Camera and Darkroom by Cezar Popescu

Camera and Dark Room VOLUME VIII. JANUARY - DECEMBER, 1905

EDITED BY

'JAMES P. CHALMERS.

1905 The American. Photographic Publishing Co. NEW YORK, N. Y.

Copyri1h1, '904• by the

A•rKRICAH PHOTOGRAPHIC PU&LISHIHG

Co, New York, N. Y.

All Rrghts Reserved

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Advice to Amateur Photographers... A Few Words on Lenses ...•.........• A Gigantic Lens Concern ..•......•.. A Home-made Fla.. h J oamp. . . . . . . . . . A Home-made Print Washer for Use with Running Water •.........•... An Amateur Washing Kit .......... A Point Well Taken . . . . . . . . . . . . . . . . A Plea for "Camera Hunting" ........ A Repair Kit and How to Use It. C. H. Claudy •.•............•........ Artistic Asp"cts of Photography. T. <.:. Tllney ......................... A ~hnple Inexpensive Method of Enlltrging for Beginners ............. A Strong Combination . . . . . . . . . . . . . . A Vacation Yarn. 0 Von Engeln .... B Blue Prints Formula ................ Bromide Paper Printing .............

22 152 337 120 1411 191 194 263 174

224 333 338 309 372 358

c California College of Photography ... Carbon Transparencies . . . . . . . . . . . . . . Chemical Action In the Dark. . . . . . . . Chemical Aids to Photography. . . . . . . Choo'llng a Lens ................... Color Photography and Dark Room Illumination . . . . . . . . . . . . . . . . . . . . . . Contrivances for the Dark Room..... Correct Diaphragms ................

267 256 35 67 168 279 78

348

101 283 281 330 107 392

I Idea Interchange ...................• 221 Ideal Printing Paper for Tonallsts ... 390 Is Interior !'holography Dlftlcult? .... 125 K

Kodak Competition for 1905..........

Lantern Slide Making .............. 354 Lumlere Products ...........•....... 167 M ·Machine or Timed Development ..... Making Perfect Slides for the Lantern Manipulation In Printing .... , •...... Method In Negative-Making ......... Method of Preserving Unstable Solu· tlon ............................... 1\ly Dark Room, and How I Fitted It Up ................................

192 354 111 123 1SS

287

Dark Room Illuminating •........... 362 Development . . . . . . . . . . . . . . . . . . . . . . . • 82 Diaphragms, Correct •....••.......•• 348 Dll'luslon of Focus with an Anastigmat. J. W. Little .. . .. . . . . • . .. • .. 45 E Eastman $2,000 Competition .......... 223

Negative-Making .................... 123 Negative Retouching ................ 121 Notes on the Photography of Medical Specimens 332

Hints on Development . . . . . . . . . . . . . . 82 Hints on the Selection of the Place and Pose of the Sitter In Portrait Photography • . . . . . . . . . . . . . . . . . • . . . 76 Home-made Flash Lamp .•....•••..• 120 l'lome-1\{ade Printing Paper ..••.••• 119 Home-made Print Washer for Use "'Hh l!unnlng Water .......•.•..• 148

Glazing Printing-Out Papers ....... 364 Green Tones on Bromide Prints ...•.. 181

367

F Film Troubles and Hints to Hand Camera Users . . . . . . . . . . . . . . . • . . • • • 345 First Photographic Salon • • . . . . . . • • . • 3 Focusing Magnifier and Spirit Level.. 373 Formosulphlte •......•.•..•.....•.•• 366

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Home Portraiture Hints .........•.•• How a Successful Photographer Got His First Start In Business......... How the Inauguration Was Photographed ........................... How to Make a Developing Tank. . . How to Photograph l.o lowers ......... How to Win a Competition ...•...... "Hypo" J<~llmlnators . . . . . . . . . . . . . . . . How to Improvise a Twin Lens Camera

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Optics of the Pinhole ...•.... , •....• 318 Our Home Portraiture Competition... 9:;

p Papers !or Art Photography. Wm. Ide ............••.••••.••.....•... Passepartout Framing •..........•.. Perfected Gum Ozotype ...........• Photographs ln 011 Colors. . . • . . • . . • • Photographs on Watches, Cigarette Cases and the Like. . . . . . . . . • . . . . . • Photographs of Wireless Messages. . . Photography ln the Philippines. . . • . . Photography Through a Chemist's Eyes. Woodman •.......••........ 35, 67, 107, 137, 172, Pictorial Prints Have No Commercial Value. Roland Rood , ........... , Platinum Printing for Amateur Photographers. A. J. Jarman......... Position of Ground Glass ......•.•..• l'ractlcal Notes. M. D. Miller .•••. ,.

217 112 180 62 60 85 209

252 24

71 168 214

tABLE OF CoNTENTS Preservation of the Photographic Image •.......•..••..•..•..••..••••.• Preserving Unstable Solutions •..••. Print Washer, for Use with Running Water ••••.•...................... Printing and Developing the Picture Postcard • . • • . . . • . • . • • • . . • • • . . • . . . • Printing without Light .•......••.••• Prints on Bromide Paper. . . . . • • . • • . . .

172 185 148 178 363 358

Query DepartmentApplying the Developer and Lens Terms Defined • . . . . . • . . . . . • . • . . . Black-Toned Prints ............... Camera and Dark Room Exposure Tables . . . • . . . • . • . . . . . . . . . . . • . . . . Carbon Troubles •..•.............. Caricature Photographs . . . . . . . . . . . Cause of Coarse-Grained Negatives Cleaning Bromide Enlargements ... Combined Bath • . . . . . . . . . . . . . . . . . . Combined Toning and Fixing Bath. Composition of the Spectrum...... Copying Ink for Titles ..........• Crystoleum Painting ......•......• Detecting Iron In Water . . . . . . . . • • Determining Exposure . . . . . . . . . . . . Developer, Staines . . . . . . . . . . . . . . . . Developing P. 0. P. . . . . . . . . . . . . . . . • Development, Under-Timed Plates. Distances for Enlarging . . . . . . . . . . Edlnol-Hydro Formula ............ Enlarged Negatives ............... Flashlight Trouble ............... Formula for Edlnol Developer . . . . . Formula for Plate Backing . . • • . . . . Gold Toning . . . . . . • . . . . . . . . . . . • . • . Good Prints from Thin Negatives ... Lens for Portrait Work .......... Lens Terms Explained • . • • • . . . • . . . Mounting Prints on Muslin ........ Permanence of Prints ••••.••.•••. Photo Paste • • • • • • . • • • . • . . . . • • . . • • • Poisoning by Chemicals • • . . . • . . . • . Postcard Printing • . • • . . • . . • • • . • • • • Protection tor the Hands . . • . . . . . • Reducer tor Bromides • . • • . • • . • • . . • Remedy tor Fogged Plates . • . • • • • Remedying Distortion . • • • • . • . . .. • • Saving Residues •.••.•••.••••.•••• Select a Brand of Paper to Suit the Negative • • • • • . • • . • . . • . • • • • • . • • • • Sensitive Paper tor Meters. . • • • • • • Shutter Distortion • . . • • .. • • .. • • • .. "shutter Patents • . . • • • • • • • • • • • • • • • • Shutter Testing • • • • • • • • • • • • • • • • . • Silvering Mirrors • • • • • • • • • • • • • • • • • • Stained Prints • • • • • • • • • • • . • • • • • • • • Stereo VIews with Ordinary Camera Starch Paste Good as Any. . • • • • • • • Testing Shutters . . • • . . • . • • • • • • . . • • 'he DlseasA Suggests the Remedy

342 308 98 374 306 98 408 206 342 98 407 206 98 306 32 205 98 306 205 374 374 206 98 342 134 238 134 374 374 208 806 805 134 408 305 306 874 97 306 374 806 82 205 97 288 32 82 98

The Film Is Mildewed ........• ; . • The Planes of a Picture........... Tinting Photographs • . . . . . . • . . • . . • Tolldol ............................ Use of Uncorrected Lenses ....•.... Washing Prints • • • . . • . . . . . • . . . . . • White Letters on Prints............ Yellow Negatives .........•.......

i4ll 83 842 874 238 97 98 342

Remarks by an Amateur ......... 18, Reslnlzed Printing-Out Paper ..... : •• Retouching Landscape Negatives ...• Retouching of the Negatives ......... Retouching Negatives ............... Rudol, A New Developer ............. Rules and Conditions of the Second American Salon ..................

48 364 212 29-l 121 366 264

s Second American Salon. . . . . . . . . . . . . . • Second American Salon .............. Sensitizing Silk ..................... Shutter Testers and Shuter Tests .. 10, Sliver Prints upon Porcelain or Opal Glass •...........•................ Some Contrivances for the Dark Room Some Features of a New Camera ..... Some Hints on Development ......... . Some Phases of Newspaper Photography .. ·•·········. ··············· .. Speedy Washing of Prints .......... . Stained Prints •........... ·......... . Stand Development . . . . . . • . . . . . . . . . . . Straight vs. Pictorial Photography... Straining a Point ........•........... Sulphide Toning of Silver Prints .....

222 377 372 39 140 76 166 82 290 168 168 255 182 389 383

T Tank Developments. C. H. Claudy ... Testing Color Screens •............. Testing Exposure Time tor Color Screens . . . . . . • . . . . . • . . . • . • . • .. . . . . • Testing Shutters. C. H. Claudy ...• 10, The Artistic Aspects of Photography. The Box In Grandma's Garret ......•• The Camera at the Seaside. • • . . . • . • • The Detection of Developing Agents. The Infallibility of the Actlnometrlc Exposure Meter • . . • . . . . . . • • • . . . • • • The Mental Kodak ................. ; The Troubles of a Beginner ••.•....• Toning Gelatlno-Chlorlde Prints with Platinum • • . • • • . . • • • • • • • • • • • . . . . . • • Toning the Silver Image •.•.....•••• Trick Pictures • • . • • . • . . . • • • • • • • • • • • . Two Chemical Aids to Photography.

385 289 150 39 258 153 U2 252 166 117 :288 327 863 894 67

w Warm-Toned Bromide Enlargements. Washing of Prints and Negatives ....• What Paper Shall I Use? ..••........ With Esther'& Help •.•...•..•......• Wooden Carrying Casea .............

361 137 275 228 1U

lNDttX TO AUTHORS. A.

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Chemical Action In the Dark....... Chemical Aids to Photography. . . . . . • Detection of Developing Agents ••.••• Hypo Eliminators ••••••..•..••...••• ·Preservation of the Photographic Image •.•••••••.••...•..•...•....•••• Washing of Prln~s and Negatives .•.•

36 68 262 107 172 137

C. II.. Claa4J'.

A Repair Kit and Its Use ......•.... Optics of the Pinhole . . . . • • . • . . . . . . . . Photographing the Inag.uratlon ...... Shutter Testing •..•.....•........ 10, Tank Development . . . . . . . . . . • . . . . . . • The Camera at the Seaside. . . . . . . . . . What Paper Shall I Use? ............ Wooden Carrying Cases . . . . . • . . . . . . .

174 318 101 39 385 241 275 144

Passepartout Framing • • • • • . . . . . • • • . • il~ Retouching of the Negative ••••.••• 294 Second American Salon •• o o • • o • • • o • • • 877 G.W.Ba·YIIa. Remarks by an Amateur ••....... 18,

J, W, Little.

Diffusion of Focus • • • • • . . . • • . . . . . . . • 46 Manipulation In Printing •..........• 111 Retouching Landscape Negatives ...•• 212 Mal-Ia Deaa MWer. Photography of Medical Specimens. . . 332 Practical Notes on Landacape Work. 214 Jr, C. TllaeJ'

Artistic Aspects of Photography ... 224, 258 WIUiam Ide.

A..J. Jarmaa.

Making Perfect Lantern Slides ...•.. Platinum Printing for Amateurs..... Silver Prints on Porcelain or Opal ... Sulphide Toning of Silver Prints ..... Toning Silver Prints with Platinum .•

Papers for Art Photography ........• 217 354 71 HO 383 327

J, p, Claalmel'llo

Bromide Paper Printing •........•.. 368 Clouds In Landacapes .............. . 379 Film Troubles and Hints •.........• 346 First American Salon 3

S. Rartmaaa.

How to Win a Competition. . . . . . . • . . 330 Rolaatl Rootl. Commercial Value of Pictorial Photographs • • . • • • . . • • • . . • . . . . . . . . .. . .

Oear Voa Eqela, A Vacation Yarn ••.••• o . • • • • • • • • • • • 309 Home-madt" Print Washer ......••.• hS

ONE DOLLAR THE YEAR. TEN CENTS THE COPY

New York, January, J905.

Volume VIII.

No. J

Edited by ]. P. CH .\LKEas. Published on the first of every month by THE AMERICAN PHOT OGRA PHIC PUBLISHING COMPANY, (Telephon e 853 Franklin)

361 Broadway

New York Cit

Geileral Age nts, THE AM.ERICAN NEws COMPANY AND TH E IR BRANCH-ES . Canadian Trade Agents, D. H. HOGG Co., 662 Craig St., Montreal. Great Britain and the Continent, INTERNATIONAL NEWS Co., Breams Building, Chancery Lane, London, E. C. San Francisco, GoRDON S. SMART, 426 Oak St. Entered at the New York Post Office as second class mail matter. Subscription price, One dollar per year in advance. Foreign subscription price ssb . $1. 25 ) Positively n ot conn ected with any photografhic stock bouse. Matter should reach office by the 15th of month preceding date o publication. Original MSS. solicited

THE PHOTOGRAPHIC SALON IN NEW YORK.

IEWED as a whole, the F irst Photographic Salon of America may safely be said to have sustained its avowed intention of presenting to the public the artistic possibilities of camera work. T hat the public did not respond in gene rous numbers is unfortunate. .:\ ew York is a busy place and the Salon was a new depa rture, It was a noteworthy enterpri se and it merited wider advertising. Be thi s as it may, the Salon will now be held in o ther cities. It is likely to attract more attention there than in the metropoli s and the artistic quality of the exhibit will probably stimulate_ camera workers in general to earnest effort along the lines these pioneers in art photography have so successfull y blazed. T he Salon, in its fixed determina-

tion to encourage artistic achievement, has been a revelation to those only passing familiar with photography, and a valuable teacher to those to whom nega tive manipulat ion is no longer a marvel nor a mystery. The layman sees only the artistic tout ensemble. The camera lover sees the mechanical detail that secured it, the deft handling of tbe nega tive, the happy selection of the printing surfa ce best suited to the subj ect, the careful composition and the minor, but no less essential, points of appropriate frame and m~t. In the Salon every possible variety of printing paper seems to have been requisitioned. Carbon platinum, sepia, green, even the desp:sed blue, are in evidence, each helping in its own way to bring out the true values of the picture. There are glazed papers and matte ones ; there are the mottled

THE CAMERA A.\"D DARK-ROOM

effects one sees in wash-drawings and in India ink sketches ; there are the filmy, luminous rice papers and the heavy ribbed mesh of canvas, and all serve a distinct purpose. "Fuzzy" pictures were hung, some of th'em on the honor line, and since an artist jury passed them 1t were, of course, rank heresy to consider even the ridiculous ones aught but artistic. Most of them held one redeeming feature, however ; the composition was good, although in several instances it blindly followed the canons of the Barbizon School. Standing before them one is reminded of the painter who, exhibiting his work, patronizingly bade the layman ''get way off to admire it,'' and of that gentleman's retort courteous, that he'd ''have to be way off before he could admire it." Some . of the best examples in the Salon appeared to be a bewildering cross between a half tone and a copper etching. That they were really photographs seemed incredible to the ordinary visitor. But The Man Who Knew, and he was in frequent evidence, wore a smile all. his own and murmured something about enlargements and fine bolting cloth being used outside of flour mills, on occasion. No doubt the artist committee would be chilled to the marrow at the awful sacrilege of adopting lpurely mechanical devices, such as this, to produce art effects. It is scarcely more than a generation ago that their guild nearly crucified Turner for using his thumbnail, when brushes failed to express his idea. Yet the camera lover, studying the pieces that bear the stamp of their approval, de-

tects in each sure proof that both chemistry and mechanical devices have lent their aid. And why, not, if the results warrant? The two little winter-scenes submitted by Clarence Dudley of Chicago are like the finest steel engravings, yet their tones are soft as porcelain effects. Note in the "Approach of a Winter Evening," No. 93~ how the harsh contrast of gleaming snow and inky earth have been so manipulated that, standing near or afar, we behold the scene as the artist beheld it. We see the tonal value of high light and shadow, and no less accurately the faint blue and violet hues that linger in the depressions in every snow-scape. Note how skilfully these are rendered in the mass of tangled foot-prints in the roadway curving gently up the hill, while overhead the sunset light caresses the gathering clouds. Other camera artists have entered the always popular snow-scenes in the Salon, and of these many are suggestive of frozen music, so poetical is the treatment given. Others again, despite their artistic touch, show faults that judicious trimming would go far in eliminating. Take for example No. 39, by Wm. A. Boger of Brooklyn, called "Forecast of \Vinter." Here the desolation of the scene is strongly marked, yet it lacks the appealing note that should awaken human sympathy. Cover the needless lower expanse of the foreground and note how the picture instantly gains upon us. Mr. Boger's work is of such high grade, one wonders why this did not occur to him at once. In 157, called "Winter in its Robe

APPROACH OF A WINTER EVENING.

THUS THEY HAVE EARNED THEIR DAILY BREAD.

Clarence G. Dudley. Chicago Camera Ch1b.

Wm. H . Zerbe. Jr. First Salon o f th e Salon Clu iJ of Amer ica.

THE CAMERA AND DARK-ROOM

of White," R. S. Kaufman of Wilkesbarre, Pa., shows the effect of sunlight upon fresh snow. There is much artistic merit in the composiThe curving road with its tion. snow-capped snake fence is admirable, but the contrast of ivory black and china white effects is positively painful, and one wishes he had toned them dow n after the mann er of Duelley of Chicago and E icke meye r of New York. O ne would not th en turn froni the picture with the impress ion that here was a clever amateur who mig ht study technique to advantage. In Xo. 56, '' Th e Clam-digger," by John Chis lett of Indianapoli s, the composition indicates careful study. The dark body of the clam-digger stands out clea r and strong against

the shining water, and emphasizes in the manner of Millet, the dignity even of lowly labor. No. 44, 'Twilight," by D. H. Brookins of Chicago, breathes the curvpoetry of repose. F ollowing ing shore a city sky-line rises silhouetted again st clouds kissed by the evening lig ht. A towering steeple lend s streng th and a touch of feeling, for, even among scoffers,' every human heart r espond s to the spirit, at least, of relig ion. A fin e and unusual touch is the g roup of boats at the side rather than in front ; anoth er effect worth noting is th e play of th e waves and cloud-shadows ove r the broad bay, breaking its expanse a nd relieving its of monotony. No. 3 02 by Dr. E . P . S wasey of the

TWILIGHT .

D . H . Brookins , Chicago . F i r~t

Sal o n o f th e :-;d on Club o f A mcn ca.

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THE CAMERA AND DARK-ROOM

Hartford Scientific Society, is a scene on the Roman Campagna. The technique is good, the atmosphere excellent, and the picture tells a direct and interesting story. At the left a dignified_ ~tlilly" marches beside his master anJ, iike him, keeps a jealous eye on the flock. Herd and herdsmen move down a straight stretch of road that, in the distance, winds picturesquely out of sight. But why not have chosen the curve itself as the setting? It would have afforded a finer view of the herd and have been in keeping with the teachings of Durer and Hogarth, men who knew from an art standpoint, the full importance of the curved line. See frontispiece. One may run curve-mad, of course, -.·ide the Secessionist school with its lily pad motive, its far reaching undulations, its vague sinuosities. Yet the Secessionist influence is valuable in many -ways. This is apparent in the admirable work of 1\lr. Seeley of Stockbridge, Mass., particularly so in the masterpiece that he calls "The Grave's Compass." Here a maiden crouches in true Secession pose, between a bubble symbolic of life, and a skull symbolizing death. The conception is beautiful and highly poetic. In No. 271, entitled "The Pines Whisper," a touch of the Secession 1nfluence is felt in the woman's hair, :and again in the silent lyre. No. 272 ,shows the same youth with his lyre. lt is a fine example of the misty •dream pictures Mr. Seeley evolves with marvelous skill, seemingly out 'Of nothing. The simplicity of the <:omposition is remarkable, yet it is a poem in itself, while the treatment is the highest art. Note the fine effect of the light where it falls on the

gleaming shoulder of the semi-nude figure, softly gray against a dark mantle. At the feet purls a brook, symbol of mystery and music. In the background, is the blurred outline of a tree. Could there be less in a picture ? Yet is more needed to tell the story of dreaming, ambitious youth? Quite of a different nature, and highly popular is No. 106, ''The Master of the Hounds," by P. G. Farquharson of Brooklyn. Here under leafless trees that lift their skeleton branches against the sky, master, horse and hound come galloping into a foreground a trifle too extensive. Detail and technique are both good, and the picture merits the praise it elicits. The print entitled "An April Fog" by Louis Fleckenstein of Faribault, l\1inn., merits more than casual study. It seems fairly to ooze moisture, so realistic is the saturated atmosphere. The light and shade are handled with skill, and the floating raft, barely visible through the mist, adds to the picturesque effect and supplies the human touch we involuntarily seek in everything. Gum pictures, by reason probably of their impressionist effects, appealed to the artist jury, it would seem. No. 282, entitled "Twlilight in the Pasture," is the work of C. M. Shipman of Brooklyn. No "nearby" picture this. Examined closely it shows only blurred lines and shapeless spots of light and shadow. Like the famous Claude Monet paintings, one must view it from afar to grasp even its outlines. Then the confusion resolves itself into plan and one sees the trees gather shape beneath sleepy clouds, and a flock of sheep take form

Carl Rau.

Lou1s Fleckenstein.

AN APRIL FOG.

THE SWIMMING HOLE .

First Salon of the Sa lon Clu b of America.

First Salon of the Salon Club of America.

THE CAMERA AND DARK-ROOM

and add their pastoral touch to the scene. Carl Rau of La Crosse, Wis., has done this in No. 231, but he snapped his shutter too soon to do justice to the boy about to throw water at his companion. He has caught the spirit of the scene, and has brought out the fine reflections in the water, but his background is too insipid. One wonders why he did not get a better view of it. A bit of study and a different view point might have improved the picture, good as it is. No. 150, by H. S. Hoyt of the California Camera Club, shows good work. He has called it "Along the Dock." The composition is satisfy-

ing, and the lights and shadows harmonious. The spars in the distance balance the picture admirably, and the sky and the water below are true both to nature and to art.. This combination is not always attainable, but Mr. Hoyt, like the men of the Dutch school, has managed to secure it. Space precludes further mention of individual pictures although many others merit the honor. All in all, the Salon made a decidedly creditable showing, and proved conclusively that success crowns deliberate study of lines and of composition, and the final result more than repays the careful manipulation of light and shadow.

SHUTTER TESTERS AND SHUTTER TESTS. BY C. H. CLAUDY. In Two Parts.-Part I,

T is a matter of common knowledge that the speeds marked upon the dials of shutters, and particularly those which wor:( between the combination of lenses, arc incorrect. It is not so commonly known that the percentage of error runs very high-so high, indeed that marked one-fifths may actually be one whole second, and marked seconds may be a fifth or less in duration. This is a serious matter to the beginner, or the photographer who depends upon meters or t:1bles for determining his exposure. Obviously, if a fifth of a second is time enough, one second is five times too much, and while the expert can get a good negative from a plate over-exposed five

times, we arc not all experts, and even so, it is much to be preferred that the exposure be right in the first place. \\' e cannot, by any simple means at our command, correct our shutters so that they will do what their lying dials say they do! Xo more can their makers. As long as a pneumatic dashpot is the retarding device, or the varying tension of a tiat spring the motive power, just so long will shutters be incorrect. \Vhat we can do, however, and that without too much trouble, is to find out what the speeds of our shutters really are, and remark the dials to the extent of making them tell the t.ruth. One way to do this is t.J buy a

No .

s hows an expos ure of less than 1-4oth of a second, a t ma rg in oJ scale .

N o . 2 shows, with same shutt er, se t at sa me speed, more th a n one-fifth of a seco nd nc: a r th e c.:e n trc ot scale. See arrows n a nd 6.

TWO EXPOSURES SHOWING FALLACY OF AN INCORRECTLY DIVIDED SCALE.

THE CAMERA AND DARK-ROOM

speed tester and follow directions. But you will miss not only a great deal of pleasure, but a very instructive series of experiments, which have as much to do with the mechanics and physics of the subfect as they have with the "photographics," if I may coin a word. Therefore, if you are the save-yourself-trouble, buy ratherthan-contrive-kind of a photographer, look elsewhere in this number for food for thought. In the first place, it will be necessary to explain to those who have never considered the subject, the principle on which a shutter test is made. There is no attempt to time the action of the spring, or attach anything to the mechanism of the shutter. The means is far simpler. If we can provide ourselves with any object which moves at a certain rate of speed, which we know, we can take a photograph of it. If wf! find it has moved a certain distance, the speed of the shutter must be equal to the t:me of the movement of the object. Had we a bicycle rider so skilled in timing himself that he could ride exactly ten feet per second, and we photographed him and found his wheel had advanced one foot, obviously we took the photograph in the tenth part of a second. But a body moving at a uniform speed, which is known, is not particularly easy to get hold of. And right here I want to introduce the subject proper by inviting your attention to the two accompanying photographs and the following incident. A friend wanted to test his shutter and, having heard of pendulums for this purpose, looked up that word in the encyclopedia and found that the length of a pendulum which beats seconds is

approximately thirty-nine inches. He made a pendulum out of a stout stick of wood, hung it by one screw-eye from another, placed behind it a twenty-inch scale divided into inches and went to work taking photographs of it, under the impression that his inch divisions would indicate exposures of the twentieth part of a second. Here is where he arrived in trouble, which he explained to me, as nearly as I can remember, in the following words: "Claudy, just look at those prints! Here I've made a shutter tester on approved scientific principles, and the same exposure, with the same shutter, at the same indicated speeds, gives me a record which shows that at one time it ran faster than a fortieth of a second and the next time slower than a fifth! Am I crazy, is the tester wrong, or does the shutter need throwing in the ash pile?" Now at that time I did not have shutter testers at the ends of my fingers, so I did no laughing, bu~ told him I guessed the tester was wrong somehow. A few minutes reflection showed where the trouble lay. A pendulum which beats seconds, or any other interval, is accurate, if properly made, but while it makes one beat in a given time, it goes at 1:arying speeds in different parts of its beat. Consequently, equal divisions of the scale will not do. It must be obvious, to anyone who will think a bit, that a pendulum starts slowly, gathers speed as it approaches the perpendicular, has its maximum speed as it reaches its lowest point, and then decreases in exactly the same way until it reaches its highest point on the other side, from whence the performance is repeated. The qu~stion is, then, how to divi,le the path of the

THE PINES' WHISPER.

Geo, H. Seely. First Snlon of the Salon Club of America .

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pendulum, which is thirty-nine inches long and which makes one beat a second, into intervals which will be crossed by the pendulum in equal times, no matter what part ot the beat is taken as an iiiustration. Now see how beautifuiiy this problem is solved by Nature, and admire with me the wonders of the law of gravitation as applied to the pendulum. Any seconds pendulum always beats seconds, whether the path be forward and back, an elipse, or a circle, when it is caiied a conical pendulum. That is, a small weight, on the end of a fine thread, thirty-nine, and one-ttnth inches long, in the b.titude of New York, will take two seconds to swing from a starting point to a stopping point and back again, or will take two seconds to swing from any one point arouncl a circle which is the base of a cone, back to that same point. ~ow refer to the diagram, Fig. 1. If a seconcls pendulum takes I

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one second to swing from A to B, and the same time to swing around half a circle from A to B, it is obvious that it will consume just half that interval in getting to D, if a flat beat pendulum-to C if a conical pendulum. What holds true for ar.,

one division, holds true for all. Divide half the circumference of a circle whose diameter is the path of your flat pendulum, in the number of divisions you wish on the scale-erect perpendiculars from the part of the flat pendulum (A-B) to the divisions on the circle, and the result will be a scale which wiii mark the path of a seconds pendulum swinging before it, so that it passes any one of the divisions in the same interval in which it passes any other one. In the figure, the entire circle was divided into forty parts, and corresponding divisions on either side of the line A, ll, connected with straight line. Returning now to a consideration of the pendulum proper, I found my friend had made a very serious mistake. It is true that a thirty-nine inch pendulum beats seconds, re' ~ gardless of its weight, provided that weight is all in one place. Actually, no such thing as a simple pendulum can exist-they are all cou.pound-but for purposes of experiment, a fine thread with a weight on it is a simple pendulum. But my friend had used a strip of wood for his pendulum, which had an appreciable weight, and which therefore did not beat seconds, so that even had his scale been right, his results would have been inaccurate. In figure 2 is '.. the diagrammatic representation of a compound pendulum. The longer the pendulum. the slower the beatthe shorter the pendulum, the Fig,. faster the beat. Now it is

ALONG THE DOCK.

Dr. W . F. Zierath . First Salon of the Salon Club of Ame rica.

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obvious that the bar a, b, may be considered as any num ber of pendulums, bound together. In this case, all the shorter pendulums-the upper part of the bar-are trying to beat fa ster, and the lower -part of the ba r -the longe r pendulums-is trying to beat slower, than th e rate of the pendulum of a路 whole. The upper part, then, accellerates the lower part, and the lowe r part retards the upper part. But there must be some one place where these two forces are equal. T hat point is called the c mte~路 of oscillation. And the pendulum ca n be hung either from its orig in al point of support, or from its center of osc illa tion, and still bea t the same time ! The distance from the point of support to t he center of oscilla tion is the actual length of the pendulum. If fig. 2 represents a second 's pendulum , from c to d must be thirty-nine and onetenth inches, . and supported from either point, the whole would beat second s. The application of thi s prin~ ipl e will be made later. F or us, who wi sh to construct for ourselves a shutter tester, the nearest approach we can make to the simple pendulum will be the easiesf and the best. The first thing to do is to make the scale, for which the theoretical directions have already been explained. In practice, the follow in g is as easy a method as路 any. T ake a large sheet o f paper, draw a line t w ~ nty inches long, with a dot in the center. With a pin , a string , a nd a pencil, describe a circle about thi s line, twenty in ~h es in diameter, so that th e center of the line and the center of the circle coincide. N ith a pair of c ividers, divide the circumference of the circl e into fort y parts-connect opposing clots

witl1 lines. Fold the pape r in tb e middl e and lay off the di visions you have secured, on a black ca rd. Throug h these lay off straight lin es, in white ink, white paint, or made of strips of white pape r, pasted on. The result should look like the sca le in the next photograph whi ch shows the homemade shutter tester as I made it and used it, in a front ya rd.. Directly in front of thi s scale, hang a plumb-bob ( ten cen ts, ha rd wa re store) which has been painted white. S upport it with a black silk thread, whi ch measures from th e center of the bob to the na il it is tied t~ . thirty-nine inches. The center of oscillat ion and the center of

H :> m ~ -l\路1 ad e Shutte r Teste r, show in g c orrec tl y d1v 1ded scale and pendu lum beatin g seconds.

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gravity in this pendu.l um 路are nea~颅 ly identical-near enocgh for accuracy up to a small fraction of one per cent. Have the nail ~upporting the pendulum driven into a board which can be moved, so that the bob can be raised and lowered in front of the scale-this will allow you to . make several tests on one plate, and save material. In the next photo is a picture of a shutter tester which can be bought from supply houses. Its scale is di-

which case the first ten divisions, being so tiny, had better be omitted, as in this 路stock-house tester. I am particularly glad to testify that I have tried this tester and find the scale accurate and the whole satisfactory. In the next paper, when tests themselves are gone into, I shall try to show why my homemade affair is fully as accurate as this one-not that there is anything against it-simply that any short pendulum, vibrating against a straight line scale, has a greater percentage of error than

A Shutter Tester ( the \V ynne ) so ld by stoc k houses. The reve rsed fig ures arc o( course right sid e up on the plate.

vided into hundredths, instead of twentieths, ar 路l its pendulum is compound, supported at its center of oscillation. It is nowhere near thirtynine inches long, but beats seconds just the same, because the weight of the upper part of the pendulum, has been condensed into the bulb at the upper end. The scale has figures on it, which appear backwards here, but which are right side up in the negative. There is no reason why the home-made scale should not be divided into a hundred parts if desired, in

a long one-but of this more later. The instrument described is th~ Wynne Shutter Tester, Infallible Exposure Meter Co. (See advertising pages). In the second part of this little series, I shall explain errors, as noted just above, and the proper way to make tests. I shall also go into the focal plane shutter and illustrate tests made with this shutter, working with the object and working against it. Finally I shall illustrate, with photos, some practical shutter tests, and show

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the easiest methods of determining the speed and the use of proportional measurements for exactitude. Those who care to follow me in this, by doing the experiments described, can obtain black cardboard and white ink from a dealer in artists' supplies, thread from mother's work-box and plumb bobs and white paint from hardware

stores. A small lead or iro:~ ball will do as well if not better than a plumo bob, but must be so mounted on the thread that when it twists and turns, as it will do all the time, it will do so smoothly, as if it was on a lathe, and not eccentrically. In other words, the thread must lead from the center, and not from one side of the weight.

REMARKS BY AN AMATEUR. BY GEO. W. HAVLIN.

Second Part.

FEW more words on the sub- accurately as it is possible for the ject of exposures, and I plate to render it, both in lighting, shall take up ~he matter of and in general effect, if a good plate development, and endeavor is used. This, some of the cheaper to give the readers of this journal the plates will not do as the writer has benefit of what I have learned regard- found from sad experience. Of course when stopping down, the ing the most practical methods of dediminution of the quantity of light veloping a negative. The advice which my friend gave ad111itted by an opening of reduced me:路 "You must always go by what size, must be taken into consideration. you see on your ground glass," was The camerist must recollect that the after all a good, sound piece of advice, amount of light decreases as the had it only been accompanied by the square of the diameter of the opening proper explanation. This however, in the diaphram ; thus a stop of F8 he omitted to give, and for that reason admits four times the quantity of it was of no value to the writer at that light that one of F16 does, and that "stage of the game," to make use of F32 gives but the~ as much as F16. a slangy, but very trite expression. Therefore the time of exposure must My experience has taught me that be made in proportion. with a first class plate, such as Seed's Now as to development. The first "27'' or the same quality or grade of negative of the writer was developed one or two other makers, it is a safe by hydroquinone, the firm from whom rule to guage the length of an ex- my camera and outfit was purchased, posure by the manner in which the putting up a liquid developer of their subject appears upon the ground glass, own. The directions on the label of with the full opening of the lens. 路the bottle, stated that the plate must \Vhat is seen on the focussing screen, be kept in the liquid until the image will be reproduced in the negative as was plainly visible through the back

---

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of th~ plate, in order to bring out the proper degree of intensity of the negative. At the same time however, the tyro was strictly admonished to be careful about over development of the picture ; no other guide as to how far development was to be carried, was given, save the remark that "our hydroquinone developer acts more路 rapidly than pyro, or other developing agents, especially those of other manufacturers and the plate should be taken out of the liquid, and development stopped, in about two-thirds of the time required for pyro, etc." This was plainly another case of cut and try, so I went ahead and developed my first negative as I had exposed it-on my own judgment-and made a first class job of it. A few more trials gave me an insight into the mystery of development, and I then began trying other developing agents; the results of these experiments I shall embody in the following paragraphs. In developing with hydroquinone, or a combination of it with metal, the image comes up very quickly, much more so than with any other agent that I have used, and in the case ot an over exposed plate becomes blackened all over in a very few seconds. In this case, about the only thing to do is to take the plate out of the solution as quickly as possible, and rinse the developer from it then replace it in a very weak developer for a minute or so, in order to allow the finer details of the picture to be brought out. A few drops of bromide of potassium added to the developer acts as a restrainer, but 路r myself do not like the use of bromide to any great extent-a quantity of the old developer that has

been used until about exhausted, is much better to use on over exposed plates, providing it is not too badly discolored from oxidation. But for negatives that are knowll to be over exposed, a very diluted Svlution is the best, as it allows the. chemical action to proceed at a more uniform rate, thus giving the details. in the shadows time to come up, without at the same time, over developing those portions of the plate tliat have received the greatest share of light. The rapidity with which this agent acts is a drawback to the use of it in a great many cases, more especially for over exposed plates, although after one has used it awhile and become well accustomed to it, this same quality is often very useful if time is an object to the operator. But for the amateur, in most cases at least, a slower. developer is to be preferred, for the reason that the tyro in photography usually likes to see the image come up slowly and to watch the gradual building up of the details, especially the finer ones. This is one .of the greatest pleasures of am路 ateur work, at least the writer has always found it so. Of course a great many do not do their own developing, but give it to some professional to do for them ; these people however miss one of the greatest pleasures to be found in amateur photography, i. e., that of knowing that the completed picture is their O'Wil work from start to finish. Pyro, is by the greater portion of photographers, both amateur and professional, considered the only developing agent to use, and no doubt there are a number of reasons for their belief, but we need not dis-::uss them

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here. One thing about pyro that lief that for some negativ~s one cermany photographers like, is the fact tain kind of developer is better than that it imparts a slight color or stain some others would be. I am now that adds vigor and brilliancy to the making a study of this, and I imagprinting qualities of the negative. A ine that I have made some little prognegative that has been developed by ress, and hope to be able at some pyro can be readily recognized by the future time to give the results of my yellowish tinge of the film, that may researches in this line to the readers be seen upon holding it up and look- of this journal. I at least have never ing through it. One who has handled read, or heard of anyone endeavoring the various kinds of developing agents to adapt the developer to the subject can easily pick out a pyro negative in this way that I speak of. among a thousand of others. HydroFor snap shots, especially those takquinone, or eikonogen, alone or with en with a focal plane shutter giving metol, on the other hand, produce very short exposures, as the I-200-dear, colorless films, perfectly free of I-3oo-I-SOO, etc., part of a second, stain-that is if the solution is clean a weak developer is the proper thing and unoxidized; if discolored from the to use; the writer takes a quantity of absorption of oxygen from the air, the the full strength solution and dilutes film of a negative becomes more or a portion with three parts of water, less stained, according to the degree of making a 25 per cent. solution and oxidation the solution has undergone. places the plate in this fo.- some little Eikonogen does not seem to stain time, in order that the finer details the film nearly so much as hydroqui- may have time to build up, before the none, for the same amount of dis- rest of the negative becomes over demloration of the solution, and I have veloped. The length of tirne during used it wheq it was very dark. It which the negative is allowed to lie also seems to retain its strength after in this dilute developer varies accorddiscoloration longer than other路 devel- ing to the length of the exposure, and oping agents. the nature of the picture, one full of All authorities advise the beginner very fine details requiring a longer in photography to choose the kind of time in the solution (all other things developer that seems to work best being equal) than one in which there with him or her, and to always stick are fewer fine details. After remainto that one kind, in preference to all ing in the dilute solution a sufficient others. Now while this is good ad- length of time, according to the opvice to follow, yet in the writer's opin- erator's best judgment, the negative ion it is well to learn to use either of should then be placed in a tray conthe above three equally well, for the taining developer of full strength, and reason that for some kinds of nega- there allowed to remain until fully detiv<'s, pyro is the best thing to use, veloped. This mode of procedure has while for some others hydroquinone been very sucessful, in the writer's or eikonogen is the best. This latter hands. assertion may seem a little bit wild, \Vhen using hydro-metol, or rodiperhaps-yet it is the writer's firm be- nal it is necessary to carry develop-

THE CAMERA AND DARK-ROOM ment a little beyond the limit as negatives developed with these agents fix out somewhat in the hypo bath; all ne~tives do this to a certain extent, in my opinion, but far more so with the above developers than with any other. By fixing out, it is meant that the hypo dissolves away a little of the image. Now while developing is regarded, and justly so, as the most important part of picture making, yet it is not the immensely difficult operation that many amateurs imagine it to be. That is one of the things that the writer had to leam, or unleam, as it may be, in the course of his work as an amateur photographer. \Vhen I first began to take photographs, or rather before I began to do so I was of the impression that there were but a few, other than professionals, who were able to make really good pictures; as to development! that was a thing far beyond the ability of ordinary mortals to accomplish. Many amateurs have that idea of the matter, and for that reason spoil a great many good negatives-over anxiety to develop just right often causing the operator to go too far, or to fog the negative by holdir~ it too close to the red light, which is often itself defective. A red light that is of a purplish tinge will act very strongly upon a sensitized surface, for the reason that there is in it a great deal of blue light-that part of the spectrum that contains the actinic, or chemically active light. Or in other words, the light that silver salts are so sensitive to. Now it is quite evident that such a light will, if the plate is exposed to it very long, fog a picture considerably; such a light should not be used

it is true, but it is quite often the case that the tyro in photography is not aware of this fact. To one who is not posted, a red light is a red light. Of this the writer intends to speak a few words in a future article. A plate that has been exposed correctly, or nearly so, does not require the attention that many suppose-with a developer that has been accurately compounded, such a plate will almost take care of itself, as witness the Kodak developing machine, in which. the operator sees nothing of the film whilst being developed and fixed. Of course the developer that is used in these machines, is made especially for that purpose. All manufacturers of films and plates put up a series of developers that their experience has shown them to be the best for the plates and films o.f their respective make, and if the amateur will use路 them, he or she will have very little trouble with his or her negatives. The writer would strongly advise the amateur to do less fretting anti worrying on the subject of developn:ent, letting it take care of itself a little more, and (premising that reasonable care is used as regards the cleanliness of trays, solutions, etc.) everything will be 0. K. The factorial system is an excellent method of developing, and for. the benefit of those wh<J may n0t be acquainted with the manner in which it is used I will here giv.: a brief outline of it. Note the number of seconds the image takes to become visible, from the first instant the plate is placed in the solution-then watch carefully until the negative is fully and completely developed, and take the time that is re-

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quired from start to finish. Divide tiplying 20 by 7路5 we get 150 seconds, the total time of development by the or 20 minutes, as the time necessary time it required for the first appear- for the c.omplete development of our ance of the image; the result is your negative. And for all subsequent exfactor, or number by which you obtain posures (using the same kind of plate, the correct length of time that the and the same developer) the "factor'' plate must be allowed to remain in the 70 must be used to determine the sr lution for all other exposures thereproper time of immersion in the soluDifferent developing agents after. For example, we will suppose tion. that the image became visible in 28 have different factors however. seconds, and the entire time of deThere are many more points that velopment was 30 minutes, or 210 I would wish to discuss, but space is seconds. 210 divided by 28 equals 70 too limited, and I must therefore deexactly. VIe now expose another fer these things until some future plate, and place it in the solution, find- time. In the next chapter we will take ing that in this case the image makes up the subjects of printing, fixing and its first appearance in 20 seconds; mul- toning. (To be continued.)

ADVICE TO AMATEUR PHOTOGRAPHERS. BY DR. VICTOR BLES.

HA T is an amateur, anyway? There are men who. th rough circumstance and su rrounding, have been able to spend a great deal of time and energy on this entrancing hobbyphotography. They have used all the methods, all the experience of others, all the tricks of the trade and have obtained wonderful results. They call themselves amateurs, but, having spent so much time and money, having competed in exhibitions for cash or other prizes, having sold of their brain creatures at one time or another, they are professionals in every way. Every little while some of their efforts are reproduced and published. These are magnificent, but to the ordinary amateur not the least bit in-

structive. The process which brought these results is often far too complicated for any beginning amateur to attempt. Cattle are taken out of negatives, reduced in size, and put into the backgrounds of other negatives. Clouds are brushed in which never existed in the original view. A train is taken out of a canyon and replaced by a prairie schooner drawn by six or eight oxen. But the great army of amateurs "snap off" whatever they see on the spur of the moment or take a time-exposure of some interior and have the negatives developed and the prints made, or do it themselves, without any more to do. It is to this army that this article is addressed. In the first place: Don't! This is

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always an easy advice to give and a hard one to follow. Don't snap off everything. A little forethought, a little patience is all that is necessary. If it is late in the afternoon and the shadows long, if you have a kodak which is not arranged for different time-exposures and shutter-openings, don't take chances. You are only wasting time and money with the certainty of being disappointed. If the flies are bad and your horse will not stand still, if your dog gets scared and thinks you are going to whip him when you only wanted to pose him prettily, don't force the issue, wait for some other day to bring you better luck. As a rule, don't take foliage for background for your groups or single persons. Have at least the head outlined against the white sky. Keep hands and feet out of sight as much as possible. Don't be too particular about the neatness of clothes. If you must fix up before having your picture taken, use soft colors and textures, cream, lavender, pink, baby blue. Nothing looks worse than a freshly starched white frock. If you take a picture of anyone on horseback, don't face the horse half to the front, as beginners so often do, for then the horse's head will be as large as the rider's whole body. Take the horse squarely from the side, but make the rider turn just a trifle towards your lens. Don't watch your object through the finder; get your distance and have your camera in place; then watch the subject and as soon as you get repose or the right

smile or the eyes wide open, snap for all you are worth. If the "subject" has a long nose, tilt the face up ; if a short one with long lips, tilt down. Make the best of your faces. If the teeth are good, show them ; if not, then keep the face religiously closed. Don't take receding chins en prolil or generous mouths en face, for, although the camera always speaks the truth, that truth can be mollified and toned down and yet remain the truth. This brings me to my closing remarks. Mountains seldom lend themselves to artistic photography and landscapes which to the naked eye are beautiful, inspiring, peace-rend(ring, often do not "pan out" on account of the lack of ability to reproduce color and the crowding up of detail. This sounds pedantic, but it is not. A tree, a rock, beautiful foliage, a ripple on the water, may be perfect to the naked eye and lose all its beauty when reproduced in black and white. I firmly maintain that most artistic landscape photography is accidental and as such very inferior to portraiture, which is the outcome of the photographer's knowledge of artistic effects in lights and shadows, of the surface anatomy of different physiognomies and of his appreciation of the values of lines as they appear to the naked eye, in perspective and in the finished results. It is to this latter branch of the art-the natural field of photography-that we should devote more of our energies. No other is more interesting and no other affords more opportunity for the cultivation of artistic taste.

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PICTORIAL PRINTS HAVE NO COMMERCIAL VALUE. BY ROLAND ROOD. That pictorial photographs in themselves have no monetary value, that their economic position in the make-up of our modern civilization is the same as that held by paintings, and that the only value that "works of art, of any description," can have is "what you can get for them," but that "literary productions fulfill a certain practical demand and for which consequently a certain market value of so much per word has been established," is the theme upon which Sadakichi Hartmann in the December number of this magazine dilates to some extent. It is well known that whenever Hartmann attempts to touch on economic questions he exhibits the grossest ignorance of the laws which govern, and always have, and always will govern all forms of commerce; but this time he has sunk to the level of plain rot. The price and exchange of, and traffic in all commodities, whether they be the product of man or of nature, are alike governed by the same law, namely: THE LAw OF DEMAND and supply. That literature is no exception to this law ought to have been made evident to Hartmann by this time, for were there "a certain market value of so much per word" he would, in common with others, not be so often attempting to, and failing in placing his productions in the literary magazines. He would be writing for them at "so much per word" instead of receiving whatever they may choose to pay. Bushels of manuscript are rejected daily by the literary magazines because the writers have completely failed to bring them to the required literary standard. In other words, there is no demand for them; pictorial photographs are not wanted by the collectors because the photographers have not yet had the time nor the opportunity to demonstrate to the collector the excellence of their wares, viz.: they have not yet succeeded in creating a dcma11d for them.

One suggestion that Hartmann makes has value, but only one, and that is "that the pictorialists, like the etchers, should publish their prints in limited editions of one hundred or less." The value of this suggestion, however, is greatly marred because it conveys the idea that pictorialists, are in the habit of publishing large editions, whereas, in truth, of many of the best plates there are not even one hundred prints in existence. I would say that it might be advisable for the photographers, in some way to make it generally known how difficult it is to get a good print, especially a gum print; and if they choose they can also limit their editions, but certainly not to one hundred; very few etchers have ever been selfish enough to limit to such a small circulation that which is beautiful, merely to make a little more gold. But there is a side of the question which is apparently without the range of Hartmann's vision; that is the idealistic side. To him the dollar-eash down-is the allimportant question ; he deplores that photographers are so unscrupulous in their dealings with magazines as to sell the right of reproduction of any particular print (for from $3 to $10) over and over again, but at the same time admits that the sales are not made to the magazines, "for the exclusive right of reproduction," but only for the "use" ; he fails to see that the small remuneration of $3 to $10 can hardly be the incentive to the multiple sales; he does not understand that many photographers have an honest and praiseworthy desire to h~ve their work seen as often as possible and thus gain a reputation for themselves and their art. What is most amazing, though, is this "scrupulous" pose on Hartmann's part, for when I turn over the pages of the December number of the Photographic Times. Bulletin, I find almost the identically same article as the one I am quoting from. He calls it "What Is the Commercial Value

THE CAMERA AND DARK-ROOM of Pictorial Prints," and the · one in CAMERA AND DARK RooM is entitled "Have Exhibition Prints Any Monetary Value?" The text of the two is as like in character as two potatoes-pretty sour onesand would be more alike had not the latter one been so freely blue-penciled-mind you, they are both paid articles. I suppose, however, that to the minds of some people this may seem all right. A man's "literary productions fulfill a certain practical demand for which consequently a certain market value of so much per word has been established," and he thinks that money is owed him every time he writes words on paper. No! No! There is something more worth and more necessary to strive for at the present moment than are gold and silver. It is recognition, a recognition and acknowledgment in the eyes of all lovers of art; an acknowledgment that the camera as well as the brush may be a means of personal expression; and it appears to me that the quickest way to attain this is to interest the painters, for, after all, it is always the painters and not the critics or buying public who make the reputation of other artists. There may be fads lasting possibly over periods of years when the public falls in love with the wrong thing, but in the end the verdict of the painters is the accepted one. The Italian preRaphaelites, the French painters Puvis de Chavannes and Millet, our own Whistler, are really hated by the public which only illusions itself into believing it likes them, because the concensus of opinion of many of those practicing art have sufficiently swayed the thoughts of the writers on art and the connoisseur and through them the picture-buying public, and so forth. It is often said that the dealer is a great power, and so he is, to boom any whom he may choose to take up, but the dealers' almost invariable policy is to take up those they think "boomable" ; that is, those whose work will fall in with the already preconceived idea of what the public accepts as art. The dealers are nothing but merchants who feel the public pulse and cater to it. Few of them have the initiative of exploiting unrecognized art as have one or two French picture merchants when

they ventured to force impressionistic art on the public. Therefore cultivate the painters; be nice to them when you meet them; give them a cigar or a drink, or a meal if you have the change; talk to them a little about your work, but not too much; don't forget that even if photography is your intense interest that they, too, have an intense interest. Talk to them also about their work; do not make them feel that the only object you have in cultivating them is because they may be useful to you, but that you really care for their strivings (you probably don't, but fake up the appearance); pat them on the back; they are human beings with human feelings, and if you flatter them they will begin to think that you are intelligent and may amount to something, and they will in turn want to see what you are doing. But whatever you do, don't pose and dictate, for as things stand at present, you should be teachers, and to teach and effect an intellectual revolution requires the greatest patience. You should be willing at all moments to explain, and never for an instant forget yourself and take the stand that those who cannot understand are lacking in perception; that it is waste to "throw pearls before swine." For so surely as you do this, the artists will class you as "art students," a type with which they are necessarily well acquainted, a type at which they laugh and from which they run. In the respect of flattering and instructing painters I think l\Ir. Bell and his Salon ha\•e already done some good. To many of the painter jury for the Salon, pictorial photography was comparatively new, and they were impressed; and if only enough of them can be impressed and taught, why, they will, like the European painters, open the doors of their exhibitions to the photographers, and then will half the battle be won, for the critics and picture-buying public will in time accept the verdict of the painters, and a pictorial print will begin to have some commercial value. It may not be evident to you to-day, but the time will come when you will recognize that painters are the last court. Therefore cultivate painters.

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HOW A SUCCESSFUL PHOTOGRAPHER GOT HIS FIRST START IN BUSINESS. A prominent New York photographer whose name now appears on hundreds of pictures of stars in tne theatrical firmament, m an interview published in the N. Y. Telegraph, gives the following interesting account of how he laid the foundation of his fortune : ''During a vacation in the Maine woods 1 discovered a gold mine, so to speak, that gave me my start in business. An uncle of mine had a farm in the Rangely Lake district. I had just begun to get interested in amateur work with a camera, so I took one along with me. One day while I was fishing by the lake, with my camera and luncheon basket with me, two men in a dugout came along. " 'Say, bub,' said one of the men, 'can you t;.ke pictures?' " 'Sure thing,' I replied. " 'Is that your string of fish?' asked the other man. " 'Right again,' I said. "In less than three minutes the deal was fixed up. Those two Boston sports, who had been fishing all day without getting more than a bite, posed in their dugout, inÂˇ all their fancy fishing togs. My string of fish was hanging over the side. One of them had his pole over the side of the dugout, as though waiting for a bite. The other was in the act of hauling in a fish-one that I had caught an hour before. "I took three poses of them doing the heavy sport act, and, later on, one showing them sitting on a bank, after a hard morning's work, enjoying my luncheon. Five dollars was my bribe, for the string of fish and for holding my tongue, and five more was promised when I delivered the proofs next morning. "The dead game sports were delighted. They ordered a dozen of each negative, and mailed them to their friends in the city-'just a snapshot, you know, taken by our guide.' More than that, they took me

fishing with them for two days and sent presents of fish back to town to back up the photographs. "I made a good thing and got an idea. I established the reputation of a dozen â&#x20AC;˘ city sports that summer. My old uncle was delighted. All the cunning of a native New Englander in doing some greenhorn up came to the surface. "'You wait till Fall,' he said to me, 'and go north a few miles where the fellers come shooting for deer and moose. I'll go with ye. We can make quite a penny, I'm thinking.' "The old man took me to a place where hunters in the north woods stopped for a day or two on their way back to Bangor. On the outskirts of the town he put up a little log shanty, and made it look for all the world like a hunter's cabin in the heart of the wilderness. There was no difficulty in shooting a deer or two and a cub bear, which we stuffed. "The first victim came along as soon as we were ready for business. He had been out three weeks and never got a smell of a deer. But we threw one of ours across the back of his pony, and he went back to the city with a photograph of himself plodding along on one side of it, and his guide on the other, returning weary, but triumphant, from a day's chase. We sold him a fine pair of antlers to hang in his dining room. He was only too pleased to give us $25 for that job. "Ivfy uncle figured in about thirty sporting pictmes that fall. He was guide, cook or anything else required. Once he made up as an Indian to please a young chap who wanted to tell about a visit to the Ojibways. The graft worked so well that I went back the next summer and did the same thing. One of the men I helped to make a valiant sportsman through camera evidence gave me my start in the business."

THE CAMERA AND DARK-ROOM

A HAPPY NEW YEAR TO ALL. Not finding it necessary to cut our subscription price in order to keep enough names on our list to satisfy the postal authorities, CAMERA AND DARK RooM starts the New Year on the old basis of ONE DoLLAR PER YEAR IN ADVANCE. We have no apologies to offer, but an explanation is in order as to the late app earance of our December issue, which was caused by a fire adjoining our print·· e rs', the effects of which will be noticed in the latter pages of the number. We have no promises to make other than t o say that we will do our best to make the magazine worthy of support, or, in the words of an .old subscriber: "The best dollar"s worth he ever invested in." To that end we have engaged the best writers and ha,·e much good matter to serve up, among which will be a series of rarely illustrated a rticl es on "Art Applied to Photography."

* * * We take this opportunity of thanking our readers for many appreciative and kindly meant expressions, but would impress upon them that if these words were spoken or written to their acquaintances who dabble in photography our subscripti on list would soon reach five figures, and we could afford to give them so much more f or their dollar.

* * * Yes, it takes a lot of money and much bard work to run a publishing business and we must here thank those manufacturers who show their appreciation of our efforts by their continued advertising. Of course it pays them. Some see it in direct returns, others .benefit by it in the continued demand for their products, while ~here are some who do not seem to realize wi1at they owe to the photographic magazines. Do not they stimulate i;1terest, and <reate business? Those that are deserving should not lack the support of the. manufacturer.

Outside of the organs published by stock houses, the aim of which we know to be their own advertising, with as little cost as possible to themselves, there are some journals in the photographic field the reason for whose existence we in vain try to discover. The editorial brains consist solely of scissors and paste-pot-not even a pen with which to credit the name of · the magazine from which the articles are lifted.

* * * There is a branch of the photographic industry that apparently offers great inducements for the investment of capital. No less than four of the leading manufacturers of mounts and albums have informed us that their facilities are so taxed that they are always behind with orders, and it would be suicide for them to reach out for more business. May their shadow never grow less ! is the wish of the photographic magazines who make the photographers, who make the pictures, that require the mounts that make their busi· ness.

* * * During the month no less than three new claimants for the "discovery" of color photography have communicated with us. Their efforts will be investigated. Meanwhile, judging from the specimens sent by two (the third seems rather slow in backing up hi s assertions), there is an "aching void" at the top of the ladder of Fame.

* * * The Salon is over and, notwithstanding the outspoken opinions of adverse critics, it will stand as a prominent milestone in the progress of the art. The editor of the Amateur Photographer (London) spat out his venom in a way we would have imagined to be beneath his dignity. Probably he would retract some of his remarks on a more intimate acquaintance with the Salon, the workers who made it possible and the jury of selection. New York does not yet have its Dudley Gallery.

* * * The Salon also establi shed a record in the number of pictures sold. Thirty-four pictures were sold and paid for; duplicates of twenty-two more were ordered, to be

THE CAMERA AND DARK-ROOM paid for on delivery, and negotiations are pending for twelve more. Sixty-eight altogether, not at all a bad showing for the First Salon of the American Federation of Photographic Societies and by all accounts away ahead of any similar show

•• •

The Salon en route will be shown in the following cities : Corcoran Art Gallery, Washington, January 15th to 30th; Carnegie Gallery, Pittsburg, Pa., February 1st to 15th; Chicago Art Institute, March 5th to 20th; San Francisco, April 1st to 12th; Portland, Oregon, April 15th to 30th; Boston, Mass., Art Club, May 5th to 20th. Toronto, Can., and other dates to be announced later.

• ••

The Federation now includes the following societies: Baltimore Camera Club, Boston Camera Club, Brooklyn Camera Club, Capital C. C. of Washington, D. C., Chicago Camera Club, Columbia Pho. Soc. of Philadelphia, Hartford Scientific Society, Metropolitan Camera Club, New York; Portland (Maine) C. C., Portl~nd (Oregon) Soc. of Phot. Art, Pittsburg Photographic Society, Salon Club of America, Toronto Camera Club, Wilkesbarre Camera Club. • • • We have to thank the Rochester Panoramic Camera Co., of Rochester, N. Y. for a print of a group of the members of the P. A. of A. at St. Louis. .The print is on Velvet Velox and remarkably clear, in fact a rarely good photograph of each one of the several hundred photographers presern, and not a 'l!isible sign of movement. We would like to reproduce it but the print is over four feet long. This is only a fraction of what the camera can do, however, and we will describe its merits at another • • • time. From the Hammer Dry Plate Co. comes a copy of the new (7th) edition of "Hammer's Little Book." Practical and thorough, with its carefully worked out formulae, it should be in the hands of all who aim at perfection in negative making. A new feature is the introduction of halftone cuts showing negatives with false and correct lighting and modeling. The booklet is free. Hammer Dry Plate Co., St Louis, Mo., or at your dealers.

G. Gennert asks for 20 cents to cover the postage on his new catalogue to ensure it getting intci the hands of interested parties. The price is cheap for an illustrated catalogue that embraces every conceivable article tl1at is liable to be needed in a photographic workshop or studio. G. Gennert, 26 East 13th street, New York.

• ••

The apology of the editor of the Photographic Times in its December issue reminds us of a familiar story of an ··apology" under pressure. Admitting that he was in "error" in publishing uncalled for attacks on the members of the Photo-Secession and its aims, he concludes as follows : "We regret any unpleasantness that has been occasioned by anything we may have editorially expressed, but tt'e have nothing to retract and our platform remains the same." The italics are ours. We will wager our fountain pen against a pot of mucilage that this apology was written by a son of Ireland.

•••

Apologies being in order, we apologize on behalf of our printer for mixing up his type and giving the Obrig Camera Company the address of 176 Broadway instead of 167 Broadway in a notice in our December issue. In this connection it is not out of place to say that this progressive and reliable firm publish a little monthly "Down-Town Topics,'' which is distrubuted gratis. Although given away free, its pages generally contain original articles from well-known authorities who do not write for glory. The December issue contains "How to Color Lantern Slides," by Dr. F. G. Kneer; "A Reliable and Simple Intensifier for Negatives," by A. K. Hoursault; "Developing in the Tropics," by L. M. McCormick, some remarks on the Salon and a unique pen picture of ]. Craig Annan, of Scotland, one of the Art Jury at the World's Fair, by Joseph T. Keiley. Mr. Keiley had already outlined his article on Mr. Annan, which appeared in last Camera Work, but had never met Mr. Annan.' His account of the accidental meeting is so in.teresting a proof of mental telepathy that we take the liberty of quoting it from Down-Town Topics:

THE CAMERA AND DARK-ROOM "I had already formed my estimate of and prepared the outline of my article on Mr. Annan for Camera Work. It rarely happens that our pre-conceived ideas of a person whom we have never met, and whom we have come to know only through common interests or by reputation, are confirmed when we meet personally the subject of our impersonal consideration. Indeed, the contrary is usually the case, and as a rule, the more favorable the preconceived impression, the ruder is the shock of disappointment. All too often we find that the person under consideration does not measure up to the standard our imagination has set-that previous ignorance of personality has kept out of the picture personal eccentricities or shortcomings-that materially mar and change the impersonal conception. When, therefore, it is our good fortune to meet with one whom we have for some years known by reputation and of whom, from whose work and utterances we have formed a high ideal, who measures up to and even surpasses the picture that, in our imagination we ha\路e painted, it is a source of peculiarly gratifying pleasure. For many years I had known of ]. Craig Annan, had admired his work and come to esteem him highly from what I knew of him through that work, without ever having met him. "One evening in the latter part of August I had gone to Chinatown for the purpose of selecting from the exquisite bits of Oriental art-ware there to be found-a wedding gift for a friend-had made my purchase and was waiting for the same to be wrapped by the Chinese salesman, when my attention was attracted by the rich, low reverberations of a trinity of Chapeaux-Chinoisesgongs hanging from the ceiling of the shop. He who had called forth the tintinnabulations of their chorussing voices, stood before them, knocker in hand, listening intently and critically to their fine metallic melody, as though loth to lose the slightest curve of their graceful rhythmic sound-waves, a gentleman in rough gray traveling suit and panama hat, a man some few years my senior, who instantly intensely interested me, so much so that I could not take my eyes from his face, while within me arose the conviction

that somehow I knew him, though I was just as positive that never before had 1 seen him. It seemed absurd I Impossible I and yet I could not put aside the conviction. The man before me more than filled a niche that I had constructed within my inner consciousness on very definite lines ; corresponded in likeness wonderfully, measured-up-to fully, the portrait of some one that in my imagination I had painted. He was tall, with a lithe, wellproportioned figure. His smooth shaven, rather long face, was firmly moulded 路 in fine, strong, sensitive lines. The eyes were rather full and of the calm, quiet, observant sort, full of intelligence and decision. The firm, yet flexible mouth, was peculiarly sensitive and expressive; and the hand that had struck the gongs, in shape and poise clearly bespoke the artist-where had I known him? Yes-just what I had imagined, Craig Annan-but that was not possible ! I had no idea that Craig Annan was in the country at the time, supposing him to be in Glasgow. I had in the past seen several photographs of him, none of them particularly like the man at whom I looked, yet, nevertheless, for some unaccountable reason, and though it seemed to me the most improbable t~ing in the world, I felt convinced from the first that it was Craig Annan. Amused at myself for entertaining an idea that seemed so remotely removed from the possible. and the chances being one to a thousand against Mr. Annan's being in . that part of the world at the time, and even if he were there, of me recognizing him-nevertheless, determined not to let that one chance slip, walking up to where he stood, I held out my hand and called him by name-:-and it was Craig Annan."

Book or the 拢I,ooo Kodak Exhibition. This is the title, stamped in gold, on the cover of a handsome portfolio just issued by the Kodak Press. "To show something of the work that is being accomplished in pictorial photography by the devotees of the Kodak system." The world-wide interest in the Kodak competition of 1904 naturally brought together much of the best work 路of the camera and

THE CAMERA AND DARK-ROOM

the public exhibition of the competing pictures in London was an eye-opener to all who could attend. From this exhibition sixty.or more prints were selected and have been reproduced in half-tone, which will enable photographers in the most remote localities to see the work of others and note the kind and quality of the work which fi nds favor with competitiOn judges. Printed on the fine st paper, the price, 25 cents, does not begin to cover the cost of reproducti on and the collection of pictures is of such interest and quality th at, aside from being a desirable possession,. it is a handsome gift to send to a fri end. "The Book o f th e £ r,ooo Kodak Exhibition" is obtainable through all dealers or direct fr om Eastma n Kodak Company, Rochester, N. Y. Price 25c.

Tha 1905 Kodak Competition. We have pleasure in ann ouncing that anothe r g rea t picture competition is to take place during the year. The Eastma n Kodak Company o ffer $2,000 in prizes and have a rranged for two classes o f competitors, "Open" and "Novice." The "open'' class is for all who may care to enter, but the " no vice" is ope n onl y to amateurs who have never won a prize in a photographic contest. Thi s is a feature which will g reatly please many who do good work but who do not care to compete against the regular pot hunters. The classes and conditions are as follows; C lass A. Ope n to all. For K o dak pictur es 3 1-4 x 4 1-4 o r large t·, Inc luding th e P a nora m K oda l< s . C lass B. O p e n to a ll. For K o d a k pi c tures 3 1-2 x 3 1- 2 or sma ll e r , Inc ludin g No. !A Fo ldin g Poc k e t K oda k . C lags C. Ope n t o a ll. F o r e nla r g e m e nts of ai)Y siz e f r om K o d a k or Browni e n egativ es o n Ea~tman, N e p e ra o r Photo-Materi a ls Brom id e Pape r . C lass D . N ov ice. Op e n o nl y t o a m at e ur s who h ave n eve r b ee n a w a rd e d a priz e in a ph o t ographi c co nt es t . For K o dak pkture s 3 1-4 x 4 1-4 o r la r g e r, in c luding th e P a nora m K o d a k s. C las s E. Novi cf'. Open on l y t o a m a t e urs wh o h a v e n eve r b ee n a w a rd e d a prize in a photogra ph ic eon t es t. F o r Kodak pi c tur Ps 3 1- 2 x 3 1-2 or small <> r. In c lu ding N o. 1 A F o ldi ng P oc k e t K o d a k . C las s F . N ov iC'i.'. OpP n on l y t o a m a t e urs wh o h a \'(' n f'vf'r h e<? n a w ardee! a prize In a ph o t ograp hl e eon t c~ t. F o r B r o wni e pi c tur ps o nl y. A ll pi f't ur <>s sP nt In fot· <'o mp e titlon mu s t

fro m

nPga tiVf '~

m adP

"rith

K o d a k o r B t·o wn ie o n . K o d a k N . C. Film.

and mu s t be print ed on papers m anufac tured or sold IJy u s. PRINTS ONLY are to b e sent In; not negatives. Prints mu st b e mounted, but not fram e d. The title o f th e pictur e, with th e nam e and address of th e co mpe titor, c lass e nt e r e d for, a nd th e n a m e of th e printing paper us e d for the pictures, must b e l e gIbl y writte n on th e b ac k of mount. The films mu st h a v e b een e xpose d by th e co mp e tito r, but it Is not n ecessa ry th a t competitors finish th e ir own pi c tures. No co mpe titor will b e a ward e d more than one priz e In a c lass. . Not m o r e than on e priz e will b e a w a rde d to prtnts from on e n e gativ e, e x ce pt that a ll V e lox Pr int s will b e co n s id e r e d In th e awardi n g ot th e Sp ec ia l V e lox Priz es rega rdl t>~s of th e prizes said prints may h ave r ece iv e d in th e o th e r c lasses . Co ntac t prints iro m th e sa m e n ega tive canno t b e e nt e r e d In tw o c lasses. ' This co nt e st c loses at R oc h este r . N . Y ., o n Nov e mb e r 1 , 1905; a t T o ronto, Canada, on Oc tob e r 20, 1905. and a t London , Eng., on Oc t o b e r 1. 1 905. All e ntri e s se nt in from th e 1'nlte d Sta t e s a nd th e p o sse ssions ther eo f and from South Am e ri ca sho uld b e addr <>ssed to EAS'l'lUAN KODA.K ('O., Kodak Con t es t D e p't. Roebe•t"''"• N. Y.

Metropolitan Camera Club. The annu al meeting o f the l\1etropolitan Camera Club of New York recordi ng the fir st year o f its ex istence, was held in th e Club R ooms on D ece mber 20th. 1903· Twelve appl icants were elected to resident membership. T he following offi ce rs were elec ted to serve for the coming year: President, Curtis Bell ; Vice- President, William T . Knox; Secretary. S. C. Bullenkamp ; Trea surer, J eremiah Hunte r ; Librarian , J oseph Dav is. Directors: Dr. W. J. Furne,s, Dr. L. C. LeRoy, H. B. P oppe, E. P ol asek, B. F. W oodburn. The Club rece ntl y voted to admit lady members, and affo rded th em th e sa me advantages as enjoyed by the male member s in recogniti on of wome n's standing in pictori al photography and consistent with the Club's ,POlicy o f enco uraging photographic art. The pri ze winn ers in the Print Competiti on for portraits made by the Cooper H ewitt studi o light are as follows: Cha s. F. Mazdon, fir st; l\f rs. Flora ~[. Colman, second ; \ Vm. I f. ·wal lace. third .

THE CAMERA AND DARK-ROOM Club activities have been at a standstill for some time on account of the enormous amount of work entailed in the handling of the Salon entries, but the new house committee promises to make the coming winter evenings both lively and interesting. \ .Yednesday evening, February 15th, was decided on as the date on which to hold the Annual Club Auction and all parties who have apparatus, books, pictures or anything photographic that they desire to convert into money for their own benefit and that of the Club should make up their li st at once and mail same to the secretary so that a catalogue may be prepared.

Brooklyn Camera Club. The Brooklyn Camera Club announces the following rules to govern the entries of its coming Exhibition and competition to be held at its room s on February 16, 17 and 18, 1905. The competition is open to Amateur and Professional Photographers. Pictures must be framed or passe partout, and forwarded express charges prepaid to the Club Rooms, 776 Manhattan avenue, Brooklyn, N. Y., not later than February I I , 1905. The name of the exhibitor and address, also title of picture, must be written on back of each frame and a li st of same sent to the chairman of the print committee. The following are the awards: President's award for the best picture in the exhibition, a silver medal, a bronze medal and honorable mention in the following classes: Genre, Portrait, Landscape, Marine and Mi scellaneous. The jury having full power to withhold any award s in the different classes where there is not sufficient merit in thei r judgment to warrant same. Al so are privileged in discriminating on the pictures sent in, or any such pictures that do not meet their approval for hanging in thi s Exhibition, as the jury is requested to select up to two hundred pictures. Further information will be gladly furnished by addressing MR. c. M. SHIPMAN, Chairman of the Print Committee.

]OHN F. MERz.-"Helen's Dolly." This is a very cute picture of child life that could be considerably improved by more natural grouping of the figures. The result is always stiff where one tries to pose children. Let them play, all unconscious of the fact that you want them to pose, and watch for the opportunity that shows the best position, then press the bulb. Overdevelopment of this negative has given you chalky whites with no detail in the white dress. The position of the chair is also awkward and dwarfs the figure of "Helen." "Blast Furnaces by N ight" is a lost opportunity. Had you used a non-halation plate or a . plate properly backed or kodoid film you would ha,路e avoided the great halation and probably sec ured a striking picture.

H . R usHTON.-"New Recruits." A good print from a tec hnically good negative, but -Oh! such posing! "Six football players, to get their picture strive; one, of course, must press the bulb, so then there is five. Five football players, standing in a line, trying to look pleasant, and think that they are fine." Yes, five burly football players in their toggery, all in a row, smirking at the camera like a lot of giddy school girls, makes ridiculous what with pr.o per grouping and natural posing might have been a fine picture. Try aga in. W. A. BoTTOMLEY.-"The Fair by Night." The two prints are excellent examples of night photography and th e exposure of fifteen minutes with f-8 has brought out much detail, while the nonhalation character of the film used has preve nted the high lights from sp reading. It is a pity, however, that you did not shade your lens while th e electric launches pa sse路d in fr ont and so have avoided those curving line s across the lagoon. I met

THE CAMERA AND DARK-ROOM

all sorts of photographers on the fair grounds and had some amusing experiences which may take the form of an article in a future number. One know-itall gentleman would not be convinced that he could not get a good picture of the illuminations by holding his camera against his breast and giving a ten-minute exposure. I am still awaiting the prints he promised to send.

E. H . WILMOT.-"Gathering Fagots." This is a hackneyed subject, yet you have fallen far below the standard set by Kaufmann and others who have taken this for their theme. The figure in the foreground is badly placed-too close to one side; moreover it is out of focus, in common with the rest of the foreground, while everything in the distance is crisp and sharp. This is just the reverse of what we look for in a good picture. See reply to Thos. Lange in "Answers." FRANCEs E. W AGNER.-"Mary Had a Little Lamb." This is very well done. Mary and her lamb are nicely posed in a natural attitude, and, as they should be, seemingly all unconscious of the presence of the camera. Not so, however, the children in the background and their presence mars what would otherwise have been a fine picture. If we possessed this negative we would block out the objectionable features and print in a suitable background. Try this, and if not satisfactory, get your subjects together again minus the onlookers.

Shutter Testing. GEO. E. LEwrs.-How can I measure the speed of a shutter without a speed tester? Ans.-Certainly some kind of a tester is needed to record the time, and if you do not feel like investing $1.50 for a Wynne tester you can contrive one for yourself with a plumb bob and a string 39 I-2

inches long. Mr. Claudy's article in this number should set you on the right track. The Planes of a Picture. THOS. LANGE.-In referring to a certain picture a writer in one of the magazines says that the maker made no attempt to differentiate between "the planes of the picture." What is he driving at. Ans.Take another 路look at the reproduction of this "picture" and you will note its perfect sharpness. The di stance, supposedly miles away, is as sharp to the eye as the foreground and the middle distance equally so. The principal object is divided between the foreground and middle distance. This is all that it was necessary to render with any degree of sharpness in this special picture. As rendered it is a flat map-a vulgar transcript of nature, without relief or show of perspective and as the human eye does not see it. Viewing the scene from nature, if we rested the eye on the principal objects we would be conscious of a dimly defined distance. This end is attained in photography by focussing on the principal object and raclcing out the bellows or opening the diaphragm until the "different planes" of the view are subordinated to their true values. Developer Stains. ALFRED AMES.-Hydrochinon developer" should not cause stain if it has not become oxidized by needless exposure to the air or if it has been properly compounded. Plates or papers developed with this agent should be well rinsed before inserting in the hypo bath. Weak Farmer's reducer applied locally with cotton wool might help in removing the stain. A good clearing bath or stain remover is citric acid, I -oz.; ferrous sulphate, J oz.; alum, I oz.; water, 20 oz. Starch Paste Good as Any. MRs. R. WoRDEN.-A good paste that is easily made and that will stick. There is nothing better than freshly made starch paste. To I-2 oz. pure starch add a very little water to make a stiff paste, then add about 6 ounces boiling water, stirring constantly until it jellies. Let stand till cool before use. A drop or two of oil of cloves will make it keep.

