Lighting diagrams (Figs. 1-6).
home
are
studio to be a square
centre of one
on our
in
the
in the
accompanying
several
suppose the
room with a window
of the side walls.
right
shown
In each instance, we
in the
This window opening
ground "plan
is
arrangements
HINTS ON AMATEUR PORTRAITURE. shown. circle
In each case the
sitter
is
153
represented by a small
and the position of the camera by three small
dots,
which may be taken as suggesting the three points of a tripod.
The double
ground and the In Fig.
we show
1
behind the
line
the back-
is
the beginner's usual plan of placing
the figure close up to the window. flector are usually
show
sitter
single line the reflector.
their position
unknown most
Background and
in the first
efforts,
but
re-
we
likely to give the best effect in this
In such a case as
undesirable position.
few
this the
exposure
should be generous without being excessive, and a dilute developer
will give
a softened rendering of what probably
OM to ÂŤ
Fig.
will at best
Fig.
3.
4.
be a somewhat harsh black and white scheme of
lighting.
In Figs.
2
and 3 we keep the camera
position as in Fig. Fig. 2
sitter further
less contrast
from the
between the
exposure in such a position than,
if
in
the
same
but move the other factors in the case.
shows us a more promising arrangement.
we have our be
1,
as long as, in Fig.
away from the window.
light will
1,
By
light,
Here
so that there will
and shadow
The
sides.
not need to be any longer
although our
sitter is
further
varying the angle and position
we can in such a position get a considerable range of differences between the light and shadow sides.
of the reflector
F
BARNET BOOK OF PHOTOGRAPHY.
154 Fig. 3
is
such a position
inserted as a warning, for in
we should have a practical absence of shadows and consequent flatness and loss of pictorial interest.
as this
Fig. 4
shows us a position which
considerable measure of pictorial style of
arrangement we can
capable of yielding a
By
this general
get various shades of the so-
â&#x20AC;&#x201D; or what a friend
called
Rembrandt
moon
" style of lighting
light,
while the greater part
lighting
is
effect.
i.e.
more
a
is
in
position calls for generous exposure
calls the "
new
or less narrow marginal
subdued
tones.
This
and cautious develop-
ment, with watchfulness against carrying development
Fig
enough
Fig.
5.
to blacken the
shadow
the high lights are duly subdued
In a case of sitter
this
to
6.
details in the print before
and modelling suggested.
kind the half of the window next the
may advantageously be draped
These help
far
subdue and soften the
with
light,
lace
curtains.
and so minimise
the vigour of contrast. Care must also be taken to shield the
upon
lens from the direct light of the
window
this be not done the negative
very likely to show general
fog,
due
to light scattered
In Fig.
5
is
falling
by the surface of the
we have a modification
of Fig.
it.
If
lens. i,
but being
window our contrasts will be less marked. we arrange a screen of very thin muslin or waxed tissue paper in the position shown by the dotted line we can get further from the If
HINTS ON AMATEUR PHOTOGRAPHY. vastly better modelling
and very
soft
round
155
But the
effects.
muslin screen means a certain increase of exposure. In Fig. 6 we have a position which
good
is
capable of giving a
variety of modelling according to the size
and position
This also enables us to use our lenses of
of the reflector.
longer focal length. It
may be noted
also that the
same background would
appear lighter in such position as Fig. 3 or Fig. gets direct light from the window, than positions as in Fig. 4 or Fig.
throw some
light
Conclusion.
upon
â&#x20AC;&#x201D;The
it,
5.
Of course
Indeed,
ment and regard experiment. conclusions
On too
it is
would-be
wiser for
him
to
the other hand, let
from
must
4.
be
not
too great con-
suspend as
it
such
the reflector will
portraitist
the foregoing notes
harshly
in
even in such position as in Fig.
content to take anything herein said with fidence.
where
6,
would
it
his judg-
suggestions
for
him beware of drawing
a few such
experimental
trials.
F. C. Lambert,
M.A.
56
P.O.P.
HE
above heading has no
ference
but
is
viation
method of
scarcely any need to
is
with
He
it.
he does not the
term
peculiar
mean other.
nineteenth
pho-
nowadays?)
convenient abbreviation to the proper True,
I
know one amateur
more than any
far
with
the term carried
a
loving
" P.O.P."
some occult meaning
the exact meaning.
has
somehow
When
gelatino-chloride of
This limitation
is
they
silver
other,
intonation
invariably says "pop-papers," so I realise
limitation.
or
ask
presume
To many minds other for
received a
P.O.P.
they
emulsion paper, and
no
becoming almost universal now,
irrespective of the fact that albumino-chloride
chlorideare also printing-out-papers. this article I
strenuous
the late
photograph
who probably uses this method and who always speaks of it if
the
I
periods has compelled
Printing-out-Papers.
in his voice as
that
of
who does not
to adopt this as a viz.
suppose
printing.
early twentieth-century
name,
a
photo-
there
life
(and
describing
graphic
explain
tographers
abbre-
universal
the
used in
particular
and
re-
to temperance drinks,
So
and
collodio-
for the purposes of
propose to stick to the P.O.P.-ular idea rather
than a scientifically correct rendering, and shall therefore deal with the well-known gelatine emulsion papers only.
157
p.o. p.
It
number
has been said times without
amateur
in
that the advent
inaugurated the reign of the ubiquitous
of the dry-plate
Doubtless
photography.
But
!
venture to
I
add to that the statement that the dry plate alone could never have accomplished
an influence as
in
ever the dry plate
P.O.P.
is
it,
and
that P.O. P.
had as
large
making easy and popularising photography
And
had.
this
because
queer,
is
not the easiest process to work after
all is
and
said
There are so many ways of spoiling a batch of
done.
prints that
tackle
one often wonders why the beginner does not
bromide paper or gaslight paper
undoubtedly
is
one can
that
what one
see
The
first.
is
reason
doing with
P.O.P., and that does away with the feeling of blind guess-
work
that attaches to one's
papers.
first
attempts with development
However, P.O.P., with
holds the field
among
its
visible
image, certainly
beginners, and the consideration of a
few pointers in producing good results with certainty should
be acceptable.
The
instruction sheets issued by the manufacturers of
Barnet P.O.P. say
:
Care should be takenâ&#x20AC;&#x201D; (1) the different
solutions
;
(2)
keep the prints moving
to to
keep separate dishes
in
for
working P.O.P., and never use them for any other purpose; (3) to use only the best chemicals; and (4) to be scrupulously clean in
all
operations.
To
these points
be added one or two others, equally important keep the papei printing,
in
good
condition before, during,
keep
previous to toning; to
equable temperature
;
and
all
to carry rules
or fixing)
;
and
to
after
solutions at an (2)
greater refinement by keeping each dish for ticular use (washing, toning,
may
e.g.
and its
(4) to a
own
par-
and by regarding
the necessity for chemical cleanliness to apply to the manipulator's
hands and
fingers just as
much
as
it
does to dishes
and measures. Taking these points
seriatim,
the need
for constant
BARNET BOOK OF PHOTOGRAPHY.
158
movement
of the prints
a very real need, because unless
is
and equal access
the various solutions have free of the prints
â&#x20AC;&#x201D;front and
chemical action
toned
â&#x20AC;&#x201D; at
the
or washed prints,
imperfectly fixed
The method
which will ultimately discolour in patches.
moving the
seem
ing a plate,
is
if
workers
Such a plan might
it.
The
correct
one
to feed the prints separately into the bath, each
is
This
face downwards.
done with the
is
right
hand
keeping the mass of prints on the move with the
Thus each hand
is
left
touches the other until the whole batch
is
whilst
hand.
and never
kept in a different solution,
hands can then be used
of
kept rocking, as in develop-
is
Far from
sufficient.
it is
Many
worth mentioning.
the dish
for single prints, but not for batches.
answer
way
prints
to think that
to all parts
same time unequal
and hence patchy, unequally-
inevitable,
is
or else
prints,
back
Both
transferred.
one bath, and the whole batch
in the
kept constantly on the move by inserting the fingers under
up
the prints and continually bringing the bottom ones
This can be done singly
top.
of a dozen or fifteen prints attention,
;
in the case of small
but larger batches need quicker
and the bottom ones should be withdrawn
then quickly separated with the fishing
hypo
another
for
each hand
in
its
dish
one of the solutions
is
holds good
show the
is
effects of
evil
Besides which
it is
advisability
of keeping
most plainly seen when
in use
in the case of other
are
hand, whilst the right
left
The
lot.
own
in lots
They
of three or four at a time with the right hand.
is
to the
batches
;
but the method
solutions,
still
which do not
contamination so unmistakably.
a good habit to cultivate until
it
becomes
automatic.
The second self-evident.
legibly
point should not need elaboration
Dishes
marked
can
" washing,"
now
be
obtained
" toning " and
each dish should be religiously kept for purpose.
its
;
it
is
which are
" fixing," and
own
particular
ROBIN'S NEST. By J. W. STAMP.
159
P.O. P.
The
used, but
most emphatically
Cheap gold cannot be good, because gold
the gold.
to
gold the world
is
at cutting the already
and any attempt
over,
It applies to
be axiomatic.
third point should also
chemicals
all
phenomenally
low price of gold chloride can only result in a diminution of the quantity of the precious metal present in the salt the detriment of results.
&
worker Burroughs
â&#x20AC;&#x201D;
to
I suggest that for the occasional
Wellcome's tabloid toning baths are
probably the neatest and best way of compounding the baths,
firm
and the purity of the chemicals
putting them
Allied to this point
one batch of
prints.
silver printer to
Hypo
is
This
commit.
at 2d. per lb.
is
bath
although
it
the use of hypo is
for
more than
a most heinous offence for a
There can be no excuse
either.
and
whilst
"cheap enough
two pennyworth of hypo fixing
guaranteed by the
is
up.
will
economy
to eat,"
make over
half a gallon of
to attempt a second use of
it is
false
may
apparently work
it,
all right.
Clean dishes and measures are easily attained. A small stiff brush and a little Monkey Brand soap, plus elbowgrease, will
do the
trick.
But
I
have seen printers who
would spend a quarter of an hour scrubbing and who yet would have the impudence
their dishes out, (I
can
call
it
nothing else) to eat apples or oranges whilst attending to Naturally, the result was red patches their printing frames.
(where the fingers had touched the paper), which refused to tone, and the poor paper manufacturer was blamed because the printer was "quite sure his dishes were clean." Another
way
in
which one may unconsciously
Many
sin.
persons
are liable to an imperceptible perspiration in the hands finger-tips of
P.O.P.
same
is
which they are unaware.
this
extremely sensitive, and the effect
as that caused
to wash the hands
P.O.P.
To
by greasy in
fingers.
borax and
A
water
is
and
exudation
much
the
simple remedy
is
before handling
BARNfiT BOOK OF PHOTOGRAPHY.
l6o
CARE OF THE PAPER. Care of the paper
and
attention,
packed,
all
is
another point that
Barnet P.O. P.
in white paper,
first
and a sheet or two removed
When
for
out
in
made and
in exactly the
same manner and not
somewhat dangerous, but its
original
opened
use,
the re-
heavy
fairly
awaiting toning should be treated
Metal boxes for
drawer.
is
original casings,
its
and the packet kept between the leaves of a Prints
carefully
a packet
immediate
mainder should be wrapped again
book.
worth
well
is
sent
then in waterproof paper, and
a non-actinic envelope.
finally in
is
storing
the P.O. P.
if
lying loosely in a
left
and
papers is
are
prints
kept wrapped in
damp-proof-paper packing no harm should
arise.
In the printing frame also some precaution should be taken to prevent
damp
getting
to
paper, or
the
expansion and cockled paper.
unequal
which have not been
in use for a
will
it
Printing
cause
frames
day or two pick up a
of dirt and moisture on the cloth backs.
The
lot
best pre-
ventives of trouble arising from this cause are rubber sheeting as used in platinotype printing, or two or three sheets of celluloid.
These
also help to ensure perfect contact
negative and paper at
all
between
points.
TEMPERATURE. The which
is
temperature of photographic solutions very
much
and read of workers until
the cool
operations,
is
neglected in this country. in other
of evening
a subject
We
hear
who have to wait commencing chemical
climates
before
and even then they use cool well-water or adopt
the method of adding ice to their solutions.
The
reader usually feels thankful that he does not need
to resort to such practices in this country, forgets all about
in England
it.
In
and then promptly
reality there is just as
much need
to study temperature as anywhere
else,
here
although,
summer weather
judging by the recent samples of
have experienced, there
But
in
very
is
i6r
â&#x20AC;˘
p.o.p.
little
we
that
necessity for ice-water.
may be done.
the reverse direction a great deal
Almost every kind of chemical action may be accelerated by heat,
and whether we are developing, toning, Plate development
washing, this rule holds good.
the province of this article, but toning If the toning bath
subject.
is
is
fixing, is
or
outside
a big part of our
made up from
ordinary tap-
water drawn from the mains during any but the hottest
months of the
be experienced in getting
year, difficulty will
good tones with ease and excessive heat has
its
regularity.
On
the other hand,
dangers as well.
In the case of P.O.P. the most evident danger of melting or even paper.
A
preferably
softening
simple plan
made
is
is
that
the gelatine coating of the
to purchase a small
entirely of glass
(mine cost
thermometer,
is. 6d.),
and
to
accept as a general rule the dictum that no bath should be
below 6o c
F. or
above 70 F.
In the case of the toning bath
may be attained with warm water,
this heat
first of all by making part of the solution and the prescribed temperature can be maintained by having
an outer and larger dish containing hot or warm water. In this larger dish the actual toning dish may lie or even float,
and the contents of the inner dish can be kept
at
any
re-
quired heat by additions of hot or cold water to the outer dish
and
this
without dilution of the toning or other solution.
To
a P.O.P. worker struggling with a batch of prints in a cold
dark room or domestic kitchen or bath-room the adoption of At 65 ° F. the above method will probably be a revelation. toning becomes a pleasant and expeditious operation, and, still
are,
more, the tones obtained in a bath at this temperature to my mind, finer in quality than those reached by
slower or quicker baths at lower or higher temperatures.
With the
fixing bath the effect is not so
naked eye, but a
little
apparent to the
careful reasoning will prove that the
F*
BARNET BOOK OF PHOTOGRAPHY.
162
same
The
rules hold good.
fixation of a paper print
not a
is
Some
thing that can be readily judged by the eye at any time.
old-fashioned printers with twenty-five to forty years' constant
every-day experience will print
able to
me
tell
tell
you that they can
exactly what the appearance of a properly
fixed print should be,
and
I
which allows
scientific rule,
much
prefer to
work by a more
time for the complex
sufficient
chemical operation of fixation to be complete. a
moment,
pose,
and
when a
see
But never a one has been
Perhaps they can.
fixed.
is
that a quarter of an
hour
that the prints are kept
is
Suppose, for
allowed for this pur-
moving during the whole
time in a solution at about 6o째 F. (either natural or induced
by other means as suggested), there
every probability, nay
is
more, a certainty that such prints are thoroughly
more usual course of
take the opposite and, unfortunately,
A number of prints
paying no regard to temperature.
been toned and await the
Now
fixed.
The requisite
fixing bath.
have
quantity
of hypo crystals are weighed out (sometimes guessed) and
The immediate
water added from the tap.
or 20
ing of the temperature 15 point,
,
effect is a lower-
sometimes even to freezing-
and the only natural inference
is
that the necessary
chemical action cannot take place in the same time as when
normal temperature
is
maintained.
word of warning may be given. ing water be peculiar
effect
appear to be to
be sticking
removed
will
put the hypo water,
added
to
hypo
may be
slightly
In this connection a
On no
observed.
account should If this is
crystals.
Some
of the
melted by the heat and
tightly to the
bottom of the
cause trouble afterwards.
A
will
dish,
crystals
be found
and
if
good plan
not
is
to
crystals into about half the necessary bulk of
which should have a temperature about 8o째 F.
Solutionis thus quickly obtained, and the total quantity
made up at
boil-
done a very
is
then
with hot or cold water as needed until the whole
normal heat, and
means of the outer
finally this
dish.
The
temperature final
is
is
kept up by
washing of prints
will
163
p.o.p.
also proceed
and
I
shall
more
show
effectively if the water is not too cold, later
that this
not a difficult
matter to
manage.
VARIETIES OF Having cleared up some
P.O.P.
again at the beginning and see
be worked
in order to
First of
produce pleasing and lasting paper.
the choice of a
all,
we will now how P.O.P. should
of these points,
commence
P.O.P. has nowadays been reduced to a
thin, glossy
and matt,
really
is
tinted
cardboard
and white.
stiff
enough
ordinary purposes without mounting, variety of ways.
It is
The
of
and Barnet
fine art,
papers give us a good selection to choose from
which
results.
The manufacture
â&#x20AC;&#x201D; thick an^a
thick paper,
in small sizes for all
may be
utilised in a
sent out cut to the regulation size,
with orthodox lettering on the reverse side for post-card
purposes
;
also in ordinary photographic sizes,
from which
by suitably masking portions of the card, very pretty Christmas
and Greeting Cards can be made
up.
Many
other
means
of utilising this sensitised card will suggest themselves to the " mind ; for example, Menu Cards, " At Home
inventive
Wedding Cards, commercial name and address The treatment in no way differs from that The matt paper will naturally necessary for ordinary P.O.P. appeal to the more artistic workers, and by the use of Invitations,
cards,
&c.
various toning baths a large variety of colours
and purple
â&#x20AC;&#x201D; may
But, after
be obtained.
â&#x20AC;&#x201D; brown,
all, it is
red,
the glossy
more generally used. This is what most folks mean when they say " P.O.P.," and it cannot be gainsaid
paper that
is
that for small
work and any subject
detail present in the negative to is
I
no method that
that requires the fullest
be shown in the print there
will give finer results.
For
tint of
paper
have a decided bias in favour of the mauve, because white
paper tint
is
apt to turn a bit yellow with age, whereas the
seems
to fade to a white.
For the pink
I
mauve
cannot say a
BARNET BOOK OF PHOTOGRAPHY.
164
good word
at
but
all,
hand
there to
For small
sizes
cabinetâ&#x20AC;&#x201D; the paper For
it is
a question of taste, and the tint
â&#x20AC;&#x201D; C.D.V. J is
plate,
are
5x4,
and \
plate or
best purchased in packets of cut sizes.
who make
larger sizes, or for workers
the sheets
is
desired.
if
best.
When
cutting
all
sorts of sizes
up sheets of P.O. P.
(they always have a strong curl and need a
good
grip),
it is
certainly advisable to wear a pair of white cotton gloves,
also to
remember
...sizes
that metal
not a good thing for sensi-
is
Therefore, the sheets should be doubled to the
tive paper.
wanted and a bone paper-knife used
-utt ing
actually
for
up.
PRINTING. All to say
now ready for the how that is done ?
actual printing.
is
Is
The paper and
it
necessary
negative
are
brought into contact in the usual printing frame, and then
exposed to
light until the desired
depth
is
reached.
This
can be judged by occasionally opening the frame and looking at the progress of printing
that
too frequent, or
if
;
if
but
it
made
must be borne
in
mind
in a bright light, these
glimpses will result in a degradation of the whites of the
photograph.
Direct
P.O. P. printing
:
sunlight
at least,
dense negative may demand avoided
it
Use the sunlight may be
possible.
if
or, failing that,
should
never be used for
" hardly ever."
An
exceedingly
sometimes, but
can also be used
should be
best shade light obtainable,
resorted to by pasting tissue-
paper over the front of the frame to diffuse the electric arc
it
in this way,
and
The
light.
will
be found
quicker than winter daylight.
A
little
thought and coddling should be devoted
abnormally thin negatives. light
and
paratively
lightly
good
only yield
flat
If printed carefully in a
to
quiet
toned to a chestnut-brown colour com-
results
may be
got from a negative that
slatey-coloured prints
when printed
will
in
a
165
p.o.p.
and toned
strong light
Good
to the purple stage.
only be
and purple- blacks can
obtained from
which have a good range of contrast
that
:
purples
negatives
to say, nega-
is
which have been well exposed and development carried
tives
rather
far.
The depth
of printing must be regulated by the bath in
which the prints are intended
to
Sulphocyanide
be toned.
and tungstate baths cause least loss of depth during toning,
and bicarbonate baths cause the
whilst phosphate
greatest
of reduction, with the exception of platinum baths,
amount
which need
deeper printing.
still
These
differences
are,
however, not so great as one would suppose, because whilst a print intended for platinum toning should be
and be decidedly which
is
undergo treatment
to
in the
lights,
and
be
to
Experience
over than a finished print should be.
all
strong
sulphocyanide bath
needs to have some detail showing in the darker
fairly
tinted over in the high lights, even a print
soon show the correct printing depth.
will
Occasionally one's judgment of the depth of printing
may be
upset by the colour of the image during printing.
Sometimes red.
it is
quite a blue colour, at other times a bright
I believe this to
be accounted
for
by the presence of
moisture in the paper, because a freshly-opened packet will
one that has been opened and
print blue, whilst
left for
any
length of time in a damp atmosphere gives the red-coloured prints.
I
find that a blue print loses
quent toning and a blue print
is
fixing
carried a
little
the paper
is
in the subse-
Consequently
further in printing.
extreme case of an atmosphere that
when
more
than a red one does.
is
both
quite limp I find that
contrasty prints than with fresh brittle paper.
hardly be
safe to
make experiments
with
In the
damp and warm, I get much more
damp
It
silver
would paper
on valuable negatives, otherwise there might be here the
germ of a method negatives.
for getting bright
snappy prints from
flat
BARNET BOOK OF PHOTOGRAPHY.
i66
VIGNETTING. Many
a negative can be made to give more pleasing
by vignetting, especially
results
in
Various
portraiture.
devices are on the market for obtaining the soft delicate
Of
gradations that form the charm of a good vignette. these ready-made appliances
mend
the "
articles
made is
I
can, from experience, recom-
Golden Vignetter."
which
I
give results that are
These are
with successive layers of tissue paper, as in Fig.
opaque paper or cardboard, and
F,<s
two,
have also home-made
hard to beat.
i, 2,
and 3 represent one,
1
r,f.
and three thicknesses of
2
each with a
tissue paper,
larger opening than the preceding, whilst the centre
open, but
is
in use.
and the
edges serrated as in Fig.
the real secret of vignetting
2, will
:
give very
good
For
results
Herein
if
lies
the distance from the vignetter
to the glass side of the negative is
quite
when
all
kept at a sufficient distance from the negative.
appliance
is
in a piece of cardboard,
covered by a diffuser over
Even a simple hole cut
o
i.
is
not sufficient
when
the
just fastened to the front of the printing frame.
soft vignettes
it
should be at least one inch away, and
ONE OF THE MOST HIGHLY FINISHED AND CAREFULLY PREPARED PRINTING
PAPERS
IN
EXISTENCE
IS
.
.
.
BARNET P.O.P. GLOSSY AND MATT SURFACE UNIFORM
IN
q GREAT
QUALITY VARIETY
OF
TONES
BUT
READILY OBTAINABLE,
FREE
FROM DOUBLE TONING
ENAMEL SURFACE IN
J
THREE COLOURS MATT.
P.O.P.
I
WHITE PINK
MAUVE
WHITE ONLY.
POST CARDS
GLOSSY AND MATT.
FULL INSTRUC-
TIONS WITH EACH
(
PACKET.
BARNET Ma^tt P.O.P.
FOR
THE PHOTOGRAPHER WHO AIMS
AT
PICTORIAL
EFFECTS.
NO
BETTER
^
PAPER CAN BE RECOMMENDED.
q THE SURFACE TOO MATT.
q THERE IN
IS
v«
A
MATT. BUT NOT
IS
v<
Ng
ve
v<
RICHNESS AND DEPTH
THE SHADOWS NOT OBTAINED
ANY OTHER MATT
P.O.P.
q the
is
richness
Ng
v<
IN v^
enhanced by
the beautiful tones of the paper,
which range from a cold black to
a
giving
Warm carbon
vandyck -
like
brown,
effects.
^
169
P.O. P.
the front of the frame must be built up to that height in
order to hold
It is usual to
made
good shade
recommend
light,
frame, in order that the light
and
paper, course, is
may
much
easier tissue
when Old
find
I
â&#x20AC;&#x201D; when
it
can get
I
Of
it.
Sol absents himself for days at a time, as
his present habit, I
have to adopt the
first
method, but
I
that I get softer vignettes in direct sunlight with
do
the tissue-paper diffuser than I
without
creep under the vignetter
whole of the vignetter with a sheet of
print in direct sunlight
must admit
that vignette prints be
with constant turning of the
Personally,
in all directions equally. to cover the
such as
large sizes,
should be considerably
this distance
increased. in a
For
at that distance.
it
and upwards,
\ plate
in a
shade
light with or
it.
TONING. prints, we proceed to tone them. A how many should be manipulated at a
Having made our word or two as Whilst
time.
to
do not advocate
I
single
this direction.
I
many
have toned as
as
or
prints
couples, preferring fairly large batches, there
is
even
a limit in
450 cabinets and
C.D.V.s. mixed in one batch in a large dish under the pressure of business circumstances, but
mend
I
cannot recom-
upon
the practice, nor should I like to be called
to
swear that the whole of that 450 were alike in colour, or
even that each print was
free
from
patchiness.
cabinets, seventy or eighty quarter-plates, or about a
C.D.V.s.,
make a
Fifty
hundred
very comfortable lot for an experienced
hand, whilst a beginner will find twenty prints at a time quite as
much
as he can
manage.
Before toning P.O. P. prints certain free silver
it
necessary to get rid of
is
and other soluble
usual to
recommend
paper.
It is
washed
for this purpose.
Herein
salts that are in
the
that the prints be well I
differ
printed instructions issued with P.O.P.s.
from the usual If the
washing
BARNET BOOK OF PHOTOGRAPHY.
170
method
is
adopted the presence of
and unless the
water,
free nitrate of silver
by the milkiness caused
instantly detected
first
washing
is
very expeditiously
performed and a fresh water bath substituted, tendency to
has a great
silver
make
photograph turn yellow.
made
times
are iron.
of iron
this free
the whites
metal
of the
we use
Again, the water that
almost invariably conveyed through
pipes
mains
Water coming through such pipes nearly always
carries particles of the metal with
betide a print in the
first
these floating particles
!
it
in suspension,
wash water
and woe
that encounters
any of
Black spots invariably result, and
very often they take the shape of comets with long
Now
which are particularly annoying. be avoided salts,
silver
is
â&#x20AC;&#x201D; some-
in fact, I believe all the larger
;
is
wash
the
in
instead of trying to wash out the soluble
if,
we proceed
â&#x20AC;&#x201D; that
is
to convert
them
into insoluble chloride of
but soluble in
to say, insoluble in water,
hypo,
and therefore discharged by-and-by
bath.
For
this
ordinary table
tails,
these troubles can
purpose a bath
salt,
is
in
the
fixing
prepared composed of
one ounce dissolved
in a pint of water,
using larger proportionate quantities for larger batches of prints.
With a paper containing a
acid as well as silver,
it
may be
large proportion of free
advisable to add to this salt
bath a crystal or two of washing soda, but it
necessary
there
is
when using Barnet P.O. P.
no milkiness, because the
I
have not found
In the
free silver
is
salt
bath
immediately
converted into a chloride, and in addition to that
all prints
are brought to one uniform red colour, which enables the
progress of toning to be very easily judged.
be taken when inserting the dry prints into
no bubbles of prints,
air
Care should this
bath that
adhere to either front or back of the
otherwise the
conversion
into
chloride
will
be
unequal, and patches of a different colour will show after toning.
These patches
will
be found to correspond with
any bubbles that have not been wiped away in the
salt
171
p.o.p.
bath.
If a
batch of twenty prints are inserted singly, and
each one freed from
bottom one
print) will
put
is
The
bubbles as immersed, the
first
(or
be ready to come out by the time the
last
in.
extraneous
salt
now needs washing away, but as
water this need not be a long job.
salt is so easily soluble in
At the same time
may
the salt
it
should be carefully performed, otherwise
upset the toning bath, retarding
even stopping
entirely
it
employed and the
table
for
a while.
prints passed singly
If
its
action, or
two dishes are
from one into clean
water in the other, draining each print between the dishes
second dish,
until all are in the
will readily
it
that a very large proportion of the salt
No.
probably nine-tenths of
1,
dish No.