CORRIDOR IN MANSION OF HON . WHITELAW REID

Photo~traphed

Curtis Bell.

ONEDOLLARTHEYEAR TEN CENTS THE COPY Volume Vlli.

New York, Febtuary, 1905. Edited by

361 Broadway

No.2

CH .\LKERS.

Published on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office as second class mail matter. Subscription price, One dollar per year in advance. Foreign subscription price ssb. $1.25) Positively not connected with any photographic stock house. Matter should reach office by the 1 sth of month preceding date of publication. Original MSS. solicited

PHOTOGRAPHY THROUGH A CHEMIST'S EYES. BY A. G. WOODMAN,

VI.--Chemical Action in the Dark.

-:\ a previous article 111 this series of papers on subjects relating to photography which possess also chemical interest I have written very briefly concerning the chemical effects produced upon the photographic plate through the agency of light. It may not, perhaps, be so generally known that many substances possess a very marked and curious property of so affecting the photographic plate, even in the absence of the light, that a distinct image may be produced, which c:1n te rendered visible by subsequent development in the ordinary way. And, moreover, apart from the theoretical interest in the question, it will be shown later in this article that it has much practical value as offering an explanation of many obscure sources of fogged plates. The substances which produce upon the plate these effects so strongly resembling those of light are, some of

them, of a metallic nature, 路 while others are of vegetable origin. At first sight it seems quite remarkable that metals like magnesium, zinc and aluminum, which we ordinarily regard as chemically inactive should exert this peculiar power, and to such a degree. The action is of course, much slower than with light, but under favorable conditions a picture may be produced in two or three seconds. A description of one or two experiments which may be easily carried out with a plate of zinc and an ordinary rapid dry plate will serve to explain better this phenomenon. If a sheet of ordinary dull or tarnished zinc be scratched so that the bright metal shows through and then laid upon a photographic plate for some time, say for seve ral hours, in complete darkness, a strong and sharp reproduction of the scratches will result upon development. If, however, the finger is drawn across the bright

THE CAMERA AND DARK-ROOM metal surface, so as to dull it, its activity will be much diminished, as shown by the picture that it will give. If a bright piece of zinc is immersed in water for about twelve hours the surface will be acted upon; oxide of zinc is formed, showing generally as a curious pattern. If now the zinc be dried it will be found that this zinc oxide is "active" and will impress a good picture of its design upon the photographic plate. An important peculiarity of this action is that it will take place without actual contact with the sensitive surface or even when a thin sheet of some other medium is laid between them. The action will take place, for example, if a thin sheet of gelatine is interposed. Celluloid, albumen, collodion, goldbeaters' skin, are all "transparent" to the action of the zinc or other active bodies. On the other hand many bodies do not permit the transmission of the action through them. Of this class are paraffin and common writing ink, as may be conveniently demonstrated by placing ordinary paper with writing on it between the zinc and the sensitive surface. With bodies which are porous, such as most papers, for instance, the action passes gradually through the pores and prints upon the plate a picture of the intervening structure as well. This is well shown by allowing the action to proceed through a printed page, when the apparently much confused picture is accounted for by the fact that the printing on the side further away from the photographic plate, as well as that next to it, prints through the paper and is of course reversed.

The second class of substances which show marked examples of this action are for the most part organic and belong to the group of bodies known chemically as the "terpenes." Typical substances of this nature are ordinary oil of turpentine and camphor. The strongly smelling substances known as essential oils contain terpenes in many 路instances and are strongly active. Such are oil of bergamot, oil of lavender, oil of lemon and the like. Ordinary perfumes or scents are active and pictures can be produced by cologne water, by cinnamon, by copper, and by tea. Other oils than the essential ones are also active; linseed oil is especially so, and olive oil to a lesser degree. Mineral oils, such as paraffine oil, are without action on the photographic plate. Many interesting results are to be obtained with bodies which contain small amounts even of these active substances. For instance, wood, especially resinous or pitchy varieties, will give its own picture, often indicating clearly the location of knots, peculiarities in the grain, etc. The peacock's feather gives a very handsome picture and one, moreover, that possesses scientific value in that it serves to distinguish the beautiful interference colors, due entirely to the action of light, from colors due to pigment. The brilliant blue in the eye of the peacock's feather is without action on the photographic plate. A butterfly's wing, for example, may be made, as it were. to draw its own picture. Printers' ink, is an active body by virtue of the linseed oil that it contains and it is sufficiently powerful to act through considerable distances. Examples like these might be

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multiplied but enough have been men路 solutely dry plate, if we could make tioned to show the character of the and keep it so, would be perfectly inphenomenon and the wide range of active and for photographic purposes substances that exhibit it Of more im- would be of as much value as a piece portance is to discover, if possible, the of window glass. It will be rememcause and to show how it is of prac- bered that in mentioning the organic tical value in elucidating obscure ef- substances which show this action on fects long noticed in photographic the plate it was mentioned that it was work. only those which contained the class An interesting phenomenon such as of bodies known as the "terpenes" we have here, has of course attracted which possessed the peculiar property. the attention of chemists and various It is a most characteristic feature of ingenious explanations such as "dark this Class of bodies that in the preslight" and vapors given off from the ence of air and moisture they cause metals, have been offered to account the formation of hydrogen peroxide. for it. The most satisfactory expla- Hence in every case, whether the picnation, however, is that offered by ture be produced by a metal or by an Russell, who has made a thorough organic body, it is one which is cap路 study of the question and from whose able under suitable conditions of generesults I have largely drawn. By him rating hydrogen peroxide. Further, it is ascribed to a chemical compound, every effect obtained by using either peroxide of hydrogen, a substance a metal or an organic body can be largely used in medicine and much exactly duplicated by using a solution more common now than formerly. of the hydrogen peroxide itself. Even Without going largely into the details when in very dilute solution it is exof how this was shown, which was tremely active. One part of the perchiefly by method of indirect proof, oxide diluted with one million parts of it will suffice to recapitulate them water will still give a picture. The action of hydrogen peroxide briefly. A German chemist showed as long can be easily demonstrated by using ago as 186o that when zinc turnings white blotting paper which has been are shaken up in a bottle with a lit- wet with the solution and then altle water, this hydrogen peroxide is lowed to dry in the air. The paper formed and the delicate tests known will remain active for about twentyto chemists by which its presence can four hours. What is still better is be detected show that in the presence to take some common plaster of Paris, of water the various metals as zinc, wet it with the peroxide solution and magnesium and aluminum, can not let it harden in a mold, so as to get a only produce the hydrogen peroxide slab of it. The slab will increase in but that their power of doing so fol- activity for a day or two after making lows exactly the same order as their and retain its acticity for a couple power of acting on the photographic of weeks or so. Such a slab gives a plate. Water is necessary, but always good strong picture in three or four present. We speak ordinarily of a seconds. It is even possible to condry plate. As a matter of fact, an ab- vey this power to an inactive body, to

THE CAMERA AND DARK-ROOM charge it by contact. For instance, if a copper stencil is laid on an inactive piece of pasteboard and a slab of active plaster of Paris placed on the stencil for a short time, the pasteboard will give a good picture of the stencil, even after it has been removed for some little time. This phenomenon ami a stud y of the cause throws li ght upon several previously mysterious causes of fogged plates, especially of those which have been kept for some time in the camera or in the holders. The interior parts of photographic apparatus are frequently blackened with a stain or varnish containing 路路terpenes" or pieces of cloth 路 arc used waterproofed with linseed oil varnish. Hence while the goods are new, plates put into them often show local or general fog. Then, too, old or seasoned wood is capable of absorbing the fog-producing agent and giving it off again more or less rapidly as the temperature becomes higher or lower. Linseed oil and copal varnish are especially active in causing this. Of the materials used in paper

LIFE SAVERS AT DRILL .

making, cotton and hemp are passive, straw, esparto, flax, wood pulp, are active, the energy increasing in these in the order named. Bleaching of the paper stock before manufacture destroys the activity, but it may return, and the size which is used, resin size in particular, is very lik ely to give off hydrogen peroxide. Ca re should therefore be exercised in laying paper between exposed plates which are returned to the boxes to await development. The black " needle-paper" often used is dangerous and paraffined paper is much better. Printed paper is very bad, and espec ially the ordinar~路 newspaper, since we have here the printers' ink, and the wood pulp, both of which are very active. The activity of printers' ink increases with rise in temperature and decreases with age. Writing ink, as previously remarked , is ord inarily inert. l\fagnesium and aluminum are two active metals so that care should be taken not to store flash powder in the neighborhood of plates, especially where there is liable to be a trace of dampness.

(No.3 F. P. K. )

P . Cbalmers.

Brugh Werner.

CONTENTMENT.

SHUTTER TESTERS AND SHUTTER TESTS. BY C. H. CLAUDY. In Two Parts.- Part II,

Shutter testing, with either the stock-house tester or the homemade affair described in the previous paper, is not a difficult matter. There are, however, a number of minor points of importance which the experi menter mig ht not find out for himself without wasting a few plates. These points, and some related facts, form the subj ect of this, the second and concluding , paper of thi s series. P robably the easiest and most intellig ible way to cover thi s matter will be to actually desc ribe the actual operation of making tests for the accuracy of some one particular shutter. vV e will suppose that the mechanism to be tested is the ordinary betweenthe-lens affair, provided with a dial

or other indicator which marks thespeeds,-usually one second, one-half of a second, one-fifth of a second, onetwenty-fifth of a second and one onehundredth of a second. To digress for a moment, I have never been able to find out the use of the second and halfsecond marks, even if correct, for there are few, if any, operators 路who do not prefer to make such exposures by the " bulb" method, -not only for its ease, but because it is much more accurate than a ny shutter is likely to be. Quicker exposures, even up to one-tenth of a second, are made by hand , but usually it is more convenient to depend upon mechanism for them. However, neith er of the testers described is ada pted to test for seconds,

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Practice this several times before inasmuch as if the "second" is longer than it should be, the pendulum will actually exposing a plate. When you have swung from end to end and part think you have caught the knack, try of the next beat, while the shutter is it on a plate and develop that plate open, and the beginning and ending of immediately to see if you have the rethe exposure on the resulting nega- sult you wish. If you are using the tive will be almost impossible to find. home-made tester, your result will So we will neglect to test the second look, when printed, something like exposure and take up at once the Fig. I, which is the portion of the quicker exposures,-from one-half scale containing a test for a shutter set second up (or down, as the reader at one-half a second. As each divim.ay elect). sion covered by the white streaks repTesting is best done in bright sun- resents one-twentieth of a second, it light. Take your camera out in the is obvious that this so-called "halfyard and set it up and focus so that second" is in reality eight-twentieths the image of the scale of the tester or four-tenths of a second, instead of comfortably fills the plate. Set the five-tenths, and that the shutter is shutter at the speed for which it is .twenty per cent. faster than the dial to be tested and work it several times indicates. to remove any stiffness caused by want It is not, as has been stated, necesof use, or clogging caused by the sary to use a new plate for every test. grease-film deposited by the air on If the scale and the camera remain unany metal surface. Swing the pendu- touched and un-jarred between tests, lum in the following manner. Draw the plumb-bob or pendulum can be it gently to one side until the point of raised or lowered, so as to make a the bob, in the homemade tester, or new track across the plate. Figs. 2 the button, on the stock-house affair, and 3 were made in this fashion, Fig. -is slightly beyond the outside limits of 2 testing the tenth of a second (a) and -the scale. Then let go of it,-do not the fifth of a second (b). It is easily :push it, but simply open the fingers seen that these speeds are inaccurate :and let it swing. Try to start it so as marked,-the tenth of a second (a) that it swings exactly parallel with the barely reaching one division, or the scale. Now take your stand by the twentieth part of a second, and the camera and (supposing you are test- one-fifth second (b) reaching one and ing the half-second) try to press the one-half divisions, or three-fortieths, bulb when the pendulum has crossed instead of eight-fortieths, or four dione quarter of the scale. But do not visions, which it should register if the press it at all, tmtil the oscillations shutter was correct. In Fig. I there is no bob visible, it just cover the scale! If you do, your results will be inaccurate, inasmuch as having been swallowed up in the the pendulum will then be covering the movement. All that remains is the divisions in less time than they indi- white streak caused by the sun's recate and the tests will show the shut- flection on the white paint. In Fig. 2 the bob can be readily made out and ter faster than it really is.

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. 4.--Focal plan e â&#x20AC;˘hu tt er te sts. C, of a second.

the measurement made from the small white streak, the reflection of the sun. In Fig. 3, however, a test of one-tenth of a second with a focal-plane shutter, this white streak does not show, because the sun was not shining bright-

ly when the test was made. The measurement should, therefore, be made from the point of the bob-a distance indicated by the double-headed arrow, of course drawn in on the print. It shows that th e shutter at

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this speed is very nearly accurate, just tester. Fig. 5 shows a test for onea trifle slow. tenth of a second, drop shutter, which Fig. 4 contains three tests on one registers seven -one - hundredths inplate. All these are focal-plane shut- stead of the ten-one-hundredths it ter tests, and are as foilows : C, the should mark. Fig. 6 is a test for the one-hundredth part of a second, ac- hundredth, curtain shutter, which curate to within 3 per cent.; D, the shows it is very nearly accurate, and seventy-fifth part of a second; regis- . Fig. 7 is a test with the focal-plane tering approximately the sixty-eighth shutter going its fuii speed of •onepart of a second, and E, also the twelve-hundredths of a second. On seventy-fifth part of a second, ob- the print a very slight blur can be tained with a different combination of seen on the edge of the button. No slit and tension, and registering the means can be devised that I know of sixtieth part of a seconct·. I am sure for testing so short a time with a to be questioned as to how I arrive at seconds pendulum, so that we have these figures. The matter wiii be to content ourselves with ·seeing that taken up a few paragraphs further on the button moved very little, if any, as soon as I draw your attention to more than the twelfth part of one of the remaining tests. the one-hundredth divisions, and let These are all made with the \ Vynne it go at that. The Wynne tester, with its divisions of one-hundredths, ts far easier to use on high speeds than is the home-made scale divided into twentieths, but, as noted before, there is no reason why the home-made scale cannot be divided into hundredths also, save the trouble of doing it. Now for the means of measuring exposures which do not cover divisions exactly. Referring to Fig. I, it wiii easily be seen that any error made in estimating with the eye is so smaii as to be a negligible quantity. In the shorter exposures, however, something more than eye measurement is necessary. If you have any friends who are draughtsmen, borrow from them a pair of proportional dividers-that is, a pair of dividers with points on each end and a sliding pivot, which works to a scale. Set the scale to one-fifth, and measure the distance traveiied by the bob with FI G. 6. 1- 10ot h !<.ec. T. P. the small points. Note the distance Curta in Shutte r.

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F IG. 7路

Focal Plaue S h utte r at Max imu m S peed.

apart in inches the larger points are. Now measure the width of all the divisions on the scale, any part of which are crossed by the moving bob. Note this distance on the long points. If one comes out one inch and onequarter, and the other five inches, we have only to divide five by 1.25 to get the result 4路 Consequently the bob traveled one-fourth of the spaces measured and indicates a speed of one-fourth of that covered by the divisions. Ii there were two divisions, of a twentieth each, the speed would be one-fourth of two-twentieths or one-fortieth, etc., etc. If you cannot borrow a pair of proportional dividers, use an ordinary pair, and step off, on a straight line, five or ten times the distance traveled

by the bob and that between the lines of the scale. The idea is to magnify the path and the distance traveled, until it can be measured with a ruler with a very small per cent. of inaccuracy. In the previous paper I indicated that I should show the difference in photographs made with the focalplane shutter going with. the object and going against it. But I find it is impossible to show this in shutter tests, because a focal-plane shutter will not run slowly enough. However, it can be demonstrated with figures to be a very small difference indeed. Suppose an object traverses a ten-inch plate at a speed of one inch a second. The hypothetical shutter traverses the plate at the same. speed. If the object on the plate and the shutter-slit move in the same direction, obviously the object will make a blur, and the exposure be ten seconds in duration. If the slit and object move in opposite directions, there will be just as much of a blur, but the blur will not be so long on the plate, as the two movements, in opposition to each other, result in an exposure of the object (not the background) of onetwentieth of a second. But, except in the case of railroad trains, few objects cross the plate at a rate exceeding the width of the plate in one second, and a focal-plane shutter, at its slowest, moves at least in the twentieth part of a second. So whether the slit moves with or against the object, the result is practically the same. The whole may be compared to the speeds of two passengers in a railway train, one walking towards the engine and one away from it. The difference in the times at which they

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arcs drawn from A' and B' as centers, and show the difference in length of haff the curved path and the theoretical straight path. It is thus seen tlt.at the greater the curvature of the p(.ndulum's path, the greater the error in accuracy. In other words, a path slantwise across the fractional second's divisions is longer than a straight path at right angles to them. The thirty-nine-Inch pendulum, on the contrary, has a path curved very slightly, compared to the Wynne pendulum; consequently, its percentage of error is much less. The error in the one case is about 6 to 8 per cent. -in the other, less than I per cent.not a very important matter, either way, but interesting from the academic standpoint. Finally, in making shutter tests, and finding the instrument all wrong, do not blame the manufacturer too much. He is not responsible for the imperfections of springs, nor the atmospheric conditions which affect dashpots, and no one would welcome more than he a mechanism which could be depended on to do exactly as its scale indicated it would do. But .... snch a mechanism is yet to be inVPY"ted. If you think you can solve ll the problem, there is money in it for YC\11. Until then, however, mark your shutter with its real speeds, and test it at least once a season, if you care for accuracy, as it will vary from year lo year.

pass any given point, taken from the start, is so small as to be inappreciable. I have now to show you why the home-made tester is more accurate than the Wynne. tester. This difference, as explained, before, is a matter of mechanics and physics, and is nothing whatever against the Wynne tester. This tester, however, has a very short pendulum, compared to the thirty-nine-inch pendulum of the home-made tester. Consequently, when it swings across the scale, it describes a path which is quite a good sized arc of a circle. Notice in Fig.. 8 the upper path which represents the path of the Wynne tester, and compare it with the paths nearest the bottom of.the figure, representing the arc covered by the long pendulum. The dotted arcs crossing these paths are

. .........

vv /' I- ~ l-)'' v v r-r' f-

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I I

:-.. ......... r- ........ r--..1'

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-rFIG. 8.

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DIFFUSION OF FOCUS WITH AN ANASTIGMAT. BY

J. W. LITTLE.

Every possessor of an anastigmat has at times felt its shortcomings when it is desired to produce a soft and agreeable diffusion of focus. In his earlier photographic career, when his apparatus is usually of the cheapest and simplest kind, the amateur is inclined to attribute many of his failures to the inadequacy of his lens, and is apt to feel chagrined and almost ashamed of his own modest outfit when he meets with his more pretentiously equipped brother photographer, who uses one of thos~ marvelous products of modern optical science known as anastigmats, and he looks forward to the day when he too will be the possessor of such an instrument, believing that its acquisition and use will be to him an open sesame to pictorial excellence. But when at last he feels a sufficient assurance in his manipulative and artistic abilities to justify him in investing in a more highly corrected lens, and the novelty of it as a new possession has worn off, he finds to his dismay that after all it really is not "all in the lens." In fact, he discovers that along with its admirable qualities the more perfect lens has also its own peculiar disadvantages. With its use the trees in his landscapes appear to have twigs of wire and leaves of tinsel. Everything seems unnatural, unsatisfying, mechanical and disturbing to aesthetic sense. 路 He endeavors to remedy these faults in focussing, but finds it difficult to produce that delicate softness and restfulness so characteristic of some of

the cheaper rectilinear and landscape lenses. The anastigmat lacks depth ; its focus is excessively sharp, disagreeable and, by reason of its entire eli!llination of chromatic and spherical aberration, contracted to a narrow plane. If he uses a large aperature and focusses on the foreground, he finds that while objects nearby are rendered microscopically shiup, the distance looks patchy and chaotic. Using a smaller stop, and adjusting the focus to a point slightly beyond the principal near objects improves matters little. The planes of the picture now appear to be reversed. The distance approaches, while the foreground recedes. Nearby tufts of grass resemble wads of cotton and the shrubbery is fluffy and artificial, while distant objects are rendered uncompromisingly hard and sharp, and everything is utterly irreconcilable with the conditions as they appear in nature. If he focus at a point somewhat nearer than the more important objects in the foreground, still using a medium size stop, while this may be somewhat better, things still appear unnatural by reason of the violent contrast between the extreme sharpness of the foreground and objects in the distance (which is now again out of focus) but which could be slightly softened by suppression. About his only recourse, if the day is sufficiently still and there are no moving objects, is to use so small an aperture as to bring all planes into sharp focus and endeavor to rectify matters either by subsequent en-

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largement, which it is not always desired to do, or by the interinsertion of celluloid or glass in printing. This latter expedient is not generally satisfactory as the softness produced by it is of a very different character from that resulting from the use of a suitable lens, and further, there is no differentiation of focus as between the foreground and distance, and it sel~om conveys a correct sense of aerial perspective. In the earlier days of photography sharpness was considered a great virtu~. The achievements of photography in this respect were considered a wonderful triumph and photographers were so delighted with the ease and dexterity with which they could delineate detail that they went to extremes in their use of this power and made no attempt to use it as a means of differentiating planes. Even l\Ir. H. P. Robinson, who perhaps did more than any other man in his stanch advocacy of the possibilities of photography in art, in one of his earlier writings says, "The detail of nature need never be sacrificed for the sake of rendering atmosphere,'' and he conveys the impression throughout the book that he is a believer in sharpness of focus in the distance as well as foreground. The tendency of modern times, however, has been in the opposite direction. In fact, photographers have so gone to the other extreme that pictures are often met with which have bern put so far out of focus, in the quest after atmosphere and impressionism, as to have lost all semblance of the original objects which they purport to represent, or at least upon which they have been Insect. But

extreme radicalism is usually ephemeric. Fads have their day and soon subside, not, however, without often leaving behind them a wholesome effect. And so impressionism having served its purpose, there are indications that pictorialists are recovering from its sirenical influences and are adopting a course midway between the two extremes by the suppression and the subordination of detail, but only sufficiently to subserve the purposes of securing breadth. They are coming to regard the matter much in the light of Dr. P. H. Emerson, who says, "A picture should not be quite sharply focussed in any part, for then it becomes false ; it should be made just so sharp as will best give the appearance of nature from one point of sight." Mr. Robinson himself, in his later works, speaks of the undesirability of getting a "surfeit of realities" and of wanting "a little mystification as a relief," and he is "glad to see that the pride of focus is going out of fashion;" while Mr. A. Horsley Hinton, who has been regarded as an extremist in his impressionistic views, says that if either the presence of very sharp definition or tl}e putting of things out of focus is so extreme as to attract undue attention, the chances of producing an effect on the imagination are jeopardized and the aim of the photographer is in consequence defeated. Obviously, the best way to secure the desired end is to use a lens with which the proper degree of diffusion may be secured at the time of making the exposure ; but aside from the fact that lenses are expensive, and a !'eparate shutter and lens-board must usually be fitted to each, it does a

THE CAMERA AND DARK-ROOM lens no good to be frequently removing and replacing it. Moreover, the photographer does not want to encumber himself with a surplus of paraphernalia. He likes his one lens to serve as many purposes as it will. The reserve powers of an anastigmat are at times exceedingly useful, and when once accustomed to them the photographer would be loth to dispense with their advantages. The present object, therefore, is to suggest a simple method how such an objective may be converted into a very satisfactory landscape lens when occasion makes it desirable to do so. \V e often read of the usefulness of so-called magnifiers in modifying the focal length of lenses to meet special conditions, but in addition to this there is another use to which they may be put, and for which, so far as I am aware, they are not often utilized, and that is for softening the focus of lenses in which the various characters of aberration have been highly corrected. By the use of such supplementary lenses properly adjusted, and with judgment in focussing, almost any degree of diffusion required may be quickly produced with an anastigmat as the objective. For ordinary purposes, and to avoid perceptibly shortening the focus of the lens with which it is combined, the focal length of the supplementary lens may be of low magnifying power, lenses of about 40 or 6o inches focal length, or what the optician would call 1.00 D or 路75 D (dioptries) usually producing a sufficient amount of aberration to disturb the excessive definition of the objective and render the required amount of diffusion, if properly adjusted with respect to the nodal

planes. The cost of such a supplementary lens should be but nominal and they may usually be procured from most photographic supply houses. An ordinary spectacle lens will usually answer every purpose, but it is better that it should be larger than the ordinary ovals and of circular shape in order that it may be available for fairly large apertures. Such lenses are kept in stock by most opticians and can be mounted by him in a suitable hood, or they may easily be secured in an improvised hood by the photographer himself. The lens and hood should be sufficiently large that the marginal rays passing through the objective may not be interfered with. Preferably, the supplementary lens should be meniscus or plano-convex, and it should not be too thin or of excessively high路 polish when it is to be used for the purpose of producing diffusion. It may be fitted either to the front or back of 路the objective, in the usual way in which ray filters are attached, but will be found to have better covering power if fitted to the rear combination of the complete doublet, with the convex side next to the plate. It should not be in exact nodal contact with the objective, the separation which will produce the best effect being readily determined by experiment. . The focussing should ordinarily be done with the stop it is proposed to use in making the exposure, although, being of low magnifying power. it will not be found to materially affect the flatness of field or marginal definition unless used with very large diaphragms. If used on the front combination of the complete doublet, with the con-

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vex side outward, the greatest definition will be in the center of the field, which is often desirable in portrait work. In this case the full aperture may be used and the rapidity of the objective will be slightly increased. This supplementary lens may be used for outdoor work either in connection with the rear combination of the complete doublet, or with the rear combination only. In either case it will necessarily shorten the focus somewhat. If used with the back combination only, the shortening- the focus will not be likely to be of consequence and a supplementary lens of double the power of those indicated may be used if it is desired to introduce a greater amount of aberration. Should this produce slight curvature of field it may at times even be of advantage as bringing the foreground into better focus. It is a good plan to provide two such supplementary lenses of different focal lengths, which, with small stops, may also then be useful for tlie purpose of securing a wider

angie,. and without destroying rec· tilinearity, by placing one back and the other in front of the doublet. If it is desired to slightly lengthen rather than shorten the focus of th"! objective, the supplementary lens may be concave, preferably plano-concave. If properly mounted this may increase rather than diminish the marginal illumination, if this were necessary·. ·J n:. deed, when used with a doublet, it is often better that the supplementary lens should be concave and used in this way, as the lengthening of the focus will give better drawing. Larger apertures also are then possible than when the rear combination is used alone for the purpose of securing greater focal length. I might here cite the fact that the desirability at times of softening the focus of highly corrected lenses is already recognized for separating, several of whom now provide ingenious arrangements for separating the elements in order to produce at will whatever amount of diffusicn may be required.

REMARKS BY AN AMATEUR. BY GEORGE W. HAVLIN.

One of the most important thing!! to be observed in the making of a negative is the fixing of it, and mak· ing sure that all the soluble silver salts not affected by light have been removed by the hyposulphite of soda solution. :Many amateurs in their haste to see what they have gotten on their plate neglect to leave it in the solution of "hypo" long enough, and as a consequence find after a while th:tt their nc~ath·e h~s s:tdly deteori-

ated by reason of the blackening of those portions of the plate from which the unaltered silver has not been removed completely. The writer prepares his hypo bath as follows : Take a good sized glass funnel, one capable of holding at least a quart, and insert a plug of absorbent cotton in the neck, then place the funnel in a wide mouthed bottle. Then fill up the funnel with hypo-the crystallized, not the pulverized or

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. granulated, as the crystallized is us路

ually the purest-and pour over it enough 'WOrm water to cover it to the depth of about one half inch, letting it stand until all the water has filtered through, taking up as it does so as much of the hypo as it is capable of doing. Pour back the solution into the funnel and allow it to percolate through again, repeating until the water will dissolve no more of the crystals. The resulting solution is as strong as can be made, or in other words a saturated solution-it is also . a clean solution, as the cotton remove~ the impurities. Warm water should be used to dissolve the hypo, for the reason that hyposulphite of soda in the act of solution takes up a large quantity of heat, cooling the water tc such an extent that it can'not take up the salt as readily and quickly as it should, thus requiring a much longer time to complete the operation when cold water is used. Another method of obtaining a saturated solution is to tie a piece of cheese cloth loosely over a wide mouthed bottle, fill the bottle with warm water and drop the crystals into the cloth, which must be slightly below the surface. As soon as the negative is taken from the developer place it in a vessel containing clean water, or if you have running water allow a stream to flow over it, in order to rinse all the developer from the film you possibly can, then place it in a tray and pour over it a sufficient quantity of the hypo solution made as above, having first diluted it with one-third to o::te-half of its bulk with water. Leave it in this until all traces of white have disappeared from the plate, for at least I 5 minutes. The writer has found

that by fixing a negative with a strong bath and leaving it in the solution for I 5 or 20 minutes, it does not require nearly as much washing as is usually recommended (45 to 6o minutes) by photographic authori,ies. I do not wash a negative more than 20 min~ utes, sometimes not more than 15 minutes. In the little manual published by the Seed Dry Plate Co., entitled "The Art of Negative Making," the operator is advised to place the plate in a very strong fixing bath, and to leave it there for at least 30 minutes, as thereby the time required for washing is greatly reduced. When I first began to take pictures, I was very careful to exclude every particle of light from a negative whilst it was in the fixing bath, being under the impression that if the slightest bit of light was permitted to strike it, until thoroughly fixed, it would be ruined beyond repair. A peculiar accident demonstrated to me the fallacy of this idea and the highest authorities are now teaching that the operation of fixing can be safely conducted in a pretty strong light, especially if it be done at once, and if all the developer be rinsed from the negative before fi?Cing. Therein lies the main secret of fixing a negative-be careful to wash all of the developer from it that you possibly can, before bringing it to the light, and before placing it in the hypo bath. Of course it is just as well to exclude the light as much as possible from all plates when fixing them, more especially orthochromatic plates, but it is not necessary to fix them in absolute darkness, unless it be the latter kind, which are very sensitive to light. After the negative is taken from

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the fixing bath it should be held un· der a stream of running water for a few minutes, then placed in the wash· ing box and kept there for I 5 or 20 minutes, then taken out and again held under the stream of water using a wad of cotton or the palm of the hand to wipe off the mud or grit that may have settled upon the film. After washing, the negative should be placed in a cool dry place, and should be so inclined that all the water will drain off toward one corner. A shelf high up in a cool, well ventilated room, or under the ceiling of a portico, is the best place to dry negatives, having seen to it first that all dust and dirt has been brushed away from the walls, ceiling, etc., so that none can fall or be blown upon the negatives as they are drying. Also make sure that no insects can gain access to them, to crawl over the films and ruin them. A negative should take about two hours to dry, to be of the best quality, much longer time but sometimes may be required, due to moisture in

the air. Watch them to see that they dry as uniforrmy as possible and do not allow any water to collect upon the surface of the film, as a drop of water allowed to dry very slowly on . the film will leave a dense spot that will show in the printing as a spot much lighter than the rest of the pic· ture. \Vatch the plate as it drains, and as each drop collects take a piece of blotting paper and blot it off. Sometimes it is necessary to obtain a print from a negative at once, in which case the operator may place it after fixing and rinsing the hypo off, in a tray of water containing about 20 drops of formaldehyde for a te\\ minutes, then taking it out and wash· ing well. The plate can then be dried over a hot stove, or a lamp without melting the film. The method gen· erally used in newspaper offices is to insert in the printing frame, between the wet negative and bromide paper a piece of thin, transparent celluloid, certainly safest and most expeditious. (TO BE CONTINUED.)

PHOTOGRAPHS ON WATCHES, CIGARETTE CASES AND THE LIKE. There is evidently a growing taste for photographic portraits on such articles as watches, gold or silver cigarette cases, matchboxes, etc., and the jewellers who undertake to get this class of work done usually charge a pretty good figure. for it. A little while ago we were shown a watch on the dome of which was a portrait for the production of which much money had been paid. Of course the jeweller did not do the work himself, but clearly he knew where to get it

done, and exceedingly well done it was. Some year or more ago we saw a similar picture on a watch case which, it was alleged, had to be sent to Switzerland by the London jeweller for the work to be executed there, because it could not be done· here. This picture and the other referred to were unmistakeably by the carbon process. As the carbon method of producing pictures of this kind may be of service to many of our readers, we

THE CAMERA AND DARK-ROOM shall here describe it in detail. We shall assume, at once, that the reader is already quite familiar with the practical working of that process, for we may here say that any one who takes up the working of this process for the first time, and attempts to apply it to the present purpose, must not expect to meet with any great success in his first few essays. It goes without saying that it is the double transfer system that must be employed-the picture being developed on a temporary support, and then transferred to the article desired. It will at once be seen by practical workers that the ordinary commercial flexible support is not suitable for the work, for the reason that it is too thick and unyielding to be pressed into sufficiently close contact "on a convex surface, such as the nome of a watch-case, for example, to obtain a perfectly finished transfer. It may, however, sometimes be successfully used for quite cylindrical articles. For the above reasons it will be obvious that a more flexible and yielding support must be employed. One is the india rubber support as first used by Swan: another is a film of collodion. "'e will deal \Vith the former first. Some thin "foreign post'' paper, the thinner the better so long as it will withstand the warm water in the development, is coated with a solution of india rubber about the consistency of thin molasses. The best way of obtaining this is to get a tin of solution from the rubber stores and thin it down with benzole to the required consistency. It is poured into a dish and the paper floated upon it and then hung up for the benzole to evaporate. The paper had best be

coated a few days before it is required for use, so as to ensure that all the solvents of the rubber have thoroughly evaporated. This india rubber support is used in precisely the same way as the ordinary flexible support-the exposed tissue is squeegeed upon it, developed, and then allowed to dry. The picture need not be alumed, indeed, it will be better for our present purpose if it is not. The picture is now ready for transferring to whatever may be required, which for the moment we will assume to be the dome of a watchcase. It is unnecessary to mention that it must be removed from the watch, this a neighboring watchmaker will do for one. The dome is then cleaned with benzole to remove all traces of grease or dirt. It is then coated on the outer side with a solution of gelatine containing a little chrome alum such as that used for double transfer paper. The following is a good formula to employ:Nelson's No. I gelatine ....... 0 oz. \Vater ..................... 10 oz. Chrome alum, dissolved in 1 oz. of water, 路6 grains. The dome is evenly coated with this and allowed to dry. To make the transfer neatly, trim the print to the required size and put it and the watch dome in cold water for ten minutes or so. Next put the latter in warm water at about 105 deg. to 110 deg. Fahr., until it just feels slimy. Then take the print, having previously marked it as a guide to position, and put it into the warm water and bring it in contact with the dome, of course avoiding air bubbles, and remove the two and press in close

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contact with a soft dry handkerchief, gently rubbing towards the edges with the fingers so as to remove all superfluous water. It is then allowed to become thoroughly dry spontaneously. When dry, the back of the paper is moistened with benzole, and after resting for a minute or two the paper can be slipped off, leaving the picture firmly attached to the metal. Should an) rubber remain on the picture it may be rolled off with the finger, or removed with benzole. It now only remains to varnish the work, which may be done with celluloid varnish or any cold lacquer of fine quality. It is simply flowed over and drained off, and it dries in a few hours. We mentioned that collodion might be used as the temporary support, and perhaps on the whole it is the best to employ. Here is the method with this. A glass plate, after being waxed, or prepared . with French chalk, is coated with ordinary enamel collodion thickened with two or three grains per ounce of pyroxiline, so that it yields a thick film. After the collodion has thoroughly set the plate is put into a dish of water to soak, and is afterwards washed under the tap

to get rid of the solvents of the collodion. The exposed tissue is then squeegeed on that, developed in the ordinary manner, and allowed to dry. When dry the film can be stripped off and trimmed, and then mounted on the metal as just described. It is a good plan to trim the picture while it is still on the glass-a wheel trimmer and zinc shape is convenient for the purpose. The collodion film has . an advantage over the rubber support, inasmuch as it is transparent, so that air bubbles can be seen, and the picture the better arranged in position. After the transfer, the collodion can be dissolved off with a mixture of ether and alcohol. In conclusion it may be mentioned that for carbon pictures on metal a tissue should be selected that contains a large proportion of pigment to gelatine, and should also be printed from a tolerably thin negative, so as to avoid a high relief in the image, which is objectionable in this class of picture, and, moreover, it serves to indicate the method by which it has been produced, which, in some instances, it is not desirable to do.British Journal of Photograph)'.

PHOTOGRAPHS IN OIL COLORS. It is many years since we printed photographs in oil colors, using Devoe's oil colors and finally getting better results with printing ink, thinned with turpentine. The results were promising but never followed up. In the meantime we have run across several others who have worked the method in a haphazard manner. Before one of the London earner<'. clubs

the possibilities of the process has recently been demonstrated in a convincing manner by Mr. G. E. H. Rawlins with the thoroughness and enthusiasm characteristic of his countrymen. We are indebted to the A mat cur Photographer (London) for the following description of his methods and hope to see some good results from our readers:

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To proceed, any strong, suitable pa- terference whatever with the lower per is thickly coated with gelatine, strata of gelatine. and, when dry, sensitised in a solution And not only is it possible to inof potassium bichromate in the ordi- crease the contrasts as indicated above. nary way. This is printed under a The whole scale of tones may be alnegative, soaked in water, till proper- tered in either direction uniformly. ly swollen, surface wiped and rolled Thus, on the one hand, we may, from with printer's ink or oil paint, which, an average negative, make a print for after operations, is kept in va- having almost the violent contrasts of rious degrees of thickness; and, if de- a silhouette; or, on the other hand, sired, of various shades of color. So the contrasts may be all but subfar there is nothing new or nothing merged in a homogeneous tone of any but what is done in photo-lithography, desired intensity. Of course, these but the novelty lies in the after opera- are the extremes which it is possible tions. These include the use of the to reach-indeed, in the latter case, roller, brushes and even rags, and in it is likely that even an effect of retheir use there is an almost unlimited versal could be obtained-neverthelatitude. Paint or ink may be laid less, I mention them to show the powon to utter blackness, and by the ers in our hands. It must, moreover, be borne in same roller all or any part of it removed ; and one color changed for an- mind that in every case of control havother as many times as the artist ing been thus exercised, we can go changes his mind as to what will be back to the starting point and bring best, or, as the author puts it: "Any up a practically normal print upon portion of the image may be caused which we may set to work again to , to take up eith.er more or less, as de- further modify it. sired, of the pigment. It may be piled The following abridgment of the on here, or reduced to any extent working directions will enable any one there ; a shadow enriched even to to try his hand, and from what we deepest blackness, or a high light know of certain kinds of similar work picked out in the whitest white. True there should be little difficulty of this can, to some extent, be done by reaching a fair degree of success. The the expert in gum ; but he can never author says: "I have found the most undo his work, for the image-bearing convenient support to be stout, hard, smooth-surfaced cartridge paper medium is itself removed in washing which will withstand considerable the pigment from a gum print, and washing without becoming tender. cannot by any means (other t~an reThis is coated with a fairly thick sort to hand work) be replaced ; but, coating of medium gelatine, which it in the oil-print, the image-bearing is convenient to render insoluble with .film remains intact throughout; and formaline or chrome alum. The senthus, although the pigment adheres sitising bath is a 20 per cent. soluto, and is regulated in density by it, tion of potassium bichromate, in which unlimited alterations may be made in the gelatine basis is immersed or floatthe layer of pigment without any ined. \Vhen dry, which, of course, must

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take place in the dark, it is printed under the negative, preferably a plucky or contrasty one, till the image is fairly visible, light brown on a yellow ground-and printing is complete when the faintest details in the high lights are faintly visible. The printed basis is next soaked in water at a temperature of from 70 to 90 F. ; three changes in the course of half an hour will do, the object being to get rid of the unaltered bichromate and to bring out an image in relief, visible, after wiping off surface water and examination by reflected light. The soaking should be ample, as it can hardly be overdone. At this stage the print, or, as the author prefers to call it, the "basis," may now be dried and kept indefinitely before pigmenting, in which case, of course, it must be again moistened before the application of the paint ; or it may be pigmented at once, but if the pigmenting is to be delayed, every trace of the bichromate must be removed before drying. The next step requires a few materials that are not generally included in the photographer's output; a thick plate of glass a little larger than the largest print to be made ; a composite inking roller such as engravers use for "proving;" two or three stencilling brushes of various sizes from a quarter of an inch to an inch and a half, and of the finest possible bristles. The pigments, as before stated, are of the kind used by artists, but the ordinary oil paints, as sold in the collapsible tubes, are not stiff enough for this process ; and although this may easily be remedied, the new patent "Raffaelli's Solid Oil Colors" are just right in this respect. Of these a few

will suffice to begin with ; they are only distinguished by arbitrary numbers, the names of the constituent and, having placed a few drops of turpentine on the centre of the print. rub it all over the surface until it is colors, unfortunately, are not stated. No. 191 is a serviceable black; No 183 is a cool sepia, and No. 28 a warm, brownish red. They may be used alone or mixed, the last named being particularly useful for warming up. and tempering the others. Of course, any number of other colors in various forms may be used, but it is unnecessary to go further at present. One pennyworth of the best refined turpentine, a bit of soft sponge, some linen rags, and a palette knife complete the necessary equipment. To prepare for work take, with the palette knife, small quantities of paint of the required colors, after having removed the outer skin, as directed on each stick. (Only the most trifling amount is required for each print.) Place it on a piece of glass (such as an old half-plate negative) by way of a palette, adding a few drops of turpentine, and rub them together until perfectly smooth and of the consistency of thick cream, free from all lumps and bits. Spread it roughly all over the palette, then take the roller and roll it in the paint, covering it and the palette evenly and thoroughly. Continue rolling thus for a few minutes; when the turpentine wilt have evaporated almost entirely. Now lift the printed basis from the water in which it has been soaking, and lay it face up on the slab of plate glass. Allow the superfluous water to drain away for a minute, and then with a clean, fluffiess cloth dab

THE CAMERA AND DARK-ROOM and wipe the surface until it looks dry. Take a small sponge or rag and daub a little of the mixed paint on to it, more or less evenly smeared with a thin "layer of paint. Smudges and markings are of no account-it is only necessary to go over every part. When the turpentine has mostly evaporated, and the sponge begins to "drag," take the roller, and, having freshly passed it over the palette a few times, commence to roll the print from the bottom to the top. (Prints should always be made on basis about an inch longer than the picture, so as to leave a margin at the bottom which can be held down during rolling.) After a few strokes the picture will begin to show, faintly at first, but with continued rolling it will be gradually built up until it has reached its full natural strength, the pigment adhering, as previously explained, in proportion to the light action. Thus, in order to produce an increase in contrast, the paint must be as stiff as possible; whereas if a flat result is desired it may be much more nearly liquid. This variation I find it most convenient to produce by the use of the stiffest possible paint to start with, and thinning it down with turpentine, which may then be allowed to evaporate until the required consistency is reached. 路But whatever the consistency of the paint, it may be applied not only with the roller. Perhaps the most potent possibilities of control lie in the stencilling brushes, for by their aid the paint may be applied with the greatest variety of effect, and not only generally, but locally. The use of these brushes, however, requires practice, since there is a certain knack invqlverl

in getting the desired result; and, although this is not easy to describe, it is, perhaps, possible to give a slight idea of the manner of using them, so that a few trials will probably result in some measure of success. The brush must be perpendicular with the print. It is held very lightly between the thumb, first and second fingers, the last named touching it at the side of the handle nearest to the body and low down close to the bristles. Supporting it in this way about an inch above the print, it is dropped, following it downward with the hand, and instantly, on touching the print, it is again lightly grasped and lifted to its former position, and the action repeated as rapidly as possible. In this way the print is tapped, or dabbed, wherever required. If the action is light the paint will be spread more evenly with a tendency to flatness, while a sharp, half-drop, half-throw action picks the paint off, with an increase of contrasts. But whichever effect is produced, the drawing is in 110 路way affected, unless this is desired, and aimed for, in which case the paint can be entirely or partly removed with a rag or pointed sticks or brushes. Or if it should be unsatisfactory in any way, the whole of the pigment may be easily taken off by means of the sponge and a few drops of turpentine, and the rolling-up repeated. It is perhaps hardly necessary to enlarge further upon the possibilities of modification and control, since the elasticity of the process will be selfevident from the foregoing account, but it may be useful to point out that, especially in the case of small prints. it is possible to work entirely with the brushes, dispensing with the roller altog-ether.

THE CAMERA AND DARK-ROOM praise for this if it were not so contrasty. The point of view is good and the effect of distance well rendered, but that footpath of pure white I Is it untrodden snow, or the result of an over-dense negative? If the latter, a print on a more rapid pape r would gi ve more correct values.

H . W . D uRGIN :-"A Bit of Woods." This is a well rendered record of fact. Pictures of this class of subj ect are usually rank failures from under-exposu re, but this is fr ee fr om thi s and other technical faults and the selection of the point of view all that could be desired. However, the view is without interest, ju st ''a bit of woods," which might be duplicated by anyone in any section of the country. We would like to sec some more pretentious work from you, now th at your techni que is so excellent. D ANIEL \ V. E MORE :- "A Moment at Ease" and "Ki ssinger' s Dam" are fa ir samples of record work. In both pictures it must be evident to you th at the perfectly white sky, white water and white dresses of th e two girl s, without a shadow of detail or tone is the res ult of under-exposure or over-development of the negati ve, or both. If you will have fi gures in your landscape try to get them to appea r abs<;> rbed in the ' 'iew or doing something. Instead of paying attenti on to her companion, the boat, or the scenery, the girl is smiling into the lens and the result is neither a portrait nor a landscape. "R esting" is a technicall y pe rfect print, your syst em of t ime expos ures is 0. K., but in this as in the other two th e human element is t he weak point. W e do not object to th e prese nce of th e figure, but to th e "killing'' pose wh ich plainly says, "T here, now tak e my picture." H AGERM AN :- "Bessie i..ittl e Lo t: rs Bridge." L ower ing th e camera so as to in clude more foreground and less water woul d im prove thi s as a pictu re. It is of that class of views th at look beaut iful in nature, but are disappoi nting in black and whit e. 路Any pretense to pictorial excellence, howeYer, is 路killed by the fi ve yo uths scattered oyer the sce ne and all staring at the camera. G. W . ZIMM ERMAN :- "The Ru stic Bri dge." We wo ul d hav e had nothi ng but

A uG. FILIP :-"T he Second Day of J anuary." Two little girls in their furs have turned their attention fr om their sled to an uprooted tree. T he effect is natural and the photograph y good, but the trimming and mounting such that the buildings are out of the perpendicular. W . B. M YERS :- "Maternity." A fairly good rendering of an always pleasing and interesting subj ect. The pose is what we do not like. T he mother is leaning backward wi thout any visible support, whereas if she had been shown leaning lightl y for ward the pa rts of the picture would have been more on one plane and the hand woul d not have been so large ; this pose would also ha\'e been more suggesti ve of fondling th e infant. Changing the posiof the backg round would bring the shading more in harmony with the lines of the fig ures. F . F. SoRNBERGER:-"A J anuary T haw." The reproduction of this picture does not do justice to the correct tonality of the print, whi ch is a perfect rendering of a wet, sl ushy day. T he scatt\! red patches of melting snow are rendered in harmony with the tone of the landscape in th e originala rare occu rrence in snow pictures. T he compositi on and selection is praiseworthy and the picture is one th at might be studied to adva ntage by our younger r eaders. HA zEL E . CLAnK :-"The Broken D am." T his is an excell ent photograph of a locali ty without any special interest. Short focu s lenses such as this was made with a lways incl ude too much on t he plate and render objects in the foreground out of all proportion to th e r est of the view. The photograph is all ri ght as a memento, but falls far short of being a picture. The buildings th at are miles away are as clearly defined as the shrubs in the foregroundno atmo phere or effect of distance--everythin g appears as if pasted on one plane. You ean do bette r work th an this.

MATERNITY .

A JANUARY THAW.

W . B. Myers.

F . F Sornber1er.

THE CA MERA AND D A RK-ROO M FRED. J. STEIN :--"U ntitled." A farmer a nd pair of oxe n. In thi s yOti' hin路e the setting and materi al for a fi ne picture, but the print before us fall s short in every re spect. T he negative has been 'lmderexposed and, trying to co rrect thi , prolonged development has piled density on th e high lights. T hen th e plowman is r es ting on one leg and gazing at the camera-'even th e oxen are following hi s e;_ample in "looking pleasant. " H ow much better if, aft er you had foc used, you , had asked th e plowm an to star t up hi s tea m and made the exposure ju st as they were ab oilt t o III 07'C. Th is would have gi1路en th e needed ac ti on and reality to th e sce ne. Anoth er defec t is th e totall y blank sky whi ch mi ght be improved by printing in o f clouds or giving th e print a slight expos ure to th e light, shading the la nd scape porti on.

j. M. Kane.

) OH N RoESCHALA U :- "A lmost Spring." V ery good. The print is technically perfect and th e well selected bit of landscape with th e patches o f snow behind the hedges and on th e di stant hill tops is very sugges路 tive of the title.

A HOME PORTRAIT.

). M. KA NE:- "A H ome P ortrait." This is a decided improvement on the last print submitted and a s a home portrait has few fault s. The lighting mi ght have been softened or development stopped before th e high lights were so dense and th e foc using managed so as to throw th e sharp lines o f th e cha ir out o f foc us and thi s would have brought th e hand into foc us and not so la rge. The pose o f the sitter is stiff and unco mfortable, ha rdl y th e pos1t10n he would ass um e in th e abse nce of th e camera.

'vV. H . HAzELL :-"Pacific Reflec ti om ." T he photograph of th e r enow ned Cliff House at San F rancisco, Cal., is interesting fr om a topograp hi cal standpoint. T he strong refl ecti ons in th e still water s of th e P acific rt>deems wh at would oth erwi se have bee n a commonpl ace renderin g o f thi s charming spot. The use of an orthochromatic, non-halation or backed pl ate and some tonality in th e white sky are suggested as improvements.

W . H . Hazell. PACIFIC REFLECTIONS.

NO TITLE .

Fred .

J. Stein.

•

ALMOST SPRING.

john Roeschlau.

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Miss C. E . SMITH :-"When Time, the Winds the Skein, What Tangles May Appear." This is a very praiseworthy effort and we give the details on the back of the print for the benefit of our readers. Exposure made in old farm house at Port Jervis, N. Y., on a dull day in August. 3A kodak, stop f-8, time 6 seconds. Ortol developer for the film and velox print, negative unretouched. The parallel lines at the right of the picture, produced by the back of the chair, are detrimental and could have been avoided by throwing over it a dark路 colored shawl or selecting another seat Otherwise the picture is a good example for others to follow and judging from other prints submitted by Miss Smith, another of our reade rs will soon j oin the ranks of salon exhibitors. Spinn~r,

E. E. CooPER.-''Home Portrait." You should have made use of a head sc ree n and so have controlled the too strong and flat lighting on th e face . By th e judicious use of sc reens and reflectors it is possible to produce a portrait with the finest modeling by the light of an ordinary window. Correct this fault and avoid plac ing the subj ect so close to th e background.

HENRY I. BENEDICT.-"On the Concord River" is from a bad point of view, pictorially, and lacking in interest. There is nothing to hold the attention and the large expanse of still water is little else than white paper. The dark shadows also needed longer exposure and a color screen and an ortho plate could have been used to advantage. Such subjects are not worth photographing unless the tone values are correctly rendered. The other and better print in our next. S. F. BEHEE.-"Harrison Wright Falls, Pa." This is an excellent record of Nature's winter garb, technically all that could be desired. Why did you spoil its effect by printing under a fancy mask? These are generally abominable and in this case distracts the eye away from the picture. Printed square it would merit nothing but praise and more so if you had chosen platinum or one of the devel oping papers instead of the warm toned solio.

It would be of general benefit if our read ers, when sending in prints for criticism or reproduction, would gi ve on the backs the details of exposure and other conditions. Also bear in mind that to specify the time of exposure without giving th e f. ,路alue of the diaphragm used conveys no inform ation whatever.

* * *

MILTON WAIDE asks us to announce that unseemly delay in answering his correspondence for the past few weeks was occasioned by a se ri ous illness fr om which we a re glad to learn he has fully recovered.

* * *

E . E. Cooper. HOME PORTRAIT.

THE fact that the Wynne Infallible Exposure Meter Co., agree to send one of their meters "on suspicion" for a fortnight is proof that they are ready to back up all claims made for their goods. " Infallible" is a pretty strong term but none too strong in this case if the meter is used intelligently.

•' WHEN TIME, THE SPINNER, WINDS THE SKEIN, WHAT TANGLES MAY APPEAR ."

HARRISON WRIGHT FALLS, PA .

Miss E . C. Smith.

S . F. Behee.

THE CAMERA AND DARK-ROOM TH,E ]. CARBUTT DRY PLATE & FrLM Co., of Philadelphia, Pa., announce that their factory has again resumed operations under more favorable conditions. A fresh stock of their products is now ready for delivery, which will be good news to the many users of their plates and cut films.

* * *

VELOX SEPIA ToNER, a new preparation on the market, will certainly become popular on its merits. It is really what is now recognized to be the most simple and certain method of toning the developed image, only put up in convenient form. The package which costs so cents contains 14 capsules of bleacher and a bottle of redeveloper. These have to be much diluted and the solutions may be used over and over again, toning hundreds of prints, so the cost is ultimately trivial. Gas light printing is the popular process but the uniform black tone is not the most desirable for all subjects; a few minutes in the toner changes them to a warm sepia. Primarily designed for Velox prints it will also be found an ideal toner for lantern slides and works equally well with bromide papers if the solutions are not diluted so much as the directions recommend for Velox.

* * *

Se\路eral of our readers having made the suggestion of a circulating album of prints we think well of the idea. Those who wish to participate will send one or more specimens of their best work, all mounted on IIxq mounts or simply matted. On the backs or on separate paper should be inscribed all data as to plate or film, lens, camera. exposure, light conditions, developer and printing process. These prints are to be sent to C.-\MERA AND DARK RooM office and they will be placed in a box which will be provided and started on its tra\路els among the members. Previous to shipment, each print will be criticised by one photographic expert and one artist and the signed criticisms enclosed. Space will be left for each member to make remarks on the pictures and this they must do and then forward to the next on the list. If we hear from a sufficient number, such an interchange will be established. The only

conditions are that one's best work only will be sent and the mounts 11x14 in size. There will have to be a small fee charged to defray postage and other incidental expenses. Suggestions are in order.

Our Prize Competitions. Our "Home Portraiture Competition'' turned out to be one of great interest. Several of the sets entered ran each other so closely that the editor did not care to abide by his own judgment. The entries as a whole were therefore submitted to three well known experts in turn with the instructions that each print in each set was to be accorded a merit number from 1 to 10. \Ve ha\路e just received the last of these as we are ready to go to press and it is gratifying to find that on adding and comparing the figures, the common verdict tallies with our own. First in the order of merit is 1\liss E. C. Smith, New York City; 2d ]. Burian, New York City; 3d, F. E. Allen, Attleboro, Mass. Next month we will give a full report of this competition. February Competition. \V e get many wretched snow pictures, under-exposed, badly selected, and printed in poor taste. To bring out some of the better work as examples we announce a Prize Competition for Snow Scenes. The conditions are that each contestant submit six prints (mounted or unmounted). The prints to be numbered on the back and marked for identification and on separate paper there must be given the make of plate or film, the conditions of exposure, time路 of day, intensity of light, lens diaphragm and length of exposure. Prints should be on platinum, bromide or any of the dewloping papers. Five prizes will be awarded in this competition and entries will be received not later than March 15th. Decisions in April number. It would be of interest and an incentive to good selection if the contestants would make a note of the point of view of some of their pictures and in summer photograph the same scene again for a future competition.

THE CAMERA AND DARK-ROOM Photo Prize Contest. T he Civic League of Natick, Mass., in their work of gathering a collection of photographs from which to make sets of lantern sl ides for lectures on town and village improvement, are offering the following cas h prizes: r. For the best pictorial account of the life of any town or village, $2s.oo; second prize, $ro.oo. 2. For the best pictorial account of any particular phase of the life of a town or village, $to.oo; second prize, $s.oo. 3路 Honorable mention for any feature of special merit, prizes from $r.oo to $s.oo. Add ress secretary, Civic League, Na路 tick, :Mass., for further particulars.

THE LANTERN SLIDE season is now fairly upon us and most of us are busy reducing the choice bits of our last summer's negatives on to our fav orite lantern slide pla tes. It is curious how soon a photographer "gets the hab it" once he has started on a lantern slide career. Every spare moment of his time will he spend on this delightful hobby, and he experiments with this, that and the other deYeloper, gold toning solutions, compensating cover glasses and what not. But he seldom experiments with hi s plates. He early takes the advice of some more experienced fri end, and selects a plate which he will stick to. Now, per sonally I have tried pretty nearly all the plates on the market, and have found that each has its own special advantages, according to whether I want a black and white plate o r one that will tone well. But my latest e xperiments, which have been with the new ly introduced Agfa lantern slide plates, lead me to think that in this plate I have found an all around perfecti on that is extremely gratifying. I have not attempted to use other than the developing formula called for by the manufacturers, and have obtained a finen ess of grain, and a rich quality o f tone, which could hardly be imprO\路ed. Of cou rse, the plate has to be learned, like all others, but you will want no better plate once you get accustomed to it, and its use will improve you r lantern slide pictures quite perceptibly. J. H .

Metropolitan Camera Club. The members are requested to make immediate entry of any apparatus or supplies which they wish put up at the annual auction sale whi ch takes place on the evening of February r6th. A full attendance is also desired on that evening. Notice. The American Federation of Photographic Societies desires to announce the following competition, open to members ofall organizations which belong to the Federation or which may join before the closing date, as announced below: For the best set of not less than six lantern s lides, $roo in gold and the Federati on Gold Medal. To every other com petitor whose slides are selected for the 190S Federation International Set of 100 Slides, a Silver Medal. To be judged worthy a place in this set will be recogni zed as the hi ghest honor obtainable by makers of slides. Points of judging as follows :-Pictorial Quality, so per cent.; Technique, 35 per cent.; Interest, IS per cent. Competition closes October I, I90S路 W. H. Moss, Chairman Lantern Slide Committee. Greenville Camera Club, Greenville, N.J. There is not a week passes but some account reaches us of the doings of thi s small but lively organization. The members enjoyed a memorable outing on January 14- IS to P oint P leasa nt as the guests of one of the members, Mr. Elme r B. Yale, proprietor of Pine Bluff Inn, on the 1\lanasquan Rinr. The ocean nearby was in rousi ng mood and many plates were exposed. There are some good angels among the members as well as good photograph er s and there is always so me substantial pri ze or trop hy being offe red for

THE CA MERA AND DARK-ROOM competitive prints. This week it was for a handsome silver cup offe red by President William Robidoux and which was won by A. A. Langer.

Essex Camera Club, Newark, N.J. Th is is another active a nd well managed camera club. During the latter part o f the month there has been on disp lay in the club rooms over 350 pictures-the annual exhibition of the club, and the best showing ever made by the members. A prize competition for the work of local amateur photographers, not members of the club was held last month and is an idea that might be followed with be nefi.t by other camera clubs.

E . E . CooPER.-(!) T he Folmer & Schwing Mfg. Co., 407 Broome St., New York, make a focal plane shutter th at can be used also for time exposure s. (2) A meter such as you describe is the Wynne Infallible (see adverti sing page s). We known of none more accurate. (3) You can get even illumination in copyi ng o r enlarging by using two lan1p and a sheet o f white cardboard. Set the ca rdboard parallel to the negative, the lamps between the two and slightly to one side, o f co urse shading the lamps so th at they do not shine directly on the negative. The expos ure will be rather long but the reAcc ted li ght from the white card will give even illumination. C. W . BEAVEN.-\Ve can best answer your fir st query by reproducing the compa r ative speed card iss ued with the Wynne meter. These speed number s were o nly recently carefull y r ev ised by Mr. H enry W enzel the American agent of the Infallible Exposure Meter Co. They are generally accepted as bei ng the most accurate speed numbe rs publi shed:

American Plate .. ... . ....... . .... . . F Carbutt's A & B Process .... . ... .. F B. I6 .. . .. ......... . ... .. F B. 20 . ... . ... ... . . . . . . . .. F Polychromatic ... ... . .... F Ortho Portrait S. 23 . ... .. F Negative F ilm . ..... .. ... F Ecl ipse .. .. . . .... ... . .. .. F Eclipse Junior ..... .... .. . F O rtho Portrait S. 27 .... . . F Cramers' single & double coated plates : Slow l so .. ......... . . .. .. F 39 Contrast ... .. . . ... .. .. . .. F s6 A nchor ............ . .. .. . F 78 :.VI ed ium I so .. .. . .. . . ... . . F 78 Instant !so . .... .......... F 90 Ha nn er . ... .. .... . . . . .. . . F 90 Crown . . . ....... ... ... . .. F III Eastman's Film . .. ..... ... . ....... F 78 Plate ... . .. .. .. . . .... . . F 90 20 Forbes T. Plate . .. . . ... ... . ..... ... F .... .. ... . ..... . .. . F L 23 . .. . ... ......... . . . F s. 78 s. Ort ho .......... . . ..... .. F 78 Hammer's Slow .... .. ... .... .. . .. . . F 45 Fast ... . .. ........ .. .... F 64 Extra Fast ...... . . . .. .. . F 90 A urora Non-Halation . ... F 90 Special Extra Fast .. .. . . . F III New American Film .. . . ..... . .. . . . F 78 Rotograph Neg. Paper Fas t .. . .. . .. F s6 Seed's Process .. . ... . . .... ..... .. . . F 14 S. 23 . .. .. .. ....... . .. . . . . . . F 64 S. 26 .. .......... . .... . ..... F 78 Non-Halati on ..... ... . .. .. . F 90 Land scape O rth o . . ......... . F 90 P ortrait Ortho .... . . ..... .. . F 90 All S. 26 x brands .......... F 90 Gi lt Edge. S. 27 ...... . .. . . .. F III Standard Extra ....... . . . ... . . ..... F 78 Orthono n ........ ... .. . F 90 Imperial Portrait. . . . . .. F l ! I Stanley's S. so .. . ....... . . .... . . .. . F III 2. Velox and other gas light papers differ only from bro mide in t hat th e emulsion is slower. \ 11,/e have seen a nd made good enlargements on vel ox but the time of exposure run s from tweh路e to twenty time s as long as r equi red for bromide. J. Thanks fo r the suggestion a s to r eproductio n, it shall be carried o ut wh erever possible.

'':

Negative on f orbOi On ho Plate

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New York, March, JCJ05. Edited by

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Entered at the New York Post Office aa second claaa mail matter. Subscription price, One dollar per year in advance. Foreign subscription price sah. $1 •.25) Posttively not connected with any photografhic stock house. Matter should reach office by the 15th of month preceding date o publication. Original MSS. solicited

PHOTOGRAPHY THROUGH A CHEMIST'S EYES. BY A. G. WOODMAN, VI.-Two Chemical Aids to Photography.

OT the least of the items in the debt which photography owes to chemistry is that for the discovery or production of new chemical substances which have proven of much value in the photographic art. Perfectly familiar and '·every-day" examples are the newer coal-tar derivatives such as metol, eikonogen and amidol, so widely used as developers. Perhaps not quite so familiar in. regard to the principles of their action and the variety of their application, are the two I have in mind, ammonium persulphate and acetone bisulphitc. AMMONipM PERSULPHATE.

The first of these has been in use for a considerably longer· ·time than the other, but ·its photographic ,possibilities are just becoming generally It finds also considerable known. use in chemical work and in the arts

outside of photography and is r:nade on a commercial scale by the passage of an electric current through a solution of acid sulphate of . ammonia. The process is a rather delicate ami somewhat dangerous orie, it being essential to keep the temperature very low- in order to prevent the possi~le forniation of explosive comi>ouads. The dried, purified substance, hoy.'ever, may be kept for a long time without undergoing appr~ciable ·decomposition. The ammonium persulphate is readily soluble · in ~ater , about so per cent. going into solution even at the freezing temperatur~ of water. Metals are readily attacked by solutions of persulphates, a sulphate ·of the metal being · formed; for ti1is reason it has been found that ammonium persulphate solution may easiiy replace the more disagreeable acid

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solution for etching plates in processes of photo engravipg. When silver nitrate is added to a solution of 'potassium persulphate a black .precipitate of . the peroxide of silver gradually forms and then goes into solution again. With the ammonium persulphate, on the other hand, little, if any, of the peroxide is formed, but the solution becomes much more energetic and decomposes faster than a similar solution to which no silver has been added. On making a cold saturated solution of ammonia persulphate in strong ammonia water, no action can be observed, even after some time, but on adding a small quantity of nitrate of silver an immediate effervescence takes place and the action becomes so violent as to develop a considerabll! amount of heat. These experiments have been cited as throwing some light on the rather involved explanation of the wellknown action of ammonium persulphate as a reducing agent in attacking the high lights more than it does the shadows. The simplest explanation seems to be that silver acts as a "catalytic" agent in accelerating the action of the persulphate. If this explanation of the action is correct, a strong solution of the persulphate, freshly prepared, should prove best when reduction of contrast is desired in a negative. The solution after it has once been used will not keep and its action will differ from that of a freshly prepared one, owing to the presence of a small amount of silver sulphate. It might be said in this connection that the detailed explanation of the peculiar phenomenon shown by ammonium persulphate is not as simple

as that mentioned in the preceding paragraph, but has been the cause of marked controversy among authorities on photographic chemistry. The first definite attempt, perhaps, at the formulation of a theory which should account in a rational way for the ac路 tion of the persulphates in attacking the high lights of the image, was made by the discoverers of the value of ammonium persulphate for this purpose. I refer to the Lumiere brothers, who have done so much to advance the true scientific knowledge of photography. It was their idea that the primary action of the persulphate was to form a double sulphate of ammonia and silver, and the peculiar action in reducing most rapidly the denser parts of the negative was attributed to secondary reducing at:tions taking place at the surface oi the film, where there was an excess of the reagent. This explanation, however, did not throw much more light on the question, neither did it correspond to the observed facts which accompany the phenomenon. Other and later observers have in all probability given an explanation which is nearer the true one in ascribing it largely to the solvent action on the gelatine of the film. The presence of the gelatine alters entirely 'the chemical reaction which occurs when silver nitrate solution is added to one of persulphate. A great evolution of heat takes place and an oxidation or solution in some way of the gelatine occurs. Other substances, as starch, gum arabic and albumen will show the same effect. In the absence of silver, however, the action of the persulphate on the gelatine is very slow, several hours being needed for solu-

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tion. This substance formed, which has the power of dissolving the gelatine, is probably silver persulphate, and contrary to the Lumiere theory, the process will continue until the deepest particles of silver are reached, in other words, until the image is destroyed. So much for the theoretical side of the question. With the practical use of ammonium persulphate as a reducing agent everyone is familiar nowadays. It may not be so widely known, however, that it possesses marked value as a "hypo" eliminator or destroyer. For an article of this kind there is more or less demaml. Experience seems to indicate that if a negative has sufficient density or is otherwise so satisfactory as to need no further treatment the very slight amount of hyposulphite left in it after several hours' washing will do no harm. But if the negative is to be intensified by some modification of the usual mercury process any "hypo"' remaining in the film will cause a precipitation of the mercury salt and thus give a false deposit in the form of a veil or fog. This would not be such an alarming matter but for the fact that a gelatine negative is difficult to wash evenly and hence such a false deposit is almost sure to occur in patches or streaks on the film and be especially noticeable. Even if the gelatine film were of uniform thickness all over the negative even washing would be a difficult matter and under actual conditions things are much worse because there are very considerable variations in the thickness of the gelatine. What is desired is a reagent that will attack or oxidize the remaining traces of hyposulphite

into the harmless, inert sulphate without at the same time attacking the gelatine or affecting the image. A reagent that will do this seems extremely scarce. Iodine water, bromine water, iodic acid, bleaching pow.. der and hypochlorites, sodium peroxide, chromic acid, potassium bichromate and potassium permanganate have all been proposed at one time or another for this purpose, but my experience has been that they are all useless for practical work, either on account of their uncertain action or their destructive action on the film or image. Ammonium persulphate, however, answers very well for this purpose if the acid liberated is held in check by making the solution neutral or faintly alkaline with sodium carbonate, bicarbonate or phosphate, or with borax. ACETONE-SULPHITE.

The second substance to which I had reference at the beginning of this article is "acetone-sulphite," which is made by the action of acetone and potassium meta-bisulphite and may be obtained either as a white crystalline powder or a 50 per cent. solution in water. From its great solubility and its stability, that is, its lack of tendency to decompose on keeping, it may be used to prepare highly concentrated stock developing solutions which keep practically indefinitely and are always ready for use by simple dilution. In developers, it can be used to advantage in quantity about one and a half times as great as is usually employed of potassium meta-bisulphite and a;; a preservative of the developer it i,; far superior to sodium sulphite ; it can be used in the presence of either the

CAMERA AND DARK-RQOM. carbonates of the alkalies, such as sodium or potassium carbonate, or th~ caustic alkalies, and may be used to develop either plates or bromide paper. . Developers containing it give a good printing brown tone to the silver deposit, and by altering the concentration, any tone from light brown to deep black can be obtained, both with plates and papers. A particular tone like an etching, very good for reproducing etchings and for landscapes and portrait work, can be secured by exposing a paper 8 or 10 times longer than the normal time and then developing. It also forms an excellent fixing bath preservative ; one or two per cent. renders unnecessary any addition of citric acid, sulphuric acid, alum, etc., while it does not harden the gelatine and hence the film is more readily washed after fixing. The great variety of uses to which this substance can be put will be appreciated when I say that it gives excellent and even striking results in reduction, in intensifying, as a restrainer and as an accelerator. In reducing over-printed positives, for example, the copies are weakened in dilute solution of potassium permanganate acidified with ~ulphuric acid (a few drops), and then decolorized or cleared by immersion in acetone bisulphite. Similarly, it may be used with advantage instead of ammonia in the ordi-

nary mercury process of intensifying. In developing with ferrous oxalate, if the negative be given a preliminary bath in water containing even a very small quantity of acetone sulphite, it enormously increases the rapidity of the action of the developer and gives much sharper and clearer pictures than are possible without it. It is, however, as a restrainer that its most striking effects are seen, perhaps. Used with the more rapid developers, it is possible by its aid to obtain a picture from a negative which has been . over-exposed from 100 to 20,000 times. One per cent. is added to the developer, for example, 4 cubic centimeters of concentrated edinol developer, I gram of acetone sulphite 路and 100 cubic centimeters of water ; the appearance and development of tbe image will proceed as with a normally exposed plate. It has been said that in this way photographs hitherto impossible may be obtained-reproductions of paintings, dark interiors with windows, machinery with bright reflections, landscapes with snow in glittering sunlight, even subjects showing the sun directly in the picture, unobscured by clouds. If all these claims should prove upon thorough trial to be substantiated, acetone sulphite will prove as much of a boon to the photographic fraternity as its elder brother, ammonium persulphate, has been.

A PRIZE PHOTOGRAPH COMPETITION of great interest will be announced next month. Tell all your friends to order a copy of

CAMERA AND DARK

Roo!" for April.

CAMERA AND DARK-ROOM.

PLATINUM PRINTING FOR AMATEUR PHOTOGRAPHERS. BY A. J. JARMAN.

riiiiiiiiiil 0 produce prints in platinum Of course a pad of some kind must of a good and presentable always be used to press the paper into quality is often found to be good contact with the negative. All l1 difficult matter by the that is necessary is to place a piece of amateur. This arises principally from thin celluloid upon the platinum pathe fact that the eye is not sufficiently . per, then add the pad of felt or cloth. trained so as to observe the right The celluloid will most effectually depth in the printing previous to de- prevent any moisture from entering velopment, or, it may be due, as of- the paper, and will keep the paper in tentimes is the case, to the fact that a perfect condition over night if it the making of prints in platinum is has to be left in the printing frame beonly resorted to occasionally. Under cause of its being under printed so as such conditions the quality of the to finish the print the following day. prints is sure to be variable unless It will be necessary in the first several precautions are taken which place to make up a good and reliable will be described in the present article. developing solution, because the pro路 To be successful in making plat- duction of really good and brilliant inum prints the first important point prints in platinum depends more often to be attended to is to obtain plat- upon a suitable developer than anyinum paper of the best quality and thing else. Brilliant prints can be one kind only. If platinum papers made from comparatively thin negaare employed of different makers, tives if a suitable developer is emthere is likely to be trouble in de- ployed, and all the effects of bronzvelopment, because the component ing eliminated. The following is a parts of the sensitive coating are not very simple formula for developing the same. The result is that the de- the platinum image when the prints veloper becomes contaminated and are made from good, full bodied negathe best effects so much desired will tives: not be attained. Another cause of No. 1. bad and variable prints is due to the Potassium oxalate ......... 6 ounces employment of blotting paper, felt, or Sodium phosphate ........ I 0 " a piece of cloth for the pad that is Oxalic acid. . . . . . . . . . . . . . !~ " placed upon the paper previous to Dissolve路 the above in fifty ounces pinning down the back of the printof boiling water in a stoneware crock. ing frame. The moisture contained in these pads becomes freed as soon as Allow it to become cold, then filter, the printing frame is placed in sun- through absorbent cotton, in a glass light, and is absorbed by the platinum funnel (never use a tin funnel), \vhen paper, causing grayish whites and a the developer is ready for use. The following formula is a special granular appearance in the shadows.

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developer that should be made up and kept on hand ready for use in case any of the prints should be over-printed, or if the negatives employed are somewhat thin, in which case the printing must be carried until the appearance of over-printing is attained. This is a necessity to secure the right deposit of platinum for a rich print:

No.2. Potassium oxalate ........ 6 ounces Potassium phosphate ...... 2 " Oxalic acid. . . . . . . . . . . . . . ~ " Potassium chloride (c. p.) . 1 " Boiling water ........... 6o " Allow the above to become completely dissolved, and when nearly cold add eight ounces of glycerine. Stir this well so as to secure complete incorporation. 'When cold, filter through absorbent cotton as previously described. It is then ready for use. It is a good plan to use wide mouth amber-colored bottles to contain the filtered developers, because constant exposure to bright light brings about a certain reduction, particularly after a number of prints have been developed, causing the ferric salts contained in the liquid to be transformed into ferrous salts, thus causing a slight reduction all over the print. Having procured the necessary quantity of platinum paper, say, 5路 X 7 or 6y~ x 8%, proceed as follows, and if possible usc two negatives-one a landscape, the other a portrait. Place the negative in the printing frame, lay the paper prepared side down, upon the negative; place the celluloid upon the paper, then the felt pad, and press down the back of the frame and hitch the springs in place. If either ~egative is a thin one, the front of

the frame must be covered with a thickness or two of pale blue tissue paper. This is easily accomplished by brushing a little paste, or better still a thick solution of yellow dextrine, around the face of the printing frame, then laying thereon a sheet of blue tissue paper. It is better to use two thicknesses of tissue paper, as there often are a number of small holes in the tissue that will be sure to cause a defective print. A second sheet of paper overcomes this defect. Of course the filling in of the frames must be done in weak light, under an ordinary gas jet, or an incandescent lamp shaded with yellow paper. The frames are now ready to expose to sunlight, or in bright daylight. The negative that is not covered with tissue paper must be carefully watched, because it will print mucn quicker than the one路 covered with tissue, assuming that the negative not covered with tissue paper is a landscape, and that there are well-rendered clouds in the sky. The printing frame must be taken in the shade to make an examination. The use of an umbrella, suspended by the top, answers well for the purpose in the absence of any other nearby shaded place. Open one-half of the frame. See that the dark bodies of the trees are well impressed and the clouds showing up but faintly. If the trees are well impressed, then remove the print from the frame and lay aside in a dry cardboard box to await development. The portrait must now be examined. This will require a longer exposure than the landscape. 1 ake the printing frame into the shade and open half the frame so as to expose the head and face of the

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figure. Notice particularly if the halftones in the face are to be seen. If not, the frame must be returned and the exposure continued. Upon making the second examination, if the half-tones are fairly well rendered the print has then been sufficiently exposed. It will be well now to test these two prints by developing. Take two clean 8 x 10 trays (be quite sure that they are clean). Pour into each sufficient developer of No. I and No. 2, an<f make a difference in these trays, so that each developer is known, say, No. I in a porcelain tray and No. 2 in a glass tray or hard rubber. Have a third tray at hand, say, 10 x 12. Place into this thirty ounces of water and half an ounce of muriatic acid (c. p.). This is the usual clearing solution. Now .take one of the prints, say, the portrait, and dip it entirely into the developer, No. I, face up. Then allow it to lay in the developer face down for a few seconds. Kow turn it over and watch the development. Just as soon as the image appear-s to be moderately well out, lay it at once into the acid-clearing solution. This will at once arrest further development and dissolve out the ferric salts contained in the sensitive surface of the paper that has been unacted upon by light. The landscape print may now be taken in hand. Examine it carefully before immersing it in the developer. ~lost likely this print will be found to be somewhat darker than was expected, owing to its being printed without being protected by tissue paper. If this print presents such an appearance, then it is a little overdone, and if developed in No. I developer it will flash up very quickly, and the print

will be spoiled. Dip this print into the No. 2 developer; move it about in the liquid a little ; remove it, and rock it to and fro holding it between the fingers and thumbs of each hand. It will be seen that the print comes up hard and. contrasty at first, but gradually increases in vigor, giving time to watch the development. Just as soon as it has reached that point where every portion of the picture is well rendered, place it at once into the acid-clearing bath, together with the other print or prints that have been developed in the No. 1 developer. No harm whatever will come to the prints by clearing all in the same cleariJ;Jg solutions. Assuming now that a number of prints have been made, 'every piece of platinum paper can be made to yield a good print. The secret of success lays in printing fully, but not under-printing. It may be well to point out here that a platinum print cannot be over-developed, unless it has been over-exposed, and as so many failures occur through overprinting, the writer worked out formula No. 2 to meet the requirements, and uses the same in every-day practice with most satisfactory rt:sults. If a print has been dipped into developer No. I and shows signs of coming up too rapidly, all that will be necessary will be to dip it at once into No. 2, move it about rapidly, and the print will be saved. Do not carry 路 the development to a point so that it looks perfect. Stop a little short of this, because platinum prints of every kind become darker when dried, sepia platinum prints especially: It will be found that the prints developed in No. 2 developer are very brilliant ; more

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so than those developed with No. I. The clearing of the prints must be performed in three changes of acid solution. The second acid bath is capable of giving beautiful whites to the print if a small quantity of chloride of calcium is added. Half an ounce of this may be added (not the ordinary chloride of lime) to thirty ounces of water, and half an ounce of muriatic acid. The prints must be allowed to remain for ten minutes in each acid bath so as to ensure the complete .elimination of the ferric salts, always bearing in mind the thicker the paper, the longer the prints should remain in the acidclearing solutions, and the longer should the after washing of the prints be allowed to continue. Where the prints have passed through the third acid-clearing bath, they must be washed in running water for a quarter of an hour or twenty minutes, or they may be changed from tray to tray of clear water for half a dozen times, then blotted off with clean blotters and dried. Do not force the drying. Allow the prints to dry spontaneously; they can then be trimmed and mounted as desired. The varying of the quantity of developing salts in a developer has but little effect upon development, but the reduction of temperature will retard the developing action considerably. No. 2 developer can be used at as low a temperature as 40 F. No. I must be used at 6o or 70 F. No. 2 developer should be returned to its amber bottle and labeled "Restrained platinum developer." The other simply No. I. Both developers can be used over and over again, adding occasionally a small quantity of fresh

developer. It will be found that No. 2, if kept for some time before use, will have a skin or thick film form upon the top of the liquid. This will float off in one piece when poured into a tray, and may be thrown away. No harm is produced by this formation. If one part of a print should come up to full development before, say, the other half, as is sometimes the case, all that will ~ necessary will be to dip the part that is developed into the acid-clearing solution, allowing the other half to remain with the developer upon it, until it has reached the stage of full development. Then dip the print entirely into the solution. The foregoing has treated of the production of black platinum prints only. The following will deal with platinum prints produced in sepia by the hot bath process. There are many amateurs who desire to produce some of their prints in this color. It can be said without fear of contradiction that the results obtained cannot be surpassed. To produce sepia prints in platinum a special paper is made, and the developer is modified to suit the paper. In this case it will be advisable to purchase the necessary developing material when buying the paper, following out the directions in making up the developing solution. The depth of printing in the case of sepia platinum is less than in the case of black prints. It will be advisable to make a few test prints from landscape or marine view negatives, because the printing of these subjects may be carried a little further than for portraits, without fear of spoiling the paper. Having procured the sepia paper

CAMERA AND DARK-ROOll-1.

and the developing material, the first thing is to make up the developer, and if success is desired from the commencement, use distilled water only in making the developing solution. If common water is used, then all sorts of difficulties will be sure to arise, because of either chalk, organic matter or iron contained in ordinary water. Among the difficulties will be streaks, black spots and a change of color. Make up the developer with hot water in a stoneware pitcher, stir well, and when nearly cold add the sepia solution supplied with the developing salts, as this solution must be used at a temperature not lower than 140 F. It will be advisable to use a hard rubber funnel for filtering purposes with a tuft of absorbent cotton pressed into the stem. The sepia prints may be made as follows: Take the prepared paper and follow out the directions previously given for black prints. It will be a good plan to adopt to cover each frame with a covering of a very fine quality of white tissue paper, known as onion skin paper, and kept in stock by nearly every stock dealer. Simply attach it to the front of the printing frame with dextrine or paste. This will diffuse and soften the light before passing through the negative. This precaution is necessary in the making of fine sepia prints. The exposure to light must be carried out exactly the same as for black prints, only it must not be carried quite as far, because it will be found that a sepia print will dry down very much deeper than a black print. Having the developer ready and filtered, pour it into a white enameled

iron tray, place this upon a gas-stove, and be sure to have a thermometer placed in the liquid 路and remain against the side or end of the tray. As soon as 140 is reached take the print and dip it boldly and quickly info the developer. The image will appear almost instantaneously to ft.tll development. Place the print at once into a clearing solution composed of: Muriatic acid .............. 0 ounce ''

Water .................. . 00

All further action of the developer will now cease and the component parts of the sensitive coating will be dissolved. Two clearing baths will be requird. Five minutes in each bath is all that is needed. Upon examining the print it will present a beautiful impression in sepia, although not quite so deep in color as one would wish. Wait until the print is dry, and after being well washed it will be found to have dried路 down to just the color desired. The judgment of the right depth required in printing will soon be gained by a fair trial upon smaller pieces of paper, say, a 5 x 7 piece, cut in halves. As soon as a number of views have been correctly made, then the portrait printing may be taken in hand, printing only so deep that the half-tones of the face are only faintly visible. It will be found upon development that it will give the desired result. As a fixing and clearing agent, oxalic acid may be used, employing half an ounce of acid to thirty ounces of water. Never 路use strong acid solutions for the clearing solution of sepia platinum prints, because it will not only alter the color considerably, but

CAMERA AND DARK-ROOM. will cause the print to appear weak, and prove in every way unsatisfactory. The washing of sepid prints will be the same as for black. In fact, if quite a number have been produced of both kinds, they may be both washed at the same time in the same trays, but when printed they must be kept separate until developed, as the black prints may become affected if kept in contact \vith the sepia. \Vhen development of the sepia prints is complete, the developer may

be poured into the hard rubber funnel to filter as soon as it has cooled down a little, and the bulk made up with the sepia solution added, and allowed to stand, ready for use. The bulk of starch solution being made up with new developer, it will be found that a beautiful sepia color is obtained after the developer has been used a few times. If these directions are carried out with a little care, it will be found that the results will be all that can be desired, and prove in every way satisfactory.

HINTS ON THE SELECTION OF THE PLACE AND POSE OF THE SITTER IN PORTRAIT PHOTOGRAPHY. BY A PORTRAIT PAINTER.

OOKING backwards for over half a century, when photography was in its infancy, it might be inferred that the workers of bygone days held some Yery curious notions about the use and limitations of the camera and that the work turned out was as crude as that of the average beginner of today. Fifty years ago there was not the 'vealth of literature and surfeit of magazines to guide the would-be photographic artist, but that he was not destitute of good sound advice we learn from "The Art of Photography,'' a little book published in London in 1854. In the light of modern discussions it is also interesting to note that Francis Schubert, a prominent painter of that period, should have lent his pen to exploit an art which many less informed men have since tried to ar-

gue is not and never can be Art. Mr. Schubert's remarks were written as an appendix to a monograph on the practice of daguerreotypy and the only conditions which do not now apply is his instructions to always pose the sitter if possible in the open air, or in a glass house in the open or on the top of a building. When exposures were reckoned in minutes instead of seconds this held good, but fast plates and improvements in lenses and photographic apparatus enables us nowadays to dispense with the full glare of the noonday sun, while, alas, the same conditions are also responsible for the fact that there is much work now turned out which is inferior to that of fifty years ago, when time exposures were of necessity the rule and the photographer took more pains with his work. The rest of 1\'lr. Schubert's essay,

CAMERA AND DARK-ROOM. which follows, will bear repeating and, even in this enlightened age, may still be of benefit: It is not always convenient or advisable to make the portrait in the open air and everyone has not the means at his command to have a suitable structure erected. A well lighted apartment will then answer; if it has a skylight, so much the better, and a room receiving the light from the northwest is preferable to others. The walls should be painted a light blue, which will tend to diffuse a mild, uniform iight throughout the apartment; in the case 'of a glass house, the light may be regulated in the same manner by means of light-blue curtains. This contrivance has another beneficial effect, viz., it excludes those luminous rays which are least effective in a photographic point of view. .\s regards the proper attitude of the person sitting for the portrait, this must of course be left in a measure to the individual judgment and taste of the artist. However, a few hints on this subject may not prove unwelcome. The posture of the person sitting for the portrait should be easy and unconstrained; the feet and hands neither projecting too much, nor drawn too far back; the eyes should be directed a little sideways above the camera, and fixed upon some object there. but never upon the apparatus, since this would tend to impart to the face a dolorous, dissatisfied look. Stout persons should be placed at a certain distance from the apparatus, turning tcward it a little sideways ; whilst people of slender make should be made to sit full in front, and nearer the apparatus. Long arms and legs

require d:awing back a little. The hands should rest easy on the lap, neither too high nor too low ; or one hand may be placed on the table, the other holding a book or some other objett. A thick hand should show the thumb in the foreground, with the fingers bent a little inward; a long hand had better show the back ; a hand of handsome shape, neither too long nor too short, should show full two-thirds, with the fingers easily and gracefully hanging down. A slight inclination of the body forward will generally produce a good effect. In the case of ladies, a shawl or boa, or similar article of dress, thro~n lightly over the shoulders, and arranged in a manner to hide some defect, and to properly distribute light and shadow, will mostl:t tend to produce a pleasant impression . Of a full round face, with large mouth, small eyes and small nose, the portrait should be taken in half profile, so as to show one side of the face in full, with very little of the other side. A moderately full face, with aquiline nose, and handsome mouth and eyes, should be taken in three-fourth profile; a countenance with strongly marked features full in front. The selec~ion of a proper background for the picture is also a matter of some importance ; in some cases, a landscape will give a most pleasing background, in others a simple wall will answer as well, or even better; the decision here must be left to the individual judgment and taste of the artist. If two persons are to be portrayed in the same picture, the one should be

CAMERA AND DARK-ROOM. made to !ean lightly on the chair of the other, and the faces of both should be partly turned to each other, as in conversation. Or they may be placed at a table seated opposite each other, the one with the right, the other with the left arm laid on the table, and the bodies of both gently inclined forward and towards each other, as in conversation. The arrangement of family groups again must be left entirely to the judgment of the artist; care should always be taken, however, to place the several persons constituting the group all at the same focal distance.

The faces should not all be turned towards the camera and those at each side should tum slightly toward the opposite side so as not to appear looking out of the picture. Avoid also having two or more faces on a line and if the group is large the pyramidal form of arrangement will be most effective. With respect to dress, colors and objects of intense illumination should always be avoided ; this applies more particularly to yellow and scarlet. Plain-colored dresses, neither too light nor too dark, give always the most pleasing pictures.

SOME CONTRIVANCES FOR THE DARK ROOM.

BY E. G. BIRD.

HOTOGRAPHY, whether as a hobby or business, demands of its followers their best efforts of painstaking care, and this is apt to become wearisome at times, especially to the amateur who has to struggle with make-shift apparatus. Anything, therefore, that will make for convenience or cheapness will be welcomed by our readers. The writer has had several such contrivances in use for some time, and can recommend them as being very satisfactory. They are easily made by anyone who is handy with plane and chisel. They may not be new in idea, but some details suggested by experience add much to their convenience. Fig. I shows an automatic rocker for developing, attached to the dark

room bench and sink. The table A is swung on a knife-edge arrangement by the pendulum B, with a heavy bob. It can be made entirely from two or three pieces of board, a broomstick, a few pieces of sheet iron, and a gallon tin. The table A should be large ~nough to take four trays ; it is stiffened by a piece of I inch or 3-4 inch wood nailed across underneath. The rod B is let into a hole in the centre of this, and made tight with glue. It must be quite square with the surface of the table, and long enough to reach from the floor to the top surface of the bench H. A slot r inch long is made through B, a little way from the end, just wide enough to allow the knife C, Figs. 2 and 3, made from sheet-iron about I-32 inch thick and s-8 inch wide, to pass through freely. A nail is put through

CAMERA AND DARK-ROOM.

the rod and a hole in the centre of the knife at I 3-4 inches or 2 inches from the end of the rod. The object of having the slot longer than the knife is wide will be seen presently. The knife should 路be in the middle of the slot, so that it will have a slight !>ee-saw motion about the pin as a centre. Next a hole is cut in the bench H just large enough to let the rod B pass through and swing freely. Two strips of sheet iron are bent to the shape shown at D, Fig. 2, and holes made in them as shown. These are for the knife edge to rest in, and are let into the bench on either side of the hole and nailed down. All that is wanted now is a weight for the bob. If a cast-iron or lead weight is not at hand, a gallon tin, filled with ~tones and earth rammed down hard, will do very well. A hole should be made in the middle of the bottom large enough to let the rod pass through, and a nail put through the rod near the end will keep the tin from slipping off. If the pendulum now be swung, it will be seen why a rigidly fixed knife would not do; the rod has a slight motion to and fro, as well as from side to side, and this would be quite sufficient to throw the knife edge out of the grooves if it were forced to move with the rod. As it is, the arrangement works without friction practically, and will go on swinging for a long time. No one who has once used such a路 contrivance would car~ to be without it again, as one can start a plate developing, and then have the hands free to start another, while the solution is kept flowing all the time on the first. Of course, when the plates are a little under-exposed, one can have three or

four going at the same time. If a hole cannot be cut in the bench H, a board can be used instead, which would be clamped or screwed to the bench, so that it projects from the edge. The table A must not be too high above the bench, or it will soon stop rocking, nor too low, or it will hit the bench as it rocks; I I-2 to 2 inches is the best distance between them. In Fig. I is shown a deep setting milk can ; this makes a very cheap and handy water tank where pipes are not fixed. In Fig. 4 is shown in section, one side of a home-made tray for fixing prints or developing enlargements. It is made by first ripping a 4 inch by I inch batten, free from knots and cracks, down the middle ; cut off the lengths required, and plane nicely true, dovetail together at the corners and glue tight. When set, plane top and bottom edges nice and level, and nail pieces of lath I-4 inch wider than the sides are thick, round the bottom, as at F. Round off the sharp edges at the top, make a bed of soft putty on F for the glass bottom G to rest upon, press the giass down upon it, and rub m a little more putty if necessary irom above. Then give wood and putty two good coats of white paint or enamel, and you have a perfectly water-tight tray with a smooth bottom which cannot injure the surface of your prints, at a cost of, say, thirty cents for a I2 inch by IS inch tray. If required, a carpenter will do the dovetailing for a small sum, but it is not a difficult job when one has once seen it done properly. Fig. 5 ~bows a daylight enlarging and reducing contrivance which

CAMERA AND DARK-ROOM.

'Figol

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g I

4 "

[.B

liiillJ 1)

--.

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Fig:!l

works very well. AA is the track, made of 1-2 inch lumber (a I-2 inch matchboarc1 does very well if ripped up), each rail being made of two strips, one s-8 inch wider than the other, and nailed to the wall of the dark room, the widest being on top, as shown in section at aa. If they cannot be nailed to the wall, they would be joined in three or four places by cross pieces, and make to fasten to the window screen G by catches or hinges. It would be better, too, in this case, to have the track horizontal instead of vertical. Of course the length will depend on the size of th'! camera and the degree of enlargement required, but 3 I -2 or 4 feet will probably be quite long enough. The carriage B is also made of 1-2 inch lumber; it has strips 7-16 inch thick nailed along at the back at the top and bottom to hold it in place and let it slide easily along the track; and behind these are two shorter strips 7-16 inch thick, and wide enough to reach from the bottom of the

-~路~

-j F

groove formed by the rail and the wall, to the edge of the carriage. A 5-16 inch bolt is put through each of these, and through the carriage, from the back, and a nut screwed on as shown. It will be seen that when the nuts are slackened, with the finger, the carriage will slide freely along the track, and when they are tightened, it will be clamped immovably to it. Next the board C on which the bromide paper is to be pinned is made from 3-4 inch or I inch soft lumber. It should be square, and is braced across the back to keep it flat, and the face planed nice and smooth. It is attached to the carriage by hinges, and must be quite square to the track. The brace D, see Fig. 3, is used to hold it square the other way, and the slot and binding-screw allow of a little adjustment, which is useful in getting the picture sharply focus5ed on both sides of the board, which should now have two coats of white paint. When this is dry black lines should be drawn parallel to the sides,

CAMERA AND DARK-ROOM.

to show the position the bromide either of tbese, however, is to have an paper will occupy. When not in use, arrangement like Figs. 6 and 7, which the board and brace fold flat against works Eke a lantern-slide carrier. the carriage. Next a screen, G, is Here K is the body or case of the made to fit the windows, and a square camera, F the frame, H the carrier, aperture cut in it rather larger than . with the negative N in position, SS the reversing back of the camera, and are springs mounted on small blocks exactly opposite the board C; and a and nailed to the frame, F, to keep the bracket is made to support the camera carrier pressed against the back of the exactly opposite the aperture. The groove. They are not shown in Fig. reversing back must be taken out, and 6. The ~mall catches, LL, prevent a light wooden frame, F, to support the carrier being drawn out too far. the negative, put in its place. A short With some cameras it may be necesbellows, J, is made by tacking a strip sary to fit the frame F to the outside of opaque cloth round the frame, F, of the body K instead of the inside, in order t.·.> make room for .the negaand the aperture in the screen. tive to go in vertically. There are several ways 1n whkh A screen of white cardboard, the negative can be supported ; for inmounted on a light frame, to go c..utstance, it can be simply slid in at the side of F, into grooves at the top and side the window and fix at an angle bottom, or it can be put in a square of 45 degrees, to reflect the light in, frame wtth catches and a rebate; completes the arrangement, which which is a much better plan, as the will well repay the trouble of making, negative can be put in either vertically by the comfort and efficiency of its or horizontally. A better plan than use.

Fig,s:

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fig'!

. r·

CAMERA AND DARK-ROOM.

SOME HINTS ON DEVELOPMENT.

EXT perhaps to exposure development is the bugbear of the beginner, although, if they only knew it, developing by time would get them over all the difficulty. Until, however, that becomes more general, we like to pick up every hint that may in any way be helpful to our younger readers, and the following, which we clip from The Amateur Photographer, is one of such: A good deal of trouble is caused when one·is something of a novice at photography by not knowing what developer to use for snapshots, portraits, and so on. Now many people say that the developing formula recommended by the makers of the plates is sure to be the best to use, whilst other more scientific photographers say that the same result can be got with any developer provided it be used in an appropriate manner. All this is very bewildering to the tyro, an.d indeed to many more advanced photographers. Every developer has its drawbacks; for example, pyro stains the fingers; metol is apt to irritate the skin; hydroquinone is slow, especially in cold weather; and so on. We will not therefore confine our suggestions to one agent alone, but will recommend to the reader three different developers, each of which will be found to work admirably with practically every kind of plate on the market. First we will take pyro-ammonia. It sounds a little antiquated! But in reality amongst all the developing agents that the last ten years have

brought forth, there is not one that excels it for straightforward working -providing the plates be free from fog. The pyro-ammonia formula we recommend is made up in three solutions as follows : A Pyrogallic acid . . . . . . • .. .. . .. . • I oz. Potassium metabisulphite . . . . . I ozs. Water, up to ..•................ IO ozs. B Ammonia (.88o) .............. I oz. Water . . . . . • • . . . . . . . . . . . . . . . . . 9 ozs.

c Ammonuim bromide . . . . . • . • . . . I oz. Water, up to .................. IO ozs.

Take for use two parts of A, four parts of B, and three of C, and mix with five or six times the quantity of water. Use about two ounces of developer to each half-plate, and do not use the mixed solution more than once. This will be found an excellent developer for snapshots, and negatives wanted for bromide printing or enlargement. It gives plucky negatives with plenty of density and gradation. The second developer we would suggest is METOL-HYDROQUINONE.

A good and economical solutio:-t may be prepared by dissolving in 32 ounces of warm water, 75 grains of potassium metabisulphite, 6o grains of metol, half an ounce of hydroquinone, 4 ounces of sodium sulphite and 7 ounces of sodium carbonate. Have on hand also a solution of one ounce of potassium bromide in ten ounces of water. For plates take one ounce of developer and two ounces of water. For

CAMERA A N D DARK-ROO M. bromide papers take an ounce of developer, an ounce of water and two or three drops of bromide. For slow gaslight papers, velox, rotox, argo, dekko, kruxo, etc., take one ounce of developer, half an ounce of water and sufficient bromide to keep the whites clear. Only one drop of bromide is needed if this will develop clear. It is a very good and clean-working developer for general work, but being in one solution does not admit of much control. It is also liable to cause fogginess in warm weather, unless kept cool or cooled before use. The third s.o lution recommended is made with edinol and hydroquinone as follows: A Edinol . . . . . . . . . . . . . . . . . . . . . 4 Hydroquinone . . . . . . . . . . . . . . I P otassium metabisulphite.. . . S Water . . . . . . .. ..... . . . . . . .. 300

THE YOUNG MILKMAID.

parts. part. parts. parts.

B . Sodium carbonate . .. . . ... . . so Sodium sulphite ............. so Potassium bromide. . . . . . . . . . 0 Water ..... . .... ... ... .. . .. 300

parts. parts. part. parts.

Whatever kind of developer be used, it should be borne in mind that a " two-solution developer" is always the best, as by varying the "A" and "B" components the final result can be made to be whatever is desired. More A and less B gives greater contrast and density, but takes longer to act. l\1ore B and less A gives softer results, and development takes place Using more B is more quickly. termed "forcing," and is necessary when the plate is under-exposed. If the image flashes up so quickly that the plate is obviously over-exposed , add some bromide and a little extra A solution.

Henry I. Benedict.

CAMERA AND DARK-ROOM.

CONSl" LAR REPORTS tell o f a rapid growth of photography in China. The ant ipathy of the celestials to the camera is being overcome and th ere are now many amateurs and profess ional Chinese photographers. American made goods are chi efly in demand and our manufacturers shou ld cultivate this field. The China Photo Supply Co., Shanghai, China, will be pl eased to receive catalogues, circulars and prices.

* * * FROM the California College o f Photography, P alo Alto, Cal., comes a copy of their annual souvenir and a circular reg arding their correspond ence course in commercial photography. From what we know of the personnel on the staff o f thi s institution and the agreeable surroundings, we can confidently recommend it to th ose desiring to take up a practical course of in structi on.

* * * THE lxF.\LLIBLE ExPOSl"RE METER Co., 2Jif S. 4th Street, Brooklyn, N. Y., write us that they hav e prepared a speed list of plates which supercedes that published by us last month. Send them three two-cent stamps and an addressed and stamped enve lope and th ey will send in return their latest speed card and also some other valuable informati on in rega rd to obtaining co rrect expos ure. \ Vhether you possess a \Vynn e meter or not, you will be well repaid. \Vhen writin g state whether your shutter is mark ed in U. S. numbers or the f- syste m, as speed ca rd s a rc prepared for both.

coi1 ignment of the materi al on the way. which is expected to be ready for the market in the latter part of April. ~it . Fordham is jU stly enthusiastic on the subject· and di splayed a number o f prints which were certa inl y very attractive anrl \·ery promi sing. \\' hil e the colors rendered cannot be said to be strictly true to nat ure, yet in land sca pes thi s is not so noti ceable and' one particular print of a woodl and ~ce n e with finely marked beech trees was h ighly satisfactory. A small piece of the pape r whi ch we tried was unfortunately under printed but the res ult was so promi sing that we a re anxiously awaiting the a rri,·al of a fresh supply. The paper is simila r in appea rance to carbon ti ssue but is coated, we are informed, with nine layers o f color;; and each color is acted on more or les in proportion to the vari ous densities or tone values o f the negative. It is needless to say that a fully tim ed nega ti,·e is necessary to obtain anythin g like sa ti sfa ctory results and orthochromatic plates will give a be tter range o f tone s, consequently more \·a riety o f color.

* * * T1 MED DEVELOP~JE!\T is now so j m•tly popular, on account o f the g reater fac ility and the more uniform and better qu ali ty o f negati\·e obtained thereby, that we wt:lcome any new aid in th at direction. T he Kodak developing machin e has long since e,; tablished its claim to be the only rationa l meth od for de\·eloping roll fi lm and ~evcral attempts ha,·e been mad e to ap ply the daylig ht ~ys te m a s success fully to plates. The latest dev ice bt'u ught to our a ttent ion is th e Stage Daylight Plate Developing Tray, and a tri a l has pro,·en that it is hoth practical and conveni ent. The illu strati on shows the principl e. T he bott om part is a specially constructed hard rubber tray prO\·ided with

* * * PH OTOGRAPHY IN Cown s.- ~lr. A. C. Fordham, th e gen ial president and treasu rer of the firm o f Howe & H all, Chicago, importers and jobbers of photographers' supplies, paid us an interestin g vi sit during th e month . They ha,·e sec ured the A meri can ri ghts o f t.he Va n Slm·ick pro~e ss . of multicoated pigment ti %ue and have a la rge

Stage D ayliiht Developing Tray.

CAJfERA AND DARK-ROOM. a movable light trap and lip for pouring on and off the developer. The upper part consists of a special plate holder with double draw slides. The regular plate holder is placed in grooves on the special holder and the slides of both withdrawn; a half turn of the knob on the side and a slight pull releases the spring holding the plate which then drops into the special holder. The slide is again inserted in this and it is placed on the tray and the slide again withdrawn when the plate drops into the tray. The developer is then poured in and the tray rocked for a few records, when the other slide is withdrawn and the appearance of the image watched for through the ruby glass in the holder. It is possible to see quite clearly the first appearance of the high lights and the time of development is judged according to the factor of the developer used. \Vhen development is complete the solution is poured off and the plate given several rinses of water without removing the cover. \Vhen all the developer is washed from the film the plates can be removed from the tray and placed in the fixing bath in the light of an ordinary room. The construction of the Sta~e tray is theoretically and practically perfect and it should prove a useful adjunct to the traveller's kit and an incentive to all amateurs to do their own developing, even if they are not possessed of a dark room. It is made by Geo. ]. Stage & Co., Rochester,~- Y.

The Photographers' Idol. Before the Troy Camera Club, :\Ir. William C. Roberts, one of its active members, recently read a paper on the ''First Principles of the Photographic Lens." His following reference to the ground glass is well worth repeating: "There is an old saying that 'familiarity breeds contempt.' \Ve hear and read of the wonders that can be done with such and such a lens, the shutter that is instantaneous, the extensive bellows, (generally of red leather) the plate that is too rapid for anything but lighting and so on and so on. But not much has been said about the ground glass. \Ve see it every time we

make an exposure, and, with apologies to my friends, who use a set focus camera and

roll of film, a camera is not of much use without it, yet this is one of the places that we pass by without a second thought. It is to this part of the camera, unnoticed, that I would call your attention this evening and to the photographer's idol. I say idol for he takes off his hat, covers his head with the focussing cloth and bows down to it-his idol, the reversed image on the ground glass." This is good, sound advice. Good work may be done with the set focus camera by the aid of the view finder. In experienced hands their very limitations and simplicity of operation are frequently made use nf to secure pictures that could not otherwise 路 be obtained; but for serious work the ground glass and focussing cloth is indispensable. The image on the ground glass may thus be composed at leisure and the brightness of its illumination is a safe guide to exposure. :\lore intelligent use of the ground glass would greatly improve the quality of the work sent to us for criticism.

Photographs of Wireless Messages. If Mr. William Moore White, of San Antonio, Texas, is not an inveterate practical joker he is certainly getting much notoriety and questionable advertising at the expense of the daily press of his section of the country. It appears that Mr. \Vhite visited the \Vorld's Fair at St. Louis, and, like many others, essayed to photograph the Fair grouncls at night by the aid of the countless electric lights. On one of his negatives he obtained a number of streaks a9-d symmetrical wavy lines that were not supposed to appear in his field of view. Now, as 1\Ir. \Vhite is connected with a photographic supply house I should ha\路e imagined that the cause of these lines would have been clear to him, else he is as little qualified for his position as some others I have met behind the counters of photographers' supply houses. But judging from his photograph (which he sends along with the print in question), we take Mr. \Vhite to be a bright young man, one we would think fond of a good joke, and knowing the gulli-

CAA1ERA AND DARK-R00./1.1.

bility of the newspaper penny-a-liner he sends to the press a print from the negative and asks " If these lines are not photographs of the workings of wi reless telegraphy in the air, what are they?" When in want of the solution of abstruse problems or reliable information on scientific matters, write to the daily press. The subject was never dreamed of that the newspaper literary hack would not fearlessly tackle. The more improbable and sensati onal it is the more he revel s in it. Pages and columns of space have the western papers g i\路en to the exploitation of Mr. \Vhite路s theory, giving as their opinion, with th at of electrical experts and professional photog raphers too (low be it spoken), that it is records of wireless telegraphy l ] udging from the press clippings sent us, electric and photographic experts all over the country a re now sitting up nights trying to discoYer how th ey can harness at will, by th e aid of the camera, the workings of wireless messages through the air. One daily in all seriousness says: "This discovery indicates the revelation of the sec rets of nature, and will open up an important resea rch on thi s basic principle. "Mr. \Vhite, it may be added, has been approached by an elec trici an of prominence

and experience, who said: . 'You have got just what I have worked for to get many years. I know the principles, but have never been able to obtain the indications your photograph gives me. That is the leader,' and he proposed further and joint exploitation on the lines of the picture. Mr. \Nhite, however, has only the project under consideration." Sly Mr. White! Seeing that you have had the laugh on so many good people-even government electrical experts and Dr. Lee De Forest of wireless telegraphy fame-is it not about time to call it off and tell them that you ca rried around your camera inadvertent!) with the shutter open, either before or after making that identical exposure, and that the electric lights in the field of view impressed on th e film the lines as you carried your camera swinging in you r hand. I, too, made over a hundred negatives at the Fair, many of them by night, and have one from the terrace leading to the Collonade of States showing the De Forest tower from almost the same point of view, and, although thi s also had fifteen minutes exposure there are no messages recorded. Per/zaps th e /ransnr iller was sile11t at the thne. I also made two exposures at ten o'clock at night from the top of the De

Wm. Moore White. \V e ird efl cct prod m:cd hy carrying around ca mera with sh utter ope n and pro nounc ed by to be r et; o rd ~ o t wire less me s~ a g c s .

expert ~. ,

CAMERA AND DARK-ROOM. Forest tower while the noisy apparatu s a few feet away was busy sending out messages. There is nothing visible on the film but the lights that twinkled underneath and the outlines of the buildings. The sky around which was charged with electrical messages is void. If l\Ir. White, or any one else, desires to record on film or plate a labrynth of lines as in the print he sends, all they ha \路e to do is, either before or after a normal exposure, to carry around their camera with th e shutter open in a neighborhood where there are a number of incandescent electric bulbs. The more systematically the camera is kept in motion, the more interesting will be the record. But to catch on the film the wave beats of the wireless message, ah! that is another matter, and I am afraid that the "electrician of prominence and experience" will have to cudgel his brain for a few more years before his theories and principles will connect. }. P. C. Since writing the above we have also received from the Jungkind Drug & Photo Supply Co., of Little Rock, Arkansas, several prints showing similar markings, to which the same solution of the "mystery" applies.

A number of pictures have been unavoidably held over until next month.

PAUL vVITASCBECK.- "At His Wits' End." A cobbler tackling a bad job is a technically perfect print from an equally good negative. Now that you have so well mastered the technical side we would only suggest that you give more careful study to the artistic setting of your subjects and remember that the keynote to success is simplicity and concentration. Avoid as far as possible multitude of distracting details other than the principal object. Scattered high lights must be subdued or the objects removed or covered and only those lines and objects included which pertain to the

At His Wits' End.

Paul \V itasc he ck. Print trimmed as sugg eMcd.

picture and lead up to the principal figure. Why do you use fancy masks? You cannot improve on the square r.orner. These fancy abominations giYe one the impression that they are used to hide some defect in the corner of th e pict ure. HE NRY I. BENEDICT.-"The Young ~[ilk颅 maid" is rath er too young for her part and the timid exp ression denotes that she is not enraptured with her position. The co w also kn ows that something strange is going on and turn s her head to see wh at it is. However, it is better th an your la st and would haYe been a good photograph of a cow if her head had been turn ed to the front. E. E. CooPER.-One of the reasons for your non-success in obtaining good prints from the two snow scenes on de\路eloping paper is the harshness of the negative. "The Mountain Road" and "Among the Pines in Winter" have both been deY eloped too far. Good snow negatives can only be obtained by giving sufficient exposure and developing for detail with a well diluted de,路eloper. The "Pines" is the best and shows that Kodo id plates are well adapted to such subjects. If you had used stop 64 instead of

CAMERA AND DARK-ROOM.

128 with the 3 seconds exposure this would have been a gem and more so if you had trodden up the snow in the foreground to give some shadows. See '"Answers to Queries." C. E. 1\IAxsoN, Troy, N. Y.-"Home Portrait"' is a specimen of that class of work known as popular professional portraiture. As such no criticism can be offered on the dainty pose of the lady or the highly finished perfection of the print, no doubt a picture highly satisfactory to the sitter and : rarely good specimen of home portraiture. We should have liked less retouching; the billiard ball smoothness of the skin and the rather flat lighting seems to have removed all characteristics. The spot lights in tJ. ! eyes are rather too pronounced, otherwise it is very good and especially in tone values of the hair and the dress. }.HIF.S CooPER.-"A Quiet Summer Afternoon.'" is the worst of two poor prints, and made all the more hideous by printing under a fancy mask. The shadows were never so dark in open sunlight (under exposure) nor was the sky or water ever so white (over development). The youngster is 1wlding a fishing pole that is far too large for his size and is more interested in the camera than in his work. The camera should ha\路c been placed so as to show some of the near bank as there is now nothing to preserve the balance, the bottom of the picture being simply white paper supposed to rcpre~ent water. A rock thrown into the water a moment before the exposure would have broken the smooth surface into eddys and this would have helped to some extent. The other, '"\11/edge Pond" is better in composition and general treatment, but you must sec that the tone values are far from being correct. If you cannot secure clouds in your negative, tone down the sky in the printing, or local reduction on the negative of the sky and the too bright reflections would be worth the trouble. We hope for something better from you as the mechanical perfection of your prints shows that you possess that rare and essential quality to success, viz., takit~g pains with your work.

JosH HoRNER, Ontario, Can.-\Vc are glad to learn that you find the magazine so helpful and must compliment you on the

pose of the kindly old gentleman in the portrait as well as the excellent tonal quality of the negative. Something is wrong, however, with the developer you used on the print, either it was too old and overworked or contains too much bromide. A fresh strong quick acting developer is best for prints, with just enough bromide to preserve the whites, too much gives that sickly greenish black noticeable in your print.

T. ]. L., Montreal, Can.-"November" is not bad as far as exposure of the negative is concerned and the composition of the view fair, but would be much improved by cutting off the tree on the left. There is no life or interest to the scene, however, and the sickly tone of the print makes it all the more disappointing. The developer has been overworked or else has contained too much bromide. H. W. DuRGIN.-"View on the Kenduskeag, l\Je.," is a well toned print on Aristo paper. The engraver in reproducing it has lost much of the detail in the water and also the clouds in the sky. Longer exposure, or rather the use of a larger diaphragm would have improved it as the shadows are all too dark for an open landscape on a bright day. The use of a large diaphragm would also have overcome the extreme sharpness in the distance and given the effect of atmosphere which is entirely absent. The spirit of the scene is lacking, the eye wanders 0\路er the print vainly seeking for some one point of interest. Try it again, using a longer focus lens if possible, moving the camera so as to bring the tree on the left a little more into the view with a foreground of more interest. Usc an ortho plate and color screen or shade the sky and give twice the exposure to the foreground. H. W. DL"RGJ:s.-"The \11/illows." A decided improvement, but do not be afl"aid to open up your diaphragm. Expose for the shadows and develop for the high lights. Halation may in rare cases be useful in giving the effect of atmosphere or distance but the careful worker backs his plates to avoid the former and controls the defining power of his lens to secure the latter.

VIEW ON THE KENDUSKEOG , ME .

H . W . Durgin.

WILLOWS.

H . W . Durgin.

CA MERfl A 1VD D A RK-ROOM. the high lights, while th e shadows a re ~s black as they could be ma de. Gi\·e us something better than this.

E. E. CooPER.- "Going By-By with Dolly.' ' A good subj ect for a pictu re but badly posed- in fact you should not attempt to pose children but let th em assume th eir own natu ral attitu des. If yo u had done so in thi s case and caught the child as she was giv.ing attention to her charge and not gazing at the came ra with a fri ghtened ex pression it would ha\·e been more pl easing and still better if trimmed down closer.

Paul \V itasc heck .

Portrait.

HARRY R us HTON. - "Moose Hunters," three men in hunting garb, with g un s, etc., intently pee ring through the trees in search of game, is not bad of its kind. The attitudes of the men are nat ural, apparently all unconscious of th e prese nce of the camera. U nder the circumstances it is probably the best record o f the scene you could have got and shows marked improvement, th e ex pos ure having been sufficient to render all detail visible.

P AU L WJTASC HECK, Omaha, Neb.- ;< P ortrait" is ve ry encouragin g as far as expos ure and de velopm ent, tone and tex ture bei;,g extremely well rend ered. T he lighting is just a little too fl at- too much in fr ontand a sc ree n would have improved thi s. T he camera has also bee n placed rath er too close to th e subj ect and the reclining positi on has rend ered th e hands too large in proporti on and out of foc us-a little nea rer focus wo uld have corrected thi s. It is always better in portraiture to ha\·e the subject lean slightly forward, keeping the principal pa rt s as nea rl y as possible in one pl ane, especially wh en th e camer a is placed so close as has n identl y bee n done in thi s case. } OHN C. R r. 1s.- "A J oll y Set." W e wonder if any one o f the twenty-one yo ung men and maidens in this group consider it a good picture. The arrangement is so odd that we will pass it m·er as an eccentri city and not a seri ous attempt to compose a group. T he nega tiv e was mu ch underex posed and in trying to bring out th e detail s m·er-d e\'elopment has piled density on

Kin~r l ey's

Anthon )' Schmitt . T o wer .

CA itlERA ElND DARK-ROOM.

CUTTING CABBAGE.

HERMAN DoERNER.-"Cutting Cabbage" comes very near to being a success. The various obects are well placed, yet there is something lacking to make it convincing and it seems to be in the studied attitude of the man who is too evidently posing and not bent to this work. It shows, however, an earnest attempt at the making of a picture, much better than the majority of the work sent to us. The support for the cutting board seems rather unstable for

Herman Doerner.

actual work and that with the inactive attitude of the man detracts from the success. Otherwi se the photographer has done his work well and if the man had assumed as unconscious and natural an attitude as the child we would have had nothing but praise for the picture. You will admit that our cutting off half an inch from the left, including the half light of a window, has greatly strengthene~ the composition.

CAMERA AJ.\.D D A RK-ROOM. A NTHONY ScH~UTT.- Yours is good, careful work an d we notice con siderable improvement over those las t se nt. The two prints, '! Kingley's Tower" and "The Ruined Castle," are good examples of record photography. Being objects of local interest we ha ve reproduced th em and have no iault to find with the prints, to which the reproductions do not do full justice. T he totally blank sky is a de fect that could easily be re medied. Your other, '"The \Voodland Stream," taken at six o'clock in the evening in June, would have been the better of a little longe r expos ure and less developinent. As you will see for your self, the rocks and part o f th e foreground is a c~ pital represe ntati on o f snow-and we do no t expect to see snow in Jun e. :\luch o f the halati on in the upper part is ca used, not by the direct rays of th e sun, but by in teri or . refl ecti ons, and you could ha,·e shaded the lens with your hat or plateholder while making the exposure of 1-2 second with 16 stop. This is a subject which would have been th e bett er of a non-halation or K odoid plate. U nder the '" me light conditions yo u co uld make a capital picture of thi s by foc using sharp ly on th e · immed iate foreground on ly. using ,;top f-64 and giving 15 second!' exposu re.

RUINED CASTLE.

ELMER U. K EYSER.-T he three untit led prints are all of excellent techniqu e, properly exposed, carefully printed and tastefully mounted. The best of the three is that showing the dam and waterfall. The tonality in thi s is splendid, the best photograp h o f such a subject th at has come to thi s office for a long time. The lighting is also good in a ll three, a little longer ex pos ure a nd less de,·elopment of the lake scene would have gi,·en better values in the shadows. As you have mastered the mecha nical side we would adv ise yo u to give more att enti on to impro,·ing yo ur technique and the st ud y of art principles. In the firs t place remember th at a sky is neve r truthfu ll y represe nted by pu re white paper, and e\·en in the deepest shad ows there is al ways visible detail on a bright day whi ch should be recorded on th e negative. Also, because a lens of 8 Y, or 9 inch focu s will cove r a 5x7 plate it is not ad ,·isabl e to work it to the limit. A n inch trimmed from each end o f your pictures would be a decided impro\·cment. ~ l o r eover, there is a falling off in defi niti on at th e edges and as in this case th e edge is the foreground it presents the inco ngruity o f a hazy foreground and sharply defined di stance, the re\·erse o f wh at it oug·ht to be. :\ \'oid a s far as possible

Anthony Schmitt.

CAMERA AND DARK-ROO M. straight lines running across the picture, as in No. I, and strong lines leading the eye out of the picture and away from the point of Yie w as the rail fence in No. 2. A n unbroken sheet of water covering the whole for<:ground is also bad selection as in No. 3 and but for the all too dark shadows on the le ft , which helps to preserve th e balance, the picture would have been an utter f ail uri!.

the lis t of pri zes in this and the '·Snow Scene Competition" but feel certain that th e recipients will be well satisfied.

Our Home Portraiture Competition. T he winner of the first award in our "H ome Portraiture Competition," E. C. Smith. write s us that the six pictures sent were all made with a 3-A Kodak, using portrait a ttachment. "My second floor north room. having three windows in a row, has a good light for portraiture, and it is to thi s branch of photography that I have devoted most of my time. I do not curtain the light o f even the lower sas h as th e houses across the st reet see m to shade them j u t right from II a. m. to 2.30 p. 111 . I use a white (opaque) background. I use sheet s galore as reflectors, sometimes even on the floor, and with these have no difficulty in securing soft an d even illuminati on. The negati ves of the prints se nt are entirely unretouched and whatever success I ha \·e attained is almost enti rely the outco me of the teachings o f CAMERA AND DARK-ROOM and Mr. Voitier's little book 'How to Take Portraits.'" The work of the second on the list, Mr. Burian, was o f excellent quality, tastefully moun ted and from 8x10 negati ves taken with Goerz lens at full opening. The prints were mostly on rough sepia paper, but while such prints are very pleasing to the eye they make poor copy for the eng raver. The work of Mr. F. E. Allen, third, was very conscienti ous save for a tend ency to get too close to the subject with a short focus lens. R oundness and modelling is hard enough to obtain in a portrait under the best conditions and is impossi ble when the lens is extended much beyond its natural foc us. T he others will receive private comments o n their wo rk and the awards at the same time. We purposely avoided publishing

E. C. ~m i t h. Home Portrait. Firs t in Po rtrait Class . T ake n in room with three wi ndows in a ro w. north light, no curtams, bu t s he et :-e Recto rs used. 3-A Kodak, I sec • full opemn g of le n... In haling th e perfume from th e flowe r~, cau sed the blur of the drapery purposel r .

Metropolitan Camera Club. The regular monthly meeting was held on Monday c\·ening, ~la rch 6th, President Bell in the chair. E ncouragi ng reports were read from the treasurer and from the Salon Committee. The librarian asked for contributions of books to the library an<

CAMERA A N D DA RK-ROOM.

r equested that th ose members wh o had borrowed books and failed to return them should do so at once so. that a catalogue could be prepared. President Bell, on behalf of the Board of Directors, said that whil e the studio faciÂˇl ities were now far a head of that of man y other clubs, yet th e best of everything obtainable should be none too good for the members of the 1'letropolitan Camera Club, and if they would each show their interest by contributing towa rd s the purchase of the finest portrait lens made, he took it upon himself to say that the studio would be immediately enlarged and new conveniences in stalled, including enlargi ng outfit, all without an y cost to the club or its members. Mr. H ord proposed th at imme-

E. C . So1ith. Home Portrait. Ftr:-. t i n P o rtra it ClaF5. Home Po rtrait, ~ -A Kodak, stop 32, e x poF-urc . 5 seco nds, bright day, h g lu fro m th ree wan dows , sitte r 5 fee t fro m w ind o w.

E. C. Smâ&#x20AC;˘ th . Home Portrait. First in Portrait Class. Home Portrait , 3- A Kodak , stop 32 , exposure 10 se c onds, no rth room wi th th r~e wind ows, Jul y, rgo4, 1.30

p. m.

diate action should be taken on ::\Ir. Bell "s magnanimous offe r and the treas urer passed around a subscription blank among the members. Although there was less than a third of the total membership present, over half the necessary sum was subscribed in sums of fr om two to ten dollars and it was decided to procbre at once the new U nar lens made by the Bau sch & Lomb Optical Cornpany, of 18 inches focus, and which li sts at $28o.oo. It is to be hoped that all member s not present will lose no time in making their donation toward the purchase of this magnificent outfi t. By so doing th ey will show their interest in making the Metropolitan Camera Club unexcelled in its working facilities and they will

HOME PORTRAIT.

j . Bu rian . Second in P o r trait Class.

CAM ERA AND DARK-ROOJ1.

]. Bun an.

Home Portrait . Second in P o rtra it Class.

di splay of work, some Yery good, some ,-cry bad. ]. E. U nd erhil l won the Pre,idenf ;, cup with a marine ''An Augu st l\Iorn ing on th e Upper Hudson." First prize in landscape, Gus F. Swen so n, '·Snow Drifts' '; econd, \\·m. T. Kn ox. First prize genre, Myers R J ones, " Women in Dordrecht' ' ; second, Wm. H. Zerbe, Jr. Portra it class, fi rst and third, \Vill D . Brodhun , \ \'likesba rre, Pa.; second, Edwi n 0 . T oh rbohm. The judges were Rudoli E ickemeyer, Jr., Frederick W. K ost, painter, and Curti s Bell. :.'.Iuch outspoken di ssatis fac ti on as to the decisions o f th e jury is being expressed. Some o f the prize winnin g pictures bore all the faults whi ch l o n~ r.; of good photography and true art try to a void, such as the selecti on o f printing med iums un suited to the subject and the size o f the picture. The tendency of th e judge:; was to recogni ze the work of the ultra faddists. To select for honors, work th at is with out definiti on in any part, incorrect in tone values, and a traves ty on optics is di;;couraging to those who are seeking pn •g-re:<s along sane lines and should not be t0l~ rated at a strictly photographic exhibition.

feel that they haYe an e(jual ri ght to share in its use. Henry R. P oore, the well known artist and writer, has been im·itcd to de!i,·er tw o lec tures be fore th e cl ub during the month of March upon dates to be fixed later and the members and fhe public are requ ested to make early applicat ion for ti ckets. The price of ad mi ssion to each lect ure will be fi fty cents. On Thursday, Feb. 9th, Mr. Chas. L. i\Iajor, represe nting th e Nepe ra divi sion of the Eastman K odak Company, ga ye an interesting demonstrati on o f th e new Ve lox Sepia T oner a nd th e member s were fa ,·orably impressed with th e tone produced and the ease and certai nty of the process. On the foll owing T hursday a reprcscntati,·e o f the 1\J. A. Seed Dry Plate Co. gaye a prac tical de monstrat ion of how to de,·elop plates to ge t th e best results with expos ures unde r all co nditi ons. F . E. Alle n_

Brooklyn Camera Club. T he annual ex hibition of thi s club wa s held durin g th e month. T here was a large

Home Portrait. Thad in Po rtrai t Class. One east winrlow a bout 8 fe e t fro m ~i tter , nc ~-e f1t· ~ t o rt 6 sct.:ond s exposu re, f 16, bngh t da y .

CAMERA AND D A RK-ROOM.

Home Portrait. F. E. Allen . Third in Portrait Class. O ne wiodov. -4 fee t to the left, sheet re Rect o r, S Lanley plate , cxoosurc 4 '5econds, f-8 .

Let Up on The Fog. Editor CA~LERA AN D DARK Roo M, Dear Sir. I ha ve been much pleased with the candor and fairness of the critici sm of pictures in the CAMERA AN D DARK-ROOM, and being an amateur desirous of improving my work, I feel emboldened to se nd yo u a couple o f prints for criti cism. Being also one o f the 999 who like enough detail and clearness in a pict ure to be able to tell what it is meant for, I heartily agree with the editori al in the Septembe r iss ue of th at magazi ne. \ Vhil e not qu estionin g that a little fog, or "breadth," as our fog-on-t he-brain fri ends are pleased to call it, adds a cha rm to a -view in whi ch too much detail would be offensive, I confess to being un able to see in what way mi stiness or diffu sion of focus would improve a view taken on a clear, sunny day such as th ose I enclose. I am open to conviction, howeve r. To judge by some o f your contempora ries, there is no "art" in photography unl ess the pictu re is so g loomy a nd foggy that one m ust puzzle his brain to di scover what it is meant for. But as another says, isn't it about time to let up a bit on the fog, and give a little more show to God's sun shine? JA~~ ES COOPE R.

Stained Prints. ALICE H .-DIMOND. 路what is the cause of the white spots on th e encl osed prints. Some come out all right out of the developer, but on others the developer does not seem to take evenly. I s it the fault o f the paper. The one with the yellow stain in th e sky developed nice and clear but . dri ed with a nasty stain. I will be greatly路 obliged if you will enlighten me as to the cause of these defects. I use - - Bromide paper. A11s-..uer.- ( 1) The white spots are caused by air bell s on th e surface of the paper. Jmmerse the print in a tray o f clean water be fore placing in the developer or use a tuft of cotton in th e devel oper to pa ss rapid ly over th e surface of the print and th e white spots will not appear. (2) T he Ytl low stain is the re sult o f not being ca refu l in thoroughly immersing the devel oped print in the hypo. Such stain s can not be re路 moved. As soon as the print is almost asdark as the de sired finished results, quickly rin se o ff the surplu s develope r in a tray o f water for that purpose onl y and place face downward s in the hypo, movi ng it about fo r a iew seconds to avoid ai r bells. R ead and fo llow th e directions that come in each package o f paper. Washing Prints. E . G. BIRD, A~sa, Can. -Pro fe ssional photograph ers in th e large cities do not, as a rul e, use print washers. T he washing is generally done by a helper wh o keeps the print s moving in several changes o f water. The prints are generally trimmed a fter washing. The object ion to most print was hing devices is that th ey allow the prints to cling togeth er. Select a brand of Paper to suit the Negative E . E . COOPER.-Why is it that I cannot g-et good prints on developing paper from the enclosed. A ll th e deeper shadows print out black without any detail? The makers o f developing papers furni sh

CA.MERA AND DARK-ROOM. it in several grades to suit all kinds of negatives. In Velox, Rotox or Kruxo there is a grade known as special portrait which will give you all the detail in harsh negativesit prints more rapidly than the regular. Special portrait (semi-matt), special carbon (smooth matt), and special glossy are all adapted to obtaining soft results from contrasty negatives while the regular glossy, rough and carbon will give the necessary snap to prints from thin, soft negatives. The Disease Suggests the Remedy. M. C., Binghamton. An under-exposed plate which has been fully developed is characterized by a total lack of detail in the shadows, with strong high lights; while an under-developed though properly exposed plate shows detail in the deepest shadows and weak high lights. In other words, the appearance of the negative in the one case is exactly opposite to what it is in the other. A Cause of Coarse Grained Negatives. "B.," Trenton, asks why it is that the slQw drying of negatives in a close, warm room causes them to become coarsegrained. Ans. The theory is that it is caused by the moisture on the plate being heated by the air to 85 to 90 degrees Fahr., thereby dissolving some of the minute sacs of gelatine in the film, permitting several atoms of silver to come together and form one mass. Detecting Iron in Water. H. C. L., Pomona, wishes to know how to detect the presence of iron and carbonic acid in water. Ans. Boil nutgalls and add to the water to be tested. If iron be present, it turns slatey gray; add a pinch of prussiate of potash and the water will turn blue in the presence of iron. To test for carbonic acid, add an equal part of lime water. A precipitate will be seen if the water contains carbonic acid and it will effervesce on the addition of muriatic acid. Formula for Plate Backing, "Subscriber," Philadelphia, requests a formula for plate backing. A ns. Powdered burnt Sienna, I ounce; powdered gum arabic, I ounce; glycerine, ·2 ounces; water, 10 ounces. The "E. V./.

N. Backing," however, is a far superior article to any home-made concoction. Developing Under-timed Plates. R. F., Elgin, inquires the best method for treating under-timed plates. Ans. One of the best is to develop them in fresh diluted developer and if this fails to bring out sufficient detail, transfer the plates, without rinsing, to a tray containing water to which has been added a small quantity of the alkaline solution. Here the plate should be left so long as it gains in the matter of detail, when, if not dense enough, de~elopment may be continued in fresh developer. Camera and Dark Room Exposure Tables. ''Amateur," Guttenberg, writes: "I .am a beginner and want your advice as to what Exposure Table I should get so that my films may be properly timed." A11s. By all means secure a copy of the Exposure Table issued by the publishers of this magazine. These tables were prepared by an expert and are distinctly up-to-date in every particular. White Letters on Prints. B. C., Milwaukee, wishes a formula for an ink with which to write titles or descriptive matter upon the dark portion of prints. Ans. Use the following solution: Potassium iodide ............. : ... 20 parts Distilled water ................... 6o •· Iodine ............................ 2 Gum arabic . . . . . . . . . . . . . . . . . . . . . . . 2 Composition of the Spectrum. "Aremaic," Troy, desires to know the proportion of different-colored rays in 1,000 parts of white light. A11s. Red rays . . . . . . . . . . . . . . . . . . . . . . . . 54 parts Orange-red ...................... r40 " Orange .......................... 8o " Yellow-orange ................... 1 q " Yellow .......................... 54 " Greenish-yellow ................. 206 " Yellowish-green ................. 121 Green and greenish-blue ......... 134 ·• Blue ............................ 40 Blue-violet ...................... 20 Violet ........................... 5

•

6'' ..

/ •,

-..... ·A...f

0_L'D0U I

PRESIDENT ROOSEVELT DELIVERING HIS INAUGURAL ADDRESS.

Anna polis Guprd on the left.

West Point on the richt.

Reporters underneath Presi dent.

Photo by C. H. Clnud y.

ONE DOLLAR THE YEAR TEN CENTS THE COPY

New York, April, J905.

Volume VIII.

Edited by

361 Broadway

No.4

P. CH.U.:W:ERS.

Published on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York Cit y

Entered at the New York Post Office as second class mail matter. Subscription price, One dollar per year in advance. Foreign subscription price ssh. $1.25) Positively not connected with any pbotografhic stock bouse. Matter should reach office by the 1 sth of month preceding date o publication. Original MSS. solicited

HOW THE INAUGURATION IS PHOTOGRAPHED. BY C. H. CLAUDY. r=-. 1 '-' ~IPARE D

to the total number of peopl e interes ted, the number of those who see the induction of a new Pres id ent into office, or the parade which is so much a feature of the ceremonies, is very, very small. Co n equently there is a large demand for illustrations of the whole thing, from sta rt to fini sh, that th e periodicals and magaz ines may show th eir readers pictoria lly what they could not see in reality. The result is a concourse of photographers such as \\"ashington rarely sees and a pictttretak ing and a picture-mak ing which demands of th e photographers more sk ill ami patience than those operation s usually do. The first step in th e photographing of the inaug uration is the securing of permits, a task which it is well to begin some weeks beforehand, otherwi se disappointment is apt to follow . H e

who would photograph with comfort at inaug uration time must wind himself deep with red tape and then unwind himself again, with the hope tha t, when he once again catches sight of the furth er end of hi s tape, it will reveal itself as a ttached to a bunch of permits. About the first of February, I 'phoned th e Chief of Police to see what regulat ions hedged in my desire to obtain permiss ion to photograph at the Capitol, on the Avenue (Penn sylvania Avenu e) and in front of th e \Vhite House. I was info rmed that th e permit was first to be obtained from Gen. "Wi lson, Cha irman of th e Inaugural Commi ttee. T o Gen. W ilson I went, to be most courteously told th at no applications were gra nted on personal ca lls, but that acti on would be taken on written requests. I was also told to furnish letters of credentials certifying that I wanted the photos for busin ess pur-

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poses. I sent in two letters from New Yark periodicals, asking me for inaugural photographs and one letter from the head of a government department, certifying, in polite language, that I was not an anarchist! Shortly afterwards I received a permit, which I found wasn't good for anything except to inform the Chief of Police that I was a respectable member of society. It was left entirely with him whether I was to have a permit or not. Later I received the permit, instructing all and sundry policemen to perniit me to work on the A venue, inside the lines, with a camera, provided I did not go more than four feet from the curb and provided I didn't attempt to photograph the President in his reviewing stand or at the Capitol ! The very things I most wanted to do ! Searching further, I found that these things could I ·do if Gen. Wilson would issue me a permit to do so. Back went I to Gen. \Vilson, to be told, with never failing courtesy, that he had nothing whate,·er to do with the Capitol and that he would issue no permits to photograph the President, and furthermore, that he had never said he would issue them! Here I com· menced to get a little warm. There was e\•identlv a decided desire on the part of both. the Chief of Police and the Chairman of the Inaugural Committee to shift the responsibility onto each other's shoulders. So I struck off in a new direction and went to see one of the Commissioners of the District of Columbia- Commissioner \Vest. Commissioner 'Vest is an old newspaper man and understood my tronhle at once. Then he did a very kindly thing-telephoned the White

DARK-ROO.~.l!.

House, made an appointment, and when I reported myself again in two hours, told me that he had arranged with the President's secretary and the Chid of Police, and the latter would issue a reasonable number of unlimited permits. Once more I went to the Chief, who smilingly gave me the desired permit, signed it, stamped it, and bowed me out. I was particular to show it to the Police Captain who was to have charge of the \Vhite House reviewing stand and he promised to remember both me and the permit. Then I had to get another permit, from the Superintendent of the Capitol, to get up on the photographer's stand, and then my troubles ended as far as permits were concerned, as I always carry the other three permits necessary to photograph the various public buildings in \Vashington. March fourth dawned bright and clear, for a wonder, and stayed clear, although a thunder shower threatened early in the day. I was fortunate in having the use of an automobile, and so was able to get around and through the crowds with the least amount of delay. At twelve o'clock I, with two assistants, went up on the photographers stand, a wooden structure some fifteen feet high and about largt. enough for ten men to use comfortabl)·. There were over fifty photographers there when I arrived and at first I thought I couldn't get a place, but finally managed to squeeze in between two glowering, grumbling mortals, who looked daggers and said little. being little (I suppose) while I am big, and each of my assistants was over six feet! I patched up an armed neutrality with the man on my left

CAMERA AND DARK-ROOM. and we agreed to work alternatelyhe exposing while I drew my slide, and I exposing while he got ready. \Ve were so close together that we had to move our cameras in order to

which operated a film eleven by fourteen inches. Another panorama device revolved around the top of its tripod. There was an eighteen by twenty-two view camera, mounted on.

PRESIDENT IN HIS REVIEWING STAND WATCHING THE PARADE. The three ladie, on his left are Mrs. Fairbanks, Mrs. Roosevelt, and Miss Alice Roosevelt. Mr. Fairbanks sits on the President'â&#x20AC;˘ ri&ht band.

get plate-holders in and out and withdraw slides! And such cameras! 1 thought I knew pretty much all the cameras on the market, but there were models strange and terrible to behold ! There \vas a panorama camera

two tripods, with four men to run it. There were Graflexes and Reflexestwin lens double deckers; triple-eyed, stereoscopic cameras, motion picture machines, view, hand, stand and Heaven only knows Âˇw hat other

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variety of instrument. The stand was built up against t:1e statue of Washington which faces the east front of the Capitol and a pair of steps led up to the top of George's head. This pair of steps was literally jammed with operators of cameras of the reflex type. And all the while the wind blew great guns. .-\fter a long wait the West Paint-ers lined up on one side and the Annapolis boys on the other, and the President's party commenced to fill up the central stand reserved for them. And then there was a muttering and grumbling in good earnest. for a camera operator was seen, mounted on a pair of steps, between the first and second rank of naval cadets, his camera not twenty feet from the President's st~nd. And not a policeman said him nay. He was a photographer who had been with President Roosevelt on some of his trips and who had worked "The Great Washington Graft'' (pull) to get that exclusive permit. By the time you read this you will have seen thosâ&#x201A;Ź0 pictures. However, there was little time for comment. The President came down the aisle, followed by Chief Justice Fuller and, standing with bared head, took the oath of office. There was a subduedÂˇ crackling, like a pack of tin) firecrackers, and some fifty cameras had gone off together, all making picÂˇ tures of the President taking the oath Then tltere was a hurrying and a scurrying, and we all reloaded and reset shutters and refocussed and got ready for the next picture, that of the President delivering his inaugural address. If the Editor is willing. you can see the picture I secured (and I

hope he will print it, for then you will know I am not romancing when 1 say that there was a crowd which completely hid the lower part of the Capitol.) I took this with a lens stopped to F. 16 and with a shutter-speed marked as one-fourth-actually about one-tenth. There was a bright sun and no clouds to speak of, and I could have given more time by opening up wider, I suppose, but did not like to risk loss of definition due to a possible miss of focus, when the stand was being jarred and shaken all the time by one thing and another. I also made a half dozen Graflex pictures, and then, a little in advance of the crowd, we skipped out. I am sure you are wondering why I had to have assistants. I didn't !lm.'e to have them, but some one had to carry the stuff, and one camera, one box of plateholders, one tripod, one focussing cloth, one camera carrying-case and one Graflex make a healthy load fot two men, let alone one. The other man? He ran the automobile and came up with us to see the fun! The next thing to do was to beat the President to the White House, and take a picture of him as he stepped from his carriage. And here is where the automobile came in. Street cars, of course, were packed to suffocation, and there was no chance for men loaded down as were we to get aboard. But the auto took us there in plenty of time and. the desired pictures were secured. Then there was a weary wait of over an hour, while the President had lunch, and then, at three o'clock, the parade came along and Mr. Roosevelt stepped into his little box to review it. In one corner sat :Miss Alice Roosevelt, next

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CAMERA AND DARK-ROOM. her Mrs. Roosevelt, th en Mrs. Fairbanks. In the picture which I submit ( the best of several) these ladies can be easily made out, and also M r. Fairbanks on the President's right. But at fir st it seemed doubtful if ] was going- to get any more pictures ! \Ve had left fo r some lunch, too, while the pres ident was eating, and when we attempted to get back, found we

lOS

president. He has two policemen on one side of him, and a secret service 1nan on the other, and even if he had designs on the life of the Chief Magistrate, I fancy he would have to be very quick indeed to do any damage, before he would be downed. These secret service men were as thick as flies in August and stood close to us all the time. My camera is the one on th e extreme left, with the long exten-

POLICE AND SECRET SERVICE MEN KEEPING TAB ON THE PHOTOGRAPHERS.

could not push between the people who blocked up all entrances to the avenue. Finally, however, we managed to attract the attention of a good-natured policeman who made a way for us and '"e escaped the crowd to the freedom of th e roped-off a venue. And how they did scrutinize those passes to be sure, and watched us into the bargain all the time we worked. Look at this little snap-shot, of a stereoscopist at work across from the

sion and immediately behind it; not in the picture. stood still another policeman ! I used a long extension to get a big image, and, with the rear. combination o f a twelve-inch anastigmat, secured the picture already referred to, which also I trust the editor will reproduce for yo u. TI1ere were very few of those permits issued to photograph the President in his stand and the envy of those who didn"t have them was plainly to

I06

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be seen. One man went us all one better arid had a permit to take his instrum ent out in the middle of the car track s, between sections of the parade, and make a large size picture of the President. But he had greenhorn helpers and both times his plate路 holder stuck or fell out and a certain professional, whom I know by name but won't mention, was a very much

The last picture I have to show you is a novelty, to me at least. It is a picture of Jessie Tarbox Beals, of St. Louis, taking a picture of the President. . Miss Beals was the only woman photographer on the Avenue and underwent a most searching examination as to her permit, but came off victorious every time. I have r:ot seen her pictures, but I am sure they

JESSIE TARBOX BEALS, OF ST. LOllS, THE ONLY WOMAN PRESS PHOTOGRAPHER WITH A PERMIT AT THE INAUGURATION.

angered and disappointed man when he found it out. The second attempt 路 was also a failure; a third was not allowed. You will understand that this work was all done against the sun, the White House and President's reviewing stand being on the south side of the A venue and the photographers being required to work from the north. That is why we couldn't do as well as we wished.

are good, if it is fair to judge by the expert way in which she handled her six-half eight-half Goerz-Anschutz camera. Well, "After me the deluge. " After the fun, the work. At three-fiftyfive we left, walked home, developed, washed and dried the negatives, and then printed, fixed, washed and dried prints, and had them into the early evening mail , ready for Sunday use in

CAMERA AND DARK-ROOM. nearby places and ~Ionday use in the \Vest. It is an interesting experience, this inauguration . photograJ=hing, but it is more hard work and hustle than any other thing which a photographer

107

for the press is asked to underta~:e. B.ut it is something to have clone. and those negatives are precious to the makers, you may be sure, and will be -until 1909.

PHOTOGRAPHY THROUGH A CHEMIST'S EYES. BY A. G. WOODMAN.

fli

VIII.-" Hypo" Eliminators.

T irregular but rather fre- consideration. In general, that oxiquent intervals one runs dizing agent would be considered across articles m photo- justified for this use which could give graphic journals in which it 路 the most favorable response to the is proposed to lessen the labor in- following imP.ortant, even essential volved in the washing of prints and conditions: plates by the use of some oxidizing (a) The rapidity with which the agent which shall destroy or render hyposulphite will be oxidized by the inert the sodium hyposulphite reproposed eliminator in different demaining in the film after fixing. To grees of concentration. All reactions one acquainted with the general are considered, for practical purposes, chemical action of these various oxidizing agents it is quite obvious that as being necessarily made in the anyone relying upon some of them cold solutions. This is readily deterwill be "building his house upon the mined by adding to a solution of sand," either because they act too sodium hyposulphite a small amount violently to be safe .or because they of 5 per cent. solution of the oxidizwill not act at all under the condi- ing agent in one case and five times tions necessary. Following out, there- the amount of a 1 per cent. solution fore, the brief remarks on this ques- in the other case and noting in each tion in my article in the previous is- instance the quantity of hyposulphite sue of CAMERA AND DARK RooM it remaining unoxidized at the expirahas seemed worth while to point out tion of a definite time. (b) The effect upon the rapidity more fully how the knowledge of the of the oxidation by using an excess chemist can be of assistance to the of the oxidizing agent. This can be photographer in a practical discussion determined in the same way as the of the value of these "hypo" elimivarying the concentration of above, nators. The claims of these various sub- the oxidizing solution which is alstances to practical value seems to lowed to act upon the hyposulphite have been based, heretofore, upon solution. (c) The influence upon the reacrather hasty and hence inconclusive

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tion as to whether it takes place in an acid, alkaline or neutral solution. (d) The action of the oxidizer upon the photographic 1mage. A hypo eliminator can, of course, be of no practical use unless it is without action on the silver image. It is therefore indispensable that a candidate for this honor shall be strictly examined in regard to its ability to withstand this test. This is determined by immersing a print or negative in the solution for at least five minutes, varying for different experiments the concentration of the oxidizing solution from about 1 per cent. down to one part in 10,000. With solutions more 路dilute than this the oxidation is usually so slow that it is not of practical. value as an eliminator. Having thus stated the requirements it remains to examine briefly the various candidates that have at different times been nominated: ( 1) Dilute iodine solution.-This oxidizing agent has been recommended for a long time and by various writers. Its action is instantaneous and the hyposulphite is converted into a quite innocuous compound, the brown color of the iodine being removed. On account of this fact that the oxidation is so rapid the iodine solution would be excellent for this purpose, provided it were without action on the silver image. Unfortunately it has an untoward tendency to form iodide of silver. It has been shown by Lumiere and Seyewetz, who have made a careful study of this question and who form my authority for the statements here made, that even at a dilution of 1 in 10,000 the iodine exercises a distinct action upon

the silver of the photographic image. This fact alone would make it necessary to reject the iodine solution as a hypo eliminator ; further than this, however, there is much doubt to be expressed regarding the permanence of the oxidation product of the hyposulphite when iodine is used. (2) Dilute bromine solution, usually spoken of as "bromine water." This reagent oxidizes the hyposulphite equally as well as the iodine solution. It has, however, the same drawback of acting upon the silver image, and further, possesses a disagreeable odor and causes irritation of the bronchial tubes when inhaled. It is, therefore, not suited for the purpose of removing the hypo. (3) Hypochlorites, the active ingredient in bleaching powder, Javelle water, etc. The alkaline hypochlorites act quite readily upon sodium hyposulphite. To be sure, the action does not take place immediately, but the rapidity of reaction increases as the hypochlorite solution is made more concentrated. On the other hand, the rapidity of the action decreases to a very marked extent as the solution becomes more dilute and it will be found that even at the greatest dilution that could be practically employed the solution would exert a decided action upon the silver and upon the gelatine of the photographic prints. (4) Sodium peroxide.-This reagent oxidizes sodium hn;osulphite only slowly unless the sol.ution be fairly concentrated. A solution strong enough to oxidize the hypo would on account of its caustic propert= ::s attack the gelatine sufficiently to d~s路 integrate the image.

CAMERA AND DARK-ROOM. (5) H~>'drogen peroxide.-Hydrogen peroxide, even in dilute solution, oxidizes rapidly the hyposulphite. It does not attack the silver image and unlike the peroxide of sodium it exercises no destructive action upon the gelatin e. Hence it is an excellent elim inator. In practical use, hO\.vever, it ha s the disadvantage of being ob路 tainable only as a rather dilute solution to begin with ( 3 per cent.) and of rapidly losing this strength under ordinary conditions. ( 6) Chromic acid and potassimn bichrom.atc.-Chromic acid, or what amounts to the same thing, potas路 sium bichromate with the addition of su lphuric acid, oxidizes sodium hyposulphite very rapidly. The neutral ch romate of potassium will not oxi-

Wll'fTER ON THE FARM

109

dize the hyposulphite at all, and the bichromate without the addition of sulphuric acid does it only very slowly. The bichromates cannot be used as eliminators in the presence of sulphuric acid because they attack the photographic image and they are of no practical value without the acid because their action on the hypo is not rapid enough. (7) Potassium permanganate oxidizes and destroys sodium hyposulphite instantaneously, either in neutral or in alkaline solution. In spite of this, it need not be discussed here, for the solution, no matter how dilute, exercises a very manifest action upon the silver image. (8) Pota.ss-ium percarbona.te.-This comp(lratively recent claimant for

S. F. Behee

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CAMERA AND DARK-ROOM.

honors in this line merits a little more complete discussion. Its action upon the hyposulphite is extremely energetic. Its action, however, takes place only during the solution of the solid percarbonate in water, for this body is very unstable and decomposes during the solution with the liberation of free oxygen, which is the active agent concerned. The potassium percarbonate constitutes a good eliminator subject to the inconvenience that the solution can be prepared only at the moment that it is desired to use it. The solid must be kept rigorously from the moisture of the air if it is desired to preserve it unchanged for any length of time. The price is rather high to permit its general use up to the present. (9) Anun011ium persulphate.-This reagent I mentioned in this connection last month and showed that in connection with an alkali it formed an excellent eliminator, indeed it seems on the whole to be one of the best. It will be hardly necessary to discuss it at length here. To sum up-the oxidizing agents most satisfactory as eliminators of sodium hyposulphite seem to be hydrogen peroxide, potassium percarbonate and commercial ammonium persulphate when mi:red with an alkaline substance. Of the three, ammonium persulphate, having to a less extent the inconveniences attendant upon the first two, seems the most useful. It remains then, only to indicate briefly the mode of using it. 'With prints it is best to wash them in running water for about a courle of minutes after taking them from

the fixing bath, keeping them in constant motion. They are then put in a tray and pressed down firmly with the palm of the hand in order to squeeze out the water retained by the paper. Following this the prints are placed for five minutes in the oxidizing solution, using it at about one per cent. strength and employing at least two ounces of solution for a 4 x 5 print. The prints are then removed from the oxidizing bath and washed for two minutes in running w~ter. Under these conditions it has been demonstrated that the water which drains from the print when they are removed from this final bath will give no reaction for sodium hyposulphite when tested with nitrate of silver, a reaction which is sufficiently delicate to indicate distinctly the presence of one part of hypo in one million parts of water. This might certainly be considered sufficient as far as the elimination of the hypo is concerned. The treatment of plates is even more simple than that of prints. On taking them from the fixing bath they are washed for two minutes in running water, then they are placed in a tray containing about four ounces of a one per cent. solution of the oxidizing agent, where they remain for five minutes. The plates are finally washed for two minutes in running water and then dried. In the next article of this series will be discussed the question of the removal of the hyposulphite by washing with water as ordinarily practiced.

CA M ERA A N D DARK-ROOM .

III

MANIPULATION IN PRINTING. BY

W. LITTLE.

The accompanying portrait, entitled "A Harlem Character," though poor enoug h, shows what may be done by man ipulation in printing, in a very simple way, and even with so uncertai n a thing as gaslight paper. This portrait 路 was made on a recent g loomy afternoon, with the sun behin d the clouds and the light obscured by tall buildings. The room was narrow and confined and the subject was seated very close to the light, particu la rl y as he was shy and selfconscious and in order to call up and catch an evanescent g limpse of hi s inner character considerabl e diplomacy had to be exercised and the exposu re very brief.