1
back again
Throw
it.
be understood
behind
is left
the contents of
away, replace with clean water, pass the prints in the
same manner, and a
large proportion of
the small quantity of salt carried into dish No. 2
be
left
times
behind.
â&#x20AC;&#x201D; say
left in
in dish
minutes
for five
the prints
â&#x20AC;&#x201D;
at all
â&#x20AC;&#x201D;there
will
be not much
not enough to
events,
must again
be repeated four or
If the process
affect
five salt
the
toning bath.
Some
toning baths should be
using, whilst others are
so
in
advance.
made up
at the time of
improved by making up an hour or
Sulphocyanide baths are ready for use
immediately the red colouration (which shows on has disappeared.
This
is
first
mixing)
usually but a minute or two, and,
on the other hand, the bath seems prepared some hours in advance.
to
work
just as well
if
Formate, bicarbonate,
and borax baths should only be mixed immediately before use,
while phosphate and tungstate baths are
keeping about an hour before use.
extreme case, and
week
old.
is
not in
full
An
better
acetate bath
is
for
an
ripe working order until a
Platinum baths are best directly they are mixed.
Sulphocyanide has by some means or other become the standard bath, although
it
does not strike
me
as an ideal
BARNET BOOK OF PHOTOGRAPHY.
172
toning compound. Yet if
much
the formate bath was as
and experimented
studied
would prove a better toning agent but sulphocyanide always given a first place on instruction sheets, and is
with is
hard to name a better. Probably
it is
it
;
If the bath
almost invariably the one used by beginners.
made up from weighed-out
is
chemicals, great care should be
taken to ensure absolute cleanliness in the bottles in which
A
stock solutions are kept, especially gold.
bottle intended
for storing gold should be washed out with
ammonia and
water or hot strong soda water, and after rinsing should be again washed with dilute hydrochloric acid, followed by wash-
As gold
ing in plain water.
to the action of light,
around the outside of the
pyro bottles are
With
all
tion shall be
made
such circumstances
formed
and make up
it is
frequently not.
is
away (which
I
all.
If
may
pos-
The The bath
will
If sulphite is
wasteful)
sometimes
clear,
but more
used as a constituent of the
Old
should be freshly mixed.
is
is
that this does not
is
It is a
solutions of sulphite
debatable point whether
an advantage or
not.
I
cannot
many workers decreased tendency towards double tones when using
myself say that I see any great gain in
it.
that the gold solu-
and then the only pos-
peculiarity
are useless for this purpose.
find a
is
dictated by a real need, for under
to throw the stuff
the presence of sulphite
such as
very likely that the red colouration
fresh.
always happen.
it
is
glass,
sulphocyanide bath, you
will refuse to disperse,
procedure
bath,
deep amber-coloured
but blue
to the other constituents last of
sibly realise that the rule
first
effect,
gold toning baths the rule
added
liable
has practically no protective action.
of,
this is neglected with the
sible
A
bottle.
same
glass bottle will have the
somewhat
solutions are
a good plan to paste brown paper
it is
must admit
attached to
its
use,
it
it,
but
has not the slightest disadvantage so probably
Don't overstep the mark, however stop toning action almost entirely.
it :
is
wisest to include
an excess of sulphite
it.
will
p.o.p.
173
Sulphocyanide (among other objections) has an
paper,
un-
tendency towards softening the gelatine of the
pleasant
and very often leads to frayed edges. These are when prints have been trimmed before
extremely annoying
Some makers recommend an alum
toning.
toning, in order to counteract this. at
all,
and
find
it
weak formaline bath
is far
formaline to the toning bath of formaline to every
way
A
it
has no
personally
add the
preferable, because
In
fact,
I
using about three drops
itself,
But as a matter of fact
ounce of bath.
to prevent frayed edges
never touching the edges at
carefully,
bath before like the idea
a frequent cause of unequal toning.
detrimental action on toning.
the correct
do not
I
all
to handle prints
is
â&#x20AC;&#x201D; never
hold of a print at any time, but allowing
to
it
really taking lie
on the
on the palm of the hand.
fingers or
When
working a sulphocyanide bath
it
is
needful that
all
prints intended to be toned in the bath should be inserted
dropped
in very rapid succession, or else
very quickly separated.
allowed to get a
If
fair start
in in
first
selves,
few prints seem to attract
and the
double tones,
The
all
later prints will suffer
and other
and
signs of
if
practicable),
the gold to them-
from pink half-tones,
an exhausted gold bath.
only practical way of working seems to be about as
follows
:
â&#x20AC;&#x201D;
Sufficient bath is prepared for the batch of prints.
This batch
Twenty
is
number
for
will
vary in size with the
enough
for
a beginner and
for the prints to
be separated at
They must
entail the use of
?tot lie
more
all
close
gold.
skill
of the worker.
fifty
a comfortable
The bulk
one more advanced.
must be adjusted with the idea of having
tion.
in
before introducing others (which
would be a very comfortable way of working the
a pile and
one or two prints are put
of the bath
sufficient solution
times by a layer of solu-
together.
This need not
Within reasonable limits
tion of the bath will only increase the length of time to reach a given colour stage.
A
very safe strength
dilu-
needed is
one
BARNET BOOK OF PHOTOGRAPHY.
174
amounts of other
grain of gold (with proportionate
fifteen or twenty ounces of water, or
same quantity of
in the
This quantity of bath
water.
point to the use of a largish dish for toning, and
good
iox
No
practice. 8,
will
a very
it is
should be smaller than
toning dish
however small the prints may
than this does not allow
salts) to
two doses of " tabloids"
sufficient
Anything smaller
be.
room
for the constant
movement and changing position of the prints. Having made up the bath, the prints are lifted out of the wash-water They should not be drained at all, or in one loose pile. else they will begin to lie closely together, start
whole
pile
the other (face
all
over.
will
The
dropped into the toning bath and quickly
is
swirled around with the
is
and toning
from the edge instead of being equal
down
left
hand
first
one way and then
Meanwhile, the
of course).
right
hand
constantly bringing small lots up from the bottom of the
pile to
be separated by the
left
hand.
After a few minutes
of quick manipulation in this way, one can take easier,
and bring the
prints
up
each one for change in colour. the surface)
is
singly,
As
it
a
little
quickly examining
the desired colour (on
reached, the prints are thrown into a dish of
running water to await
fixing.
All toning operations should be conducted by gaslight. If daylight
is
used,
it
the prints,
and then
colour.
find
I
must be very dim
it is
much
for fear of fogging
very difficult to judge changes of
greater certainty in judging colour by
gaslight.
The phosphate bath is a very good make of P.O.P.,
not suitable for every
rable for Barnet papers.
It is
one, will
and, although
be found admi-
an extremely quick-acting
bath and the prints need careful watching and quick attention. It is
not so liable to give double tones as sulphocyanide.
The
tabloid phosphate preparations give a bath identical in
composition to that recommended with Barnet papers,
if
the
quantity of water mentioned in the tabloid instructions
is
p.o. p.
This
doubled.
stronger bath
a more convenient strength in use, as the
is
much
is
too quick acting for
The method
or four prints at a time. prints
175
more than three
of manipulating the
the same with this and other baths as with the
is
sulphocyanide, with one
when
Bennett,
Mr. H. W.
possible exception.
lecturing before the R.P.S. recently, pointed
made up
the phosphate or formate baths are
out that
if
distilled
water in place of ordinary tap water, there would
cease to be any necessity for
all
go into the toning
prints to
bath at one time, and they can be inserted
No
at a time. try
it
doubt he
because
am
I
sulphocyanide, that
is
The formate bath
it
from force of habit.
knowing
good
other to
"
on
softening
and
the it
prints
at
manner than is
:
good
So
is
the
from
far
even a tendency to harden
is
be handled
in
a
much
A
a sulphocyanide bath.
it,
respectful
less
good formula
â&#x20AC;&#x201D; Soda formate Soda carbonate Gold chloride Water .
.
.
.
.
â&#x20AC;˘
.
.
.
.
.
.
.
.
.
.
according to speed desired. salt to
Two
obtain, tabloids,
but
is
each
chloride, dissolved in
*5 grains
.
is
the
â&#x20AC;&#x17E;
2
.1
grain
20
to
Soda formate
of
formate
40 ounces
not an easy
is
readily procurable in
tabloid
compound At
full
extremely quick acting, almost too quick in
weaker bath
will
be
found
far
more
form.
and
20 to 40 ounces of water
a bath practically the same as the above. it
One
qualities.
emulsion.
the
of
there
all,
in
its
at
" wants
bath
of formate over sulphocyanide
gelatine
can
peculiarities
little
toning
things, a
appreciate
fully
decided advantage effect
The
it.
compounds do not show themselves
of different toning
Like
who
a great favourite with those
is
have had any long experience with
first.
one or two
always forget to
I
so used to the other way, as with
do
I
but
correct,
with
gold
will give
strength fact,
and
comfortable
BARNET BOOK OF PHOTOGRAPHY.
176
distilled water
Mr. Bennett's remarks re
to use.
have special application to
Gold chloride
in
seem
to
this bath.
combination with soda bicarbonate,
soda tungstate, borax, and even washing soda, have their advocates, but there would not seem to be any special advantages over those combinations
mentioned.
already
Soda acetate appears to be somewhat unsuitable for gelatine P.O.P. unless used together with sulphocyanide, and in
one might as well use the plain sulphocyanide
that case
bath.
For matt papers platinum toning
will yield
an excellent
brown tones without any suggestion of purple. bath prints do not assume the colour they will
scale of pure
In
this
They tone through
eventually dry. to a violet
exactly
purple, and a
when
to
stop
A
toning.
leaving the toning bath will dry
toning
is
pushed
stages of claret colour
experience
little
is
needed
rich claret
up a good
to the violet stage
to
know
colour on
sepia, whilst
if
a very rich dark brown
results.
Prints intended for platinum toning should, as already indicated, be very strongly printed, as considerable reduction occurs.
leave the platinum bath the prints
As they
should be placed directly into an alakaline bath for a quarter of an hour before fixing. veniently
made up by
This alkaline solution
soda in a pint of water.
Formula
for
con-
platinum bath 10 ounces 20 grains
Water salt
Potassium chloroplatinite
:
.20 grains
Citric acid
Table
is
dissolving a tablespoonful of washing
.
.
2
,,
or tabloids according to directions.
SELF-TONING PAPERS.
A
brand of P.O.P.s which are now coming into great In these papers favour are the so-called self-toning papers. the necessary
amount of gold
is
apparently incorporated in
177
P.O.P.
the emulsion
itself,
and toning
effected
is
by simple soaking
in a solution that will
reduce the gold to the desired colour.
For the purple tone
that
seems
to
be the desire of
ginners the alum and sulphocyanide formula
by the makers
warm tones mended for
I
is
be-
all
recommended
certainly the best, whilst for distinctly
have found the
bath as already recom-
salt
ordinary P.O.P. an excellent one.
Self-toning
papers should not have preliminary washing whichever bath
They
used.
is
are inserted dry (with
as regards bubbles),
and after about
due precautions
all
minutes' immersion,
five
during which they are kept moving as in a toning bath, they should receive a good washing in the manner before inBy the use of this dicated, when they are ready for fixing. class of is
paper at
one bath
least
is
dispensed with, and there
a delightful certainty with which a large batch of prints
can be brought to the same colour without a suspicion of
double tones or even of unequal toning.
FIXING BATH. The
fixing
bath of necessity follows
In this the desired action silver salts,
is
all
toning operations.
away
to dissolve
and leave only those
that have
sensitive
all
been reduced by
the action of light and coloured by the toning bath.
commonly supposed soluble in hypo. the
first
This
is
because the action
When
immersed
prints are
action that takes place
salts
some extent
to
truth,
whole
complex.
the silver
that
is
true,
is
It
is
P.O.P. are
of
but
it is
not simple
not
but
in a fixing bath the
the conversion of the silver
chlorides, citrates, &c. (insoluble in water), into silver thio-
sulphate of hypo
â&#x20AC;&#x201D;also insoluble if
sufficient
important that the hypo
in water, but soluble in
time is
is
given.
But
really in excess,
it
and
an excess is
highly
this is best
by having a large quantity of solution, not by means of a small quantity of strong solution. A very safe practice is to have two fixing baths, and after allowing the
ensured
BARNET BOOK OF PHOTOGRAPHY.
178
usual ten minutes in one to transfer to the second fresh bath.
It
may seem an
unnecessary refinement, but when
lasting prints are desired
The
the only safe course.
it is
ammonia
addition of small quantities of strong
the fixing bath
an objectionable practice
in that
unmanageable.
I
well
and become
prints curl
remember one
large batch of prints
In the wash water they
manner.
that I treated in this
me
curled to such an extent that the "guvnor" asked
they were " pipe lights," and the time they took to
was appalling.
should
when
a decided advantage
It is
bath has no acid tendency,
to
it is
causes swelling of the
it
an extent that the
gelatine to such
To me
advocated by some workers.
is
and,
be decidedly alkaline.
the fixing
platinum toning,
after
This
if
mount
be
can
condition
acquired by the addition of a few crystals of washing soda without resulting in any unpleasant curling.
WASHING. Having
fixed our prints,
hypo and the
silver salts
most tedious of
shown
it
method of placing
water for two or more hours if
hypo
removed.
is
not at
all
This
prints
the hypo It
the
running
in
is
On
washing
and expedi-
satisfactorily
must be remembered, however, that
clings to the paper
much more
tenaciously than
much
salt.
longer
Half an hour of such treatment, every print having
separate
the water
attention with
warmed
to 65 째
should be satisfactory from every point of view. the matter easier and not throw too the water baths, I find front
is
satisfactory.
Therefore, the action must be continued for time.
remove the
to
prints are treated as described for
previous to toning, tiously
now remains
the processes, because experience has
all
that the old
the other hand,
it
holds in solution.
it
a
and back, under the
hypo before putting
into the
much
good plan tap, thus first
to
Fahr.,
To make
responsibility
wash each
removing
wash water.
all
on
print,
surface
HILL AND DALE. HORSLEY HINTON.
•By A.
179
p.o.p.
If prints are treated throughout in the
manner
there should be no need for a hardening bath at prints are at all soft the use of formaline
mended.
to
is
indicated, all
but
;
deprecate the use of alum with P.O.P.
I
if
be recomIt is
not so efficacious as formaline, not so easily washed out, and is
more
likely to
cause trouble through
Formaline also has the advantage in that the toning bath
(if
natural acidity.
its it
can be added to
sulphocyanide), to the fixing bath, or to
the washing waters without detriment to the chemical action in progress.
may be dried may be
P.O.P.
or the surface
with the natural surface of the paper, modified.
Matt papers, of course,
are not intended to be altered, but glossy papers can be given
an almost mirror-like surface by squeegeeing on surface such as
be allowed
glass
is
whiting, after which
The
chalk
is
well
The
glass.
to dry first
The
water.
good
to a polished
prints should preferably
and then soaked
for
a short time in
prepared by thorough cleaning with is
it
dusted over with French chalk.
rubbed on and polished
same
off at the
operation, care being taken not to rub too hard or the surface
of the glass
down on
The wet
itself will suffer.
is
then laid film
the prepared surface of the glass, a piece of rubber
sheeting or celluloid or oil-baize laid on top, and the squeegee
can then be applied with considerable pressure in order to expel
all
When
air-bubbles.
been removed the
good draught
glass
to dry.
the temporary covering has
and adhering
The
print are placed in a
drying must be most thorough.
Any
attempt to remove the print whilst the slightest damp-
ness
is
present will cause disaster.
In summer time they for a
may, when apparently dry, be placed in direct sunlight few moments when they taneously. nail,
If not,
and a steady
will generally leave the glass
one corner can be raised by the pull
will
remove the whole
winter time slight warming near the of the heat of the sun.
fire
may
spon-
finger-
print.
In
take the place
Glossy post-cards treated in this
BARNET BOOK OF PHOTOGRAPHY.
l8o
manner have a very
The
finished look, also other glossy cards.
card P.O.P. although
does not need mounting, makes
it
excellent prints which need no stiffening for
glazed surface.
They
mounting with
are best attached to the
narrow edging of hot thin glue.
mounts by a
Glossy P.O.P.
may have
surface modified in the reverse direction by squeegeeing
its
ground
to
obtained
glass or matt opal.
is
The beauty
of the surface so
variable according to the fineness of the grinding
of the glass.
Such glass,
for instance, as
is
used for high-class
focussing screens will yield a beautiful velvety matt which is
quite different from the surface of matt paper, and which
for
some purposes may be
preferred.
French chalk
is
not
suitable for use on matt surfaces and should be replaced by
the waxing solution sold for use with Barnet carbon tissue in
double transfer process.
Throughout this
article
to repeat formulae that are
it
has not been thought necessary
found in every packet of P.O.P.
Only those are given which imply a departure from the beaten track.
W. E. A.
Drinkivater.
i8i
Bromide Printing* ENLARGING AND CONTACT PRINTING WITH BROMIDE PAPERS.
N
the following article very
little
has been said about apparatus, since
this
a
is
Thus
quantity.
purchasable I
have been
enabled to devote more space to
what
quantity
is
â&#x20AC;&#x201D;
not a purchasable
viz.
manipulation in
general
optical
of
the
process,
which are included a few
principles which
effective working.
economical
the
govern
it
for
the
most
1
BARNET BOOK OF PHOTOGRAPHY.
82
The
work, with some slight modifications. printed image
is
that the
fact
latent or invisible should not be regarded
by the uninitiated as a deterrent feature, since the exposure and development can be so adjusted as to render the production of a print perfectly under control, the graphic value of the negative being secured in the positive at
The daylight
printing of
enlargements may be
subsequent manipulations
the
or artificial light,
will.
carried out by
being the same. Artificial
light
is
made
at
being a
preferable, since, the light
may be recorded and
constant, exposures
any time with certainty as
duplicate prints
to the exposure
this is
;
impossible with daylight, as the actinic value of the light
never constant even
if
a north aspect be chosen.
is
shall,
I
however, give a brief description of the apparatus required for printing with
both sources of illumination.
The general principles are as follows The whole surface of the negative is
:
as evenly illumin-
ated as possible, and the image projected by means of a lens
on
to a screen in a dark room.
Fig.
i
shows a
dia-
grammatic sketch.
I
.fcrerjv-
LcnJ
neacttilUf ifIn
Fig.
The
sensitive
exposed to the
paper
my
i.
supported on the screen and
light passing
a developable positive
not
is
source of
mi nation..
through the negative and
image thus being obtained.
lens, It is
intention to describe in detail any special form of
apparatus for either method
of printing, since
depends upon the opportunities and
so
much
accessories available to
the worker, but rather to give the essential requirements for
carrying out the work.
BROMIDE PRINTING.
I8 3
For daylight, a window or an aperture preferably
wall,
facing north,
inside of the wall the back of an ordinary
an outside
in
Against the
necessary.
is
camera
is
placed,
would
with the negative in the place where the dark slide
and a piece of ground
be,
The
it.
glass
some two inches
in front of
glass side of the negative should face the
and should be
inverted.
If
buildings,
light,
other
or
trees,
objects be in such close proximity as to obstruct the light,
a reflector must be used, placed at
secure the greatest
amount of
light
such an angle as to
from the sky
;
an angle
licjlvt
I
m
/
Cctme/a /Js
.5
Fig. 2
of 45
'
is
about the correct position, but
adjustable.
The image
is
it
made
should be
thus projected through the lens
of the camera on to a screen, which, the camera being a fixture, is
must be movable.
The
unlimited, depending solely
It is hardly
that
amplification of the image
upon the
definition required.
necessary to state that no actinic
which passes through the negative and
admitted into the room.
A
is
except
must be
diagram of the general arrange-
ment of a daylight enlarging apparatus There
light,
lens,
is
shown
in Fig. 2.
another form of enlarging apparatus which
may
1
BARNET BOOK OF PHOTOGRAPHY.
84
be used
for either
camera body
in
day or
artificial
which the sensitive paper
since the degree of enlargement
apparatus, and
camera
light,
the
in a dark
consisting of a is
enclosed
;
but
limited to the size of the
is
same work may be done with one's
room
as described, the possession of such
an instrument seems to
me
totally
unnecessary,
and not
worth describing.
For enlarging by is
more
rather
light,
artificial
due
elaborate,
and
special form of illuminant,
the apparatus required necessity
to the its
of
some
seclusion from the dark
room.
Those who would construct their own lantern should know some of the optical considerations necessary for the As before most efficient illumination of the negative.
..-"'Object4.v(r~-JX\
Fig.
it
is
ÂŤ
;;
rff&Trvtnxvtixm*
Coruferujcn
**
stated,
C-.:-
3.
all-important that the negative be
as
evenly
illuminated as possible, and providing this condition be observed, the choice.
method of doing
But, where
it is
it
is
entirely a matter
of
a question of efficiency rather than
economy, we have only one method to adopt
;
this consists
of the use of a condenser. It is
not possible, in the space at
my
disposal, to enter
into the details necessary for the construction of an enlarg-
ing lantern, the principles of which are identical with those
of an optical lantern
;
on the other hand the proper mani-
pulation of the instrument
general principles which
is
of great importance,
must be adhered to
efficient working are necessary.
Fig. 3
is
and a few
for the
most
a diagrammatic
sketch of the principles controlling an enlarging lantern.
BROMIDE PRINTING. a
and
source of illumination,
the
is
I8 5
most
the
for
working should approach as nearly as possible a
effective
mere point of
light of great intensity
;
hence an arc
light is
the best to work with. the condenser, consists of two plano-convex lenses
b,
with
placed
their
They
convex sides nearly touching.
have for their purpose the condensing or collecting of the rays
of the illuminant and projecting them
through the
negative c to a focus in the centre of the lens d, whence
they are transmitted to the screen
Now
e.
essential that the illuminant should
it is
be so placed
come
that the rays projected through the negative should
to
r--.
Fig
a focus as near the centre
4.
of the
objective as possible,
In
otherwise there will be a loss of illumination.
degree
the
of
amplification
the objective to the negative,
governs
and
the
this
way
distance from
this in its turn
the distance of the light from the condenser.
governs
Fig.
4
will
illustrate this.
Let the hard
lines represent the correct position of the
illuminant and lens for a certain degree of enlargement, then a greater degree were required
it is
between the lens and the condenser would be fore, in
less
;
there-
order that the whole of the rays collected by the
condenser light
if
obvious that the distance
may
pass
through the
lens,
on the lens side must be altered,
the focus
and
this
of the
can only be
G
1
BARNET BOOK OF PHOTOGRAPHY.
86
done by increasing the distance of the condenser, as illustrated by the dotted
from the
light
This
lines.
a
is
most essential point in the effective working of a lantern,
and when the position of the
lens
found
is
for the size of
enlargement required, the carrier containing the negative should be removed, and the position of the light found by adjusting
the
it
till
it
gives a clear evenly illuminated disc
With regard
screen.
the
to
various
of
parts
on the
apparatus a few brief words will suffice to guide the worker in his choice of an instrument.
The Ilhiminant. tion I
is
â&#x20AC;&#x201D;The choice of the source of illuminaâ&#x20AC;&#x201D; and convenience.
governed by two factors
efficiency
use the word convenience in the broadest sense.
before stated, a point of light
form, the reason for which
must be central will
is
is
obvious,
for,
As
efficient
since this point
to the focal axis of the condenser, the rays
be more evenly distributed over
Take as an
most
optically the
its
surface.
illustration the difference
between the point
of ignition of an electric arc and that of a flat-flame burner.
Say the
flat
flame had a surface area of 2 inches square, then
we should have
light radiating not
only from
since a condenser
is
impossible to bring at
once
the
;
its
simply a lens (with a focus), all
area
it
;
and
would be
the points of light into optical focus
hence we get an uneven distribution of rays over of
surface
possible,
centre, but
its
also from innumerable points contained within
and
universally
the condenser.
On
the other
hand
it
is
better, so to diffuse the light as to present a
illumined surface over the whole area of the
condenser, and thus produce a result similar to that which obtains in daylight enlarging.
This
is
undoubtedly the best method of illumination,
but unfortunately the means of doing light,
the extent of which
is
it
involves a loss of
governed by the diffusing
medium employed. Few of us, however, are able to indulge and so we must take the next best thing.
in
an arc
light,
BARNET G^LsligKt Pamper
GLOSSY AND MATT ALSO
GASLIGHT POST CARDS PRINTED BY THE LIGHT OF A GAS
FLAME
IN
AN ORDINARY ROOM. q NO DARK-
ROOM REQUIRED. AN
IDEAL
PASTIME FOR WINTER EVENINGS. «*
BARN ET Snow Enamel
A
UNIQUE PRINTING PAPER, BRINGING THE BEAUTY OF GLOSSY P.O.P. PRINTS WITHIN
THE
SPHERE
OF
PRINTING
BY
ARTIFICIAL
Nsss^NgNg^Ngvj
LIGHT.
q IT IS A BROMIDE PAPER, HAVING A HIGHLY ENAMELLED SURFACE, GIVING A PURITY OF EFFECT AND A RENDERING OF MINUTE DETAIL ESSENTIAL IN SOME CLASSES OF WORK.
n* v«
BARN ET Enamel SIMILAR TO SNOW ENAMEL. BUT WITH
CATE PINK
TINT.
^€
m:
n?
vs
>«
A
DELI-
v<
^
ALSO CARD.
IN PACKETS.
SHEETS
OR
ROLLS.
FOR PRICES. SEE END OF
BOOK.
BROMIDE PRINTING. Acetylene
is
1
a good illuminant, and owing to
89
high
its
actinic value can be used with a comparatively small point Its use,
of ignition.
however, involves extra and somewhat
bulky apparatus, and unless a considerable amount of work is contemplated so that the apparatus may be kept in
to the
the advisability of going
much doubt
constant use, I very
expense when such an excellent substitute
is
be
to
found in the incandescent mantle and ordinary coal
gas.
Personally, I have used this form of illumination for several years,
and without any
burner and condenser
;
I
medium between
diffusing
have never found
my
be excessive even when doing work as large as 40
The
the
exposures to in.
x 30 in.
longest exposure ever required was that for a negative
intended for contact printing, and for a 36
A
one
from
only
requires
Magnesium ribbon
x 30
in. print,
from a negative made expressly for
similar
enlarging
in.
fifteen minutes.
with// 1 6, the time was
will find
three
to
no place in
my
minutes.*
category, since
be extremely unconducive to the economical working of the process. There remains but I
have proved
oil-lamp,
the
it
to
and
as
a form
of illumination,
providing I
used
a lantern with this form of illumination for five years,
and
cleanliness
is
observed, a very excellent one indeed.
never once had occasion to regret
was kepi clean purchasers
is
!
One
Should
5).
it
But
efficiency.
point I would impress
it
upon intending
of burner
to secure the pattern
the "duplex" (Fig. diffuser
its
known
as
be desirable to use a
between the burner and condenser
in either
method
of illumination, in order to present a sheet of light to the face
of the
ground
condenser
glass in
it
is
advisable to
employ
finely-
preference to any other medium, as this
involves the least loss of light.
Two
sheets of glass
may
* Should the worker find that he gets an image of the mantle on may be got over by lightly etching the glass
his screen, the difficulty
chimney with some sand-paper.
BARNET BOOK OF PHOTOGRAPHY.
190
and
be required
if
so they should
be placed about one
inch apart.
The Condenser.
â&#x20AC;&#x201D;This
is
generally in the form of two
plano-convex lenses mounted together, sides nearly touching, as
This answers the diameter
fairly well
large a
is
shown
with their convex
in Fig. 6.
with the smaller
good deal of
light
sizes,
may be
but when lost,
hence
the advisability of employing a diffuser.