A H&J"Iem ChDracter

J. W .

l.iule

I had about given it up in despair, when I concluded to leave him alone for a few minutes to see if he would not mellow down somewhat. When I returned he had come back to earth and was himself. He was quietly contemplating his surroundings but had not moved from the position in which I had placed him. Now was my opportunity and I must be quick about it. A personal question from me tickled his vanity and its answer brought a twinkle to hi s eye. "Be qui et, just an instant !" And it was all over. This was the third attempt, and as he demurred at posing further I was obliged to make the best I could out of thi s exposure. But on d evelopment, notwithstanding I did everything I could to avoid contnstiness, it was very unsatisfactory. In order to get any detail at all in the hat and coat, th e high lights were much too dense. I purposely carried the development well along, with the intention of reducing the high lights with persulphi te of ammonia. This I did, a nd although improvin g it somewhat, the negative was still too contrasty. I then tri ed local reduction of the face and hand with alcohol. Still the A print contrasts were too g reat. from the negative showed no detail whatever in the face, even after the ex posure had been sufficient to hopelessly lose th e da rker portions in the backg round. I therefore cut a small hole in a large discarded mount, placed a sheet of ga slight paper over the negative in the printing frame

II2

CAMERA AND DARK-ROOM.

and, as gaslight is very trying to the eyes, went to a window and with a rotary motion of the cardboard admitted diffused daylight for a few seconds through the hole, which was placed in close proximity to the face in order that I might observe what portions were receiving the most light. I then repeated the process on the hand, except that I gave it considerably more exposure in order that

it might be subdued and not conflict with the light of the face. I then gave the whole a short exposure路 to gaslight, covering the rtght and upper portions during a part of the exposure in order to compensate for the better light which the lower and left portions had received at the time of taking the portrait. And the result is a passable picture from a very poor negative.

PASSEPARTOUT FRAMING. This simple method of framing a picture, by using a piece of glass, gummed edging and a backing of cardboard, is very popular. With the exception of the binding strips, which are obtainable in a variety of _colors at all supply stores, the photographer has all the necessaries at hand and it is a good use to make of accumulations of waste negatives. Passepartouts when cleanly and neatly made are pleasing ornaments for the home, admirable Christmas presents and very appropriate for the photographic exhibition. Indeed, at most of the recent exhibitions this method uf framing has been very much in t vidence and in most cases the effects were dainty and pleasing. In a few instances the results have been spoiled by the careless manner in which the binding has been applied to the glass. Passepartouts arc not difficult to make if care and cleanliness are observed. The materials generally used are a sharp knife, an oil stone, cards of the desired shades, passepartout binding, rings or wire stands, paste,

blotters and glass of the required size. The framing may be done either with or without a mat. If the mat is used the passepartout consists of the glass, the mat, the mounted picture and sometimes a backing board. These are bound together with the binding strips. Of course, they must all be the same size. The picture should be mounted in the center of a piece of plain, cheap card mount, for the mount oniy shows at the back, and if the regular backing board is used it does not show at all. \Vhen the backing board is employed the mount may be thin, otherwise it should be thick and heavy. The backing board is a heavy pulp cardboard and its purpose is to furnish a support for the brass rings if the picture is to be hung, or for the wire stand if the picture is intended for the piano or table. The usual m~thod of fastening the rings or stand 1s to make a slit through the card and to put a piece of thin brass through the rings or stand; then run the ends through the slit in the cardboard and bend them over. Or short pieces of the binding strip may be

CAJIERA AND DARK-ROOM.

used and pasted down on the inner side of the cardboard. As the wire stand is in the center of the passepartout it is evident that a slit cannot be made throug h the picture, hence the necessity of the backing board. When rings are used there is one at either side, consequently the slits may be made in the ends of the mount and they will come under the mat. The next thing to be done is to choose the cardboard of the proper shade and texture for the mat. The opening should be cut a trifle smaller than the picture and the edges should be on a bevel produced by holding the knife at a slant. F irst mark the opening on the back of the mat, place the

THE BROOK SNOWBOUND.

ruler on the line and on the side toward the margin of the mat, and then hold the top of the knife from the ruler. This produces the proper bevel on the opposite, or face, side of . the mat. The knife used should be sharp and the mat should be on a piece of g lass or other hard surface while doing the cutting, otherwise the edges will be ragged. A few workers prefer to cut from the face side of the card, but the best results are produced as stated above. ).!at cutting requires some skill anti practice, and the amateur must not expect to ob~a in perfect results at first. The mat may be improved by making the usual mark around the open-

S. F. Bebee.

CAMERA AND DARK-ROOM.

mg. This is done with a blunt, rounded, steel point drawn along the edge of a ruler and about an eighth of an inch from the opening. The harder the steel point is. dressed down the stronger the line. At the corners the lines may be either crossed or rounded. Now clean the glass thoroughly, cut pieces of binding the length of the four respective sides and mitre the corners of the binding on one side a quarter of an inch only. Then moisten the mitred edges of the binding strips and place them on the glass so that the mitre~ fit and roll them in perfect contact. A quarter of an inch of the glass will thus be covered on all four s1des. A surer method of getting an equal margin all around is to first pin the binding strip gummed side up Qn the work table and then moisten. It is easier to place the glass on to the binding than the other way. The various parts of the passepartout must now be put together. Place the glass on a table. The binding strip should project from the 路under side. lle sure that the upper side of the glass is clean and free from dust or particles of dirt. Then place the mounted picture on路 the glass face down and on this put the backing board with the rings up. Moisten the edges of the binding strips, draw them over tightly and roll them down to the backing board until they thoroughly stick. In cases where the beginner finds it difficult to cut mats successfully, the print may be mounted on the mat board directly and the regular mat omitted. In such cases the backing board should always be used.

\Vhere the mat is omitted the effect may be greatly improved by putting a ~argin of some kind around the print. A white margin is very good unless the print and mount are both dark. It may be obtained in two ways. By using a mask between the paper and negative when printing, so that the edges are white, and then trimming, so that the white margin is uniform ail around and of the desired width. Or the print may be mounted on white paper and the paper trimmed down before mounting on the card. Sometimes one or more black lines drawn around the print with a ruling pen are pleasing. For some subjects and mounts white lines are appropriate. These lines, of course, are drawn on the mount and not on the print, except in special cases. Some of the minor details, such as fastening the rings through slits in the backing board, may be omitted by the amateur, of course, but they are generally "bserved when neat results are desired. The methods here given are those used by the best workmen to produce the finest passepartouts. Prominent Dealers Entertained by Rochester Manufacturers. About eighty of the leading dealers in photographic supplies throughout the country met in Rochester on February 20, and for four days were royally entertained as the guests of the Bausch & Lomb Optical Company and the Eastman Kodak Company. After having been shown all over the Bausch & Lomb factory and witnessing demonstrations of lens making, of the use of lenses and the cost and mathematical exactitude necessary in the construction of highly perfected apparatus, the delegation listened to instructive addresses on the construction and peculiarities of lenses by the various lens experts of the firm.

â&#x20AC;˘

PORTRAIT

Milton Waide, Fifth Avenue, N .Y.

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CAMERA AND.DARK-ROOiVI.

THE MENTAL KODAK When the trees are all a-buddin' and the sun shines warm and bright, And the time's a-gittin' longer twixt the mornin' and the night; When the grass betrays a greenness that is altogether new, Then I shake off care and sorter take a retrospective view. All through life we get impressions of the things we hear and see : Every brain's a little kodak-least it 'pears that way to meBut some things git sorter light-struck, while some stand out clear and plain On the endless roll of films that has been wound up in the brain. There's the great. old-fashioned farm house nestled back amongst the tn•esSech a country place as now-a-days a feller seldom seesWith the carriage house and woodshed overrun with Concord vine, \Vhere the sunshine of the summer turned the water into wine. Sharp and clear the picture's outlined 'gainst a flecked and fleecy sky; And I shet my eyes a minute till the dimness passes byFur I love that spot so dearly that its beauty on me grows More than any other picture that my mental kodak shows. Oh, the pink and white creations that the orchards wore in May, Flingin' out their dainty perfume in a reckless sort of way! And the new mown ·hay! and clover when the fields were wet with dew! Every breath was steeped in sweetness the endurin' summer through! I kin smell the fragrant lilac and the bloomin' locust trees; And kin hear the ripplin' of the bropk and hummin' of the bees, And the katy-dids and crickets; and kin hear the wild birds sing! And fairly taste the coolness of the water from the spring! There's my mother in the doorway with her saintly, smilin' fare. We was entertainin' angels every day at our old place! She reminds me of the roses-faded some but far more dear Since the snows of time hev fallen and the end of life is near. 'Pears like there warn't no sech mother ever made as that of mineWaitin' on us little shavers with a love almost divineAnd if I was ever tempted from the straight and narrow track, One reproachful look from mother would hev power to bring me back. There's some pictures blurred and light-struck, while some stand out clear and plain; But I turn the films back slowly till I find the farm againFor I love that spot so dearly that its beauty on me grows More than any other picture that my mental kodak shows. LILLIAN TowNsEND TAYLOR.

PORTRAIT

Milton Waide, Fifth Avenue, N.Y.

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HOME-MADE PRINTING PAPER. Our London contemporary, Photography, gives the following account of a demonstration by G. H. Moss before the South London Photographic Society, remarking that the process was exceedingly simple and the prints shown were of excellent quality. Tnere is also opportunity for the use of a great variety of papers giving any desired degree of roughness. Take any good rag writing or drawing paper-Rives, Sax.e or Whatman for choice-and soak it in the following bath: Sodium chloride crystals (not table salt) ........ ISO grains 路 .:-\mmoniu~n chloride ...... 100 " Potassium bichromate . . . . 2 " \Vater, to make .......... 20 ounces Soak thin paper five minutes and thick up to ten minutes ; hang up to dry-in gaslight, rushlight, or no light-even weak daylight won"t hurt, but remember the paper is now slightly sensitive. To sensitize this, we takeSilver nitrate . . . . . . . . . . . I ounce Citric actd .............. I so grains Distilled water .......... 80 ounces Taking the paper by the right-hand top corn-.'r and the bottom left, we slightly curve it and gently put it down on the surface of the bath, slowly lowering the ends after the manner of develooing platinum prints. If the ends show a tendency to curl we just breathe on them. Three minutes is the time of flotation for thin and five minutes for thick or rough papers, looking out for air bubbles, and if any appear breaking them with a glass

rod. The paper is then held up to drain, or is drawn over the edge of the dish or a glass rod. It is dried in the dark or in weak gaslight, and, of course, dust must be avoided. A porcelain or glass dish should be used, and it must be kept absolutely clean. The bath given above should sensitize the equivalent of three dozen whole-plate pieces. lly that time the bath will need strengthening, for which purpose we add thirty or forty grains of silver nitrate. The bath may be tested near enough for practical purposes with an argentometer; the average strength should be about fifty grains to the ounce. If the bath gets discolored it may be put out in sunlight for a day, and the waste matter will be thrown down. This sensitized paper, kept as ordinary P.O.P. is kept, will last in good condition for six weeks. It must be printed deeper than the finished picture is to be, and if the negative is hard we need not be afraid to print the shadows deeply, as owing to the large quantity of silver present the shadows will not block up. Any toning bath (not combined) will do, but (vir. Moss prefers: Sodium acetate ........... 30 grains Gold chloride . . . . . . . . . . . . . I grain 路water ................... 8ounces The paper is thoroughly washed before toning, giving longer time to thick papers, and tones rapidly. If properly washed it will not double tone, and the bath given above will tone twelve whole-plates. The prints are rinsed in several

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changes, <>nd fixed for ten to fifteen minutes in hypo one ounce, water ten ounces, washing afterwards for one to two hours. Ve ry warm water can be used to exped ite washing. Good tones suitable for man y subjects can be obtaint:d by fixing only, but in this

case washing mu st be very thorough to prevent sulphur toning. As to keeping qualities of the solution, there need be no fear. The sensitizing bath used in the demonstration was first made up eight years ago.

A HOME-MADE FLASH LAMP. BY FRED. G. WRIGHT

1\ot finding anything on the market short of $25 in a flash lamp of the size wanted and then not obtainable without sending to a distant city and express charges besides, I constructed one that will do the business in any interior. The illustration and the following description should enabl e any one who is in want of a serviceable lamp to make one at a triflin g cost to suit any requirements. The bottom cross pieces are 20 and 24 inch es long, fa stened together with a screw, not too tig ht, so that the one turns instde the feet of th e other when taken down. The bottom upright piece is 3-t inches long and th e top upright 36 inches to the tray. \1\' here the two t:prights join is a piece of brass tlirough which th ey slide and which is clamped with thumb screw and nut, permitting the lamp to be adjusted to any height. Screw hooks and eyes- are used to hold the uprights to the bottom cross pieces and also to hold in place the flash pan. A ll the wood is I 1-2 in. wide by 7-8 in thickness. The flash pan is mad e of galvanized iron, 36 x I I in ches, but I I -2 inches is turned forward at each end. The lamp part is made from a $1 Luxo lamp which I possessed. This

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CAMERA AND DARK-ROOM. I took apart and used only the blow part covered with metal holder and filled with cotton which is saturated with alcohol and the 20 feet of hose with bulb is worked from the camera. The powder is laid in a long train and by pressi:tg bulb a flame shoots from blowlamp through a hole in flashpan and ignites the powder. Any amount of powder can be used in this lamp,

121

but the sjze and shape of the flash pan . gives a broad sheet of flame which is more effective than the same amount of powder burned in some other contrivances. Where there are high ceilings or in large halls the stand can be placed on a chair or table if the cross pieces are weighted down. I have given the lamp the severest test and find that it works to perfection.

NEGATIVE RETOUCHING. BY MILTON WAIDE.

I maintain that the part of the phoIt is indisputably the fact that the tographic process termed retouching operator, the maker of the negative, is generally vastly abused. This is can, in retouching his own negative, more true of the professional than of much nearer approach the ideal than the amateur, because the former when this work is entrusted to one knows that negative retouching is who has never seen the model and necessary to please his patrons, and knows nothing of the aim and ambihe therefore employs retouchers for tion of the operator. that purpose. The amateur cannot This fact is generally understood atford to employ a professional re- and conceded. toucher, and, giving him due credit, It is also a fact that because of conwould likely not want one, for he stant experimenting with and shifting realizes that although the result rre- to different methods, ideas and develsents a smooth surface which his oping agents, the negatives of the work does not show, much of the in- amateur vary considerably in quality; dividuality of the subject disappears while the output of the professional with the work of the retoucher. is frequently open to a like criticism. The professional photographer is There are therefore evidences of cognizant of this misfortune, but mistakes arising from misjudgements knows no alternative; for, to be sale路 which only retouching can remedy. Now what is to be done when these able, his portrait faces must be mistakes occur? Prints from the negsmooth. I believe it would be hard to find atives are wasted because unsatisfaca professional employer satisfied that tory. Freckles adorn face and neck the work of his retoucher was all that like the l\lilky \\' ay in heaven's blue it should be, satisfied that although sky. Shadows beneath the eyes and roughness of skin and haggardness at side of the nose are as the deep had been eliminated, the characteris- crevices in the mountainous glacier. tics and individuality of the subject The professional says. "It isn't just right, but the retoucher will fix it up," remained absolutely unimpaired.

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•

and it goes. The amateur does one of three things: either reluctantly takes it to a retoucher who spoils it, prints it unretouched knowing it will make a very unflattering print, or following the plan suggested by hi s artisti;:: mind, relegates the negative to t!1e side of numerous others which bear silent evidence o f the waste of many good dollar bills. There is a remedy, not infallible, for there is none such; but a remeJy so efficient that I wonder that camera workers have not universally understood and profited by it. Any nega·· tive, all negatives, can be helped by judicious retouchin g. This does not mean stippling the face or going entirely over it. It may mean three strokes of a pencil, a tiny bit of etching with a knife or ten minutes w1t!t a freckled face. You can learn how to do thi s much , and you can get the knack in a few minutes' practice. But don' t try to learn ho'w to be a retoucher. L ea rn onl y where not to retouch. Learn not to make an unnecessary stroke of the pencil. If you do make such a mark, all is ruin ed. rt is better to think five minutes before you make a stroke with you r pencil,

]. D. Milligan.

being sure of its necessity, than one stroke misplaced, ruining the effer.t or compelling erasure of all the work. First, eliminate necessity for much retouching by getting the right quality of negative; screening down high lights to low key ( this need hardl.v prolong exposures, as shadows arc but little affected). Second, time full y for deepest shadows. Third, develop with a very diluted metol-hydru developer-equal quantity of each-until all the detail appears, and thc11 if necessary coax the high lig hts a little with developer of full strength. F ix in acid hypo; and you will find that three-fourths of th e necessity fm· retouching has been removed. A tooth surface by rubbing with balsam hr ; a 2 H. lead; a few lig ht strokes und er th e eyes, side of the nose ami upon fa cial blemishes such as mole~, pimples, etc., and a print will regist ~ r smooth enoug h, attractive in detail and with the subj ect's individuality entirely unimpaired. Learn Amateurs, professionals: not how to retouch your negatives ; make the quality do mos t of it and lea rn where 11 0 ! to retouch.

PORTRAIT STUDIES.

(See page 130) .

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METHOD IN NEGATIVE-MAKING-THE LITTLE THINGS. The more of the average amateur's work that I see the more I become convinced that their inattention to the little things accounts to a great extent for their failures. If you do not believe me look over the average amateur's negatives. Fogged negatives, pinholes; bubbles and light-struck plates usually run a close race for first place. Then there are the mottled negatives, scratched negatives, negativeâ&#x20AC;˘ that have been frilled perhaps 1-4 inch au around, cracked negatives and so 0~1 â&#x20AC;˘ all down the list. Now, a dry plate, if you wish to get a good negative, must be carefully handled at each and every point in its career. By chance you will sometimes obtain good negatives when little care has been exercised, but on my part I prefer to eliminate chance from my work. I cleaned a camera for a friend of mine a few days ago and I can honestly say I took a thimbleful of dust from the inside of the bellows and three double plateholders. The lens was dirty, the front combination had evidently been handled with greasy fingers, still that camera was from time to time being used. How many users of kodaks ever think of the dust that accumulates in the inside? Especially with the folding pocket type. If there is an accumulation of dust, in pulling out the bellows the dust is "stirred up" and some is bound to settle on the sensitive film. Hence one cause of pinholes. Now if you wish to improve the standard of your negatives you will ha,Âˇe to exercise more care, but if you do not look after the little things then stop right here for to go reading farther will only waste your time. It is a case of care and attention to little things all down the line to the mounted and ready to be inspected print. First of all have a dark room that is absolutely dark. Next have it ventilated. A dark room which becomes hot and stuffy ten minutes after you get into it

is enough to make any man careless. Keep the dark room clean. Don't spill chemicals, especially hypo., on the floor and working shelf. When it (hypo.) dries the fine dust will be deposited everywhere. Have order in your dark room. Have a place foe everything and keep things in their proper places. If you use an oil dark room lamp get a good one. A cheap ill-smelling one is dear, even if some one presents you witll it. Have plenty of light but have it safe. Two thicknesses of real ruby glass witll one side of one piece ground is I find perfectly satisfactory and safe for all ordinary glass plates. Next, and I will confine my attention to plate cameras, clean your plate holders. Slip the blade of a pen knife into the light-trap of the .holder thus opening it the whole width across and blow out the dust, blow hard. Then take a camel's hair brush and dust the inside of the holder. Finish by wiping the holder out with a damp cloth or better one slightly damped with glycerine. Next dust each slide carefully. The next thing to do is to cover a 3~x 4~ or 4x5 plate with two thicknesses of velvet and pin or stitch it so as to be firm on the plate. This is to dust the plates and is vastly superior to a camel's hair brush for that purpose. Now go into your dark room and remove the number of plates from the plate box that you wish to place in your holders, stand them on edge out of range of the light, then close your plate box. Now withdraw the slide from No. I holder and stand it on edge on a sheet of paper on a portion of your shelf you have previously dusted. Don't lay it flat on the dusty shelf. Brush the edge of the plate brush with a whisk-broom to remove any particles of dust from the nap of the velvet and keep this brush when not in use laying with the dusting edge projecting over the side of the working bench or in a plate box. If you lay it down anywhere on the bench it is bound to accumulate dust. Now hold the plate in one hand and

â&#x20AC;˘

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run the brush gently over the film side and grasping the plate by the sides slip it into the holder. Don't touch the film side at all with your fingers, especially if they are the least bit sticky or damp. If you do you will have splendid finger impressions on the plate. Now before slipping the dark st:de into place blow gently on the plate. Then slip the slide in slowly and not with a bang. Load all your holders in the same way. The next thing to do is to dust the inside of your camera. Take off the lens and remove the ground glass, or take off the back. Dust the inside with a brush, then blow the dust out and tap the bellows gently to remove every particle. Finish by wiping the inside of the bellows with a cloth damped with glycerine. Next polish the lens with a very soft cloth, a drop of pure alcohol rubbed over the lens will remove any grease. Polish gently but carefully, then hold the lens to the light and see that it is clean. Then put the lens back and get the camera ready for service. Now all this "dust problem" is to get rid of pinholes and haPPY is the man who misses them. Even with the best of precautions you will sometimes get them. The remedy is to spot, using India ink and a fine sable brush. Spotting is an art in itself. Now you have focussed on some particular object and you are ready to withdraw the slide. Well, see that the shutter' is set and that your mind is at rest as to the correct exposure. Keep the camera covered with your focussing cloth and when you withdraw the slide have the end of the plate holder well covered with the cloth. Pull the slide out gently and squarely. Don't get one corner out before the other. Then think again about the exposure and if satisfied, expose, being sure beforehand that the lens is protected from the sun. Then when you replaC'e the slide put it Âˇin squarely and do not slip one C'orner in first or else the plate will be partially light-struck. Push it home slowly and keep the focussing cloth over it. Now when you come to develop that plate use the developer recommended by the makers, have it at the right tempera-

ture, be sure the developing dish is dean, that the developer is clean, that all chemicals are properly dissolved and that the plate is sensitive side up. Then pour the developer on quickly with a sweeping motion and quickly go over the surface with a tuft of absorbent cotton to break up any air bells, at the same time gently rock the tray. In this way bubbles and partially developed parts are reduced to a minimum. Rock the tray gently during development. When development is complete rinse the plate in cool water, then transfer it to a fresh clean acid fixing bath, which will not only fix but harden the film and prevent frilling. Fiz thoroughly or else after a few months the negatives will become mottled and frosty looking, which may also be caused by not washing properly. When the negative is washed swab the surface over with absorbent cotton under the surface of the water, then remove, allow it to drip and then with a clean piece of absorbent cotton, wet but well squeezed out, go gently over the film side to remove the surface water. Place the plate in a spot free from dust, but where the air C'an get at it and leave it in that spot till it dries. Don't after partially dry, transfer it to a warmer or cooler room or else the outline where the first drying process left off will be left on the film for good and all. Wlien the negative is dry clean the glass side, if there are any pinholes spot them carefully, then place the negative in an envelope and title it. As to kodaks these remarks will also apply. The lens should be kept clean and the inside of the Kodak thoroughly dusted from time to time. If you develop films in a dark room the remarks I made in regard to plates will also apply in a general way here. In conclusion be sure and attend to the little things. Much time and many "cuss" words are saved in the long run. The proper handling of a sensitive plate from start to finish is like a machine with many parts. If one part is out of order the machine may run in a sort of a way, but not as intended. Do things right or not at all. HARRY L. SHEPHERD, B. Sc, Brockville, Ont., Can.

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IS INTERIOR PHOTOGRAPHY DIFFICULT ? BY ALFRED WILLIAM CUTLER. So much has been written about photography in ge neral that it would seem as if the subject had been thoroughly discussed from eve ry point of view, but apparently little has been written about the photographing of interiors by daylight, and the few articles on this subject have invariably given one the impression that this branch of photography can on ly be mastered after long experience and patient endurance of numerous failure s. Advice has been given about the use of double coated plates, and plates backed with various d aubs and mixtures, sufficient alone to discourage the average amateur from ever attempting to photograph an interior. My vacation last summer was spent in Colorado. I was returning from a short trip to one of the suburbs of Denver, and as I stood camera and tripod in hand waiting for a car to take me back to the city, I was approached by a young man who <>wned a bicycle shop close by. He asked me if I would be kind enough to photograph the interior of his shop, and nothing loath I willingly assented. Now, while I had had a good deal of experience with different kinds of photography, I had never tried my hand at an interior, and st range to say it never occurred to me that I was "up against it." To add to the difficulties of the situation, 1 was compelled to photograph the shop from the entrance, as the interior was so small as to make it impossible to take the photograph fr om the inside; and in placing the camera in this spot th e light from two little windows at th e back of the shop shone directly into my lens. I had no other choice, however, but to photograph the shop from this location or not at all, so I had to make the best of it. I posed my newly made acquaintance as well as circumstances permitted-for of co ur se he wanted to be "in the picture"-focu ssed as sharply as possible, used my judgment as to light conditions, stopped the lens do wn to f-16 and gave the plate an exposure o f "twenty seconds. As you will perceive fr om

the accompanying illu strati on, with the exception of a very slight halation from the window on the right-hand side, the photograph is all that co uld be de sired. This photograph was taken in the month o f August, about 11 a. m.; th e plate use d was a Cramer Jso. lnst., and the lens a rapid rectilinear. According to th e laws of photography as set forth in the a rticles I have read on the photographing o f interiors, the succ ess of thi s photograph under the conditi ons stated wo uld see m to be very improbable. My second attempt at an interior photograph was made only a few weeks ago. I

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had been experimenting on a friend of mine, who had good-naturedly gone through the ordeal of trying to look natural and stand perfectly still for from twenty to sixty seconds, with the full knowledge that the eye of my camera was fixed relentlessly upon her. As I was putting up my apparatus prior to departure I noticed in one of the corners of the room, close to a large window, a marble statue of Mercury standing on a pedestal, which was reflected in a looking-glass standing immediately behind it. It occurred to me that it would be very interesting to photograph the statue wi~h . its reflection in the looking-glass, and accordingly I promptly carried the thought into action. In so doing I .made the not altogether astonishing discovery in erecting my camera that I, too, was reflected in the looking-glass, together with my camera and tripod, which of course added to my anxiety to make a success of the experiment. I instructed my friend to take up a position in a chair behind me, in such a way that a portion of her body was likewise reflected in the looking-glass. "How interesting it will be if it turns out all right," we thought, "perhaps there is two much in the picture to make it specially artistic, but it will certainly make a very fmique photograph." After a vast amount of care and time in adjusting the camera, etc., I cut my lens down to f-32, pressed the bulb, and for three whole minutes we kept as still as images carved out of wood. Upon developing the plate I was again gratified to find that I had made a good interior exposure. "But this time you had a backed plate," says someone. No; the photograph was taken with precisely the same materials that were employed in the photographing of the bicycle shop. The foregoing, therefore, would seem to indicate that it is not so much the use of specially prepared or backed plates that is required in the photographing of interiors (although such plates are doubtless safer :;nd more desirable than ordinary plates), as the exercise of judgment, a careful study of light conditions, and last but by rio means least, plenty of time. Perhaps a word as to development may

not be out of place here. Always have close at hand while developing a tray containing simply cold water. After ·your plate has remained in the developer for about a minute, take it out and place it in the tray containing the water; let it remain there for, say, five minutes, then take it out and again place it in the developer. Repeat this operation until the plate is fully developed, and it will give you a negative . with much finer detail than would result from a plate developed in the ordinary way. It may be necessary before the development is fully completed to mix up a fresh lot of developer, as some developers deteriorate rapidly, especially in summer, and it is true that this process is a slow one, but do not forget that slow dN•elopment is one of the secrets of securing firstclass negatives. [Our correspondent has accidentally "discovered" a fact that has more than once been recorded in this magazine, viz., that the use of a small diaphragm and a correspondingly long exposure will, to a certain extent, prevent halation even with unbacked plates. This course may be made use of in the field when photographing trees or buildings against the sky as well as in interiors, and is the method adopted by every careful worker when the plates have not been selected to suit the subject. At the same time he must not infer that the use of a double coated or properly backed plate or Kodoid plates would not have given him infinitely better results under the same conditions. His concluding sentence, "that slow development is one of the secrets of securing first-class negatives," is now no secret and should be generally practiced where negatives of fine grain are desired, as in portrait work and negatives that are intended for enlargement. His method, however, entails too much trouble and handling of the negative, and the same result may be obtained by using a much diluted developer, either in the form of stand development in which the plates are stood on their edge in a covered grooved box or simply laid in a covered tray on a table or stand provided with some mechanical device for rocking.En.]

CAMERA A XD DARK-ROOJJ.

John C. Reis, Arthur H. Black, C. L Sweet, ]. Salzillo, F. H. Smith, H. E. Thomas, F. S. Foster, and others next month . \V. H . ALTHOUSE.-"Now for a Good Time," a young man standing on the steps leading down from his home, is not a success. The young man is clad in holiday garb, knapsack and camera case slung over each shoulder, tripod and well filled lunch basket in his hands, but there is something about the picture that is not convincing. It is the all too conscious 路 pose of th e young man that mars the effect. He should ha\路e been depicted in the act of bounding down the steps with a glow of expectation on hi ~ face instead of standing facing the camera with an expression more befitting a funeral The photography is good-could not be better.

MIDSUMMER.

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GEO. P. RL' SSELL.-''Midsummer." This is a well selected bit of landscape to which we would call the attention of our younger readers as an example of good composition. The picture is well balanced, the finely rendered sky being contrasted with the mass of foliage and trees on the right while the harmony is prese rved by the less conspicuous clump of trees and bushes on the left. Note also how the diffusion of focus and slight halation has been utilized to give the effect of atmosphere and distance to that part of the landscape visible between the trees and receding to the left; a capital representation o f nature as seen through the haze of a summer's afternoon. No doubt the photographer could have rendered these di stant poi nts with all the detail and sharpness o f the foreground, but at the sacrifice of the picture. Not looking for faults in work that shows such skill and painstaking we cannot pass it over without the remark that a lens of longer focu s would have given better perspective -the too sudden widening of the road being the only weak spot in the compositi on. A suitable figure introduced to give life to the scene and an exposure sufficiently long to show detail in the shadows are

Geo. P. Russell.

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also suggestions. True values should be the watchword in all serious work and in no mid summer day were ever tree trunks or foliage seen so black. Light and shade, -contras t, variety are all necessa ry in pictur e making ; but another and greater factor which is too often ove rlooked is TR U TH. ARTHUR H . BLACK.-'" Home P ortrait" is a sa mple of work of thi s kind which is far a bove th e ordin ary. T he exposure of 7 seconds with f-8 ha s bee n just right and th e lighting is in every way eq ual to the work of th e ave rage ga llery. A few minor p oints mi ght be suggested as improvements such as rai sing th e ca mera more on a level with th e sitter's eyes which would prevent the nos tril s from being so conspicuous. The subj ec t having a full, round fa ce, a more pleas ing picture would have bee n o btained by a three-quarter or side vie w. It is no t ad,·isable to wear spectacles when being photographed although in thi s case their presence does not constitute a defect . Turning th e sitter's face to the right, until

th e ri ght ear was just invisible, would be an improvement, and also would have avoi ded the vacant stare which looking into the lens invariably produces. .Mrss NELLA McCoY.- "Elm Creek" is a well selected bit o f landscape, but it has no point of interest save being a memento of a holiday. The composition and placing of the principal objects is so well carried out, however, that we take it for granted you are well advanced and should see the glaring faults without hav ing them pointed out. The main fault is lack of color ,·a lues. The left bank is as black as it iE possible to make it. Never was this or tht. lowe r left corner so dark to the eye on a day so bright as shown by the illumination of the opposite bank. You should ha ve g ive n a time exposure. CHAS. K. CuRns.-·'Bergen Cut, P . R R .," is but a snap shot from a bad view poi nt. Standing between the tracks, a short focus lens has rendered the perspective in a manner that should be to you a good obj ec t lesson of the unsuitability of wide angle lenses for such subjects. The spreading rails in the fore· ground, almos t half th e width o f the picture apart, mee t at th e ,·ani shin g point, forming al mos t an equilateral tri angle with the base of the picture. Such pictures should be taken from one side o f the track, if worth taking at all. T he expos ure has also been too short. H. W . }oNES.-"Fo rt Simpson at Night" is one o f an interesting batch o f prints fro m the Hudson Bay Territory. The li ght of th e au rora borealis is seen in tht. sky and th e fact that the negative only rece ived three minutes' expos ure at 7 p. m. in l\ovember proves that opportunities for pictu re making are plentiful in th e Arctic regions, al though th e sun is benea th the hori zon mos t of the time.

Elm Creek

Nella McCoy

SAM UEL F. FROME.-"Jn \Vinter Attire." T he Pequest Riv er, N. ]. Here we have TRUTH. A perfect print from a perfect nega ti,·e gi,·ing a correct representation of natu re. If the engraver is as careful of hi s work our readers will see snow pictured which makes you fe el it is snow and runnin g water which really appears wet (water

FORT SIMPSON AT NIGHT.

By. W . Jonea.

3 minutes expo su re , 7 p. m . in N o v embe r.

11'1 WINTER ATTIRE.

Samuel F. Frome.

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is generally pictured as dry as cotton) Mr. Frome need not rest on his laurels because we can find nothing to say, but praise for his print. Perhaps there are those among our readers who could have done better under the same conditions. LoL"IS J. CHRJSTJE.-"After the Storm' is hardly a fitting title to the print. It ap pe~rs to be a view taken against the lighttowards evening and the sky is peaceful, the clouds not being storm clouds. Tht silhouette is a good example of simple lint composition, but the tone values are so lacking that except as a decorative effect the print is without value. C. K .. METZLER.-"An Old Veteran," a photograph of a dead tree standing in the middle of a snow covered landscape is hardly worth a plate. The photography is good~the values and the rendering of the snow being far better than the majority of such work. An oval form is not so good as square corners for a landscape, and never allow a companion to sit down in the most prominent place in your picture and gaze at the camera. By the way, which is the old veteran-the tree or the man resting at its base? GEO. RIEDL.-"'Still and Calm" bears out the title in that it is a picture of an unruffled ~heet of water overhung with a wealth of foliage. Pictures of this kind are generally hopeless failures, consisting of sharply defined branches reflected equally sharp in what is supposed to represent water, but. is in reality white paper. In this, however, the exposure has heen sufficient to give correct values and shows so fine an appreciation of an everyday scene that we hope soon to see some more pretentious work from you. ]. D. MJLLJGAN.-"Portrait Studies,'' three of them, good in every way except the ridiculous masking. You have spent time and patience in securing characteris· tic and attracti\·e poses and the sitters have performed their part to perfection, but do you not see that the fantastic shapes at· tract the eyes away from the faces, be they ever so winning? True, the masking i5 neatly and cle,·erly done, but why? It is a case of love's labor lost. Otherwise your

work is good ; among the best that has. come to this department. An oval, cut to conform to the shape and size of the figure, is as far as you should depart from the orthodox oblong with square corners. H. TRJMMELL.-''Acreekin, B. C." This is a good photograph ; an excellent topographical reproduction of a scene in the Canadian backwoods. The point of ,·iew is well chosen and exposure just right-a rare occurrence in most of the woodland scenes that come to us. Local reduction or rubbing down with alcohol and a bit of wash leather would improve the too strong high light in the stream as water was never so white. Apart from local interest, however, there is nothing in the scene that seems to make it worth a plate. S. F. CwwNEY.-"Still Life." But for the crowded and too laboriously arranged effect we would have nothing but praise for this. Technically speaking, the print is perfect, as it should be, coming from an old hand and the subjects being inanimate and capable of being placed and lighted at the will of the operator. It is a beautifully rendered photograph of a bust of Shakespeare, three books and several other articles, but as a picture does not inspire the sentiments one feels when seeing a picture on similar lines: "Old Times, Old Books, Old Manners," which was exhibited by Henry S. Redfield at the First American Salon. \V. H. ALTIIOl"SE.-"Now I Lay Me Down to Sleep." This is an attempt at a genre picture which falls wofully short of being a success. The figures are too large for the size of the picture, too evidently posed and not posed to the best advantage There are too many and too strong high· lights and too many lines which keep the eyes jumping from one point to another. Cut the print down the middle and you have two pictures, each of which is better than the whole. You ha\·e chosen a nice theme and have the advantage of very pretty models, but do not crowd your pic· turcs unnecessarily. It takes long train· ing to pose groups satisfactorily and four is a number that has puzzled many of our best artists.

STILL LIFE.

"lfOW I LAY ME DOWif TO SLEEP."

S. F . Clowney.

W . H. Althouse.

CAMERA A.YD D A RK-ROOM.

132

Prize Competition. \ Ve tak e plea sure in ann ouncing a prize competiti on und er the two foll o wing classes : 1.

Genre studie s. Land scape with figures.

F i,·e pri zes in order o f merit will be awarded to the co ntestants in each clas, and th e pri zes will aggrega te $100 in cas h, mercha ndi se and books. Eac h competit ot mu st submit three prints and entry bl a nk ~ which mu st be attached to th e hac k o f eac h print will be fo und in o ur ach·erii sing pages. J un c t.=;th will be th e clos ing dat e for rcce i ,-in g cnt ri es.

Postal Club. So many o f o ur readers han: l'X Jll'c,;,;ed their de sire fo r th e circulating portfo li c that we no w ann o un ce the following condition s : There will be three po rtfolios. P o rtfolio A, Genre pictures. Portfolio B, Land scapes. Portfolio C, Portraits. Any C:\ ~'IER .\ AND D ARK-ROO M rea der may participate by se nding two prints and twenty-five cen ts entry fe e for eith er po rtfolio. 1f a ll three sho uld be de sired, two prints fo r each mu st be scnt and se ,·entyfive cent s. lt is understood that one's bes t wo rk only will be sent to the portfoli o. and tc keep cl own the weight, the print s mu st be mo unted on mat papers ( two o r thr ee papers may he u sed ) but 11 ot rardboard. A uniform size o f mount is des irabl eS x JO bein g suggested as the size limit As soo n as suffici ent entri es have been reeei,·ecl. the prints will r eceive critici sm and th e po rtfol io start ed on it s ro nte. when each recipien t mw;t add hi s or her critici sm io th e print s on blanks whi ch will be provid ed and then fo rward th e package to th e nex t o n the li st.

T o make the po rtfolio as educational as possible, full detail s as to expos ure, plates, paper and chemical s used mu st be written on labels attached to the back s of the mo unt s. A cash pri ze of $5 will he awarded to th e maker o f th e best print in each portfolio, and each r ecipient mu st r ecord his ,·ote fo r such o n th e spec ial blank provided be fore r e- inai lin g th e portfoli o. As ,;oon as the circle is co mpl ete the prize will he awarded and th e po rtfoli o again <;ta rtecl o n its ro ute wh en each member \\·ill extr ac t hi s o r her o wn prints and th e critici sms thereon, in se rting two new print s befo re r e- mailin g if he desires to kee p up hi s memhership. The number o f suhscrib('r s to each portfoli o is limit ed to tw enty -fi ,·e. so ea rly entry will pre,·ent di sa ppointment s. The circulating po rtfoli o will prm·e an excellent o ppo rtunity fo r photogra phers to see each o thl·rs fini shed \vork and th e comments thereo n, a nd will no do ubt he productive o f mu ch good . Co upo ns for each po rtfolio will be found In o m adn·rti ,; ing pages. THE Pn oTo CRITI C, always interes ting and nea t, ha s been increased in size and impro,·ecl in appeara nce. Thi s excellent mo nthl y is iss ued g r atis hy th e Rotograph Company, 771 East t6~th Stree t. X ew York.

"' * * · CoMP:\I'iY's catalog ue fo r 1<)05 ha s mad e it s appearance, too late fo r tts to notice any of th e impro,·em ent s o r inn ovation s m th eir line of ca menl "- Suffice it to say that within a striking aud origin al co \'er will he found full de sc ripti o n o f all that is g-ood and cle,irahle in hand and trip orl cameras Ceutury quality is no w understood where1"\'e r Ce ntury cameras are kn o wn and that is th e worlrl m·er. Those contemplating a new o utfit may have a copy of th e catalogue fo r the asking fr om th eir rlealer o r from th e Ccn tnry Camera Co .. Rochester. :--:1. Y. T HE CENTl'RY CAMERA

* * * ScRF.E:-1 Fon·s K oDA K di spels the onl y objecti o n that h as her etofor e been r aised again st da ylight film and with the to uri st o r se riou s ph otograph er thi s latest o ntput fro m th e Kodak fa ctory sho uld be indeed popular as it combines all the adTHE

CAMERA AND DARK-ROOM. vantages of a plate camera with lightness and portability; not to speak of the nonhalation and ortho-chromatic qualities and other advantages of roll film. COWRPRINTE.

Photography in all the colors of nature has been accomplished, as all will admit who have had the opportunity of admiring the work of Frederick E. lves and his wonderful kromskop; but the taking and viewing apparatus is expensive and beyond the reach of the multitude. \Ve therefore welcome any new process which brings us nearer to color photography, and such a one is Colorprinte, a paper for making photographic prints in the colors of nature from ordinary landscape negati,路es. Colorprinte is the invention of Dr. von Slavick, an Austrian army officer, perfected by Dr. Adolf Hesekiel. It consists of a paper coated with successive layers of colors in the order of the usual relative density of those colors on the negative. \Vhen printed that portion of the coated pigment which has not been acted on by the light is washed away in warm water which completes the print. The theory is that light passing through the negative reaches. through the sensitized layers of pigment to the路 color representing the original color of the subject. In the high lights, such as the sky, the negative being dense only such light will pass through as will reach the first coating which is light blue. On the contrary in the darker portions, such as foliage, those portions of the negative being more transparent the light reaches through the successive layers to the green which is next to the last coating. As will be seen the working of the paper is of the utmost simplicity. In the form in which it is being placed on the market it consists of an ordinary looking piece of pigment paper which is sensitized by being placed for three minutes in an ordinary 2 1-2 per cent. bichromate bath or, preferably, in the sensitizing solution which is furnished by the manufacturers in concentrated form It is then squeezed to a ferrotype plate and placed in a dark place to dry. If this sensitizing is done in the evening the paper will be dry and ready for use the following

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morning.路 \Vhen dry 1t 1s sensitive to light in about the same proportion as ordinary gelatine paper so that jt can be handled with impunity in ordinary subdued light. As there is no perceptible change during printing that is best accomplished by exposing a small stnp of gelatine paper on one edge of the negative along side the Colorprinte. When the gelatine paper has printed to the depth usually required for a good proof the printing is complete. The Colorprinte is then placed in a tray of cold water, allowed to soak for a moment and a piece of transfer paper (which is furnished with the Colorprinte in each package) placed under it and both removed from the water and squeezed together. It is left for a few minutes and is then placed in warm water-about 95 de grces-though a thermometer is unnecessary because a difference of several degrees will make no difference in the print In a few moments some of the red protective coating will be seen to ooze- out between the Colorprinte and the transfer. The original paper of the Colorprinte can soon be removed and the print will have the appearance of a mass of dark red. It is then turned face down in the warm water when that portion of the pigment which is not affected by the light will dissolve and fall to the bottom of the tray. It can be turned face up and examined from time to time to ascertain when development is complete Development usually takes about 5 minutes though it can be hastened by slight!) warmer or retarded by colder water There is a great latitude of exposure as if under exposed colder water may be used and warmer if over exposed. As development progresses the operator will be pleasantly surprised by the appearance of one color after another as the warm water reaches to and dissolves the unexpected pigment above each color. When development is completed the print is thrown in cold water or a weak alum solution to stop further development and is then mounted or hung up to dry to be mounted later. In operating the process will be nottd to be similar to the carhon process but is much simpler in many ways. No ''safeedge" on the negati\'e or paper is necessary.

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CA MERA A N D D A RK-ROOM.

In devel opment no manipu latitl n is needed th e best res ult s being secured by all owin g th e print to remain face down in th e wat et and work out its own success. L ocal devel· opment is unnecessary and ha rmful except possibly to work clo ud s in th e sky j u-;t be· fore development is compl eted. N o special negati,·es are required but good o rdinary contra sty n ega t i n~s will g iH a correc t interpretati on of th e or igina l colors of th e view. T he Colorprinte no w being placed on the market is for ge neral landscape negativ es. O win g to th e fa ct that man y o f th e shades o f red and gree n photog raph with practi call y th e sa me den· sity on the negative, special paper for 'po r· trait work is required, whi ch it i,; hope d will be on th e market in th e nea r future.

Lens Terms Explained. ""Subscriber'' reque sts a defin iti on o f the word s Achromatic, Stigmatic, A ngulat Ca pacity and Focus. A nnuer. ( 1) Achromatic. White light passed through a prism or a sing le lem will be separated into colors, the sam e a ~ th ose o f th e rainbow. These colors art call ed Chromatic. A lens that is so co r· rected th at it does not separate the light into colors is call ed Achromatic. Thi s cor· rec ti on is made by placing two len ses to· geth er, one a con verg ing and the other o diverging; th ese two lenses together are call ed a singl e combin ati on. A double co mbin ati on con sists of two o f t hese sing}( co mbinati on s in th e sam e lens system or same lens barrel. ( 2) Stigmati c. A !em is ca ll ed Stig mati c when it will reproduce perfec t points or both hori zo ntal and per· pendicular lines sharp all o\·er the plate at th e sam e time. The word comes from ''stigma," a point. (3) Angular Capacity. All th at a len s can tak e, the diagonal of th f la rges t pl ate it will cover. (4) F ocus The po int where conve rgent lines or ray~ of light cross after passing through a lens

Protection for the Hands. G. A ., Chi cago, desires formul a for a . Good Prints from Thin Negatives. mixture to rub on th e hands to protect B. B. L., Grand F orks, has a thin and them fr om photographic chemi cal bath s. Aat nega tiv e du e to ove r- expos ure and A nswe r. Rub in the following befo re short development and wants to kn ow how commencing work: Best neutral soap in to treat it so as to sec ure a good print. fin e shavings, 1 oz.; wate r, 1 oz. ; wax, 1 A IIS"&e r . T he following process will oz. ; amm oni a, 45 minims; la noline, 1 oz yield a negati,·e of surpri sin gly bett er print· The soap is di ssolved in the water heated ing qu a lity th an th e ori g inal : Place a slow for th at purpose, th e wax mixed in b) or "lantern" plate und er the imperfect n egstirring, and wh en all is in solution, th f ative in a printing fr ame, cove ring the ammonia added. vVhen clea r, th e lanolim front of th e frame with two thickn esses o f is put in a nd th en, if th e mi xture is ve r) ord inary ti ss ue paper, and give a short exthick, water added until th e wh ole h as pos ure at not less than eight feet from a about th e co nsistency of honey. It should para fhn lamp or gas-burner . Let the de· be kept in a covered stoneware ja r. T h<' velope r cont ain a full dose o f pyro and am - . hands sho uld fi rst he washed with ordin a ry monium bromid e ( 3 to 4 g ra ins per o unce) soap a nd th en, whil e th e lath er is still on and onl y suffici ent ammonia to start deYelthem a por tion o f th e mi x ture about th f opment, Yi z.: 30 to 40 minims 10 per cent size o f a hazel nut rubbed in until all i ~ soluti on. Thi s will tend to make· den~l op absorbed and th e hands are dry. T he ment slow, but a v igorou s tran sparency wili g reasy fee ling is th en gotten rid o f b) be the res ult. vVhcn fi xed, washed and rin sing in clea n water, th e water being dri ed in the usual way, place a slow plate shaken off, not wi ped off with a towel. A t behind it and expose and develop ex actly the close o f the work. th e fi lm of wa x i ~ as before. A nega ti,·e o f good contrast and was hed off in warm water and a littl e lano printing density will re ward you for the line rubbed into th e hand s. t rouble taken.

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ONE DOLLAR THE YJtAR. TJtN CJtNTS THE COPY

VolumeVIIL

New York, May, J905. Edited by

361 Broadway

No.5

CHALKDS.

Published on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office aa second clau mail matter. Subscription price, One dollar per year in advance. Foreign subscription price ssh. $1.25) Pos1tively not connected with any photographic stock house . .Matter should reach office by the 15th of month preceding date of publication. Original MSS. solicited

PHOTOGRAPHY THROUGH A CHEMIST'S EYES. BY A. G. WOODMAN. IX.-The Washing of Prints and Negatives.

HE elimination of the sodium hyposulphite which is retained from the fixing bath is usually carried out by running a current of water through the tray containing the prints or plates, or by the more laborious process of transferring them at frequent intervals to a tray containing fresh water. I pointed out in a previous article how the use of a proper oxidizing agent could be made to decrease very materially the time and labor necessary for this and wish at present to discuss from a chemical standpoint the questions involved in the removal of the hypo by the simple treatment with water. Considerable attention has of course been paid to this matter and in chemical journals can be found the results of several researches into the subject. What experimental work I have had time to do has confirmed the

conclusions already reached by others. Those who wish to go into the matter more extensively will find in "Le Moniteur Scientifique," a very clear and most interesting contribution to our knowledge of the question . . I shall take up here only very briefly the most interesting experiments. (A) REMOVAL OF HYPO FROM PRINTS.

If prints on either the ordinary printing-out paper or gelatine-bromide paper are 路washed in the ordinary manner even for a long time it is easily demonstrated that in spite of the enormous quantity of water used there always remains a trace of hypo in the paper. This can be shown quite readily by adding a crystal of nitrate of silver to the last drops of liquid expressed by squeezing the prints in the palm of the hand. If any one has never tried for himself this extremely delicate and convenient test for hypo

CAMERA AND DARK-ROOM. it would be interesting to do so and watch the chemical changes gradually produced. Upon dropping the little crystal into the clear colorless liquid at first we see only a little white cloud gradually appearing. This rapidly spreads and passes through very pretty changes of color, from canary yellow to orange and a brilliant scarlet, then to brown and all at once, without warning, settles down as a black, flocculent precipitate, leaving a nearly clear liquid again above it. In testing the rapidity with which the hypo could be washed out from the paper, experiments were first made with a single print, 5 x. 7, in each case treating it with 30 ounces and with 16 ounces and allowing it to remain in the bath in different experi· ments, for 5 minutes, 10 minutes, 20 minutes and half an hour. In each case was determined the amount of sodium hyposulphite which still re· mained in the print. These experi· ments have shown two things: ( 1) That the total amount of hyposulphitt removed by each operation is the samt whether the 30 or 16 ounces of watet was used; (2) that the maximum amount of hypo found in each wash water was practically the same whethet it had been allowed to act for 5 min· utes, 10 minutes, 20 minutes or a half· hour. If the time of washing is re· duced to about one minute instead of five ·minutes, the elimination of the hyposulphite is much less complete and less rapid. Five minutes seems a necessary interval to produce the maximum elimination. It might appear at first thought possible, by continuing the washing for a sufficiently long time, to remove completely the excess of hyposulphite.

•

It is found, however, that the gelatine film of the paper retains the last traces of hypo very tenaciously. It can be shown readily that this is the case by pressing the prints, which have been thoroughly washed, in the hand as before and collecting the few drops of water thus squeezed out. This liquid, when treated with a crystal of nitrate of silver, will show the presence of the sodium hyposulphite. A series of trials have, therefore, been made in order to determine in what way the removal of the last traces of the hypG can be accomplished best. If the prints are pressed after each washing it is observed that the quantity of hypo diminishes very greatly and can be eliminated rapidly. This fact has already been observed and put to practical use in many of the arts, especially in those branches re· lating to the textile fibers. If these are found to be saturated with chemicals in water solution the elimination of these chemicals is materially has· tened by strongly squeezing or wringing the fibers. To test this point thoroughly with the prints, various ways of pressing have been tried. A series of prints well washed were placed in a pile in the bottom of a tray and then pressed ; another series of prints, after each washing, were placed between sheets of blotting paper and pressed: A combination of these two methods was found to give the most complete and most rapid removal of the hypo. Care was taken, of course, after having removed the excess of water from the prints by pressing them on the bottom of the tray to moisten them again with a small quantity of fresh water before placing them between the sheets of blotting

CAMERA AND DARK-ROOM.

paper. By this treatment it was found possible to remove the hypo so thor路 oughly that after seven successive washings, using 3 ounces of water fot each print, no further trace could bt: found in the wash water by the silvet nitrate test. The efficacy of this treatment will be illustrated by a comparison with the ordinary method of washing. Ten prints, 5 x 7, were washed in a 10 x 12 tray for five hours, using a "rose" faucet delivering about 8 quarts of water per minute (about 2400 quarts in the five hours). Upon then testing them by pressing and using silver ni路 trate in the water pressed out, a distinct test for sodium hyposulphite wu obtained. In the ordinary mode of operation small quantities of hypo tend to accumulate at the bottom of the tray. If the print is washed upon a plane surface, a pane of glass or the bottom of a tray, for example, the difficulty is largely avoided. Still, if a print which has been washed in a good current of water on the bottom of a tray for two hours, the liquid pressed ou1 will yet contain a noticeable amount of hyposulphite. It is easy to illustrate the difficulty of removing the last traces of hypo which remain in the gelatine film. It is only necessary to pour water upon a print which is placed face down upon a porous tile. Although the gelatine is directly in contact with the porous surface, the water will remain on the paper, showing how hard it is for the water to pass through the gelatine layer. The logical conclusion from tht: various experiments which have been mentioned seems to be that in the

139

metnod of washing commonly used the greater part of the water does no practical good. The following seems to be the best way to operate with, say ten prints, in order to secure the removal of the hypo in the most rapid and thorough manner. Wash seven successive times for five minutes each time, using a tray 12 x 16, containing about a quart of water, for each washing. Have care to agitate the prints thoroughly so that they will not stick together. After each treatment pile the prints upon ont: another in a tray 5 x 7, face down. Pour off the wash water, press tht: prints firmly with the hand and pout off the liquid squeezed out, then we1 the prints again with a small quantity of fresh water and press them again between two sheets of blotting paper, placing them side by side. It is ad路 vantageous to use a roller in order to press them more thoroughly in the blotters. (B) REMOVAL OF HYPO FROM PLATES.

With plates the question of the removal of the hypo is not of so much. importance as in the case of prints. In general it is sufficient to wash enough to avoid the crystallizing of the hypo in the film when the plate is dry, for there is much less danger oi the alteration of the image than with papers. Basing conclusions upon the facts observed in connection with papers it would seem that with plates a removal of the hypo sufficient for all practical purposes could be obtained within a comparatively short time. In order to see if plates retained some hypo which could be eliminated

CAMERA AND DARK-ROOM.

only by pressing, as was found true in the case of prints, the gelatine was detached from the glass. after the final washing and pressed .in a little cloth bag. The liquid obtained by this pressing was found to give no reaction with silver nitrate. This result shows that in the case of prints the hyposulphite is retained persistently by th( paper itself as well as by the gelatint film. The amount of hypo removed from plates by different ways of washing was compared thus : In the first method the plate was phced in a tray and the water allowed to flow directly on it from the tap In the second case the plate w:ts put into a tray and treated for the same time with the same qmmtity of water as before, the plate being thus in con路

stant contact with the wash water as in the first instance. In both cases the plates were in contact with the water for five minutes and approximately 37 quarts of water was used. In still another experiment a plate was immersed five times successively, for about five minutes each time, in about six ounces of water. In this case, then. only about one quart of water was used. The results of this series of tests have shown that the washing of plates in a current of water wastes the larger part of the water to no benefit; further, that the prccedure which appears most efficacious, at the same time using the least water, consists in immersing the plate five successive times in 6 or 7 ounces of water for each 5 x 7 plate.

SILVER PRINTS UPON PORCELAIN OR OPAL GLASS. BY A. J. JARMAN.

Specially written for Camera and Da,路k 1\oom.

0 produce photographs upon porcelain or opal glass the usual method is to coat the surface with a sensitive preparation made either with collodior; or gelatine in the form of an emulsion, and print the picture direct upon the sensitized surface, then to tone and fix the image just the same as would be done with a paper print; the carbon process offers an exception. It is often the desire of both the amateur and professional photographer to produce such a picture without preparing a stock of sensitive emulsion for plate coating, with the necessary levelling

slabs of slate or marble, and other appliances that are required for the ever setting of the emulsion and cooling operations. More than this, it may be desired to produce a print upon a convex surface like the portraits that are burnt in upon porcelain. In such a case, the print must be transferred. This is usually done by making the print in the first place upon paper, then by removing the film that con tains the image and transferring this film to the support of porcelain or opal glass that has been prepared to receive it. The prints that are to be stripped from their paper support for

C.路LliERA AND DARK-ROOJI. transferring, must be made upon 路a collodion-coated paper, such as aristo platino. The process of stripping is not at all a difficult one. It can be performed by any person who has had no experience in such an operation before. It wili be necessary in the first place to select and prepare the porcelain or opal plate to receive the film, which should be done in the following manner : :\lake up about half a gallon of cleaning liquid by adding four ounces of carbonate of soda (common washing soda) to half a gallon of hot water, of such a temperature that it can be handled fr~ely, lay the plates in this liquid, one by one, then rub the surfaces over well, with this alkaline solution, using a mop made by tying a piece of clean white rag upon the end of a clean strip of wood ; clean the backs of the plates as well as the 'face, then wash them under a stream of running water, and place into a tray containing a mixture of muriatic acid two ounces, 路water forty ounces; allow them to remain in this acid mixture until they are to be coated with the substratum. The object of this acid bath is to destroy any trace of alkali, and to keep the surface of the plates both mechanically and chemically clean. \Vhen the plates are all cleaned, make up the following gelatine mixture, which forms the substratum: Hard gelatine (Heinrich) .200 grains Filtered water ............ 12 ounces Granulated sugar .......... 50 grains Melt the above in a small earthenware pitcher (an ordinary milk jug is just the thing) by placing it into boiling water. When the gelatine is dissolved stir the mixture well, then filter

it into a four-ounce graduate, covered over with two thicknesses of damp cheese cloth. See that there are no air bubbles upon this mixture. Then take one of the plates from the acid bath and allow a gentle stream of water to flow over the plate both back and front, drain the plate for a few seconds, then pour the warm gelatine mixture carefully over the plate. Holding the plate in the left hand b~ one corner, form a pool of the mixture in the middle, allow it to flow first to one corner, then to another, until the rlate is well covered ; allow the excess t.:> drain into the graduate, by touching the inside of the graduate with cne corner of the plate. This method of procedure will prevent any air bubbles being formed. The plate now coated with this substratum should be placed in a clean rack to dry, away from dust. Repeat the above operation until all the plates are coated. When the plates are dry, they may be packed away in a clean, dry box, with their surfaces separated the same as. ordinary dry plates, so as to be readyfor use. The next operation will beto make the number of prints required: upon aristo platino paper. The prints; in this case must not be printed quite so deep as is usually done, no matter whether they are to be toned in a gold bath only, or toned first in gold and then in platinum. In either case the printing must only be carried to a moderate depth. The following is an excellent gold toning bath for the above mentioned paper. It will give any color from a sepia to a blue-black. Dissolve fifteen grains of chloride of gold in fifteen ounces of water. Keep this as a stock solution. Make the toning bath as follows :

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CAMERA AND DARK-ROOM. GOLD TONING BATH.

Filtered water .......... 32 ounces Chloride of gold solution. 3 " Saturated solution of borax (made with hot water) ................. 3 " When mixed, the above is ready for use. Having made the prints, wash them in three or four changes of water, allowing them to stand about ten minutes in each water. There is one thing that must be attended to when the prints are first placed into the water. They must be only just wetted and pressed or patted down upon each other crosswise. When the number of prints are all placed in the tray then press them down upon the bottom of the tray with some pressure, tilt the tray so as to allow the water to drain away entirely, then leave the tray standing on edge for ten minutes. This treatment is necessary with collodion-coated papers. It will cause the prints to lay quite flat in the after operations. As soon as they have remained for ten minutes or more as described, the prints may be washed in several changes of water so as to get rid of the excess of nitrate of sil ver. They may then be toned in the above gold toning bath which must be used at about 6o degrees Fahr. If the print is required to be sepia in color, then only slight toning is necessary. The print or prints may then he thrown into a tray of cold water to stop any further change in color ; but if they are to be toned in platinum, then the gold toning must be carried until each print looks quite a blue color all over. The toning bath for platinum may be made up as follows:

STOCK PLATINUM SOLUTION.

Chloro-platinite of potassium .................. IS grains Distilled water ............ 2 ounces Phosphoric acid .......... 2 drachms Shake the above mixture well and when the platinum salt is dissolved, the stock solution is ready. It is better to use warm water in making the above solution, because the platinum salt will dissolve more freely. PLATINUM TONING BATH.

Stock platinum solution路 .... I drachm Water ................... 25 ounces After the prints have been washed three or four times after the gold toning, place them a few at a time into the platinum toning bath. Keep them on the move, or they will become marked. In the course of a minute or two, the prints will assume a beautiful black or blue-black tint. Place them into cold water as soon as the desired color is reached. Return the platinum toning solution to a clean bottle for future use. (The gold toning bath may also be preserved.) Wash the prints in two changes of water, then fix them in a plain solution of hyposulphite of soda one ounce, water eighteen ounces. Allow the prints to remain in this solution for ten minutes. Remove them and without waiting at all throw them into a tray of salt water, made up of two ounces of common salt to twenty ounces of water. This must be done to preyent blistering of the print. Five minutes in this salt bath will be sufficient ; now wash the prints in six changes of water. They are now ready to paste and mount upon cardboard. To paste them, lay the prints face down upon a

CAMERA AND DARK-ROOM.

sheet of clean glass, about 8 x 10, arranged on top of each other. Carefully drain off the excess of water, then lay a sheet of clean blotting paper upon the top of the prints, and by a careful pressure of the hand press out all the superfluous water; apply the paste with a soft brush, in all directions, then lift the print, place it upon a piece of clean cardboard, and rub it down well with a piece of blotting paper upon the face, either with a roller or with the palm of the hand. It must now be suspended to dry. As soon as the print is dry, quite dry, it must be coated with the following mixture: Albaline and thinner, equal parts, also known as amyl-acetat< collodion and crystalline. The "thinner" is a special preparation for making a more limpid material of the amyl-acetate collodion. As soon as the mixture is ready, pour it in a pool upon the centre of the print, allow 1t to flow all over it, and drain the excess into the bottle from which it was poured. The varnished print must now be stood aside in a clean rack to dry, or it may be suspended by means of a wooden clip. It will be found that if the prints are coated with the above varnish or lacquer during the evening, that they will be thoroughly dry by the next morning, fit for the operation of transferring. The prints are now ready for the stripping of the film, which is done in the following manner : Place the print into a tray of hot water (an enamelled iron tray is best suited for this). Allow it to soak for a few minutes. In a very short time the collodion film containing the image will float off the paper support. It may be assisted by the use of a small camel's-hair or fitch

143

brush. It may then be lifted and placed into a tray of clean, warm water. The porcelain or opal plate must be dipped into cold water for a short time, then placed into the warm water and the film spread upon it carefully. Remove both film and plate, and arrange the film by means of the camel's-hair brush, until placed into position, then carefully stroke the brush over the surface, wetting the brush occasionally so as to remove any air bubbles, and also to wipe off any of the gelatine mixture should it get upon the surface of the film. It will only be necessary now to allow the film to dry by placing the plate in a clean rack, then when dry coat it with the thinned down albaline or amyl-acetate collodion and finally dry, either by heat or spontaneously. The resultant picture will prove to be perfect in every particular, and possess a brilliancy and transparency not obtainable in a paper print. The film will be found to be very tough. This is due to the coating of celluloid varnish, which is what all the above preparations consist of. The picture may be colored if so desired before the varnish is applied, in good water-colors, the best being made from solid cake colors. These prints are proof against the action of moisture or weak alkalies or acids ; in fact, they form about as permanent a print as possible next to carbon and platinum, with no possibility of the whites of the picture becoming degraded by chemical action. Any size print may be made and transferred as described. It will be a good plan to follow to make a few small pictures in the first place, so as to enable the operator to become ac-

144

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quainted with the necessary manipulation, then to venture upon larger pictures. The film when stripped may be transferred to plain glass, thus making a beautiful transparency. Of course the plain glass must be prepared with a substratum the same as for opal glass. The surface upon which the transfer is made need not be a level one. It may be concave. In this case the image must be backed with white paper, and if desired, the backing may be roughly colored so as to lend a suitable tinting to the face of the subject, if the transparency is a portrait, or the film itself may be painted upon with thin oil colors, and when dry backed with a piece of thin ivory-faced cardboard. The writer has sent herewith a specimen of the kind of work that can be done upon porcelain or opal glass. This specimen has been toned with a solution of gold onlv and coated with albaline

lacquer, which is quite colorless. It also serves the double purpose of forming a protective coating as well as a secure means of holding the transferred film down firmly upon the porcelain. [The specimen submitted, a portrait on opal glass, is an excellent ex· ample of the practicability of the pro· cess outlined by M r. Jarman. It possesses all the quality and almost all the indestructibility of the more com plicated and costly ceramic or burnt· in enamel process. Our readers will find in this an interesting variation from the regulation photographic print and the directions given will an· swer many inquiries we have received as to how to print on glass or china Should any of our readers not meet with success or desire any special in· formation, a stamped and self-ad dressed envelope will ensure a prompt reply.-Ed.]

WOODEN CARRYING CASES. BY C. H. CLAUDY. li!iJ:!iiiij!HE ~ the amateur searches

catalogs for the best camera, he notices that almost every instrument of any size, and particularly those which are to be used with plates, includes, as part of the outfit, a " neat carrying case.·· This concession on the part o f the manufacturer is so universal that it is no longer an inducement, but an expected perqui site. Just the same, the amateur who makes any pretence to "advanced" knowl edge usually fills out hi s cases with extra plate-holders in short order, and then , when more plate-holders are added , and some indi spensable accessories, he

commences th e time honored habit of disposing these accessories about his person, and, when ready for a trip countrywards, which is to occupy the day, looks much like a photographic supply-house engaged in movmg. When he meets with the beautiful view which demands a rayscreen, the other shutter, the adjustable tripod-top, a lens-shade, etc., etc. , and again etc., he has to dismember hi s wearing apparel to get at these etceteras, causing himself much inconvenience, and probably, unless he is a she. broadening hi s vocabu l a r~· . After a very little of this sort of a thing he wan ts anothe-r carrying case

CAMERA AND DARK-ROOM.

-either one big one which will hold the whole outfit, or two smaller ones -one for th e camera, one for the accessories and plate-holders. If he writes to the manufacturers, he is aSsured that they will be glad to make a special case to order, for, say, ten dollars. This courteous consideration causes him to lose interest in the double-case idea and probably to go back to the old methods of uncomfortable carrying of apparatus in the pockets. Any amateur who has even a tyro's knowledge oi tools, however, can, with a little patience, wood, glue, screws and tools, make himself a much better case than he could buy for a reasonable price. This is how. ( Note. Some months ago I described in one of the photographic magazines a method of making cases of cardboard and . cloth. Said cardboard and cloth cases are strong and serviceable , but the wooden case lasts longer and looks ni~er and makes a much more decided appeal to .the mechanical instinct.)

145

The photograph ~ill show you the case I made for myself. It holds six eight by ten plate-holders, the extension bed of my camera, a focussing cloth, 3,n extra lens, a small screw driver, an extra tripod screw, a large curtain shutter and bulb, a gasket for fitting said shutter 路to extra lens, a ray screen and a tripod The plate-holders, extension stay. bed and focussing cloth are in one compartment, running the whole depth of the case. The smaller compartment, at the end, is divided in half, the upper one holding the extra lens, tripod screw and screw driver, and the lower, which is provided with a separate door of its own, the shutter and the gasket, both of which are plainly seen in the illustration. Now I do not suppose for a moment that you will want a case just like mine. You may have several extra lenses, and no extra shutters, or be an exact ray-screen fiend and carry half a dozen of those useful instruments. Your camera may not possess an extension bed, and you may have a take down tripod, the top of which you want to put in your case. So I cannot pretend to instruct you just how to make a case exactly suited to your requirements. But if you possess the small skill necessary to make such a case at all , by following my instructions, you are entirely competant to alter the size, shape and number of the compartments to suit your own individual requirements. So I shall describe how I made my case, in g eneral, and you can change the particulars to suit your individual collection of apparatus. The first thing to be determined is

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the kind of wood. to be employed and its thickness, and the two are closely related. If yon use pine, you want it thick-if you use oak, ash, maple or cherry, you want it thinner. Pine and poplar should be out of the question in making a case of this description. Pine is entirely too soft to be strong, unless it is thick, when it is heavy-and poplar warps if it so much as smells the damp. Oak is heavy, cherry splits easily; remains, of the above catalog, ash and maple. I chose the former because it is light and strong, and because I couldn't get hold of any maple which suited

is that it has a fairly straight grain and that there are no knots in it. I made my case of ash three-sixteenths of an inch thick, with top and bottom of quarter-inch stuff. I find· this plenty stiff and strong enough, but the additional weight of the whole, were it made of quarterinch ash throughout, would not amount to more than a few ounces. Having decided the exact inside di· mensions of the case, shape two pieces of the wood to the width of thi5 inside length (if the box is to be taller than it is wide) or shape the two pieces the length of the inside ·------~·'·------ - - - - - f l

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me. Maple finished in oil and varnish makes a prettier appearance, however, than ash, although I think my case is quite nice looking. But these are not things to build for looks so that hardly applies. If there is a mill in your neighborhood, of course it saves lots of work if you have the wood all cut to size, dressed and delivered ready for putting together. If you have to plane down quarter-inch stuff to three-sixteenths, however, the exercise won't hurt you. The principle thing to make sure of in selecting your wood

length if the box is to be longer than it is high. In other words, have th~: grain of the side piece run the way of the greatest dimension. If the side pieces are the exact size of the inside dimensions, obviously the end pieces must be the exact size and as much more as the thickness of the wood requires, in order that they may lap over the ends of the sides. These four pieces having been shaped, (supposing there is no end door in your case) ·screw them together with half or five-eighths irych brass screws,· first thickly smearing the edges with a first

CAMERA AND DARK-ROOM.

class carpenter's glue, Le Page's for a preference. I put six screws along each edge and am confident that no possible strain I could put on the case would make them pull out. If your case is to have an end-closet and door, the end selected must remain unfinished, and a partition put in in place of the end This partition of course, is the exact size of the end interior dimensions, and is to be glued, and screwed from the outside of the c.1se. The bottom, of extra weight wood, is of the exact dimensions of the interior, plus double the width or thickness of the wood on both side and end-thus, if it is sxw inches, exact dimensions, and the wood is a quarter of an inch thick, the bottom, when ready to put on, should be s~xxo~ inches in size. This also is to be heavily glued and screwed every inch along its edge. Of course you will understand enough about wood-work before undertaking this case, to bore the screw-holes with a drill and not with an awl, and to be sure that the hole through the outer pieces of wood is sufficiently large to admit the screw up to the -head. Otherwise, you will split off the small edge which the screw holds in. If you use flat-head screws, countersink them, but very daintily, else you will break down the edge. If you use round head screws, of course this will not be necessary. Round head screws will make a trifle the stronger construction, but will not look so nice. The top of the box should be the same size as the bottom, and should have a couple of small battens across its under side, to prevent it from warping. You should carefully make allowance for these battens in measur-

147

ing the inside dimension of the case, from bottom to top of edge, otherwise, if the case is to hold anything which comes nearly flush with the top, like plate-holders, this set of battens will not allow the lid to close. The little closet on the end of my case, made to hold the T. P. curtain shutter and its gasket, is easily and simply made by cutting the end piece of the box in three parts, one for the end of the box and outside of the top partition, one for toe door, and a narrow strip at ~e bottom of the door, to keep out the weather when the box is set down in mud. I used fancy brass hinges for both this door and the lid, and what is known as a hook-hasp as a catch-an ordinary hasp with a small hook to go through the staple when the hasp is down. I chased all over the city to find these and finally had to order them from the factory, but they are the only kind of clasp I could find in store or catalog that I could be sure of. Other clasps there are in plenty, of course, but mostly made for thicker wood. The handle for carrying this case is made of three straps. Two are short and end in rings. These are fastened to the finn ends of the box with two rivets and two screws each. Just why I didn't use all rivets or all screws I don't know and so can't tell. The main thing is to have these straps on tight. Then there is a longer strap, ending in small snap-hooks, (to be obtained from any saddlery), which hook into these rings. If I want to carry the outfit over my shoulder, a longer strap, with snaphooks, takes the place of the shorter

CA.l1v!ERA AND DARK-ROOM. one, which is why the handle is made in three pieces instead of one. The corners of the box are brassalready made and at your service at the hardware store, and a small brass piece on each of the ends of the lid protects the wood from the friction of the handle. The whole was thoroughly sandpapered, and then coated three times with raw linseed oil, thoroughly rubbed in. When this was quite dry, the box was given two good heavy coats of a waterproof, outside varnish which keeps the wood looking nice, keeps it from absorbing moisture and warping, and allows it to be cleaned with water, when muddy or dirty. Inside, in the lens partition, is a little shelf, with three holes in it, in which the screw-driver spare tripodscrew and路 spare bed-screw are kept. The screw driver is handy to have when something gets loose on camera or box in the country and the extra screws are a moral support and save bad day dreams of "What should I do if I lost my tripod screw?" In the main compartment, a strip of brass, bent properly, serves to keep路 the extension bed from rattling round, and the focussing cloth, opposite, keeps the plate-holders from

shaking. I did not line the box with felt or canton flannel, because it seemed an unnecessary refinement, but I know of no reason why it should not be done if desired. If the box is to be lined, of course allow for this lining in getting up the dimensions of its interior. The lens, which remains permenently on its board, is taken care of by two verticle slides, into which the board fits, and either of the two lenses I usually use will fit in. The whole forms a container which cost me, all told, less than $1.50 and which I could not duplicate, from any cabinet maker I know of, for $Io.oo. Of course I don't deny that the skiiied workman would undoubtedly make a finer job of it, but mine is good enough and looks well enough for all practical purposes, as I think the illustration shows. Its making was the pleasant recreation of one evening (except the subsequent oiling and varnishing-which, in drying, took a week) and I have a case with which I can start out at any time, knowing that I can meet any conditions I may come up against, without going through my pockets for this, that, and the other accessory.

A HOME-MADE PRINT WASHER-FOR USE WITH RUNNING WATER. BY OSCAR VON ENGELN.

HE process experts who make up the formulce which accompany our printing papers, tell us that our pictures fade and become spotty, because of insufficient washing. The hypo is not

thoroughly eliminated they say, and advise washing for an hour in running water. But washing for an hour by hand is apt to become irksqme ; and of the many print washers on the market few are efficient ..

CAMERA AND DARK-ROOM.

though all are high enough in price to possess a thousand virtues. For these reasons, a washing box whicl],. can be cheaply constructed, which cleanses thoroughly, and above all does not require attention after the prints are placed in it, would seem the "ultima thule" of perfection. Such a one I will attempt to describe. Before going on with the directions it will be well to give the principles underlying tlte construction consideration. The prints come to the box saturated with hypo solution, which being heavier than the water, gradually separates frpm the print, and sinks to the bottom level. Whence we argue, that the box should be

This box should be puttied, and painted with white lead, to render it water tight. When dry bore three holes, one-fourth inch in diameter and about three inches apart, in one end of it; so as just to clear the bottom board. These are the outlets. In the other end, three inches from the top, and exactly in the center between the two sides, bore one hole ~ in. diameter. Now buy a thin brass tube, three inches long and of ~ in. internal diameter. Those styled splicing tubes, and used by umbrella menders are admirable, and can be had for 10 cents from any repairman. This tube is to be placed for I in. of its length between the jaws of <> v:se

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drained from the bottom, and supplied near the surface. Second, the prints must be kept well separated that the cleansing water may reach them freely and equally. With these two points in mind, the reasons for the construction will be readily understood. The specifications here given are for a box which will accommodate some eighteen, five by seven prints. These dimensions, however, can be easily modified by those who make prints of other sizes. Procure, or make, a box of ~ in. pine stuff 26 in. long by 10 in. wide by 8 in. deep, inside measurement. (See Fig. 4·)

149

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and pressure applied until it is squeezed flat, so that only a narrow opening about 1-16 in. wide, remains. The unaltered end is now to be forced through the ~ in. hole bored in the end of the box, from the inside, so that it fits tight, and about I in. of the round end of the tube projects outside the box. The flat part inside is to be parallel with the bottom of the box. (See Fig. No. I and No.2, also No. 4.) This is the inlet for the water supply and projects it in a fanlike stream among the prints. Get about eighteen feet of wire about one-eighth inch thick. Cut this in six lengths, each thirty and one-

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half inches long. Place one and onehalf inch of one end of a cut piece in a vise, and bend it to a right angle with the rest. Do this with the other end also, and with all the other pieces. (See Fig. 3路) Now make notches along the top of each end of the box ~ in. apart, % in. wide, and % in. deep. (See Fig. No. 4.) The wires are to be placed lengthways across the box and held in place bY. these notches. Get from your stationer several dozen of the little spring paper clips (See Fig. 5) and you will be ready for work. Attach a rubber hose to the pro-

jecting end of the brass tube and fill the box with water. Then regulate the flow so that just a little will run over the top. If this requires a violent stream, partially stop up the outlet, for a quiet steady flow accomplishes just as much as a forceful one. Place the wire crosspiece nearest the side in position, and hang your first print on it by means of two clips, one at each end. Hang one after th( other, three on a wire, until all are placed. Then let 'em wash. When through you can hang them on a line by means of clips and they will drain nicely, and dry quickly.