The Lens, or
â&#x20AC;&#x201D;This
Objective.
is
a factor of great im-
when the expense is some consideration should be
portance in the enlarging lantern, and of no great material import
That the lens which took
given to the optical efficiency.
the photograph will serve to enlarge
wicfc
Fig.
5.
some cases may be it
and
will
6.
the best one to use, but
possess certain desirable features.
focus
true enough,
is
wvck.
Fig.
in
it
If
it
it
must
be of too short a
be too near the condenser to be
generally
within the focus of the light from that side, and will therefore
be unable to pick up
all
the rays of light emanating
therefrom, thereby engendering a loss of illumination and the presence of a coloured ring disc of light
on the screen.
on the outer edge of the
Figs. 7
and
8 will
show
this
clearly.
In Fig.
7
short a focus stituted the is
we is
see what
used, but
happens when a lens of too
when one
of longer focus
is
sub-
whole of the cone of rays passes through and
utilised (see Fig. 8).
half-plate lens
on a
Hence
it is
advisable to use, say, a
quarter-plate apparatus.
BROMIDE PRINTING.
The
IQI
type of lens used should be of the rapid rectilinear
form, and have as large an effective aperture as possible.
One
of the latest forms of
lenses are the best, owing
flat field
A
to their fine definition with a large aperture.
may be
lens
used,
and has the advantage of
portrait
rapidity, but
its
circle of definition is very limited.
The Dark-room Light. portant
factors
â&#x20AC;&#x201D;This
one of the most im-
is
work,
successful
in
and deserves some
^m
light.
Fig.
consideration.
You must
rapid bromide paper
an ordinary dry plate
is
Now than
follows, therefore, that a light ten
times stronger^ may be used. is
are doing. less sensitive
what you
see
about ten times it
;
7.
The
colour of the light also
of great importance, since the depth of tone of a positive considerably with
varies
yellow or canary tint
is
different
Undoubtedly a
tints.
the most effective.
lit/Jd. ]-":
Fig.
So long there
is
of
the better
as the light it,
8.
is safe, it
intensity
see our manipulation.
of a light
square of the distance from
That source
is
is
immaterial
how much
except that the greater the area of illumination
we can
ntensity of light radiating from
The
is
is
its
The law
source
is
of the
as follows
inversely proportional as
:
the
its source.
to say, if the value of
a light at one foot from
equal to 100, then at two feet
it
will
its
be equal to
BARNET BOOK OF PHOTOGRAPHY.
192 25,
in,
at three feet
four feet 6*25,
at
follows from this, then, that
and so
It
our light has no effect on a
if
piece of bromide paper at a distance of one foot,
period of five minutes, at two feet
it
and
for a
may be exposed without
danger for twenty minutes, and at three
feet for forty-five
For the "safety" of the lamp a good deal depends
minutes.
upon the form
of light used.
an oil-lamp
If
on.
chosen, one thickness of canary fabric
is
should be sufficient providing the distance between the burner and the fabric be not ordinary gas-burner
is
one or two pieces of
An
less
than six inches.
If
used, one thickness of the fabric
an
and
tissue paper.
incandescent mantle requires two thicknesses of the
Yellow glass may be used
fabric.
if
preferred, but
covered with some diffusing medium,
must be
such as tissue-paper
on no account should a dark-room lamp be used, either in negative or positive work, without the light being diffused.
In the construction and testing of a dark-room lamp for
bromide work the following methods may be adopted. large
work be contemplated, an area of not
less
If
than one
square foot of illuminating surface should be used.
Obtain
light
from as many sides as possible, but from the
front or working side the light eyes.
It is
convenient to use the lamp for negative work
by interposing a screen of ruby Test the half of
must be shielded from the
which
light is
fabric.
by exposing a piece of bromide paper,
shielded, at a distance of six inches from
the lamp, for a period of half an hour, and develop a strong developer.
it
with
Should there be any signs of fogging,
cover the fabric with one thickness of tissue-paper and repeat the
test.
Continue to do
" safe," but
this if necessary
till
do not add so much tissue-paper
the light
is
as to reduce
the light to the same degree as would obtain by the use of
an extra thickness of canary safety of the
lamp
to the
fabric.
Having
certified the
above extent, a piece of bromide
BROMIDE PRINTING. paper at two feet from the light
The
hours.
is
safe for a period of eight
mental time to any degree he
The Negative. bromide from
is
by
and so obtain a
may be used
of negative
made for the process. When we are not quite so dependent
for printing
on the quality of the negative, as the
With
penetrating.
for
obtained
far the best results are
specially
used
likes,
light.
â&#x20AC;&#x201D;Any kind
printing, but
negatives
daylight
reduce the experi-
worker may, of course,
correspondingly stronger
193
essentially
be a thin one, but of
and here
let
me
With regard
more
is
should
gradation and detail
word of advice
give a
developers to use.
full
light
negative
the
light
artificial
the
as to
best
to the production of density
detail in a negative, all developers are alike, time being
and
the only interfering factor
development there
is
;
but, with regard to the stage in
which these same make
at
their appearance,
a wide difference between the various developers.
Roughly speaking, some produce density slowly following
others produce detail
;
slowly accumulating
must choose, the reason Since
is
it
It
later.
essential
for
is
which
the density
first,
from the is
the detail
first,
latter
kind we
obvious.
that the negative
must be
fully
gradated, clear and brilliant, without fogging or clogging of the shadows, follows that
A
and
it
at the
will
same time possess
be what
is
technically
developer which produces the density
all
known first
detail,
it
as " thin."
and compels
us to wait for the detail, obviously cannot give us the above essentials.
But where we can get the
full scale
of gradation
almost immediately, and control the density at
and
detail
will,
such a developer must be used.
that, in
my
for the
paper
And
let
me
here add
experience, I have found that the best developer is
the best for the negative
â&#x20AC;&#x201D; with
modifica-
tions, of course.
There are two developers most
One
is
suitable for the work.
a combination of metol and hydroquinone, and the
ioo grains
BROMIDE PRINTING.
195
much
composition to that of a dry plate, but
The
process necessary for the
deposit of silver
same
precisely the
is
although the manipulation
less rapid.
graphic
production of a
as for a negative,
required to be rather more
is
delicate.
The
simple chemistry
When
is briefly this.
on the paper
light acts
emulsion, which change
it
a change in the
effects
only rendered visible on develop-
is
The extent of this change has a two-way limit, technically known as under-exposure and over-exposure. The actinicity ment.
or power of the light, or the period of
its
duration, acting
the paper after passing through the negative,
necessary change in the emulsion
insufficient to effect the
in all
and various
parts, to yield
This
positive or development.
On
is
the other hand the exposure
longed in
or
all
a correspondingly correct the under-exposure limit.
may have been
to
some
decompose
it,
or render
it
the production of a graphic image.
By
over-exposure.
irremediable
this
we
see
action of light on
an extent that
the
an emulsion may
image
is
and com-
is
we
for
the limit of
under-exposure
that
chemical and physical control, providing
The
limit
change
beyond control
This
over-exposure
but with
;
too pro-
parts, in which case the
effected in the emulsion has passed the
menced
on
may have been
have
is
both a
be not excessive.
it
effect
a change
to
such
developable to a limited or fixed
extent. I
due
emphasise
this
Development bromide of
The the
statement because so
many
failures are
to ignorance of the fact. is
simply the reduction ot the light-affected
silver salt to the metallic state.
rapidity of reduction
reducing
agent,
but
is
governed by the strength of
over-exposure
rapidly than under-exposure with
a
develops
more
developer of similar
strength.
Providing there be
sufficient
of the reducing agent present
BARNET BOOK OF PHOTOGRAPHY.
196
a weak, or
dilute, developer
as a strong
effect
since
the effect
ment
it
and
will produce precisely the same
time being the only consideration
o?ie,
the exposure is only
of
were better
to
the possibility Oj
and
;
on develop-
visible
have the reduction under
co?itrol
and
rectifying faults, both selectively
generally.
The is
perfect reproduction in the positive of a negative,
wholly dependent on the actinicity of the printing
light,
hence we may never be able to get the correct exposure a certain negative
;
for
but practically, the scale of gradation in
the negative can be reproduced inversely in the positive. this possibility is
In enlarging,
we
somewhat
generally speaking,
when once
scale of gradation has
the light used,
it
and
;
therefore,
a negative with a particular
been found to be most
effective with
should be kept as a sort of standard guide.
While under-exposure cally
since
restricted,
cannot alter the distance of the printing light
physically
is
irremediable,
exercise
we can both chemiamount of
considerable
a
control over excessive exposure, providing the emulsion has
not been affected to a state of decomposition. control
is
Physical
rarely necessary, except in the case of selective
repression or accentuation,
when
glycerine
the developer to restrain development.
may be added
But
if
of weak development be employed, the same control exerted,
and
When
for the
to
method
the
may be
same purpose.
a soluble bromide, such as potassium bromide,
is
added to a developing solution, either before or after the first appearance of the image,
by a rather complex chemical
reaction, the parts of the emulsion least affected
are
more
difficult,
or at least require
to the metallic state, the
bromide
more
at the
by
light
time, to reduce
same time having
a preservative action from decomposition over the whole of the
emulsion.
If
an excessively over-exposed print were
developed without the presence of a bromide, restraining element, the
or
other
image would consist of a mixture of
BROMIDE PRINTING. decomposed and reduced and
muddy,
presenting a
silver,
flat,
horrible appearance.
By
the addition of a bromide, however, the development
may be governed by
of the print
the depth of tone of the
shadows, or parts most affected by parts to the will of the
we
197
bromide
â&#x20AC;&#x201D;
nearly in direct proportion
must, since the effect varies quantity
the
with
my
doubt
exposure
statements as
my
of
may
readers
the hopelessness of under-
to
warming
the
fog
the
the foregoing brief outline of the chemical
and
me, such
believe
;
&c,
paper,
Some
added.
leaving the other
light,
as indeed to a great extent
of
are
methods
as
only tending
use,
little
to
emulsion.
Now,
if
physical conditions pertaining to exposure
and development
be borne in mind during the manipulations of the process, I
am
confident that the worker will have every chance of
Bromide paper, although of
being successful. stitution,
treatment that
it
Its
takes
easily
solutions
and
on
stains
I recently
is
some
letters,
had been Elliott
&
and
it
beautiful, but
it
Keep
in
[your
clean.
must be kept
a drawer in
in a
five years old,
my
study
among
was as good as a batch of paper which
me
specially
made
Sons
some experimental work
for
chemical
a false idea
and markings.
used an opened packet
which had been put away
of
quite
It is
delicate con-
and you keep your paper
fingers clean
keeping quality
dry room.
handled.
properly
if
amount
stand an enormous
will
for
that
month by Messrs. I
was
at the
time carrying out.
The use
of a drawing-board, or similar apparatus, as a
screen for focussing on, and for pinning up the bromide
paper ready for exposure, enclosing
it
is,
in
my
with this method the amplification it
needs but a
times appear
opinion, far preferable to
between pieces of ground and plate
little
is
bound
glass, as
to be limited
;
care to remove the bulges which some-
when pinning
the paper on the screen.
BARNET BOOK OF PHOTOGRAPHY.
198
To
print, or expose, either
the negative
is
towards the
glass side
the
by daylight or
artificial light,
placed in the carrier upside down, and with of
source
and
illumination,
and
focussing effected by racking the front of the camera in
The
out in the usual manner.
screen should
either be
painted white, or covered with white paper, and must be If the
perfectly rigid.
good plan
camera or lantern be movable
it is
a
to fix the screen against a wall.
Should the lens require stopping down
in order to secure
greater definition, the law relating to the ratio of exposure to the
"/"
values
is
absolute in this case
;
therefore
exposure of one second be required with/ 8, then/
and so
require two seconds,/ 16 four seconds,
is
use
an
hardly necessary to say that the
It is
away
greater the amplification, the farther
will
be the lantern
from the screen, with a corresponding increase Curiously enough, however,
posure.
an
will
The
on.
of a piece of yellow glass in the place of the lens cap
absolute necessity.
if
n
I
in the ex-
have found
out,
and
other workers have corroborated, that the law of the intensity
But there
of a light does not hold in this case. practical
by a for a
method
simple calculation,
10x8 was
is
a very
of estimating the increase in the exposure
5
seconds, and
time for a 15x12.
Say the
as follows.
The area
it
is required to
exposure
know
the
in square inches of the greater
enlargement (15x12) divided by the area of the smaller
(10x8) multiplied by the time
for the
smaller, gives the
required time for the larger print.
Example
I :
^
X
I2
10 x 8
x
5
= ^â&#x20AC;&#x201D;^ x 5 =
11-25 seconds
80
This must on no account be taken as a fixed law, but simply as an excellent guide for the
Trial Exposure.
â&#x20AC;&#x201D; In no
preliminary operation be omitted. it is
if
trial
must
this
to 12
x 10
simple, but for larger work must be
only for the sake of economy.
exposures.
For prints up
case of a
first
somewhat elaborated,
Focus your image, and
THE MOST EFFECTIVE ENLARGE^ ^ MENTS ARE MADE ON
B A R N E T Bromide Papers ROUGH OR J» -»» SMOOTH ORDINARY, FOR
RESULTS
BRILLIANT
ROUGH OR SMOOTH J» PLATINO-MATT, OF DELICACY FOR SOFTNESS AND EFFECT.
9
5
5
9
5
TIGER TONGUE AND CREAM CRAYON, ^ SPECIALLY SUITABLE FOR TONING 5 TO SEPIA COLOUR. ORDINARY q SMOOTH
5
5
MAKES
ADMIRABLE PAPER NEGATIVES, OR PAPER TRANSPARENCIES FOR
HOME DECORATION.
5
5
5
Tiger Tongue Bromide Paper SPECIAL ROUGH.
THICK
WHITE.
AND THICK CREAM.
A MAGNIFICENT PAPER GIVING BROAD EFFECTS, AND SUITABLE
FOR
EXHIBITION
WORK.
VERY EASY TO WORK WITH ANY ORDINARY DEVELOPER.
"3
TONGUE TIGER BROMIDE PAPER, Qctra.
Rovnh Sixrfice
Barnct
^3
5
BROMIDE PRINTING.
201
with yellow glass in front of the lens, place a small piece of
bromide paper over a
the
typical part of
image on the
screen, preferably containing both high light
Expose by removing the yellow
and shadow.
and coimting by
glass
means of a watch or similar instrument. This trial piece must be developed with a developer of normal strength, and developed as
far as
ever
it
For larger work
will go.
advisable to use, say three pieces of paper for the posure.
a piece
First,
is
image, a triple exposure
it
is
ex-
trial
placed over the densest part of the is
made by
then
covering the paper
with a piece of card, and giving three exposures of equal
duration by uncovering a third part of the paper at definite
Thus,
intervals. will receive
if
one-third received 5 seconds, two-thirds
10 seconds, and the
means we can
last 15
seconds.
By
this
find the exposure necessary for the densest
part of the negative to just print through.
The
other two pieces of
paper are
trial
now
placed on
the lightest part of the image, and an intermediate, or half
and the determined exposure given. From
tone, respectively,
the results obtained
we
are able to judge with considerable
accuracy the length of the scale of gradation, and the depth of tone tive
it is
and
possible to acquire with that quality of nega-
light.
The exposure
may now be proceeded
of the large sheet
with.
be required, the paper
If the greatest possible definition
should
first
be thoroughly wetted, also the surface of the
enlarging-screen,
and the paper,
placed in the position fectly clean
to
wet sponge which
after
say
to
the paper
condition,
will
is
free
some
from
three
grit
A
per-
may be used
in the paper.
Needless
be in a very greasy and slippery
and must be handled with great
stretches considerably,
for
being allowed to drain,
occupy on the screen.
smooth out any bulges or creases
to
it
it is
it is
care.
When wet,
therefore advisable to soak
or four minutes.
It
it
must not be pinned
BARNET BOOK OF PHOTOGRAPHY.
202 to
the
should
;
allowed to support
but
screen,
suction
may be sponged
exceed
exposure
the
On
over at intervals.
reducing
corresponding degree any diffusion in the image.
found
it
to
a
have
I
this very beneficial in architectural subjects.
After exposure, either in the wet or dry state, is
own
its
minutes
drying, the paper
thereby
will contract to its original state,
by
itself
fifteen
immersed
complete absence of
rest of
do
to
of the print, place
more
three minutes,
if it
the print
so as to ensure
full
with water,
under, then
it
Allow
through and under.
it
this
the following method^
air-bells,
Fill the dish nearly
efficient.
one end
and
in water,
is
the
most
and taking
slowly pull the
to soak for at least
it
be thick paper, then pour
off the
water and, standing the dish on end, allow to drain com-
These manipulations are absolutely necessary
pletely.
Weak Development.
â&#x20AC;&#x201D; Before giving my method
The
process.
it
it
with a strong developer and snatching
out immediately
against
the
all
technique, clearly scientific
it
shows signs of over-development of
principles
efficient
and
is
economical
showing a want of the most elementary
knowledge of the process. have shown, the complete reduction of the
Since, as I silver is entirely
dependent on a sufficiency of the reducing,
or developing agent, providing tion of
weak
method of developing a bromide
too prevalent
by flooding
of
word on the rationale of the
development I wish to say a
for
working.
facility in
development
in percentage
will
same
we have
that,
then the dura-
in direct ratio with the strength
Hence,
by volume.
speed of development cisely the
be
at will,
if
we can
regulate the
and eventually produce
state of reduction quickly or slowly,
obvious what advantage
is
preit
is
gained when we consider the
question of individuality and certainty of results.
The speed strength
of
of development being a personal matter, the
the
developers
given
may be modified
as
£
o
O I
o
TL£
.
A
i
i
IT**
g
j&.
X
I
6
BROMIDE PRINTING.
203
desired, but as the effect of the exposure can only be seen
on development,
very important that the image be
it is
brought up to such a stage,
been reduced to
error in exposure either way, the silver has
no material damage has been done
such a
state that
at the
same time the
scale
first
should there have been any
that,
of gradation
;
while
such
visible to
is
an extent that we can see the whole, or nearly the whole, length of
it.
This state
development." practice
it
Fig.
very
development.
The
I
have called the "first stage of
shows a print
9
much resembles Fig. 10
at
In
this stage.
a platinotype print before
shows the completed
print.
developers given for the negative work are recom-
mended, but the normal solution
is
just half the strength in
both cases, made by doubling the quantity of water.
To
bring a print to the "
at least six times,
volume
little
the "
stage "
first
stage," dilute the developer
times, using the smallest
For a 30 x 24
possible.
exercise a
first
preferably ten
by a
visibility of
gradation, with detail in shadows in this
weak and ghostlike
of crispness.
decide upon exposure
is
is technically
I
known
of tone
tlie ;
is
lights,
and even
a certain amount
and
print,
might say here that correct
as that which will give the
gradation of the negative, with
but
will give the best print
Now
indicated in
the whole of the scale of
and high
state there
future state.
the greatest depth it
use six ounces.
Stop development by rinsing the its
most perfect rendering of
that
I
Correct exposure
patience.
;
it
does not necessarily follow
this is
a personal equation.
weak development be continued the print will pass through all intensities, from shadows of dove grey to deepest If
black, governed of course
by the quality of the negative.
Development may be stopped
at
any
stage,
and a stronger
solution applied selectively to accentuate where desired, but if
this
full
be done, the print must not be developed to
limit,
Depth
otherwise the accentuated parts would be of tone
is
obtained at
will
its
lost.
by strengthening the
BARNET BOOK OF PHOTOGRAPHY.
204
There
developer.
one peculiarity
is
development of
in the
bromides, which should be carefully noted and allowed
When
a print
developed and immersed in the
is fully
for.
fixing-
bath, a considerable clearing action takes place, rendering
the intensity print
much
But with an under-developed
greater.
does not happen, or but very
this
and a
slightly,
knowledge of the peculiarity can only be obtained with perience
;
ex-
the intensity of the print should be judged by
transmitted
light.
Under-exposure absence of detail
Now, although
of gradation.
under-exposure
is
by an
in the "first stage "is indicated
in the high lights,
hopeless,
it is
and a much shorter
scale
have previously said that
I
nevertheless a fact that with
weak development you can secure a
which
satisfactory print
has been under-exposed to the extent of 30 per cent.,
when
with rapid development the result would be very indifferent.
Continue with the weak solution "
hang
fire,"
the print seems to
till
and then strengthen very
hangs back, strengthen more, and
if
slightly
there
development you may add as much as you get
no
The
it is
advisable to omit
;
the manipulation
it
is
like but
still
further
you
will
with the formulas given, except in
account use exposed.
In
it
with prints
all
cases
of gradation
if
it
the
it
from the com-
when required from a dropping much more delicate and certain.
unnecessary to use any in the "
scale
if it
use of bromide plays such an important part in
pound developer and add It is
;
no
further reduction.
development that
bottle
is
first
stage " developer
hot weather.
that have
On
no
been much under-
has the effect of steepening the
development
is
stopped within.,
the limit of reduction.
Over-exposure
complete detail,
is
visibility
but of a very
indicated in the
"
first
stage "
by a
of the whole scale of gradation and flat
appearance, there being
ence between shadow and high
light.
If
all
little differ-
checked
at this
BROMIDE PRINTING. stage, over-exposure to the extent of
205
may be
ioo per cent,
controlled and rectified to give a satisfactory print.
If very
excessive add three or four drops of bromide to your
developer,
and continue
developer in
stages
for a little
from
now
;
quarter,
half,
weak
strengthen your three-quarter, to
normal, adding three drops of bromide per ounce
of de-
veloper at each stage, and continue development with this till
the desired depth of tone
obtained.
is
and control during development is and best method of producing a bromide
Slight over-exposure, at
once the In
print.
safest
my own
practice I invariably over-expose to the
extent of from 5 to 10 per cent,
from the
trial slips.
At the
"
on the estimation obtained stage " the
first
developer
is
increased to one-sixth normal with one drop of bromide,
then in stages as required up to the normal, with the addition of one drop of 10 per cent, bromide at each stage.
you can work your
regard to individuality print,
having
it
will
With
with the
completely under control.
Sponge development may be applied with equal
facility.
Exceptionally hard negatives and those which have been
under-exposed,
containing
great
contrasts,
may be
suc-
cessfully treated in the following way.
Obtain necessary
the to
correct
just
exposure
â&#x20AC;&#x201D;
that
through the
is,
the
highest
exposure
light
â&#x20AC;&#x201D; and
develop with a normal developer to the limit of reduction.
Having found three
or
four
this,
increase
times.
diluted from six to ten times
desired intensity.
judgment, but a perform
it
This at little
it
Develop till
first
for the
it
intended print by
a normal solution
with
has attained nearly the
will
entail
practice will soon
some
careful
enable one to
with accuracy.
Fix and wash the print, and then bleach and intensify as described under intensification.
By
this
means negatives used
for
process_may be equally well adapted
to
any other printing
bromide work.
In
BARNET BOOK OF PHOTOGRAPHY.
206
should be judged by reflected
this process prints
by transmitted
Combination Printing. fascinating
not
light,
light.
â&#x20AC;&#x201D; Here we have one
and necessary adjuncts
of the most
Now
to pictorial work.
with regard to the manipulation, combination printing in the bromide process
considerably more difficult than in
is
any printing-out process, but not by any means beyond the capabilities of the tiro, while at the bilities
same time the
possi-
with regard to effect and individuality are infinitely
greater than with any other form of photographic printing.
The
simplest form
carried out
development,
in
by a double exposure before
:
which case the exposure
termined beforehand
for
both land-
first,
;
or
by printing and developing the
and re-exposing the wet paper for the sky, need be
for the landscape only
which case the exposure
in
This may be
that of sky printing.
cloud or sky negative must be accurately de-
scape and
landscape
is
two ways
in
very accurate.
The
method
first
is
an extremely risky and uncertain
business altogether, and as after a very few efforts
up
in disgust, I
merits,
if it
The
gave
I
perhaps not competent to speak on
it
its
has any.
second method, on the
simple and It
am
efficient,
needing but a
contrary, little
extremely
is
care and patience.
must be remembered that bromide paper
application of the developer
and more so
in
becomes
after the
slightly less sensitive,
some
the presence of bromide, so that
allowance should be
made
for this if the print
is
exposed
several times. If the
that
go
it
depth of tone required in the landscape
may be developed right out
â&#x20AC;&#x201D; then the
printing
â&#x20AC;&#x201D; that
is,
and development of the sky
simple matter, being controllable at
is
as far as is
such
it
will
a very
will.
Ascertain the exposure for the landscape, and develop with a normal developer as far as
it
will
go
;
it
then rinse the
BROMIDE PRINTING. and allow
to drain
207
by standing the dish on end.
your sky negative in position, and
place
found make
if
Now
not already
exposures for the sky, and develop with a
trial
The wet but drained
normal developer.
now
is
placed in the proper position on the screen by holding
and allowing the bottom
carefully but firmly at the top, rest
on or touch the screen
it
to
the yellow glass in front
first,
of the lens enabling this operation to be performed with ease. If the previously
tenth
determined exposure be increased by a
The
should be quite sufficient for a second printing.
it
landscape portion of the
shaded in the usual way with a
print-is
piece of card held at such a distance from the print as to give a marginal line of diffusion about a quarter of an inch
deep
and
;
the horizon
if
must be roughly cut fit
it,
be very uneven the card
at the stated
During the exposure
print.
slowly lowered
till
distance from
card or shield
the
the sharp edge of the horizon
and then slowly
visible,
line
but smaller to such a degree as to
when held
the horizon line
the
to
raised
till
it
is
This
just disappears.
The
manipulation should be repeated several times.
is
distinctly
is
now redeveloped and controlled to obtain any desired Where the development of the landscape
effect in the sky.
has to be controlled for any desired
effect,
the sky
may be
developed with a brush or cotton wool, the print being verted
;
some
or, after
in-
technical skill has been attained, the
exposure and development adjusted to suit both printings.
In the case of compound work where landscape
added from another
negative, or figures
are to be included, the manipulation difficult.
I
have found that by
a contact print of curately cutting
it
the
blank space to be
out, lightly paste
filled in
considerably more
far the best
figure or
required position before the
is
first
plan
incident, it
is
make
to
after ac-
on the paper
exposure.
now
is
and
in the
This leaves a
the second printing.
from which the figure was cut
is
and other incidents
The
pasted on the glass
BARNET BOOK OF PHOTOGRAPHY.
2o8
such a manner as to
side of the corresponding negative, in
Place the wet developed print
leave only the figure visible.
on the screen
I
have made
gauge with
in the usual way, but in accurate
the projected figure or incident, and
make your
exposure.
eight printings on Barnet platino matt paper in
way when making up a landscape, without any de-
this
of the emulsion
terioration
rapidity
and
stability of
and
;
it
speaks
bromide paper when
well I
for
the
say that the
work only occupied three hours, and the whites remained perfectly pure.
shows a print from
Fig. ii
shows a combination photographed in
and other
my own
Fig. 12
original negative.
the figure of the
print,
The
house.
monk
being
excessive high lights
been manipulated
parts of the picture have also
during exposure. Variation of Perspective. perspective of a picture
is
possibility of altering the
a feature of considerable im-
Thus
portance in enlarging. the perspective
—The
is
in architectural work,
vertical at the time of the exposure,
inclining the screen
In
but
it
this
may be
it
on which the image
a position that the bottom of top.
it
corrected by
projected to such
nearer the lens than the
is
way any converging
is
lines will
be straightened, if
universal
no doubt
also see
generally involves the use of a smaller stop
definition
is
where
faulty owing to the plate not having been
required.
The worker
will
further advantages for pictorial purposes.
Fixing.
—The
better
;
it
may be
bath
fixing
as that used for negatives
of the
— the quicker
is
should preferably be of the acid variety.
seven minutes' immersion in such a bath following
same strength
the print
is
a good formula
fixed the
Five to
is sufficient.
:
Fixing Bath. Hyposulphite of soda
.
.
.
Sodium
.
.
.
.
.
.
.
.
sulphite
Citric acid
Water
.
1
lb.
.3 ounces f
,,
80
,
The
o .1
209
BROMIDE PRINTING. Dissolve the sodium sulphite and
citric
acid together,
and add to the water in which the hypo has been dissolved. After some use the activity of a fixing bath should be tested,
by immersing
in
it
one half of a
bromide paper, when the yellow
strip of
unexposed
emulsion should
tint of the
instantly disappear.
Prints should be transferred to the fixing bath without
previously rinsing in water.
inlet
J\ 1
outlet
f>
!
jb
,b
i
Fig. 13.
Washing. matter
if
â&#x20AC;&#x201D;The
washing of large prints
one has no special apparatus
very efficient
method
is
is
not an easy
A
for the purpose.
on
to support the print in the dish or
a drawing-board, placed at an angle in a bath or sink, and by means of a rubber tube attached to the tap gently squirt
water over the face and back of the print.
may be
perfectly freed from
hypo
In
way a
this
in fifteen minutes.
< Fig. 14.
A at a
very excellent apparatus for the purpose can be
moderate
made
This consists of a small narrow tank
cost.
with an overflow from the bottom. (See Figs. 13 and 14.)
The
tank
is
made
of
need not be more than
tin,
2
or
wood made
inches wide.
A
waterproot, and
rod a
is
sup-
ported on two ledges, and from this the paper c is suspended by clips b, and held down by small weights attached to clips at the bottom.
water is carried off
All
from the bottom.
hypo contaminated
Water entering
at a
BARNET BOOK OF PHOTOGRAPHY.
2IO
rate of a pint in half a If
any such vessel
may be made
with a piece of
will
wash a print
bend hanging
in
an hour.
pipe bent as shown in
compo
end being placed
Fig. 14, the long
short
minute
available as a makeshift, the overflow
is
The
outside.
in the vessel
and the
flow must be started by
suction.
INTENSIFICATION. Should there be a lack of depth of tone, or a
finished
print,
may be
it
intensity, in
by a process of
increased
intensification.
For
this
purpose
I
would strongly advise the worker
avoid any formula containing a following
is
one of the very
salt
Soak the print in water
for five
minutes and then im-
:
.... .... ......
Copper sulphate Potassium bromide Water
The
The
of mercury.
best.
merse in the following solution
200
grains.
200
,,
10 ounces.
Wash
print will bleach in about three minutes.
one or two minutes
to
in running water, or four
changes in
for still
water, then apply a 5 per cent, solution of nitric acid for a
minute or
Wash
so.
for
one or two minutes and redevelop with a semi-
normal developer
till
for fifteen minutes.
may be
the desired intensity If the intensification
is
attained.
Wash
is insufficient,
again bleached and re-intensified as often
the as
desired.
Greater intensification for
five
is
obtained
if
the print be exposed
minutes to daylight immediately
after
the nitric
acid bath. Still
greater intensification
may be secured
if
a 2\ per
cent, solution of nitrate of silver be used before the developer,
and the developer applied
after if necessary,
Care should be exercised
in using
the nitrate of silver
BROMIDE PRINTING. solution, as staining
is
very liable to occur
too great or an insufficient
Remember
the
that
211 if
the strength be
volume of solution be employed.
same control
by means of weak
development and bromide of potassium obtains here.
REDUCTION. be over-developed, or the intensity too great,
If a print
the process of reduction
experience that
may be
resorted
But
to.
it is
my
processes up to the present time are
all
anything but satisfactory, and their application should be
avoided
possible.
if
The
following
Ammonium
is
one of the best
persulphate
Water
Immerse
made
:
.
.
.
10 grains. i
ounce.
the print in the solution, which must be freshly
each time.
some time before the action commences, but this is indicated by the solution becoming milky, and from this It is
point the print must be carefully watched, and the dish
rocked continuously.
When
has been reached, the print
the desired degree of reduction is
instantly transferred
to
a
10 per cent, solution of sodium sulphite, which arrests further action.
Allow
then wash I
to
remain in
this solution for five
minutes and
for fifteen.
have found that reduction by any method interferes
with subsequent colour toning.
TONING. The
three
primary factors which combine to create
the precedence the bromide process has, or should have, over all others,
are
â&#x20AC;&#x201D; rapidity of production, variation of the range
of tone in black and white, and toning.
the possibilities of colour
BARNET BOOK OF PHOTOGRAPHY.
212
The
facility
with which the
be obtained renders fascinating.
this
many and
may
part of the process extremely
Colour may be obtained
substituting another
various tones
metal for the
in
silver,
two
waysâ&#x20AC;&#x201D; by
or forming an
amalgam. be regretted that the formation of an amalgam in some cases has a tendency to jeopardise the permanency of It is to
the tone,
if
not the image
itself;
and
it is
therefore advisable,
where possible, to secure the tone by substitution. In a paper read before the Royal Photographic Society,
December
1902, I gave a formula for the substitution of
platinum for the
silver,
tone, the beauty of
with the obtention of a fine sepia
which amply repaid
me
patient research in the endeavour to secure
The formula
is
as follows
Potassium chloroplatinite
:
for several years' it.
BROMIDE PRINTING.
The
may be changed
tone
but of greater intensity,
213
to its original black colour,
by immersing in the copper bleaching
and redeveloping.
solution for a few minutes
TONING WITH COPPER. The brown
of tones from purple
following will give a range
to cherry red
:
Copper sulphate, 10 per Potassium
citrate,
cent.
75 minims.
.
10 per cent.
.
r,ooo
,,
66
,,
Potassium ferricyanide, 10 percent.
Mix
the copper sulphate and potassium citrate together,
then add slowly, stirring the while, the potassium ferricyanide.
The
action
is fairly
Wash
rapid.
for half
an hour.
There are many and various other toning formulae colours, for
sulted
;
but
tones, in
for all
which the photographic Press should be con-
among some
which
I
bromide and from
of the most recent
is
one
for sepia
converted the silver image into it
silver
substituted silver sulphide.
Silver sulphide being as stable as the deposited silver of
the original image, the permanency of the print
The
process
sification,
2 per
is
as follows
:
â&#x20AC;&#x201D; Bleach
assured.
then after washing from the nitric acid apply a
cent,
solution
of sodium
sulphide.
stantaneous, and washing for ten minutes to
is
the print as for inten-
is
Toning
is
in-
only necessary
remove the excess of toning agent.
ENLARGED NEGATIVES. Where a number from one negative, or
of large prints have to be produced it is
another contact process,
desired to it
is
make a
often
large print
quicker and
by
more
economical to make an enlarged negative for the purpose.
Three paper, or
different
mediums
bromide paper.
are available
â&#x20AC;&#x201D;
glass, negative
Where economy
efficiency is a consideration, the negative
as
well
as
paper is preferable.
BARNET BOOK OF PHOTOGRAPHY.
214
There are two methods of carrying out the process by making a
positive,
â&#x20AC;&#x201D; one
by contact, from the negative
the
;
other by making an enlarged positive, and the negative by contact with that.
which
is
It
a much-disputed
is
the better way, but both have their
In the
first
as to contain
question as to
good
points.
method, the small positive must be so made the essential qualities for a perfect enlarged
all
negative, since
little
or no retouching can be
done on
remedied with
on the enlarged
facility
it,
may be
whereas by the second method any imperfections positive.
In both methods there are one or two points which must
be
rigidly
First, the
observed with regard to the projected image. source of illumination must be perfectly steady,
whether a condenser be employed or not, fluctuation, either in
for, if
there be any
the intensity or the projected rays, of
you
the light emanating from the lens,
will infallibly get
image
softening, or diffusion, in the lines of the glass plates are used, they
must
;
second,
be backed, otherwise
you
a if
will
get diffusion.
In making the small positive, the essential required are
full
detail,
and
thinness,
A
actual clear glass in the high lights. to those given for enlargements
the purpose.
may be used
is
clearness,
one of the best suited
for
Either lantern plates or slow ordinary plates for
may be stopped
making the
at
positive, but in either case they
any desired
Remember, when judging or negative by transmitted
the density, to view the positive
light.
slowly accumulates
although in manipulating bear in mind that he
and points which
is
that they
stage.
Obviously, a developer which produces detail density
without
developer similar
must be well under control during development, so
the
features
it
the
is
the
first
best one to
while use,
worker must constantly
reversing the usual order of things
call for observation.
The
usual depth
of tone and sparkle obtained in a lantern-slide
must be
A NEW BROMIDE PAPER
BARN E T Lustra. MaLtt NOTHING LIKE IT ON THE MARKET. A PAPER OF EXCEPTIONAL MERIT.
GOOD RANGE OF TONES.
J»
q BEAUTIFUL SURFACE. q REMARKABLE PURITY ->•• J* WHITES -^
IN
J»
J» J*
THE
J*
J* q LUMINOUS RICH BLACK SHADOWS GIVING A WEALTH OF DETAIL.
QUICK PRINTING: JUST THE RIGHT ** PAPER FOR CONTACT WORK.
NOTHING NEW TO LEARN WAY OF MANIPULATION.
IN
THE
**
**
ENLARGEMENTS IN
CARBON
ENLARGEMENTS IN
BROMIDE
TONED BROMIDES A
SPECIALITY
CARBON PRINTING DIRECT
BROMIDE PRINTING BY
CONTACT
ON BARNET TISSUES
AND BROMIDE PAPERS
BROMIDE PRINTING.
217
avoided here, since delicacy and the rendering of
all detail
contained in the small negative are of the highest importance
A
if
we would
consideration
get a perfect reproduction in the large one.
manipulation in contact printing
of the
would be of great service since
tive,
equally
all
in
in the
the chemical
character
the
altering
production of the small posi-
and physical conditions apply of
the
negative
if
desirable.
Fixing and washing are carried out as usual, and, dry, the positive
is
remembering that the film side must face the plate
used
is
The
for the large negative.
be supported
when
placed in the lantern in the usual way, light
if
a
large plate should
a printing frame, and focussing effected
in
by substituting a piece of white card
method of obtaining the acme of
Should
in its place.
there be any difficulty in focussing, the following definition
;
is
a good
â&#x20AC;&#x201D;Take
ordinary dry plate, and without exposing to light place in the fixing bath
till
all
leaving only the clear film
bromide
the silver ;
wash and
a fine-pointed hard pencil rule a
dry,
number
is
an it
dissolved,
and then with
of parallel
lines
both ways of the plate at about one-sixteenth of an inch
This plate
apart.
focussed,
after
is
placed in the lantern and accurately
which
the
positive
to
be
enlarged
is
substituted.
Now, is
if
a considerable amount of work in this direction
contemplated, with the use of plates for
image, the question of
trial
exposures
is
matter from the economical point of view, strongly
recommend workers
to
in order to facilitate the process this
end a comparison of the
the
enlarged
rather a serious
and
I
would
make a few experiments as much as possible, To
relative speeds of a certain
brand of bromide paper and a certain brand of plate should be
made
;
the paper should be as thin
and smooth
as possible, but should not have a glazed surface. then,
we may use bromide paper
for the trial
Here,
exposure
H
BARNET BOOK OF PHOTOGRAPHY.
2l8
for the plate to the
and reduce the exposure
As
ing degree.
a matter of
waxed,
paper oiled or desired
the form
in
being
there
unnecessary
totally
is
little
negative paper,
;
everything
giving
no
or
point of
and bromide
that
could be
negative for contact printing,
of a
of the grain of the
indication
The subsequent
paper.
correspond-
artistic
x8in. and upwards, the use of
view, for a negative ioin. plates
from an
fact,
operations
the
in
are
process
identical with those given for direct enlargements.
In the second method, an direct from the
original
by contact from
that.
for
of each
made
Although not quite so economical
feature in the facility with
executed, especially
is
and the negative made
method has a
inexperienced worker, this
the
value
enlarged positive
negative,
which any retouching may be
when paper or
pencil
great
used, as the effect and
is
brush stroke are immediately
seen.
bromide paper
If thin
is
used
the grain is so fine that there
eliminate
it
by
oiling or
for the enlarged negative,
no need to
really
is
waxing
;
however,
if,
it is
try
may be
increase the translucency, the following methods
employed
:
â&#x20AC;&#x201D;Take some castor
and apply
oil
warm
changing the blotting-paper so long as the print has tion
become uniformly
back of
to the
Place the print
the print with a piece of rag.
clean blotting-paper, and apply a
and
desired to
between
iron to the back, it
absorbs
translucent.
oil,
The
until
opera-
extremely easy, and any kind of bromide paper will
is
answer.
If
wax
is
then
preferred,
paraffin
wax may be
employed.
A pour
convenient way of using it
in the
it
is
to melt the
on a piece of ordinary paper,
wax and
or to dip the paper
molten wax, and then, placing the bromide print face
downwards on a clean piece of paper on
the back of
it;
paper and apply a hot
blotting-paper, put the
waxed
cover with a piece or two of blotting-
iron.
BROMIDE PRINTING.
219
CONTACT PRINTING. The
manipulations in the process of contact printing
with bromide paper are precisely similar to those given in enlarging,
with
perhaps a few modifications
There
and development.
in
exposure
one great advan-
however,
is,
tageous feature which this developing printing process has over other contact methods, rendering of the quality of the negative
â&#x20AC;&#x201D;that
almost independent
it
of variation
and con-
of the actinicity of the painting light.
trol
known
It is well
developed
that in ordinary silver printing a pyro-
negative
generally
yields
a finer
than
one which has been made with a non-staining developer.
The
reason of this
is
produced by the pyro which
is
simply that the slight restrains the
yellow stain
power of the blue
rays,
one of the primary colours, and the most active of
which white
light is
composed.
It follows,
then, that
if
a
negative developed with a non-staining developer be printed
behind a pale yellow produced. negative
same
Also,
glass,
practically the
inversely,
behind a pale-blue
conditions.
light will
and
if
we
glass
same
effect is
print a pyro-stained
we get
practically the
Again, a negative printed from in sun-
produce a much
printed in shade.
Now
flatter print than if it had been bromide contact printing by day-
by the rapidity of the paper, but the above and physical considerations may be applied to light, and practically they are as follows
light is prohibited
chemical artificial
A
;
dense negative should be printed quickly by a
of high actinicity,
and the
actinicity
may be
light
increased by the
interposition of a pale-blue glass.
A low
thin negative should be printed
actinicity,
and the
actinicity
slowly by a light of
may be
restrained by the
interposition of a pale-yellow glass.
Control over the scale of gradation
is
ing the distance between the printing light
obtained by vary-
and the negative
BARNET EOOK OF PHOTOGRAPHY.
220
To system
carry out the manipulations successfully,
method and
are essential.
To
this
apparatus
This
is
is
end,
of a printing board
the use
or similar
advisable.
simply a graduated board with a burner fixed at
one end and a movable support
for the printing-frame at
the other.
The
made
graduations are
value of the
light
at
at
standard distances, the
These
each point being known.
values are calculated from the law of the intensity of light
mentioned previously. values
up
to one- tenth,
As an example and as the
I
have given the
scale should not be less
Burner
Fig.
15.
â&#x20AC;&#x201D; Printing
than six feet the worker should
Boards
make
it
complete up to
whatever length he adopts. Printing should never be carried out with a naked flame,
but a diffuser of tissue paper, ground glass, or opal, should
be placed
in front of the
burner as shown.
The
scale may,
of course, be marked out on a table or similar convenient apparatus, but the burner, or source of illumination, should
be a fixed point.
Do
not expose at less than a distance of one foot, as
even with a diffuser there ing.
is
a danger of getting uneven light-
Experiments should be made with a certain negative to
ascertain the effect of varying the printing distance
use of blue and yellow glasses.
I
believe
and the
there
is
no
BROMIDE PRINTING.
221
better printing light than the incandescent mantle, effects
due
overcome by a case.
any
evil
to reduction of intensity from constant use being
This
made
exposure, which should be
trial
exposure
trial
is
carried out in
already described, except that the shield the frame, or there
is
the
any
in
manner
placed outside
is
a special printing-frame sold expressly
for the purpose.
â&#x20AC;&#x201D;
The same process for development as in may be employed, but when a large number of have to be made a more rapid method is advisable, but
Development. enlarging prints
an accurate determination of the exposure
The method
consists in using a large
is
very essential.
volume of developer
of normal or nearly normal strength,
and adding
time to time
up
necessary.
if
Prints
to
from
it
to whole-plate
size
should not be previously soaked, but pushed quickly under
volume being
the developer, the
allow of this
sufficient to
manipulation being carried out successfully.
If prints
have
to be controlled, or developed only to a certain degree, the
developer must be sufficiently weak to allow of their being
removed
any possibility of over-
to the fixing bath without
development.
Combination printing restricted
than
be carried out
in in
in contact
enlarging.
the
The
work
is
made
placed in the
is
printing frame with the film side facing the light,
"wet print " method be adopted the
may
this difference,
to take the place
Thus, the second negative
of the screen.
more
manipulations
same way, but with
that the glass side of the negative
rather
is
is
and
if
the
placed in contact
with the glass side of the negative.
Where
the "
way " of the image
side of the print
is
in contact with the glass
the paper side of the print must be used. slight diffusion
times, but
obviated.
if
the emulsion
will allow,
;
if
not, then
This involves
and the exposure increased by about
the negative be varnished
this
necessity
six is
BARNET BOOK OF PHOTOGRAPHY.
222
GASLIGHT PAPER. This paper, although not
speaking a Bromide
strictly
may be conveniently included here, as it is treated much the same way, with the two exceptions that its
paper, in
slowness
â&#x20AC;&#x201D;allows
â&#x20AC;&#x201D; which
ment should be Its
unless
slowness
which case the but
it is
is
possible
is
if
desired,
and
that develop-
rapid. its
may be that The scale of
it
blacks. It
about one-tenth that of rapid bromide
is
of daylight exposure
to
light
only advantage over bromide paper, the tiro
is
gradation
develop
is
enabled to obtain deeper rather shorter. in
it
subdued
gaslight,
in
should be at the back of the operator
decidedly better to develop
in
it
a
light
;
given by
an incandescent burner behind one thickness of Canary Fabric or Bookbinder's Cloth. Intensification, toning,
&c, may be
applied just as with
bromide paper.
The lated
is
ease and
facility
with which this paper
a very great feature
may be employed,
;
is
manipu-
almost any kind of negative
except very thin ones
;
these
do not give
quite such satisfactory prints as those, for instance, used for
"P.O.P." carbon and platinum. If a large
number
to use a fairly large
volume
of
made
it is
advisable
developer and push each
under the solution face up.
The quite
of prints are to be
strength of the developer
may be semi-normal
normal, and, as the latitude of exposure
is
great,
accurately-timed exposures are not so essential, as a ference of five per cent, in the time
or
dif-
makes no apparent
difference.
Transfer the prints direct from the developer to the fixing
bath,
which may be of the same strength as that
given for bromide paper, but care must be taken to get a
BROMIDE PRINTING. complete flow of the
223
fixing solution over the
Wash
Fixing occupies about five minutes.
print at
for
first.
one hour
in
running water and do not allow the print to stick together either during washing or any other operation.
SOME BROMIDE VARIETIES. and Bromide
Glossy Bromide
Cards.
â&#x20AC;&#x201D; Glossy
bromide
paper requires slightly different treatment to the ordinary. It is
not so amenable to weak development.
developer of normal or semi-normal strength
employed, and of
sufficient
volume
Either a
should be
to allow of the print
being pushed under the developer without previous soaking in water.
Streaks and markings very often appear during develop-
ment, but these are merely due to slight abrasions of the surface,
and are
rubbing with a methylated
easily
tuft of
be
left
at the
by
made on
â&#x20AC;&#x201D; This it
is
a very fine institution, inasmuch
require no mounting
;
thus,
if
a margin
round the image, or a border of some kind printed time of exposing the emulsion, a very effective and
finished print
The
is
obtained.
thickness and opacity of the card prevents any loss
of intensity in the image from translucency,
transparent depth
is
and an exquisite
thereby obtained.
Development may be carried out
way
spirit.
Card Bromide. as prints
removed from the dry
cotton-wool soaked with alcohol or
in precisely the
as with ordinary brands of paper, but
it
is
same
preferable
not to soak the prints before development.
Although
chiefly
used
equally effective, and material to manipulate Personally,
I
the is
for postcards,
large
prints
convenience of having a
are stiff
not to be underestimated.
prefer postcards of this kind to ordinary
gaslight cards, as the range of tones
is
infinitely greater.
2
BARNET BOOK OF PHOTOGRAPHY.
24
In conclusion,
I
would remind workers
prints should receive a final cleaning
a
tuft
of cotton wool
mounted, and, with a will
silk
soaked in alcohol
after this
if
that all
bromide
by rubbing them with after
they are
they are vigorously polished
handkerchief, using considerable pressure, they
take on a fine lustre without being glossy.
Lustra Matt.
— Since
the
new
above was written a
brand of Barnet bromide paper, called Lustra Matt, has
been introduced.
Personally, I cannot speak too highly
of this innovation, which
paper
manufacture.
surface
papers
is
Here,
— clogging
of
a great advance in bromide the great
deep
objection
shadows
—
liquidness of
shadow depth almost equal
" ordinary " brand. perfectly
retained,
cannot help saying that
it
being is
absolutely
want.
It is
no
get a
of the
surface gloss.
quite time such a paper
put before the photographic public, as felt
we
to that
At the same time the matt there
entirely
is
absent, and, with an apparently thick emulsion,
matt
to
it
is
I
was
has been a long-
manipulated in precisely the same manner
as other brands. C.
Winthrope Somerville.
225
Carbon Printing*
ARBON
printing
essentially
methods
from
the
describe
also
tions that
may
it
Strange
to
is,
it
any careful and
appear
the initial points are mastered,
and adaptable, as well
And
processes,
many first
initial
reasonable care
The
;
object
is
forbiddingly
difficult
and as soon
becomes the most
difficulties
There
is
are
as
flexible
less
than in
no reason why a
carbon should not result in
in
so
worker
most fascinating of printing
as the
the
other printing methods. essay
widely,
difficult.
worker
it
to
opera-
various
an extent, but certainly not systematic
pro-
used
ordinary
strange and
to
its
other
differ
the
to
so
in
terms
the
cesses,
being
different
fair
prints
if
exercised.
of this
article
is
mainly to describe the
working of the process in detail in such a manner that those unacquainted with all
carbon
printers, the
tive results
of
it
may, from these pages alone, derive
the information that they require to
the
addition,
causes
become
successful
of failure or defec-
being given, as well as the simple description
most it
probable
direct is
method of
hoped
that
ensuring
gleanings
experience in working the process
success.
In
from the author's
may be
useful to
H
many
2
BARNET BOOK OF PHOTOGRAPHY.
26
who have as
long passed the preliminary stages of the work,
methods of
they are original
desired,
departures from
arriving
the
at
result
that have ap-
ordinary practice
peared to be improvements when regarded from the point of view of the worker on a small scale.
Carbon prints
essentially the process for the
is
by
grapher, as
may be secured
equally, in tone
if
;
amateur photo-
variety in
the resulting
without any variation in working, or
number
desired, any
or colour
much
aid so
its
of prints absolutely identical
whether the colour desired be black,
brown, red, or even green or blue. consideration for the worker
And
who wishes
a most important his prints to
be as
and
effect
close as possible in their approach to the depth that he has determined upon,
determined
development
in
that the exact depth can be
is
when
in full daylight
there
further operation to modify the effect that has
There
duced.
is
is
no
been pro-
a fair latitude possible in development,
quite sufficient to cover the errors of exposure within the
of reasonable
limits
care
in
And
working.
before pro-
ceeding to the practical consideration of the work, attention
may be printing
called to the fact that carbon differs from
methods
manner
a
in
appreciate.
However
compensate
for error in
the print
that
all
most workers
may have
other will
to be treated to
exposure or to obtain any special
effect
by developing one portion more than another, the
colour
is
unaffected.
upon when the
It
remains the exact shade determined
sensitive paper
was placed
in the printing
frame.
Carbon
tissue, as the
paper bearing the gelatine film
is
may be purchased from the makers either sensitive insensitive. The inexperienced worker should obtain
called,
or
sensitive tissue, will
certainly
printing, this at first
it is
though as he becomes more advanced he
prefer
to
sensitise
course offering
so
tissue
many
as
required for
advantages.
But
necessary to reduce the chances of failure to the
THE MAJESTIC MAIN By
F.
J.
MORTIMER.
CARBON PRINTING. minimum, and
227
purchasing sensitive tissue the beginner
in
can ensure that his materials are in a condition that renders If he should fail, the reason is the finest result possible. not in his materials but in his working.
Carbon
simply of a
consists
tissue
supported on paper, similar
gelatine
some
the film in gelatine silver printing papers
the sensitive silver salt in the sensitive to light
latter,
;
respects to
but in place of
the former
is
rendered
by containing potassium bichromate
instead of being white like the silver paper
it
is
;
and
very dark,
surface appearance being that of the deepest
the actual
shadow of the
The
coloured
of
film
in
final print.
basis of the carbon process
is
the fact that gelatine
is rendered insoluble by potassium bichromate and subsequent exposure to light. In practice, a sheet of paper is
coated with a film of coloured gelatine which has been
rendered sensitive to the action of light by the addition of
under a nega-
potassium bichromate, and, after exposure tive,
those parts
on which the
light
dissolved away, leaving the image standing. it
sounds
terribly
clumsy and unpromising,
capable of the most delicate effects gradation,
combined with the
and
not acted
has
are
In a description in practice
it
is
perfect rendering of
and vigour,
greatest force
if
desired.
As mined added
gelatine in
is
colourless, the colour of the print
is
deter-
the manufacture of the tissue by the pigments
to the gelatine, the after treatment, development,
&c,
having no effect on this colour.
The tissue
is
only difference between sensitive and insensitive that the former has the sensitising salt incorporated
during manufacture in this
;
the latter
one respect, and
immersion
it
is
exactly similar excepting
has to be rendered sensitive by
in a sensitising bath before using.
Sensitive tissue will not keep in really for
more than seven
to
ten days,
good condition
insensitive
will
keep
BARNET BOOK OF PHOTOGRAPHY.
228 indefinitely
if
stored in a thoroughly dry room.
atmosphere
it
will rapidly deteriorate.
The
are
results
remains
The
permanent.
and manufacturers are
insoluble,
gelatine
and development
exposure
after
nent colours for tissue making.
and thoroughly toughened
In a
film
damp that
absolutely
is
careful to select perma-
With an unfading pigment
gelatine, a print
is
secured as
lasting as anything on a paper basis can possibly be.
The
tissues are
made
in a variety of colours, the follow-
ing being those most useful for pictorial work
A good
Engraving black.
:
pure black, similar in tone to
the black of a print from a steel plate, or closely resembling
platinotype
Warm
when developed
A
black.
in potassium oxalate.
warmer colour than the preceding, but This colour
inclining to a purple-black rather than brown. is
richest
used.
and most pleasing when a toned paper support
X.
^j~*~**ÂťjP*
A
deep brown, very similar
to the
which most etchings are printed.
This
Barnet brown.
warm brown colour, even
and
is
,
in
rich
more than the preceding,
when toned transfer paper is A pure warm brown, very Sepia. rich
the preceding, but
Warm
sepia.
Terra-cotta.
warmer
is
more pleasing
far
used. similar in character to
in tone.
Similar to the preceding, but
A
good
still
warmer.
brown, suitable
red, inclining to
for flower studies, portraits of children, &c.
Red
chalk.
A
good pleasing
character as red chalk
red,
not
crude in
so
itself.
Although green, blue, purple, and other colours are
made, they cannot be recommended
for pictorial purposes.
Transfer pap~r has been mentioned in speaking of these tissues.
It
forms the support of the finished
paper on which the film
is
print,
the
coated being removed during the
after treatment.
The
ordinary form of " single transfer
"
paper
is
a fine
CARBON PRINTING.
229
The prepared
white paper coated with insoluble gelatine. side
slightly glossy,
is
and
on
prints finished
this
dry with
rather glossy shadows, but the lighter shades practically matt.