TESTING EXPOSURE TIME FOR COLOR SCREENS. Various methods have been suggested for determining the proportionate increase of exposure in using various color screens. One of the simplest and which may be termed fairly accurate is to expose a piece of plain glass until a decided tint is obtained. Make a note of the time and then compare with time required to obtain the same depth of tint under the color screen. As in actual practice the screen is used with a bromide instead of a chloride emulsion the only accurate way is to test it on the plate that is being used. Multiplying slides permitting of six exposures on one plate may be obtained in any supply store for fifty cents. These will be found very useful for making such tests or the ingenious may make theii own multiplying slides from pieces of cardboard or from damaged slides,

by cutting out sections of three or more slides. Recently a piece of apparatus was suggested by Dr. L. Gioppi that meets the case fairly well. Two sheets of thin opaque card are cut to fit in the re-ar of the camera, immediately in front of the reversing back. To avoid the risk of straining the woodwork it is desirable that the card should be as thin as possible ; in fact, with a little care in handling there is no reason why black needle paper should not be used, but the exceedingly thin brass known as paper or letter brass is much more convenient to handle than either. Each sheet is divided by pencil lines into six parts, one line being drawn down the centre in one dire-ction, and two dividing the sheet into three equal parts in the other direction. From one of these shields one of the corner pieces is removed, and from the other a middle

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section from the centre to the edge. By turning the first sheet round, each of the four corners may be exposed in turn, and by the use of the other each of the middle sections may be exposed, making six exposures in all. By way of illuminating the plate evenly a sheet of white blotting paper should be pinned up where the unobstructed light from the sky may fall upon it ; north light is best, but in any case direct sunlight must not strike upon it. The camera should be set square to the paper a few feet away, and if f-11 is used, one second without the screen wiiJ be a convenient exposure. The shield with one corner cut out is placed in position, and the dark slide bearing a plate of the brand with which the screen is to be tested is inserted. Then in the absence of the screen an exposure of one second is given. The shutter is closed, the reversing frame removed, the shield is turned round, and the dark slide is again placed in position. The screen is now fitted to the lens for the remaining exposures. An exposure of two seconds is next given. Again the shutter is closed, the shield turned upside down, and a third exposure given, this time of four seconds, and so on, doubling the exposures each time. \Vhen all six exposures have been made the plate is developed, and it .wiii not be a difficult matter to estimate which of the five exposures with the screen has given the same density as that obtained with the exposure without the screen. The exposures in such a series wiiJ range from twice to thirty-two time!' the normal, and will be sufficienf for all but the screens of deepest tint. When screens that compensate for the red

rays have to be tested, the exposures may begin with eight or sixteen times that given without the screen. When two or more screens have to be tested at the same time, a method that we have occasionaiJy employed wiii prove more advantageous, as all the tests can be made upon the same plate. In this case one shield only is required, and is cut vertically into two or three strips; one strip more than the number of screens to be tested. In comparing two screens, for instance, the shield is divided into three, and the center strip is removed while the exposure without the screen is being made. The exposure may be as before, one second. The central strip is then replaced, and one of the side strips is removed. The screen to be tested is placed in position, and the cap being on the lens, the slide of the holder is drawn. An exposure of two seconds is given, and the lens is capped. The slide is pushed home, say, an inch, and another exposure of two seconds is given. Again the slide is driven in an inch, and then four seconds exposure is given. This is repeated till the slide is pushed quite home, the exposur(! being doubled each time. The actual exposures wiii be two, four, eight, and so on, as before, and if it is desired to carry the exposure very high, say one hundred and twenty-eight times that given without the screen, it is only necessary to divide the length of the plate into seven sections to accommodate them all. Pencil lines ruled across the inside of the slide will serve as guides in pushing it in after each ex路 posure. In testing the second screen the one side shield is replaced, and that at th<'

CAMERA AND DARK-ROOM.

other side is removed. When all the exposures have been made, and the plate is developed, it is even more easy to estimate the densities than by the method first described, as the part exposed to white light lies adjacent to each of the parts exposed through the screens. This advantage may be secured even when three or four screens have to be tested by having strips between them exposed without the screens, and all these exposures may be made at the one time. It is so desirable to have all the tests upon one plate, thus avoiding irregularities due to differences in develop:l1ent, that it is well worth while to devote a little time to cutting and fixing the shields, so that they may be removed and replaced speedily. At the same time as it is desirable to waste little time between the exposures lest the light should alter the while, this arrangement will be the bette-r as being speedier than the former. J n testing screens by artificial light

the same method of working may be adopted, the light being thrown upon the white blotting paper, but all the exposures must be many times longer. Time may be economized路 by directing the lens to the source of light, and by interposing between them two thicknesses of ground-glass set about one inch apart. With the electric arc the light reflected from the blotting paper will prove speedy enough. With oil lamps, gas jets, incandescent mantles, or incandescent electric glow lamps, it will be better to transmit the light 路 through the ground-glass as suggested, and two or more of the lights may be used, since so long as the light reInains constant the intensity of it does not affect the results, but is simply a matter of convenience. It may be objected that in this system of test exposures there is no provision made for tests between a certain exposure and one of twice its duration: Nothing closer than this is ever wanted in practical work.

A FEW WORDS ON LENSES. The question is often asked : "What lens should I buy?" Our answer to all is: "Buy the best you can afford -one of the modern anastigmats if you can." The anastigmat will do all that any other lens will and much more besides. It is the highest achievement of optical construction and the price is high on account oi the great skill and care required in its manufacture. Tt is not all in the lens, however, and much depends on the man behind

Some of the best pictorial work has been done with single lenses and to this an eminent photographer gives his testimony in the pages of a con路 temporary as follows :On the question of rapidity the anastigmat has the advantage, but does the true pictorialist care for that? I opine not. A doublet working at f-8 or a single lens at f-16, with the rapidity of the modern plate will do all that he can want, the "breaking wave" and the "moving shadow" being quite within their compass, anything faster

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showing "arrested motion" rather than giving the appearance of and suggesting action. Be not discouraged, then, you with the shallow purse. The single lens for all landscape work, and the doublet where there are straight lines, will, if you know how to do it, make in every respect as good pictures as with the

153

same knowledge you could make with the far more costly anastigmats. Although I possess, as already said, two splendid anastigmats and am proud of the possession, my best pictures, those, which have been honored in more Salons than one, were all made with a single lens, of 16 inch focus that cost less than ten dollars.

THE BOX IN GRANDMA'S GARRET. AMY LINCOLN PHELPS. A lot of us young folks, almost the whole pack of cousins, have been visiting grandmama. She lived in one of those funny big houses they used to build at the beginning of the twentieth century. It has a circular tower on one corner that makes baywindow rooms on every story. You surely have seen pictures of them. Grandmama lets us go anywhere we like, all through the house. Up under the roof is a garret that has all sorts of things in it; you ought to see that garret, if you-ve never seen one. Of all the dear old-fashioned places, and of all the outre, absurd, delicious trash, that garret and the stuff in it are the dearest and the queerest ! Just to peep through the door makes you feel old-timey. There are two rooms on the third floor, and they are just like anybody's, for grandmama has kept the old place up well. But there's a door in the hall that leads in under the rafters. The roof juts into queer little corners and peaks, as if it had been slapped again and again with a moulder when half dry. It couldn't have been, though, for it is built of ~ood instead of baked like ours. Grandmama is very proud of her shingle roof; it's the last one anywhere around here. Well today we searched the big garret all through. It's funny but grandmama says it's not big; hardly a garret at all, but a lumberhole. Her grandmama had a garret that was the whole third story of the house ! She showed us a picture of it, with spinning wheel, and wicker cradle, and mortar and pestle, and bacon, and all

the antique things people used to keep "up garret." Of course garrets are useless, but they must have been fun: I almost wish we had them nowadays. But about that picture and the others it is that I'm going to tell you. Away off in under the eaves, as they call the place where the slanting roof and floor meet, we found a box, quite a large box, full of pictures. The queerest pictures! all in one ..:olor, or rather, each picture was all one color. They gave you the creeps. They were all sorts of dull shades, greys and browns, blue ones, a few greenish ones, a lot of purplish shiny ones, and even one red one! The first we look at had black trees, ana white where the sky should have been; and some people with big hats on, their faces black half way down their noses, then white. The whole thing was so shiny that I thought it was paper-glass, at first. We didn't stop to look further, but took the box and rushed down to dear grandmama. "What can these be? Please tell us about them, and who made them and what they were for, anyhow?" \Ve begged her. "Well, what have you kidlets routed out now?" asked grandmama, placidly. "My old photographs, as I'm a sinner !" Grandmama uses such quaint, old-lady expressions. "Yes, I took those when I was young, and jim-dandy times they c;.ll back. I read in an old art book. One picture showed a wheat field, with the stacks they used to make standing in rows. There, Yes, yes, that group was taken by a little

CAMERA AND DARK-ROOM.

154

WINTER SPORTS

E A. Reed First Prize io Snow Picture Competition.

negro boy. They wanted me in it, so I posed them, and then the pickaninny-" Grandmama was just starting on one of her lovely reminiscences, but Bernard interrupted. ''Those can't be photographs granny, fo r, look, nothing is the right color. The grass is black beneath the trees and white everywhere else. Even when you were young things didn't look like that." How granny laughed. "No, bub ty, they didn 't, but that was the best we cc uld de> then. Color photography was being slow-ly di scovered." "Bu~ why," he persisted, "even if you could have only black and white, didn't you mix them up better, and get so me gray?" "That was a snap-shot," said granny, "so it was contrasty; that's a ll." Next we looked over some blue J_:路ictures. Grandmama didn't think much o f them, but I thought they were rath er pretty. There

was one of a sailboat, with a white sail against a pale blue sky and paler clouds, that I really liked, in spite of its qneerncss. The water was dark blue, and e\路en the sa nd shone back a faint blue at the sky. I' ve see n that at the ocean sometimes, but I've been afraid to paint it in a picture. Folks used to be more daring. One thing Bernard noti ced about this picturc,-the ail boat was j ust like tho se we have. But grandmama hurri ed us on t c some green prints. "W hat is it ?" I asked her about the fir st. I found it a little hard to make out these monochromes at once. She didn't understand me, and I'm sure I don't know what her answer me'lnt. "That is a green carbon print," she explained. She looked quite proudly at it. "Very few people I knew made pictures by the carbon process. T hose who tried to make artistic pictures were just beginning to use it when col or photography ca me into

H . Town A STREET SCENE IN ST. JOHN'S N. B., IN WINTER O ne of a set winning Seco nd Pld.ce in Sno w Picture Com ptl i t io n

CAMERA AND DARK-ROOM.

Chas. G. Begg Thtrd in Snow Picture Competition Neg :\tiv es on Crame r Mcd , lso. and :Seed L. Orth o Plates

vogue. I used to wonder why ~o inv ama teurs used it. The manipulati on was r eai-路 ly quite simple; it see med to me easier than ordinary P. 0. P . to handle, a nd th ere was no toning. It mu st ha,路e bee n th e transferrin g th at fri ghtened them. A nd th en the American dealers were so slow in putting it on the market-" Grandmama ra mbl ed on whil e \V\' looked over th e remainin g pictures. There was an old fa shi oned interior, with a woman writin g at a des k. I don't see i1ow she c ould write so peacefully, for on the walls were two great oblongs of li ght, as bright .as a se,路en per cent. flu orid e light. T hey

would have made her blind in a few seconds, if people's eyesight then was like ours. I asked grand mama, and she said that it was ca used by the '' halatio'l of the sunli ght th at came in th e windows." The sun must have been powerful in those days ! " What are th ese, g ranny?" Sadi e asked. She showed some brown pictures. The)were so ft and rough. Now that I was learni ng not to ex pect colors, they seemed almost passa ble pictures. Little landsca pes th ey were for the most part. The li ttle attic picture was one o f these though . "Those are se pia prints," granny said.

CAMERA AND DARK-ROOM. "I sensitized the paper myself. And those under them are gum-bichromate prints. You see I butted in on almost everything." I heard Bernard whisper to himself, 'butted in, butted in, butted in,' three times. Ever si nce he has used the phrase 0n every occasion. He 1s such an old-fashioned child! "Now here is one," said some one, "where the whitP. and the black are mixed up better. Here are grays of all shades. This must be light from the moon, showing on the waves, and these must be light s from a ship streaking towa rd one. Why it looks just like night on the bay!" .. That was my titl e for it,-'Night on th e Bay.' I was very fond o f that picture, my dear. P erhaps one reaso n was becau se it won seve ral prizes, and with that

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money I bought more photogr~phic material." "Oh, that mean, ridiculous money system," scolded Sadie. "To think that with all the stock there is in the world, one might not convert it into utensible unless you first worked for, or had given you, or some way obtained some silly coin or other. \Vhat made every one bother with it so long? I do not, ca 11 not, and neve r shall understand it." "We ll, what's this?" I held up a smudgy gray paper. "You have it upside down, dear." Something in g randmama's tone mad.e me vaguely sure she had said that before. I rev ersed the picture, and studied it quite intently. "I don't see anything here except .that

T J. Luodrigan.

WINTER IN CANADA F ifth in Sno w Pi c tur e Compe titi o n

CA M ERA A.\ 'D D A RK-RO OJJ. its lighter m so me spots than others," I s aid. Grandmama stiffened quite perceptibly. "No ? l\ Jany people like p ic tur e~ well s topped do wn, but personall y I prefe r the soft eff ec ts. T he work of th e P hoto-Se<:ession is so Suggesti ve and A rti stic. O f .course in a print like thi s deta il is subm erged ; all the more reward awai ts yo u when yo u have studi ed out th e pict ure." "Let's see it," said Bern ard. " \ Vhy-ee, gi ve us somethin g hard! ( H e'd hea rd granny say th at. ) It's a woman's face. There's her nose, and her eyes must be in the shadow above, and I th ink th at"s her chin below. P ooh ! I \·e gue ssed harder pu zzle pictures th an th at. If it was onl y years ago, I'd win th at reward. H ow mu ch was offered, granny?"' Grandm ama spoke sharply. "That's hot air, and yo u' re too fresh by half, Berna rd." '·I'm so rry,"' he said, meekl y. By the look in hi s eye he was stor ing up what g randm ama had sa id. I wish he woul dn't, for th ough the ex pressions are all r ight for h er to use, th ey do not so und so sweet from him. By thi s time I ha d grown used to the :monochromes. \Vhen grandma ma took the

GRANDM A' S GA RRET

last batch of prin ts from the box, I sa w at once th at th ey must have been beautiful in their day. T hey we re pl at inum prints, so she said, with a little ai r. T here was hardly any black or wh ite on th em ; all pearly gray tones. T he co mposition was fi ne; there were some loYely cloud shapes in th e sky, and th e trees were com·incing, a s was a bit o f old-fashi oned rail- fence in t he foreground. I wish I could fi nd landscapes like that to pa int nowadays. £ ,·eryth ing is so hopelessly modern and lacking 111 sentiment. Grandmama handled th ose platinum prints \·cry tend erl y, l saw at once. She would not a llow th e child ren to touch them. 'They we re g i\·en me by a friend, ' she ex pl ained to me so ftly. 'l va lue them for old sa ke's sake. T he man who made th ese fa iled to understand some thi1~ gs, but photography he did unde rstand. He taught me nea rl y all th at I kn ew. And he was yery dea r to me in the long ago t ime." ·· Jt was g randpapa."' I whi pered. T he chi ld ren we re absor bed in the pictures sti ll. "No,'' ~ aid grandmama, '·It was longe r ago still, yes, long still ago." T hen she gat hered up th e pl atinum prin ts and slipped away t :l her c wn room.

Amy Li ncoln P hel?S

CAMERA AND DARK-ROOM.

FRANK F. HILL.- lt is immateri al wh ether you are a direct subscriber or purchase your copy fr om the news-stands, as long as you use the criticism coupon which you will find in each magazine. Your work shows good progress for only six month s' experience. The selections also show good taste in composition and we hope soon to see some more pretentious work from you. \Ve look for quality, r ather than quantity, and will feel more pleased to see one picture that shows a motive than half-a-d ozen untitled snap-shots. R ead the other criticisms in this department and give heed to expos ure. ]. M. K ANE.-"The Beginning of Spring" and "Graver Falls in Winter" are both a n imp rovement on your last ; sharp, clean work, only Jacking in detail and color va lues. You may say that snow is without color, but it has color and detail in its lights and shad es which is not represented by white paper. It is a delicate task to sati sfactorily develop a snow nega ti ve and a d e\·eloper must be used th at is not too strong in reduce r, rath er strong in alkali and sufficientl y diluted so that the strong lights do not become dense before th e detai l in the shaclow has been coaxed out. You r nega ti\·es are too contrasty but will g i,·e yo u far better resu lts if yo u substi tute special po rtrait velox for th e solio paper.

159

one that shows in sufficient ex posure of the negative to an extent that renders the values absolutely untruthful. The placing of the fi gure is also at fault and she would have helped out the composition if more to th e left, a few feet nearer to the camera and not so aimlessly posing. " Where the Bronx is Swift" is a good selection and very well rendered indeed, as is also " An August Day" both being good in composition. Rega rding the latter we cannot understand how so charming a spot, with so ma ny inducements for a good tim e, sho uld present such a de se rted appea rance on an A ugust afternoon. FRED. J. STEIN.-"Reve rie s"' with sufficient expos ure to render the values more truthfully would have been almost a good picture. A little more th ought and care would make it perfect. No doubt a chair co uld be used that would harmonize better with th e subj ect and the white matted pictures should be subdued in tone or removed a s they are out of key with the r est o f the picture and their· prominence and di,·ided interest detracts from the strength of th e composition. E. E. CooPER.-"Deep Canyon." No, a small er stop would only have made matters

F . Ht:XTINGTON.-"U nd er the \ Vill ow" is al so too dark in the shadows and. th e objects of in terest too much crowded in the foregrou nd. I f the canoe a nd occupant could be placed in midstream towa rd th e left of th e view in my opinion it wo uld be a charming pict ure.

C. L. SwF.ET.-\Ve are glad to lea rn you are interested and benefitted by d epa rtment. Yo ur three prints show you exercise more th an ordina ry care tas te in your work. "Autumn" is th e

th at this that and only

Reveries

Fred ] . Stein

100

CAMERA AND DARK-ROOM.

worse and a longer exposure instead of "destroying the detail in the falls" would have made them look like water in motion and not like white cotton. The exposure could have been doubled. "Stebbins Canyon" IS also underexposed. Using Kodoid plates you should get far better tone values as they are orthochromatic to a certain extent and if you insist on using so small a diaphragm to render everything sharp you must double up on your exposure. Then you will not have to develop until the highlights are so dense and the view will appear more natural. Also select a point of view that is characteristic of the locality but which will not show so many highlights scattered over the plate. S. F. CLOWNY.-"The Last Shock" a pleasing variation from "The Last Load" does not impress us as a picture. There is evidence of a too short exposure in the black silhouette of the tree on the right. A longer exposure would no doubt have lost the slight trace of clouds in the sky unless you used an ortho plate and color screen, which is really imperative in such a subject. As it is now there is too much blank sky. Such subjects are not worth photographing unless done at one's best M. MITnfELL.-''An Unwilling Subject'' -an overdressed child looking very cross -is a very good photograph with no technical fault. No doubt the child lost her temper by your attempts to pose her and the result goes to show that it is better to let children pose themselves and watch your opportunity to catch them unawares. The camera has been placed too close, the picture showing evidence of the distortion caused by short focus lenses.

a spot that might bring pleasant holiday recollections to the maker but otherwise the subject is hardly worth a plate. H. B. BROWN.-Four prints untitled, No_ r, is from a negative very much underexposed, the others not quite so bad in this respect but all showing incorrect tone values. They are all evidently records of a camp outing and useful as mementos but in the making of the negatives you should have taken as much care as in the making of the prints. Only by giving longer exposures can you avoid such unnatural contrasts. Expose for the shadou.•s; even the faces of the other members of your party are as black as if they were Africans. Also when you introduce figures into a landscape try to have them assume more natural attitudes and if they will persist in gazing at the camera, make a show of having exposed the plate and then make the real exposure after they have relaxed. ]. SALZILLO.-"Baseball Team of U. S. S. Prairie." This is a very good out-door group as far as the exposure, development ano printing is concerned. No doubt the team were well pleased with the picture. \\'e do not like the grouping, the heads all being in line vertically and horizontally, and in posing them would have grouped them all more to the right, when the deckhouse would have made a more even background, cutting out the ladder and rigging. Then by having them kneeling, standing and sitting, three deep, you could easily have avoided the monotonous effect of the almost straight line of faces.

JoHN C. REis.-\\'c were in hopes of seeing something better from you. "Manchester Island'' is from an under-exposed and over-developed negative. "A Close Shave,'' an everyday scene in a barber's shop, shows a trace of the same defects and is of course of no pictorial value or interest.

HAzEL CLARK.-"A Canadian Landscape" is very good, both in rendering and in composition. The "Interior" shows under· exposure and 0\·er-development, but both arc so encouraging that we hope to see some more of your work. The paper on which the prints have been made was evi· dently not fresh as we cannot otherwise account for the unpleasant color of tht> high lights.

MRs. FRANK RICHARDSON.-The Maine Roadway is a good photograph-a good print from a good negative. The composition is also good, only too barren in the foreground. It is a good record of

}As. A. Yot'NG.-"At Sunset." A ,·es· sd crossing the reflections of a setting sun is a time worn subject. But for the halation this would have been one of the hest of its kind we have seen. \\'hat a

U. S. S. PRAIRIE BASEBALL TEAM

CANADIAN LANDSCAPE

]. Salzillo

Hazel Clark

CAMERA AND DARK-ROOM. pity you did not press th e bulb a moment 5ooner, ju >t when the sun was obscured by the路 top-sail. This would have avoided th e spreading halo and with a little longer t.xpusure or a more open diaphragm you ,,路ould have secured a charming effect-a J ~CfF.tive that would yield an enlargement you .c ould be proud of. Gro. P . R ~,;ssELL.-"A \<\' inter Vi sta." We cannot compliment you on this as on your last. Color yalues are absent. Sky and snow are of the sa me tonality-white paper. The negative is enti rely too harsh (over-developed) for a snow picture. There is nothing speciall y attractive in the seem although th e composition shows good taste and you can obtain a far better picture than thi s by do ing a little dodging or shading in the printing. Such a paper as special. velox being most suitable to the subject and negative. F . H. SM!TH.-''Night E xpress E merging from a Tunnel." We hardly know what to say of thi s. Printed on a warm toned sepia paper it is certainly very effective. We would have liked it better as a picture if the engine with its cloud o f steam had been ca ught farther to th e left, and if the forms of th e lighted coaches could have been rend ered just Yisible against the darkness o f th e tunnel.

NIGHT EXPRESS

Snow Picture Competition .

As far as the number of entries were concern ed this was one of the most successful contests we have held. The pictorial element was, however, sadly lacking and the technique in but few was up to our ex pectations. Over development of the negative, in common with under-exposure, was the one glaring fault. A few o f the prints are reproduced in this number. Some o f these show a softness and detail that might well be taken as an object lesson by some of the other contest ants, wh ose prints were more or less smudges of black and white; absolutely white paper which was supposed to repre路 se nt snow and black silhouettes of trees and figures without a trace of detail. The following li st of names are those whose pictures were awarded prizes or special mention and each one will receive private comments on th ei r prints together with 路 the award s:

F. H . Smith

CAMERA AND DARK-ROOM. I.

E. A. Reed, Worcester, Mass.

:z. H. C. Town, St. John, N. B. Chas. G. Begg, Toronto, Can. A. C. Ritchie, St. John, N. B. s. T. ]. Lundrigan, Montreal, Can. 6. C. \V. Beaven, Ontario, Can. 7- C. L. Sweet, •• ew York City. 8. Henry L. Smith, Chester, Mass. 9· J. L. Hopper, Highland, N. Y. 10. C. E. 1\lissing, Brooklyn, N. Y. A few entries have already been re· ceived for the competition announced lasl month and we are pleased to announce that they represent a high standard of work J.

4·

Prize Competitioa. \Ve take pleasure in announcing a prize competition under the two following classes: 1. Genre studies. 2. Landscape with figures. Five prizes in order of merit will be awarded to the contestants in each class and the prizes will aggregate $100 in cash, merchandise and books. Each competitor must submit three prints and entry blanks which must be attached to the back of each print will be found in our advertising pages. June 15th will be the closing date for receiving entries. Postal Club. So many of our readers have expressed their desire for the circulating portfolio that we now announce the following con· ditions: There will be three portfolios. Portfolio A, Genre pictures. Portfolio B, Landscapes. Portfolio C, Portraits. Any CAliiERA AND DARK-RooM reader may participate by sending two prints and twenty-five cents entry fee for either port· folio. If all three should be desired, two prints for each must be sent and seventy· fi,·e cents. It is unclerstoorl that one's best work only will be sent to the portfolio, and to keep down the weight, the prints must he mounted on mat papers (two or threE papers may he used) but not cardboard. A uniform si1.e of mount is desirableS x 10 being suggested as the size limit As soon as sufficient entries have been

received, the prints will receive criticism and the portfolio started on its route, when each recipient must add his or her criticism to the prints on blanks which will be provided and then forward the package to the next on the list. To make the portfolio as educational as possible, full details as to exposure, plates, paper and chemicals used must be written on labels attached to the backs of the mounts. A cash prize of $5 will be awarded to the maker of the best print in each port· folio, and each recipient must record his vote for such on the special blank provided before re-mailing the portfolio. As soon as the circle is complete the prize will be awarded and the portfolio again started on its route when each member will extract his or her own prints and the criticisms thereon, inserting two new prints before re-mailing if he desires to keep up his membership. The number of subscribers to each port· folio is limited to twenty-five, so early entry will prevent disappointments. The circulating portfolio will prove an excellent opportunity for photographers to see each others finished work and the comments thereon, and will no doubt be productive of much good. Coupons for each portfolio will be found in our advertising pages.

Iatercollegiate Exhibit, 1903. The Fourth Intercollegiate Photographic Exhibition was judged at Philadelphia April I, and awarded to Harvard. The judges were C. Yarnall Abbott, ]. Horace l\IacFarland and another named by them uarvard was gh·en the certificate for the best exhibit of fifty, taken as a whole, First Prize ancl two Honorable Mentions. T. \V. Sears, Harvard, was first with "The Pop· Iars," and the mentions both went to Mal· colrn Dean l\Iiller, for "Fitting for the Ranks'' and "An Annisquam Lane." :\I. T. Fleisher, President of the Caml'ra Club of the Vniversity of Pennsyh·ania, repeated his performance of last year by again win· ning second, his title being "Les Cygnes." 1 he remaining mentions were given to J. A :.\tason, Theodore l\.tarshall and R. G. Ecob, all of U. of P. for "In the Inlet," "The uoorway," and "Foggy 1\[orning."

THE CAMERA AND DARK-ROOM Of the four Intercollegiate Exhibits, Harvard has won three, but this year's judging shows a more equal division of the honors than formerly. The result should stimulate each club to work harder than ever for next year's contest. The pictures will be shown in Philadel路 phia April ro-21 at Houston Hall, and in Lambridge April 26-lV1ay 5 at Robinson hall. The usual handsome souvenir cata路 log, containing reproductions of the prize .tures, will be distributed to visitors in II cities.

LETTERS TO THE EDITOR. The AdjuOJtable Plate Holder. Rochester, N. Y., March, 1905 GENTLEMEN: 'We beg to advise that we have purchased the business of the Rochester Plate Holder Company, including the sole right to manufacture the Rochester Adjustable Plate Holder and hereafter they will be manufactured at the Seneca Factory. You are doubtless familiar with this ingenious platt holder and appreciate its value. It doeE away with the use of kits. The workman路 ship, material, and finish on the adjustable plate holder will be unexcelled and full)' guaranteed, and it is the only plate holde1 manufactured which equips the camera for taking pictures of numerous sizes without the aid of two or three kit frames. \Ve also wish to announce that on and after April 15th, the regular equipment of Seneca folding plate cameras and new improved Seneca View outfits up to and including the 8x1o size, will include without extra charge the adjustable plate holder instead of the ordinary plate holder, heretofore supplied. Very truly yours, SEXEL\ CAMERA 1\IFG. Co. Brooklyn C. C. Exhibition. April 11, 1905 Editor CAMERA AND DARK-RooM, Dear Sir: There is considerable indignation among the members of the Brooklyn Camera Club, over the criticism of our

last exhibition given in the columns of your valuable magazine of March issue, and in behalf of the organization, desire to seek retraction in your paper to the misstatements contained therein. As you are doubtless aware, this was an open competition to amateurs and pro fessionals alike, no one barred from entering and competing for awards given. This fully showed the spirit of feeling in the Brooklyn Camera Club to seek outside work, and to have an exhibition of some note, which we are pleased to state, we did have, and by far the best ever held, within the Club rooms. To a member, there has not been one dissenting voice of criticism on the exhibi-路 tion or on the awards. That there was no first awards, or even the President's award retained by any member of the Club, was sufficient proof as to the impartial manner of the judging, which was certainly above reproach, and the comments made is a reflection on their work. In this competition, the judges consisted of one painter of the A. N. A., and two noted pictorial workers, a combination worthy and most capable of doing justice to any photographic exhibition, whose aim is advancement in pictorial art. This particular jury gave four hours of their valuable time, and the most careful judging to the work submitted. The "much outspoken dissatisfaction" we cannot conceive, where it originates from, unless from the outside competitors, who were not fortunate in having the necessary merit in their work to \\'arrant an award. Surely we feel that they should not have influence to cause this statement to be made to the discredit of the Brooklyn Camera Club. As nothing but praise from the members is heard, for the fairness of the judges, and we have to receive the first complaint of dissatisfaction among any of the outside competitors, and in this we feel justly entitled to a retraction of the misstatements made. We hardly think any of your staff visited this exhibition, for if they had, would have readily recognized work which all lovers of . good photography seek, as well as that of

CAMERA AND DARK-ROOM. the ultrafaddists, and awards cover both, very liberally. Trusting to have the courtesy of due con路 sideration to the foregoing, I beg to remain, Very Respectfully, WM . T. KNox, President. [One of the foremost members of the Brooklyn Camera Club wrote us while the exhibition was in progress that he would furnish a review of the exhibit, together with some of the pictures for reproduction. After waiting in vain for this report until the last moment before going to press, we culled the notice in our March issue from one of the Brookiyn daily newspapers. We regret the inaccuracy of the report, as also our inability to be present at the exhibition. \Ve esteem the Brooklyn Camera Club as a whole and have the highest personal regard for many of its individual members, as well as for the members of the jury of awards. Far be it from us to dissent with their findings. Eo.]

Photographs Wanted. Vear Sirs: Will you kindly give publicity to the following announcement: In advertising our goods, we use photo路 graphs of good crops grown on our fer路 tilizers ; and desire to register a list of good amateur photographers who can go out at short notice and make pictures for us within say 25 or 50 miles of their homes; for which of course we expect to pay, as well as the necessary travelling ex路 penses incurred. These expenses include carfare, extra meals, and livery where same is necessary. For the best pictures we offer the following PRIZES FOR 1905 For the best picture ........... . .. $15.00 For the second best . . . . . . . . . . . . . . 10.00 We also pay for all pictures sent us of crops grown on our goods, taken under our direction, as follows: For 5x7, $1.50 for originals ; 25 cents for duplicates. For 6Y, x8Y, . For 8x1o $2.50 for originals; 50 cents for duplicates. If you are so situated that you can do such work for us, kindly send U3 your

names and addresses and we will send complete instructions. There is no charge to you of any sort. Yours truly, BowKER FERTILIZER CoMPANY, 43 Chatham St., Boston, Mass.

STAND DEVELOPMENT for roll film s has heretofore been the cherished dream of kodakers and, on seeing it demonstrated, like many other dreams that have been realized, we exclaim "how simple, why did we not think of it before?" As will be seen by our advertising pages this month the Kodak Tank Developer is the latest appliance introduced for eliminating all mechanical effort or drudgery from picture making with the camera. The developing machine came as a blessing, but now the time that was spent in turning the handle of that device can be put to other use such as the making or mounting of prints; truly we are getting very close to the photographers millenium.

* * *

COLORPRINTE.-We are informed that Colorprinte, the new pigment paper for making photographs in the colors of Nature, will be ready for the market by the time this reaches our readers. The advance sale has been extraordinarily large and we are asked to say that all orders will be filled in rotation at as early a moment as possible. Dr. Wilhelm Hesekiel, a brother and collaborator of the famous savant, Dr. Adolf Hesekiel, is now on his way from Europe to see that Ame ricans are properly in structed in the workings of the new process. Colorp rinte, while very simple is of such revolutionary nature that it has be en deemed best to haYe the advice and instruction of one who has been connected with it from its inception, as in anything new it is hardly to be expected that the most perfect results will be secured at the fir st trial.

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THE CAMERA AND D ARK-ROOM

THE SIMPLEX ExPOSU RE METER adverti sed in this number is a co nvenient and practical application o f an old idea. The light that falls on the se nsitive plate is the li ght that is radiated from the surface of th e obj ect to be photograph ed. The deeper th e shad ows th' weaker the rays of refl ected li ght and the pupil of the eye adju sts itself to th e li ght, the iris diaphragm ex panding until it admits th e necessary amount of light to convey to the nerv es o r the brain an impression of th e shadow detail. This is the principle o f th e Simplex, a se rie s of graduated holes in an o paque piece of cellu loid, numbered and calculated fo r exposures with various diaphragms. \Vhen the obj ect has been focused we hold the card in fr ont of the eye and mov e it until we find a hole th at enables us to di sce rn the r equired amount o f detail in the shadows, then looking at the card we r ead o ff th e ex pos ure required with a certain diaphragm. The Simpl ex wo uld see m to be mos t se rvi ceable in dim li g ht, where long ex pos ures, hav e to be calculated and as its cost is only 25 cents it is worthy of a trial. Any mechanical a id to correct exposure is better than guess work and if everyone wo uld ca rry an exposu re meter of some kind we wo uld receive few er prints that are failur es from no o th er cau se th an incorrec t exposure.

The Infallibility of the Actinometric Exposure Meter. In a r ece nt number o f Ca mera Craft one Prescott E. Anderson takes two pages and a half to tell us th at he docs no t und erstand the principles of the di al meter. Ht> does not say that he ha s tried it and found it wantin g, but th eo ri zes th at as th e li g ht th at fall s upon the meter is not the li g ht th at form s th e image o n th e plate, th erefor e, the meter is not to be tru sted. Now to one wh o ha s proved the infallibility of th e dial m ete r, every one of M r. Anderson's arguments r esolves itself into a point in favor o f a meter o f thi s class, of which there are two well-kn own makes on th e mark et- the \Vynne and the Watkins. It will be admitted that any mete r is better th an none. Those that are merely comparati,-e speed table s are useful as guides to expe rienced person s. Mr. Steadman's

solio tests are all very well for certain subjects and conditions, but given a Wynne meter and the brains to use it, any novice can get twelve correct exposures out of a box of plates. T ru e, the meter will not supply the brains, but it may be relied on as being a mo re faithful guide than personal observation or ''intuition." The Wynne expos ure meter is based on scientifically accurate principles and its value as a plate save r is attested by its daily use by tho usand s. With eve ry meter the Infallible Exposure Meter Co., iss ue full inst ruction s that even the most ignorant should no t fail to und erstand and the fact that th ey o ffer to send meters on approval for two week s, show s that th ey con sider them equal to th e mos t se vere tests.

Some Features of a New Camera. Probably all o ur read ers have heard of the Graflcx camera if they have not seen it, but fo r the info rmati on of those not familiar with their constructi on we will state that an optical mirro r placed within th e camera at an angle of fo rty-fi ve degrees reflects the image from the lens right side up on th e ground glass, at the t op of the camera. But o ne lens is, therefo re, necessa ry, thi s se n 路ing the do uble purpose of finder and r ecording the image on the sensitive plate or film . Thi s makes it possible t o see the picture as it is to be, on exactly th e sa me scale, and in exactly the same posi ti on that it will occupy on the sensitive plate or fi lm. The advantages of thi s feature fo r accu rately photographing objects in rapid motion or for arti stic composition cannot be overestimated. The lates t produ ct of the Folmer &

Auto Graftex Closed

_......,J

CAMERA A N D DARK-ROOM. Schwin g Mfg. Co., and the baby of the Grafiex famil y is th e A uto Grafiex. \Vhile it possesses all the main featur es of the larger ca meras i• has some peculia r ad-

T he A uto Grafi ex is made in one size only, 3l4 x 4Y.j, and the material and work-ma nship is the bes t th at can be produced. T hi s necessa rily makes the price much above that of th e ordinary ca mera, but pri ce is to some no obj ect so long as they get what th ey want. To th ose wh o want a perfect instrument, comp act and equal to a ll emergencies, we woul d say, see the Auto Graflex. T he nega ti ves a re ju st the right size for lantern slides by contact and if ri ghtly handl ed it will yield negati ves perfect in detail and depth of foc us t hat ca n be enl arged to any size. T he Grafl ex ca meras a re manufact ured by th e Folmer & Schwing M fg. Co., 407 Broome St., New York, and stocked by all the lead ing deale rs. The Lumiere Products.

Au to Grallex Open

vantages which must be seen to be fully apprecia ted. In the A uto Gra fl ex th e regular reflecting mirror is supplemented by an add itional mirror placed in the top of the hood, enabling th e use r to hold the came ra on a level w ith th e eyes, or at a lower elevat ion .at pleasure. T hi s additional mirror makes the A uto Grafle x practically reve rsible, as wh en th e ca mera is tu rn ed on its side the image is readily see n on th e supplementary · mirro r ; and seen in any position th e ca mera may be held, over th e head, un de r th e a rm, and pointed backwards or for wa rd s or at ~ight a ngles. Its value as a detec ti ve camera or fo r stree t scenes is th erefore obvious. T he shutter is an entirely new type of focal pl ane shutter , scienti fic in construct :on an d composed of few part s, th e curtai n being in one long strip, contai nin g apertures from full openin g to one-eighth of an inch, permitting instantaneo us ex-posures from one-tenth second to one onetho usandth part of a second. T ime expos ures of any durati on may a lso be made, the change from time to instantaneous exposu res being effect ed instantly. T he shutter is set for any exposure by one-half tum of th e winding key, all adju stments being made fr om the outside of the camera, dials plainl y marked ind icating tension and aperture.

F rom all so urces we hea r good acco unts of the pl ates now bei ng manufactured in thi s co untry by T he Lumiere N. A. Co. ( Limited ). There are so me who have expressed di sappointment at · th e speed of th e "S igma,'' th eir fa stes t plate, claiming th at it was ba rely eq ual to a Cramer Banner or Seed 26x. We have not ye t had th e oppor tunity of making sensitometri c tests, but have made several expos ures which bea r testim ony th at th e plate is fast eno ugh for all purposes. A holder was loaded with Cramer Crown in one side and a "S igma" in th e oth er and both g ive n identi cal exposures on th e same subject out o f doors. Both were th en developed side by side in th e same tray and both showed ove rexpos ure. T he image on the Cramer Cr ow n was th e fi rst to appear and de veloped to g reater de nsity in the same tim e, a fact which showed th at th e Crown plate was the more se nsi ti\·e o f th e tw o; yet, strange to say, a compari son o f the negatives a nd prints showed no pe rceptible d iffe rence in th e detai l in th e shadows. We be lieve th at th e "S igma" plate will be found most excellent for portrait ure as so ft negatives are easil y obtained and th ere is transpa rency and good printing qua lity in th e hi g h lights. T he Lum ie re non-halati on pl ate is ce rta inly all th at its name im plies. The most tryi ng tests failed to prod uce halation, anrl if the non-actinic dye between the fil m and th e glass cou ld onl y be made to dissoh·e away in th e hypo bat h.

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THE CAMERA AND DARK-ROOM

instead of requiring ' a separate operation, we would say that this plate would become immensely popular for landscapes and interiors. A test of the Lumiere Ian路 tern slide plate shows excellent quality and line grain. This fineness of grain . is noticea ble in all the Lumiere plates and is a qu ality that should alone recommend them for many purposes. The tests we made were developed both with the metalhydro and diamidophenol developers. The latter developer is very similar to amidol, r equiring only sulphite as the accellerator and it possesses some features which will make it worthy of more det~i led mention in another 路number.

Position of Ground Glass. A. E. HARRIS.- It is immaterial whether the g rou nd surface is "out or in," so long as it is in the sa me register as the se nsiti ve film. In some of the cheap makes o f cameras the ground glass is not always in th e same plane th at the plate will be when inse rted and simply turning the glass will bring the two in register. Place a st raight edge ove r the plate holder, in which there should be a plate, th en insert a wedge under the straight edge and mark the point of contact. Then place the st raight edge over the frame of the ground glass and note if the wedge stops at the mark. If not, the remedy is obvious. Stained Prints. ELLEN F. LEEDS.-The yellow stains on the prints are not caused by the paper be路 ing "old or defective" as you suppose, but is th e res ult of uneven or improper fixation. If a print is thrown into the hypo bath and left to fl oat on the top, air bubbles prevent th e hypo from attacking the whole surface. If you object to putting your lingers in the hypo bath, ha\路e a glass rod or bit of stick convenient to thoroughly immerse the prints and keep th em movi ng for a few moments. Stains are al so caused

by not rinsi ng off th e devel oper before plac ing the print in the hypo, especially if the dev eloper is not fre sh. You can be sure of getting twelve good prints out of each dozen of paper (provided your exposing is correct) if you will adopt the following routine. In addition to the developer and hypo trays, provide two trays (kitchen di shes will answe r ) fill ed with clean water. U se one of these trays in which to immerse the print before it is placed in the developer; this will guard against pinholes or undeveloped spots ca used by air bells. After the print is developed, quic!dy rin se off the excess of developer in the second dish of water, transfer it to the hypo and thoroughly immerse it with the fingers or with the roo as suggested, moving the prints a rou nd if th ey show a tendency to cling together. Speedy Washing of Prints. C. W . THOMPSON.-Your queries are fully answered in the se ri es of articles now running in this maga zine by A. G. Woodman. You can greatly shorten the time and r ed uce the amount of water ne eded to secure thorough elimination of hypo from prints by pressing them between blotters between each change of water. Of course you must handle the prints with great care while the emulsion is in so soft a condition. Choosing a Lens F. W. PIERCE.-No, you should not buy the lens without being given a chance to test it or the privilege of returning it. The dealer is either grossly ignorant or willfully misleading. All lenses have practically the same rapidity used at the same relative ap erture; but all lenses do not have t)le same defining or covering power at the same relative aperture. The ordina ry R. R. lens at f-8 is equal in speed to an anastigmat at f-8; but on a given sized plate the difference in sharpness toward the margins of the plate would be vastly in favor of the anastigmat. The choice of a lens depends largely on the pocket book. We say to all, buy the best they can afford as high priced lenses have reserve powers not obtainable in cheap lenses, and these very qualities may prove th ei r worth and more than recompense for th e ext ra cost at any time.

THE LOVELETTER

Eugene Von Blaas

ONE DOLLAR THE YEAR. TEN CENTS THE COPY

Volume VIII.

New York, June, J905. Edited by

361 Broadway

No.6

CH .\Lion:as.

Published on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office as second class mail matter. Subscription price, One dollar per year in advance. Fordgn subscription price ssh. $1 .25) Positively not connected with any photographic stock house. Matter should reach office by the 15th of month precedink date of publication. Original MSS. oolicited

PHOTOGRAPHY THROUGH A CHEMIST'S EYES. BY A. G. WOODMAN.

X.-The Preservation of the Photographic Image.

HE many modern applications of photography to scientific uses has rendered even more essential t.'lan before that it shall yield a permant.nt record. To choose an illustration in which this is especially needful it is necessary only to glance at some of the demands made upon photog raphy by only one branch of scie nce, that of astronomy. By the use of photographic methods in astronomical observations the personal error of the obse rver is largely e liminated and it is possible to do very much more work, since a number of plates can be made to be examined afterward at greater leisure. A negative of the sky, properly made, will show man y minute stars and a â&#x20AC;˘vcalth of fine detail not visible to th e most skilled observer with the telescope. Astronomical observatories throughout the world are co-operating in the

elaboration of an atlas or {:hart of the heavens, which shall serve as a reco.rd in order t_o show in later years just what changes are taking place in the stars, which ones are growing dim and which are sending out more light. Such a work as this is extremely valuable to science and it can be seen how essential it is that the film shall not only be permanent on the plate, but also that the intensity or density of the image itself, in all its parts, shall remain unaltered. Otherwis; no comparisons are possible. This work has now been going on for some time and it was recentl y reported that some of th e most valuable and ex tremely interesti ng photog-raphs made for this purpose arc far from being the permanen t reco rds that they were expected to be. In one particular instance it was found that where a total of 403 stars could be

172

CAMERA AND DARK-ROOM.

counted on a plate when first made, that after the period of ten years only 272 were to be found. This indicates that even for this comparatively short time the photographic plate is not to be depended upon. Of course some proc~ss of photographic reproduction could be used, but it is well known that this always involvas considerable loss of detail, a feature here most essential, and then the great cost of making prints from the thousands of negatives which have been accumulated would certainly deter many institutions from 路undertaking the task. In this predicament the chemist was appealed to for aid and asked to devise some method by which negatives could be made less liable to fade and by which those already disappearing could be restored. The task seems to have been successfully accomplished by Sir \Villiam Crookes, editor of the Chemical Xc路ws, and those in similar circumstances may find the treatment recommended to be beneficial. That the process of restoration seems to have been successful appears to be a fact. Dr. Roberts says that after one of his plates had been "revived" the missing images were restored just flS good as before. The method of treatment is as follows: Solutions A ancl B. A.- Pyrogallic acid. .. . . . . . . . . 1 oz. Sodium metahisulphite. . . . I " \Vater ................. So " B.-Sodium carb. (crystals) ... 12 oz. sulphite .......... 4 " \Yater ................. Ro '' First.-Soak the platl' for three hours in distilled watl路r. Sccon<l.-~1 ix equal parts of solutions A ,mfl n and soak the nl'gative

in it for 10 to 15 minutes in the dark. Was~ well. Third.-Transfer the plate to a solution consisting of 3 oz. of hyposulphite of soda in 20 oz. of water and let it remain in this for half an hour. Wash in running water for three hours. Fourth.-Prepare a "clearing solution'' as follows : Alum ...................... 1 oz. Citric Acid . . . . . . . . . . . . . . . . . 1 Ferrous sulphate .............. 3 Water ...................... 20 '' Soak the plate in this solution for ten minutes, remove and wash in running water for 6 hours. Fifth.-Prepare in advance two solutions, C and D. C.-Am'onium sulphocyanide 100 grs. \Vater . . . . . . . . . . . . . . . 100 oz. D.-Gold chloride .......... 15 grs. \Vater . . . . . . . . . . . . . . . 15 oz. For use take 1 oz. of each and add 8 ozs. of water. Soak the plate to minutes, wash with running water half an hour and place in a dish of distilled water for an hour. Drain on blotting paper and dry. Solutions A, B, C and D will keep indefinitely and can be ready-prepared in any quantity. The clearing solution will keep if tightly corked. When mixed, of course, the solutions will not keep. Prof. Crookes says that the secret of preventing fading is to wash very well in running water. The usc of the clearing solution allows the time of washing to be somewhat shortened, but not much. The sulphocyanide and gold solution precipitates metallic gold on the image, making it blacker and less liable to fade. He considers it advisable always to use the clear-

CAMERA AND DARK-ROOM.

ing and toning solutions, even for general work. Other authorities, however, differ somewhat from Sir William in regard to the efficacy of the above treatment and express surprise that the silver image should ever have been 'expected to be permanent under the conditions which ordinarily attend development and its subsequent processes. To be safe the image should consist of pure metallic silver and clean gelatine, a.ud uothi11g else. This means that all oxidation products and anything, in fact, which is a solvent for silver oxide, must be rigorously excluded, since they will dissolve silver itself in presence of air and moisture. It means furthermore, that the colored oxidation products of alkaline development must be excluded, even though they have not been definitely shown to 'attack silver. Even if they do not act readily there is no telling what might happen in the course of years. Two great sources of danger not usually sufficiently realized are the traces of hypo and of the oxidation products of the developer, which may remain in the film. The hypo is not easily removed and soaking for a couple of hours in clean water after washing. in running water is by no means excessive tre1tment. The same washing that removes hypo will also remove the products of development. It is essential to have enough sulphite of soda present to prevent st'lining of the film. It is far better to prevent stain than to try to remove it. ).lany formulas do not contain enough sulphite and many who use developer sufficiently strong in sulphite forget â&#x20AC;˘ that when the stock developer is di-

173

luted, more sulphite should be added to keep the proper proportion. Chapman Jones takes serious exception to the usc of clearing solutions and what he says on this point expresses very clearly the views of chemists in general. The fact that a stain disappears does not necessarily mean that it is gone. The visible evidence of it may have gone, but the stain may be there just the same and possibly in a form even more dangerous. The action of acids on development stains is usually to lighten the color of the stain and make it insoluble. An alkali on the other hand, darkens it and renders it soluble. The latter then, instead of the former, is the true clearing agent. Toning in general is not an oper..tÂˇ tion that would conduce toward permanency of the product. It is a complex operation ; it is an incomplete one. Different parts of the negative are affected differently and at various intervals of time. l\leasurements of light intensity are then rendered futile. A point to remember finally is that on no account should the printing papeÂˇr be allowed to touch the unprotected surface of the negative. It may contain many injurious substance5 sure to work havoc. To sum up, it appears that valuable negatives should be developed in a freshly made solution, containing an ample amount of sulphite of soda ; that they should be thoroughly fixed and prderably transferred to a fresh fixing solution after the soluble salts have been removed in the first. They should then be dried, varnished, and packed closely face to face or with waxed paper between.

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CAMERA AlVD DARK-ROOM.

A REPAIR KIT AND HOW TO USE IT BY C. H. CLAUDY .

ID you ever take a camera to the wilds of anywhere, where you couldn't find a tool shop, or a suppl y house, or anything more civilized than a blacksmith shop, and then have something go wrong? Have yon ever broken a g round-gla ss when getting a new one from home meant waiting a week? Have you ever had the bellows you thought tight, crack, in a dry climate, when you were supposed to be taking at least a dozen pictures a clay? Surely, unless you are unusually careful o r unusually lucky you have dropped the whole outfit ove r a路 eli ff and smashed things beyond hope of the pocket knife as the only repair tool. Of course, you will say, these things do not happen to every one, nor do they happen often. At the same tim e, if yo u ever have had an accident which, because you couldn't mend the break, spoiled all or any part of a trip, I am sure you will agree with me that a small, lig ht kit of tools, sufficient for the majority of repairs, would be \Veil worth the carrying on the nin ety and nin e trips when you tlicln 't ne路 ~ d it, to have it the one time tha t you did. A ll my life, long before I used a camera, I used tools, for the love of them. As most o f my readers know, I still use them and make all kind s of things which I can' t buy and ha ,路e a lot of fun doing it. So I think I can claim the rig ht to be able to select from out all the mass of tools one can buy, the absolutely essential ones, to

make a vacation repair kit which will combine the maximum of efficiency with the minimum of weight. The illustration shows you the kit complete, with six tools, its bottle for glue and its tobacco box for various odds and ends to be described.

Now I do not pretend that these are all the tools you can use. A small vise is a very handy thing to have, so is a small saw, so is a brace and bits, drill, drill press, lathe and a plane! But the Ene must be drawn somewhere, and from sixteen years' experience with cam eras and accidents and the repairing of them, I have selected the six tools illustrated as essential,-the others can be done withou t at a pinch. The tools are; a small, light hammer, with a flat pean , a pair of tweezers, a jeweler 's screw driver, a pair of small, long-jawed pliers, a needle awl, and a file. In the box is a small camel's hair brush for the glue. The other things in the box are: one

CAMERA AND DARK-ROOM.

dozen five-eighths inch round-head brass screws, one dozen five-eighths inch flat-head brass screws, one dozen quarter-inch brass screws, with round heads, one dozen quarter-inch screws with flat heads, one dozen steel screws, thin, three-quarters of an inch long (solely for repairing a broken tripod), two dozen assorted rivets, of copper with washers, several small pieces of thin fine leather, a small bundle of very strong, fine line (silk fishing line is best), two rolls of copper wire, sizes eighteen and twentytwo respectively, the brush referred to before, a dozen rubber bands of assorted sizes, a very small cake of Sapolio (or other white grit-soap) and a fifteen-cent glass-cutter with the handle cut off to make it small enough to go in. It is not put out with the rest of the tools, in order that the tiny little wheel may not get either rusty or dented. It i~ wrapped in a bit of cotton cloth. To get together one of these kits, first buy the tools. They will cost, together with all the supplies, from one to two dollars, according to the quality. The awl you cannot well buy the size you want ; I took an ordinary ten cent awl, cut down the handle, and ground down the point on an oilstone. Having bought the tools, arrange them as you wish them to be when in the kit and then get your sister ( anybody's sister will do) to hem a piece of cloth, either canton flannel or denim, of the shape shown, and about twice the width the whole is to be when folded. See the illustration. My own case is made from a piece of cloth eighteen inches square, the hammer (longest tool) being ten inches long. The loops for the tools are made

I7S

from what the "sister" will tell you is called webbing, that being the mosl unstretchable stuff to be found in the dry goods emporium from wbicll these materials are purchased. The corners of the case are cut away as h.:ing unnecessary. When folding U!' the case the sides are first turned iu. over the tools, and the whole is thea rolled up, in three sections : the hammer, tweezers and screw driver being in one section, the other three tools iu the second and the box and bottle of glue making up the third. In gettin: this kit ready, after filling the bottle with glue, it will be wise to put sealing-wax on the cork to keep it from coming out, although if the cork is good and the fit true, this is not absolutely necessary. But if the cork should come out, the mess would be disagreeable, to say the least! This entire kit, tools and supplies, weighs just fourteen ounces and folds into a space eleven by three inches. It can be carried easily in a hip pocket. or tucked away in a grip where the space it takes up is hardly noticeable. Only those trips where the very strictest rule of light marching order prevails need exclude this outfit, so compact, light and easily carried is it. Now to some of the commoner accidents and the way in whicn these tools are made useful. As I am sure you are anxious to know why I carry Sapolica or other white grit-soap, I will start with that, used for a broken grounc! glass. In the first place, if the glasr is broken in but two pieces, a narrow strip of paper, glued on both side~ will hold wonderfully well and yoâ&#x20AC;˘ will be surprised how little it bothers you when you are focussing. But failing that, buy a piece of plain glass.

CAMERA AND DARK-ROOM.

if you are ncar a village ; if not, rob a window, and cut it to size with the glass cutter and any straight edgeedge of a book will do-and then, with a .little water and your grit-soap, it is easy to coat this plain glass with a white s路urface which answers famously for ground glass. DON'T put the white surface inside, although that is where it belongs to make it in register. Rather set small pieces of wood around the rabbet of the frame, until the outside of the glass, on which you have coated your soap, occupies the same plane which the inside of the ground glass formerly filled. If you put the soap side inside, small particles will drop off and cause pin-holes. If the water with which this soap was wet were mixed with a small amount of the glue, I should imagine it would hold the particles on, but not ever having tried this scheme, I cannot voucn for it. You will find both the screw driver and the pliers very handy in getting glass in and out. What is the hammer for? To rivet witn, to straighten bent pieces of brass, caused by falls, and to tap straight anything which gets out of true. If your bellows comes loose from .either end, it can frequently be put back with glue only, but in case it cannot, a small rivet, set through wood and leather, holds it all. Rivets arc mighty useful. too, if a strap breaks or comes off the case, or, if any metal part of the camera be broken which can be lapped, in joining these together. Here is one place where the file is indispensable-in cutting down the rivet to the proper size and in !'moothing off the job after it is done. If anything about the woodwork g<.>ts broken, probably from a fall, the

glue-pot and brush come into play, assisted with the twine, the rubber bands or the wire, according to circumstances. It is almost always necessary to put pressure on anything glued, to secure a good joint. I have broken finders several times, and mended them with glue and rubber bands, and I once mended the entire back of a camera of a friend, which was literally smashed in pieces, with only the glue, the twine and two screws. If you screw anything together, do11't put in the screw without first boring a hole for it with the awl. Bore this hole, too, don't stmply push the point through the wood. Mahogany is very brittle and splits easily, and by boring the. hole first you do not in any degree decrease the holding power of the screw. I have not said, but I presume it is understood, that some kind of a penknife is an indispensable part of this outfit. F se the point of the small blade, twirled between the fingers, as a countersink, and get the heads of the flat-head screws flush with the woodwork, in order to make a workmanlike job. When you bend a piece of the metal-work, such as the supports for the bed, and apply the pliers to them to straighten them, put your handkerchief between the jaws of the pliers, so that you will not scratch the bright nickel-plate. If the member is so badly bent that it must be removed and hammered straight, pick out a smooth round stone to serve as an anvil. ~ever hammer wood with the hammer-put another bit of wood on that you wish to strike, in order to avoid marring the polish. If you have a hole in your bellows,

CAJIERA AND DARK-ROOM.

177

mend it both inside and out, and don't ueing common-still, I know from exuse a patch two inches square for a perience what a comfortable feeling of pinhole. A little bit of a piece of security it means, to have the means leather stuck on with glue and pressed for repairing the more common ones. tight, will stick just as well and be To get back to the shutter question, just as tight as a larger piece, and look if something is the matter with it, and much better. you think you can get it together I should not advise you to monkey again, let me give you a hint. Take much with the shutter, unless you out the lenses, first. Then remove all have a decided mechanical bent. But the screws frem the back of the shuta loose screw can be tightened, and a ter, when it will usually come apart. lost one replaced-if you can find it. Now, keep the shutter with the exHere, and in putting the smaller posed mechanism 14p, so that nothing screws in anywhere, is where the loose will fall out, and work it very tweezers come in. It is nearly impos- gently to see what the matter is. A .sible to set such a tiny screw with the broken spring can sometimes be made fingers, but the tweezers handle them to do by using the larger half, and -easily enough, and the jeweler's anything btnt can be straightened, but screwdriver is made to be used with beware of gutting the case of the Llades and springs, for it takes an exone hand. Besides binding up glued work the pert to get them back again. Someheavier copper wire is most service- times just blowing the open mechanable in mending a broken tripod, and ism, hard, will dislodge the bit of dust it, together with some glue and a which causes the trouble. Sometimes couple of screws, will make an aver- the dash-pot-which is also called the age break as good as new, as far as retarding device-needs cleaning, but service goes. The last tripod which I it 11c~路cr 11ecds oiling. Well, I suppose I could go on for a repaired had fallen from a wagon and been run over by path wheels, and long time, telling of accidents and the was in fourteen pieces. I fixed it so it way to repair them, but, after all, each would hold up as much weight as any accident must be a law unto itself, and tripod in the party, and the owner you must work out your own salvaused it for three weeks without any tion. I would respectfully advise, trouble. I bankrupted myself of glue, however, from considerable experiscrews and wire, but replaced them in ence, not to decrease the outfit here a couple of days, and also advised on 路described by so much as a single the purchase of a much more elab- screw; if any changes are made, add orate outfit which the owner of the a small chisel and a pin vise. But for tripod immediately insisted upon pur- any ordinary mishap my kit, with a chasing. He had seen the value of the pen-knife and the average amount of idea, and although I don't suppose he ingenuity, will suffice for its service, bas ever used it-such accidents not if not its complete, repair.

CAAIERA AND DARK-ROOM.

PRINTING AND DEVELOPING THE PICTURE POSTCARD. BY PERCY L. SLATER.

The gaslight. method of printing all that is necessary when placing a photographic postcards 路 has become card in the frame for exposing is to lay it on the negative, so that it is just ~eservedly popular, and as I have for some considerable time used large enclosed in the white strips of paper numbers of such cards, a few hints. on all round-this saves a lot of trouble my mode of working may be of use in getting card in the correct position. Although gaslight cards are madeto other workers. The cards, I find, yield splendid results with a mini- expressly for printing and developing mum of trouble~ and most makers pro- by artificial light, I find it preferableduce them with both matt and glossy to make the exposures by daylight, surfaces. For all ordinary purposes, especially路 when two or three hundred however, I prefer the matt variety, as cards are required in a short time, as they yield results, with proper work- the exposures are curtailed to a very ing, hudly distinguishable from considerable extent. I have had a little window, facing north, fitted in platinotypes. The printing may be done from a my dark-room-this is provided with negative of any size, though half-plate a sliding shutter, so that exposures of negatives are, in my opinion, the most any duration may readily be made, suitable. The amount of subject in- and the shutter immediately closed, cluded on the plate should be about making the room perfectly light-tight . sufficient to allow a white margin again. It is necessary to have 路everything about 78 in. wide to appear round the card-this gives a much nicer finish ready before commencing work. The than when the picture occupies the developer should be mixed up and allowed to cool. Personally, I always. whole of the card. The negative itself may be masked use a metol-hydrokinone developer, to exact size, by cutting strips of thin which gives beautiful results. A goon black paper and pasting on to the film formula is: Metal, 5 grains: sodium side. The portion of the negative vis- sulphite, H ounce ; hydrokinone, ~ ible should then measure about 5}4 by grains; sodium carbonate (pure), 0 3}4 in. for printing on the regulation ounce ; potassium bromide, 1 grain ; water, 10 ounces. Some makers recsized postcards. A postcard should ommend an acid fixing bath, but l now be taken and placed in exact posiprefer to use a simple solution mad~ tion on the masked negative, and some up of hypo, 3 ounces ; water, 20 narrow strips of white paper pasted ounces ; and by careful working t down to the black paper along each avoid yellow stains. I find that the路 side of the postcard, and close up to it. surest way to avoid stains is to use These white strips are to serve as soft water only for all operations conguides when in the printing room, and nected with developing and fixing-if

CAMERA AND DARK-ROOM.

hard water is used, I find that stains often make an appearance, especially in very hot weather. It is also necessary that one lot of developer should not be used for too many cards, and the fixing bath should also be freshly mixed for each batch of cards. The prepared negative is carefully dusted and placed in the printing frame. On this is placed a postcard, sensitive side down, and in position as indicated by the slips of paper. Exposure is made, after closing up the frame, by opening the shutter and closing it again-the time may vary from three to twenty seconds, according to the density of negative, condition of light, and the distance of frame from window. This trial exposure should be developed, and if under or over exposed, other trials should be made until the correct exposure is ob路路 tained. To avoid the loss of a number of cards, it is a good plan to cut up a card into four or five strips-these may then be used for the trial exposures in place of whole cards. \Vhen the proper exposure has been ascertained, the number of cards required from the negative may all be printed off in rapid succession. I do this by counting out the number of cards required from the negative路 to be printed, and placing them in an empty plate pox. As each card is printed, it is removed from the frame, placed in another box, and a fresh card inserted in its place. Two or three dozen cards may by this method be exposed in a few minutes. The exposures having all been made, I immerse one dozen of the cards in a dish of clean, soft water to render them limp, and to prevent the formation of air bubbles. Two ounces

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of mixed developer are placed in a half-plate porcelain developing dish. and each wetted card developed separately-this quantitY. of solution will do one dozen cards very well ; but more should not be attempted, as stains may possibly appear, and the solution is very cheap. As each. card is developed it is transferred to a large dish, also containing a liberal supply of soft water, in which it is rinsed to free it from developer. It is then placed in the fixing bath, turned over a few times, and then left to fix. Another card is then removed from the dish of water, developed, and treated in a similar manner. A dish or basin of water should be at hand, in which to rinse the fingers from the hypo, also a clean towel on which to dry them. When developing the cards I always handle them, previous to fixation, with the right hand, and while in the fixing bath, with the left-this effectively prevents contamination, and saves a lot of time which would otherwise be taken up in rinsing and drying the hands after developing each card. When one dozen cards have been developed and placed in the fixing solution, they are removed one by one to a second fixing bath. This is not absolutely necessary, but it is very useful to insure thorough fixation. Another dozen are treated in the same way, the first dozen then being re.,. moved to the washing dish, and the operations continued until the batch is completed. In very hot weather an alum bath may be used to harden the film. though I seldom find this necessary. After well washing the cards to eliminate the hypo, they are laid on a 路 table covered with clean cloths to dry.

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The surface water may be blotted off with a clean linen cloth-this will greatly facilitate the drying. As they become dry, the cards gradually curl up, but they may be made quite straight again by drawing them under the straight edge of a ruler.

It is very necessary when working gaslight papers and cards to observe the utmost cleanliness. All dishes and measures should be well washed out, and the bench or table wiped down with a damp cloth.-The Amateur Photograplcer.

PERFECTED GUM OZOTYPE.

HY this phase of carbon printing has not taken hold of American amateucs is one of the many puzzles incident to photoggraphy, the only explanation that occurs to us being that, as we have elsewhere said, American amateurs take photography less seriously than do our British brethren, and arc content to take things as they are rather than to strike out on new lines. Ozotype on a gelatine basis was, in the hands of those. who cared to understand it, one of the best of printing methods, and the more recently introduced method in which gum takes the place of gelatine seems, if possible, to give even better results ; so that we have pleasure in extracting the following few hints regarding it from The Amateur Photogra.phcr by Robert Manly, its inventor or discoverer, as it seems to include both. We may add that the necessary material and literature connected with the method may be got from George Murphy, 57 Ninth street, New York. When we consider the physical aspects of piginent printing on paper, it is evident that if the insolubilizing action commences on that part of the colloid which is in immediate contact with the paper, a picture with better gradation and finer details must be 路

produced tban if the action c~m颅 menced on that part of the colloid which is farther removed路 from the paper. This is one of the principal features in Ozotype. In other gum processes the image is printed on the coating of gum, and the action of the light has to penetrate a. dark layer of gum and pigment through which the image is practically invisible. This interference with the action caused by light considerably delays the formation .of the image. In Ozotype the printing is done before the gum is spread on the paper. Any amateur who can print in P.O.P. will have no difficulty in printing the primary Ozotype image, as the procedure is practically the same. The only difference is in the result. In P.O.P. the image is a very rich brown, which requires to be toned to render the color more agreeable. In Ozotype the color of the image is a golden brown or faun, which contains the property of rendering Gum or Gelatine insoluble on those parts which have been acted upon by light. The pigmenting of the image may be compared to the work of an artist completing an unfinished picture. I have little hesitation in saying that Gum Ozotype, after four years of con-

CAMERA AND DARK-ROOM. tinued experiments and much labor, is now practically perfected. Gum pictures can easily be produced equal in gradation to Carbon prints. The principal new feature is that the initial prints, after spreading, should not be exposed to a drying atmosphere until the reducing action is completed. The process is so simple that it can be described in a few lines : Make an Ozotype initial print on weakly sized or unsized paper. Spread witn a solution of Gum ( 1 in 2), to which the requisite pigment and Acid Reducing solution have been added. Hang up in a damp cupboard for about an hour or longer, and develop in cold water. This is the whole process. Neither actinometer nor finishing Alum Bath are required. Spreading can be done with a varnish brush, no expensive softener being necessary. Brush marks, if confined to the top surface

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of the gum coating, will disappear in development. In most cases the gum surface will be in a fit condition to develop with a soft brush after being in the developing water for about two or three minutes. After remaining during the specified time in the damp cupboard the prints can be taken out and dried in the atmosphere, after which they can be developed at any convenient time. There is no danger of the so-called "continuing action of light." Any depth of color can be obtained, as no light has to penetrate the colored film. When thick gum is used a certaJn amount of relief is produced, thereby materially aiding the gradation of color. This is pre-eminently the process for beginners in Gum work, most of the disadvantages and uncertainties of the old process having been removed ; and it will no doubt be thoroughly appreciated by experienced workers in Gum Bichromate.

GREEN TONES ON BROMIDE PRINTS. While investigating the action of FORMULA AND METHODS. solutions containing several metallic Here is the composition of the baths salts upon a silver image, we obtained we have used : pnnts of a green color by treating I. them first with a solution of potassium \Vater ............... 100 parts ferricyanide and lead nitrite, and then Potassium ferricyanide. 6 " with one of cobalt chloride made Lead nitrite. . . . . . . . . . 4 " strongly acid with hydrochloric acid .â&#x20AC;˘ This second solution is not applied II. until the print has been washed suf\Vater ............... 100 part~ Cobalt chloride. . . . . . . 10 '' ficiently to remove all traces of the Hydrochloric acid. . . . . 30 " liquid first applied to it.

CAMERA AND DARK-ROOM If vigorous green tones are required, we must use prints that have been fully developed. The print is placed in the first solution until it has bleached entirely, and it has then to be washed very thoroughly if we want to get perfectly pure whites. If the washing has not been sufficient, there will be a discoloration of the whites in the s.econd solution. 路 After the washing, the print is immersed for one or two minutes in the acidified solution of cobalt chloride, and it immediately assumes a very brilliant green color, without any tinting of the whites. It is then washed to remove the excess of the cobalt solution. THE CHEMISTRY OF THE METHOD.

If we examine the nature of the reactions which are capable of producing these tones, we may suppose them to be, in the first place, the formation of a double ferrocyanide of silver and

lead. In the second bath, this double ferrocyanide gives us, with cobalt chloride, chlorides of silver and of lead, and the cobalt partially substitutes itself for the lead and the silver. We therefore get at the finish an image made up of lead, silver, iron, and cobalt in the form of a ferrocyanide and of the chlorides of silver and lead. If the action is pushed further, we may suppose that the cobalt tends to replace the silver and lead completely. After giving equation of possible reactions, and results of analyses of the toned images, the authors say that it may be assumed from them that the reactions are partial, the composition of the image on analysis corresponding to an incomplete substitution of the metals ; but that their results are not sufficient to allow of the formation of theories about such images with any certainty. Photography.

STRAIGHT VS. PICTORIAL PHOTOGRAPHY. BY DR. JOHN NICOL.

Far be it from us to undervalue a the beholder the impression made on straight photograph ; a transcript him by the scene. While it is true from nature in which the values ac- that each considers his own way the cording to the illuminations are true best, he would not, un~er ordinary and every detail as sharp as the best conditions, continue in it if he did not modern lenses can make them ; or to so think, he should concede to others think lightly either of the hundreds the right he claims for himself ; the that make, or the thousands that ap- pictorialist recognizing the beauty of preciate them. For topographical the straight but perfect photograph, and other purposes they are supreme, and the straight photographer, even and they give pleasure to thousands 'when pictorialism degenerates to ecwho neither understand or appreciate centricity, as it sometimes does, adthe more Ji>ictorial phase in which the mitting to his artist brother an equally artist, "showing nature through a free hand. But simple justice requires that we temperament," aims at conveying to

CAMERA AND DARK-ROOAI. should distinguish between the amount of credit due to the one and to the. other ; to the straight and to the artistic photographer. Straight photography, with the apparatus ~nd material now at command, is simply a matter of a little practice by any one <>f average ability, and all the better if he has learned to "see," to recognize the suitable subject and the point from which it can be most advantage-

ously photographed; while for the production of the photograph that shall also be a work of art or a picture in the true sense of the word, .there must be added to all that the straight photographer knows something of what is often said to be "born, not made," or at least acquired after much study ; the ability to infuse into his picture something of his own individuality: Verbum sat sapienti.

NOTES. SnELL:\C lhcKING.-According to the Bulleti" of the French Photographic Society, M. Balagny highly recommends a backing solution made as follows. Four ounces of shellac (the author recommends the bleached, but orange is better) and six drachms <>f borax are boiled in eighteen ounces <>f water till the shellac is dissolved, and to the cold solution is added thirty grains sodium carbonate and one drachm of glycerine. To this solution is added sufficient of a mixture of equal parts of burnt sienna and dextrine to make it about the consistency of thick cream. It may be applied to the plate with a brush or on a piece <>f sponge, and it will not scale off or make dust on the film when dry, while it is easily removed by a damp sponge. A SIMPLE SuLPHIDE ToNER.Much has for some time been written <>n the sulphide toning of bromide prints, and so complicated and 5o uncertain did some of the methods seem that many have been deterred from adopting it. It is really, after all, a

very simple operation, and we know by experience that no better formula can be adopted than the following, which we clip from Photography: The formulre are as follows : No. 1. Potassium ferricyanide ... 400 grains. Potassium bromide ...... 6oo grains. Water to ............... 10 ounces. Dilute one ounce of this with nine ounces of water, and allow the prints to bleach in this. Rinse them in water and transfer them to No.2. Sodium sulphide . . . . . . . . . . 1 ounce. Water .................. 10 ounces. Half an ounce of this is diluted for use with nine and a half ounces of water. CARBON PRINTING SIMPLIFIED:The Rotograph Company of New York have put on the market a carbon tissue having for its support a very thin celluloid film through which the printing is done, thus doing away with double transfer and some of the other

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objections, that trifling as they were, have largely accounted for the lack of popularity of that best and simplest of all printing methods. The film is sensitized in a 3 per cent. potassium bichromate bath, rendered alkaline with ammonia for normal work, though of course this may be adjusted to the negative as usual, the time of immersion being one minute. Drying is effected in the usual way, the film being temporarily fastened to cards. When dry, the back of the film must be carefully cleaned, and is then placed in contact with the negative, and the necessary insolation determined by a photometer. In the instructions issued by the makers attention is drawn to the fact that certain colors are more sensitive than others, and considerably more sensitive than P.O.P. Development is effected by merely placing the exposed film in a dish of water between 85 and 105 deg. Fahr., no rocking or laving of the surface being necessary ; in fact, this would be prejudicial, as likely to injure the delicate half-tones. When completely developed, which it will be in from five to ten minutes, the film is placed in cold water for a few minutes, and then allowed to dry. To mount the print on paper, the paper and film are soaked for a short time in lukewarm water, brought into contact, laid on a sheet of glass, air bubbles pressed out, and then squegeed and placed under pressure, such as can be obtained between two pieces of glass in a printing frame for half an hour, and then removed and allowed to dry. When perfectly dry the celluloid can be stripped off without the slightest difficulty; the print is then lightly rubbed

with benzine, and may be hardened by alum or formaline. If a matt surface is desired, the print can be squegeed to ground glass and stripped whilst still moist. Rough paper may be used, but a little modification of the mounting process is essential, and greater pressure must be employed. Lantern slides, stero and window transparencies, can of course be made by the aid of these films, and a much wider range of colors is opened up for this work, as the stripping film is made in twelve colors. This new introduction should certainly induce many to adopt the carbon process, and the ease and simplicity of working are very stnk~ng. \Ve note also that special stripping films are made for three-color printing. We consider it one of the greatest improvements of a decade, and may say that the address of the Rotograph Company is 771-773 East 164th Street, New York. Lo::-m Focus LENSES :-We have pleasure in extracting the following from the excellent work on Landscape Photography by Fritz Loescher. "A narrow-angle picture is shown to be identical with the central portion of a wide-angle picture from the same view-point. Another pair of views, ho.wever, show a striking difference. A house is taken with a wide-angle 5 in. lens and a narrow 13 in. from such positions that the height is the same in both prints. The narrow angle gives a natural effect; the wideangle picture, while resembling the other in the one particular of the height of the building, exaggerates everything in the foreground and diminishes everything in the back-

CAMERA ANP DARK-ROOM.

ground, while the forced perspective makes the house appear distorted. Things in Nature are generally looked at from such a distance that the whole object is discernible without much movement of the l)ead. "Short-focus lenses are a survival from the day when the aim of the photographer was to compress as many things as possible into a small space. "An angle of 36 deg. may be considered to give natural results. Its perspective differs but little frbm the subjective perspective of the eye. Such an angle is equivalent to a focus of about I 0 times the length of the plate, with a minimum of 10 in., the norn1al distance at which the eye looks at small pictures." The angle of 36 deg. which he recommends is given by practically the minimum length of focus we have always insisted on, once and a half the length of the longest way of the plate.

Still another confirmation of our views comes from the Rev. T. Perkins, a well known writer of great experience. In an article in The Photographic News on Angle of View, he says : "There is little doubt that photographers, as a rule, embrace a wider angle than painters; largely due to the fact that they buy quarter or half-plate 'sets,' and the dealers, in order to keep down the price, supply a lens of far too short focus." We have said something like this dozens of times, and the moral is this : never for serious work, when direct pictures are the object, not small negatives for enlargement, select the camera and lens otherwise than separately, taking care that the lens is not shorter than once and a half the length of the longest way of the plate, and twice that length would be better.

A METHOD OF PRESERVING UNSTABLE SOLUTIONS. E. H. WILLIAMSON, All photographers who make up their own solutions for development, Jlnd that the solutions of pyro, sulphite of soda and metol - hydrochinon, rapidly deteriorate when kept in partially filled bottles, owing to the oxydizing action of the air. This trouble is most marked among amateurs, as they do not use up their stock solutions as fast as professionals. The sulphite of soda solution which is used in practically all developers, is particularly suhject to this trouble, and it is sometimes h~cessary to discard considerable quantities of this, when it has remained for any length of time in partially filled bottles. Having suffered from this disadvantage myself, I

Jr.

have devised a bottle for my stock soh•· tions, by which practically all the fluid is protected from the action of the air and its accompanying deterioration. Thinking that the idea might be of interest to the readers of the C.\MERA AND DARK HooM, I have set down directions for making the apparatus. The first step is to obtain several quart whiskey bottles of thin glass, with good corks. The bottles should be thoroughly cleansed inside and cut, and the bottoms cut off in the following manner. \Vind several turns of soft string or worsted around each hottle about an inch from the bottom, making the turns close to each other and parallel to the bottom

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The ends of the knot are cut off short, and the string is soaked in turpentine or coal oil. This is ignited, and when it has burned out, a few drops of cold water are sprinkled on the hot glass, the latter will then crack off at the point where the · ~tring was wound. The sharp edges remaining should be smoothed off with a file to avoid danger of cutting the hands. Go -to a drug store and buy a foot of glass tube 3-16 inch outside, and the same amount of rubber tube, large enough to fit snugly over the glass. Have the druggist bore holes, lengthwise, through the centres of your corks, of proper size to take the glas!' tubes with a tight fit At a photo supply house buy several of the woode.t spring clips which are sold for hanging up films and print to dry. Last, but not h•ast, buy a pint of linseed oil. The bottom of each bottle having been removed as directed, the glass tube is cut into 1 1-2 inch lengths" and thrust into the corks leaving half an inch projecting. A one inch piece of rubber tube is then forced on each glass tube, and the corks are inserted in the mouths of the bottles, tied firmly in place with string, and both corks and necks are covered with paraffine wax. As the bottles are to stand in an inverted position, it is necessary to provid~ a rack to hold them, which should be !Hade as follows: Procure two strips of board four inches wide by sixteen long. Between these, as uprights, is nailed a sh<'lf four Inches wide by two feet long, about two inches above the centre. Along tre centre of this are bored several holes large enough to receive the necks of th~ bottles

· and allow them to project three inches below the shelf. The holes are to be four inches apart, from centre to centre, and are conical in shape in order to fit the necks. Wooden strips are then nailed from one upright to the other at e;lch side of the top to support the upper parts of the bottles, and for the same purpose, short strips are fastened between them. The bottoms of the uprights should be nailed to a base board, broad and heavy enough to form a good foundation. The completed rack may be varnished or painted for appearance and preservation. The bottles having been made perfectly clean are labeled with the names of the solutions which they are to contain, and are inserted neck down in their places in the rack. The various solu.tions are then prepared, enough of each being made to fill the bottles to within one half an inch of the top. The bottles having been filled and the rubber tube~ closed by means of the spring clips, the linseed oil is divided into six portions, one of which is then poured gently on top of the solution in each bottle, where it will float. forming a layer about one-eighth of an inch thick, forming a perfect seal ilnd preventing any possible contact with the out· side air. When it is desired to draw off any of the solution, a graduate is held under the bottle, and the clip on the rubber tube is released. The liquid then flows as long as desired, and when the requisite amount is obtained the clip is replaced and the tube closed. As the disc of oil sinks down with the decrease of the solution the seal i!- maintained at all times and practically aU the solution can be used. If, when 1he last of the fluid is drawn off, any of the oil should be mixed with it, it should not be used, but the oil may be decanted off and used O\'er and over again for eac't fresh batch of solutions. To prevent dirt getting on the top of the oil it is well to cover the top"> of the bottles with paper or cardboard caps. These must be removed when drawing off solution to allow the air free access. The expense of making this device will be small, and it will save its cost in !:olution

PORTRAIT OF F . W . KOST

Curtis B e ll

PORTRAIT OF MRS . AVERY

Curtis Bell

THE DAISY FIELD

Curtis Bell

CAMERA AND DARK-ROOM in a short time, besides doing away with the probability of spoiling many ~' good negative or print with poor solutions. .Lf cost is not an object in making the device, quart glass funnels, at ~s cents apiece may be substituted for the cut off bottles. In this case no corks need be used as the rubber tube will be forced t•pon the neck of the funnel itself. Owing to the

greater surface of solution exposed, more oil would be required. Fig. 1 shows a rack constructed to hold three bottles, and the method of drawing the fluid off into a graduate. It may be well to add that when the last dregs of solution are reached it is advisable to withdraw the entire cork from the bottle and allow the oil to drop from the open neck instead of through the tube.

AN AMATEUR WASHING KIT. MAUD E. SMITH HYMERS.

Perhaps one of the. greatest drawbacks to the amateur photographer's summer in the country is the lack o~ conveniences for washing negatives and prints. Running water is almost a necessity, and while that may be found in abundance in the various streams and waterfalls, these yet remain much better subjects than servants fer the photographic lens, and the question of washing still disturbs the enthusiast. A clever boy I met last summer, however, had solved the problem with a pail, a dry goods box and a few dishes from his mother's summer store, together with a good deal of natural ingenuity. The outfit served the purpose admirably, and might even be adopted to advantage in city homes where a regular darkroom with conveniences is not included. To begin with the box; he had chosen one about three feet high when standing on end, and about fifteen inches wide by half that in depth. To insure its steady uprightness of character he nailed on two wedge shaped pieces of board to the front of the box at the bottom, the w1de end next the floor, the narrowed sides or point of the wedges coming up to about the middle of the box. Now two cleats were nailed on the inside of the box, six or seven inches from the top, on which to slide a shelf made from part of the box cover, and about fifteen inches square, or just wide enough to slip easily in and out on the cleats. This was meant to hold the plates, or rather, the tray in which they were washed. This tray was a bright new dripping pan borrowed from his mother's store, and ex-

actly such as she used for cake b::.king, etc. It was about twelve inches square and three deep, a very ordinary looking pan until our young inventor took it to the tinner and had a hole cut in the bottom close to one corner. Into this was soldered a piece of tin pipe about three inches long, tapering somewhat at the end farthest from the pan. Over this tapered end was fitted a few feet of discarded garden hose. A common wood water pail was then purchased, and that too had a hole bored in it about a half inch from the bottom, into which was fitted a small faucet, by which the flow of water could be regulated as desired. When ready to wash his negatives the pail was filled with water and set on top of the box or stand, the faucet projecting over the edge enough to allow the water to run into the dripping pan on the shelf below, the tube of which in turn allowed the water to flow off through the garden hose into a slop bucket; or through a window into the yard, as was most convenient. To insure a full circulation of water about the plates it was necessary to hold them held up from the bottom of the tray, and this was accomplished by laying the negatives in saucers or plates, kindly donated by his mother. The negatives, al· ways laid film side down so that no sediment could lodge upon and spoil them, touched the dishes only at the corners, the. concave bottoms of the saucers tllowing space for the water to circulate freely between them and the negatives.

CAMERA AND DARK-ROOM.

MACHINE OR TIMED DEVELOPMENT. B1 Louis A. Lamb in " Technical World.'; After all is said and done, the fact remains indisputable that the modern method of development is the cheapest, the simplest, the surest, and the best, because it eliminates entirely the "personal equation," obviates all the variables of the old school, and, within the exposure coefficients of any given plate, produces the best possible negatives, absolutely without aid or interference by the photographer. What is known as "machine development" proceeds npon the principle demonstrated by Messrs. Hurter and Driffield in England-namely, in brief, that the character of the deposit in a negative is a function of exposure, and not a~ all a function of the process whereby silver bromide is reduced to the metallic. state. In other words, the~e men demonstrated by experiments ranging over thousands of cases and during ten years of incessant investigation with relined photometric apparatus, that a standard dn•cloping solution ga~'C ideal results regardless of tltr period of c:rposure, pr01:ided only that the time ~(·as n•ithin the '"latitude" of the plat.·. Widely different exposure•. indeed, gave negatives of very unlike appearance; hut the difference was found to he merely in the density or opacity of the deposit, not a difference of gradation, hence not such a difference as would yield unlike results in the printing frame. To u~e a musical analogly- it was found that exposures differing by a constant ratio, if de,·eloped in the same solution, at the same temperature, for the same length of time, gave negatives precisely similar in scale though starting from different keynotes. That is to say, the plate of briefest exposure afforded a negative of slight opacity, but of correct tonal progression; the plate of normal exposure gave a negative of perfect gradation, and of sufficient opacity for any kind of printing in the minimum of time; and the plate which was given a double over-exposure also yielded a negative correct in scale, but of such general density and opacity as to be incon-

veniently slow in printing, though otherwise as good as either of the others. LATilUDE OF PLATES,

Inasmuch as the latitude of commercial dry plates may be shown to be at least twenty points above and below the normal, it is obvious that the Hurter>-Driffield system may be used advantageously even by the veriest tyro, and with great economy of time and labor by the professional photographer. However, the real truth is that plates usually have much more than forty points' latitude. Though it is not safe to indulge in the folly of under-exposure, over-exposures have lost most of their terrors to those who employ the .. machine method'' of development and subsequently apply suitable chemical reagents for the reduction of the opaque image. In the practical application of the HurterDriffield method, the worker has three constants and one variable to deal with-the developing solution, its temperature, and the duration of its action, being constant; and the exposure of the plates, being ,·ariable within the latitude of the brand. FORMIJLA FUR DK\'ELOPER.

An ideal developing solution for general work is compounded in the following proportions: Pure Water ..................... 8 ounces. Dried Sulphite of Soda ......... 8o grains. Dried Carbonate of Soda ..... ·55 grains. Dry Pyrogallic Acid ........... q grains. This solution should be used at 65 degrees Fahrenheit, and the plate should remain immersed for six minutes, except in case of gross excess in the exposure, wl1en longer immersion will be required. FUNCTION OF BROMIDES.

We cannot too strongly deprecate the usage almost universally indorsed in books on photography, of adding Bromide of Potassium to the developing bath "to clear up the shadows"-meaning to keep the glass clear in the shadow parts of the image. The function of bromides in lantern-slid~ work

Banis, Photo

Lake Hopatcon&, N. ]. A BRACING DAY

Lake Hopatcong, "The Killarney of America," is a little over an hour out of New York on the Jersey Central or Lackawanna R. R. A thousand feet above sea level, the atmosphere is clear and bracing, and the beautiful scenery around makes it an ideal spot for a vacation or for the excursionist.

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and in processe,; requiring the production of clear-line negatives is to suppress the subtle half-tones and gradations which are the soul and life of a negative for use in pictorial or record photography. Bromide is worse than useless in ordinary work, and its use explains most of the hard and harsh pictures in the print album of the amateur. 1 HE RUBY LAMP.

Equally futile is the practice formerly insisted on, of examining a negative by ruby light, during the process of development. Bromide of silver is sensitive to light of all kinds, though not as sensitive to red, yellow, and green as to blue and violet. Even the dim red light of the dark room lamp, if allowed to act too long, will degrade the whole image. But the prime objection to any meddling with the plate after it is immersed in the Pyrogallic Acid solution, is that it is wholly ineffectual, for the proof is overwhelming that nothing can be done to modify the reduction of the silver image after the action has begun. If a grave error of exposure is suspected before the plate is immersed in the developer, it is possible to remedy it, in part, by proper treatment; but no such modification can take place after reduction begins. It follows, therefore, that the developing tray should be covered and protected from all kinds of light throughout the period of action, nothing being required except gentle rocking to prevent possible unevenness of denlopment. Even this may be omitted if the solution be carefully filtered before using, and if a sufficient quantity be used to cover the plate completely. Every beginner should satisfy himself of the truth of all we have said, before going farther. Expose three plates of the same kind, with the same stop, and in the same light, giving one a normal exposure, another only half the right time, and the other twice or four times as much as conditions require. Mix a sufficient quantity of developer for three plates, and divide it into three portions, so that each of the plates may have fresh solution free from the products of decomposition which would affect the result if the three plates were developed in succession in the same solution. Have the solution at 65 degrees, and

let it act on each plate exactly six minutes by the watch, in total darkness. Rinse each of the plates in cold water to remove the alkaline pyro solution, and transfer to a fixing bath of acid hyposulphite. When the yellow emulsion disappears, wash the negatives in running water for fifteen minutes; swab the surface of each with a tuft of wet absorbent cotton, to remove dirt and lint; and place them on a drying rack. If the negatives dry at a constant temperature and in the same time, they will be found to be almost identical in quality. To determine which of the three is best, it will be necessary to make a further comparison in the printing frame, and in all likelihood the choice will finally be determined by the time required to produce a standard tint in the high lights, without undue blacking up of the shadow parts. Besides proving the value of machine development, such a test will give the novice valuable data on which to base future exposures in the camera. RliLES FOB. DEVI!LOI'ING.

The rules for developing may be generalized in five sentences: 1. Adopt a standard developer, and stick to it, without variation of its proportions, throwing it away after using once. 2. Develop at a constant temperature, and for a standard period to be determined once for all as best for each brand of dry plate. 3. Develop m total darkness, or cover the tray. 4. Develop as many plates as you can conveniently in the tray at one time; but do not use the same developer for more than one lot of plates, if uniform results are desired. 5. Use an abundance of developer; use good chemicals; and determine temperatures with a thermometer not by guess. A Point Well Taken. DF..\R SIR:

Mr. Louis A. Lamb writes as follows in the Talrnical IV orld for April, 1905: What is known as "Machine Development" proceeds upon the principle demon-

CA1v!ERA AND DARK-ROOk! strated by Hurter and Driffield in England. that the character of the deposit in a negative is a function of exposure and not at all a function of the process whereby silver bromide is reduced to a metallic state. These men demonstrated during years of investigation that a ''standard developing solution gave ideal results r egardless of the period of exposure, provided only the time was within the latitude of the plate." Widely different exposures gave negatives of very unlike appearance, but the difference was merely in the de11sity, not a difference of gradation. Again, insomuch as the latitude of commercial dry plates may be shown to be at least 20 points above and below the normal, it is obvious that the Hurter-Driffield system may be advantageously used by the veriest tyro. He further states the ideal formula for general work is as follows : Pure water, 8 oz. ; dried sulphide soda, 8o grains; dried carbonate soda, 55 grains; dry pyrogallie acid, 14 grains; and that this solution should be used at 65 Fahr. and the plate immersed in the solution for 6 minutes, except in cases of gross exposure. They strongly deprecate the use of bromide of potassium to clear off the shadows, etc., etc. Further, he says, ''Equally futile is the practice of examining a negative by ruby light, during process of development. Bromide of silver is sensitive to light of all kind s. The prime objection to any meddling with the plate after it is immersed in the pyro. solution is that it is wholly ineffectual, for the proof is overwhelming that路 nothing can be done to modify the reduction of the silver image after the action is begun." To sum up the whole thing, Louis A. Lamb maintains, as I understand it, that a negative can be exposed over or above 20 points above the normal time, and by immersing the plate exactly 6 minutes, without any exposure to light, during this time, one can obtain a good negative. Will you be so good as to give me your opinion in your next edition of the CAMERA AND DARK RooM? If I might suggest that you obtain the April number of the Technical Wo rld, you would be able to obtain greater light on this subject than I can give.

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What puzzles me, how is one to know the latitude of such and such a plate? Yours truly, E. WoRTHINGTON. [The author of the article referred to is very much mistaken in supposing that the latitude of the ordinary gelatino-bromide plate is anything like equal above and below normal. He would have been nearer the mark if he had said it was 5 points below and so above. Those who have dived deepest into the question know that while it is possible by modification of the development to produce a good negative on a very much over-exposed plate, know also that it is impossible to do so on one that has not got sufficien"t to not only overcome the inertia of the sensitive silver bromide, but also to produce a developable image or deposit in the shadow s. There is much that is of value in :..rr. Lamb's article, but it also contains too much of that theorizing which is dea r to the heart of the average magazine article writer-theories that do not work out well in practice. To come to the practical: as has been shown by the "developing mac.hine," films that have not received sufficient exposure develop into 路hard white and black, and s1dliciozt is only a very little below correct, while those that have got very much more than correct, if not kept in the machine too long, yield good negatives.-En.]

W1>t. S. RITCH.-"Little Sweetheart." To anyone who does not know the child, the picture is without interest, and as we have not the pleasure of being acquainted with "Little Sweetheart" we find it difficult to say anything about it. The pose is rather awkward and the arrangement of the dress does not show good taste. The head is too

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large for the picture and the modeling is weak and uneffective. There are not co ntrasts or harmony o f light and shade, nothing to hold the attention but a pretty face. W. H. HAzELL.-"On San Francisco B ay." This is one of the few cases where a lens o f shorte r focus or a more d istant view point would have enhanced the picto· r ial effect. The jute laden brig is too larg!' for the rest of th e picture-a good photo· graph, but it conveys none of the senti· ment suggested by the title. You could make a better result from this 4 x 5 nega· ti ve by printing it at the bottom o f a 5 x 7 sheet o f paper ( masking the sk) and uncove red porti on o f the paper ), then mask th e printed portion and print in a suitable cloud effect, blending it into the sky of yo ur negative. G. W. McGowAN .- " Where the Deer Come Down to Drink." A good selecti on fr om probably th e best point o f view. Ex· posure, development and printing ha been carried out to perfection. Perfect as far as it goes, there is nothing to critici e and we can only wi sh that it had been possible to

~la ve a buck and his family prese nt to carry out the spirit of the title. With this add !d you would have a stunning picture.

F. THOMAS.-"Nature's l\1irror," a pretty chi ld lying at the edge of a pool with her chin resting on her hand is a happy idea, spoiled by the child being made to look at the camer a instead o f at the reflection. Throwi ng back the head so far has di storted the refl ecti on until it appears unn atural. With a little more exposure and a natural pose thi s would have made a pretty pictu re and one we would have liked to reproduce. Try again until you get a result that satisfies you, for you must surel y see the faults in thi s as well as we do. F. S. FoSTER.-"The Pool in the \.Yoods" is apparently a snow scene, although one would neve r take the s mooth tinted paper to represent snow. Footprints leading up to the point o f interest would have helped to overcome this flatne s and been the making of a picture. A it i the view is top-heavy and deficient in plane . All we can ay in its favor i that the expo ure

G. W . McGowan

WHERE THE DEER COME DOWr. TO DRir.K

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and technical part of the work is well done and we look for more artistic effort in your next. A. Vv. BROGDEN.-"The Snowy Path" is one of the best rendered snow scenes that has come for critici sm but is not taken from the best point of view. You had a g ood subject and evident knowledge how to give it truthful rendering, but the path running almost straight up thrtJUgh the middle o f th e view is not good form. No doubt it was cold but you would have been repaid by stepping around in the snow and studying the effect upon the ground glass from Yarious points of view before making the -ex posure. STILLMAN P. PowERs.- "Portrait of a Young Girl." A good portrait, showing good compos it ion , nice taste and almost perfect technique. If a background of a more suitable tone had been used the pic-

Runnina: Free

E. A. Wilson

ture would have been excellent. What we like in the print is that it shows a feeling for color. The face, the hair, the bow behind the head, the waist, the tie, and the chain, all help to convey an impression of color. The oblique lines of the waist are exceedingly well managed, and the face shows good modeling. It is a simple portrait study, elega nt and refi ned, free from affectation and bea ring the appearance of being an excellent likeness. We doubt if it could have been bette r handled, and consider it as being a specimen of work worthy o f emulation. E. A. VviLSON.-"Running Free" would look better in a sq uare oblong than a cramped ova l. As it is now it is nothing more than a good photograph of a ship. Yo u ha ve a fi ne negative, th e vessel is in fine perspective, the sky and water well rendered. An en large ment of four diame路 ters would be none too much and as such it would make a success ful picture, com bining simple mat ter- of-fact record with pictori al effect.

Portrait

Stillman P. Powers

]. M. K ANE.-We can you on your success as a easy matter, even for an duce all the tone values

only compliment copyist. It is no expert, to reproin a colored pic-

CAMERA AND DARK-ROOM. ture; but you employed the right toolsa Cramer Iso plate and a ray filter, therefore all the credit that belongs to you is the knowing what to use and hitting the correct exposure. We might add that the picture is a splendid specimen of landscape pictorial composition and we also compliment you on the selection and trust that you will apply its vital points to your own direct work. MRs. ]. W. ARNOLD.-"Landscape." An inch trimmed off both 路sides would be an improvement. The exposure is correct, but the lens at full aperture does not cover the plate and the margins are very much out of focus. The little fellow standing in the roadway should have been placed much nearer the camera and preferably walking into the picture. He is out of place and one wonders how he happens to be there, gazing at the camera. Figures should not be introduced into a landscape unless their presence and attitude is natural and helps out in the composition or interest of the picture. OscAR FROMANN.-'"In the Park in Early Spring" is a very successful representation of a very ordinary scene. The focusing, the exposure and subsequent operations have been successfully carried out. This speaks well for your future progress and if you will give as much attention to the selection of your subject you wit! be on the high road to success. ]. H . L uFBERRY.- "The Fast Freight" is a specimen of good photography and shows up to good advantage on the Kruxo carbon paper. If your arguments were as sound as your photography is good, we would print your letter in full. It is so full of personalities, however, that it calls for a personal reply. We are always ready to recognize that which is good and speak a word in its fav or. REINOLD ScHELL.-"Fruit and Game." As we have el sewhere remarked, a still life picture should at least be an example of good photography. This is so in every respect except the focu sing. Why the upper portion of the print should be rendered critically sharp and the lower portion so much out of focus that it has caused the ducks' heads to appear larger than they

should be, we fail to see, unless it is due to misuse of the swing back. The defect is more noticeable in the large original print than in the reproduction and is the only fault in what is otherwise a well executed and interes"ting picture.

We would like a few more entries for the circulating portfolio. Let each reader consider this a personal appeal and send two prints from their best negatives.

* * *

O uR ILLUSTRATIONS this month desern~ a passing word. "The Loveletter" is repro duced from a German illustrated weekly and for the purpose of showing our readers what is a truly delightful 路>p<"cimt:n o f gmre photography. As a picture full of interest, perfect in composition and exhibiting perfect entet1te cordiale between the artist and his models, it leaves nothing to bt desired.

* * *

The work of Curti s Bell needs no inlrL)duction to our readers. In the three pictures we are privileged to reprodl\ce there is also much that is worthy of emulation. The placing of the subject, the judicious spacing and careful attention to details shows that the picture already exists in his mind and that he knows how to accomplish his ideals. Years ago, when first we were attracted to Bell's work it was through his technically perfect photographs of the interiors of the mansions of wealthy ~ew Yorkers. It was then evident that he had begun aright by first perfecting himself in the technics of photography. Later, when he essayed landscape and gem路e pictures his work first showed weakness in conception and faulty composition. This was evident, however, to none more so than himself and he studied the work of th~ ma3ters in painting and sought the society of artists and the leading photographers. No matter how conducive the environment {Jr

]. H. Lufberry THE FAST FREIGHT

Reinold ScheU FRUIT AND GAME

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how eminent the preceptor, a receptive mind and artistic temperament are the prime essentials to success. With these and a capacity for hard work and earnest endeavor we have the key to the succes~ which Curtis Bell has achieved.

• • •

We have frequently advised the use of a weak developer ; that is, not over a grain and a half or two grains of reducer to the ounce of water to start with. This brings out detail and density follows the application of the full strength developer. Confirmation of this was recently given by Mr. Sargent, travelling agent for the Standard dry plate, at a club demonstration. He advocated the use of pyro as a developer, saying that a pyro developed plate almost invariably gave superior printing qualities. He stated that a great fault with many amateurs was that they, as a rule, used their developers too strong and did nQt give the shadows a chance to work out. He said that it was always best to usc a weak developer. Speaking of the way which many amateurs treat an over-exposed plate Mr. Sargent said that it was a great mistake to check the development and then intensify a plate, as the line detail i,; bound to be lost. He said that the proper way to treat such plates was to gh·e them a full development and then reduce them, which was far superior to the former method. Another point that he spoke on was the habit that many amateurs have of holding a plate to the ruby light so oft~n to examine it. He said that this was a very had thing to do and that it was bound to injure the negative more or less. He stated that the less the plate was exposed to the ruby light the better it was and he advised all present to make it a point in the future not to hold the developing tray in the direct glare of the ruby light and to tal<e the plate out of the tray as little as possible for examination.

• • • Several of our subscribers have intimated that they do not care to mutilate their copies by cutting out the coupons required in our competitions and for the circulating portfolio. The prime object of these coupons is to have distinguishing

data on the backs of the prints. Where so many prints are handled it stands to reason that unless they are marked for identification we have no means of knowing the sender. We have a drawer full of prints that have come in this way, nothing on the print, nothing on the package save the postmark. Perhaps a letter may be received saying prints were sent for criticism or competition, but the letter also fails to describe the prints, hence many will understand why their pictures have passed unnoticed. We will therefore omit the competition coupons, but must insist that the necessary particulars be written on the back of each print.

Prize Competitioa. We take pleasure ·in announcing a grize competition under the two following classes: I. Genre studies. 2. Landscape with figures. Five prizes in order of merit will be awarded to the contestants in each class and the prizes will aggregate $100 in cash, merchandise and books. Each competitor must submit three prints and full particulars must be attached to the back of each print. July 15th will be the closing date for receiving entries. Postal Club. So many of our readers have expressed their desire for the circulating portfolio that we now announce the following con· ditions: There will be three portfolios. Portfolio A, Genre pictures. Portfolio B, Landscapes. Portfolio C, Portraits. Any CAMERA AND DARK-ROOM reader may participate by sending two prints and twenty-five cents entry fee for either port· folio. If all three should be desired, two prints for each must be sent and seventy· five cents. It is understood that one's best work only will be sent to the portfolio, and to keep down the weight, the prints must be mounted on mat papers (two or three papers may be used) but not cardboard.

CAMERA AND DARK-ROOM. A uniform size of mount is desirableS x 10 being suggested as the size limit. As soon as sufficient entries have been received, the prints will receive criticism and the portfolio started on its route, when each recipient must add his or her aitici sm to the prints on blanks which will be provided and then forward the package to the next on the list. To make the portfolio as educational as possible, full details as to exposure, plates, paper and chemicals used must be written on labels attached to the backs of the mounts. A cash prize of $5 will be awarded to th e maker of the best print in each portfolio, and each recipient must record his vote for such on the special blank provided before re-mailing the portfolio. As soon as the circle is complete the prize will be awarded and the portfolio again started on its route when each member will ext ract his or her own prints and the criticisms th ereon, inserting two new prints before re-mailing if he desires to keep up his membership. The number of subscribers to each port· folio is limited to twenty-fi ve, so early entry will prevent disappointments. The circulating portfolio will prove an excellent opportunity for photographers to see each others finished work and the comments ·thereon, and will no doubt be productive of much good. Coupons for each portfolio will be found in our advertising pages.

* * *

GET THE HABIT of usi ng a meter, and spoil fewe r plates. The plate makers will be glad, for they would like to know that you get twelve good negatives out of a box of plat es. Really it is very little trouble, this using a meter and it gives a deal of confidence and means exercising more care and thought in your work. Get a \Vynne meter if you can afford it, we can r ecommend none better. If you think this too expensive you will see others advertised that will answer the purpose; and remember that any meter is better than none at all.

* * *

It does not surprise us to hea r of the ~ 11 around satisfaction given by the Lum!ere non halation plates. A few days ago we

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exposed on a difficult subject four platt>s, all of different makes, and the negative obtained on the Lumiere non halation was thl! only orie that could be used. Perhaps this may have been because of our ignorance how to obtain the best results with the other plates and if so it proves th2! tlte more easy success with the Lumiere plate is one reason of its growing popularity.

* • * The Anzericatl Amateur Photographer for June contains many fine reproductions of pictures from the New York Camera Club spring exl•ibition and an interesting review by Roland Rood; also an illustrated article on "The Physiological Basis of Art," by G. W. Allyn, M. D. Price 15 cents at your dealers or by mail.

THE RocHESTER LENS Co. of Rochester, N. Y., offer an anastigmat F6.8 lens that is meritoriou s. Made of Jena glass and composed of light separate lenses. We have see n some of its work that certainly does the len s credit. The R. L. Co. claim their len s will do work equal to any anastigmat made. A handsome ca tal ogue of photographic lenses may be had by addressing them.

* * *

THE NEW "COMPETITOR" folding view camera is the latest production of the Seneca Camera Mfg. Co. of Roche ster . It has every improvement and will appeal to the practical man who wants a thoroughly hi gh grade instrument at an unu sual low price. It is one of the best v iew cameras that has come under our notice and we predict it will have a large sale.

• * * THE PRINDLE PROCESS CoMPANY, o f 7-t Broad st reet, Bos ton, is placing upon the market a new di scove ry, know n as Obifo. This preparation is mixed with water and the solution is used lik<> developer, the plate or film being submerged in the Obifo when

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taken from the camera and then developed in the regular way, the Obifo bath requiring but a few seconds, from five to ten. The preparation is simple and effective. It permits of loading and developing plates or films by gas or subdued daylight, allowing the plate or film to be exposed to white light, a result heretofore unobtainable. This does away with the dark room or substitute and is a great convenience to everyone, particularly the amateur. Obifo also obviates fog and saves the so-called "lost" plate; produces better color values, makes plates "non halation" and permits of making reproductions and enlargments like the originals in depth of focus and color value. It is also of great value in half-tone work. This preparation does not lengthen the time of development or increase the work. In reality, the plate or film has three exposures before it is finally developed; the first being the exposure while loading, the second that in the camera and the third in transferring from the holder to the developing solution. The results obtainable are of a higher order than even may be accomplished with a dark room and when one considers that all this bother of the dark room is obviated, also, the greater latitude of exposure to light which is permitted, the value of this preparation will be appreciated. Circulars and further information may be had of the above Company.

Fine Work on Cramer Plates. It will be of great interest to all photographic workers as well as to dealers in photographic supplies to know that the New York office of the G. Cramer Dry Plate Company is distributing to all dealers this spring and summer, very beautiful samples of work on its plates. These prints are made from negatives by the foremost workers in the country, and are of great pictorial value as well as plate quality. We mention a few of the most prominent makers of these negatives, as follows: Mrs. J. E. Bennett, winner of the Grand Prize at the St. Louis Exhibition ; Mr. Curtis Bell, President of the American Federation of Photographic Societies; Mr. Rudolph Eickemeyer, Jr.; Mr. J. H. McFarland, Mr. Harry Hendrickson,

Mr. Pirie MacDonald and Mr. Henry Truth. It is of interest to note that all these prominent workers are constantly using Cramer plates. In addition to the names mentioned above, Mr. E. B. Core. the children's photographer of New York. has made for the Cramer Company a set of 14 negatives of a little boy, which are taken with a very short exposure and show excellent results. Mr. Core has used the Cramer Crown Plates exclusively. Mr. E. L. Somerville, the manager in charge of the Eastern territory for the Cramer Dry Plate Company, has collected these negatives, and he has at their New York City address a complete display, which is very interesting.

On Focal Plane Shutters and a Word for the Grafl.ex. We have of late received various pertinent queries such as "What is the fastest shutter made?" "Why is the focal plane faster than ordinary shutters?" and "Why are cameras with focal plane shutters so expensive?" Now, we seldom require a quicker exposure than can be made by removing and replacing the lens cap with the hand; but we know that there are others who want something faster, and they must have re-. course to the Focal Plane, a shutter that is almost as old as the "Drop," but which bas been very much improved of late. Practically, it is a roller-blind with a slit of varying width that passes in front o'f and close to the plate, generally vertically, although sometimes horizontally and with the slit at right angles to the motion. Theoretically, the focal-plane shutter gives a distorted image. If, say, in photographing a foot-race and the slit passing from top to bottom, the heads of the figures will be exposed a little in advance of the lower parts, but the difference is so little as to be invisible; one of those faults that are known to exist, but that observation fails to discover. The value of the focal-plane shutter lies in its rapidity, which, with the smaller sizes of plates at least, is ten times greater than that of the most perfect shutter consisting of blades that open and shut in the focal centre of

CAMERA AND DARK-ROOM. the lens. And just here comes the reply to queries that frequently come to us; such as, ''\Vhy is the focal-plane shutter said to be so much faster than the ordinary form?" The Volute and the Sector, the two most perfect shutters of the ordinary style, so far introduced, have a rapidity of the I-ISOth of a second, which may be taken to be the shortest time in which the blades can be made to open and shut. Now, if we take, say, a 4x5 plate and suppose the slit in the blind to pass from the top to the bottom in that same time, it will be evident that any one point receives just one-tenth of such exposure, or equal to the 1-sooth of a second. To attain this speed or even the Ioooth part of a second is play for the focalplane shutter, but it is by no means as easy for the operator to get the rapidly moving object on hi s plate unless equipped with a camera that permits seeing the image until the instant of exposure. The shutter, to be

Graftex Camera with Focal Plane Shutter.

effective, must be attached to a camera equally efficient. Such outfits, to stand rapid handling and be accurate of adjustment, must be well constructed, by the best mechanics and are therefore necessarily expen;;ive. Take the Graflex camera, for example (the latest model of which we mentioned last month) : for perfect workmanship, quality of material and accuracy and stability we know of no other camera that compares with it. To see one is to covet it and we have known of many cases v:here parties who were not able to purchase at once have saved up for a Graflex

203

for weeks and months, but never regretted the purchase. Graphic focal-plane shutters may be purchased separately and the manufacturers, the Folmer & Schwing Co., will adjust them to other makes of cameras, but such a course is not to be recommended.

Aristo Gold (Self-Toning) Paper. It is not often that we lay particular stress on the all around advantages of any one particular printing paper, there are so many, and each adapted more particularly to certain kinds of work. There must be several desirous features in a printing paper to make it popular. It should be easy to work, certain and constant in its results, pleasing in tone, keeping well before use and an assurance of permanence in the finished print. Aristo Gold Paper combines all these advantages. and more. It is a print-out paper (the depth of the finished print can be easily gauged) ; the emulsion contains the necessary amount of gold to tone the image and r ender it permanent (doing away with the separate toning process and risk of waste) ; it has a collodion base, the prints do not stick to everything like a gelatine print and they can be dried instantly by heat or between blotters. Some collodion papers curl most annoyingly in the handling, but this is only very slightly noticed in Aristo Gold Paper. The curling also can be done away with by pouring off the fir st bath of salt and water from the prints and leaving them for some time clinging in a flat and moistened condition to the bottom of the tray. The directions with the paper are simple, but should be followed exactly to get the best results. All told, it is one of the best and most serviceable papers on the market and considering the minimum of trouble and loss, one of the cheapest. Goerz Wants a Catalogue Cover. Gentlemen: We take pleasure in announcing through your valued columns, that we have decided to open a photographic competition for a new catalogue cover, and are offering $300 cash prizes for the best work submitted .

.;AMERA AND DARK-ROOM. The pictures entered will be judged solely for their artistic value and their appropriateness as a cover design. The competition is open to all amateurs and professionals, the only restriction being that the picture submitted be made with a Goerz Lens. All requests for information will be cheerfully answered. The envelope should bear besides our address, the mention, "Catalogue Cover Competition." Pamphlets giving full particulars and conditions, can be had from all dealers, or on application from the C. P. Goerz Optical Works, 52 Union Square, E., New York, and Hayworth Building, Chicago. Yours very truly, C. P. GoERz OPTICAL WORKS, A. K. Boursault, Advertising Manager.

REMARKS BY T·HE MAN IN THE DARK

RUDOLF DUHRKooP, Hamburg, is publishing his impressions of American photographers in the Plwtographische Kunst. Like some other foreigners he has fallen into the bad habit of praising everybody He mentions in one and everything. breath, Marceau, Clarence H. White, Milton Waide, Falk and Kasebier. \Vhat a salad!

* * * WHEN we come to think it over there is more method than madness in the editor of the Photographer dating his latest issue :\lay 23, 1904. While there is life there is hope; Oh, ye of little faith.

• • • HARRY C. Rt:BINCAM, as the self consti:. tuted mud thrower of the Secessionists, continues to amuse himself by dark allusions to that "German letter" and the methods of promotion of the First American Salon, all matters of record which died a natural death some six months ago. Still the work of preparing for the Second Salon goes merrily on, while the "First" in its perambulations throughout the country has elicited no end of praise and has exerted a good and wholesome influence in

the advancement of photography. Rubincam concedes himself that as a photographer he merely plays "third fiddle" (had he not said so I might have thought it was the harp) and that the pictures he makes "are not by any means the best that can be done." If he will relinquish his job of mud-slinging he might yet produce a picture that would pass the jury of the Second American Salon.

•• •

The criticisms by Henry R. Poore in a contemporary grow more and more high faluting with each issue. One might excuse such explicit terms as "transitional beauty," "actual cohesion," etc., but to state that an ordinary snapshot of a landscape reminds him of ''paradise where he would like to linger for the rest c..f his life!" that is too much. And Philadelphia, too, claiming that Fairmount Park is tli~ largest and most beautiful park in the country.

• • •

THE BuFFALO CAMERA CLUB has made a stir in the courtyard. They also seck ''to adapt the science of photography to the reproduction of truly esthetic and intrinsically valuable works of art." But how about that catalogue of theirs, which is a fiat imitation of the Secession Catalogue, even to the Steichen lettering? They claim that "photography must stand alone, free from invidious comparison with other arts," but stumble in getting up an original :\lerely catalogue. And the pictures! brown slips of paper! And why do two of the five, Keller's "Fog'' and Porterfield's "The Day is Done" bear such a strong resemblance to ]. H. Field's "Morning Mist" and "Fagot Gatherer"? The catalogue is a praiseworthy, well printed and necessarily expensive production; but the why of it all? Is the standing of a camera club exhibition to be measured by the girth of its deckled edged catalogue? I wot not. Those capable of judging have said that the Spring Exhibition of the New York Camera Qub, which bas just closed, was by far the best show of the season ; and their catalogue, a four page leaflet, served its purpose, which was not necessarily to .tphold the dignity of the Club.

CAMERA AND DARK-ROOM.

Developing P. 0 . P C. C., Delaware, asks for a formula f01 developing P . 0. P. which has been ex· posed to the light for a few moments only Answer. Here are two formulas which are said to be satisfactory for the purpose. although I have never tried them. ( 1) H ydroquinone, 8 grs.; citric acid 20 grs. ; sodium acetate, 0 oz.; water, IC oz. (2) Pyro, 5 grs.; metol, 5 grs.; glacial acetic acid, I oz. Dilute 70 minims with water to 2 oz. To arrest development sharply, transfe1 to: Acetic acid, IO minims; water, TO oz Silvering Mirron. W. }ENKIN S, Baltimore.-! ha\·e obtained !'ome good res ults in sil ve ring mirrors by f ollowing the directions given in an article in the ·A mcricau A maleu r Photoggraphcr of February, I903· Will you please desc ribe the older method? There are so many formul a! for silvering mirro r s by the old method that we cannot know to which you refer. The following, howe\·er. is good. but both the distilled water anrl th e caustic po tass must be pure. You know, of course, that the glass must be chemically clean . A. Silver nitrate.... ... . 175 grains. Distilled water.. .. .. 10 o unc e~ B. Ammonia nitrate... . 262 grains. Di stilled water . . . . . . TO ounces. C. Caustic potass ...... 473.5 grains. Distilled water...... 10 ounces. D . Sugar candy.... . . . . 219 grains. Distilled water.... .. . S ounces. Dissolve the sugar in th e water and a.:ld so grains tartaric acid. Boil in a flask for ten minutes, and when cold add one ounce of alcohol and sufficient water to make 10 ounces, and filter. For use take equal parts of A and B in one measure and equa•l parts o f C and D in another and mix them well; suspending the plate over and in contact with the solution in the ordinary way. While with this you will doubtless sue-

205

ceed, we think, that on the whole you would be better to stick to the formalin formula that gave sucl~ good results, even although a littl e more costly in the matter of silver. The solution is prepared as follows. Dissolve 2S grains of silver nitrate in an ounce of di stilled water and add strong ammonia drop by drop till the precipitate first formed is dissoh·ed, being careful not to add mo re than is required. Into another glass place 74 minims of formalin, and pour the s ilver on it. pouring the mixed solutions backward and forward several times to make sure that they are thoroughly mixed, and then at o nce pour them on the plate to be silvered, rocking the dish the while.

Edinol-Hydro Formula. R. W . -The formula for the mixture of edinol and hydroquinone recommended by the American agents for the Bayer products 1s as foll ows : \Vater . . . . . . . . . . . . . . . . . . s ounces Acetonesulphite ..... . .. . 7S grains Sodium sulphite (d ried ) .225 Edinol .. ......... . .. .. . 3~ Hydroquinone ... ....... IS Potassium bromide..... . 70" Potassium carb. (dried) . r ounce For normal devel opment one part of this to from 4 to 6 parts of water, and for the development of bromide paper one part to from 6 to 8 parts of water. For various reasons, however, we prefer the sodium carbonate to the potassiu m and have never found the addition of a bromide necessary. The following we think leaves nothing to be desired, and may be used for all kinds of development or for · the production o f all kind s of results: Water . . . . . . . . . . . . . . . . . 10 ounces Sodium sulphite (dried). 2 Acetone sulphite . . . . . . . I Edina! .. .. ... .. ... ... .. :<.oo grains Hydroq uinone .... .. . .. . TOO Sodium car b. (crystals). 3 ounces The articles should be added to the water in the order given, each being di ssolved before the other is added; and the stock solution so made will keep for months if well ·corked. F or normal development one part diluted with nine parts of water will

CAMERA AND DARK-ROOM. be found suitable, although we like to work slow, and more generally use it one to fif. teen. Over exposure, and we like to over expose whenever there is a doubt, to at least twenty times the normal may, as we have often shown, be overcome by additions of acetone sulphite, the greater the over exposure the more of the retarder. Combined Bath. W. 0. M. HixoN.-The essentials in a toning and fixing solution, generally called a combined bath, are water, hypo and gold, and every one of the additional five articles in the formula you send is not only useless but some such as the alum and lead, are actually injurious. The following formula is used by hundreds in this and other countries, and so long as it is not used beyond the exhaustion of the gold the prints toned in it will be as permanent as silver prints toned in separate baths. water . . . . . . . . . . . . . . . . . e ounces Hypo ................. . Gold chloride. . . . . . . . . . . I grain It should not be used till twenty-four hours after being made up, and the prints placed into it direct from the printiniJ frame, that is without washing.

Photo Paste. ]. W. R.-The following will make an excellent mountant that will keep indefinitely: Dextrine . . . . . . . . . . . . . . . . . . . 3 ounces Sugar ........... , ......... 0 Water ..................... 4 Acid carbolic .............. so Minims. Mix well the first three ingredients and apply heat till thoroughly dissolved, and when cola add the acid, stirring thoroughly. One drachm of glycerine may with advantage be substituted for the sugar.

Crystoleum Painting. BERT HtALY.-We fear you will not succeed with solio but you may try, prints on albumen or collodion paper work better; there are various methods the choice depending mainly on the size of the print. With small prints, generally placed on the concave side of a concavo-convex glass that can be bought for the purpose; the 'Print, after being trimmed to the exact !ize, is coated on the film side with any

suitable paste, starch, gelatine, gumarabic, or perhllPS best of all, Higgins' or Carter's moutitant; and after it has become limp, carefully applied to the concave side of the glass, rubbing with the finger or a :;>ad of cotton to secure optical contact and frce!fom from aid bubbles. When per- 路 fectly dry, the paper may be removed by gentle and patient rubbing with the wet finger or the finger covered with wet wash leather till nothing but the film is left, after which it may be colored on the back by either oil or water colors. Instead of rubbing away the paper it may be rendered translucent by a coating of Canada balsam thinned with turpentine, which, although not so brilliant in the result, does very well indeed; and the brooch or whatever it may be, is generally finished by filling up with plaster of Paris. Larger prints may be managed as follows: Prints and glass are both immersed in a solution of gelatine, about ten grains to. tlte ounce, and plate and print drawn out together so as to exclude air bubbles. As much of the adhering gelatine as possible is blotted from the back of the print and the squeegee applied to bring print and glass into optical contact. When dry all superfluo:us gelatine is removed apd the balsam and the oil colors applied as before. Such pictures are best backed with stout cardboard and bound with strips of paper or bookbinder's leather like lantern slides. See article in May number. Formula for Edinol Developer. W. S .-While the formula you enclose, that of the maker of erlinol, works admirably it is a little too fast for us, and we prt'fer the following, using it for almost all purposes. Edinol. ................ . Acetonesulphite. . ...... . Sodium carbonate (crystals) ................. 路 Water ................. .

30 grains. ISO

grains.

ISO 10

grains. ounces.

This we t\Se on plates films slides and paper and lor all it leaves nothing to be desired. If, howevt'r, you care to experiment you may dissolve these quantities in only five ounces of water, it keeps well, and add various quantities from equal parts down, you may find a strength that suits you bet路 ter, but we like to go slow and sure.

.... c

•

<:..>

ONE DOLLAR THE YEAR. TEN CENTS THE COPY

Volume Vlli.

New York, July, J905. Edited by

.}61 Broadway

No.7

CBALKUI.

Published on the firat of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office: u aecond clua mail matter. Subaeription price, One dollar per year in advance. Foreign aubacription price: 51b. $1.25) Positively not connected with an;r photocra~?hic atock house. Matter should reach office by the 15th of month preceding date ot publication. Original MSS. aolicited

PHOTOGRAPHY IN THE PHILLIPINES. BY A SOLDIER-PI:IOTOGRAPHER.

HE photographers' corps of the U nited States Army is a new idea ; in fact it does not ___ at present exist officially although there are cert1in soldiers detailed or citizen-photographers employed in the army to produce the necessary photographs to accompany Teports. The idea of illustrating reports with photographs has been in vogue for some time. It has been found out that if an officer making a report on the condition of roads, for example, is able to attach a few photographs of the road-bed to hig reports, that the officials receiving and acting upon the report are g reatly assisted thereby. It is the same in the forestry department. A few photog raph s of sections of the forest or trees take . the place of pages of descriptive matter, thereby saving time and g iving more accurate obse rvations.

Then there are fortifications of the foe to be photographed, as in the Philippine and Moro campaigns of recent times. All the works of the enemy had to be sketched and described on the reports of the officers. Whenever possible the officers secured kodak views, even the most primitive snapshots we.re appreciated, as these attached to a report aided g reatly in explanation of certain features of the Instead of be路ng fortifications. obliged to labori ously sketch a cannon or pos ition the simple snapping of a kodak gave a true view of the obj ect. Before enli stment I had dabbled a little in photography and when assig ned to acti ve duty I ca rried a kodak along. Serving with troops engaged in the most acti ve operations in the P hilippin es I noticed how the camera coul d be put to g reat u ~e ful颅 ness a nd nw uperior office rs also

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CAMERA AND DARK-ROOM.

The Chinese and Igorotte pnck e r s o f th e fr e i~tht service s how g reat muscular developtuent and e ndurance. They tro t front s tart to finis h. no matter how h eavy the load, stoppin~tonly long e nough to wipe o ff the perspiration or ad jus t th e ir wa is t-baud. They work cheap. a nd seldom strike.

realized the value of the photographs, so that路 I was detailed specially to furnish illustrations for the army reports. There will doubtless be a regularly organized photographers' corps some day, just as in recent years a burial corps, dentists' corps, veterinary corps and others have been organized from civilians who are specialists in these particular lines. At present every column of troops that operate are accompanied by one or more civilian photographers who make . arrangements to furni sh views of the expedition to anyone d e~ iring to purchase same. These photographers are also employed to photograph the native workmen in the employ of the Government. This is to give the officers a hold on th e man in case he steals something or breaks th e law in some way and tri es to get away. These photographs ha ve a~s i s t ecl in identifying many criminal s of the native class. H orses, cattle and other stock inspected and purchased for the army are often photographed and the purchases made on the basis of th ese

photographs. One odd way in which the camera has proved useful in our operations in the Philippines is in the photographing of suspects. There are suspected in surrectors, ladrones, thi e v e~, water pirates, gamblers and smugglers in all 路 of the cities and towns of these islands and as they lead double lives, to detect them is difficult. During the progress of the w~r men who conducted business in the ~owns often went to the imurgent lines for weeks to wage war on the Americans and then to return to their own pursuits in town. The photographers caught many of these fell ows in compromising situations, in rebel uniform or with rebel companions. Smuggling of fire-arms would occur and a man with a kodak would conceal himself near likely landing places and ~ nap the smugglers as they were engaged in transporting munitions of war or other articles ashore and in this way the photograph very often served to identify and incriminate th e offenders. Civilian or soldier photographers

Raft of Cocoa-Nut Shells. It is a n eerie s ig ht to see th ese great coron-uut rnfts

go floating d o wn the l'asig rt\"er in th e n~ oon 颅 li~ht. The m oon re fl ects upo n the s htny s urfaces a nd th e ma ss look s fo r an th e world like a lo t of grinnin g human skulls. A coron nut-raft is mad e hy tie ing them toget h e r by the fibres.

....,

I. 2.

J. 4-

s. 6. 7.

Typical Phillipino Dwelling. Skin of ciant deadly cobra, captured by army officers. lgorotte women. lgorotte pack carriers at work. Bridging a chasm in the mountain regions . A group of lgorotte pack carriers. In the crater of Taal Volcano.

Frâ&#x20AC;˘ighting oranges on the Upper Pasig River. 9 - Street scene in Cabucas, N. W . Luzon. 10. Trail ladder up steep precip!ce. II. Coalin!f a war vessel in Manila Harbor. 12. Bridge of Spain, Pasig River near Manila. Manila lady of high caste. IJ. Scene on Pasig River. 14 8.

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CAMERA AND DARK-ROOM.

are also detailed to keep tab on the native police, as many of them are not to be trusted. The camera is also used to testify as to the sanitary conditions of towns or barrios of n:ltivc huts and often the records have proved the conditions to be so unhealthful that houses and even whole villages have been ordered rebuilt. In fact, so essential has the records of the camera proven in our work in the Philippines that I am convinced another year will see a photographers'

corps regularly organized which will make good positions for some skilled photographers. Following the army, the conditions for picture making are vastly different from work at home, and of course the photographs obtained are not examples of technical perfection. I send herewith, however, one picture showing the tent used in the field for my work with the army and a few views of typical Philippine scenery which may interest your readers.

RETOUCHING LANDSCAPE NEGATIVES.

W. LITTLE.

HE accompanying picture, "A By-Path in The Bronx,'' is an illustration of the improvement which may sometimes be effected in landscape photographs by a very little retouching. While out snap-shooting with a small cheap hand camera one afternoon recently, this little. side path with its environing shrubbery appealed to me as being rather a pretty little spot, but hardly of sufficient interest to make a picture without the introduction of a figure. I therefore asked my wife and little daughter to advance into the path a few steps, and when they got to the point where I thought the figures were most required I exposed a plate, composing the scene as best I could with the aid of an old fashioned ground glass finder fitted to the camera. Development of the plate revealed a number of glaring errors in compo~;ition. Worst of all, the path, although graceful enough in its lines, instead of leading into the picture,

conducted the eye directly out of it just back of the clump of trees on the lefthand side. To aggravate matters, there was a large stone or other light object in the path quite near the trees, so that the eye after leaving the figures, immediately sought the light of this object, which helped also to carry the eye out of the picture. The consequence was that the whole of the right-hand side of the scene was ignored and rendered intrusive and useless, particularly so as the angle of the lens was too wide for the plate with which it was used, as is usually the case with lenses fitted to hand cameras. I am not sure but what the greatest improvement could have been effected by cutting the picture in two vertically about half way between the child and the first tree in the distance on the right hand side, but for our present purposes I have allowed the dimensions of the picture to stand as they were originally rendered.

CAMERA AND DARK-ROOM.

The improvements attempted in the picture were accomplished as follows: In the first place, something must be done to direct the eye away from the left hand margin and back into the picture. The large stone in the left was therefore carefully removed by scraping the film away from the negative with a small sharp knife, and a portion of the adjacent path was treated likewise. This had a tendency

been wholly successful from a technical point of view, but at any rate, as compared with a print from the negative as it was originally, it shows great improvement, and if the path I have constructed does not look natural no one has yet been able to detect the fact that it is artifi'Cial. The eye is Jess cramped and instead of being in a great hurry to leave, after crossing only the corner of the picture, there is

A BYE-PATH IN THE BRONX

to block the eye somewhat at this point, where it had before been attracted. A drop of retouching varnish was then applied in a horizontal direction through the center of the plate and an attempt made to turn the eye into the picture by changing the direction of the path to the right and back into the distance. The base of the small tree just over the lady's right arm was also slightly lightened. As these operations were done by artificial light I may or may not have

213

]. W . Little

more of a disposition to linger awhile and to get back into the greater seclusion and quiet beyond. No attempt is made to set this forth as an example of good composition, although it does contain several lessons concerning things which should not be done. In the first place the camera was too high. Had it been a little lower there would not have been so much of the up-hill effect as now appears, the foreground would have been more condensed, and the

.214

CAMERA AND DARK-ROOM.

path which I have worked in, instead position of the clump of trees in the of cutting the picture horizontally路and middle distance about one fourth from almost through the exact center, the right hand margin. As it is now would have fallen into its proper re- there is too much tendency for the lation to the remainder of the picture, eye to get out on the right hand side, about one-third or two-fifths from the instead of passing back into the disbase. As it was, this seemed to be tance. Perhaps, too, the large leather about the only place where the path hand bag which the lady is carrying 路 could be put into the composition and is not altogether in keeping with the its location had to be accepted. It t~cene. I have already mentioned the would also have been better if the false perspective resulting from the path could have been made to run use of a short focus lens, which causes back more diagonally into the dis- the figures to appear rather large, as tance, instead of horizontally as it compared with the distance, for a figappears now, making the lower right ure-in-landscape picture. The picture was printed on soft gas hand division of the picture less rectangular, but under the circumstances light paper and probably would have this could not well have been accom- been better for the purpose of reproplished. An improvement could have duction if a more contrasty paper had been effected if the path had been al- been used. The plate used, too, was lowed to stop after arriving at the one possessing very little latitude ... 4 '-

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路 ---

PRACTICAL NOTES.

BY :MALCOLM DEAN :MILLER.

HE EDITOR has suggested that I embody the results of the past seation's work in an article for CAMERA AND DARK RooM, so I shall begin with some of the difficulties met with in the field last spring. LANDSCAPE WORK.

The vicinity of Gloucester, Mass., has long been noted as a resort for artists, though the primitive simplicity and colonial antiquity of the region are fast being spoiled by the increasing horde of summer visitors. In years past I have sketched and painted there, but last spring I made a !<pecial trip with my camera after exhibition pictures. I used the Cramer Trichro-

matic plate without screen, listing it on my Cheape meter as equal to Seed 23 in speed, and got some very fine examples of good color values. I found that for pictures around the Gloucester wharves, including vessels in the near middle distance, it is necessary to time about the same as for an average landscape, and the most pleasing pictures were obtained when the sun was clouded. In full sunlight such subjects tax the plate too severely and result in "soot and whitewash" or excessive halation. I found, also, that the ordinary Cramer Iso without screen needs to be considered twice as slow as it is listed on all the meter-tables in order to obtain detail in the shadows. During the summer

CAMERA AND DARK-ROOM.

this last experience was repeated on some river pictures, considered as average landscapes. The plates on which I deliberately doubled the time were the only ones with full detail in the shadows. One landscape made with the screen made a very beautiful plate-to look at, but alas! it remains utterly unprintable even after prolonged reduction with eerie sulphate. The tendency of this brand is to give excessive contrast. Double the quantity of water in the developer, combined with very full exposure, as recommended above, is the only treatment which gives harmonious negatives. The Trichromatic, in my hands, has been free from this tendency. Indeed, all the red-sensitive plates I have used (Trichromatic, Carbutt's Polychromatic, Agfa Ortho-Isolar) give better balanced negatives than either plain or ordinary ortho plates, though they are comparatively slow. B.\CKED OR NON-HALATION PLATES A NECESSITY.

\Voodland scenes are subjects which many of us will try this season, so perhaps a few hints may not come amiss. The most difficult pictures are in evergreens, part being in sunshine and part in deep _shadow. How are we going to take them My advice is, don't take them. Select a time of day when the sun is low, the shadows long, and consider the subject the 路 darkest possible to meet out of doors. A non-halation plate is a necessity. Use a backed or double-coated Ortho plate, calculate exposure for dark objects, double it for foreground, double again for the plate, and use the longest factor for your screen, If the plate will then hold the highlights

215

without halation you may count on a successful picture. A number of miserable failures on such subjects attempted in the ordinary way with plain plates made me eager to try the recently introduced Agfa plates. Photomicrographs and pictures of bones produced at the Harvard Medical School on these plates have been so much superior to anything yet accomplished on domestic plates that I went confidently to work. For instance, the Ortho-Isolar will give a good negative free from halation with forty times the exposure which would ruin the plates formerly used at the School. One of my own tests consisted in exposing an OrthoIsolar for two minutes at f-6.5 on the ~unlighted window of my room. There was full detail in the shadows, no blur around the window, and, most remarkable of all, the house across the road was perfectly clear, and the {:late printed very well by shading out. Subsequently I photographed a class in the Boston City Hospital Surgical Amphitheatre, the light (bright sun actually showing) coming through the skylight behind and above the group in the seats. A plain plate was an utter failure, but the Agfa gave a good result with three seconds on f-r 1. In passing, I might remark that the Agfa principle of coating underneath the sensitive film a non-actinic film, was one which occured to me as feasible some years ago, and these plates certainly show its superiority over all other non-halation devices. Their high cost is the only objection, but we must put up with that in a protectionist country, and, after all, in 4x5 they cost the same as film3.

2I6

CAMERA AND DARK-ROOM ABOUT DEVELOPERS.

Careful tests during the winter with a number of developers have convinced me of the great value of pyro, properly handled, for all around work. Of many identical exposures pyro invariably gave the negative with the best printing color. It seems, however, to bring out halation more strongly, and care must be taken not t.-> overdevelop, which would plug up the high-lights. Ortol acts much like pyro, gives a handsomer negative, but lacks the printing color. Glycin, apart from its great slowness, is excellent. It gives the fullest range of gradation, with no tendency to plug up detail in either lights or shadows. A combination of Glycin with Metol increases the speed of development, brings out more detail in the shadows on short exposures, an~ gives soft yet brilliant negatives. The tendency with Glycin alone is to take the plate out of the developer before the shadow detail is all out, because of the apparent great density of the lights ; but as the plates fix out considerably, despite assertions to the contrary, full development must be accomplished. On the whole, I consider Glycin best adapted to over-exposures and tank development. It is necessary to wash the plates very thoroughly before fixing to prevent yellow stain. Fresh, diluted Mctol is good for underexposures, though I have been unable to get more out of the plates than with weak pyro ; the fogging propensity being about the same. My pyro formula is as follows :

A. Pyro . . . . . . . . . . . . . . . . . . I ounce Potassium Metabisulphite 2 drachms \Vater to .............. To ounces

B. Sodium sulphite anhydrous.. 5 oz. " carbonate " 2 Yz " Water to ................. 32 " For use take 2 drachms A, 4 drachms B, 8 to 16 ounces of water. As a developer for plates, my experiments with Edinol have been very disappointing, but as a paper developer I consider it the best of all. It seems almost impossible to get stain with it ; bromide, even in the proportion of one drachm of the ten per ct:nt. solution to four ounces of Edinol developer, does not alter the color of the deposit; and it works gradually, thus allowing the fullest control of the print. The same dilution develops the slow papers with their appropriate contrast and the fast bromide papers slowly, giving a rich blue-black color. The used developer, even when very yellow, if filtered before use, seems to give identical results, without stain. A HINT TO PLATINUM WORKERS.

Users of hot bath sepia platinum papers may be interested to know that they may "be developed in the cold bath as used with Joe DiNunzio's Angelo paper. Some old Willis and Clements was used in my test, and gave a curious double-toned effect, ranging from a sepia resembling the old mercury toning to a rich, deepblack in the shadows. Very deep printing seemed necessary. Black paper of the same make gave almost a red chalk effect in the same bath. GUM WORK.

The process of automatic development of gum-bichromate prjnts, as described by Mr. Fairman in CAMER.o\ ANn DARK-RooM. seems to me to be

CAMERA AND DARK-ROOM.

all that he claims for it. I have had the greatest success with heavy papers, such as Whatman's cold pressed. water color paper. Most of the difficulty lies in the coating, which I should not advise anyone to attempt without proper brushes. Rapid, even spreading of the solution, followed by quick, sure blending with the tips of the hairs of a good badger blender are the essentials. I use the solutions as advised by Alvin Langdon Coburn, namely, a ten per cent. solution of potassium bichromate, the ordinary thirty per cent. solution of gum arabic, obtainable from any druggist as Mucilago Acacae, U. S. P., and moist water color in tubes. Charcoal grey is a splendid <:olor, ranging from deepest black to clear lights. It is advisable to filter both the gum and the bichromate, and to have the solutions warm in cold weather. Take a dram of each, add a "snake" of color about an inch long from the tube and grind very thoroughly in a mortar before coating. For negatives, since the tendency is to give increased contrasts, rather flat but not thin ones seem best. Printing is done in direct sunlight for the same length of time that it would take to print solio paper, and the automatic development takes half an hour. Be very careful not to touch

217

the surface of the print, but transfer it to a five per cent. alum bath for two minutes and hang up by one corner to dry. ABOUT UTENSILS.

Finally, a hint as to trays. All the books say to keep a separate tray for every solution. Now even mercury can be thoroughly removed by acid, and hypo. is readily decomposed by it. Therefore if you are short of trays, but keep a bottle of concentrated nitric acid handy, it is very easy to keep your trays clean. One part of acid to ten of water, aided by a good hard scrubbing with a brush into the corners, will clean any but a cracked tray sufficiently for any photographic purpose. Kitric acid is recommended because all nitrates are soluble in water, but for resistant cases the strongly corrosive mixture of potassium bichromate and sulphuric acid may be tried, with caution about coming in contact with it. This is a powerful oxidizing agent, and will break up most chemicals and clean the most refractory vessels. Glassware, of course, is more easily cleaned than the absorbent fibre utensils. With proper precautions as to cleanliness no photographer need fear hypo. contamination of his developing dishes.

PAPERS FOR ART PHOTOGRAPHY.

BY WILLIAM IDE.

K exanunmg exhibits of pict o r i a I photography or collections of photographic productions there is one very noticeable fact, i. c., the unsuitability of the printing medium in

manv instances. :Neither thought nor care exercised in the choice, the value of texture and surface as aids to artistic expression disregarded, and the question of permanency as often as not enti rei y ignored. Yet these fac-

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tors cannot be disregarded with regards surface, nature and permaimpunity, for dis:1ppointment will nency, three cardinal qualities requisooner or later follow any negligence . site in pictorial work. on the part of the worker. It may be We may divide the printing prothat the average amateur striving cesses into three main classes, i. e., after pictorial results is not sufficient- (a) those depending upon silver comly well-grounded in the technique of pounds; (b) those upon platinum the various processes and in all prob- compounds, and (c) those based upon ability confines himself to those which the peculiar properties of bichromaare in general use and which have to tized colloids which have been exreconunend them simplicity and posed to light. quickness of operation. If such be The first group includes albumen, the case he is only partially gelatino-chloride, collodion, bromide, equipped and should take the earliest plain salted papers, etc., the majority opportunity of familiarizing himself of which are in very general use and with the modus operandi of the pro- p:路obably the most popular. With a cesses which have stood the test and few exceptions these papers are coatwhich find f~vor with the more suc- ed with an emulsion in which the cessful pictorial photographers. sensitive compounds are held in susThis is an age of hurry, but the pension. 路 The effect of such a coating feverish bustle of business life has no is to partially or entirely obliterate the place in art. Haste is inimical to natural surface of the paper, and to good work, and as , we are dealing substitute therefor a glossy, semiwith the pictorial side of photography matt or matt homogeneous surface and do not yearn to produce prints by naving a hard artificial appearance. the gross the little extra time involved What is known as texture is lacking, in the making of prints by some of and the image instead of being in the less common processes ought not contact with the fibres of the paper to be taken into consideration. In- is held near the surface of the colloid deed, one may say that the very facil- substance, an excellent feature when ity with which prints may now be sharpness of detail is a sine qua non, made by some methods is a tempta- but rather objectionable from the tion to shi.rk work and be contented purely pictorial standpoint. This same objection applies whether the surface with ''what will pass." Now in regard to the printing be glossy or matt. It may be set media at the disposal of the pictorial down as a general rule that papers photographer one might say their coated with heavy emulsions are only name is legion. The photographic suitable for small miniature-like work press teems with "catchy" advertise- that is to be examined in the hand ments extolling the virtues of this or and ought not to be used for more that paper, the use of which will al- pretentious works of. photographic most make one an art photographer. art. Amongst the silver papers one It is not, however, the purpose of the writer to do more than refer in must eX'Cept plain salted papers for most general terms to the characteris- such have practically no colloid subtics of the more important papers as stance to injure the surface or texture

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of the support, the slight sizing hav- as that in the ordinary negative, ing little or no deleterious effect. It which, as every one knows, has a seems a great pity that amateurs do pretty long life if carefully made. not use this simple process more genPlatinotype.-It is difficult to find erally. Any pure paper may be used; a paper with such all round good there is an unlimited choice of sur- qualities as platinotype. It is ratller face. The preparation of the paper more difficult to work than the printis neither costly nor difficult, and the ing out papers because it only half range of tone is as wide as in any prints out and the image has to be other printing process. For large developed up to full strength. For w:>rk one may select rough drawing the same reason it is not so easy to papers while smoother varieties are make modifications as in the case of eminently suitable for smaller work. printing out papers. Good tones There seems to be no reason why from a warm brown to cold bhck are plain paper should not be as perma- obtainable and the gradation is exnent as other silver printing out pa- quisite. The sizing of the paper in no pers, especially if toned with plati- way injures its surface or texture, num. and as the image is to some extent inBromide papers are not as useful corporated with the fibres of the pafor contact work as the printing out per the outlines of th.e photographs papers because they do not admit of have a delicate softness th1t is prefmuch modification of the photograph. erable to the painfully sharp outlines They are, of course, coated with an given by the heavily coated emulsion emulsion and with the exception, per- papers. The very smooth papers are h<!ps, of the very rough varieties have suitable for small work while the difthe same objectionable features as the ferent varieties of rough are excelpapers already referred to. More- lent for large work. On account of over, the range of tone is limited to the quality of the surface, spotting and warm and cold blacks unless toning retouching may be carried out to any is resorted to and this seems to im- extent and not be apparent as it often pair the time resisting qualities of the is in the case of other processes, and image. The chief use of bromide the stability of the image precludes paper in pictorial work is confined the possibility of its changing color to enlarging it, being the only prac- and the spotting becoming conspicuticable process by which direct en- ous as in the case of silver prints. hrged prints can be made from small While there is danger of easily negatives. The very r~ugh varieties abrading the surface of platinum of the paper are excellent for the pur- prints they may be classed as the pose and may be excepted from the most permanent of all as the finely general remarks already made with divided platinum forming the image regard to papers coated with emul- is one of the most stable substances sion. As to permanency, bromide pa- known to the chemist. One may class with platinum prints rer may be classed as the most permanent of the silver papers,_ the silver t>rints on plain paper which untoned image being of the 路same type have been deeply toned with platinum

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salts, as a substitution of the platinum for silver takes place and practically gives one a platinum print. This method has all the advantages of the printing out processes and the results obtained com~re very favorably with those gotten by the direct platinum method. Bichromate processes.-These are not as well known as the ones to which allusion has already been made, but they are growing in popularity amongst the more progressive art workers. They are not printing out processes and require more mechanical skill than the others, but the beauty of the results, the stability of the images, the exquisite gradation of tone, and the advantage of being. able to obtain a definite tone without any toning operation appeal to all lovers of art photography. In what is commonly termed the carbon process. it is necessary to use either reversed negatives or what is known as the double transfer process in order to obtain photographs of objects as they appear, and an actinometer is required to judge of the depth of printing. These are. drawbacks, it is true, but the results well repay the little extra trouble involved. As a matter of fact, it is just about as difficult to get the proper exposure for a bromide as for a carbon print. The gum bichromate process seems to be the ideal medium for the man who desires to have the greatest latitude for his individuality. There is no process t:o ready to respond to the needs of the pictorial worker, but while an expert may conjure with it 路 the tyro may find it a delusion and a ~narc and he should not attempt it

unless pretty well grounded in the fundamentals. The range of tone to be obtained is only limited by the range of available pigments, the surface and texture of the paper is unimpaired, its permanency is unquestioned, and it permits of so much modification that the char;Jcter of the original may be almost entirely altered. There are mechanical difficulties to be overcome in the preparation of the paper and the image does not print out, but these disadvantages are more than compensated for by its good qualities. The general statement has been made that the gum bichromate processes are not printing out processes. Exception should be made, however, in favor of the ozotype processes (modified carbon and gum processes), which are to some extent printing out processes. The bases used in making the prints are printed on bichromatized paper which gives a visible reddish brown image whose strength may be determined by inspection as in other printing out processes. The ozotype carbon process has also to recommend it the fact that there is no reversal of the picture ~s in the more common carbon processes. The various classes of papers may be classed as follows : Permanency : (a) Platinum, bichromate processes ; (b) bromide ( untoned) ; (c) silver (printing out processes) . Surface and texture: (a) Platinum, plain salted papers, gum bichromate; (b) carbon, ozotype carbon, rough bromide; (c) papers coated with heavy emulsions.

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Variety of tones: (a) Silver printing out papers, bichromate processes ; (b) platinum, bromide. I\o comparison has been made as regards ease or rapidity of product:on, as these are not considered important in purely pictorial work. Given a satisfying subject-one that really appeals to the best esthetic feelings-is it not a grave mistake to print it to death, to make it common and perhaps engender that contempt which familiarity is apt to breed?

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Should not one issue a sort of "edition de luxe" and make its very scarcity enhance its value! W ouid not each recipient of a copy prize it tne more knowing that it is not scattered broadcast over the land and that each print has received the artist's best skill? If this spirit actuated the art workers we should soon find improvement in every direction and art photography would reach a plane even higher than that to whkh it has at present attained.

IDEA INTERCHANGE. WASHING

PRINTS.

The question is often asked, How best to wash prints? Will you grant me space to describe my method (which I have used for the past four years) as I have no running water available and my prints (on gas light papers) are as clear and bright today (made four years. ago) as the day after I washed them. I am one of those who have not the privilege of running water in the house. Next to my developing tray I have a granite wash bowl, half filled with water, next to it on the other side another granite dish with water and next to that my hypo bath in a roxi2 elite tray .. \Vhen the print is exposed I pass it through the water on my left hand to get rid of air bells in development and when the print is developed I drop it into the water on my right hand and slush it around for a second or two to get rid of the developer. then put it in the hypo face down and again move it around a few times, then proceed with the next print. I usually print about a dozen

at a time. When all are thus treated and the last one has been in the hypo long enough-from fifteen to twenty minutes-! put clean water in one of the granite bowls and draining the hypo from each successive print place them in the water, face down. After they have been in this water for five minutes I drain it off and gently squeeze the surplus water out of the prints and renew the water by means of a jug held high over the bowl so that the water falling on the side of the bowl and edge of the prints will separate them. Another change of water and then I leave them in the third water over night. In the morning this is drained off, the prints well rinsed one by one in a fresh dish of water and then pinned up to dry. It is a simple method and not much labor. Try it, some of my fellow amaJ.\:\tES MARRIOTT. teurs.

BLACK VIGNETTES.

Black vignettes look well and arc very appropriate for portraits of the

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male sex. They are best produced by vignetting the negative direct in the camera. This is done by placing the cardboard or other vignetting shape inside the camera from one to two inches in front of the ground glass according to the degree of softness desired and focusing the image through the opening in the vign.ette. The result will be a negative with the image softening off to clear glass around the sides. A neat effect tan be obtained by drawing a fine line about a quarter of an inch from the edge of the negative with a ruling pen R. R. CoovER. and ordinary ink. MOUNTING

PRINTS

WITHOUT

COCK-

LING.

Some time ago one of your correspondents wrote that he had trouble in mounting prints upon thin mounts without their cockling. I have mounted many prints on the thinnest mounts without the least sign of cockling in this way : I use Higgins paste for preference, although any other good strong past& will do. The print must be dry and dried as flat as possible. Place the print on the 路mount and with a pencil lightly mark the position of the two upper corners, as once it has been pasted and placed on the mount it must not be moved around. With a flat bristle brush apply the paste evenly and quickly for a quarter of an inch around the edges

of the print only, then immediately transfer it to the mount, smooth it down and place on the top a sheet of glass and on this a weight such as a heavy book. The whole secret is to work quickly and with precision. If the brush is clean and the paste of good quality, success is certain. w. M. SMITH. STAND DEVEWPMENT WITH ORDINARY TRAY.

It is now a well known fact that prolonged or stand development with a weak developer will generally produce a good negative in cases of known under-exposure. I always try to give a full exposure but sometimes the subject will not allow of it or accident or miscalculation interfere. These plates I always develop with a five per cent. solution, that is, five parts of the normal developer to 95 parts of water. The plate is supported, face down in the tray, on bits of glass at the corners, after giving the surface a rub with a tuft of cotton moistened with the developer. It is then covered and left for several hours to work out its own salvation and a short immersion in full strength developer serves to give density to the thin, flat image. It is an economical and easy method of saving what would otherwise be waste negatives~ and I pass the tip along. G. F. MERZ.

THE SECOND AMERICAN SALON. Too late for insertion in this number, we have received a copy of the "Rules and Regulations of the Second American Salon." The American Federation of Photographic Societies now includes all of the best clubs in the country and pictures intended for the Salon will first be submitted to local juries, thereby facilitating the work of all concerned. A copy of the prospectus may be obtained from Curtis Bell, 558 Fifth Avenue, New York. The closing date for entries is November I st.