In commencing carbon printing
some
cure
sensitive
photographic
and
tissue
sizes, in flat
necessary to pro-
is
it
sold
is
it
;
in
all
usual
the
packets of one dozen pieces each
also a packet of the corresponding size of single transfer
This paper must be
paper.
but sufficient allowance the paper
A
is
slightly larger
made by
some powdered alum and
should be prepared,
beyond
this
when
cut.
is
squeegee,
be required, but nothing
will
than the tissue,
the manufacturers
A
else.
one ounce
in
blotting paper
solution of
alum
a pint of water, but
no chemical solutions are required.
The alum
should be dissolved in boiling water, but the solution must be used cold.
The
negative should be strong and vigorous, stronger
than would give the best result in silver printing, and must
be prepared by receiving what a
"safe-edge."
This
is
is
called in carbon printing
some means
edges of the sensitive tissue from
of
light,
protecting
the
so that a margin
about an eighth of an inch wide prints white.
This
safe-
edge may be a piece of lantern-slide binding attached to the negative
on
either the glass or film side, or a
opaque paper may be negative
may be edged
of a ruling pen
overlap the print
mask
is is
in
laid
with opaque water-colour by means
and brush.
mask so
that
In any case the tissue must
its
edges are protected.
If a
being taken from a portion of a negative the cut the
only method
advantage that one mask
The carbon
tissue,
to
adopt.
This plan has the
may serve for several negatives. when received, appears most un-
promising material, resembling than
mask of
the printing frame, or the
artificial
photographic printing paper.
coated on a stout paper, so
it
leather-cloth
The
gelatine
may be handled
more
film is
freely with
BARNET BOOK OF PHOTOGRAPHY.
230 the
same precautions same as
the
that apply to other daylight printing
The frames should be
papers.
silver printing
for
filled in ;
subdued
daylight,
but extra care should be
taken not to expose the tissue to light more than necessary.
Any
degradation of the lighter work
slight
not
will
out
fix
as in silver.
The dark
side of the tissue should be placed in contact
with the film of the negative, taking care that the tissue so placed that
is
slightly overlaps the safe-edge all round,
it
and the exposure made
to daylight
same manner
the
in
as
for silver printing.
There
is
no
visible
have to be devised
must be to
adopt
for
image produced, consequently means gauging the extent to which printing
The most simple select a day when the
carried.
plan for the beginner
to
light is fairly uniform,
is
and taking
negative from which
the
desired, take a rough
Barnet P.O. P. it
If only a portion of the negative
must include some of the
paper until
its
appearance
finished print, not dark toning,
carbon print
the
is
from a portion on a piece of
is
just
enough
is
printed
Expose the
lightest work.
what
is
silver
desired in the
to allow for reduction in
and note how long a time
required to produce
is
this result.
Barnet carbon tissue and Barnet P.O. P. are approximately equal in rapidity, and this time
exposure for the carbon
desirable to expose black tissue slightly
warm brown
brown
is
is
latitude
the
fact that a
same depth of
one-sixth less than the time
time being the correct exposure is
it
than brown, and
or red.
best time of exposure
of the test print for black, and one-sixth
there
less
on account of the
black print always appears darker than
The
be the correct
or red slightly longer, not because of any actual
difference in speed but simply
printing in
will
In ordinary practice
print.
in
development,
more
for
the
for red, the test
brown.
more
Although careful
the
BAR NET PLATINO-MATT BROMIDE PAPER
AS
ITS
NAME
IMPLIES,
DESIGNED
IS
TO GIVE THE PRECISE EFFECT OF
A PLAT1NOTYPE
PRINT,
WITH THIS
ADVANTAGE. THAT BEING A RAPID BROMIDE OF SILVER EMULSION
CAN
BE
PRINTING
FOR
USED
OR
IT
CONTACT
ENLARGING
BY
^
>€
ARTIFICIAL LIGHT.
^e
BARNET Carbon Tissue SENSITIVE OR INSENSITIVE.
q
IN
**
<*
INCLUDING PHOTO-
ALL COLOURS,
PURPLE. STANDARD BROWN. ENGRAVING BLACK. SEPIA. RED CHALK. GREEN,
BLUE.
**
IN
BANDS OR CUT
«I
**
<* PIECES.
AND
«*
<*
**
**
EVERY REQUISITE FOR
CARBON
PRINTING
q SAMPLE PACKETS
AND HALF-PLATE BEGINNERS.
IN
BOTH
QUARTER-
PREPARED FOR
ARE
AND INCLUDE AN ASSORT-
MENT OF TISSUE AND ALL MATERIAL NECESSARY
DOUBLE
FOR
BOTH
TRANSFER.
SINGLE
WITH
BOOK
AND OF
INSTRUCTIONS.
BARNET*-?
JG1RB9MUSS0E
FOR PRICES SEE END OF
BOOK.
CARBON PRINTING.
233
attempt made to expose correctly, the more probable
be that the print a good
within the latitude possible
is
attempts,
it
method
this is
not
suggested
is
be recommended
to
for
disadvantage that a
made
is
every time a print
enough
fortunate
preferable.
prints
and developed
It will
be described
sufficiently
The
at once.
later.
exposed may be transferred
transfer
is
rendered necessary
whole of the surface of the
been rendered insoluble, while the soluble portion
remains at the back, and
from the back. ingly
it is
Transferring
simple operation that
difficulty to
therefore necessary to develop is,
however, such an exceed-
it
cannot be said to add any
carbon printing.
Pieces of transfer paper
â&#x20AC;&#x201D; one
for
each print
â&#x20AC;&#x201D; are soaked
in cold water for four or five minutes until quite limp it is
Print-
very simple in practice, and in every
is
when
work.
has to be
the worker be
required, unless
the fact that practically the
film has
test
to secure several very similar days.
ing by actinometer
The
preliminary
for ordinary
It possesses the distinct
by
it
result.
Although
way
will
for securing
a good precaution to mark
putting in water, as the inexperienced
determining which
is
the face
;
and
the backs in pencil before
may
when they
find difficulty in
are wet.
A second
dish should be filled with cold water, and one piece of transfer taken
from the dish in which
all
are
soaking and
placed in this face upwards, and a print put in the same dish face
downwards
â&#x20AC;&#x201D; the face of the print towards the face
of the transfer paper.
limp,
that
and
As soon
the print
as
is
sufficiently
the transfer paper are lifted out together
placed on a smooth hard surface, the transfer paper underneath,
and squeegeed
firmly into contact.
should not be used, but
fairly firm
It is better to
along the print.
Too much
force
strokes in each direction
use a squeegee sufficiently
long to cover the print, so that one stroke makes the operation uniform.
A
roller
squeegee
is
useless.
BARNET BOOK OF PHOTOGRAPHY.
234
The
prints
must be protected from daylight
are put into the water
tiveness to light,
may be
and
;
all
carried out
in
have
after this they
they
until
lost their sensi-
subsequent work, development, &c, This
daylight.
full
con-
assists
siderably in determining the extent to which they shall be
developed.
On
putting the print in water
first
though
curl with the sensitive side inwards,
curl
it
will
down
out to squeegee
it
If the
flat.
tendency
to
curl
slightest sign of flattening itself,
from
seconds
fifteen
to
on the dryness of the
stances must
it
as
as
it
is
squeegeeing into contact to
be placed
one
between
partially dry.
depending
minute,
Under no circum-
tissue.
satisfactorily.
done the
stout blotting paper,
for
or
limp to allow the
sufficiently
is
flat
from the water
it
be performed
as the squeegeeing
moderate pressure
it
shows the
it
be allowed to remain until thoroughly
soon
As soon
just before
is
Under ordinary immersing in water may
curling outwards, the best time to take
being
should
taken out.
conditions the time necessary for
entirely
it
very slight,
is
should be carefully watched, and as soon as
vary
If
uncurl again as the film absorbs water, and the
best time for lifting
becomes
tendency
this
vary according to the dryness of the print.
will
it
has a tendency to
it
about twelve to
prints
are to
and put under minutes to
fifteen
If several prints are dried together
they must
be separated by pieces of blotting paper.
They should on no account be this time,
as there
is
left
drying
much beyond
a very decided tendency to become
They should then be put in a dish of cold water, from which they may be taken one at a time as required for insoluble.
development. is
Soaking the prints
in cold water at this stage
a departure from the usual practice, but
it
allows the
worker to develop them singly without undue hurry.
If
several were left drying while others were developed, those
taken
last
would probably be so insoluble
that
good
results
CARBON PRINTING. would be almost an
235
The
impossibility.
cold water will not
injure the prints in any way, but greatly facilitate the subse-
That
quent development.
first
developed may have two or
three minutes' soaking only, that taken last half an hour or
more, but there will be no difference in the working or
final
result.
For development, hot water only
who work
Those
required.
is
the carbon process largely use a specially
deep dish or developing tank, resting on supports, a gas ring or
spirit
made
so that
lamp standing underneath keeps the For the occasional worker,
water at a uniform temperature.
however, an efficient substitute can be found in the usual
For small
household appliances.
bowl
will
prints
answer, provided
and
it
at least five inches
sizes,
any moderate sized
be nearly twice as long as the
deep
for larger work, a small
;
The
bath or similar appliance will answer well. to a shallow dish
objection
that the water cools so very rapidly
is
;
by
keeping a body of water four or five inches deep the tempera-
may be maintained at a moderately uniform point. The standard temperature for working is 105 degrees,
ture
and
if
regular
graphic
carbon printing
outfit,
as
to form
part of any amateur's
essential to success.
is
not available for preliminary
It
test.
the usual temperature for a
The beginner should one
print at a time,
the developing bowl
and is
If a
thermometer
the degree of
trials
must be gauged by the hand, though
more than a rough
to his photo-
ensures uniformity in working, which, in
it
carbon especially, is
is
work a thermometer should be added
it
warmth
difficult to give
is
should be somewhat hotter than
warm
bath.
not attempt to develop more than if
the temperature of the water in
correct
when
a print
is
commenced,
the slight falling off during development will not be of the slightest
consequence, unless the print be over-exposed,
when more hot water should be added. boiling water will
serve
to
raise
A
small kettle of
the temperature before
BARNET BOOK OF PHOTOGRAPHY.
236
commencing a
fresh
A
print.
that that has been used
is
;
however many prints
they will
it
still
emerge
bright,
may be
Prints of different colours
and unstained.
clean,
in
the discolouration of
:
unimportant
may have been developed
should be added to
little
that already in the developing bowl
developed in the same water
â&#x20AC;&#x201D;
has absolutely no staining
it
effect.
A
print should be taken
from the dish of cold water and
put into the developing bath, transfer paper downwards, and After a few seconds
kept beneath the surface of the water.
â&#x20AC;&#x201D;
according to the temperature and the
fifteen to forty,
condition of the tissueâ&#x20AC;&#x201D; the colour will be seen to ooze out
from the edges of the should be gently
be
left
a
little
If
corner of the backing paper
from the transfer paper, and
if it lifts
away, leaving the gelatine film on the
easily, gently pulled
transfer paper.
A
print.
lifted
does not come away easily
it
longer,
should
it
and a second attempt made from a
different corner.
The backing paper should be removed even movement, and, is
if
possible, without stopping
;
and
it
very important that the print should be kept beneath the
surface of the water during the operation.
paper should be thrown away, as
The
fluid, semi-jelly-like
seen
is
it
may be washed
Development
is
It
and the loosened its
though a passable
result
consists of a soft semigelatine.
But what
the back or fully soluble portion of the film,
the hot water.
that
it
The backing
absolutely worthless.
mass of coloured
this semi-fluid condition is
which
it is
print at this stage looks as
were a physical impossibility, as
is
with a steady
and
an indication of the ease with
away.
effected
should be
gelatine
by simply soaking the print lifted
and water allowed
progress can be seen
;
in
out from time to time, to run
but apart from this
it
off,
so
should
be kept below the surface of the water, and water made to Although flow gently over it by the motion of the hand.
CARBON PRINTING. the soluble portion of the film
is
237
so soft and easily removed,
the insoluble part forming the image
is fairly
tenacious,
and
with the treatment suggested there should be no risk of
When
injury. it
the print
lifted
is
may be supported on
some of the water flowed over drained, so that
The
again.
its
from the developing bath
hand or a piece of
the
it
or
;
glass,
and
may be simply
it
progress can be judged, and put back
gradually
picture will
become more
clearly
defined as the gelatine unaffected by light dissolves away,
and the operation should be continued sufficiently light,
when
until the print is
should be placed face downwards
it
any remaining solution
in a dish of cold water to rinse off
or gelatine.
An
alternative
downwards
method
is
to simply leave the print face
in the developing bath,
flow from the surface as
it is
when
the print will develop automatically.
from time to time and
A
its
the gelatine will
loosened by the hot water, and
can be examined
It
progress seen.
correctly exposed print should be developed in four
or five minutes.
Like
all
other photographic
prints,
it
appears rather
darker after drying than while wet, and allowance for this
must be made
in developing.
Although the image
by the
fingers or
it
for the advice given to is
tough to bear the hot
must on no account be touched
It is
very
soft,
and
it is
impossible
without removing some portion of the gelatine,
and so leaving a mark. there
it
by coming into contact with the edges of
the dish or other prints. to touch
sufficiently
is
treatment without injury,
practically
no
This
is
a sufficiently good reason
develop prints one at a time, when risk of injury if reasonable
care
is
exercised. It will
line
be recognised that there
is
no sharp dividing
between gelatine that has remained soluble and that
that has
been rendered insoluble, excepting on the surface
;
BARNET BOOK OF PHOTOGRAPHY.
238
in the thickness of the film
to the other.
one condition
the image could be dissolved
When one
print has
it
is
a gradual change from
Part of that remaining to form
away
if
been placed
required. in cold water to rinse,
the water in the developing bath should be raised to the initial
temperature again and a second print commenced, the
work being repeated
until all are finished.
In the meantime, the print
first
developed
is
given a second
change of water, and then placed in a dish containing some of the alum solution previously given.
using plenty of solution, several prints
With
and by
care,
may be put
one
in
dish together, but they must not be allowed to touch each
other while in the solution or in being removed. Prints should remain in the
alum solution
for
about
five
minutes, then be rinsed in three or four changes of water,
and hung up to
dry.
Small wooden clips form the most
convenient method, as they can be readily suspended from a
The
line.
prints
must be allowed to dry spontaneously,
and on no account must the surface be touched
until they
are perfectly dry. It
has been pointed out that
when the
exposed under a negative the action of the
film has
light has
been
been
render a certain part near the face practically insoluble,
to
and
that the condition does not change suddenly, but gradually
merges into perfect
solubility towards the back.
It
neces-
sarily follows that there is a certain part of the film that is
partially soluble only,
and instead
of dissolving rapidly like
the perfectly soluble back, will only dissolve by prolonged
treatment
;
and, consequently, long development will give a
lighter print than
shorter,
as
more of
this
semi-soluble
gelatine will be dissolved.
This
fact
slight over or
provides a very simple means of correcting
under exposure of the
print.
If the print has
been exposed too long a time in the frame and normal development would leave it somewhat dark, longer treatment
CARBON PRINTING. developing bath
in the
will so far
239
reduce
it
that
it
be
will
indistinguishable from one correctly exposed. If the
exposure has been too short the print should be
removed from the bath as quickly as possible and placed cold water.
Development should be continued
considerably
cooler than
usual
â&#x20AC;&#x201D;as
Should
of
temperature of
the
gelatine
the
the print
If
bility of
If
is
much it
may be
water
there
is
no
possi-
over-exposed, the longer development will
By
soften.
is
too great for the normal temperature
temperature, however,
raising the is
exercised,
It
and under
greater
ordinary circum-
not desirable to raise the temperature
is
beyond 120 or 125 degrees be resorted to when a
â&#x20AC;&#x201D; has
all
prove a sufficient remedy and ensure
stances this should prints.
soon arrives when the
sufficiently, as a point
solvent power
example
the
sufficiently light.
much under-exposed
degree of insolubility
good
is
sufficient
obtaining a satisfactory result.
it is
not reduce
to
remove
this fail to
gradually raised until the print
as will
cool, in fact,
produce any action.
in
water
in
at most,
and
lesser degree of
this
should only
warmth
â&#x20AC;&#x201D; 115,
for
failed.
Development may be prolonged even but the risk of injury to the print
is
in this hot water,
considerably increased.
This description has been kept as simple in character as possible
in
order to enable those
printing to carry their
first
commencing
carbon
prints through the various stages
successfully without the necessity of having to study
more
than those points absolutely essential for preliminary work.
In order to become thoroughly familiar with the carbon process, however,
and derive the
full
advantage of
attractive features in their ordinary work,
to give
much more
it
will
its
many
be necessary
detailed attention to the various opera-
tions already described, as well as to others that are equally
necessary
if
anything
elementary work
is
more than
attempted.
the
most simple
and
BARNET BOOK OF PHOTOGRAPHY.
240
Although there are no special
difficulties to
overcome,
and nothing to render carbon printing beyond the powers
made
of
so simple and easy that there
is
of any careful worker, yet the mistake must not be
assuming that the work
is
However simple any process
practically nothing to learn.
may
be,
it
and
requires learning by experience,
it is
only by
careful attention to detail at every stage that success can
may
In the most simple work failure
assured.
be
easily result
from want of acquaintance with essential points or want of care in working details.
To this
a greater extent than in most other processes does
The absence
apply to carbon.
any
of
delicate nature of the
and the extremely
visible
image
film during de-
velopment render thoroughly systematic and careful work
But assuming the capa-
absolutely necessary throughout. bility
working
of
to detail,
attention
and
systematically
there
is
of
giving
careful
no reason why any amateur
photographer should not adopt the process that gives more perfect satisfaction as a
The
than any other.
means
of printing from negatives
variety of effect
combined with richness and
delicacy,
and colour
is
possible,
unsurpassed.
DEFECTS. The
defects
and
already described
and a knowledge of
may
in
the work
â&#x20AC;&#x201D; are
not many,
their cause will enable the
worker to
failures that
â&#x20AC;&#x201D; single
arise
transfer printing
take precautions to prevent their occurring.
Should the backing paper refuse to the print has remained a minute or dish,
it
indicates
that
the
tissue
This may be due to keeping
it
strip off easily after
more
in the developing
has become insoluble.
too long before printing,
or keeping prints too long before development, or by overprinting. facilitates
The
cold water bath advised before development
removal of the backing paper, and also prevents
another cause of insolubility from arising, keeping prints
CARBON PRINTING.
24
drying too long after squeegeeing to the backing paper. the tissue
good condition and the
in
is
If
prints not over-
exposed, from fifteen to thirty seconds should be sufficient
time for the hot water to render the removal of the backing
And
paper easy.
it
is
remove
desirable to
it
as soon as
possible after immersing the print, but force should never be
used.
When
difficulty arises
in
hotter water should be tried for this will not
;
removing the backing paper, the degree of heat necessary
be too great for developing, as
partial insolubility of the gelatine right
indicates
it
through the
In extreme cases the gelatine film
may
film.
peel off the
transfer paper instead of the backing paper leaving the film.
This can only be caused by the tissue having become thoroughly insoluble and useless.
The
use of the safe-edge will be readily recognised from
this description.
on by
light is
By
be perfectly soluble
margin
will,
its
aid a thin strip of tissue unacted
preserved as a margin to the print, which will if
the tissue
is
in
good condition.
of necessity, be the most soluble portion of the
film,
and consequently, the backing paper
itself
from the transfer paper
the film with
it.
of the backing paper would be impossible
solubility of
loosen
can be
it
risk of bringing
Without the safe-edge successful removal
shadow formed the margin
it
will readily
at the edges, so that
and pulled away without any
easily lifted
induce
This
;
wherever a dark
of the print, the small degree of
any portion of the film
to cling to the backing
at
that point
paper and loosen
would
its
hold
to the transfer.
STORAGE OF TISSUE AND PRINTS. Sensitive tissue must be deteriorate even It
more
kept very carefully, or
it
will
rapidly than the time previously given.
should be kept in the wrapping paper or envelope in
which
it
is
packed by the makers, or
else in
waxed paper,
BARNET BOOK OF PHOTOGRAPHY.
242
and placed under moderate pressure but
desirable to use
is
it
If prints are not
it
in a printing frame,
within seven or eight days.
developed as soon as they are taken
from the frames they may be kept in a similar manner to the tissue, or in a calcium tube similar to that used for storing platinotype paper.
placed in a tube
If they are
they should be rolled film inwards.
CONTINUATING ACTION. There
a curious property in the carbon process in
is
unique among ordinary printing methods, and
which
it
that
that a print after exposure to light continues gaining
is
is
depth even
in
tinuatini:
This con-
kept in absolute darkness.
if
action
is
almost stopped by keeping the prints
under pressure as advised, and
entirely arrested
it is
them
preferable plan of storing
in
by the
an absolutely dry atmo-
sphere, such as that of a calcium tube.
Prints
may then be
kept for several hours between printing and development without the slightest loss of quality; or in extreme cases
two or three days.
for
If
kept more than a few hours the
extreme dryness renders them very handle
;
brittle
and
difficult to
tube some time
they should be taken from the
before required and allowed to absorb moisture from the air
â&#x20AC;&#x201D;
in darkness, of course.
Prints that have
manner require longer time
this
become dry in
in the cold water before
they are in condition for squeegeeing to the transfer paper.
In the case of prints being taken from the frames before they are sufficiently exposed, advantage this continuating action air,
fully
in
darkness,
exposed.
when they may become
is
taken of
similar to those
Although expert printers find
advantage in bad weather when printing it
may be
by leaving them exposed to the
is
this quality
slow and
so uncertain and beyond control that at the best
should worker.
be
avoided as too unreliable for
the
an
difficult, it
ordinary
CARBON PRINTING.
BLISTERS Two
other
blistering, the
defects
AND
that
243
FRILLING.
may occur
are
former being the film leaving
and
frilling
its
support at
the edges during development, the latter a similar result,
but in circular patches in any part of the picture.
The most
usual cause
principally through
transfer paper
holds to the
film
prolonged development, as the
is
the
being so coated with insoluble gelatine that water
latter
cannot penetrate from the back to loosen the
With
film.
long development or very hot water the gelatine coating
may
fail
to resist the penetrating action,
and the
film
fail
to hold in consequence.
There are several contributory causes, however, and these
may make a
print blister or
ment, while without them
with normal treat-
frill
might withstand any reasonable
it
degree of development. Careless handling of the print during development
bend the
transfer paper in places
Wherever such a break or sharp bend occurs,
coating.
blisters are
almost certain to appear.
Imprisonment of
when
squeegeeing
blisters
may
and so break the surface
air
between the
into
For
during development.
which they are immersed
for
film
may
contact
and
transfer paper
frequently
cause
this reason the water in
transferring should not
be
drawn from a tap immediately before required, but allowed to stand
first.
The method is
also
paper
very are
of
bringing
important.
ticable
method.
on account
tive plan is to lay
and
and
tissue
in small sizes
In large work
into
surfaces
the
brought together under water,
blistering should not exist, satisfactory
the
If
it
is
contact transfer
this
cause of
it is
the most
not always prac-
of difficulty in handling,
but an alterna-
the transfer paper face upwards on the
squeegeeing board, well flood
it
with water,
lift
the limp
BARNET BOOK OF PHOTOGRAPHY.
244 tissue
from the water in which
downwards on the
it
is
soaking, place
and squeegee
transfer paper,
face
it
into contact.
If the tissue is allowed to soak too long before squee-
geeing into contact there the transfer paper either
is
a very great risk of
when
its
the backing paper
leaving
is
being
removed, or in the form of frilling during development. should be squeegeed down
before
it
becomes quite
It
fiat.
THE ALUM BATH. The alum bath used after development The first is the removal of a slight
serves
due
to the
bichromate in the paper.
With a
to remove,
and there
thin transfer
should be very
moderate development there
paper and
slight yellowness
two
yellow stain
purposes.
this
is
difference
silver printing in this respect, that in
between carbon and
carbon any stain due to incomplete removal of the sensitising salt is
removed
seen at the time of development, and can be If not visible then
easily.
The
afterwards.
it
until all yellow stains
never appear
will
print should be kept in the
have disappeared, or
alum solution
in
any case not
less than four or five minutes.
The second purpose
the hardening of those semi-
is
soluble portions of the film which have been allowed to
remain to form the image, and which have now become the face of the film,
and four or
sufficient for this.
five
minutes
in the solution
After drying the surface
is
is
reasonably
hard.
PRINTING BY ACTINOMETER. The method for
suggested in the early part of this article
gauging the exposure
quite
impracticable
actinometer
is
for
for
preliminary prints would be
general
work.
very simple in practice,
be exposed correctly with the
The use of an
and allows
minimum
of
prints to
trouble.
In
CAREON PRINTING. fact,
when a number of frames
found
245
are in use together
it
will
be
troublesome to refer to the actinometer from
less
time to time and take in each frame as the exposure necessary for that particular negative
given, than to adopt the
is
more usual method of frequently examining each Actinometers of different types are but making one
is
printing frame thin
print.
commerce,
such an exceedingly simple matter that
probably most workers
The most
articles of
simple
will
adopt
method
this plan.
to take
is
and a piece of plain
quarter-plate
a
glass to
fit
it.
Some
white tissue or similar paper as free from grain
possible will be required,
the size of the glass.
and
six or
as
seven pieces should be cut
Other pieces should be cut the
full
length of the glass, but one being half an inch narrower, others a quarter of an inch less than the preceding in each
case until the width of the glass
shown
in the diagram,
all
is
covered in the manner
the widths being a quarter of an
inch excepting the outside
strips,
which are half an inch.
All these should be attached to the glass
by the
and
to
starch, paste, or other colourless adhesive,
glass
each other
and outside
ten thicknesses of the same paper should
be
attached at each end, extending from the end to the dotted line only, a
second piece of glass being used outside these
BARNET BOOK OF PHOTOGRAPHY.
246
Strips of thin
as a protection.
opaque paper across the
tissue paper where shown shaded complete the apparatus. The glasses and paper may be held together by strips of
paper or lantern-slide binding.
In use, a piece of P.O.P.
is
placed in the frame, and
to light the various thicknesses of tissue paper,
on exposure
acting as a negative consisting of squares absolutely regular in
their increase
of density, print squares on the P.O. P.,
the strips of opaque paper preserving the purity of the whites, and allowing the images of the squares to be more
be
an image of the thinnest square
First
readily seen.
and longer exposure
faintly visible,
will
will
cause similar
images of the other squares to appear in turn, the register for the correct exposure of any negative being the highest square that
faintly visible
is
when
that negative
is
correctly
exposed.
The
end of the actinometer are to
extra strips at each
obtain an extra set of squares following those given by the
attached to the
strips of
paper
the line
marked corresponding
A
lines A.
first
glass,
the
first
square of
in opacity to the last of the
reference letter or
number marked on each
square facilitates reference while printing. using an actinometer of this same make and kind of P.O.P. should
It is absolutely essential in
character that the
always be used for
it
and
for
making
test prints
from the
negatives, as different makers' silver papers are not equal in rapidity.
In order to obtain the correct number on the actinometer scale for a carbon print from any negative, a rough print of that negative or from a part of it should be taken
on
silver paper,
same time
and the actinometer put out
as this negative,
the appearance in finished,
reference
as
its
lighter tones that
described
should be
and when the
previously
made
to
the
it
for
to print at the
silver print has
should have when preliminary
trials,
actinometer and
the
CARBON PRINTING.
247
highest square visible registered as the printing
number
for
that negative.
Several
prints
test
may be exposed
actinometer being examined as each
When printing
in carbon, the tissue is put in the frames,
number
the reference
for
each negative noted, and the
nometer put out with them, and by examining
may be brought
to time each print
square corresponding to
it
becomes
be the correct one
for
from time
visible.
brown
tissue
less,
and red
one number
it
acti-
as the actinometer
in
The exposure number obtained from printed
the
together,
is finished.
;
the test print will
black prints should be or
warm brown one
more.