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THE EASTMAN $2,000 COMPETITION.

E would remind our readers that the closing date for entries in the Eastman $2,000 picture competition is October 31st. In competitions instigated by manufacturers of supplies it is expected that technique will count largely in the final judging of the pictures The judges of such a competition must therefore be men who have a world-wide reputation for the technical excellence of their work as well as possessing an art education that will justify their sitting in judgment on the artistic or pictorial qualities of the pictures. To fulfil these requirements the Eastman Kodak Company could not possibly have selected a better trio than Charles I. Berg, A. Radclyffe Dugmore and Henry Troth. They are each well known by the work they have accomplished and which has been hung in all the important exhibitions. Tht>y are of the few great photographers who have

Milt. H&N .. Y TlltOTH.

not bowed down to any fad but are broadminded men, with a knowledge of art and photograph y that will enable them to recognize merit in a picture, no matter to what school it may belong. We reproduce the portraits of the judges, so that our readers rna,. A. Radelylfe Du~:more see " what they look like," and in urging all to send their best efforts to the competition we would say that the high mental character and other qualifications of these gentlemen is suffi cient assurance that every picture submitted will receive fair and concientious consideration . There is lots of money now being offered for good pictures. The American Aristotype Co. has doubled the money prizes offered at the P. A. of A. Convention; $800.00 now in cash prizes for tile best portrait work. The Strand magazine has a unique competition for $500.00 in ca;;h prizes. Leslie's and other magazines have standing offers.

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THE ARTISTIC ASPECTS OF PHOTOGRAPHY. AN ARTIST'S ADVICE TO PHOTOGRAPHERS.

BY F. C. TILNEY. [The following abstract of a lecture delivered before the Royal Photographic Society of London, contains some sentiments with which neither we nor our readers may agree. At the same time it contains many valuable suggestions to the photographer whose aim is artistic work. Mr. Tilney is an artist both by birth and education and his remarks should carry some weight. If his lecture is read and reread until thoroughly understood it cannot fail to be helpful to those who are striving for salon honors and exert a restraining influence on those who may have a tendency to follow any erratic fad or style.] The ''agueness of the title is not free from guile. At the same time, it admits, upon compulsion, of very precise definition. It is therefore a title that will serve our purpose in whatever emergency our subject may lead us. A DIFFERENCE BETWEEN-THE ARTISTIC AND THE

PICTORIAL.

It may surprise some to learn that the artistic is distinctly separable from the pictorial. The divorcement, however, is none of my making. Certainly their union, when it does occur, is the perfection of wedded conditions; but this only proves that the two. things are not synonymous terms for the same thing, as is very generally sut>posed. The pictorial is a matter of the intellect; the artistic a matter of the emotions. The one born of the head, and the other of the heart, inasmuch as this, that the man who works can tell you exactly the whys and wherefores of his pictorial methods; but of his artistic movings he may be almost unconscious, or at least have no answer beyond "It pleases me thus, I know not why." GOOD TASTE

IS ESSENTIAl..

In other words then, artistry-to use a convenient substantive in default of one

that should exist in our language, but does not-artistry, is, in the main, ·very little different from good taste. Good taste is a desideratum of value all the world over, and saves us, in common -life, even as a sense· of humor saves us, from snares and pitfalls, degeneracy and suicide. In the world of pictures, however, where it is absolutely indispensable, good taste assumes a more important role than it plays in common life. Treasured and cultivated it becomes so powerful as to be, in reality, the artist's referee on all conceivable points connected with picture-making-his final mentor and guide in all his ideas. A photographer snould be as jealous of his taste as a surgeon is of the cleanliness and keenness of his scalpel. To neglect it, to vilify it, to cause it to bow before convention, tradition or fashion, is to stultify it utterly sooner or later. Without such good taste, such artistry, to drop the paraphrase, the happiest pictorial compositions will be but· Jry bones -handsome skeletons if you will ; but dry bones still, lacking warmth, breath and soul. It might be quite easily proved, however, that in the photographic world, hamlsome skeletons of the kind indicated readily find admirers and customers. Such a fact should have no weight with him who has any regard for the artistic aspect of his subject-such a fact, indeed, is in close connection with the commercial aspect. Buyer and seller work and react one upon another. The style of thing that is praised, noticed by the press, bought, or even talked of in one season, is usually imitated and reproduced in the next. This too is purely commercial. · The fact that a photograph is much discussed is no proof that it was ever worthy of discussion. Fame and fortune are capricious folk, often paying· their visits at the wrong houses. But fame and fortune are wooed by one and all. Evei1 photographers are not proof against the tempta-

CAMERA AND DARK-ROOM. tion to do the thing that is popular in the face of admonition from their own taste. Such temptation, however, does not attack the taste which has been cultivated and is. therefore, strong enough to say "'Get thee behind me." Once again then do we see the prime necessity of taste-cultivation. STUDY NATI.:RE CLOSELY.

Should the question arise as to how it is to be taken in hand, it would be easy to lay down one or two general ideas, which the student might readily adapt to his own conditions. The process is a simple one, there is no mystery about it whatever. The student must be true to his -own likes and dislikes, at the same time that he seeks in nature more and more of the former, and changes as many dislikes as he can into likes. In this connection it may be observed that numerous and strong animadversions do not as a rule betoken a broadly artistic temperament. The young lady-school of art student perhaps-who is so much concerned about the precise tint of a piece of ribbon that is "to go with" a certain hat and a certain hue of hair and complexion, is more the slave of prejudice than the master of artistic subtleties. The fear of being caught tripping is the mainspring of nearly all artistic yearnings of this class. It is for this reason that I advance the wisdom of trying to like instead of to abhor, and particularly to love nature in what are popularly supposed to be her repellent moods. A quarter of a century since it was universally held that the countryside is only worthy in the summertime. As a matter of fact, the country usually looks its worst at that time, especially if the summer is hot and dusty. NATl'RE STt:DY TRAINS THE MIND.

The color of the landscape in the frosty months ; or when spring lays a tender sprinkling of the purest green over all and opens her most charming flowers ; or in autumn when green, gold, and brown, melt one into the other above and >;t'"PW the gTound beneath; the color at these times I say is infinitely more eloquent, and the skies are infinitely more poetic than during

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July and August, when nature has matured, when her functions are fulfilled, and her glorious decline has not ~t in. Photographers fortunately have not overlooked this great truth, and that in spite of th~ fact that the charm of the color is at present not within their reach. Whilst in landscape, however, there is little if anythmg that is actually ugly, it cannot be gainsaid that where subjects ha~e the human element, or evidences of it, as in figures or architecture, there may occur combinations of items that fall below the perfection found in irresponsible and insensate Nature, and in such cases I would urge the student to the utmost to have regard to his first momentary promptings of displeasure路 or disco.ntent rather than to wait for that sophistry or that worldly notion that may win him over in a few minutes. Generally speaking it may be taken for granted that when a man dislikes any natural scene, the balance of chances are that he is wrong; but that when he dislikes any particular figure or architectural subject, the balance of chances are that he is quite right. A further aim in the training of the taste is that the student should strive to secure those qualities in his work that has attracted him in the subject-a task that, in photography, really resolves itself into one of technical and executive perfection. Above all he must keep his ideas guileless and free from all taint of the, cant of societies and coteries, and clear of fashion's allurements. Should he verily see nothing admirable in certain much lauded portraits of little white noses coming out of great black backgrom1ds, he should be readier to place his camera under a steam hammer than suffer himself to produce that style of thing for the sole reason that certain men here and certain papers there have, rightly or wrongly, extolled it. It would appear that such a natural and evolutionary course as I have referred to for the formation of good taste is too irksomely slow for some. Quite recently there has been set afoot a demand for a more systematized and rapid initiation into pictorial secrets. As though, forsooth. there existed any tricks of a trade in truly artistic work, only awaiting demonstration to be understood and put into force !

CAMERA AND DARK-ROOM. THERE IS NO ROYAL ROAD TO ART.

Those who look solely to books, demonstrations, art lectures, and so forth for a short and easy way of making pictures, have yet to learn that whatever little crumbs of knowledge may be picked up thus, are scarcely worth stooping for. The large and valuable part of artistic knowledge is subject to no written laws, and hence it follows that theories upon it can never be more than profitless pedantry. It is generally understood, however, that such lectures and demonstrations are for the beginners in the art. But the beginners, I hold, would be bette!'· left to their own slower and surer crawlings. In science and philosophy the crammed or rapidly-taught tyro may perhaps make a show of a sort;. but in art the newlytaught tyro is an anomaly, for there he can make no rapid notes of concrete facts. There are no dates or quantities to learn off by heart, and he can watch no experiments performed before him. In a word, as all preachment or discussion about art must ever remain mere expression of opinion, and as opinions will be found to differ in every exponent at whose feet the helpless student sits, he will find in the end that he has no course but the slow sitting and assimilating process, whi~h is the work of years. Lectures or debates upon art are splendid tonics and refreshments for the initiated, who can match against such their own experience, or test anew their old convictions. To the uninitiated they are but as the discussion of mysteries in an unknown tongne. TRAIN THE EYE "TO SEEK THE BEAl'TIFVL.

A more excellent way, meet for those who are earnestly striving, is that of selfinstruction. It is a more . effective and more pleasurable way of attaining artistic enlightenment, and it is the only way. Unfortunately it is a way not open to all, for at the very outset the student must be endowed with a congenial temperament. In that fact lies the very fate of a photographer. Millions buy cameras and try hard; but a few only "have it in them," as we say, to make beautiful pictures. With the natural and personal advantages ~f a congenial temperament, and a receptive and responsive mind, the student may

start on his course of training by learning how to use "his eyes-one of the most difficult of the things he has to compass-for there is looking and looking ; even as a cunning jeweller, on the one hand, and the proverbial fowl on the other, may look at the same pearls and diamonds. By the mere act of facing the riddle of art in nature, he will gradually assimilate a deal of the knowledge he covets. For the riddle is a curious one •in this respect that the answer comes by dwelling upon the question. Even by such a slow process, however, the knowledge comes less tardily to the simple starer than to the reader or debater, to whom indeed it seems never to come. SELF EDUCATION NOT ONLY POSSIBLE BUT IMPERATIVE.

I am aware that the cry is a heartfelt and praiseworthy one: "Show me how to select my subjects and how to make attractive prints." But I am sadly aware also that the only truthful answer to that cry is short and severe to hopelessness"Teach thyself." Who else in fact can teach those intangible and illusive subtleties that make a picture either good or bad, irrespective of the handsome skeleton in composition it may possess? Docs the aspirant set his hopes upon a trick to be taught; a mode to be adopted ? If so, what manner of trick or mode must we advise him to prefer out of the goodly number that force themselves upon his gaze? Upon such a road of tuition he can find nothing but bewilderment, confusion, and vexat.ion of spirit barring the way to the height he seeks. Let him turn off this path. Let hlm give up the notion of sending a "stunner·• next year, like So-and-So's fine thing, and let him educate himself by his eyes, silently. To look at Nature and then at pictures and then at Nature again is· the way. BE ORIGINAL TO ACHIEVE SUCCESS.

In matters of style and method, it is a mistake to try to persuade one's self against one's own judgment Respect your own taste and never coerce it. The way to be successful is to be original-a pioneer if one can; and that can never come of imitating some one else.

CAMERA AND DARK-ROOM. The truest and finest originality is always found in the ordinary and beaten track of natural fact. He who sets all laws, conventions, and traditions at defiance; who does the trifling thing simply because no one has been foolish enough to do it before, and who abuses his materials for the sake of making folk look twice, is by no means a pioneer. He is simply an illadvised creature playing at topsy-turyy. The desire to succeed should be one which actuates the student to reproduce as nearly as possible, without violation of natural fact and principle, the charms felt in the ordinary view of visible things, and towards the attainment of this desire there can be no guide, no mentor, but the student's own taste, unsullied by any thought of a short cut to notoriety. "Gang your ain gait," is the most profitable motto. No lecturer can mix before your eyes the elixir of artistic life; no essayist has the philosopher's stone up his sleeve. Many have attempted to impart artistry by oral means, but it remains ever unteachable. FIRST MASTER TECHNIQUE.

\Vhat may be taught, however, and what magazine and book study, lectures and club demonstrations do teach, is, facility of execution, scientific knowledge, and all else that comes within the definition of technique. To attempt more is to promise the moon. The immense value of technical training lies in this fact, that it produces men clever at their craft, and without this, the most gifted artist is as hapless as a dumb poet who cannot write his own language. THEN LEARN TO SELECT.

Language must come before ideas. They are the subtler part. They comprise the feeling, the unnameable appreciations, the irresistible prompting of the artistic temperament. They come to the student as he finds himself growing more clever in the manipulation of his materials. He may have had dreams; but they were impossible of realization before. Now he finds that he can begin to substantiate them, and, in turn, his improving execution prompts fresh ideas. He goes to Nature and reads her by the light of his craft, not in the wildly generalized way of his former

227

method. Possibilities of pictures present themselves, where before he went blindfold; for knowing better what can be done with his materials, he recognizes subjects that have inspired other workers; subjects that, before, he sought in vain outside their framed presentments. He is now, in fact, a picture maker, but who, except himself, has instructed him? In the case of the individual who listens to theories, and studies diagrams, things are vastly different. He tries to digest somebody's notions of "balance," of "radiating lines,'' of "masses" and "curves," and turning to some grand work with a reputation, either finds them all falsified, or fails to find them at all. Especially may this happen in photography, where it rarely occurs that nature answers exactly to conventional requirements. The finest photographs that have ever appeared will not be found to owe much to deliberate selection on conventional pictorial lines. They have been the outcome of individual taste and untrammelled predilections. It will now become apparent why the pictorial was separated from the artistic aspect of the subject. The former may be learnt, but is worth little, at least, in photography; the latter is unteachable ; though it may be learnt by intuitive means. So much for the earnest student seeking to form a fine taste. IT IS HARDER TO ACHIEVE FAME THAN NOTORIETY.

What is the position of the man who today can claim success, fame, and sometimes opulence-the finished photographer? Speaking as one to whose lot it has fallen during the last five years, to examine critically all the best pictorial photographs of this country, and a great quantity of those from abroad, I must confess that, on the whole, I have been as much shocked as I have been charmed. What has shocked, however, has by no means been found in the modest work, bearing the unknown name. On the contrary, as much of such work as is good enough to find a place in an important gallery is usually characterized by an honesty of purpose frequently wanting in the work of those with reputations. In the eyes of the general photographic world perhaps, these

CAMERA AND DARK-ROOM. great ones alone are worthy of the laurels continually offered to them. For my own part I find, making one or two notable exceptions, that the man in the middle position, being neither a raw beginner nor a world-wide celebrity, frequently offers 路 the most artistic work. He has knowledge and experience, and is as yet not so blas4 that he must go beyond the bounds of license and galvanize his sensations into a thrill by some out-of-the-way unlawfulness. Such practices are no doubt of use in keeping the name of the depredator famous for something; but they are distinctly decadent. Reverting to a matter already touched upon, we shall find that most lapses from good taste are committed in the name of originality ' Far be it from me to deny any man the artistic right to do, and even to display the maddest thing under the sun, if he truly thinks that what he is doing has a purpose or a charm. Individuality comes about in that very way, notwithstanding the fact that in some cases, individuality is attained by the cheapest possible means, and should cause shame and humiliation where it often results in pride and aggressiveness. But if it is admitted that no great sort of individuality consists in wearing strange clothes, because all other men elect to dress alike, what can be said of the man who would ape a Beau Brummell, and look round for applause? Short of such slavish imitation for imitation's sake, howe\路er, it must be granted, of course, that it is salutary to take note of one's neighbor. A hermit life will bring no good. Interchange of opinion, comparison of criticism, all such mutual methods, honestly carried out, make for progress, because in the work and opinion of others, we can find some-

thing worth the having, which we ourselves lack, and something unpleasant of which we may resolve to rid ourselves. But all beyond this tends to a baneful diffusion of ideas. The self-centred life is the sterling one, where the ideas are perhaps fewer, but have greater depth of earth wherein to flourish. \Vhat is to be deplored, is not the origi11al idea; but the desire to be original-a distinction with a difference. And the desire to be original appears, in my humble opinion, to be at the root of all the regrettable tendencies of photographic picture-making to-day. It is, of course, extremely difficult to be original:, cutting adrift from the moorings. of good taste. In the matter of subject, every available field has already been exploited ; in the matter of treatment. the dealers have offered to the million, for a few pence, every variety of material needed for the varied printing processes. Even the designers of picture frames ha\路e run through the whole gamut of styles from unwieldly constructions at one end, to no frame at all at the other, including every material, natural or fabricated, under the sun. The man who would display originality, therefore, is driven, in the matter of subject, to subvert all accepted principles of composition and arrangement. In doing this, he finds vagaries of trimming aiiord him great help. A group of figures may have their top hair "trimmed" in this manner, whilst their feet and the carpet pattern hold the centre field of the noble work. A profile portrait is constantly trimmed just in front of the ear, as you all mu~t have frequently noticed. I expect to see the day when a full-face portrait is presented by the same half measures.

(T tJ be COIIftiiU<'d

)

WITH RSTHER'S HELP. A STORIETTE.

"By Jove! That youngster acts as though our janitor were an ordinary human being." Standing at his window, Chester Royle chuckled with a certain inward fiendishness as he contemplated the unspeakable ire of his arch enemy when he

should discover what the apartment house occupants would be pleased to call: "Esther's latest." Royle did not love the janitor. He interfered too much with his pet fad. Said openly that photography carried on in an

CAMERA AND DARK-ROOM. apartment house was mussy. And to think that he, Royle, was the innocent cause of the wrath to come-well, that was something. Straight as an arrow and directing with the air of a general, was Esther. "Now Susie, you be good. Sit still! Don't wiggle so Bennie." Stern in her makebelieve, she peeked into the apron-covered soap box, which, perched on a tripod constructed of two defunt brooms and an ex-clothes-prop, was a libelous imitation of Royle's camera. Esther lived across the alley from the apartment house and it had required an herculean effort to boost this paraphernalia over the high board fence; for the apartment house flaunted before the eyes of across the alley tenants, a locked gate, and plebians might not enter therein. Mornings, Esther ran over and amused motherJess Susie and Bennie Wade. Carolyn Beaver and Lily Strong lived in the apartment house also, and might be designated as charity pupils, inasmuch as they had their amusement gratis. Carolyn had a mother, grandmother and several pretty young aunts to look after her, but she found better times following in Esther's wake. She, the day before, had had her "picture tooken," so Esther must improvise a gallery. Lily unconsciously leaned against the squirming Bennie. Carolyn, immaculate when turned loose, had burst three shoe buttons from their moorings and in blissful unconsciousness, crossed the corpulent foot oyer its trimmer mate. One of Susie's apron straps had slipped and hung forlornly from her shoulder. Susie's mama used cunning little pins to hold the straps. Now she was always stepping on the strings. Why did they have strings anyway? Bennie still squirmed away from Lily. "Look pleasant, Bennie," said Esther, ingratiatingly. Bennie grinned broadly. Lily was fidgety. Esther whistled like the "picture tooken" man to attract her attention. "Now you are all fixed." But, as if further to distract them, Mr. Royle hurried into the yard. "Oh look, Mr. Royle!" cried Carolyn. Carolyn knew Mr. Royle and Mr. Royle wanted to know Carolyn's youngest and

prettiest aunt, towards whom he had cast many longing, not to say admiring, glances. Meantime Carolyn loved him for the many "picture tookens" that he had given her and the numerous parcels of fudge that were paving the way to a wider acquaintance. "Just sit still," said Royle. Fishing some red cinnamon drops from his pockets he held them alluringly before the curious children. "When I have finished, Esther will give you these." Carolyn's eyes were wide and she held her doll dangling by one arm. Bennie faithfully grinned his broadest. Susie leaned eagerly forward and Lily was mute for once and prim as a doll. "Snap!" went something, and "it is all right," said Mr. Royle, "give them the candy, Esther." 路 Not long after, Royle who had but a bowing acquaintance with the youngest and prettiest aunt, stopped her in the hall. "What do you think of that?'' questioned he, inwardly quaking at his boldness. "Carolyn!" the youngest and prettiest aunt almost shrieked. "And the others !" she added, her eyes round and her dimpled mouth puckered. "What will her mother say to her shoes and look at her hair !" Uncle Jac:k came up behind them and looked over the youngest and prettiest aunt's shoulder. "Whew !" he said, and "Capital ! I say, Royle, that is fine. Just like the kids, and they will be worth something to the youngster's parents. Just finish off a lot,"Uncle Jack was not an artist, he was a business man-"and let that little mother, Esther, sell them for fifty cents apiece. She needs the money. I'll furnish the materials and you the work." The youngest and prettiest aunt was a bewildering bunch of chiffon and dimples. "\Vhat a dear you are, Jack," she gurgled, "and-I will do the canvassing." A few months later, Esther, now a tiny housemaid with cap and apron that crackled with their crisp whiteness, in dusting, lifted a daintily framed picture from the youngest t~nd prettiest aunt's desk. "I wonder." she said, "why Mrs. Royle keeps this one here. There's lots prettier pictures of all of them in the album." l\'IRs. DENIS E. CooPER.

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A certain gifted lady correspondent of Leslie's lV cckly writes, taking exception to the statement by C. H. Claudy, in our April number, that "Jessie Tarbox Beals was the only woman press photographer with a permit at the inauguration." The permits and stubs of her reviewing stand checks are sen,t as evidence, together with a number of prints which prove that she was all over the ~how, close to the President, and knows bow to handle her camera to the best advantage. Her pictures of the inauguration were published exclusively in Leslie's and several of the large d~ilies. She writes that her-outfit cost her over $soo and includes a regular dark-room in which she does all her own work, naively remarking that. "this surely classes her as other than an ordinary snapshottist." Incidentally she says that she enjoys reading CAMERA AND DARK-ROOM and makes good money out of her hobby without their interfering with her household duties. Her success with the .camera as an aid to the pen should be encouraging to our other lady readers.

* * * *

It is the successful journalist that makes the most of every opportunity. The photographer representing one of New York's largest dailies developed and fixed all his plates exposed at the inauguration on the limited express train on his return journey. He used for this purpose a Hall Portable Dark-Room, and as soon as he set foot in New York his plates were almost dry and ready to be handed to the engraver.

* .. .. * ~IR:

SFMNER W. l\1ATTESON, whose writings in Collier's, Leslie's, Harper's, Scribllcr's and other high-class monthly and weekly magazines, are familiar to all, owes his success as a litterateur largely to his expert use of the camera. Since graduating from the University of Minnesota he has been an inveterate traveller and his camera made use of to such an extent that his collection of negatives now numbers over 12,000. These include complete sets of In-

dian relics and ceremonies, the Pueblo ruins, the cliff-dwellers civilization and many valuable records of passing events. All his negatives are made on films. He has never used a plate camera and says that the convenience, reliability, latitude and adaptability of roll film makes it indispensable to the traveller.

* * * *

"Lunch rooms that are models of sanitation as well as completeness of equipment and cleanliness have been erected at Kodak Park by the 路Eastman Kodak Company for the convenience of its 900 employees. A three-story brick structure, specially designed for this purpose has been erected and attractively and substantially furnished. The men's dining room is on the first floor and the women's on the second floor and they will accommodate 700 diners at one time. Meals are served at cost and the fact that about 500 are daily patronizing the innovation proves that it will be popular with the employees.

* * * *

From our remarks on the Lumiere plates in a recent number the idea might be construed that they did not possess any exceptional speed, notwithstanding the claims of their makers. These remarks were based especially on our experience with their nonhalation and some of the ortho brands. A few days ago we had occasion to make eight exposures on groups out-of-doors and also indoors, giving each plate what we thought to be a carefully calculated and correct exposure. The plates used on this occasion were the Sigma brand. In a normal developer the image on the first plate flashed up at once and disappeared in hopeless blackness. Tempering the developer the second was tried and only dexterous handling prevented this also from being a loss. When fixed, the plate showed evidence of great on:r exposure. We then made up a fresh solution of pyro, sulphite and bromide, with no alkali and allowed the next plate to soak a few moments in this and then gradually applied the alkali, in minute quantities. By this means six good negatives were obtained but we were forcibly convinced that, among its other qualities, speed is certainly one of the most evident in the Sigma plate.

CAMERA AND DARK-ROOM. lt is a matter oJ speculation how some 9f the remarkable effects in moving pictures are obtained, such as are daily to be seen in the various Proctor theatres and other places of amusement. While most of the subjects are specially posed, yet some war views a re too real to be representations of mimic warfare. The Press Association is authority for the assertion that these views were really obtained in the midst of actual conflict. A curving bullet-proof shield, capable of protecting two men, was pushed forward in the thick of the fight and through a small orifice the operator was enabled to make his exposures with deliberation. While this shield may have been bulletproof, yet there was the ever-present danger of exploding shells and views obtained at such risk of life and limb are surely priceless.

* * * * Speaking of priceless negatives we are reminded that there is a collection of negatives stored in the attics of the War Department in vVashington which is valued at least at $150,000. The bulk of these negatives is the work of the late Matthew B. Brady who closely followed the operations of the Civil War. Poor Brady died in poverty, but the results of his life work is now one of the nation's most valued records of the strife between the north and south. Survivi ng relatives of veterans whose portraits are among the collection sometimes get permission to have prints made, and public institutions have occasionally had permi ssion to make use of the negatives, otherwise no steps have ever been taken to publi sh reproductions of these negatives. Properly compiled they would make a most interesti ng volume.

Formulae Wanted. Several of our readers work the Kallitype process successfully; that many others try to do so we judge from our correspondence. To get at the bottom of the matter we offer a cash prize of $10 for the best working formula. Full working directions must accompany the formula, together with ~ pecimen prints and samples of the sensitized paper. Its keeping qualities and other peculiarities should be fully noted. Five dollars is also offered for a blue

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print formula that will give the most pleasing color and best rendering of the halftones. Papers of this dass do not keep well and are slow to print. What is wanted is a formula for a paper that will keep at least as well and print as fast as any of the popular printing-out papers. Formula must be accompanied with full working directions, specimen prints and samples.

~111111111

Youth's Companion Competition. This year the Tenth Annual Photographic Contest and Exhibition of the "Youth's Compa11io11" will occur, and in celebration of the anniversary, awards aggregating one thousand dollars in value will be made. Each contestant is assured that all pictures entered will be placed on exhibition in The Companion Art Gallery, and remain on public view for eleven months. The contest is open only to amateur photographers. An illustrated announcement containing the list of awards offered, conditions, and all other information pertaining to the contest will be sent on r eceipt of name and address by the Photographic Dept., The Youth's Companion, Boston, Mass. P. A. of A . Convention in Boston, August 5th to 8th. The convention will be held in the Mechanics' Building, one of the best appointed buildings we have liad for years, and the Lenox Hotel has been selected for official headquarters, and is only about four blocks from the convention hall. vVhile in Boston you will have an opportunity to visit their numerous Art Institutions, th e Boston Museum of Art being one of the best in the country, and can be given a full day of your time with great profit. A great many places of hi storic interest are found in and around Boston, 2nd may be visited while on the conventi on trip this year.

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The Entertainment Committee will plan an afternoon at one of the Beaches, and you may have the pleasure of an oldfa shioned shore dinner. But the best o f all will be the convention. We will have a programme that will be interesting, instructive, and that will do us all good. ~ow, "get busy," and make the work. Send your exhibits to Boston, compare work with that o f others, and see which excels, and why it does so, and if the other exhibitor's work is best, go home and try again, and come with better w01k next year. Be sure and send your work to the convention; you can not make comparisons with that of others, by leaving yours at home. And don't wait till you reach Boston, before paying your dues. You can easily guess what that will mean. A long wait in the line at the T reasurer's window, (a line that will be longer this year than usual, as there will be so many new members to enter on th e books) ; therefore send your money NOW, to F. R. Barrows, 1873 Dorchester avenue, Boston, Mass. If al-

ready a member, send your am1t1a! dues. Jf not a member, and you wish to join the association this year, send $3.00 membership fee and $2.00 dues for thi s year. For further information in regard to the convention, address any member of the Executive Committee. Fraternally your >, c. J, vAN DEVENTER, 1St V.- P . Decat:.1r, Ill. The Seneca Camera Manufacturing Company, of Rochester, N. Y., have sec ured the sole right to manufacture th e Rochester Adjustable Plateholder. The ad,路antage of using a holder of this style is that plates of a smaller size may be used by adjusting the springs. Ordinarily it may be used the same as a ny other holder. Thi s idea does away with the use o f kits. . The cost is practically th e sa me as any other holder. The Seneca Camera Company are supplying th ese holders with all the cameras they now manufacture.

* * *

MILTON WAIDE, of New York, hav ing found it impossible to furni sh so much to

C. L. O'Connor NIAGARA

- _________.._J

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his correspondence pupils at the low $10 rate, asks us to announce the fact that the tuiti on price is now advanced to $20. It will even then barely pay him for th e time and material he furni shes during the valuable course of instruction. Readers will kindly bea r this fact in mind.

tank, washing box and a Hall's Portable Dark-Room, no other dark room is needed and the mos t arduo us tasks of photography become a pleasant pastime that can be carried on in the sitting room, on the veranda, or any where that is most convenient.

• • •

THE HALL PoRTABLE D~\RK RooM is all that its name implies. Collapsed, it can be inserted in an ordinary suit case, together with all the oth er necessa ry articles for the developing of one's plates while away on a vacation. It is light, yet light-proof and being constructed entirely of metal and of the finest quality of rubber cloth, it is the most durable and common-sense apparatus of thi s description that has yet come to our notice. Circulars and information will be gladly sent by the Hall Camera Co., 118 East 23rd Street, New York, if your dealer does not have it in stock.

THE SntPLEX ExPOSURE METER. ]n our May iss ue we stated tflat the cost of the Simplex Exposure Meter is 25 cents ; while in the same iss ue The Knowlton Company advertised their New Meter, recently completed, which sells for so cents. We would like to explain that they have both meters for sale: the 25 cent " Card" Meter and the so cent ·'Disk" Meter, which they will be pleased to send on approval. if desired.

• • • A utomatic or machine, instead of manual labor, is the trend of the times, and G. Gennert ·knew what he was about when he introduced his "Auto Tank" and "Auto Developer." Instead of bending over a tray in a stuffy dark room in these hot days, how much nicer it is for to drop the plates o f a day's exposure in the auto tank, close the lid, open th e dark-room door and spend fifteen minutes outside in some more congenial empl oyment. It is a gre-a t ti~e saver and economical, too, as ~me developer will do fo r a whole batch of negatives. One <:an use any pet developer if it is diluted according, but it is claimed that the "Auto Developer" is so searching and th orough iU: its action that it will produce all the poss ible detail in the negati ve and that too, without th e least trace of fog. A lso, it is not expensive, being supplied in four-,p unce. vials of concentrated solution at 40 cents each and in powder fo rm at fifteen cents each. One ounce of this solution o r one <:artrid ge is suffici ent for fifty ounces ·of de~ veloper. which can be used repeatedly· until ex hausted. Several claims are put fon va rd for th e superiority of tank development. There is less handling of th e plates and danger of frilling or other injury ; bei ng developed in an upright position, patticle·s· of grit do not get imbedd ed in the film . and a weak de veloper prod uces more so ft and harmoni ous negatives and more even results fr om varied expos ures. If one possesses an "Auto Tank,'' a g rooved fi xing

•

• ••

• C." L O 'CoNNOR. " Niagara" is one of the Q;est renderings of this much-photographed subject that we have yet see n. Although only ·"the .American side of the falls is shown, yet- the maj esty of the scene is well represented. The point of view is excellent and th e exposure just right. There is a sense of moti on and resistl ess force in (he seething waters as they approach the ~rink, and the driving mi st and spray which ~ ri ses f·rom the cauldron is well depicted. it is a picture on which the eye likes to linger and if it had been printed in green carbon instead of a dull se pia, the effect would have been far richer and more natural. By all appearances you have a iood nega ti ve fr om which yo u should be able to work up a picture that will command attenti on in some coming exhibition. H. E . THOMA S. "The W oodpecker" a pretty gi rl carving her initials on a tree trunk, is a speci men of good straight pho tography, th e o nly defec t being overdeve lopment of th e negative. T he pure

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white patches through out the picture should be modifi ed in tone and you will get a better print from th e negativ e, as it is, on a more rapid and softer paper, such as special portrait ve lox. If yo ur ai m is picture making, yo u mu st expose for deta il in the shadows and develop for detail in the hig hlights. T he rend ering o f th e bark of the tree is the most strikingly correct feature of the print and backing the plate would have avoi ded th e strong halation in the uppe r corn ers. Will try to locate yo ur ot her print. }OHN RoESCHLAU. "The Brook" is a good photograph of a subj ect with no particular interest. The point of view is well chosen and the expos ure well calculated. On this yo u should really be congratulated, as such subj ects as a shaded pool in the woods is not easy to photograph by any means, judging from the numberless prints we see where blotches of black and white leave too much to th e imagination. Such subjects, howeve r, without color, do not make pictures, nor can there be a good picture without a point of interest. Give more attention to selecti on and be as careful in exposure as you were with thi s.

L. A. NoRMANDIN. '"Just Like Papa," is a cute picture, a specimen of excellent technique, even to the mounting. T he quaint conceit o f such a picture might make it interesting to th e child or its relatives. otherwi se it does not appeal and the same evident care and patience might have resulted in a reall y good 路 picture wit h the sa me model in a more natural att it ude. }OHN WILSON (Toronto). '"O n the Humber Riv er." T here is not much that we can say of thi s, other than th at it is a good photograph of a st,lbj ect which, unless it has local interest, was not worth a pl ate. Vl/e would say, as to John Roesch lau, give more attention to selecti on and try to produce pictures with th e camera. Any one can make snap-shot records of landscapes. \Ve will look for some more mental effort in your next. E. \VoRTHT NGTON. We have turned over your seven prints again and again trying to di scover one without fault s. With the exception of the conduit (a mile in length) and "Ranger's Garden," which are of local if not scientific interest, the others are little more than waste of good materiaL The prints have been returned with criticism of their technic al fault s. S. CLOWNEY. " Roses." Even when photographed at th eir best, fl ower studies are rarely sati sfactory, unless for purely decorative effects. In this print you have succeeded well in rend ering the tone values of the flowers and leaves and all it lacks is some shading in th e background to relieve the monotony and a visible mt:'ans of support to the vase.

Just Like

Pa~a

L. A. Normandin

CHA S. G. BEGG. "A Canadian Land scape" can not even be termed a good record photograph from th e fact that und erexposure and consequent overdevelopment has resulted in a negative that is lacking both in detail and color values. From an artistic standpoint the view is also faulty. The re is no one point o f interest, the foreground is weak and th e lines leadi ng into the picture end abruptl y in nothing. The tree on the right, closely repeating the marg inal line of th e print, is al so a mi stake. The graceful, curving skyli ne is the only attractive fea ture in the print.

ROSES 路

A CANADIAN LANDSCAPE

S. Clownry

Chas. G. Begg

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}AMES MARRIOTT. There is not much sign Of spring in "Spring's Opening"·; rather premature. The vista of stately trees would make'a far better picture as an upright. As we have told you before, the focal length of your ·lens is too short for the size of the plate; that is, its angle embraces much more than the eye can conveniently take in .at a glance. Judging from its covering -capacity, the lens is a good one, but if the length of your bellows permits, it would be far better to use a single combination of "the lens on such subjects-better drawing and more concentration would result. You ·have taken heed to our remarks on exposure and the second print, "In Grip of Jack ·Frost" is technically perfect. The faults of the l~ns is not so noticeable in this as the -princiPal objects are all of about equal dist::.nce, and we rather like the way it shows up the sweep of the mountain-side.

REMARKS BY THE MAN IN THE DARK

The Second Salon. Very little is heard about it. Do something first and then talk seems to be the policy this year. Good one, too.

• • •• The editor of a certain photographic magazine states that there is a comradeship among photographers similar to that among fishermen. Come to think of it, there are other" points of similarity. It is no uncommon thing for a man to hie himself to the fishing banks with his bait basket well filled with 'sandwiches, cigars and sundry bottles and for him to return. by way of the fish market, after which he proudly displays his string of fish to his wife and envious neighbors. It is also an open secret that many who most persistently fish for honors and awards at our exhibitions and salons have their works of art turned out by some unsung professional who is not above this means of adding to his income. The patience of the fisherman is also proverbial, he will sit for hours patiently waiting for a bite and many instances are recorded where the camera fiend will spend hours and days to get a certain picture. \Ve are shy of the fisherman who spins yarns of

the monstrous size of the fish he caught or which escaped after being dangled on the line for hours, and because there are not enough disciples of Ananias in his flock, I am informed that the editor of a certain photographic publication keeps handy a long list of addresses which he displays on judicious occasions as his list of subscribers, although the few suckers who bite are as ephemeral as the fisherman's catch.

* • • • The late l\Ir. Edward Newcomb was at one time a most prolific writer to the photographic press, and his mantle seems to have fallen on one C. H. Claudy. The man must keep his pen running day and night. Some people prefer quantity to quality.

• * ••

It is a long time since we have heard from "Grandpa." I hope that it is the rush of business to his Chestnut Street studio that leaves him little time to devote to his literary aspirations. I cannot imagine Zimmerman remaining silent for any length of time. He is known in the Quaker city as a Panhard racer conversationalist, but he has never told us yet whether he considers himself a professional or· an amateur. Perhaps he does not know himself.

• • * * Since the Royal Photographic Society of Great Britain has conferred the distinction of Honorary Fellowship on Mr. Alfred Stieglitz it is rumored that he has unearthed his kodak from the attic and is seriously contemplating another snap shot. He has not yet decided whether he will <talk for effects on the banks of Lake George or wait for the next burst in the water mains to secure an impression of the flood in the subway.

* • * • Strange things are happening nowadays in photographic quarters. 0.1e of our esteemed contemporaries has turned botanist and edits his Notes amidst flowers, pineapples and pure Havana tobacco under the blue skies of the tropics. Another has turned globe trotter, bidding fair to rh·al Cook's tourist agency. No doubt he will collect material on his trips for \'arious special numbers. I would suggest

CAMERA AND DARK-ROOJ.li. as special numbers ··European Royalties" illustrated with original photographs taken by the Shah of Persia with his $20,000 camera. "Generals of the Russo-Japanese ·war" by his serene highness Cummiamo and Count Frapovitch. To come nearer home we might have an edition devoted to "Literary Lions of the Day," all, of course, born and bred in Boston; and "The Era of Paper and Ink, or How I Fool the Public," illustrated with original drawings by Walter Zimmerman.

LETTERS TO THE EDITOR.

June 21, 1905. Editor of CAMERA AND DARK-RooM, Dear Sir: You would greatly oblige me in publishing this answer to certain scurrilous statements made in the Photographer of June 13th. I am perfectly aware that the Photographer is seen by comparatively few and still read by less, and that perhaps it would be wisest to let Mr. Abel's editorial pass unnoticed, but as after all some readers might get a wrong impression from it, I have decided to prove the fallacy of his statement. r. I have never said, that "there is no art in photography." I have said, as every one who attended my lectures will know, that ·•professional portrait photography is no art,'' stating at the same time that the portrait painters labor under similar difficulties and that none of the leading art critics has conceded to portraiture a very high rank in the art of painting. Mr. Abel willfully misinterpr~ted my argument. 2. I have never asked professional photographers to be written up in photographic magazines, knowing that they do not care for that kind of publicity. Their work is meant for the public and not for the amateurs. They might favor a write-up in popular magazines, weeklies and newspaper supplements which have a circulation of 300,000 copies, but that is quite a different proposition. J. I have never kept any prints that I was not entitled to keep. As for selling themof course, I have sold them with the article they illustrate; they were given to me for

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that purpose. Quite a number of prints, however, that should have been returned, I was unable to return, as the editors failed to send them back to me. I have lost 215 prints in that fashion during the last two years, and Mr. Abel himself has kept repeatedly prints that I have furnished to the Photographer. 4- As for being in photography for money I Of course, I am in it for money. We all are, with the exceptions of the amateurs. Surely Mr. Abel does not want to tell us that he publishes his weekly to elevate photography. It would be a mighty poor attempt. Why then all this vindictiveness, these villifications and personal attacks that betray nothing but malice and envy. Ah, there is a reason for it. It is merely a trifling sum he owes me. But some men are built that way. They hate people to whom they owe money. And so he whines at the feet of the professionals, trying to further his end of the game by attacking me. Of course the next thing will be that he will come out with his accusation of plag~ansm. Well, it will be another opportunity for me to show up Mr. Abel's nefarious methods. I know that my actions have been perfectly legitimate, and that he only harms himself. Sincerely yours, "SIDNEY ALLAN,"

Sadakichi Hartmann. [While it is outside our sphere to deal in personalities, we accede to Mr. Hartmann's request to grant him the privilege of a public reply to a public attack. No one who is conversant with photographic politics will for a moment entertain the idea that public welfare was the motive which inspired. the editorial in the Photograplu:r of June 13th. Whatever the nature of the grievance, it is a serious matter for the editor and publisher of a paper to cast such damaging aspersions and equally poor taste to resort to personalities in the furtherance of selfish ends. This is dragging journalism down to the lowest level and the tail-end of the editorial, instead of poking fun at the color of the previous number, might more aptly have proclaimed "yellow" as its adopted hue. "The pen is 'smiteier' than the sword" and as in this duel the

CAMERA AND DARK-ROOM. challenging knight errant has chosen a weapon that was denied to his opponent, fair play prompts us to give space to Mr. Hartmann's reply. Eo.]

Lens for Portrait Work. M. L. \VALTERs.-My outfit consists of a S x 7 long foc us Century, fitted with their regular convertible lens, giving three different foci. I want to use this camera for portrait work but do not seem to be able 'to get good results, the focu s being too near with both combinations and if I use a single combination the image invariably shows up flat, and the exposure is too long. I can not afford to buy an expensive portrait lens. What would you advise? With the ordinary convertible lens the trouble is that the diaphragm is too close to the lens when using a single combination. For portrait work would suggest that you procure a rectilinear of about IS in. focus; th ey are not expensive, but if this is even beyond your means you can obtain a single achromatic lens of about IS inches focus for $7.SO or less, or you can get one of these unmounted from any of the lens makers for about $2.so. From personal experience and also seeing the work that others have done with a single lens of this description on a. s x 7 plate we think that you will be pleased . with the investment. Moreover it is rapid enough for portrait work, as for this, it should not be stopped down. One of our readers recently sent us some home portraits taken with a single lens of Is in. focus and usi ng no stop at all . They were very soft and pleasing to look on. The unmounted len s you can easily contriv e a ca rdboard tube for. Stereo Views with Ordinary Camera. SILAS L. PLATT.-No you cannot take "stereoscopic views on a s x 7 camera without moving the camera" unless, which is unlikely, the sliding fron t permits the lens being moved about three-and-a-half inches

from side to side. If this is possible it can be done by making two equally timed exposul'es and masl:ing first one half 路of the negative and then the other, of course centering the lens each time over the half that is to be exposed. A better method is to make an auxiliary tripod top of a board about twice the breadth of the camera with a strip at the back against which to press the camera. The camera must be perfectly level and the lateral movement of 3Y> inches perfectly parallel to the view. A device is sold in the stores for enabling any camera to be converted into a stereoscopic camera. It is quite compact, consisting of brass arms fitted with a tripod screw and simply reversing their position does the trick. The Use of Uncorrected Lenses. \V. H. LITTLE, Covington, Ky.-1 have seen reference to the use of spectacle lenses in photography and will appreciate any hints on the selection and use of same. Spectacle or un-corrected lenses may be used in landscape work and even in portraiture with success-in fact some of the finest specimens of pictorial portraiture has been executed with uncorrected lenses. They can be purchased for a few cents from any manufacturing optician, preferably in the rough or round 路 before they have been ground to oval shape. In judging the focal length desired, focus the sun to a point as with a burning glass and the distance between the lens and the bright spot is the focal length. It is also advi sable to select the meniscus or plano convex shape instead of the double convex and to mount the lens with the convex side next to the plate. A cardboard tube and blackened cardboard stops can be easily improvised. As you no doubt are aware, the image as focussed on the ground glass will not photograph equally sharp unless the difference is allowed for in chemical and visual focus. You can determine by photographing a convenient scale-such as a row of fence posts or trees. In actual practice it amounts to racking th e lens about 1/ 32 of its focal length nearer to the plate after the visual foc us has been obtained. Some of the earlier fixed focus cameras were fitted with uncorrected lenses and did good work as the difference in focus had been allowed for in the adjustment.

OUR BOY

F. T. RuntinJ ton.

ONE DOLLAR THE YEAR TEN CENTS THE COPY

Volume. VIU.

New York, August, 1905. Edited by ). P.

361 Broadwa y

No.8

CHALMERS.

Published on the first of every month by THE AMERICAN PHOT OG RAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office u second clau mail matter. Subscription price, One dollar per year in advance. Foreign subscription price ssh. $1.25) Posttively not connected with any photographic stock bouse. Matter should reach office by the 1 sth of month preceding date of publication. Original MSS. solicited

THE CAMERA AT THE SEASIDE. BY C. H. CLAUDY.

fiijiiiiiiiiiiJJH:ERE is no vacation which can equal that taken in sight of the sea. I am aware that this didactic statement is open to dispute, but I am perfectly willing to rest my case with those who have taken vacations within sound of the breaking waters of the sea and who have also had experience in other ways of vacationing. There is something so restful, a charm so magnetic, about the sea, that no one with any sense of appreciation of the wonders and beauties of all out-doors can ever escape from its influence, once it has been felt . You may go to the mountains, take trips inland, fi sh on a river, canoe on a lake, what you will, but the sea, if it has once had a chance to get its grip on you, will inevitably draw you back to it again, some time. Now if you are a user of the camera -and I do not suppose any who read this are not -you will want to fi x on plate and paper some of thi s charm , so

that you and your fri ends may enjoy it later on, in the winter, when four walls and a desk are your portion. But the sea has guarded this charm of hers with a number of vexatious things, to the user of camera, and if you set about photographing the sea and its scenes in the same way in which you would photog raph an inland landscape, you are fairly certain to have your trouble to show for your pains-and nothing else. In the first place, the sea provides two mortal enemi es of the camera in no uncertain quantiti es. One is salt, damp air-the other is sand . If your instrument and your sensiti ve material be not protected in some measure from these things, you will run the 路 ri sk of damaging the former and rendering the latter useless for its intended purposes. If you could afford to have a came ra bu ilt expressly to withstand sea atr and made with special provtstons fo r sea-side work, much of

2.p

CA .ll E.Rrl AXD D A RK-ROOM

what I am going to say would be unnecessa ry, but I take it that you are using the camera as a hobby, and that when you go seawards you will take the instrument with which you do all the rest of your camera work, and that you have neither the means nor the inclination for an expensive camera built to order. Sea air is a mortal enemy of glue. Consequently, it is wise to protect glued joints from the action of the air. This does not mean that you mu st do your photgraphing from within an airtight glass case, but it does indicate that your camera is better in its case, when not in use, than out o f it, and that if the 路case be covered with a rub-

Fu ll Sa il

C. H Cla ud y

her cloth, or the camera wrapped up in such a cloth, when not in use, it is still better protected. Salt air is inimical to bright and shining brass work. Sometimes the laquer, which protects the brass work ordinarily, with success, will withstand salt air-sometimes it will not. In any case, a liberal coat of vaseline applied over all metal work, shutter included, will do no harm and will protect the metal admirably. Don't imagine that this need be done once, and thereafter no attention paid to it. Re-vaseline your instrument at least once every week. Vaseline is cheap, and time is not so valuable at the sea-side but what you can spa re the few minutes necessary to thi s end. Sand is a bad thing to get on, in, or around the lens. Sand is sharp, lens surfaces are delicate , scratches are bad for lenses. Mor:JI , have a cap for your lenses, and use it. Better have two caps-one for inside and one for outside, if you use a plate camera, and u se them both. It's a trouble, I know, but lenses, particularly anasti gmats, are expensive and worth caring for. I have m y caps attached to the shutter and to th e lens board by short pieces of twine. and so am in no danger of l o~ in g them. I have read that a little bag- of oiled silk is a good thing to have to put over the shutter when it is not in usc, to keep it dry and to protect it from sa nd. u ndoubtedly this is a g-ood idea. If yo~t have another oiled ~ ilk bag in which to put the whole camera, and an other one to go around the case, and others for each plate hold er, and one big bag for the whole outfit, and if, then, yon never use your outfit at all. you will keep it perfectly. nut there comes a limit to precautions, wh en th ey become so nnm e rou ~ and so

CAMERA AND DARK-ROOJJ

bothersome as to rob photographing of all its pleasure, and for me, personally, the limit is reached before I get in an oiled silk bag. If I do not want to return my camera to its case, and yet wish to wait a while before making my next exposure, why, I have a large, heavy and waterproof focussing cloth, which I can throw over the whole instrument, and which protects it better

"BOREAS"

from sand than an oiled silk bag would do, and which is not an extra article to carry. The protection of sensitive ma.t erial from clamp and salt air is vital to success. If you use film s, wrap the rolls in tinfoil, parafine paper or oiled silk, before and after use. Film packs the same. Plates packed in box es should be wrapped in oiled paper and then wrapping paper, stored on edge as high up in the room as possibl e and plates should not be left in the holders more than a couple of day s before or

243

after exposure. If left longer, they may be all right and then again they may not. By all means do not do any developing or printing at the seashore if you can do it at home; but, if do it you must, wash extra thoroughly and varf1ish as soon as dry. Otherwise you will have a curious and interesting, but extremely disappointing collection of

C. H . Claudy

mould spots and crystaline patches on your dri ed plates or films . On a recent trip to the seaside I was so unfortunate as to tip over in a small boat, having in my pocket a small camera with a " between th e lens" brass and steel shutter. A fter I had rescued myself, I set about prese rving th e remain s of my ca mera. I removed the lenses from th e shutter and the shutter f rom the camera. and soaked the shutter and the camera in fresh water, three ch anges of a minute or so each. Th en I d ropped the shutter in

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a glass full of kerosene and left it for a while, meanwhile drying the camera itself as thoroughly as I could with towels. This accomplished, I further dried it by fanning it. I did not put it in the sun, knowing that if I did, the leather bellows would crack and lose its usefulness. Having the whole moderately dry, and clean from sand, I <>iled the leather of the bellows with some neatsfoot oil-if I could not have obtained this I would have used sewing machine oil, or almost any oil which is oily, and not of the kerosene variety. Then I turned my attention to the shutter and treated it to several baths of gasoline, finishing by holding it in the hand and slowly pouring a pint of gasoline over, through and around it. Then I set it in the sun to dry, which it did iiJ. a very few minutes. And it works, as far as I can see, as well as it ever did. Of course I removed the dash-pot and cleaned the plunger, replacing without oiling, but with that exception I did not interfere with its interior mechanism. The lenses were simply wiped off with clean water and dried carefully with an old linen handkerchief. I do not pretend that all this bathing did the camera any good. Most of the leather came off and had to be glued back again, but I do contend that I saved an apparently ruined camera to many a day of use, and that if I had not been prompt with my washing, drying and oiling, it would have been gone for good. I sincerely hope that you may never fall overboard with a camera (or without one, for that matter), but if you do, you know one way of making a bad matter better. You may take all possible precautions against the bad effects of seaside conditions and still not get good pic-

tures. There is the problem of exposure, and it is totally different from the same problem inland. If you pin vour faith to a meter, you may get ~long-1 don't know, never having used one. But if yoil endeavor to ex- â&#x20AC;˘ pose by the rules you use inland, you will most certainly almost hopelessly over-expose. In the Photo Mi1Jiature is the following paragraph, which I insert here, before telling you my ideas, in order that you may have something pertinent with which to judge my assertions: (From page 161, Photo Miniature, No. 28): "Of several workers giving their methods, one used Seed 26 x and Cramer Banner plates and with lens at f-32 gave one twenty-fifth of a second. This exposure gave detail in theÂˇshadows, and was sufficient to secure the sense of motion in the surf with pleasing definition. Another, working between 10 A. M. and 2 P.M. (against all advice to the contrary) with Seed 27 or Cramer Crown plates, and intense sunlight, gave exposures as follows: with f-16, 1-100 second; "Âˇith f-22, x-so second; with f-32, I-2S second, and with f-4s, 1-10 second. H. A. Beasley, working late in the afternoon, uses !-16 and gives I-2S second; on hazy days I-S second at f-8. The plate was Cramer Medium lso." l\Ir. Beasley's ideas are more nearly mine than those of th,. gentleman who secured results satisfactory to him by giving a tenth of a second exposure at f-4s, or L. S. 128. I have just finished making some very difficult pictures of some scientific work on the water, and made nearly all of them with a stop of f-16 giving the fastest bulb exposure I could make-probably about one-eigl~th of a second. Overexposed? Of course they were, if by

Il'ITO THE FOG

LOW WATER

C. H. Claudy

C. H . Claudy

CAMERA AND D A RK-ROOM

that you mean they would flash up quick and fade black with a strong developer at normal temperature. But I developed them with a normal developer very heavily restrained with bromide, and at a low temperature-made the developer with ice water, and I succeeded in getting beautiful negatives, full of detail in the shadows, not dense or too contrasty, and with plenty of half-tone. One of these pictures shows the trans-shipm ent of instruments from a covered launch to a white rowboat. The detail under the covering of the launch is perfect, yet the sky shows printable clouds, althoug h I used no ray screen. X ow that is my idea of a good negative. As a general rul e, the light at the seashore is about three to four times more intense, photographically speaking, than it is inland. If you divide your usual exposure for an open landscape by three, you may take an open sea-scape with comparative certainty that a little restrainer in your developer will give you a good, snappy negative, with plenty of detail in th ~

LINES OF WHITE

shadows, without in any way having a tendency to harshness. I am speaking of the use of a med iun1 rapid plate all through-! use the Standard O rthonon in my sea work. Of course, if you use a rapid plate your exposures must be more rapid than mine, but the ratio of three to four times less exposure on the seashore than inland still holds good. I could write a book ( how readable it would be I don't pretend to say !) on the way composition should be managed at the seaside, but it is a subject which deserves a paper, or papers, to itself. I would like to add a couple of "don 'ts " to this tale, however, in closing: Don"t take surf pictures at right angles to the line of the waves, andDon't take sailboats broadside on and expect them to look as if they were making ten knots an hour. It can't be done. Take your surf and your boats at an angle, use a long focus lens for pictorial effects, and as large a stop as you can in order to get a little breadth in your pictures. But

C. H . Claudy

PORTRAIT

E. Lee Fer"uson

PORTRAIT

Chas. I. Ber~~:

PORTRAIT

MRS. GILBERT

Chas. I. Berl(

Cha•. I.

Ber~~:

TWO MAIDS OF ST . IVES

Copyri&hted 1905 by F . Benedict Herzoe

I WHITE BIRCHES

M . W . Seaman

CAMERA AND DARK-ROOM

to each of you is a salvation waiting line base looks like it. They were for your own working out~if you will driving rapidly along and piling up follow the hints I have laid down for into a wind storm, and I tried to get a the care of apparatus you will work it . little' of the spirit of it into the picture. out more quickly and better than .if The water was dull and lusterless, so I you have to go through the school of aimed for a negative as flat as I could experience I attended, with its con- get without utterly sacrificing the comitant loss of plates and partially white in the clouds. I developed with a dilute pyro, and locally restrained injured apparatus. Instructions as to proper exposures the water with bromide on cotton-a are all very well, I know, but nothing thing easy to do here on account of is so pertinent as example. With this the straight horizon line. story are reproduced some photo"Into the Fog" was a snap shot in a graphs of mine. Some of them have fog, on a rainy day. I used a small managed to get past a jury, others pocket kodak, shutter set at a fiftieth have not yet had that trial. None of of a second, lens wide open (f-8) and them, I imagine, are in any way re- developed normally-that is, about six markable, and none, I hope, are utterly minutes with a ten grain to eight bad. However, that is for the judg- ounces pyro solution. The result is ment of the editor and you, who read sketchy in the extreme, but it is foggy this. The way they were made fol- and the fog is neither chemical nor lows. "Lines of White" was exposed light fog, but the real article, as proon a dull day, at a stop of f-32 and an vided by Nature. Whether you will like "Full Sail"exposure of a tenth of a second, approximately. I wanted the lines whether it will be reproduced, evenblurred a bit-1 do not think a wire is decidedly problematical. I have been sharp wave looks like anything but a told that it路 is a smudge, not worth good technical job-certainly it does printing, let alone looking at, that the not look like what it is intended to rep- sails are stringy, that at no time of day resent. If you will get off a little ways is there such an absence of light, etc., from this picture, perhaps you can im- etc., ad lib. Then I have heard some agine you see the wave breaking- nice things about it, too. But the techwhich you couldn't do if you could Sfe nical criticisms are all foolishness, as every fleck of foam and bubble of air any one who has been much on the water knows. The sails, far from being in the water. Development was with stringy, are full bellied out with wind a diluted, unrestrained developer, and on the quarter. Taken from the other not pushed, as I did not want a very quarter, of course they are foreshortcontrasty negative. The day was dull ened. And after sundown, with a lead -so should the picture be. colored sky, I defy any one to tell the "Boreas" was an attempt to show direction of the light. Any way, it has wind. It was made with wide open motion, or so a jury of selection was lens ( f-6.8) at a hundredth of a sec- kind enough to say, and that is why I ond, using a Cramer Crown plate bring it up here-it has motion beabout 2 in the afternoon. The clouds cause it is taken on the quarter and beare not printed in;_ for all their straight cause the slightly leaning mast, and

CAMERA AND DARK-ROOM

the angle of the jibs, seem to point at least, but the principle chann of the toward the place the ship is going. As picture, if it has chann at all, lies in I have previously stated-you must the fact that it appears unconscious. take boats quartering· to get motion- Yet this picture was posed. Every taken broadside on-with rare excep- man stared at the camera, until my tions, means to make them appear · pleadings produced the attitudes you stock still. see. The clouds are natural and se"Full Sail" was taken late in the cured without a ray filter, on a Standevening, f-8, on film, tenth of second, ard Orthonon plate, f-22, as fast a bulb normal development. exposure as I could make, developed Lastly I have to offer you consider- in cold developer heavily restrained. ation of "Low Water." Here you have The result, good detail in shadows, a boat in the distance, a boat in the printable clouds and utter lack of too foreground and three men landing great contrast, which is the fault of so from her. Composition is innocuous, many marines.

PHOTOGRAPHY THROUGH A CHEMIST'S EYES. BY A. G. WOODMAN,

XI.-The Detection o£ Developing Agents.

T is sometimes desired to find just what is the developing agent present in a commercial developer sold either in powder or in the prepared solution. Many of the commonest developing agents are put on the market under fanciful names in order to convey to the purchaser the idea that the article he is getting is something far superior to the hydroquinone or pyrogallic acid he has been using. Since the numbers of

successful developing agents that have acquired commercial importance is not so extremely great, this is not a very difficult task. In the subjoined table will be found a list of the more common developers and various information concerning them, based chiefly on the researches of Dr. Andersen, and following this I have described in some detail the method of identifying them in a commercial developer. The procedure for testing the un-

COMMON D!WKWPING AGENTS. Common Name Am idol Pyrocatechin Diphenal Kikonoge11 Glycin Hydroquinone l\letol Ortol Pyroga !lie Acid

Appearance

Solubility in Water.

.M a Developer uaed with

Colorleu needle~. KasilfJ soluble in water. Broad ftakes or long needles. Read ly soluble

Carbonate of soda or potasslum. I,ong needles. Readi?.' soluble in hot; almost Caustic alkalies inao uble in cold water. Rhombic plates. EMily soluble in hot; leu sol- Neutral wlphltes with atuble in cold water. kali carbonates. Mka-like plates. Very slightly soluble in water Caustic alkalies and alkalicarbonates. Needles or long hexagonal Easily soluble in hot ; Jess solplates. uble in cold water. St"edlt"s or prismM. Very soluble iu water. Alkall-a.rbonates. :llixtnre of plate• and needles. Very soluble. White light powder. Alkali-a.rbouates and amVery solul>le. onla

CAMERA AND DARK-ROOM

known developer is divided into two great divisions, depending on whether the substance is in solid form or in solution. A.-THE SUBSTANCE IS A SOLID.

A small quantity, about a saltspoonful should be finely powdered and dis· solved in about three ounces of cold water. (A) The substance apparently does not dissolve. This indicates t4at it may possibly be either glycin or diphenal, both of which are practically· insoluble in cold water, and it should be tested as follows for these two. I. It dissolves upon adding some solid sodium sulphite and potassium carbonate-glycin. This should be con· firmed by testing the solubility of the original powder in muriatic acid, in which it should be soluble, and in acetic acid, in which it should be insoluble. When a solution of glycin, made acid with dilute sulphuric acid, is heated with a 10 per cent. solution of bichromate of potash it gives off a very pungent odor of quinone. 2. It does not dissolve upon adding sodium sulphite and potassium carbonate-diphenal. Confirm by the solubility of the original substance in dilute acetic acid and by its not giving the pungent odor of quinone with potas· sium bichromate and sulphuric acid. (B) The substance dissolves to a clear solution. Add to the solution about 5 per cent. of dry sodium sulphite and 10 per cent. of potassium carbonate and note any change in color. I. The solution remains clear, but becomes colored. This may happen with amidol, pyrogallic acid or eikonogen. (A) If the color is blue-amidol. Test further as indicated under B.

253

(B) The color is golden-yellow and does not change upon exposure to the air-eikonogen. Test further by gradually adding muriatic acid until present in excess. With eikonogen a white precipitate insoluble in excess of the acid is formed. (C) The color is brown, which increases on shaking in the air, and increases very rapidly upon adding a few drops of caustic soda-lye-pyrogallic acid. Test further as indicated under B. 3· The solution remains clear and bright without any color. May be pyrocatechin, hydroquinone, metol, ortol. Test the original substance for evolution of quinone, by oxidation with potassium bichromate and sulphuric acid, as directed before. (A) No odor of quinone is obtained -pyrocatechin. Confirm by testing a little of the original water solution with a drop of chloride of iron. In the presence of pyrocatechin the solution becomes emerald-green, which is turned to an intense blood-red by a drop or two of sodium carbonate solution. (B) Quinone is formed and detected by its odor. Add to a small quantity, say an ounce or so, of the original aqueous solution a few drops of dilute sulphuric acid and about an ounce of ether. Shake the two together in a stoppered bottle, let them separate and carefully pour off the ether, which will be the solution above the line of separation. Allow this ether to evaporate spontaneously. ( AA) On evaporation of the ether a residue of long needles is left-hydroquinollc or ortol. Test by oxidizing with sulphuric acid and potassium bichromate. If it is ortol quinone will be formed and a deep Bordeaux red

254

CAMERA AND DARK-ROOM

color produced; if hydroquinone, the production of quinone will be unaccompanied by the red color. ( BB) There is no residue, or only a trace, after the evaporation of the ether-metol. Care should be taken in separating the ether from the lower solution, previous to evaporating, that none of the latter is included. B.-THE DEVELOPER IS AN AQUEOUS SOLUTION.

In general, all liquid developers wilt be found to contain sulphites, this being the most common preservation used. In order to be sure of this, it is only necessary to acidulate the solution with a little sulphuric acid and warm it. The smell of sulphur dioxide (burning sulphur) will indicate the presence of a sulphite. If the developer is in two solutions it is necessary to test only one, the one which does not contain the alkali. The presence of the alkali may be detected by rubbing a drop or two of the solution between the. thumb and finger, by its greasy, soapy feeling. To test the solution for the developing agent, place a small quantity of it in a little dish and add a little concentrated caustic soda lye. (A) The solution assumes gradually an intense brown color on exposure to the air. This indicates amidol or pyrogallic acid. A small quantity of the original solution should be placed in a dish and a considerable amount of dry potassium carbonate added. I. The solution turns blue-amidol. To confirm, extract some of the original solution with ether, as described under hydroquinone in part A. Evaporate the ether and dissolve the residue in water. If amidol, chloride of iron will strike a red color with it.

2. The solution turns brown on exposure to the air-pyrogallic acid. In order to confirm its presence, acidulate a small amount of the original solution with muriatic acid, and extract with ether. Dissolve the residue left by evaporating the ether extract in water, add to it a strong solution of the sulphate of iron which has been exposed to the air for some hours and let the mixture stand. In presence of pyrogallic acid there is formed after some time a beautiful blue color. (B) Soda-lye produces no marked change in color. There may be present pyrocatechin, diphenal, eikonogen, glycin, hydroquinone, ortol or metal. Add to some of the orignal solution some muriatic acid slowly and with constant stirring. Note whether any precipitation or seperation of substance occurs, and if so, whether or not it dissolves in excess of the acid. (A) A white precipitate is formed. May be diphenal, eikonogen or glycin. 1. The precipitate does not dissolve in excess of muriatic acid-eikonogen. 2. The precipitate dissolves on the addition of more muriatic acid. May be either diphenal or glycin. To differentiate between them repeat the test with muriatic acid, avoiding an excess. Pour off the solution so as to leave behind the white precipitate and test its solubility in strong acetic acid. If the precipitate dissolves it is diphenal ,路 if it does not, it is glycin. (B) No precipitate is formed on adding muriatic acid to the original solution. Pyrocatechin, hydroquinone, metal or ortol may be present. Acidulate a quantity of the original solution with muriatic acid and "shake out" with ether, as previously described. 1. A residue is left on evaporation

CAMERA AND DARK-ROOM

255

of the ether-pyrocatechin, hydro- which is hydroquinone. It is the other quinone or ortol. Test with sulphuric constituent that gives the Bordeaux red, which distinguishes the ortol. acid and potassium bichromate. (BB) The residue does not give ( AA) The residue gives quinoneortol or hydroquinone. Distinguish quinone-pyrocatechin. 2. There is no residue of appreciabetween the two as in part A. The essential point w remember is that ortol ble amount left on evaporation of the is a mixture, one of the components of ether-metol.

STAND DEVELOPMENT. BY T. C. CRAYDON.

HATEVER tends to reduce dark-room drudgery should be of interest in these days of 98o in the shade. We therefore extract the following plea for stand development from the British Journal of Photography. The old theory that errors in exposures can be compensated for by tinkering with the developer after it has been applied to the plate still holds good in some quarters, and there are few who are still firmly convinced that if they do not carefully watch the plate during development and look through it at least half-a-dozen times during development, it will tum out a failure. What particular virtues accrues to the plate from looking at it I have not been able to discover. It certainly may happen that it will be fogged by the dark room light, and if pyro-soda be used it can certainly be more deeply stained than would otherwise be the case. In my early days I admit that I was probably as big a sinner as anyone else in respect of these two points, but a series of personal experiments with Mr. Watkin's system of "time" or "factorial" development proved to my

satisfaction the utter fallaciousness of hooking the plate out of the dish every minute to see how it was going on. I found that I could obtain a far more even set of negatives from varying exposures by use of the factor than I could by judging density in the old way. I found, too, that there was an immense amount of saving, both in time and trouble, for a great deal of my work is developingamateur'snegatives, which, as all the world knows, receive vastly varying exposures, some of which may be correct, but of which the majority certainly are not. Examination of the plate during development meant practically developing each plate by itself, but now I can put six quarter plates in a dish and flood them with the developer, and using a pencil and paper to note down the time of appearance of the image, have only to do a simple sum to find the exact time that each one must remain in to obtain the best result. Quite recently, however, I had a very large number of negatives to develop, which would have entailed many hours of work, and just at a time when I could ill spare it, so I determined to give stand development a

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trial, and after the first six plates had been thus developed the whole batch were treated the same, with surprisingly satisfactory results, for not a· single negative was lost, though, judging from the varying times they took, they must have received the most extraordinary exposures. The particular formula I used was: Ortol ..................... 10 grains. Potassium metabisulphite.. . S grains. Sodium sulphite ........•.. 65 grains. Sodium carbonate ......... 65 grains. Water .......••........... 20 ounces.

A dozen plates were placed in the tank and left for a quarter of an hour before being looked at, and they were all finished in less than half an hour, and by using two tanks the large order was soon wiped out, and not a single one was spoilt. Whether stand development is any improvement on the factorial system for studio work I am unable to say ; probably it would be found to be hardly worth while, for there is never

such a rush, and then it may not be possible, of course, to obtain tanks for larger negatives, but for quarter plates, particularly when they have received all sorts of exposure, I am convinced it is superior to all other methods. The fineness • of grain of the negatives is excellent, they possess good gradation, and no trace of fog from development or stain. · I believe almost any other developer but pyro may be used for stand development, with equally satisfactory results. Theoretically, if Messrs. Hurter and Driffield are right in their contention that one developer will not bring out more than another and the action of light on the plate is absolute, it seems quite reasonable to suppose that a very weak developer may act quite as well as a stronger one provided sufficient time is allowed. [We might add that edinol may be substituted for the ortol in the above formula with equal success.-Eo.]

CARBON TRANSPARENCIES.

N, the making of enlarged negatives carbon transparent positives are almost essential, as by no other printing method can the same quantity of delicate detail be secured. But to secure the best results certain conditions and precautions are necessary; and as we are always glad to learn from every possible source, we have pleasure in reproducing the following from The British J ournaJ of Photography: At a recent meeting of the Croydon Camera Club the subject dealt with was the making of positive

transparencies for the subsequent production of enlarged negatives. In the course of his remarks the lecturer pointed out that if the gradations of the original small negative were to be preserved in the enlarged one, then an intervening carbon transparency, he thought, was almost compulsory. There is very little question that, so far as the gradations in the negative are concerned, they are better represented by using a carbon transparency than one by any other process, because here we have the image nqt only composed of a color but by varying thicknesses of it-the carbon

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image being, in fact, a picture in the glass to be used must be coated more or less relief according to its with a substratum of insoluble gelagradations. . If practical evidence tine, and the omission of this is the were wanted to prove that carbon basis of all the trouble met with of transparencies are the best for pro- the reticulation of the film. The best ducing enlarged negatives from, it is substratum for the purpose is a weak supplied by the fact that they are the solution of gelatine-say, one ounce ones used by all the large firms that to a pint of water-with sufficient of make a specialty of enlargements by 路 a solution of bichromate of potash way of enlarged negatives. added to give just a pale sherry color. There is one passage in the report A stock solution of this will keep we gave some time ago to which we good, if kept in the dark, for some call special attention-indeed it is the time, and will only need to be warmed sole object of this article. The lec- when required for use. It is easy of turer said that "trouble might, and application ; all one has to do is, after frequently did, occur with reticula- the glass is cleaned, to pour a little of tions of the film, but these, as a rule, it on, drain off, and allow to dry in did not record themselves, provided full daylight. The solution may be a daylight enlarging apparatus was applied to the dry glass, or it .may be employed. With artificial light and poured over, once or twice, while the a condenser, the opposite frequently plate is still wet. This will perhaps prevailed." But many carbon slides be the least trouble to many. Those are used for the lantern, when, of who supply carbon printing materials course, the same conditions obtain as now, we believe, supply plates ready in the enlarging lantern, and it is substratumed for the purpose at manifest that what would be fatal in quite a nominal cost. This will prove the one case would be equally so, and a convenience to those who do not in an exalted degree, in the other. like trouble. After the tissue has been exposed Now there is no reason whatever why there should be any reticulation at all, it should be coated with plain colif the process is worked as it should lodion. This is a very simple operabe for the production of transparen- tion. The tissue is slightly bent up round the edges to form a kind of cies. As at the present time many will tray, and the collodion flowed over be making carbon transparencies for and drained off at one corner and althe lantern, as well as for enlarging lowed to rest, in the dark, of course, from, we shall here give a few prac- until the solvents have evaporated. tical hints on the working-specially The picture is then dealt with after with regard to the avoidance of the the ordinary manner of carbon printtrouble which it seems is sometimes ing. \Ve are quite aware that sucmet with by novices-and referred to cessful carbon transparencies are at the Croydon Camera Club. We often made without either the subshall at once assume that our read- stratum or the collodionizing, but the ers are familiar with the working of fact remains that the larger firms, the carbon process. In th~ first place whose specialty is making carbon

CAMERA AND DARK-ROOM transparencies for enlarging from, universally employ this system. If professional workers, with whom time is money, find it worth their while to incur this little extra trouble, it may fairly be assumed that they find it advantageous, in producing the finest work, in their daily practice. With a substratumed plate, and collodionized tissue, even boiling water may be used in the development, if necessary, without the slightest fear of reticulation or frilling at the edges of the picture. With regard to the exposure for transparencies for enlargement, it may be mentioned that it should be very full-quite three times that required for paper prints from the same negative will be none too much, even a little more is sometimes better. For lantern slides less will be sufficientindeed is imperative-say, double or a little less. The appearance of the finished transparency for the two purposes should be quite different. That for enlargement, when laid on white paper, should show no clear

glass, except, perhaps, in the supreme lights, and even then will be none the worse for a slight tint or veil if strong and vigorous negatives are desired. Those to be used as lantern slides, when similarly laid on white paper, should have the high lights of quite clear glass, yet with perfect gradation through the half-tones. A suitable transparency for the lantern is useless for enlarging from, while the one suitable for that purpose is worthless for the lantern. It is often recommended to alum carbon transparencies for either purpose, but it shou1d always be avoided, as it is harmful rather than otherwise. Transparencies made on special transparency tissues, containing much color, frequently show peculiar surface markings, sometimes called "damp marks." They show only by reflected light, and not at all by transmitted light. They are of no actual moment, but, however, they may be entirely got rid of by simply coating the picture with plain collodion ; they then disappear at once.

THE ARTISTIC ASPECTS OF PHOTOGRAPHY. AN ARTIST'S ADVICE TO PHOTOGRAPHERS.

BY F. C. TILNEY.

(Continued from page 224). So far as treatment of printing goes, the called artistic photographers. No tone, no efforts have been mostly in the direction planes, no "drawing,'' as photographers of perfectly flat, and most often dark ef- e'rect to say, no gradation, no textures, no fects upon a roughened paper that exagger- atmosphere, no modelling, no detail, no ates the already too granular effect of the quality. The original ones probably grew image. Absolute silhouettes are sometimes and flourished at Brighton ; the modem offered us in apparent seriousness. Who 路 ones are in place at Yarmouth. The name in their senses would consider it worth of an unpopular French minister became, while to make silhouettes deliberately by in derision, applied to everything cheap photography? What does such a treatment and trifling. How well it was applied to give? One thing only-hard outline: the this form of art, and how well is it still very thing that is anathematized by so- applicable to the empty flatnesses that dis-

CAMERA AND DARK-ROO.\-! grace pictorial photography in our galleries today! BEWARE OF FADDISM.

Travelling in an opposite direction to the fatuous reaehing after originality, is the equally dangerous practice of apeing certain methods peculiar to the graphic arts. I use the term "peculiar" advisedly, for the most senseless of these apeings is that of the scratchy background to a figure, which, natural, fitting, and desirable as it may be to a worker with a pointed mstrument upon metal, stone, or paper, is monstrc>lls when applied to any other form of representation, and despicable into the bargain, when it is applied to photography. I have brought with me a choice example of this precious form of Art with a capital A, which I should be glad if you would inspect before you leave. When you have noted the scratchings in the background, the shoulders and the hair, you will not need to have pointed out to you the utter incompatibility of it all with the photographic smoothness and absence of line in the face. Even supposing the background were of a tonal instead of a linear nature, its presence here is highly detrimental to the relief of the head. In sheer ignorance of the principles he is pretending to understand, the artist, as he would no doubt have me call him, has positively produced the very opposite of the effect such a back. ground treatment would be calculated to enhance. If I were to lay my tongue to the precise expressions that I think would properly describe this performance, you would perhaps think it advisable to remove me from this rostrum by constabulary aid. There are other instances of artistic masquerading which you yourselves can easily call to mind. Some may be less reprehensible than others, some, indeed, may have no guilt beyond a chance resemblance to methods in the graphic arts. The flagrant example I have shown is more than enough to serve as a warning and to afford me personally a vigorous and heartfelt protest. Amongst other misfortunes that have come in the wake of the cure of originality for its own sake, is the wanton falsity of tones This has developed into a fashion;

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but of fashion particularly something may be said later on. IMPORTANCE OF CORRECT TONAL VALUES.