Although
method
this
will give
results, the difference in character will
approximately correct
between
silver
and carbon
sometimes make a different number desirable to obtain
the best effect, but
obtained trial,
will
and
it
difference
in almost all cases the exposure
enable a
fair print
be obtained at the
so
first
should be so near the best exposure that the
can be gauged from the
number noted
for
all
future
marked on the negative or later prints
to
work
print,
first
and the
This number being
in a notebook, will ensure
all
from that negative being correctly exposed.
Should any negative require shielding during part of the exposure, to hold back the printing of any portion, the
number on
the actinometer at which the shield should be
placed in position can be noted in the same manner.
Any number
of frames
may be put out
aid of the one actinometer, provided that together.
all
it
in duplicate.
is
The
object of this
that apiece of P.O.P. the full size of the glass
and a
thin
by the
are put out
be seen by referring to the diagram of the
It will
actinometer that
to print
opaque paper inserted
P.O.P. to prevent
it
from
in
printing.
one half
may be
is
used,
in front of the
If the actinometer
is
being used for several prints and some are printing very
BARNET BOOK OF PHOTOGRAPHY.
248
may be commenced,
slowly, a second set of prints
opaque paper withdrawn
the actinometer read from the second
the thin
put out, and
at the time these are half.
DRAWING AND ETCHING PAPERS FOR SINGLE TRANSFER. and
White
toned
drawing
and
etching
papers
of
smooth and rough surfaces are obtainable prepared for receiving prints by single transfer, in the same manner as previously described for the thin ordinary single
transfer
paper.
There are
slight differences
in working,
and
extra pre-
cautions are necessary to avoid failures and defects, their use involves
no
special difficulty.
In order to retain the
effect of the surface of the
in the finished print, the gelatine coating
kept so
much on
Should any is
the surface as in the
difficulty
but
is
thin,
paper
and not
ordinary paper.
be experienced in determining which
the prepared surface, the paper should be held obliquely
to the light,
and the prepared
glossy, while the
back
will
face will appear very slightly
be absolutely
dull.
Prints finished on these papers will have just sufficient
glaze in the all
shadows
to assist detail
and give depth, while
the lighter tones remain perfectly matt
;
and they
retain
the texture of the paper admirably.
Much
longer soaking of these papers
is
necessary before
squeegeeing the exposed prints into contact, from forty-five
fifteen to
minutes according to the thickness and roughness
of the paper, but longer will not injure
them nor
affect the
after working.
In squeegeeing, greater pressure must be used than
is
necessary with the thin smooth papers in order to ensure that the tissue shall be
throughout.
in
good contact with the paper
GULLS. By
JOHN
C.
DOUGLAS.
CARBON PRINTING. In developing, the operation
care
to
is
and
blisters
more probable
are
if
prolonged, and, speaking generally, greater
required.
is
In the alum bath
much
remove the yellow
stain
allowed
it
;
will
single
with
transfer
necessary in order
is
With very
not injure the prints.
Any worker may
prepare drawing or similar paper for very
A
trouble.
little
solution
of
be made, containing an ounce of good
should
gelatine
longer time
from the bichromate.
twenty to thirty minutes should be
from
papers
thick
frilling
249
The
colourless hard gelatine in a pint of water.
gelatine
should be soaked in cold water for about an hour, the water drained
off,
and
sufficient
of solution.
pint
added
boiling water
operation of coating the paper.
As soon
perfectly dissolved, twenty grains of
a
during the
as the gelatine
is
chrome alum dissolved
in two ounces of hot water should be added, a
Only
time, with frequent stirring or shaking.
coating to the paper, the addition being
at a
little
sufficient of
chrome alum added
the gelatine should have
make
to
This should be kept hot
to give
made
one
for subse-
A
quent coatings when they are to be applied.
pint of
solution should be sufficient for one coating for five sheets
of drawing paper, Imperial
The
size.
solution should be applied with a sponge or
flat
camel-hair brush, and care taken to give a thin and even the
coating,
direction
across
at
sponge
or
brush being
right
angles.
When
second should be given, keeping free is
taken in one
the it
first
like the
coating first,
from streaks or uneven patches as possible.
thinner,
and as
If difficulty it
may be
and three coatings given instead of two.
an alternative method, the
same manner with plain
chrome alum
dry a
is
thin,
experienced in applying this gelatine solution,
made as
first
over the entire surface of the paper, and then
;
paper may be prepared
gelatine, without the
Or, in the
addition of
and, after drying and cutting up, the pieces J
BARNET BOOK OF PHOTOGRAPHY.
250
chrome alum, ten
in a solution of
may be immersed
grains
to each ounce of water, and rinsed in three or four changes
This paper
of water and dried.
will
keep
indefinitely.
DOUBLE TRANSFER. So
far the
method of working considered has been
that
called single transfer, from the fact that the film of gelatine
forming the picture
is
transferred from the paper
it is
support of the
disadvantage that the picture
importance in many
in
For those subjects a second transfer
For
this
is
transfer paper while
is
little
its
which
it
essential
is
correct relation of right
that
the
and
left,
necessary.
it
it is
permanent basis
in the
same manner
wet, but allow
after
it
as the single
to be re-transferred
development and drying.
simple method of working
The most what
reversed, a matter of
purpose the print must be developed on a
support that shall hold
its
is
subjects, but very serious in others.
picture should appear in
to
on which
new paper basis which forms the final This method of working involves the print.
prepared to a
is
by means of
called " flexible temporary support," a paper very
similar in general character to ordinary single transfer, but
very
much
thicker
and more heavily coated.
two or three hours before using, the surface by rubbing over some waxing solution prepared must be
At
least
specially
the
made
for this purpose.
temporary
supports,
It is readily
procured with
most
photographic
and,
like
preparations that are only used in small quantities,
troublesome and costly to prepare than to buy. A poured on the face of the temporary support the
â&#x20AC;&#x201D;
glossy surface
â&#x20AC;&#x201D;and
more
little is
slightly
rubbed over the entire surface with a
small piece of soft non-fluffy fabric.
A
second piece should
be used to take off any excess, and ensure that the preparation is even and uniform, each piece being rubbed gently
CARBON PRINTING.
25
over the surface with a circular movement. the solution should be sufficient to
application.
render It
it
Very
of
little
on the temporary support, but
left
slightly
more
glossy than before the
should be freely exposed to the
air for
two
or three hours to enable the solvents of the wax to evaporate
and leave an exceedingly After waxing
surface.
thin coating of
may be kept
it
wax only on the
indefinitely before
using.
In working,
this
temporary support
same manner as ordinary has no tendency to leave
it
is
used in exactly the
transfer paper
single
be handled with the same freedom.
it
may
Considerably longer
time should be allowed in the alum bath than
is
necessary
temporary support holds
for ordinary single transfer, as the
the bichromate stain rather tenaciously.
minutes should be
the print
:
during development, and
Twenty
to thirty
sufficient.
After taking the prints from the alum bath they should
be rinsed in three or four changes of water and allowed to dry before the second transfer
on no account be
hurried,
is
and
attempted. if
Drying should
the prints are not to be
transferred as soon as dry, the drying should be as slow as If the prints are dried rapidly in a
possible.
there
is
warm room,
considerable risk of their leaving the temporary
support spontaneously.
For the second transfer a specially-prepared paper required, sold as " final support."
It is
is
a fine white paper
of smooth surface with a thick coating of soft gelatine.
When
it is
required to finally transfer the prints, pieces
of final support are taken slightly larger than the prints but
smaller than the temporary supports,
water for about half an hour.
The
supports are then soaked in water
warm
with advantage
â&#x20AC;&#x201D;
minutes, and then one
until
is
the squeegeeing board, as
and soaked
prints
in cold
on the temporary
â&#x20AC;&#x201D; which
may be
slightly
thoroughly limp, about
five
taken and laid face upwards on
much
water as practicable being
BARNET BOOK OF PHOTOGRAPHY.
252 drained
A
off.
eighty degrees
and
soft
piece of final support
for a
yielding.
and
â&#x20AC;&#x201D;
It
hung up
taken from the
about
few seconds, until the surface becomes is
then laid face downwards on the
firmly, but without
contact and
is
â&#x20AC;&#x201D;temperature
warm
water and immersed in
cold
much
squeegeed into
force,
When
to dry.
perfectly dry
may be
it
readily stripped from the temporary support, bringing the
image firmly attached to
and pulling the two
knife
by raising one corner with a
it,
No
apart.
part of the image
should remain on the temporary support, which should be
The temporary
quite clean.
and
is
support should be re-waxed,
A
ready for use again.
large
number
may be
of prints
developed in succession on one piece of temporary support. It
must be re-waxed every time.
The
on
surface of a print developed
support
is
very
similar
that
to
of
flexible
an
temporary
ordinary
single
transfer.
DEFECTS IN DOUBLE TRANSFER. During development the mentioned
failures
and defects previously
connection with single transfer
in
probable when the tissue
is
are
more
on the temporary support, as
in
addition to the causes given there are others.
The most probable in
good
frequently
will
carefully fail
it
is
that the temporary support
is
not
After using several times the surface
condition.
become more
may have been
or less dirty, and,
however
treated with the waxing solution,
to hold the print sufficiently.
The temporary
support
must never be washed, the remedy would be worse than the state
it
was intended to
rectify.
It
should be carefully
cleaned with turpentine and re-waxed.
work
satisfactorily,
substituted.
may
it
If
it
still
fails
to
should be discarded and a new piece
After using
a
number
of times, the coating
frequently be injured, and then satisfactory working
CARBON PRINTING. is
to
impossible.
If the cleaning
occasionally
before
may be kept
in
with turpentine
good condition
Using a support too soon
for a
after
out.
It is
much
support
longer time.
waxing
will inevitably
though the support were
a good plan to wax
prints are taken off
resorted
is
temporary
re-waxing, the
result in blistering or frilling, as
worn
253
all
and put them away
supports
box
in a
when
the
for future
use.
Failure of the print to strip from the temporary support
may have been may hold the film too tenaciously. Or the final support may have been soaked too long in warm water and lost too much of its soft coating, and insufficient may remain to hold the film. If it is not allowed to remain in the warm water sufficiently long it may be due
to several causes.
The
support
imperfectly waxed, and, consequently,
fails
it
by bright
to adhere, but this is generally seen
lines
appearing on the print where a deep shade abruptly changes
The
to a light tone.
gelatine coating of the final support
must be thoroughly softened, but not so much as
come
to
away on being touched. Rigid temporary supports are sometimes used for double consisting
transfer,
produce prints with gloss resulting
They
are
supports
of a"
finely -ground
â&#x20AC;&#x201D; waxing,
They
glass.
matt surface in place of the slight
from the use of the
used in
opal
all
respects
flexible
similarly
paper supports. the
to
developing, aluming, and
flexible
drying
â&#x20AC;&#x201D; but
they are rather more troublesome, as they do not hold the film so well, especially in
prolonged development.
Recently two new papers have been introduced for
final
supports for double transfer, a fine grain white and a similar
paper toned. final
These are used
in the
support previously described,
same manner excepting
that
as the it
is
absolutely essential that the flexible temporary support be
employed.
The
fine grain of the
paper
the final appearance of the print, and
is
well preserved in
it
is
an agreeable
BARNET BOOK OF PHOTOGRAPHY.
254
change from the perfect smoothness of the usual
The toned
support.
variety
is
final
some
specially useful for
colours.
PRINTS ON OPAL, SINGLE TRANSFER. may be developed on
Prints
the
method being
transfer
on
exactly the
no
paper,
by single
opal
same as
preparation
transfer,
for ordinary single
of
the
being
opal
necessary.
Very finely-ground opal
must be used, a
glass
suitable
kind being supplied by the manufacturers of carbon tissue
and
As
materials.
in using opal glass for
double
transfer,
the ground surface must be used.
DOUBLE TRANSFER PRINTS ON DRAWINGPAPER. As
many
there are
subjects for which double transfer
is
a necessity on account of the reversal of the picture being inadmissible,
it
has been
felt
an objection that so
to be
little
choice of paper as a permanent support existed in the case of double transfer
â&#x20AC;&#x201D; until recently only plain smooth white
in contrast to the variety of tone
and texture available
for
single.
The
fine grain white
and toned
final
supports previously
mentioned form a considerable improvement, and workers
will
desire the
probably
same
for
many
For those who
variety as in single transfer, however,
are prepared to take a
method
requirements.
fulfil all
little
extra trouble, the following
of obtaining prints by double transfer
of paper, which has been
and
successfully
on any kind
employed
in
the
author's practice during the last three or four years, will
probably appeal, as
it
gives the opportunity of obtaining a
much greater variety than by using commercial supports. The paper must be prepared by giving it three or four
CARBON PRINTING.
25$
coatings of a solution of gelatine, one ounce in thirty ounces
of water, in a similar manner to that described for preparing
paper for single transfer
but a thicker preparation
;
is
neces-
sary, and no chrome alum or other hardening substance
should be used.
No.
Nelson's
gelatine
1
most
the
is
The
though other kinds may be substituted.
suitable,
prepared paper
keep
will
A
indefinitely.
pint of gelatine
solution should be sufficient for giving one coating to five or six sheets of imperial size drawing-paper.
The
prints
support,
must be developed on
and dried before
transferring, the
temporary
flexible
whole working up
to the time of transferring being exactly similar to the ordinary
double
transfer.
When be made
ready for transferring, a solution of gelatine must
â&#x20AC;&#x201D;half an ounce
seven or eight of water
to
the prints thoroughly re-wetted
â&#x20AC;&#x201D;and
and the drawing-paper
final
The warm water
support also soaked in cold water for a few minutes. prints
may
for a
few minutes, but only cold must be used for the
with advantage be immersed in
drawing-paper, tine.
on account of the
Nelson's No.
gelatine
1
transferring solution,
quantity of gelatine
the best to use for the
is
may be adopted
and the
heat in the water that
it
its
is
gelatine dissolved
mixing.
original volume.
It
drained off as
by the aid of
The
has absorbed only.
measured and diluted by adding hot water three times
for
taken and soaked in cold water for
ten minutes or more, and then the water closely as possible,
of the gela-
and instead of weighing out small
quantities the following plan
A
is
solubility
until
solution
it
is
measures
must be kept as hot as
possible.
A
on the temporary support
carefully blotted to
as possible,
and
remove
laid
as
taken from the water,
of the adherent water
on the squeegeeing board, a piece of
the prepared drawing-paper taken
some
is
much
and
similarly blotted off,
of the hot gelatine solution poured
on
to the centre of
BARNET BOOK OF PHOTOGRAPHY.
256
the print and rapidly spread over
its
entire surface, care
being taken to avoid air-bubbles or uncovered patches, the
drawing-paper laid face
At
contact.
least half
down and
firmly squeegeed into
an ounce of gelatine solution must be
allowed for a whole -plate print.
When
dry the print
may be
stripped from the temporary
support in the usual manner, and retains the texture of the
paper admirably. tion of the paper
It is necessary that the gelatine prepara-
and
that uniting the print with the paper
should be hardened, and for this purpose the prints should
be immersed
in a solution of formaline
twelve of water
The
dried.
â&#x20AC;&#x201D; rinsed
â&#x20AC;&#x201D; one
part to ten or
and
several changes of water
in
slight gloss left
by the temporary support may
be entirely removed by immersing the print
in hot water for
a few seconds, at any time after the formaline bath.
The temporary used, but this
on immersion
is
support acquires the texture of the paper
unimportant, as this grain entirely disappears
in water.
SENSITISING In order to derive the colour, etc., possessed
full
TISSUE. advantage of the variety ot
by the carbon process,
it
really
is
necessary that the worker should sensitise tissue for
own
his
use just as required.
Many
small workers recognise that they are at a con-
siderable disadvantage
compared with those who
on a
large scale, as using four or five different colours involves the
purchase of four or either
The is
five
dozen pieces of
tissue that
must
be used very quickly or wasted. ordinary methods of sensitising produce tissue that
distinctly inferior in all respects to that sensitised
by the
addition of the bichromate in the course of manufacture, and in addition, special precautions
The
author
sensitising
has
recently
by means of which
have to be taken introduced a
tissue
may be
in drying.
method
of
prepared, when-
CARBON PRINTING.
257
ever required, fully equal in both ease of working and in the
made
gradation and quality of the resulting prints to freshly
In regard to drying, no special precautions
sensitive tissue.
need be taken beyond darkening the room
;
unlike tissue
sensitised in the usual manner, gas in the drying practically
The
no
effect at
sensitising bath
is
:
Potassium bichromate Citric
.
acid
.
.
.
.
.
.
.
Water
4 dr.
.
.
.
.
.
.
.
Ammonia
The after
approximate,
1
dr.
25
oz.
about 3 dr.
made
solution should be
The
cooling.
room has
all.
quantity of
sufficient
with hot water, and used
ammonia given
should be added
to
only
is
change
the
colour of the solution from deep orange to a distinct lemon yellow.
The
quantity of water
may be
varied
weaker the bath the greater the contrast strength will be best for ordinary work.
keep
well,
To
and may be used
if
desired
The
solution will
and immerse
it
in the
which must be as cold as possible, face downwards,
taking care to avoid air-bells on both face and back. the tissue over in the solution to see that there are bells in the face
well
tissue for a is
This
several times in succession.
sensitise, take a piece of tissue
solution,
always
the
;
in the prints.
and again turn
covered
with
Always
solution.
â&#x20AC;&#x201D; a minute and a half â&#x20AC;&#x201D; and as soon as the time has elapsed
lift it
from the solution, lay
it
face
glass
and gently squeegee
to
remove as much solution
to a lath
it
immerse
uniform time in sensitising
a good standard time
practicable.
air-
down, keeping
face
it
Turn no
downwards on a sheet of from the
Lift the tissue carefully
by two corners, and hang
ventilated room.
Sensitising
it
up
may be done
glass, pin
as it
to dry in a well in full daylight,
but the tissue must be dried in a darkened room
â&#x20AC;&#x201D; not the
ordinary dark room, but one in which the light would not
BARNET BOOK OF PHOTOGRAPHY.
258
on ordinary
produce the
slightest effect
should dry in
five or six hours.
Tissue sensitised in this bath in sensitiveness to
method
is
will
silver paper.
It
be approximately equal
Barnet ready sensitised
tissue.
The
to sensitise at night for using the following
best
day
but the keeping qualities are about equal to ready sensitised tissue.
Insensitive tissue will keep indefinitely
damp
;
and one or more pieces of the
if
not exposed to
consequently a stock of all colours required may be kept
moment.
By
this
sensitised to suit the requirements
means the small worker can
himself of the advantages of the process as fully as those
avail
who
use carbon printing largely, as by the method of sensitising given
it
can always be ensured that the tissue
possible condition
when
used, however
little is
is
in the best
required.
Henry W.
Bennett.
259
Ozotype*
ZOTYPE the
is
carbon
a modification of process
designed
with the object of dispensing
with the actinometer and the transfer
which
carbon
printing
pictures
as
tion
There
The
image.
forms
No
picture
produce
to
the correct
posi-
and
left.
to
is
necessary in
a
right
distinctly
visible
produced upon the paper which
is
support in the correct position as to right and
its
edge
safe
is
The pigment
required.
a modification of carbon tissue) to light,
in
is
and therefore keeps
The hands do salt as in
not
come
is
left.
plaster (which
is
not rendered sensitive
indefinitely.
into contact with a bichromate
carbon printing, and the materials are not affected
by extremes of temperature.
No
blisters are
formed.
Although ready sensitised papers are supplied by the inventor of Ozotype for the convenience of tinental consumers,
and Indian workers
it
to
is
home and
con-
advisable in the case of colonial
sensitise the sized
papers specially
prepared for Ozotype.
SENSITISING This operation but
it is
THE
PAPER.
may be performed
in diffused daylight,
absolutely necessary that the drying be carried out
in the dark.
The
tools required are very simple.
A
yard
BARNET BOOK OF PHOTOGRAPHY.
260
of fine flannel,
some cotton
wool, a few yards of soft muslin,
drawing or dark-room pins, sensitising solution,
gum
solu-
tion (one part to three of water) or fish glue solution (one in four).
A
sheet of sized paper supplied by the Ozotype
pany measures 30
drachms of the larger sheet of
in.
by 15
in.
Lay the paper on a
sensitising solution.
any
and pin the four corners
'clean paper,
down with drawing or dark-room pins. Take about a square foot of the flannel and
Wrap
hand.
much
as
wool as can be conveniently grasped
cotton
the
Com-
This area requires two
of
in the
the flannel round the cotton wool so as to
form a rubbing-pad.
Pour into a graduated measure exactly 120 minims or two drachms of the
Add
sensitising solution.
four to eight drops of
gum
to this
and
glass of sensitising solution in your left hand, right
hand have the coating pad
Throw
in
the
your
ready.
the contents of the measure on to the middle
of the paper, all
about
Hold
or fish glue solution.
and without
losing any time spread the pool
over the surface of the paper by means of the coating
pad with a
Then
circular
motion
with vertical and
lightness the paper
until the
paper
should be evenly
take about fifteen minutes.
increasing
to dry,
Cut the paper
When
dry the paper
is
in re-
passing a the coated
which
will
into the required
sizes in gaslight (not diffused daylight), with a scissors.
Any
lightly
Hang
muslin across them.
paper in a well ventilated dark-room
quite covered.
coated.
maining streaks can be obliterated by piece of the soft
is
horizontal strokes
long pair of
ready for printing.
PRINTING THE INITIAL IMAGE. Any good
negative
is
suitable.
Expose
to daylight until
the details in the high lights are very faintly visible.
The
OZOTYPE. duration of the printing that
about
is,
same
the
is
one-third
26l as for platinotype
time required for P.O. P.
the
printing.
WASHING THE INITIAL IMAGE. The
print should be
washed as soon as possible
after
exposure.
The
point.
should be carried out in cold running water,
It
extent
of washing
and should not be continued
is
very important
a
margins covered
after the
by the rebate of the printing frame are quite clean and
The temperature
white.
important
summer when 75
Fahr.,
of
upon
influence
the
margins
to twenty-five
minutes
of
of the
will
is
In
washing.
from 65
should
to
be quite
In winter time, however, with
Fahr. the washing will probably take
water at 35 ° to 40
to ten
washing water has an extent
the temperature of water
clean in four to six minutes.
fifteen
the
the
In spring and autumn
minutes.
probably be
six
sufficient.
PIGMENTING THE INITIAL PRINT. This operation can be carried out while the print
is
wet
from the washing water, or the print may be dried and the pigmenting operation deferred to any convenient time
within a fortnight or three weeks
if
the dried print
served in a dark place free from damp.
is
pre-
The pigmenting
operation consists in soaking a piece of pigment plaster for
a short time in a very dilute
reducing agent, and bringing
Make up a
keep
and a
:â&#x20AC;&#x201D;
.....
Pure sulphuric acid will
solution of an acid
in contact with the print.
stock solution as under
Water Powdered alum
This
it
.
20 ounces 1 ounce 3 drachms or 180 minims
indefinitely,
labelled S.A. (stock acid).
and the
bottle should be
262
BARNET BOOK OF PHOTOGRAPHY. For use make up one of the following solutions
:-
020TYPE.
263
corners and holding the print by the thumbs bring the two
and squeegee them
pieces, clinging together, out of the bath
gently together, plaster uppermost,
upon some smooth non-
absorbent surface such as a papier-mache board or sheet of
Then
glass.
insert the plastered print
blotting-pad.
be kept
It is
in the acid
The
necessary.
between clean blotting-
hand heavily over the outside of the
passing the
paper,
most important that the print should not bath a
moment
longer than
is
absolutely
operation of bringing the print into contact
with the plaster can be easily performed in 10 seconds, and
should not occupy a is
much
The
longer time.
plastered print
ready for development in 30 to 40 minutes.
DEVELOPMENT. When
the ferrous sulphate bath
is
used the development
should take place in 30 to 45 minutes after squeegeeing.
This operation
An
printing.
is
carried out in a similar
used, or hot water from a kettle
The temperature
no째 Place
manner
may be poured
of the development water should be from
the plastered
finger at the four corners
until
necessary.
if
the gelatine
is
this
is
the case, leave
a steady unbroken pull, always keeping
still
for
sufficiently soft to
it
Do a
Strip the plaster backing off from
of the water.
and wait
print in the hot water
Try by a sliding movement of the thumb and
allow of the easy separation of the paper. strip
may be
into a dish.
Fahr. for the removal of the plaster backing.
to 115
about a minute.
to
to carbon
iron tank with gas or spirit burner
it
not begin
little
longer
if
one corner with
under the surface
After the removal of the plaster the print
is
covered over with pigmented gelatine, and with further
treatment with hot water the picture develops more clearly,
and can be allowed bath, or the
to remain floating
on the surface of the
development can be accelerated by holding
against a sheet of zinc (the size of the paper)
up and down under
and moving
the surface of the water.
A
it
it
small tin
BARNET BOOK OF PHOTOGRAPHY.
264
mug
will
be found useful for clearing high
pouring the
warm
by gently
lights
Of course
water over the plaster.
the tem-
perature of the water can be raised for overprinted pictures.
Should the development be
still difficult it is
a good plan to
place the picture for a few minutes in a bath consisting of
Warm
water
40 oz. drachm,
Hydrochloric acid
1
and continuing the development
warm
in the
The Ozotype picture is softer than the
water.
ordinary carbon print
during development, and sticks more firmly to the support, so that retouching with a brush
be easily made and
lights
is
an easy matter.
Clouds can
emphasised with a touch of a
camel-hair brush during development.
Shadows can
accentuated by painting them over with methylated in the early stage of
An
acid
be
spirit
development.
reducing-bath
containing
hydroquinone has proved very successful For bold
Water
effects
40 OZ. 80 minims.
Glacial Acetic Acid
acid
acetic in
Hydroquinone
15 grains. of Copper
and
some hands. Softness and delicacy
Medium 40 oz. 60 minims. [
10% Sulphate
soft
also
40 OZ. 40 minims.
15 grains.
15 grains.
60 minims.
90 minims.
In using the hydroquinone bath the following points
â&#x20AC;&#x201D;
should be attended to
:
carried quite so far as
when
(1)
The
printing out should not be
the iron bath
is
squeegeeing, the plaster and print should
used.
(2) After
be kept a longer
time in contact, say 1^ hour or any time after the print dry.
(3)
immersed
is
Before development the plastered print must be in cold water for half to
one hour.
Thomas Manly.
265
Some
Useful Formulae*
DEVELOPERS FOR BARNET PLATES
AND
PAPERS. Pyro-Soda Developer for Plates or Films. Solution A, Pyro stock Potassium metabisulphite Dissolve in water, then add pyro Potassium bromide :
.
.100 grains
.
....
Shake
till
dissolved, and
make up
1 ounce 60 grains
.
measure eight ounces with
to
water.
No. 1 Solution. Developer Pyro stock, Solution A :
Water
â&#x20AC;&#x201D;
.
.
... ... .
.
2 ounces 18
.
,,
No. 2 Solution.
Sodium carbonate Sodium sulphite Water to make
crystals
.
.
.
.
.
.
.
.
.
.
2 ounces
z\ 20
,, ,,
For use take equal parts Nos. I and 2. If preferred, the potassium bromide can be omitted.
Metol Developer, Single Solution. Metol
Water
When
...... .
.
.
.
.
.
.
75 grains 20 ounces
dissolved add
Sodium sulphite Sodium carbonate Potassium bromide
The
.
-if ounces
....
.
.
.
quantity of water in the above
.
if
6
may be
,,
grains
increased to 30
ounces should the developer act too rapidly.
Other developers especially suitable will
be found in the
article
for
Barnet plates
on Negative-making.
266
BARNET BOOK OF PHOTOGRAPHY, Metol Developer for Barnet
SOME USEFUL FORMULAE.
B
Solution.
267
BARNET BOOK OF PHOTOGRAPHY.
268
TONING-BATH FOR
AND BROMIDE
P.O.P.
PAPERS. In addition to the usual toning-baths issued with each packet
following
of paper, the
recommended
:
a
is
bath very strongly
......16 .....
Sodium acetate Water Gold chloride
i
.
.
.
.
.
ounce ounces
2 grains
This will tone about thirty cabinet prints.
Copper Toning- bath for Bromide or Gaslight Paper.
A
.... Solution.
Copper sulphate
Potassium citrate (neutral)
30 grains
.120
.
.
Water
B
Solution.
Potassium ferricyanide
25 grains 120 â&#x20AC;&#x17E;
....
Potassium
citrate (neutral)
Water
A
,,
10 ounces
.
For use immerse the well -washed and and B.
10 ounces fixed print in equal parts of
Blake Smith's Method.
A Potassium iodide
Water
.
Dissolve,
.....10 Solution.
1
.
... .
and add iodine
.
10 grains
ounces 45 grains
B ..... Solution.
Sodium Water
sulphite
C
ounce
Solution.
....
Pure sodium sulphide
Water
1
4 ounces
.
1
5 ounces
10
â&#x20AC;&#x17E;
Boil in a glass flask for five minutes, stirring all the time with a glass rod,
and when cold
filter.
For use soak a fixed solution
for
five
back
blue-black
both
solution
dram, water
1
and well-washed
minutes or until
and 1
it
Then
front.
ounce,
till
in
A
changes to a dark
all
soak
in
B
the colour has
SOME USEFUL FORMULA.
C
disappeared, then place in
when
ounces,
the print
(The
minute
after all action
in
ounce, water 20
i
fixed
solution for one
this
has ceased.)
method should be
this
solution
develop out to a very rich
must remain
sepia.
by
will
269
Prints
be toned
to
hypo and alum
the
in
fixing-bath given below.
Hypo and Alum Method. Immerse a
rather dark print in an
....
Hot water
Hypo
.
Dissolve, and add
powdered alum
Stand to cool, but do not this
130
alum hardening-bath
then place in the following solution
for ten minutes,
70 ounces
.
filter.
:
10
â&#x20AC;&#x17E;
2
,,
Leave the
print in
bath for ten minutes, then heat the solution to 120 Fahr.,
and maintain
temperature
at this
till
or is
toned.
LIGHT FILTER. Yellow Screens for Ortkochromatic Plates. For general landscape work
wash and dry
it,
and then soak
Rinse
it
.
.
.
in clean water,
an ordinary lantern
one minute
for
.....10
Napthol yellow dye
Water
fix it
.
in
plate,
â&#x20AC;˘
30 grains ounces
.
and dry.
A STRIPPING FILM. To Strip the Film from a Negative for Carbon Printing.
A Methylated
Solution.
spirit
.
.
.
.
1
ounce
Water
.
.
.
.
.
.
1
,,
Formalin
.
.
.
.
.
.
|
,,
B A
solution
Hydrofluoric acid
Solution.
....
8 drachms
J drachm
BARNET BOOK OF PHOTOGRAPHY.
270
ÂŁ
Cut through the film of the negative all round about inch and place on a flat bench, and pour on to it just
enough of B
to cover
letting
it,
it
remain
quite loose; remove the strips
all
A solution and
about \ ounce of
until the film appears
round.
Now
gently spread
pour on over
all
;
lay
a piece of clean white paper on negative and gently squeeze
The paper can now be
down.
Now
carefully
removed;
place the paper film side
the film with
it.
piece of glass
and pour on another | ounce of
carry
up on
A
to a
solution,
and squeeze another piece of paper on to it. Now remove the first paper by gently pulling it, when the film will be left
Now
on the second paper.
A
another \ ounce of
down on
solution,
Now
pull
leaving the film
off,
carbon
and place the
to a piece of clean glass,
carefully. it
pour again on to the film
raise
and squeeze
film
side
well
and
one corner of the paper and gently
on the
glass,
but reversed for
printing.
The
following approved formulae, gathered from various
sources, are here given, that the reader for reference
may have them ready
:
ACID FIXING-BATH FOR PLATES.
...
Sodium hyposulphite Sodium sulphite Water
......
When
4 ounces I ounce 16 ounces
dissolved add 30 drops of sulphuric acid.
ferred, citric acid
may be
case dissolve \ ounce
If pre-
substituted for sulphuric, in which
citric
acid in 4 ounces water and add
the whole to the solution of hypo and sodium sulphite.
For
bromide paper dilute the above with 24 ounces of water.
FIXING AND HARDENING BATH COMBINED FOR PLATES OR FILM. In some circumstances,
as, for instance, in
warm weather,
may be convenient to combine hardening effect The simplest formula is as follows fixing-bath.
it
Common alum Water
.....
:
I
ounce
40 ounces
with the
SOME USEFUL FORMULAE.
When
dissolved,
Sodium
When
add
27
....
sulphite
this is dissolved,
add
1
ounce
—
Sodium hyposulphite
.
S ounces
.
.
For bromide paper dilute the above with 40 ounces water.
Barnet Alum Hardrning-bath for Plates and Papers.
...... ......
Alum Water
Soak and well wash negative or
1 ounce 20 ounces
print for ten minutes.
NEGATIVE VARNISHES. Varnish for Negatives.
Gum Gum
.... ....
sandarac
benzoin
Oil of lavender
Methylated
When
dissolved,
.
spirit
filter.
The
.
.
negative
.
is
to
2 ounces
f ounce 2
».
20 ounces
be warmed before
applying the varnish and then heated strongly.
Cold Negative Varnish. Orange
shellac
Sandarac Canada balsam Oil of lavender
Methylated
To
..... ..... ..... ..... ....
spirit
2 ounces 2
,,
60 grains 1 ounce 16 ounces
The
be used cold, the plate being also cold.
must dry
The benzine
varnish
naturally without heat.
ordinary " japanner's gold size " diluted with refined
may
also be used as a cold negative varnish.
Matt Varnish.
A
formula giving an exceedingly fine grain Sandarac Mastic
(finest white)
„
,,
is
as follows
2| ounces
:
BARNET BOOK OF PHOTOGRAPHY.
272 First
mix the ether and benzole and shake
When
two gums.
all is
dissolved, filter
...
Methylated chloroform
The
quantity of the latter
excessively fine matt grain
;
may be
add the
well, next
now add ounce
1
slightly increased if
an
required.
is
Negative Varnish for Celluloid Films. Celluloid being soluble in strong
a varnish for these
spirit,
must be made with strong or undiluted
and must
spirit,
when dry be too brittle, or when the film bends the varnish will crack. The following is recommended and can not
be used equally well
on
for ordinary negatives
.... ......
White hard varnish Liq. ammonia 88o Water
.
.
.
sufficient
precipitate
first
:
(see below)
-
Only
glass
10 ounces
.
5 ounces
ammonia should be added
to just dissolve the
formed.
RESTRAINERS IN DEVELOPMENT. There are two groups of chemical use
â&#x20AC;&#x201D;bromides
and
citrates
;
common
restrainers in
more generally
the former are
employed, potassium bromide being the favourite, and a 10 per cent, solution thereof should
Bromides of potassium, used, but they
all differ
Thus, 98 parts of
be in every dark room.
ammonium,
or sodium
ammonium bromide
effect
of the
bromides
is
to
equal to 119
are
parts of potassium bromide, or 103 parts of
The
sodium bromide.
prevent
density being gained in the high-lights before
developed
The
in the
effect
may be
relatively in their restraining power.
shadows or
less
of the citrates
exposed
is
excessive detail
has
parts.
to check the
of detail, but to allow density to increase,
production
and they are
hence especially valuable in cases of excessive over-exposure.
The
citrate of potassium,
be obtained from the
ammonium,
chemist,
and a
1
or
sodium may
to
10 solution
SOME USEFUL FORMUL/E.
the
added
for use, a small quantity being
made
should be
273 to
requirements, beginning with
developer according to
about two drops to the ounce.
Should a negative develop abundance of
detail
added, and the plate necessary without
its
developer for hours
the
in
left
but
may be
refuse to increase in density, the citrate solution
if
"fogging."
INTENSIFICATION.
A
negative which for any reason
uniform a relief, is
tint,
giving a
too thin and of too
is
flat
lacking contrast
and
subjected to one or other of the numerous processes
for intensification.
The
method
usual
that in
is
which the plate
is
first
bleached with mercuiy bichloride, and then treated with a
which reconverts the image, blackening
reagent,
increasing
is
its
of this
only necessary to of
density
and
density.
particulars
Full
it
the
elsewhere,
given
are
and
it
here add that the increased relative
tones
various
according to
differs
the
blackening reagent employed.
According least
to
degree
of
some
published
recently
alteration
is
produced
hydrate and the greatest by Schlippe's
The
having
plate
been
results,
by
the
potassium
salt.
bleached
in
bichloride
of
mercury, the degree of ultimate intensification secured by using the undermentioned reagents following
list,
commencing with
is
in the order of the
the least powerful
:
1.
Potassium hydrate (caustic potash), 2 per cent, solution.
2. 3.
Lime water. Sodium sulphate, 10 per
4.
Ammonia
5.
Silver cyanide (silver nitrate
6.
Ammonium
7.
Schlippe's
This
last
-88o,
cent, solution.
20 drops to
sulphide
(1
1
ounce water. and potassium cyanide).
part strong solution in 10 parts water).
salt.
named giving the maximum degree
of intensification,
BARNET BOOK OF PHOTOGRAPHY.
274 it
may be useful in The formula is
of exceedingly thin nega-
the case
tives.
:
Water
ioo parts
Schlippes
(sodium
salt
sulph.-anti-
moniate)
3
Liquid ammonia
The bleached immersed
in the
.
.
negative,
above and
.
.
thorough
alter
finally
I
.
iÂť
part
washing,
is
washed.
Instead of hydrochloric acid in the mercuric chloride
many workers
solution
prefer
Ammonium
ammonium
chloride
....
Mercuric chloride chloride
.
.
.
Immersion
,, ,,
few minutes in a bath composed of
for a
common table ammonium chloride in i
5
ioo
.
Water
:
5 parts
ounce
salt in
ounces water, or
2
more
brilliant results.
CLEARING-BATHS FOR STAINS,
&c.
Clearing-Bath for use after Development,
Alum
1
dissolved,
add :â&#x20AC;&#x201D;
Hydrochloric acid 1
<S:c.
ounce
20 ounces
Water
(Or
ounce
10 ounces water, after bleaching and
before blackening, often leads to
When
1
ounce
citric
.
.
50
.
may be substituted
acid
to
100 drops
for the hydrochloric acid)
This should remove the yellow or brown stain or colouration
which
found
often
is
after
fixing
a
dis-
pyro-
developed negative.
Silver Stains. Bright metallic spots and brown or black ones due to silver
may be removed by immersing
of iodine in methylated
added
to
spirits.
the plate in a solution
Just sufficient should be
produce a solution of medium sherry colour.
the following formula
may be
Potassium iodide
..... preferred
:
Iodine (metal) sufficient to tion the colour of
I
part
20 parts
Water
make a
brown sherry
solu-
Or
BA R N E T BROMIDE CARD
CARD
P. O. P.
CARD GASLIGHT SELF-TONING CARD
THE ADVANTAGES TO BE DERIVED IN
USING THESE SEVERAL GRADES
ARE THAT PRINTS MADE
THEM
DO
NOT
UPON
ANY
REQUIRE
MOUNTING, AND ARE SERVICEABLE
FOR
SUCH-LIKE IN
ALL
REQUIREMENTS
SIZES. **
AND
CARDS
CHRISTMAS
**
«*
^
— «*
CUT «*
JOA SENSITIZED
Post Cards *•%*£•&
•
•
9
9
•
BROMIDE GASLIGHT SELF-TONING Glossy and Matt.
THESE
ARE
BEING
COATED
EMULSION
VERY
AS
POPULAR,
SAME
WITH
THE
PAPERS.
some useful formula.
277
Due To Ferricyanide Reducing-Bath.
Stains
such a stain as this the simple alum and may serve, but if not, then wash
To remove
hydrochloric clearing-bath
sulphite
and
10 per cent, solution of sodium
in a
and immerse
well
wash thoroughly.
finally
MOUNTANTS FOR
PRINTS.
Starch.
A
mountant
universal
of fine powdered
ful
is
made
Glenfield starch
is
cold water into a smooth thick batter
little
very fine slow stream of boiling or very hot
whole to
incessantly
kettleâ&#x20AC;&#x201D; stirring
a
will
become
gelatinous,
and
used
it is
When
in this
teaspoon-
made
with very
next pour in a
;
waterâ&#x20AC;&#x201D; say, from presently the
in
it
first
thick as
just so
remove the whole
cold, the starch will
form by
:
meanwhile;
and when
admit of the spoon standing up
to a cool place.
â&#x20AC;&#x201D;A
as follows
be a thick
jelly,
wetting with cold water the
mounting brush and then applying it to the jelly-like mass, This will as one does with a pan of moist water-colours.
A pinch spread on the back of the print. This stirring. whilst added be may alum powdered of destroyed and fresh, whilst used be only must mountant be
sufficient to
when
it
turns sour.
Gelatine Mountant. 200 grains
Soft gelatine
Soak
ounces
in 6
distilled
water for one hour
;
dissolve
distributed this by means of a water-bath or other evenly heat,
and add, a
spirit, stirring
any
be
constantly.
spirit separate out,
We
shall
at
little
Allow to cool and
remelt and add a
now have a
this
little
set.
more
thick, white, firm jelly,
heated to a condition of solubility
Should
methylated
a time, 2\ ounces
mountant prove too
and
Should water.
which must
so used.
thin,
gelatine may be increased from 200 to 300
the
amount of
grains.
278
Photography*
Pictorial
PHOTOGRAPHIC MEANS APPLIED TO ARTISTIC EXPRESSION.
" This
is
the merit
reality, to be not
and
distinction
Nature, but Nature's
of
Art :
more real than
be
to
It is the artist's function
essence.
not to copy but to synthesise, to eliminate from the confusion of actuality, is his raw material, whatever is accidental, idle, irrelevant, and
which
select for perpetuation that
only which is appropriate
and immortal."
W. E.
UT
a few years
HENLEY.
ago
would
it
have been necessary to apologise
introducing
for
book
like
to
into
a chapter
Photography
Pictorial
day,
this
a
on to-
;
no
handbook intended instruct and interest all of
classes chiefly
photographers,
the
beginner,
but
would
be complete without a section devoted to what has become by far the most popular branch or application of photo-
And
graphy. plete it
yet,
understanding
should
notwithstanding of what
be practised
is
it
not
those whose whole concern in
its
commeans and how
popularity, a
really
common
even
photography
is
amongst with
its
pictorial side.
The
very character of precision and prescription with
which photography becomes identified
during
the
time
PICTORIAL PHOTOGRAPHY.
279
when we are learning the technicalities of the process tend to make the student regard any possible pictorial quality as something to be contributed by observing some formula or rules
a result to be achieved by the addition of certain
;
very expression " picture-making," so com-
The
ingredients.
mon amongst made
We
use
because
have
â&#x20AC;&#x201D; that
an
is,
artistic
up of so much of
or built
and flavoured
the presence
betrays
us,
though a picture
idea as
â&#x20AC;&#x201D;could be
and so much of
that,
to taste.
term
the
the latter
evades useless
instead
pictorial
of
artistic,
first,
has become so misappropriated as to
proper significance
lost its
this
of this
conception
and, secondly, because
;
controversy as
whether
to
it
photography
applied to the expression of a personal idea or emotion
may be regarded
as an
clamour to be called
We
art.
our work into the picture
photographers need not
nor appeal for the admission of
artists
galleries, for
we may
by the great natural law which secures
that,
shall
survive,
when our productions
rest assured
that the fittest
are worthy they will
receive appropriate recognition, and secure a status which
no
spurious
won
position
by
importunity
and
much
argument could bestow.
The
reader of this chapter of the
should be loth to write
my
converts,
task
I
it.
being
to
am
best I can the I
am
is
I
not concerned in making
endeavour to explain what
constitutes a pictorial photograph,
attained.
Barnet Book
undesirous of argument or discussion as
probably as
means by which a
and then
to describe as
pictorial result
may be
well aware that to the artist the task of
reducing that which with him seems to be purely a matter of feeling, emotion, and personal impression to anything like figures
temptible
;
and formulae nevertheless,
will it
appear vain and even con-
has been by such a road,
first
seeking the help of another until able to find an inde-
pendent way of
their
own, that many of our leading and
BARNET BOOK OF PHOTOGRAPHY.
280
acknowledged workers have
travelled.
do not think
I
the student anything that will mislead
shall tell
him harm, but whether he turns it to good account means to higher things must depend upon himself.
my
in imagination bearing
reader
ask him to consider what
will
camera
level
scene strikes our fancy
we swing
it,
it
side, focus
Now why
more than any other
portray this scene
another point of view
We
up goes the camera. it,
and there
is
have we selected
What determines our
scene?
particular
;
from side to
the view on the ground glass. that
company into the country, we do when we carry the
"take photographs."
into the field to
Some
as a
landscape and general subjects, and,
will turn first to
I
I
him or do
visible
wish
from
to
this or
?
Probably you have never paused to ask yourself that question
you
;
just liked
your camera and miniature, you please
you
Nature
is
;
it,
it
sure
feel
pleased you, and, as you
the reproduction
that
know
you an exact copy of
give
lens will
will
it
in
also
and, as you have always lived in the belief that
beautiful,
truth to Nature a
and
first
principle in
you are confident of securing a perfect picture, and
art,
upon
congratulate yourself
the
fact
with so
that
little
trouble you can accomplish what the poor creature with
and paint-brushes must spend hours
pencils
Wrong
wrong
all
!
We
!
in achieving.
photographers are so apt to
forget that during the years that the art student to use his tools he tivating ideas of
to
tree, a field
The
youthful tree or
single flower, a figure,
mark you
always regard or idea.
acquiring certain principles, and cul-
draw a single
of view,
Even
learning
which the photographer often enough has
never dreamed.
down
is
is
;
sets
himself
branch
of the
draughtsman only one
and so
forth
窶馬ot
the whole
and hence he gradually comes
to
Nature as centred round one chief object if
the photographer were of the same frame
BACKED PLATES ARE A DISTINCT ADVANTAGE
IN
MOST KINDS OF PHOTOGRAPHIC WORK.
5
5
5
5
5
5
BARNET PLATES ARE SUPPLIED READY BACKED AT
A SMALL EXTRA CHARGE, AND THE
USER
IS
THEREBY
ALL TROUBLE AND q WITH
DISCOMFORT.
A BARNET PLATE BACKED,
OVER-EXPOSURE IMPOSSIBLE.
OF
REMOVED.
ALMOST
IS
THE BACKING
NOT POWDER AND FILM
SAVED
PLATE.
5
INJURE IT
5
DOES
IS
5
FOR
THE
EASILY
5
5
PRICES,
SEE END OF
THE BOOK.
K
FOR.
TOURISTS GREAT
IN
NO
OR ABROAD
BRITAIN
MORE
SUITABLE
PLATE CAN
ALL-ROUND
BE FOUND THAN THE
BARNET " MEDIUM "
PLATE THIS PLATE HAS
ABLE
A MOST REMARK.
LATITUDE,
MATES
IN
BARNET
SPEED
AND APPROXIBETWEEN
AND THE
"ORDINARY"
BARNET " EXTRA-RAPID." SPLENDID NEGATIVE,
DOUBT
WHAT
THE
IT
GIVES A
AND WHEN
IN
PLATE TO USE, YOU
WILL BE PERFECTLY SAFE
IN USING
BARNET " MEDIUM M
PICTORIAL PHOTOGRAPHY.
283
of mind, the very comprehensiveness of his process
detachment of
realise this
So much the
better, perhaps,
are able to secure so
Now,
much more
we go any
before
further, I
you
nonsense
will
Ah
of Nature's beauty.
may sound
nevertheless, I
;
because you
say,
want you to read patiently
the delivery of two statements which right heretical
fails to
interest.
like
am going to
down-
ask you
and believe them now unquestioned, and anon
to try
I
think you will see the truth and reason of them. First, then,
beautiful
Nature
is
not beautiful
â&#x20AC;&#x201D; that
mean, of course, from an
I
;
not always
is,
standpoint
artistic
and, secondly, to copy Nature faithfully as a looking-glass does,
and
do with
as the
The all
I will repeat,
Pictorial art
beautiful.
more
camera usually does, has nothing
pictorial art.
first
is
to lay
all,
spots
in
and does not go
down
is
please, attract,
it
must be evident
far
and even repellent
and even become famous
many artistic
is
in
the wood,
or aesthetic sense.
language or poetry
;
it
is
sense
qualities
is
the
music of
not music in the
Ordinary speech
is
not
artistic
there must be definite arrangement
composition, and so trees and flowers and falling just
literal
suitable for pictorial
Admirable and beautiful as
birds singing
kind
for a certain
propose presently to describe,
which are necessary ere that scene treatment.
want
I
which may
There are certain conditions and I
but this
;
enough, for the point
that there are scenes in Nature
in a natural sense, which
to
Nature and aspects and con-
of beauty, which are not in the narrowest or
"picturesque."
at all to
not necessarily
not a copy of Nature.
readily than the latter, because
that there are
not
is
statement the reader will probably endorse
ditions which are uninteresting is
Nature
anyhow, as oftentimes they do
hills
and
and
rivers
in the little bit of
Nature which we can include in our representation, may in a manner delight us, yet they
make any
lasting appeal
will
not when so depicted
to the senses,
and so
it
comes
BARNET BOOK OF PHOTOGRAPHY.
284 about that
necessary to select carefully a point of view
it is
from which the various objects so group themselves as to be in accordance with
requirements of composition,
artistic
and the more so that the photographer can by so very alter
in his
picture the
positions of the
relative
little
various
objects. If,
then, one should
disapprove,
it is
that in Nature, because,
for
you
should have been
moment, or
pitious
"
for
Oh, but," say you, "
Very
that scene."
well,
of topographical value intrinsic
interest
to urge that
was not
do so
;
more complying.
wanted to photograph
but your photograph
is, it
like
suitable, the scene
subject
particularly
â&#x20AC;&#x201D;that
was
alone until a more pro-
left
some other I
it
time and from
at the particular
if
that particular standpoint Nature in question
your picture and should
criticise
no excuse
will
will
be
depend purely on the
of the objects included or the locality,
whereas the merit of a picture has nothing whatever to do with such particular interest, but tion to
its
general pleasing effect
satisfactory in propor-
is
and
power of appealing
its
to the imagination.
Composition, then, sideration
;
form our
will
but before proceeding
let
subject for con-
first
me
try
and explain the
second statement, that, even though the selected scene be well composed, a
good
constitute a
To
mere copy of Nature does not necessarily picture.
begin with, Nature
is
one thing and Art the expression
of the way in which Nature affects us
from
same
the
pictures differing
strongly
by
different
in
bringing
than others.
stamp of personality, feel just as is
he
felt
men,
get
alike in
out
some
is
it.
all
A
quite
different
form perhaps, yet each particular
his autograph,
like
about
Hence
another.
several
Hence each man's
not just an inventory of
at the time,
we
subject
feature
more
picture bears a
and makes you
picture in the proper sense
the things in the field of view
but using those things in a particular way so as
PICTORIAL PHOTOGRAPHY.
up your imagination, so
to stir
that
285
you hear the
trees or the bubbling of the
the breeze in the
warm sunshine and
rustling of
brook
imagination you
feel the
well as see the
mere representation of the one or the
mark you,
fluence of the other; and, is
soft winds, as
this hearing
and
in-
feeling
not conjured up by mental effort; you do not say to
wind must have
yourself, the trees are bent, therefore the
been blowing, or there
a light patch showing where the
is
sun was shining, therefore instantly,
and
must have been warm
thrill
one without
we
So, then, after Compositon,
And
Imagination.
if
you ask how
would remind you that
methods and
Anon you
rules
rules for yourself just as
but
just as
his seeking or asking
have to consider
shall
possible to
is it
art is artificial
which by observing
will resort to
;
responds to
and the emotions are quickened
music may suddenly why.
it
without reflection, the imagination
the representation,
I
in
;
do
this,
there are certain
;
at first will help you.
your own methods, and lay down
we
all
learn to write with pot-hooks
and hangers, and when we have mastered the copy-book pattern straightway adopt our
own way
and the pot-hooks and hangers of
may call The
of
general
principles
of pictorial art are as old as
not arbitrarily laid
they are
;
of the experience of
all artists,
down by any
been evolved out
particular set of teachers, rather have they
to
letters,
Construction, and this will form our third heading.
civilisation
means
making
photography we
pictorial
and whatsoever process or
â&#x20AC;&#x201D; pencil, camera, etching-needle or brush â&#x20AC;&#x201D; be applied
pictorial or
artistic
expression,
these
same
principles
obtain.
COMPOSITION OR SELECTION OF SUBJECT. The two terms used above are in photography nearly one thing, because we can to so limited an extent
and the same
compose or build up our because
it
does compose
subject; well,
we
and
therefore select
select
a
it
particular
BARNET BOOK OF PHOTOGRAPHY.
286
view point, because from that
it
composes better than from
another.
Composition may be described as a certain symmetry of design or arrangement which the sesthetic
human
senses
demand
for
laws
of
enjoyment.
we obey
enough,
Curiously
certain
composition in nearly everything we do in
innate
life.
You put your
clock in the middle of the shelf and ornaments on either side to balance.
and the
Placing a chief thing in the middle
others grouped around cases, except
deliberately depart therefrom for the
when we
You
sake of variety.
place your studs in the middle,
fasten your clothes, so following the
on which our
is
the crude
and
same plan of symmetry
and bodies and indeed
faces
planned, and that
most
in orderly fashion prevails in
all
Nature
is
and primitive foundation of
we draw a design or a representation of some particular thing, we instinctively set it in or near the middle of our paper, so much so that if in a picture or design the chief object were not near the centre, we should at once
composition.
If
wonder why and seek
make why
it
gratifying
or
if
the paper were large enough to
new grouping and
the centre of a
;
satisfying
centrality of the chief object,
is
this is the
composition,
such
reason as
the
necessary in an artistic work
namely, that our sense shall be so appeased as to leave the feeling
and imagination
appeal.
Thus, an
entirely undisturbed to respond to its
artist
sketches in a cottage or perhaps
part of a cottage, a tree or a portion of the road, a head
and
shoulders and leaves the rest lest other matters should distract the attention
from the particular item which
it is
intended shall appeal to the emotions and imagination, yet just sufficient other details are put in or suggested as shall
avoid the work possessing an incomplete
The photographer
is
prompted by the same motive, he of view naturally focuses
effect.
not so free as the first
artist,
but,
in selecting his point
his attention
around the chief
PICTORIAL PHOTOGRAPHY. object,
and so chooses
perforce fully include
us see
how
it
287
which he must
that other items
do not
disturb the chief interest.
this is exemplified in the
Let
accompanying three
sketches, which, let us suppose, represent photographs.
In Fig.
1
so often does.
we have an example of what the photographer
He
finds that his lens will include both the
ruined abbey and the farm-house, and both can be done with
no additional labour, and thus with an extravagance which costs
him nothing he spends the material
for
two pictures on
only one.
Fig.
i.
Notice, however, that the middle of the picture lacks interest
and there
is
no one
principal point of attraction, the
eye passing restlessly from the abbey to the house and back again, so that, should the picture
suggestion of atmosphere,
by
its
the glory
beautiful lighting,
of the
its
flowers, the
whisperings of breezes, and the far-off mystery of the
hills
please us, our senses would not be so completely at rest to
enjoy this appeal to our emotions.
and
There
is
want
of repose
centralisation of design.
In order to prevent
this division of attention
we include
only the farm-house, in order to do which our lens compels
2
barnet'book of "photography.
88
us to include Fig. 2,
|a
great expanse of uninteresting country as in
and the eye
" into one corner?
naturally asks, "
Compare
Fig.
in
Why
this
crowding down
the effect produced by Fig.
2.
which a considerable amount has been cut
more or
the chief object shall be
that
Fig.
shall
3,
off in order
less central,
and
The
gain
3.
have nothing included to detract from
it.
centralisation
and predominance has been
attained by sacrifice of area.
But the same may be some-
in
point
of
PICTORIAL PHOTOGRAPHY. times
won by
Thus
a different means.
289
in Fig.
4 we have
an unpromising subject, in which several trees, all nearly equally important, give the eye no opportunity of centring on one
Fig.
central spot ; but
if
4.
we move away
the trees so that one
to the right
comes behind the
Fig.
other,
and look
and the
at
lane,
5.
instead of cutting across, leads as
we may get a pleasing group, for a moment what would be
as
it
were into the subject, in
Fig.
the effect
5.
Consider
on the senses
K*
BARNET BOOK OF PHOTOGRAPHY.
290
which these two
different
arrangements would respectively
exert.
And now
notice that in Fig.
graceful flourish at the
arrangement
;
principle that in
itself
and
winding lane,
5 the
end of a
letter,
in this connection I
seems to help the
may
an object of comparatively
may become
like a
enunciate the
little
importance
the chief point of interest in pro-
portion as the principal lines in the composition converge
Thus
thereto.
in Fig. 6 the
convergence of lines on a tiny
gateway in middle distance make
it
a point on which the
attention focuses, to the ignoring of the big tree
Fig.
left.
one
6.
So powerful indeed are such feels the eye,
and therefore the
lines,
that in Fig.
is
nothing to interest
Evidently, then, the disposition of the chief lines
in a picture are of great importance in securing
position
;
7
attention, involuntarily
led to a central point, although there
us there.
on the
and
it
is
good com-
usually the course in such a treatise as
this to dwell primarily
and
composition of
I
lines.
beginner in pictorial
at considerable length
believe,
however,
that
photography has experienced
on the
many
a
difficulty
in reconciling the scenes he encounters with these diagrams,
because, of course, there are no real lines present in Nature
PICTORIAL PHOTOGRAPHY. but continuous series of masses
and
tufts of grass
which
;
291
hummocks
like the
of
turf,
in Fig. 7 suggest lines, as outlines
(such as hedgerows and
one plane against
indicate
hills)
another.
Take, for instance, the example of a moorland scene
reproduced facing the
page
Hills" (though, here
294 and
convenient object-lesson).
Fig.
brightly lighted
and dark, as well
I
am
"Rain from aware of it
now
Notice that on looking at
on the
attention at once rests
light
say,
and merely choose
pictorial shortcomings,
and the
me
let
entitled
central
it
a
the
mass of dark rock
7.
ground below
as the
its
as
it.
This contrast of
happy arrangement of forms,
secures concentration of interest, although the rocks to the left
and the remote
hills
above and to the
admit of one's feeling any incompleteness. resolve the composition into
seen in Fig. of lines,
We
8.
and
position of lines
it
is
Next
do not let
composition, which
us is
have already spoken of convergence
whilst
present example,
its line
right
is
this
is
sufficiently
observed in the
also equally noteworthy that the dis-
of a mutually compensating character.
BARNET BOOK OF PHOTOGRAPHY.
292
Suppose, for instance, a different point of view were to give
an arrangement of change as the it
lines as
shown
in Figs. 9
and
10, not at
an impossible supposition, seeing how shapes seem to
all
light shifts
and changes.
Surely in this case
must be apparent that the one-sidedness of the
shade arrangement, and the lines
all
light
sloping one way,
is
and not
so satisfying to the eye as in the former example.
But the
limits of the present article forbid
longer on these points, nor
do
so, lest
seeming to
insist
am
Fig.
or arrangement of lines.
I
The
dwelling
sure that I should wish to
much on
too
my
a definite scheme
8.
beginner follows a code of rules
too closely, and in so doing defeats the end which those rules
seek to achieve, which
is
merely to suggest in a general way
certain principles, compliance with which, whilst far from
securing pictorial success, mitting obvious blunders.
may prevent
the beginner from com-
To follow
any prescribed plan of
composition so closely as to betray the fact that the work has
been so done, or arrange objects or so depict them that the lines of the composition are at once evident,
is
perhaps
worse than to err on the side of unsatisfactory composition.
PICTORIAL PHOTOGRAPHY.
The of
lines are to
293
be only the elementary scheme or skeleton
the composition, which the tones and masses of light
Fig.
and shade,
as
well
as
9.
the ideas
embodied, clothe with
beauty.
Fig. 10.
If the disposition of lines constitutes
symmetrical design that
it
is
at
such a perfectly
once recognised as being
BARNET BOOK OF PHOTOGRAPHY.
294
â&#x20AC;&#x201D;and â&#x20AC;&#x201D; then
symmetrical
Nature
wrong,
pleasing composition
the thing to be so as to
fall
and wish
sometimes occurs even
this
is
it
is
because the
attained
artificial.
make
artifice
and we
betrayed,
is
wild
in
by which
on the other hand, the
If,
feel
lines
the beholder conscious of their presence,
they were otherwise, then again they are
that
In neither case should lines or the arrangement of
wrong.
them be
sought
for,
whether they are accidental or deliberately introduced.
In
objects suggesting
art it is
until
at all
felt
a maxim that the means by which the thing
should not proclaim
A
itself.
is
done
composition should please
without our quite knowing why, and without our being able to see the machinery, as
it
were, by which our pleasurable
sensations are set in motion.
As has
already been suggested, the term lines
is
merely
a convenient form of speech, no lines existing in Nature
nor in the picture, a photograph consisting of tones
â&#x20AC;&#x201D;that
masses of light and shade.
is,
If,
when standing
before a
picture
and then suddenly open them, our from colour,
that
is
moniously arranged
and
first
;
our
attention
on the highest
chiefly
usually the former.
we
If
the objects constituting
light
and
shade
certain to rest
is
light
or deepest shadow,
retreat to
such a distance that
those lights and
recognisable, the general balance
of
close the eyes
impression, apart
of light and shade har-
of masses
but
we
first
should
shades are un-
and pleasing arrangement
still
remain.
This
quality of breadth, which the photographer often
understanding.
Now,
find
difficulty
light
and deepest dark possess the power of
attention,
it
in
follows that these should be
as
is
the
seems to
the
highest
riveting the
somewhere
in the
neighbourhood of the principal object, which, as already pointed out, will be near the centre of the composition.
With
respect
to
breadth,
let
it
be said that
if
the
various shadow masses are filled with innumerable details,
CO
PICTORIAL PHOTOGRAPHY.
295
so as to break them up into tiny lights and darks, they no longer exist as broad masses of shadow;
other hand,
on the
whilst,
they are of such uniform depth, and so
if
devoid of detail as to be mere empty dark spaces, we immediately feel that something has been with regard to the difficult question as to
and how sharp the picture should sufficient detail
and
sufficient
be,
sharpness should be admitted
as to avoid giving the idea that detail
been
Never
sacrificed.
to the facts of
Nature
;
it
Thus,
left out.
how much detail may be said that
forget,
it is
and
definition have
not a question of truth
the treatment of the subject must be
such that the pleasing effects of a good arrangement of parts is
secured without any obvious or flagrant
The
of truth.
sacrifice
delineation of sharp outlines, the redundance of sharp
detail, is
pedient
not wrong in
but both are usually inex-
itself,
when considered with
respect to the effect to be
produced. Similarly, the suppression of sharp focus, so often
condemned because misunderstood, has no itself
except as
it
with the general
The in
its
fact
is,
assists the picture to effect.
our photography
delineation, that
it
is
gives us
so faultlessly complete
more than the
A
worker needs for the expression of his idea.
may be
irreproachable as
an exposition of
process can achieve, and the subject even beautiful,
and
yet merely be a
thing beautiful which just as
merit of
artistic
impress the beholder
we may have a
is
photograph that the
all
may be
of
itself
good photograph of some-
not the same as being
fine
pictorial
picture which
is
pictorial,
but a poor
specimen of photography. Before leaving the subject of light and shade masses serious reference
must be made
to the subject of tone
and
the differentiation of planes, because in these two matters the beginner
is
commonly found
to
fail.
They may be
discussed simultaneously, being in fact inseparable.
ask the reader to remember a general
rule,
which
is
I
must
that the
BARNET BOOK OF PHOTOGRAPHY.
296
further off a dark object
the less dark
is
further off a white object
it
appears, and the
the less white
is
it
becomes, so
suppose we had objects in the foreground of the picture
that,
which were black and white, theoretically
at least,
a point somewhere in the distance at which,
if
there
the black
is
and
white objects were retired thither, they would be one and
same tone of middle
the it,
" half-tone."
The
relative " tone "
and darkness of objects
lightness
we commonly express
grey, or, as
—that
— depends
is,
the relative
on
their dis-
tance from the observer, this alteration of tone being due to the greater or less
volume of intervening atmosphere
;
but,
as white or very light objects are comparatively rare in average
landscape, the effect of atmosphere
upon dark
most commonly seen
is
objects, with the result that, generally speaking,
we may say
that
or greyer
becomes.
it
more
the
It
distant is
an object the
lighter
the atmospheric greying of
objects which contributes the valuable quality of suggesting
a standing out of nearer objects.
relief or
Look
at
an average photographic print and see how each
plane seems to stick to the other
the nearest tree seems
;
no nearer than the ones a hundred yards behind in turn
trees
which form the skyline.
walk round the various objects
move
space where figures might
and those more remote.
which
belt of
Study an average landscape
photograph and notice how rarely you
objects
it,
do not seem half a mile nearer than the
;
feel that
there freely
This
is
you could
no impression of
between the nearer
is
because the various
planes are not sufficiently differentiated by a difference of tone. in
On
Nature.
a clear day
seems, which tells
does sometimes actually happen
this
You know how near it
the distance sometimes
ought not to do, but in Nature mere colour
us something besides
;
we know
the distance
is
distant,
but the picture-maker must avail himself of this difference of tone
— must make every
effort to secure
it
in order to help the
PICTORIAL PHOTOGRAPHY.
which
of his picture,
eftect
Perhaps
affair.
after
is,
may be made a
this
297 only an
all,
artificial
clearer by another
little
reference to the reproduction of the picture " Rain from the Hills," in
middle
which the furthermost
and
distance,
of
in
boulders,
three planes are
all
rocks and heather, or the
but in the middle distance the light-coloured fern
like
;
or
grass
become lighter
still.
intervenes,
the
is
" is
more
Of if
its
have
rocks
similar
and
distant hills behind being greyer
course, in this case a considerable space
half a
must obtain
as
and so they form one mass of
lighter, tint,
objects
become toned down
have
middle
from
material,
similar
ridge
hill
group
each stand away from each other, yet
composed of
the
hills,
nearer
the
mile perhaps, but
the space between
The
but a few yards.
same
the
more
or
principle
remote
less
" standing-away-
effect of
not to be confused with stereoscopic effect
;
we do
not aim at counterfeiting solidity, but merely so to render the relative tones of objects that each appears to into
its
back
fall
proper place.
Photograph any scene on a clear east-wind day, and
when
again on a hazy day,
the distance
vening mist, and note the difference landscape
will
appear to go back
seems inextricably mixed up. by
this that
;
I
blue with inter-
is
â&#x20AC;&#x201D; in
the
the
latter
in the former, everything
do
not,
of course,
we must only photograph on misty
mean
days, but
take the comparison merely as a lesson and endeavour to
import mist
is
much
of that quality which mist gives even
present,
and thus compensate
proneness to eliminate the
effect of
omission of atmosphere and all
photography's fault
adopted to secure
it
I
;
false
for
when no
photography's
atmosphere.
But
rendering to tone
this
is
not
but the practical means to be
had better touch on under the
third
heading of Construction.
Much
has
now been
said as to the picture conveying the
BARNET BOOK OF PHOTOGRAPHY.
29S
and
ideas
artist's
emotions, and
complex and propose to
appeal to the spectator's feelings and
its
time
is
it
now
to turn to the rather
more
understood quality of a picture, which
less
I
under the heading
briefly deal with
IMAGINATION. The
who
recruit
as yet has hardly realised that a picture
can be aught but a simple copy of a well-chosen scene in
Nature may,
if
he
pass to the next
and give
a
it
leave this section for the present
like,
but anon
;
I will
patient
little
study,
imaginative quality of his picture plates
and paper he uses
We
to
him
assuring
that the
as essential as the very
is
make
and
ask him to return to this
it
with.
have already spoken of the desirability of the scene
possessing but one
more or
less central
chief object, the
subordination of other objects, lights, and shades thereto, the
convergence and balance of lines and masses, the absence of excess of
irritating
detail, the differentiation
by intervening atmosphere
â&#x20AC;&#x201D;
all
essential qualities for the picture
reader to say in the
same
remember
how
but
Precisely, that is
that the picture ;
;
occur to the
will
it
rarely indeed will all these things
scene.
natural scene
of planes
equally important, indeed
that
is,
is
why
is
it
happen
consoling to
not necessarily a replica of the
we may,
if
we can, omit
or
add if by so
doing we can the more convincingly convey our idea.
what of
this idea ?
say that the idea it
is
Well, probably in
to be rather than as
In photography to
it
will
most cases the scene as we imagine it
it is
actually
not so
is.
difficult as
produce imaginative work
if
might be supposed
only
possess and will exercise his imagination. natural scene, let him, after
it
the
photographer
Looking
at the
having chosen the point of
view which seems most satisfactory, think
way
But
be simplest to
how and
might have been better, more attractive
in
what
in
its
PICTORIAL PHOTOGRAPHY. arrangement,
in
softer
To
near contrasts.
its
bolder
grey distance,
in
its
the naturally artistic temperament this
some
glorification of the scene which, for it is
299
reason, attracts
instructive.
Notice that composition
but the rearrangement of
is
parts within or up'to the limitations of the process, circum-
or individual ability
stances,
imagined scene
of the
the representation
;
but the truthful rendering of the individual
is
impression, the scene as the individual thought he saw it
must be remembered
that
it;
for
an imaginative work must not
be confused with a mere fancy picture, which may be an
But a good imaginative work
extravaganza.
tinguishable from a transcript from Nature
looking at to
it it
what Nature ought
The make
;
â&#x20AC;&#x201D;that
to be, that it is
none without
positive
artifices
which
than would
dry bones of the noble picture
the
when we confront
thrill, this
know-
fact.
Fine selection or composition, accurate
delineation, are but
is
on
world only pretend to copy
finest pictures in the
us see and feel the original more vividly
which,
to say,
is
not true to incident and
reminding us of Nature by certain
an actual copy.
which
always indis-
appears so reasonable, so like Nature, so true
ledge could assert that
Nature
is
it,
thrills
us by reason of something
from the actual objects portrayed.
apart
stirring
of our emotions,
is,
think
I
This
may be
it
shown, due to the imagination of the producer, who takes in the whole
beauty of a scene at once
lighting, the form, or
his imagination
mind a more before
him
;
is
some character
at the
if
he
is
and because the
of a kind to which
time attuned, he sees in his heart and
beautiful, a
and
is
;
more
perfect scene than
a picture this glorified impression, then he the proper function of the for others,
is
successful in conveying by
artist,
which
is
is
but
actually
means of fulfilling
to interpret Nature
and make others see beauties and receive ideas
which they would never find in Nature
for themselves.
This, I think, accounts for the selection of
some
particular
BARNET BOOK OF PHOTOGRAPHY.
300
may seem to have nothing Some detail, some form, some
subject which to another person
recommend
especially to
shadow or
or
light
it.
and
contrast, attracts,
a halo of glory around actually
is
it
imagines
;
another person,
to
it
much
it
So the painter might depict
it.
he
facts are
reproducing, and then anon,
disappointing
more
much
less beautiful
likely
!
â&#x20AC;&#x201D; he
is
when
the print
is
than
it
been said that the photograph
soul in the trees
Is not
for its inefficiency.
sentation with the soul of Nature
more
made, how
rudely awakened from his dream, or
blames the process
How
the story of thousands of photographs?
this
that
and enhance
and give us Nature as seen
it
thinking them to be, he goes through his process of
is
has
and
But what of the photographer ?
through his temperament.
Unconscious that the dry
it
it
all
it,
surrounding factors in the scene are subordinated to are robbed by imagination in order to emphasise
were
than
fairer
as he studies
and,
and
instantly
quite unconsciously the person attracted weaves as
left
is
out
?
But there
and flowers and swelling
sun-made image; the "soul" was
often
but a dead repre-
hills
is
no
than in
that which the man's
imagination created and which he has taken no care to
Hence
imprison.
these remarks on imagination to warn the
photographer that unless he take such steps, or so control
and unimaginative as
his process, all unsympathetic
how can
he hope that his picture will contain
actually there I
how
warned the
this
reader
that I
he
am
might pass over
It is
this
not prepared to say just
imaginative quality can be imparted, nor,
anyone.
is,
?
chapter and go to the next, for
is
it
what was not
I think,
not a thing of grains and ounces, but in
the next section, after giving with the brevity which circum-
stances compel such outline of
think the beginner
apply them as best little
use unless he
means and methods
as
I
may find useful, I shall leave him he may but means and methods are
to
;
is
also
awakened as
to
what end he
is
of to
PICTORIAL PHOTOGRAPHY. apply them. of a picture
The photographer must
301
realise that the essence
the personal interpretation of Nature, and,
is
having certain means placed at his disposal, he
more
likely to
know
to
be successful
in their use than
if
at least
is
he did not
what end to employ them.
CONSTRUCTION, MEANS, AND METHODS. I
have devoted more space to motive, and shall give
less to actual
methods than perhaps the beginner would
wish, yet the apportionment which to be best,
and
have adopted
I
at least agrees with
what
The methods which
their relative importance.
I believe
I believe
to
the photo-
grapher bent on expressing his impressions of Nature
adopt
attaining
in
his
end are
be
may
and are limited
elastic,
perhaps only by his own resourcefulness in contriving to
modify and apply the technics of the process, as he has learnt
them through chapters devoted
ment, and the
like.
of technicalities is
is
That a more
to exposure, develop-
or less complete mastery
essential goes without saying.
born a genius (and the
Barnet Book
is
Unless one
not intended for
Beethoven or Mendelssohn
such), one cannot render
until
long after mastering the elements of music, or paint without learning
how
grammar; and graphy
is
to mix colours, or speak
and
for that reason this article
on
placed
the camera
last in
the book.
So now,
and looking on the focusing
write without
pictorial photo-
in setting
screen, or
it
up
may
be looking into the finder of the hand-camera, we see the scene which for some reason or other we have selected.
Now,
to use a
be used
hand-camera
â&#x20AC;&#x201D;implies
for pictorial
work
previous training with
â&#x20AC;&#x201D; and
which the image can be seen and focused whilst
Having thereby learnt roughly the distance and best suited
for
typical occasions,
focusing scale and guess-work
;
it
may so
an instrument in it is seen.
lens aperture
one may work with a
but there must ever be a
BARNET BOOK OF PHOTOGRAPHY.
302
The
degree of uncertainty. not, nor
size of
camera matters
the
we can
pattern, nor the lens used, so long as
its
see the image precisely as
will
it
come on
the plate and
place the sharpest degree of definition precisely where
we
desire.
Supposing, then, we have racked out the camera so that the view
"What So
far
reasonably sharp
is
may
the diffident one
;
focus sharpest, or what stop shall I
shall I
stop influences
as the lens
the exposure,
ask,
use?" this
dealt with in the article on Negative-making, which
is
comes
first in the present volume ; but, so far as the effect which any particular stop produces, and the appearance attained
by focusing sharply on one particular plane, or securing sharp definition throughout the picture,
or, as it is termed, " depth of focus," the reader should have perceived by this
time that taste
is
it
a purely personal matter, one for individual
and judgment
The
to decide.
sharp focus, the fuzzy picture,
one
that
in
which everything
such suppression an
effect
is
is
general suppression of
not more artistically right
is
critically sharp, unless
by
obtained which could not be
as well rendered by any other means. It is veritably
and, whilst there in the
a case of the end justifying the means, is
no
expedient
avoid
to
object of the scene
no question of
rule,
matter of focusing,
will
it
either
perhaps at
extreme.
naturally placed
is
right or
As
wrong
first
be found
the
principal
more or
less in the
centre of the picture, and light and shade, as well as other objects,
and the chief
lines in
the composition are, as far
as possible, so arranged as to concentrate attention principal object,
upon
focus sharply
Do
this,
will
will it.
all
be
recognisable,
;
on that
probably be but natural to
We
then, with the lens at
any stop at to
it
thus give
open aperture
first
chief attention.
it
â&#x20AC;&#x201D; that
is,
without
probably objects beyond and those close
so confused and
and
if
the
blurred
picture were
as
to
made
be like
hardly that
it
PICTORIAL PHOTOGRAPHY.
303
would be unpleasing, and the spectator would be made conscious of
imperfection
or
this
Next
incompleteness.
Suppose
the effect of the largest stop.
it
to
be/
8,
ground
try/n,
closely studying the altered effect
and
precise copy of all the facts
No, certainly
but
not,
promises
to suggest in the finished original
more
produced
may sound
?
view
?
of sharpness which print the impression
your imagination.
in
impossible until you begin to consider
For instance, suppose that
closely.
— what
in the
details
that degree
which the This
on the
and determining thereby the precise degree
glass,
of sharpness and depth best calculated to produce
it
if
does not sufficiently clear away the regions of blur and
confusion
A
try
and
one
tree
amongst the many which form a beautiful grove by reason of
its
form,
attracts
its
light
and shade, or some other character,
your notice and pleases you
;
instantly,
the
for
time being, this occupies a central position in your thoughts indeed, the entire universe
Other
trees,
mentally grouped around
is
thoughts quite subordinated
you are conscious of
;
presence, but only in a vague sort of fashion.
you to focus
all
their
Hence, were
equally sharply, so that on looking at the
print the spectator feels this will
it.
although as large and as distinct, are in your
them
all
to be equally pronounced,
not give particular prominence to the one object
which was chief in your imagination. rather crude example, but
it
may
This
but one
is
show what
suffice to
is
here meant by making the picture realise the mental impression or imaginative idea. as has been said, there can be best to focus most sharply principal
theme
— the raison
As a general no
d'etre
— of
other objects, other plants, be just so shall cause
to
make
them
to
rule,
although,
be found on whatever object forms the fixed rule,
it
will
the picture,
much
less
and
let
sharp as
be subordinate, yet not so unsharp as
the want of definition immediately noticeable.
In landscape subjects, when we have perhaps an
attrac-
BARNET BOOK OF PHOTOGRAPHY.
304
foreground very close at hand which we wish to render
tive
do so and
defined, but to
well
moderate sharpness sitate the
same time secure
at the
in the rest of the picture
use of a small stop, which possibly
would neces-
movement due
wind prohibits because of the consequent long exposure
to
in such case the swing
may
back of the camera
By swinging
accessory.
is
a most valuable
the top of the back outwards
we
get the foreground quite sharp, as well as the distance,
with even the largest stop. useful
when on one
Similarly, a side swing
bank or bed of reeds which come very In
all
is
we have a
side of the picture
often
flowery
close to the camera.
these matters of focusing the student must ever
keep in mind that as the view appears on the focusing screen so
will
it
be on the plate when developed.
The
character of the picture, the accuracy or otherwise of the rendering,
is
irrevocably decided when, having selected the
front of view and focused
it,
the lens
is
capped preparatory
The beginner
to placing the plate in the camera.
too often
appears to perform the necessary acts for the production of negative according to set rules, possessed of a blind
his
confidence that
which
do
more there
will all
come
right in the end, instead of
should
screen
be thoughtfully
and the questions asked of one's
studied, that
it
ground-glass
the
?
central ? "
self,
"
How
will
Should the view be higher in the plate or lower or less so, sharper here
Then,
if
or
more
diffused
the result be right or wrong, good or
bad, you will at least feel that you have been personally responsible
instead
of having
left
the
matter
to
blind
chance and the accident of an unsympathetic machine.
In the matter of exposure you
by such knowledge of the perusal of if
craft as
some of the preceding
will
be mainly guided
may be
acquired by the
articles in this
book
;
but
a wrong exposure will give you the effect you want better
than what an exposure table
wrong exposure by
all
tells
means.
you
is
correct, then give a
Experience goes to show
PICTORIAL PHOTOGRAPHY. that a long or full exposure
the darkest shadows
is
305
by which means even
best,
and blackest objects have time
produce some impression on the plate
;
Nature there
for in
hardly any such thing as an entirely empty space,
be so dark as to possess
shadow
no
detail at
all,
for, if
yet there
to is
a is
always a play of light reflected from the surroundings.
Quite apart from the actual objects which go to make up the scene, the composition often depends mainly on the contrast of light and dark colours ; it is hence of utmost
importance that the plate used should be of such a kind that it
will
render the relative lightness and darkness of these
colours precisely as
suitable sine
or light
screen
filter
in
conjunction with a
should be regarded as a
qua non.
Remember
that the part of the scene
namely, the sky and is
Nature, and on this
they appear in
account an orthochromatic plate
its
above the sky
cloudsâ&#x20AC;&#x201D; is as important as
between the foreground and horizon, and
sensible to photograph the sky
and leave
it
all
line
that which
were just as
the rest blank
white as to photograph the landscape and leave out the sky supposing, of course, that the sky
view is,
;
is
included in the
field of
and here we see how essential an orthochromatic plate
for, if
used with a suitable screen, the clouds,
or, if
there
are none, then the clear sky, can always be correctly rendered on the same plate as the view ; and yet one hears of " sky
and landscape on one plate " as though it were a great But if a landscape be rendered passably achievement. and the sky comes quite white, it follows that everything in the landscape of the same colour or tone as the sky well,
has also been falsely rendered,though perhaps our perceptions are not sufficiently trained to notice
Again, because in
it.
the brighter objects the intensity of light obliterate the
more
delicate tones
exposure the backing of the plate
mere precaution
â&#x20AC;&#x201D;
it is all
and is
may be such
detail,
as to
during a long
something more than a
but essential.
BARNET BOOK OF PHOTOGRAPHY.
306
For
a backed
pictorial work, then,
all
rapid
ortho-
chromatic plate should be employed.
Develop
and avoid any great degree of
for gradation
Just as a
density.
full
exposure was given in order to
prevent empty solid blacks, so one should in development
keep the high
The
whites.
print, the
lights thin
to escape rendering solid hard
printing process to be used, the colour of the
shape and even the
must all be determined by
size,
the effect desired and the capability of any particular process to give that effect.
The
pictorialist is
using just so
him
;
an autocrat, acknowledging no laws,
of the possibilities of a process as suits
he must also be something of an experimentalist,
and
trying this
His
much
field
that to see
of operations
is
unlimited
subjects from anywhere, and,
pleases it
him or
will yield
if it
;
what he
desires.
he may choose
his
remembering that whatsoever
strikes his fancy, his
The
appealed to him, and why.
purpose
show others
that his representation shall
is
so to render
precisely
what
actual concrete objects
included are to be merely the vehicles of his abstract ideas,
and are not depicted on account of any to their existence.
An
artist
a pure invention, having no yet
it
will
be not the
less
grapher must depend in the picture
may
real existence
good first
and not a mere record
and the pleasure
it
interest attaching
paint a picture which
artistically.
aimed
at,
then
if it
;
but, if a
its
value,
should give, are not dependent on the
fact that a real place or subject is represented.
follows that
The photo-
place on realities
is
is
anywhere, and
Hence,
it
were possible to introduce into the picture
something that was not present, but seemed likely more fully to express the idea, or if
which so
;
is
and
erasing,
not desirable, to
it
some extent
it
were possible to omit that
would be perfectly legitimate this
may be
to
do
achieved, not actually
but by so printing that such parts shall be less
obtrusive.
PICTORIAL PHOTOGRAPHY.
Having produced the negative
in
307
a manner calculated
as far as possible to convey the impression desired, a very large
from
amount of control can be exercised it.
whilst printing
Screening the light for such parts as
should print
lighter,
and
either
not, letting the light operate
which by toning down
will
it
seems
fit
removing the negative or
on those parts of the print become almost obliterated
such methods for dodging or faking would of themselves
form a subject for an entire chapter, and space in these pages
is
insufficient
;
and hence the student
books wherein these matters are treated of
is
referred to
at length.
A. Horsky Hinton.
INDEX. Aberration, Chromatic
.
3io
INDEX.
312
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