If there is any one quality in respect of which photography can, and should, excel all other pictorial methods, it is that of tonal values. Judging from many works I have seen, and some that I possess, of exquisite beauty in this respect, there is no doubt in my mind that it would be impossible to find effects of light and air, that photography could not represent with more subtlety, more tenderness and truth than any other known method of monochrome representation. Is it a fact, however, that each photographic picture produced, with claims to be artistic, can show a due appreciation on the part of its author of these wonderful powers possessed by photography? Do we not see year by year the same utter ignorance, or disregard, which is worse, of the most obvious truths in the phenomena of light ? The names of several people who have somehow or other won reputations are seen in no retiring or modest characters attached to out-door scenes that are divisible into scarcely more than two tones. In another place I have observed that tone in a naturally lit scene is, in a musical sense, chromatic-an infinitely gradated gamut-that makes in its happy combinations the rich result that chords of close harmonies make: vastly different from the effect of one note in the treble and another in the bass, which is the metaphorical description of the faulty prints of which we speak. By what right are these claimed to be, and appraised to be of more artistic value than the glossy silver-print that is correctly exposed and simply printed? Is it supposed that the gloom of Erebus is capable of more poetic import than the natural light of day, or the glorious sublimity of sunshine? If this is maintained, then the true artist, whoever or wherever he is, will on his part maintain that the poetry of such prints is a purely subjective quality in the aberrated minds of those who make them, and is a spurious quantity in the taste of such as affect to admire them. Certainly the light that they represent was ncwr of actinic value enough to take

CAMERA AND DARK-ROOM a photograph at all, which begs the question why it ever was taken, if the actual result on the negative was less to be preferred than the ultimate result of the print. It can only be presumed that the camera was set up with the intention of getting something on the negative that would be deliberately submitted to falsification and debasement in the printing. For such a practice there is It Is prostitution; only one name. prostitution of one of the most marvellous discoveries of modern science to the whim and caprice of a faddist, who utters it seriously, as art, to the beguilement of the ignorant. EFFECTS OBTAINED BY MANIPULATION.

This leads to another point; the manipulation of prints, particularly those of the gum-bichromate order. That variety of print, more than any other, as I have remarked elsewhere, requires the artistic knowledge and the faultless taste. In the hands of an artist it may give charming results; but it .is at the same time the greatest pit-fall of the photographer if he is not tolerably artistic. Generally speaking, the more prints that are amenable to handwork are worked upon, the less do they resemble the negatives from which they were derived. No doubt such manipulation is of great service to the photographer who wishes to turn a bad record of mid-day tones into something that, by the help of a title, may masquerade as an effect of the shades of evening. Further, gum prints are capable of a certain quality of an atmospheric kind, under the glamour of which the truth of tonal values often makes an unnoticed escape. In the matter of truth of form, there is often just as much error as there is in point of tone. If the photographer who would insert trees, clouds and so forth, possessed but a little knowledge, he would be cognisant of the fact that to draw truthfully the characteristic shapes of trees and clouds requires years of careful study and observation. The probability is that he could not boast of so much education; if he could he would perhaps put it to a different use. It comes about, therefore, that the manipulated print, be it

murky and indistinct as it sometimes is, usually bears upon it the stamp of unconvincingness, a great crime in art Even the partial alteration of forms already existing is a most dangerous practice ; since the accidental variations of nature, strange as it may seem, are more difficult of representation than the general forms. Invention must be backed up by both knowledge and imagination, otherwise it is feeble falsehood. WHITE PAPER AND BLACK SHADOWS DOES NOT REPRESENT SUNLIGHT.

Keeping in vi~w. for the moment, the subject of tone, however, it will be interesting to note the words of one of the most advanced so-called impressionistic photographers of the day, Mr. George Davison. He himself has given utterance to these startlingly true words : "It is worth while noting that some of the simplest facts of light are overlooked by photographers who have been governed by the untrue and misleading conventions and dogmas concerning gradation and brilliancy. For instance, the necessity for points of the deepest black is insisted on, in order to give scope for as long as possible a series of steps up to the points of white, regardless of the fact that this black is generally much too black for the purpose in hand. A little experiment would show how light out door shadows should be as a rule. For instance, the darkest shadow out-of-doors seen at a little distance, is lighter than the shadow side of a white curtain in a room. Consequently it is of first rate importance in landscape pictures to keep the shadows light. To repeat the impression of out-door light the wliole picture must be lllminous and not heavy or dark." For my own part I will not say that here and there a little reservation might not be made as to these remarks. Mr. Davison admits to being influenced by a certain Mr. Francis Bate of the New English Art Club. That gentleman overlooks the fact, and Mr. Davison is inclined to. overlook it with him, that the perfect representation of natural light, especially sunlight, being obviously an impossibility, it becomes necessary in art to compromise, and to take nature in a key low enough to admit of something like true relations in

CAMERA AND DARK-ROOM hesitate of course. So far as I know, it has not been proved, and hence the supporters of the method are still in the minority. Let us ask ourselves whether this diffusion of focus improves what photographers call "drawing." \Vho has the temerity to say that it does? Does it improve the modelling? No more than the "drawing"! Does it facilitate the representation of textures? Scarcely. Does it secure tonal values? The very reverse can be proved. Does it produce breadth? Yes, of that sort that it is better to be without ! Clear definition, on the other hand, may be shown to be necessary to the perfect portrayal of delineation, modelling, textures, and tones. It may further be demonstrated not to stand in the way of breadth, whilst it certainly is an added tt:uth. It is claimed that diffusion of focus renders a scene more as the human eye beholds it, but it is difficult to follow and endorse the arguments of those who advance that claim. Much easier is it to demonstrate that the human eye in a healthy condition never saw a scene blurred all over. Should I be thought too presumptuous if I directly combatted the favorite theory that the eye only sees one spot sharply and all the rest blurred? I grant that one spot is seen distinctly, but I submit that the vision flits so rapidly and adjusts itself so instantaneously that all parts of a scene are, to the eye, definitely viewed. Moreover there is scarcely any need of what is known as "accommodaDIFFUSION OF FOCUS. tion" in viewing things beyond the distance There is another question which is of say so feet and right away to the always fruitful of discussion. There is horizon. Take, for example, a line of scarce need to name it. I refer to defini- elms in winter time that stand against the tion and diffusion of focus. To myself I sky at the farthest distance. A diffused put the case shortly thus: given every other focus will melt their forms away to nothparticular and circumstances good and pering, but the eye will retain them perfectly. They are soft, of course, but sharp, fect; which photograph should I prefer, one with keen definition or one with wide nevertheless. It is the greatest blunder to diffusion? I should not hesitate to choose suppose that an object may not be soft and yet have sharp edges. Distance affects the former. Perhaps you will say that I It has practically tone only and solely. seek "a poor choice in rotten apples," and that the wise selection lies midway between no effect whatever on sharpness. A notice board may be unreadable at a certain disthe extremes. This may be granted, but tance, but what renders it so? Are the it avoids the point. If it could be proved instead of merely letters blurred? Certainly not. Lift the claimed that wide diffusion is productive veil of atmosphere, as can be done by placing the board in a climate of clear air, and of more artistic results, no one would

chiaroscuro even using our whitest paper as . the brightest spot in the picture. This necessarily places the shadows rather low in the scale. Nevertheless Mr. Davison's words are, as I have already said, remarkably true. They were spoken more than four years ago. Have they borne fruit? Not a whit! Truly photographers are a stiff-necked generation! We see plenty of sunlight pictures veritably as black as ink, wherein the evidences of actual sunshine exists nowhere but in suncast shadows which are blacker than ink, unless perchance the print is made in Indian red or emerald green. I do not deny that there are dangers in an opposite direction. There is such a thing as the "washed-out" print which is perhaps the outcome of the principles advocated by Mr. Francis Bate, to whom Mr. Davison has expressed his own indebtedness. It must be nearly twenty years since I read the little pamphlet in question, but I remember enough to know that it advocates light shadows everywhere, so that the whole picture may be suggestive of light. A picture so executed would, in itself, undoubtedly be fuller of light paint than one painted with plenty of shadows in their true relations, giving a truer sensation of actual daylight. And a peasant who confronted it might find himself somewhat dazzled, as he is when the sun shines in his eyes across the fields. But this effect upon the spectator is, I hold, an illusion, a trick. It is magnificent; but it is not art.

CAMERA AND DARK-ROOM there are the letters, legible enough. When photographers learn the difference between veiling and blurring, we may have fewer fuzzygraphs. I am prepared to go a step further and maintain that although the eye only dwells definitely upon one small SJOt, all that it sees, more and more indistinctly around that spot, is not indistinct because it is blurred, but because it is ~ainter throughout. The retina is sensitive everywhere, though mostly so at one point. Correspondingly we see brightly at one point and more faintly over the rest of the field of vision. Diffusion is another means of escape for truth of tone. The less definition, the greater the falsity of tone values. A picture thrown upon a lantern screen and turned more and more out of focus, will show the tones going more and more out of key until the whole is a general grey mass. Our enlargements almost always suffer in tonality upon this principle. What saving grace remains then of this so-called artistic method of photography? For my part I think it nothing more than a fashion, set going in the first place by some well-meaning individuals who thought to save pictorial photography from the stigma of hardness and harshness that had brought the early albumenised proofs into disfavor. At this day, however, there is no fear of such a stigma. The complaint of black trees, hard shadows, and white skies has passed away. Why should the drastic remedy for them remain. If we are well, spare us the nasty medicine ! BREADTH IS NOT ABSENCE OF DETAIL.

A less scientific consideration of this point lies in the question of breadth of effect being the enemy of detail. There are sufficient photographs about to say nothing of painted pictures which show this dogma to have been long since exploded. Indeed it should never have been inflated, for breadth cannot be correctly defined as absence of detail. It is to be feared that fashion is too strong a factor in the photographic world, wherein imitation seems to be the sincerest form not of flattery, but of enviousness. The need of taste becomes more urgent than ever; whilst the supply of that need

appears to be weaker than ever. Individuality of taste bids fair to be swamped in a blind following of fashion, whilst fashion in turn has a tendency to become more and more independent of taste. This is the deplorable fact in modem pictorial photography. THE DELUSIONS OF THE FADDISTS.

There is no harm in the natural evolution of styles which flow in one direction for a period and then tum into fresh channels. But it is without doubt lamentable to the last degree that an art, or a craft (what you will), proving itself daily to be the deepest and widest influence in pictorial affairs that ever surged over mankind-an influence so insidious, so irresistible, that it has even undermined the most cherished traditions of art-it is lamentable that so powerful an influence should not exist with less downright and wanton opposition to the most obvious truths of nature, and, in the matter of arrangement and design, less disregard of those logical and rational progressions of thought that are common to all sensible people of whatever race and age. The worst form of fashion is that which does not pass or change, but which crystallizes into a convention ; and photography is threatened today with worse conventions than any of the older ones of artistic origin. Fashions that are more upheld by individual vanity than changed by individual taste are disastrous indeed. Under their potency the evolution of photography is pushed and pulled by activities that have more of moral delinquency than artistic single-heartedness. Although there are many men of wellformed taste to stem the tide, they are yet too few. The masses gladly follow this tide because to their understanding no wiser course is apparent. They are imitative and therefore lack even the individualism of the leaders whom they think it politic to follow. Thus it comes about that the workers of second rank who fill our exhibitions and magazines, display a deal of manner to a modicum of matter, preferring to be fashionable at second hand to being at any rate freshly natural. Sad as all this, it is remarkable that there seldom appears any protest against

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CAMERA AND DARK-ROOM the senseless and uninteresting prints that are made and popularized in the name of photography and art. Critical acumen is at a low ebb, and so "anything will do." It does the better too if folks cannot understand it. The reason for this unconventionally plain manner of speech on my part is this : I am convinced of the possible beauties of pictorial photography and am deeply interested in it. My own little collection of photographs, taken by some of my friends, are as choice a set of pictures as any artist need wish to see. In face of these facts it is painful to meet with 50 much that is of a lower standard coming from hands that should do better. Had I not known what beautiful work is possible within the bounds of good taste, I should perh.aps have declined the much esteemed invitation to speak to you to-night. It seemed to me, however, an opportunity to place on record a protest against the trend of that indiscriminate admiration which seems to be growing for works that are distinctly not clever, and not in good taste. The panegyrics that appear in the press directed to the work of this or that person, who has succeeded by hook or by crook in being original, has become nauseating. This and other practices put a premium on certain kinds of work and decoy the unwary to follow the same path. Sooner or later it will, be found that it is a path that can only lead pictorial photography into the contempt of the greater world. It would have done so long since but for a few dozen that recognize the claims of good taste. The newly Affiliated Societies all over

the country should induce the belief in their members that correct exposure, even on a shiny silver-print is more artistic in every aspect of the case, than the scored sack-clothed expanses of meaningless pigment that parade as art. The roughness of a paper cannot possibly have anything to do with the real intrinsic art of a subject. It has much less to do with it than even the framing and mounting. To set great store by the mere grain of a paper, and to count on its enhancing the artistic claims of a picture, is nothing short of ridiculous. If the picture is good it will look well on glass or ivory. If it is bad, on the other hand, it would probably look less bad printed on some surface having the texture of a well-decayed stone wall. The texture of the mere support is purely a matter of scale. We do not find miniatures on coarse canvas, and we should not look for frescoes on polished ivory. The plea that a strong texture break! up detail is a confession of weakness. Detail properly rendered is not in want of breaking up. More often the real advantage if any is that much roughness breaks up an under-exposed tract of smudge that would be unbearable in a smooth platinum paper. In conclusion, I must beg you not to think that my remarks are intended to be sweeping. The delinquencies I have referred to are, I admit, often exceptional cases in a series of work from one author, but their occurrence none the less-perhaps the mme-gauges our ideas of his taste. Good taste is what I urge as the salt of good photography.

A PLEA FOR "CAMERA HUNTING." The true sportsman goes hunting not because he loves to kill, nor (ordinarily) because he lusts after the fleshpots. Interest in the observing of wild life enters also as a factor, together with the satisfaction of matching wit against wit in the chase as a game of skill. Why, then, need one employ shotgun or rifle as the implement when there is another which, to say the least, ful-

fills all these requirements and has other advantages besides,-the camera? I wish, at the outset, to enter the claim that I write as a sportsman, not as a fanatic, in honestly advocating the substitution of the camera for the gun in the greatest possible measure. Not being a vegetarian in practice, nor an ultra-sentimentalist, I am aiding and abetting the killing of do-

CAMERA AND DARK-ROOM mestic animals for food through my account at the meat market. Hence I cannot consistently claim that it is a sin in itself to take the life of a wild animal for what may be considered a really useful purpose. As a student of ornithology, I own a gun, and occasionally-though sddom of lateuse it for the obtaining of some bit of scientific information. In time past I have hunted with it considerably, and believe that my friends consider me quite a good shot, so that it is not a case of "sour grapes." Thoroughly conversant with both gun and camera, I deliberately choose and prefer the camera for genuine sport and the greater enjoyment. I do not deny that I am in part influenced by what any thoughtful person tends more and more to feel as the years go by, a growing distaste for the shedding of blood and destroying life. As in my own case, there are thousands who love the excitement of the chase, and yet cannot help feel the pang of sympathy for the conquered victim, so beautiful and so worthy to live,-unless it be one of the noxious "varmints" on which we are compelled to wage war. Another element entering into the problem is the economic one of the decrease of game and of wild life. This is an age of nerve strain, and more and more people

need the sport of the field in order to keep well and to live. Population increases by leaps and bounds. We need the interest and beauty of wild life to entice us afield, but if any considerable proportion of us wish to shoot, even in moderation, soon there will not be any wild game left upon our continent. Agriculture, our basal industry, becomes menaced by the spread of insect pests in proportion as the balance of nature is overthrown. People are awaking to these facts, and every year sees many additions to the game laws, further restricting the hunter and protecting the game. We may soon be driven to the step, which has been taken in some quarters abroad, of imposing a license fee upon every owner of a firearm. As there, shooting will tend to become the sport only of the rich. Yet why need matters take such a course? Why should we wish further to .reduce the numbers of the rapidly dwindling wild life, which adds so much of beauty and interest to our national domain, when we can have just as much sport, exercise, excitement, exhilaration, in matching our wits with those of the wild children of Nature, and that without shedding a drop of blood or diminishing even by one the population of the wilds ?-From "Bird-Hunting with the Camera," by Herbert K. Job, in the Americtna Monthly Review qf Reviews for April.

RULES AND CONDITIONS OF THE SECOND AMERICAN SALON. As a guide to those who have not exhibited at previous Salons (to save them expense and delay, and also to avoid the impossible task of properly and carefully judging ten thous;md entries in New York), it is requested that their entries be submitted to the local jury for their district, as per list below, who will forward all approved work, in one carefully packed shipment, to the National Jury at New York City. Work retur11ed by the local jury may be sent to the National Jury by the exhibitor himself, if he so elects, a11d u•ill receit·e full consideration.

American entries must be framed. For Pennsylvania-to R. ]. Hillier, 1811 North Broad St., Philadelphia, Pa. For Washington, Delaware, Maryland and all South Atlantic States-to Charles E. Fairman, Capital Camera Club, Washington, D. C. For Vermont, New Hampshire, Rhode Island and Massachusetts-to Wendell G. Corthell, Boston Camera Club, SO Bromfield St., Boston, Mass. For Ohio--to E. G. Fountam, Cleveland Camera Club, Cleveland, Ohio. For Canada-to J. P. Hodgins, Toronto Camera Club, Forum Building, Toronto, Canada.

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For Maine-to S. S. Skolfield, Portland cordially invited to affiliate with the AmeriCamera Oub. can Federation of Photographic Societies, For Illinois, Indiana, Michigan, Wiscon- f~r the interchange of club privileges; insin, Iowa, Kentucky路 and Southern States- terchange of work, including slides ; and to to Robert E. Weeks, Chicago Camera Club, ;~id in the EncOuragement of Photographic Chicago, Ill. 路 Art. For Minnesota-to Louis Fleckenstein, CONDITIONS. Faribault, Minnesota. I. Only work which gives distinct eviFor Kansas and Colorado-to Thomas dence of artistic feeling will be accepted. A. Morgan, Denver Photographic Society. 2. There will be no invited work, and all For California-to Fayette J. Clute, care prints forwarded will be examined by the Camera Craft, San Francisco, Cal. Preliminary Jury, who will submit about For Washington State and Oregon-to 1000 frames to the Final Jury of Painters. J. No work entered at the First AmeriWill H. Walker, Tull & Gibbs, Portland, can Salon, or which has been exhibited in Ore. this country prior to November 1st, 1904. For New York, New Jersey and all will be eligible,-as it is desired that the districts not mentioned above-to Metro- Annual American Salon shall represent the politan Camera Club, J02 West JOISt St, work of the current year. 4- The work of the Preliminary Jury will New York City. The work of those who have exhibited be to select all pictures that give evidence of sentiment and individuality, regardless at previous important Salons need not be of style and school; these to be submitted submitted to the district juries, but should to the Final Jury. be sent to the nearest Federation Camera 5. Each person intending to contribute is requested to notify the Secretary-Wm. Oub and included with their shipment. Any exhibitor may send direct to the T. Knox, 279 Washington Street, New York City-a month or more in advance National Jury, care Metropolitan Camera of the. closing date, but failure to do so Club, J02 West JOist St.. New York City. will not prevent acceptance of work. 6. Entries must be suitably framed or FOREIGN ENTRIES glazed, and the title, name, and address of To be sent mounted or unmounted, but sender plainly written on the back of eachexcepting in the case of foreign contribunot framed. tors. All entries from Great Britain should be 7. Pictures from other countries to be sent, to arrive by Sept. 20, 1905, to H. forwarded without glass or frame, but Snowden Ward, 6 Farringdon Avenue, should be suitably mounted. Accepted London, E. C., England, marked "For work from abroad will be carefully framed at the expense of the management. Foreign Second American Photographic Salon." work should be sent by mail wherever posBy including all British work in one sible. shipment the exorbitant charges at this 8. Every contributor must pay the expense of forwarding to and from the Exend will be minimized. All entries from Italy, toAifredo Ornano. hibition. g. Pictures will be' returned as soon as 21 Via Caffaro, Genoa, Italy, to arnve in practicable after the close of the Exhibition, his hands by Sept. 20, 1905. and in the same manner as sent to it, unless All entries from Norway, Sweden and there be instructions to the contrary. Denmark, to Copenhagen (Denmark) IO. The Jury will not know the names of Camera Club, before Sept. 20, 1905, marked contributors until after the selections have been made. "For the Second American Salon." II. All entries must be delivered at the All entries from Australia may be sent to A. Hill Griffiths, 66 King Street, Sydney, rooms of The Metropolitan Camera Club of New York. 100-102 \Vest JOist Street, N. S. \V., and should arrive in his hands New York City, U. S. A., 011 or before Nov. by August 20, 1905. Ist, 1905, and packages should be marked Entries from all other countries should "For the Photographic Salon." 12. A list of the titles must be sent sepabe forwarded direct to Metrollolitan Camera Club, 102 West JOISt Street, New York rately by mail, giving name and address of sender. price of each if for sale, and special City, U. S. A., marked "For the American instructions if any. Salon"-and BY }fAIL, wherever possible. l.l. All work will be insured against loss Foreign Photographic Organi7ations are hy fire.

CAMERA AND DARK-ROOM 14. A commission of fifteen per cent. will be charged upon each sale, but not up9n the purchases for the Prize Funds. 15. A catalogue will be forwarded to each exhibitor. 16. Wherever foreign postal laws forbid photographs bearing the name and address of sender (if any do) the ~hotographs should be numbered, and the titles (opposite corresponding number) mailed separately to Wm. T. Knox Secretary, 279 Washington Street, New York City, U.S. A. THE

NATIONAL J•RELIMINARY JURY,

who will select about one thousand frames to be acted upon by the Final ] ury: Rudolf Eickemeyer, Jr., Chairman; Walter Marshall Clute, Louis Albert Lamb, Adolph Petzold, Zaida Ben Yusuf, Helen P. Gatch, Pirie MacDonald, R. L. Sleeth, Jr., Fedora E. D. Brown, J. P. Hodgins, Thos. A. Morgan, Dr. W. J . Furness, Edgar Felloes, Oscar Maurer, Prof. A. G. Marshall, R J. Hillier, W. and G. Parrish, Carl Rau, Geo. T. Power, Louis Fleckenstein, Wm. H. Zerbe, Jr .• F. Dundas Todd, Wen dell G. Corthell, Curtis Bell. THE FINAL JURY. John La Farge, A. N. A., Chairman; Kenyon Cox, N. A.; Wm. M. Chase, N. A. ; Frederick W. Kost, A. N. A.; Robert Henri, S. A. A.; W m. A. Coffin, A. N. A. ; Alphonse Jongers; Will H. Low, N. A.; I. A. Joseph; John W. Alexander, N. A.; Irving R Wiles, N. A.; Walter Clark, A. N. A.; Francis C. Jones, N. A.; Ben Foster, A. N. A.; Childe Hassam, A. N. A. ; Dwight W. Tryon, N. A.; Geo. R. Barse, Jr., N. A. ; Douglas Yolk, N. A.; Henry Prellwitz, A. N. A. · As a recognition of the intrinsic value and artistic merit of photographic pictures the following Purchase Funds have been established-selections to be made by the Final Jury of Painters: The American Federation of Photographic societies offers ONE HUNDRED DOLLARS

for the best picture exhibited, without restriction as to subject. The Country Calendar ( 13 Astor Place, New York), the new magazine of outdoor interests, has established a Purchase Fund of FIFTY DOLLARS

for the best study of a rural, outdoor subject accepted by the jury.

Just as we go to press we learn with profound regret of the death of Mr. John Carbutt, at his home in Philadelphia on July 28. Mr. Carbutt was a pioneer in the plate-making industry of this country, an indefatigable worker and experimenter, ever ready to impart information or to give more 'substantial help to those who were in difficulties. His name and the fame of his products reached around the world and his demise will be universally mourned. He had attained the age of seventy-three years, and for some time the plate factory which bears his name has been under the management of his sons.

• • *

Next month we will publish the prizewinning pictures and the list of the prizewinners in the recent competition. The first circulating album has be-en started on its route in the order in which the entries came in. The circulating portfolio is always open and new subscribers to the album will be put on the list in the order received. Particulars will be found in our May and June numbers.

• • • THE CENTURY CAMERA Co., Rochester, N. Y., has purchased the Rochester Panoramic Camera Co., manufacturers of the Cirkut camera. The plant of the latter concern has been removed to the Century Factory, where the Cirkut camera will hereafter be made. It is announced that a 5 x 7 Cirkut will soon be placed on the market, which will naturally help to increase the interest in and still further popularize the taking of Panoramic pictures. The Cirkut camera stands alone in its field of work. It uses films of various widths and is capable of making photographs of any length, including the full circle of 36o degrees. To the man who is fortunate enough to own a Cirkut camera a new field in photography will be opened, and he will be able to produce results never before dreamed of. Descriptive catalogue will be mailed upon

CA.\IERA ASD DARK-ROOM request by addressing the Century Camera Co.

* * * J. H . Dallmeyer, Limited, of London. England, makers of th e famous "Dallmeyer Lenses," heretofore represented in this market by Anthony & Scoville, have entered the American market direct, and have engaged the services of Mr. F. G. Burgess, late of The Rotograph Co. and prior to that the traveling salesman o f C. P. Goerz. Mr. Burgess is one of the best posted lens men in the United States, and we are pleased to know of his engagement by the Dallmeyer people. It is, we believe, the intention of the company to open offices in New York City somewhat later, as for the present 1\Ir. Burgess intends to travel throughout th e United States and Canada. In the meantime, however, he may be communicated with care of Post Office Box No. 189r. New York City.

Pot.," "Sulp. Soda," "Alum," "Pyro," etc., while the drinks we re made in several colo rs and contained in bottles marked "Sulphuric Acid," "Wood Alcohol" and "Hypo." This was se rved in two-ounce graduates with cakes on rubber trays and ti ss ue doilie·s. The great ''dark-room"-always mysterious to the uninitiated-provoked many cu ri ous comments becau se of the grinning faces painted on the ruby lamps. In the Assembly Hall on the evening of the 30th an entertainment consisting of vocal and in strumental music, stereopticon exhibition of ove r one hundred and fifty views and portraits made and colored by the students, and concluded with a farce, "Studio Troubles," in six acts, by a student cast and voted by the full house a howling succe·ss. So well kn own and popu lar has this western instituti on become that enrollment applications for the fall term, which will open on the 4th of September, began com-

California College of Photography. The closi ng of a successfu l year at the California College of Palo Alto, California. was marked by the first graduation exercises eve r held by an institution of thi s kind. The college building was decorated with orange and green-the college colorswhile in the recep tion rooms and halls were displayed over two hundred . fine examples of modern photography. Various subjects were treated, showing portraits in goodly variety of pose, lighting and exp ression; of groups and single figures; flowers, trees and plants; interior and exterior views; landscapes. marines, etc. These were printed in artisto, platinum and carbonall being mounted in quiet, esthetic tones and style's app rop riate to the subject. As the exhibit had been well advertised-over fifteen hundred invitations having been sent out-the attendance was excellent· and all were' lavish in praise of the general work which had been decorated with "skull and of the students represented. Really the progress made by this class in nine month s has been truly remarkable. The refreshments we re· the cause of much merriment, being served in the labo rat ory, crossbones." red lights, etc. Delicious cakes were found in tin can s labe·led "Ca rb.

PORTRAIT Miss E. WestaU. California College of Photography

CAMERA AND DARK-ROOM ing in over two months ago. This next year promises to be one of e'xceptional value to all who gain admittance. Readers of this magazine will find the advertisement of the college on another page, and the editor would suggest that you send for a copy of the Photographic Student, which is issued monthly by the college, and al so obtain their catalogue. They contain information which every person desiring to advance in the photographic art should know. vVe rep roduce two portraits (one a flashlight), by Miss Elizabeth Westall, a graduate of 1905, which are good example"s of the proficiency attained by the student s at this college.

}AMES A. YouNG.-"The Shoemaker" is an attempt at a genre study that falls far short of being a success. The most glaring defect is in the numberless equally strong high lights all scatte-red over the picture. They are confusing and persist in carrying the eye away fro~1 the principal point of interest. Although this mass of obtrusive detail is in the negative it is possible by local reduction of tbe,...11egative and masking and sunning of th e- · print to so subdue the effect that the picture would be greatly improved. But in this case the troubl e would not be well spent, save the lesson it would teach in the execution, as the pose of th e subject is too premeditated and th e lighting harsh. Although this may be a good photograph of th e cobbler and his su rroundings, it does not appea l to us as a pict ure. If the model is willing you should try aga in and place him so th at the background and accessorie·s strengthens instead of weakens the composition.

R. A. BucHANAN, Hawaii.-"A Frisco F og'' is decidedly picto rial. both in select ion and tre·a tment. Vve of th e E ast who only associate fogs with east wind s have the idea gene rall y th at the P acific Coast is fr ee from

such gloomy visitations. The other print. ''A Captive Monarch," is also all that could be desired, and if you procured a Kodak Enlarger, which enlarges up to 6¥.! x 8¥.!, you need not worry that you do not possess a larger camera. The one you possess gives you good negatives, and any specially good subject could be easily enlarged. We look forward to seeing some intere·sting pictures from you and quite agree with you that the islands of the Pacific furnish plenty of opportunities. A. M. ScHOFIELD, Toronto.-"Sighing for the Ice Fields." An excellent result for so short an experience. A little longer exposure would have' improved it, but as the subject was a restless one, longer exposure would no doubt have resulted in a blur; opening up the diaphragm of the lens would, however, have given the plate the' needed illumination, and when you can focus so well as this shows you need not be afraid of using a larger opening. }OHN ROESCHLAU.-Thanks for the kind words; why not speak them to your friends, and it would no doubt bring us new subscribers. That you read with profit and

THE SHOEMAKEK

Jns. A. Yo ung

FLASHLIGHT PORTRAIT

Miss E . Westall

Class 'os, California College of Photography

270

CAMERA AND D ARK-ROOM

put in practice what you read is shown in your wor~'- '"Ri ve·rside" is such a perfect print from a techical poi nt of vie w that we can o ffer no suggestion for its betterment. It is a tech nically perfect photograph of some tree trunks, but th e subject is of no particular interest. Technique is. of course. the first step to be mastered in photography; then comes th e ha rder task o f selection or studying what is th e mos t picturesque point of view. A bit of nature from any point o f view will make a picture--of a sort; but th e same subject from another point of view and . with different treatment might yield a . picture o f the highest success. Instead of wasting plates o r tru st ing to the finder in the search for pictures, photographers in sea rch of th e picturesque should adopt the meth od of th e painter and carry a small fram e of ca rdboa rd o r any opaque material with an oblong hole in th e centre. This cuts off the extraneous pa rt s o f the view, and by moving the frame one can select just what they would like to show in the picture. This met hod is not only a plate-saver but an ed ucato r, as it trains the eye to look fo r the picturesque. Your oth er print, "A Summer Landsca pe." is mo re satisfactory from an a rti sti c standpoi nt. A

SIGHING FOR THE IC E FIELDS

littl e longe r exposure and sho rter developmeHt would hav e been better, as the overda rk shadows are hardly in keeping with th e titl e and subject.

]. H . BENNETT.-The remarks as to selection given to J ohn Roeschl au, above, also appli es in your case. A lso whatever we hav e said regarding the und er-e xpos ure of summer landscape·s. The print ma rked "Landscape No. 1" is but a mass o f black and white patch es-the exposure being far too short or a needlessly small diaphragm havin g been used. Then, in striving to get detail by development, the high lights are clogged up while th e negati ve in the shadow· portions is still bare glass. "Landscape No. 2" is better and would pass in most cases as a good commercial print, but in this also th e contra sts a re too strong. We admit that the subject is one of the hard est yo11 could tackle- deep green foliage in the foreg round and trees, flowers and a house in th e di stance, photographed about mid-day with a bright sun. To obtain anything like co rrect values such a subj ect de)nands the use of an o rth ochromatic plate and color screen ; it also req uires a very fu ll exposure, and th e developer should be a fresh solution and well diluted to give a chance fo r the

A M. ·scbofi•ld

A SUMMER LANDSCAPE

A HOT SUNDAY

John Roeschlau

] . H. Bennett

CAMERA AND DARK-ROOM prints are really artistic, although an added improvement in some of them would have been a printed in or toned down sky. ]. H . BENNETT.-"Portrait." A charming portrait is here spoiled by the use or misuse of a proper background. In the first place the background is too close to the sitter ; secondly. the tone is too nearly alike that of the face, and the fold s or lines in the ground are disturbing, the dark shadows running down from the chin looks as if it was something used to prop up the head. Apart from the background, it is an excellent portrait. "Flags o f all Nations" needs a longer exposure to get the values. The backg round in thi s case was al so too close. In flowe r studies a far better effect is. generally obtained by photographing a sing le stem with its leaves and blossoms, rath er than by th e most laboriously arranged bouqu et. PORTRAIT

J H. Benne:t

detail in th e shad ows to appear before th e high-lights are too dense. "Interior'' also suffers fr om under-exposure, as well a s from halation. "A H ot Sunday" is bett er. but al so sho ws over-de·n sity in the negative. Local redu ction p f the sky and the white space supposed to represent water in th e f oreground is suggested as improvement, o r a mas k o f tw o or more thi ckn esses o f ti ssue paper could be used in th e printing ; o ne thickn ess over all , to whi ch is fas tened a piece cut to th e shape o f th e view and an extra thickness o\·e·r th e dee pest shado ws.

J oHN H AGt:E.- " P o rtraits'' all very good. con sidering that you have only been " taking pictures about a year.'' The portrait of the boy is bes t and th e deta il s show th at it was taken in !\-larch, on a bright day in a room with a large north window, plate Seed 26x, expos ure· I second with stop r6, py ro de,·eloper. The lens was an o rdinary R. R

F. T. li L:N Tl JiiGTON.-'·Our Boy." D eponent saycth not wh eth er thi s is a studi o or open ai r o r indoo r home po rtrait. Be th at as it may, it is a specim en of excellent work and no doubt a good likene,;s. The expression is excell ent. th e pose is good. and we c:H~ n o t sug-ges t an y improve ment unl ess it may be said th at th e print and no doubt th e nega ti ve is a littl e too contras ting. llu t this defect. if defec t it is, in th is instance see ms to g ive life and snap to th e p ictu re. (St·e F r01ai spiece.)

H EKRY \ V. J oxEs. fro m t he ''Land o f th e Mi dnigh t S un .'' send s a nu mbe r of prints that show gr.od ph otogra phy is possih lc even in th e f ro zcn l'\ ort h. Soml' o f th e

FLAGS OF ALL NATIONS

]. H Bennett

CAMERA AND DARK-ROOM

AMONG THE SYCAMORES

with portrait attachment. No improvement is suggested in the boy's portrait other than that it would have been better if you had used the next larger stop, which is equivalent to a longer exposure. The contrasts are rather severe, but not nearly so much as in the other two. Here the need of a longer exposure is seen in the chalkiness of the whites and shadows without any detail. Pyro is an excellent developer for portrait work, but requires to be well diluted. A grain and a half of pyro to the ounce of developer is enough to start with, and when the detail is out, contrast can be obtained by a short application of the full strl!ngth

PORTRAITS

273

Jos. H. Hartman

solution. We cannot tell you if they are good likenesses, but the portrait of the eldest girl e路specially looks flat, a defect of trying to obtain a large image with a lens of short focu s. The two bows at the left of the head are also too prominent. Pardon the delay. Your letter had accidentally been covered by a lot of othe路r papers.

J os. H. HARTMAN.- "Among the Sycamores" is a well selected bit of landscape and shows good taste in composition as well as skill in execution. Printed in platinum or on one of th e developing papers, the effect would have been still better. The negative appears to have been over-de路

j ohn H ag ue

274

CAMERA AND DARK-ROOM

'VC'loped as seen by the too white sky and 路water ; local reduction of the white patches :in the water would be an improve ment. The solitary figure leaning against th e tree is rath er too close to the margin of the picture and would have bee路n better if seated on the far end of the log whi ch lies at the wat er's. edge in front of him, and in the attitude of fishing. W. P. L., Los Angeles.-A reckless snap shot such as that o f 'The Mi lkman" is not amenabl e to criticism, furth er than to say that it contains almos t eve ry imagin able fault and no point of merit. Learn to give correct expos ure and study the work of others to train your mind as to what are good subjects and what point of view will be the most picturesqu e. Be se ri ous.

EoM. PH ANEY.-P leasc give me the proportions to mak e up five ounces of fixing bath imd also fiv e oun ces of pyro developer, with out having to make up a stock solution. The generally accepted proportion o f a fixing bath for plates is one to four, thu s I 1ft ounces o f hypo should be add ed to the five ounces o f wate r. Pyro-ammonia is th e most easil y prepared developer for immediate usc. In five ounces of water di ssolve from 10 to 15 g rain s o f pyro and from 3 to 5 grai ns of bromide (the smaller quantitY, gives softer nega tives and th.c larger contrast and density) ; to nin e oun ces of wate路r ~dd one ounce o f ammoni a (.88o). Add about a half drachm o f th e ammonia soluti on to the developer and flow over the plate; if th e image does not come up gradually pour the developer back into the graduate and add another half drachm of the ammoni a solution. By add ing more or less th ere is perfect control of development. A pyro-soda developer may be made up by di ssolving in five oun ces of wate r. 6o g rains sulphit e of soda, so grain s carbona te of soda. 5 g ra in s potassium bromide: when th ese a re dissolved add 10 g rains pyro and

flow ove r the plate. If contra sty a re desired use fifteen g rains of double' the amount of bromide. negatives 7 to 8 grains o f pyro bromid e in proporti on.

negatives pyro and For soft and less

Eow. HEALY, Saratoga, N. Y., desires to lea rn o f a fo rmula that will give him satisfacti on on quick expos ures with a focal plane shutter. The following has been recommended: No. I. Pyroga llic acid .... ... .. .... . . . 55 gr. Metol . .. ...... ... . . . .. . ..... . 45 gr. Metabisulphite of potash ...... . 120 gr. Bromide of potassium .. .. .. . . . 20 gr. Water (boiled or di stilled) .... . 20 oz. No.2. Carbonate o f soda (crystals) . . . 4 oz. Water (boi led or di still ed).... 20 oz. For use take equal parts of Nos. I and 2. Thi s will be found an excellent developer for all fa st plates. It combines the rapid wo rkin g and detail-giving qualities of metol with the density-giving powe rs o f pyro. The color of the deposit is very non-actinic so that devel opment does not have to be forced and a very thin image will be found to yield a good print. The formula as given above is excell ent fo r a ll around work. but if the negatives a re found to be too contrasty, as in the case of brief exposures, it can be -diluted, and we prefer to make it up with half the quantity of bromide or without any bromide at all in th e case of very short exposures and add the bromide as required from a 10 per cent. solution. Diluting will a lso bring out more detail without making the high lights too dense; it also makes the developer act more slowly, thus, if e路q ual qu antity o f water is added to the mix ed developer. development would require double the usual time, and half as mu ch water would require half as long again as the normal solution. It is not advisable to make up large quantities of this developt>r as it works best whe11 fre sh and does not keep for any great length of time unl ess the water is di stilled or boiled. Where a la rger quantity than the above can be used in a reasonable time, however, multipl ying each of th e above proportions hy fou r will be found very convenient weights.

ONE DOLLAR THE YEAR TEN CENTS THE COPY

Volume Vill.

New "'(ork, September, J905. Edited by

361 Broadway

J. P.

No.9

CBALKEas.

Publiabed on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (T elepbone 853 Franklin)

New York City

Entered at the New York Post Office u second clus mail matter. SubKription price, One dollar per year in advance. Foreign aubKription price ssh. $1.25) .Pos1tively not connected with an1 photocrapbic stock bouse. Matter should reach office by the r sth of month preceding date of publication. Original MSS. solicited

WHAT PAPER SHALL I USE ? BY C. H. CLAUDY.

OME amateurs answer that self-question by saying "The easiest to work." But sup路 posing for the sake of argument that it can be decided which .raper is the simplest in operation, such a course is bound to be inimical to the production of the best possible print from any given negative. Different papers give different results, and some of these results are more pleasing than others. Briefly, the commoner papers a"n d their characteristics are as follows : , Printing-out papers, mostly silver, glossy papers, of which solio, emera, kresko and albuma are the commoner examples. These papers print out fully in sunlight and should be carried deeper in printing than wanted in the finished print, as toning and fixing make them lose depth of color. Their characteristics are softness, great detail retaining power, and smooth, glossy finish, heightened by

s~ueegeeing on ferrotype boards or burnishing. Priuting-in pa-pers, or developing papers, which print by artificial light or daylight and which show no image except upon development, and which are treated like a plate in the baths used and washing required. Their principle kinds are velox, rotox, cyko, etc. They are usually inade in two different speeds for hard and soft prints, and in a great variety of surface~ Properly treated, they yield rich black and white prints路, bnt may be toned to other colors. As a general rule they do not give as great a range of tone values from a thick negative as will printing-out paper, but fi路cim thin negatives, useless with other papers, they will yield surprisingly good prints. (The proper kind of negative for each paper will be taken up a little later.) Semi-printing-out papers, such as platinum, aristo and Eastman sepia.

CAMERA AND DARK-ROOM

Platinum is distinguished among all other papers for the softness of the print it yields, its capacity for getting tonal .detail from heavy negatives and its unquestioned permanency. Aristo is a paper which has an immense following and which yields rich prints of a pleasing brown color and semi-smooth surface, and which fs also absolutely stable. Eastman sepia is a rough, sketchy paper yielding prints of a deep red to soft sepia brown, according to treatment, and which lends itself most readily to work requiring breadth of treatment. Finally we have carbon, not very popular on account of fancied difficulty, but which can be made in all colors and all surfaces and is as permanent as platinum ; and the homemade papers, such as plain silver paper, kallitype, etc. There are other processes, notably gum bichromate, but those mentioned are the commoner. Now these papers will all yield a print from any negative. But the negative best suited for carbon or platinum is not the best for velox, and vice versa. Carbon, platinum and solio work better with strong negatives -fairly dense high lights, and shadows with plenty of strength in the detail. A solio negative which-takes twenty minutes to print in bright sunshine gives a much better print than one which prints in two minutes. The reason is obvious-solio, and papers of its class, possess the power of holding on to the tonal detail they are given and a slow-printing negative does not smother up this tonal detail as a quick printer will. Platinum negatives would be better for long printing were it not for the fact that too much 路sun and heat degrades the im-

age. A good platinum negative should be plucky, tending towards hardness, but not harshness, with clear shadows and bright, but not over-dense high lights. Any negative which makes a good print with solio will make a good print with carbon, and the time of one is the time of the other, although carbon does not print out. The use of carbon, inasmuch as you can choose your color and the surface of paper you like best, puts a wonderful power of expression into your hands, but it is a process requiring great nicety of skill and as such, as stated, it is not very commonly used. The developing papers all need about the same class of negative for the best results-neither thin nor thick, snappy but not harsh, and with detail in the high lights plainly seeiL A negative with a small scale of tones 路will have those tones more amplified and spread out with a developing paper than any other process. An overexposed, under-developed, fiat and monotonous negative can be made to give a good set of prints from papers路 of the carbon velox type when with any other process they are hopeless. In other words, the developing papers tend towards hardness, and so .the negatives should not be hard. But if you do get a hard negative and want to use a developing paper softer than the "special emulsion" made in those papers, use bromide paperwhich is a paper coated with a similar emulsion to that used on a slow plate. It will yi~ld detail from the hardest kind of a negative if properly handled. Eastman sepia and kallitype papers need snappy negatives with good density in the high lights. These pa-

CAMERA AND DARK-ROOM

pers cut down contrast, so it is needed in the negative. It is not suited, as a rule, for work requiring detail or for work in small sizes ; but for large heads, landscapes and sometimes water scapes it is very effective and very popular; in addition it is very cheap. It is wise to learn one paper at a time, but it is also very wise indeed to learn several. The amateur who adopts one paper and never uses any other, limits the quality of his output and路 tends towards monotony in his work. I believe I have had some experience with nearly all the papers, but those I use are velox, solio, Eastman sepia and platinum, with now and then some bromide to help out of a hard place. However, the kind and number of papers you adopt will depend a great deal on the kind of work you do. If your work is purely pictorial, you will have little or no use for solio, for the powers that be have frowned on too much detail, and on gloss they look with cold and unappreciative eyes. To be sure, I did know of a case where a man squeegeed a solio print onto glass with colorless paste, and framed the glass ; and then, when he exhibited it as a carbon, every one told him how beautiful it was ; but that is another tale. There seems to be an unalterable idea in the mind of the photographic pictorialist that he must obtain "breadth" by means of loss of minute detail. Consequently gum, Eastman sepia and kallitype papers are the popular pictorialists' modes of expression, with some devotees of rough bromide. On the other hand, there have been many well-known pictures made and exhib:ited on platinum and even on velox,

which your dyed-in-the-wool fuzzygraphist scorns as being too commercial. I have in my possession a picture (one of my own) which I have shown to many experts, even including a well-known and very expert Eastman man, and no one ever guesses the process. It is a soft winter print, and was made on velox, yet is so close a simulation of platinum at its best that through glass no one knows the difference. Well, with so large a choice, advice is impossible. If you aim at pictorial effect, simply learn to use the paper you select until you can get all from it that there is in it, and use common sense about the selection of the medium as far as possible. Don't use gum, for instance, for a two by two miniature, nor smooth platinum for a fourteen by seventeen head. Don't use brown for winter scenes as a general rule, nor blue for landscape. If you want to do something so common as to be daringly original, make a set of prints of your best marines on good blue print paper and frame them in white with a narrow gold band, and tell your friends the work is carbon-then see them rave! Any paper keeps better under glass than exposed. The most unstable process there is-so the wise ones say -uranium toned bromide, will keep under glass for a long time. I have three-year samples which are as fresh and bright to-day as when they were made. But while some prints, such as platinum carefully worked, and carbon, should stand sunlight, no print should be subjected to it. Next best to framing, putting prints in an album will be found the best method of preserving them. Of .course, any print can be put away in

CAMERA AND DARK-ROOM that manner, but a gum may rub, and solios are apt to go bad anywhere, so those two are best left out of albums. I do not mean to get in trouble with the manufacturers of solio, albuma, emera, monarch, etc., by asserting that those papers are not permanent if properly worked. But as nine of ten people use a combined bath, with lead in it, and the other tenth do not fix long enough, solio and its kindred papers do not keep well. I use solio for reproductive purposes, with a single bath, but I never imagine that they will keep for any length of time, treated in that way. In fact, I know they don't, as a year usually fad_es them out pretty thoroughly. But for reproductive purposes, where it is intended that the reproduction be as good as the original, if possible, nothing equals the glossy brown print. Photo-engravers say they like the brown to work from and that the gloss destroys the grain of the paper. But I have seen some glossy velox prints which could not be surpassed by any solio, and if the negative is properly timed and developed for velox, I do not see why the glossy velox should not make as good a reproduction as any solio or similar paper. The photographic magazines, on the other hand, usually prefer a print for reproduction in the paper in which it appears best, as often part of the charm of the picture is from a rough surface and a solio print is flat by comparison. It is a good idea to send a print as you like it best, and a solio too, and let the editor take his choice. Very possibly he will send the solio for reproduction and the other print for the engraver to work by, for these engravers can do curious things in the way of strengthening or weaken-

ing a high light or shadow, either in the process of making the plate or afterward with hand tools. In preserving any print, either in a frame, on a mount, or in an album, there are certain precautions which must be taken if the best results are looked for. It will not do to put a print into an album with any kind of paste, or into any kind of an album. Some pastes contain chemicals which are harmful to prints, and some papers in albums have certain substances in them which will, in time, cause staining and degradation of the image. Use photographic paste or fish glue for putting prints in albums, and buy good photographic albums made for the purpose, and not common scrap books. In framing a picture, see that the print is backed with a piece of good photo board, and it is not a bad scheme to pij.t a blotter outside of this, to absorb and keep out any stray dampness. Whatever paper you have adopted for general use, learn well before going to something else ; but, having learned it, do not hesitate, if you have been a one-paper man, to try a new process, and try it with the pet negatives which have yielded such good results with your other paper. New and unexpected beauties will sometimes result and much pleasure be had in seeing how different the same picture can look when presented in the new way. The paper is to the negative what the inflection is to the voice -and just as the shades of the voice may make tragedy from comedy, or a joke from a death scene, so may the right process redeem from mediocrity your negative, or the wrong one make a meaningless jumble of the plate on which is a really fine piece of work.

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COLOR PHOTOGRAPHY AND DARK-ROOM ILLUMINATION.

BY C. F. TOWNSEND.

HE sensitiveness of the ordinary photographic dry plate to the different constituents of white light is entirely different to the sensitiveness of the eye .to these rays. In the latter case the greatest effect is produced b)~ ·the yellow and green rays; whilst in the photographic plate, on the other hand, it is the violet end of the spectrum which causes the greatest reduction on the plate. ·The yellow, orange and red rays have very little action upon the ordinary plate, and for this reason a red, orange or yellow light is employed in the dark room to work ' ·by. At the same time it must be remembered that the sensitiveness of the plate to the different rays is only -comparative and that what is consid-ered the safest dark room lamp wi11 fog a plate if it is exposed to the light :sufficiently long. Some years ago I made a large series of experiments upon the different materials-glass, fabrics and papers-used for giving a safe light in the dark room, and I found that, speaking generally, the best light to use was a yellow-orange. In many instances the red glass, when ·examined through the spectroscope, was found to let through a certain ·amount of violet light and not to be nearly so safe or reliable as orangeyellow. This, of course, is for the ordinary plate or bromide paper. For -the latter quite a bright canary me. dium can be used. It is most important to have a good ·light to work by when developing 'bromide prints, as the risk of an un-

safe light is small compared with the risk of wasting paper through under or over development. In developing a negative a little extra density is not a matter of much consequence, but in bromide prints it is absolutely essential that the development be stopped at exactly the right point. On the whole, I think that the gloomy dark room is the greatest possible mistake. ·Most of the dark rooms I have been in were veritable dungeons in regard to ventilation and iilumination. My own plan is to have a "safe" light well under control and use either none at all or plenty of light. It is far better to keep the room almost in darkness in the early stages of development and then to use plenty of light for a rapid examination of the plate at a reasonable distance from the light, than to have such a poor light that the plate has to be held close up against the. glass of the lamp for a considerable period before its progress can be ascertained. In developing color-sensitized or isochromatic plates, as they are usually called, no light is really safe, and I always take great care, whilst having a reasonably good light in the room for the purpose of examining the plate, to keep the dish covered with a cardboard box whilst devlopment is proceding, removing the box only for a moment to examine the plate at intervals. When photographed upon the onlinary dry plate, the colors in a landscape do not appear in their rigr.t relation. The red poppies and the yellow corn appear almost equally black,

CAMERA AND DARK-ROOM whilst the cornflower appears almost as white as the daisy. Also the clouds, the blue sky, and the distant hills usually appear as a monotonous stretch of white in the print. Similarly in photographing a picture the same difficulties present themselves. There are two ways of remedying the defects in the sensitiveness of the photographic plate. First, it has been found that by the addition to the film of certain dyes the sensitiveness, which in the ordinary way stops practically in the green, can be extended to the yellow, orange, and even to the red part of the spectrum. The addition of ammoniacal eosin extends the action of light on the plate right up to tpe yellow-green ; ammoniacal erythrosin extends the action to the green-blue, where there is a rapid falling off, but the plate is sensitive again to the yellow and orange ; ammoniacal rose Bengal gives a very similar result, but the action extends farther into the red; cyanin sensitizes the plate up to the yellow-green, misses the yellow and orange, but allows considerable action in the red. Other dyes, such as ccerulein, alizarin blue, chlorophyll, chrysanilin, are used also as sensitizers for different parts of the spectrum. All these dyes, although they render the plate sensitive to other rays than the blue and violet, do not stop the action in that part of the spectrum, which still remains very much greater than in any other part. Consequently, it is not sufficient simply to sensitize the plate for other colors than the blue and violet, but something must be done to diminish the force of the violet rays. This is effected by introducing a light filter, composed of aurantia, or some other orange or yellow

die, such as Manchester yellow, in the path of the light before it reaches the plate. The light filter may consist of a strip of dyed collodion, either stretched on a metal frame or mounted on glass, or a glass screen flashed on the surface with the requisite tint, or a cell full of colored liquid. The light filter may be placed either behind the lens or in the diaphragm slot. On the whole, the cell is the most scientific arrangement, as a standard solution of the dye can be made and used fresh every time; whereas the dyed collodion or gelatin gradually fades, and there is a good deal of uncertainty in its use. A solution of potassium bichromate forms a very good filter. Great care must be taken in the adjustment of the screen to see that the cutting out of the blue and violet rays is not overdone, or the result on the sensitzed plate will be quite as false to nature as a photograph on an ordinary untreated plate. By the use of a proper combination of dyes and the judicious employment of the yellow light filter, a plate路 may be rendered almost equally sensitive to all the rays of the spectrum. Such a plate is very useful for copying pictures or for scientific work, where accurate equivalence of color is desirable ; but for ordinary landscape work a plate sensitized for the yellow and green, as is the case with most of the isochromatic plates on the market, is quite sufficient. This plate can be developed with comparative safety in a dull ruby light, although it is advisable to expose it even to this light as little as possible. 路 For the panchromatic plate, which is sensitive right through the spectrum, the ruby light is as unsafe as any路 other. At first sight it would appear路 that such

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a plate must be developed in absolute darkness. Fortunately, however, there is a little gap in the blue-green to which the plate is not rendered sensitive, and a dark room light accurately corresponding with this gap can be used with safety. Isochromatic plates are no more trouble to-work than ordinary plates, and the results secured upon them are certainly very much better. In addi-

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tion to rendering the landscape more in conformity with nature, they frequently allow the clouds to be well represented, as well as the distant hills. In portrait work, also, they render the texture and coloring of the skin and of the hair very much better than the ordinary plate. Their only drawback is that they do not keep in good condition quite so long as the ordinary plate.

HOW TO PHOTOGRAPH FLOWERS.

J, F. ERSKINE.

OWER studies are to some a most fascinating pursuit, whilst others do not seem to care for them at all. This may be because it requires unlimited patience to get the best results, as well as no small amount of artistic taste. Given these, then flower pictures and studies can be accomplished, which are a pleasure alike to the photographer and to the critic who looks on at the work when finished. It is most difficult to get absolutely good pictures of a plant when it is growing in a garden. To get the texture and softness of the flower the exposure should be very full indeed ; for, be the day ever so still, if the flower itself remains unmoved, the background leaves are sure to be disturbed by some passing puff of air. This imparts a certain amount of "fuzziness" and a spotty effect to the background, which quite spoils the effect of .the picture. On the other hand, if the picture is taken with an exposure short enough to prevent all movement of either the plant or the background, then the re-

suit is chalky and hard. The form of the object is captured sure enough, but the delicate veining and half-tones which go to make up the roundness that forms the chief beauty of the flowers, these are conspicuous by their absence. In the endeavor to secure detail, forcing is resorted to in the development, which makes a bad job worse. A "forced" plate is always harsh. The blacks are inky black, the whites absolutely opaque. The result is a most pitiful caricature of a beautiful object. Specimen blooms of roses, carnations, shirley poppies, iris and columbine lend themselves very well to stilllife methods. Roses in a jar or vase are very hackneyed. It is far better to arrange a backing of one or other of the "nature mount" papers on a board, and attach the flowers to this by means of either pins or needlepoints. In this way great power can be exercised over the grouping. By this it is not meant that the sprays are to be tortured into unnatural positions, but with care a very graceful panel picture can be planned out,

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which will give the best points of the flowers, with the least chance of the picture being spoiled by a vibrating background. Those who make a specialty of . . flower studies will find it an advantage to. have the paper pinned over a sheet of cork, which in its turn is nailed securely to a stout board. The pins go into this very easily, and the board behind, by receiving the points, prevents any chance of the weight of a heavy branch tearing the pins out of the soft cork. A great spray of roses is no light weight, and in the case of a heavy branch the p.ins must be bedded far more deeply than in the case of such light studies as shirley poppies and wild parsley. A studio stand for the camera is a great help in the case of indoor flower studies. To get the veining perfectly, great care has to be taken with the focusing; and the solid resistance and weight of a rather heavy wood stand is a great comfort. Care must be taken also to arrange the light so that the flowers stand out 路from the background and do not look as if pasted flat on the paper. Foxgloves are most difficult to manage, though very effective when well arranged. In many pictures of roses the first thing that a critic generally notices is the sharp, hard, "china-like" appearance of the petals. A rose is so associated with softness and velvety texture that the fault is a glaring one. That it is difficult to avoid this hard-. ness, all photographers know very well. The only way to mitigate the defect is to give an exposure of really almost absurd length, and then use such developer as will give a very soft negative. It is no easy task to avoid the scylla of harshness without

falling into the charybdis of flatness and over-exposure ; but with a good deal of pains the happy mean is attainable, though many plates will go into the wastebox first. Isochromatic plates are undoubtedly the best for flower studies, and should preferably be used with a paleyellow light filter. It must be borne in mind, however, that the mediumspeed isochromatic plates are a shade less fast than ordinary ones, and, if . at all under-exposed, give much harsher negatives than plates which are not sensitized for color. It must, therefore, be decided to give a most generous exposure. Half an hour in a well-lighted room, with fii6 in the lens, is none too much, and in many cases it will be found not half enough. With the majority of lenses a small stop has to be used t<;> obtain the delicate half-ton~. and detail of the flower. The single combination of an R. R. lens gives much softer results than the full combination. Experiments with f/6 .on sprays of apple-blossoms did not give very successful pictures. The form of the flower and its most shadowy parts must be clearly defined and in focus ; it is this necessity of using a small stop that renders an abnormally long exposure" desirable, or else the petals will have the "china" look which is so hideous. In developi~g, the best way seems to be to flash out the image with a normal developer and check it when all detail is out with either citrate of soda or potash. Bromide has the power of causing the image to become over-dense, a fault that the citrates are free from, so their use is peculiarly desirable in flower work. After the check has been applied the plate is developed with a solution

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strong in pyro which gives the requisite $Ubstance to the image. If a flower study develops up slowly and gives signs of under-exposure it is best to throw it into the waste pail, as a forced flow~r plate is practically worthless. Different colored flowers require as a matter of course widely different

exposures. An orange poppy, for ex~ 路 ample, will need far longer than its fellow of white or pale sulphur color ; deep red roses the same. Bell-shaped路 flowers will require the le~s to be heavily stopped down to get all the parts in focus, notab!y the pistils and stamens which lie in the depths of the bell.

HOW TO MAKE A DEVELOPING TANK. BY WM. S. STANDIFORD.

路 m H I L E there are various methods of developing plates, yet, there is one method which surpasses them all in producing fine negatives, as well as bc:ing rapid in execution. 路This is called "time" or "tank" devel()ping. Used at first by advanced amateurs, it has spread to those less advanced in the art-this system gaining friends every day. The following is a description of a tank made by the writer, which is easy to make, very few tools being needed to construct it. To give an idea of the flexibility of this method of developirtg, twelve plates can be developed in five minutes ; or, if desired, they could be put into the developer at 6 o'cl~k in the morning, remaining in it until 6 ()'clock in the evening, when they would be ready for the fixing. In the former case, the developer should be made stronger, and in the latter, being diluted so as to work slower. For twelve-hour development, pyro would not be suitable, as the action of this agent is not continuous beyond the twenty minutes limit. It is necessary for long development to use Adural,

Ortol or some other agent for this purpose. The additon of water to a developer produces a finer negative, both in detail and gradation of the high lights. The speed in tank development is gotten by developing a number of plates at one time, instead of taking 5 or 10 minutes to each, as is done in the oldstyle way. Another advantage is that a person can put one dozen plates in the tank, go away for one-half an hour, come back and find them developed. It is best to rinse the negatives in the tank several times and then fix them in the same receptacle -rinsing the latter after they are through. Before the tank is put away it should be washed carefully so as to remove all traces of hypo. This box is made to hold twelve 4 by s-plates sidewise, or twelve 6% by 8% plates placed lengthwise. The first article needed for the construction of our tank is the wood; a box having wide boards about 5-16 of an inch thick, free from knots, should be selected. Take it apart carefully so as to prevent splitting the boards, and smooth the later off with a plane.

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Mark on a board a rectangle 8 9-16 inches long and 4 1-16 inches wide, taking care to make the comers square. This is the bottom of the tank. We next cut two rectangular end pieces, each being 8% inches long and 4 1-16 inches wide. The sides are now to be made, two being required; the dimensions are 9~ inches long and 8% inches high. Two strips 8 9-16 inches long and :lA, of an inch square are then made ; also two other strips are·cut :lA, inch square and 3 1-16 inches long. These four strips are for ·the purpose of keeping the plates from touching the bottom of the tank. Take the two 8 9-I6 inch strips, place one on the bottom board, paraliel with the side and ~ inch away from the edge, fastening with % inch brads. On the left side of · bottom board place the other strip, 1,4 inch away from the edge. Now take one of the 3 I-I6 inch strips and place it between the other two long strips, putting it I inch from the top edge of board ; then nail the other short piece I inch from the bottom edge. Before nailing the box together, it is necessary to put the brads to hold the plates upright in position. We will start with the end pieces first. Draw a line with a pencil on both pieces % of an inch from the edges, line to be made at a ·right angle to the long side of pieces. Next draw another line on each piece I%, inches from the tops of end pieces. Now take your pencil and a rule and, measuring %, of an inch from the ends of the lines, make a mark with your pencil, then drive a 1f2 inch brad in mark on line, allowing brad to project % of an inch outwards. Then put another 'brad lfs of an inch a wav from the first one, then

place another brad 3-16 inch away from the last one; then place another brad % of an inch from the last one. Keep on placing the brads until you reach the other side of board. You will then have twelve % inch spaces for plates, each plate being separated 3-16 of an inch apart. Cut the heads off of the brads before putting in position. The sides of the tank are now to be fitted with plate-holding brads. Draw a line % of an inch from the bottom of side piece (make line on longest side of piece); draw another line 31A. inches from the top of piece and I% inches from end of side, make a mark, then drive a 1f2 inch brad in, leaving it project % of an inch; then drive another brad % of an inch from the last one, leave a space % of an inch wide, then drive in a brad, and place another % of an inch from the last one. Keep on alternating brads and spaces until you have made room for I4 plates. Put brads on the top line, taking care to keep plate spaces opposite those on bottom line. Proceed with the other side of box in the same manner. We are now ready to put tank together. Take an end piece, with the piate holding row of nails nearest the end, fasten this end to bottom board with I -inch . finishing nails, spacing % inch apart. Do the same with the other end piece. Then place one side in po-sition, putting side with plate holding row nearest to edge next to the bottom, fastening bottom and sides with the 1-inch nails· as previously d~scribed-the other side of tank to be done the same way. First cover to be made next. Cut a board 914 inches long, 4% wide. Then cut out of a board % inch thick two strips% inch wide, 8 17-32 inches

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long; also cut two pieces 2 25-32 inches long. Make a rectangular frame of the two long and two short pieces, putting I -inch finishing nails through the ends of the long strips into the shorter ones. Take this frame and fasten it to the board just made with 1;2-inch brads, taking care to have an. equal margin around the edges of cover. On top of this cover (plain side) nail four 1-inch square pieces of wood cut from a cigar-box lid, one to be placed on each corner. Get a rubber band about 1 inch wide, cut four square pieces and glue one onto each square piece on the cover. Outside cover is to be made next. Cut a rectangle 9 5-16 inches long by 4%, inches wide, % thick. Then cut two strips 9 5-I6 inches long and 2% inches wide. Also cut two short pieces 4%, inches long and 2% inches wide. Taking the two short 4%, inch strips, we nail one edge to each end of the rectangular board, taking care to keep the edge flush with the top of board, also to keep the edges level with the sides. The 915-I6 inch long strips are next to be nailed to the sides of our board; this finishes outside cover for tank. Two more _strips 9 I5-I6 inches long, I%, inches wide and % of an inch thick, are to be made, also two short ones 4%. inches long, I%, wide and % thick, should be made. Now place your inside cover on tank, place over it the outside cover, putting weights on top of the latter to hold the cover down tight. Take one of the 4% strips and hold it up as closely as possible to the end of outside cover of tank, mark a line with your pencil where the bottom of strip comes. Mark the other end strip in the same manner, also the two long side ones.

Take weights off tank, also covers ; put the botom of end pieces on a level with the pencil lines and keep in position with 1;2-inch flathead wood screws, putting two on each end of strip. Treat the other end piece, also the two side strips, the same way. To hold the cover of our tank. tightly, while in use, get two ~rass suit-case hasps at a trunk store ; these cost 20 cents a pair. We now put inside and outside covers on, weighting them as previously described. On the outside and in the middle of the top cover of our tank, we screw the upper half of the hasp, snap on latter facing downwards. Then place the snap on the lower half of hasp, screwing the lower half of hasp to the box. Put the other hasp on the other end in the same manner, take weights off cover and the tank is ready for varnishing. Get a pint can of turpentine Asphaltum varnish, also a five-cent brush ; coat the tank inside and outside with the varnish, taking care to fill all joints with it. Give the box four coats, letting each dry thoroughly before putting on the others. After it is dry, dissolve a handful of washing soda in a basin of water and pour it into the tank, stirring frequently. This removes the grease from the varnish. Rinse tank welt and it is ready for use. To cover one dozen 4 by 5 plates 1,4 inch over the tops of plates requires IOO ounces of developer; the 6% by 8% plates requiring I 12 ounces. DÂŁVELOPER FORMULA.

Adural .. .. .. . .. .. .. .. .. â&#x20AC;˘ so grains Sulphite soda ............. ISO grains (Sulphite soda crystals) Carbonate soda ........... ISO grains

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Water ........ . . . .. .... .. 100 ounces or I 12 ounces. according to which size of plate is used in the tank.

brads can be seen, also strips for keeping the plates off the bottom. To make plates develop more rapidly use Develop 25 minutes or until the double the quantity of the reducer, -desired density is attained. The above Adu ral. To lengthen the time of dedeveloper is one that is not affecte.d velopment, reduce the quantity of Adby temperature, it working very even- - ural. The above described tank will, ly in both hot and cold weather. if carefully made, give good service Fig. 1 shows the tank with both and stand considerable rough usage. 路covers on. Fig 2 illustrates it with This method of developing plates prothe inside cover on, the outside one duces superior negatives, the halfwith the hasp being to the right of tones being very fine. The tank will box. Fig. 3 shows the tank laid on well repay in results the labor that has side with both covers off, inside cover been put on it, and enable the amateur being on the right side. photographer to rise to a higher plane Interior of tank with plate holding in his cherishe~ art.

POSTPONMENT OF SOUTHERN TRI-ST-A TE CONVENTION. P os tponement of South e路rn Tri-State Photographic Association Convention that was to be held at Birmingham, Ala., Sept 12- 15, 1905. is hereby anno unced until Ma rch, 1906 (exact dates later ), owing to th e stringent qu a rantine regulation s now enforced becau se o f the路 prevalence of yell ow feve r in N ew Orleans, L a. It was decided to postp one unti l a more favorable tim e fo r all ou r No rth ern and vV estern friend s. especially as you will fi nd our Sou th ern climate pa rticu larly delightful about th is tim e o f yea r and j ust before the Ea ster and Spring rush begins.

I also wish to call attenton to the prize (gold medal ) offered for the best 8 by 10 (one) portrait by any one not a member of this Association. A lso to state that special arrangements have been made to admit members from Florida and Lou isiana. Those of Loui si ~n a de siring membership will please write to Mr. Moses at New Orleans. and of Florida, write to me direct. Frate路mally yours. MED WI LSON,

Secretary Southern Tri-State Photograph ic Assoc iation. Savannah, Ga.

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MY DARK-ROOM, AND HOW I FITTED IT UP.

BY LEO BOYNTON.

HOPE that any CAMERA AND DARK RooM reader who happens to have a room in his home similar to the one I am about to describe. will get some help from these explanations to fit it up for a dark room. After using the bath room and various other places to answer the purpose of a 'dark room, I decided that I had better fit up a room for myself. The room in question is about 8 feet by 5 feet, with a north window in it. I first made a long bench or table about 6 feet by 2% feet, placed it along one side of the room and had room enough at the end of the table for a box or cupboard with shelves and a door in which to store all bottles, chemicals, etc. About 15 or 20 inches above the table I put a shelf, the same length as the table and about IO or 12 inches wide; here I store all boxes of prints, mounts, magazines, catalogues, etc. At one end of the table, between the shelf and table, I made a small rack with two or three shelves on which to store my negatives, which are filed by the method given in the March, 1902, number of the CAMERA AND DARK RooM. At the other end of the' table I put a box with a few compartments in it in which to store my printing frames, paper, masks, etc. The windows should now be blocked up. I have not blocked mine up, as I have to do all my dark room work at night, but one never knows when the dark room might be needed for a few minutes during the day when we get the fever and lay off work or have a half-holiday; so my plan is to get some dark cardboard and tack it up over the whole window and then have some curtains of some dark red mate路rial put up so that if there happened to be a ray of light come through the red curtain would intercept it. I did not wish to spend $2.00 or $3.00 for a dark room lamp or lantern, so I made one myself, which answers the purpose very well. I got a small wooden box about 10 or I2 inches square and cut a square hole in one side of it, about I inch smaller

all round than the side of the box; then I lined all the inside of the box and Jid with zinc and nailed the' lid on tight (The zinc should be blackened with lampblack.) Then I took three small pieces of wood, cut them the same length as the hole in the box and about I or I~ inches wide, and cut grooves in them for the ruby glass to slide up and down in. I nailed one of these on the bottom edge and one on each side of the hole cut in the box, so that when I put the glass in place it would slide up and down easily and yet not be loose. I got the ruby glass cut the right size at the' glass works for IO cents and for the light I bought a very small brass lantern for 25 cents that answers the purpose exactly. I put the box in the middle of the table. a few inches out from the wall. and nailed it there; next I made' two small holes (one on each side of the' lamp) through both table and box, so that the air can reach the light; then I made a hole in the top of the box and one in the shelf dire'ctly above it, so that when I put one end of a piece of tin speaking tube into the hole in the box the other end would pass up through the hole in the shelf. This acts as a chimney, giving the air free passage through the two small hole's in the table and box up through the tube above. Now, having got all in position, I put the light inside the box and put the ruby glass into place. There were a few cracks where the light came through, but these were easily stopped up, and I now have a dark room lamp that perhaps does not look as well but answers the purpose as well and even better than an expensive lamp or lantern. (I forgot to say that it would be better to blacken the outside of the box also with lampblack.) For the printing of gaslight papers I have a gas jet about 9 inches from the window. I drove two nails into the window sash, on a level with the jet, so that I could ledge the printing frame up on them, and to make the light brighter I got a tin can about 10 inches high and 5 inches

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CAMERA AND DARK-ROOM

square, cut one side out of it and made a hole in the bottom of it so that it could be put over 路the gas jet, the flame being up inside the tin box, which reflects all the light dir~ly onto the printing路 frame, and at the same time stops any chance of the paper being fogged while handling it. I think I have a dark room now that would meet the requirements of the average amateur, but one drawback is that of having no sink or water tap in the room; bi.tt I get all the water I require from the bath room near by, and it is not much of a job to carry it from there to my dark room; however, any person who did not want to be bothered carrying water or

washing their plates and prints in the bath room could have a sink and water pipes put in their dark room for a small sum. It has taken considerable time and trouble for me to mak~ it all (considering that I had to do it all at night), but it has more than repaid me, both in time and money, for the trouble I took, for now I have "a place for everything and everything in its place" and can do my work with ease and comfort, which is a good deal more than some amateurs can say, for a good many are satisfied to make shift with the bath room or some dark corner of another room in which to do their dark room work.

THE TROUBLES OF A BEGINNER. BY A NOVICE.

N writing this I wish to say in the beginning that I am neither a professional or amateur, only a novice. A few years ago I was presented with a camera. At that time I had no knowledge of photography whatever and so had a great deal to learn. I propose in this article to give something of an idea of the troubles I have had to get a little photographic knowledge. I suppose I began as路 many others have by getting one of the standard textbooks on photography and began to study it carefully. After a time I succeeded in producing pictures which my friends could recognize without my telling them what the subject was, but my ideas of light and shade, point of view, and what was artistic and what not, were very crude. About this time I received a sample copy of a photographic magazine and read it carefully in search of information. A department given to the criticism of prints interested me very much and I decided to submit some of my prints for criticism. While visiting at the city where the magazine was published I called upon the editor and allowed him to select two of my prints for criticism. When the next number of the magazine arrived I looked eagerly in the department for print criticism to learn the faults of my prints. The criticism be-

gan something like this: "Mr. Novice submits a pleasing landscape to look upon, but from an artistic point of view has some very bad defects. It is an established rule in art that the foreground should not extend over one-third of the picture, and Mr. Novice has made the fatal error of extending the foreground over one-half of the view. We admit that the foreground is pleasing to the eye, but we are judging it at its art value. The distance is too sharply focused and the view contains too much for one picture." Some time after this I saw in another magazine a view in which the foreground covered three-fourths of the picture and contained nothing pleasing. I looked for some protest from the editor, but to my surprise he commended it as being very artistic. I found that the view was the work of a prominent amateur who should certainly have known he was violating this "established rule of art." But I have found that it makes a differen~e if one has a Ill reputation. Some time within the last year, in looking over the print criticism in Ol}e of our leading journals, I came across a print which to me in my ignorance looked like a good one. I then looked up what the. eminent critic, who managed that department, had to say in regard to it. To my

CAMERA AND DARK-ROOM surprise, he utterly condemned it. He said that the whole conception was inartistic; that the only thing he could recommend to improve it was to cut three inches off the top and three-fourths of an inch off the bottom. I did this by laying cards on the picture at the points indicated, and it left a strip one-half inch wide across the- picture and contained-nothing. I then looked over the other prints to see if there were any that came near what the critic would call good. Ah ! here it is. He says that the subje-ct is very good and the work excellent; the picture has "atmosphere" and that "mysterious Something" which he informs us is so nece-ssary in the artistic picture. Now here was something to study. My first impression (in my ignorant and inartistic state) were that the point of focus in the picture was four feet behind the camera, and that the plate was unde-rtimed and underdeveloped; later it dawned upon me that this was done to produce "atmosphere." But where was the "mysterious something" to which the critic calle-d attention? I looked and looked and was about to give it i.tp when, oh, yes I here it is in the middle ground. that much-desired "mysterious something," but I had never heard it called that before. The te-xtbooks call it "halation." I had a great idea one day that I had discovered a way to produce "atmosphere" in a picture, and I proceeded at once to test it. I set my camera to focus at six feet distance" and aimed it at a view which

took in 6o or 70 feet.. I stopped down to 8 and made the exposure. I succeeded beyond my fondest hopes. My view changed a bright, sunny day to a cloudy one, the foreground of my picture was sharp and gradually diminishe-d in sharpness until my 6o-foot view looked as though it took in half a mile-and "atmosphere"; well, I showed it to a friend who is far more artistic than I, and she said: "How finely the distance is rendered in your view, and what fine atmosphere I" Now, that is a much e-asier way to focus than I have been accustomed to and is sure to produce atmosphere. I have found that I had wrong ideas of atmosphere. I had supposed th~t we should have an atmosphere in harmony with the weatijer conditions existing at the" time our view was taken, for in my sm.all experience there is a great variation in atmospheric conditions from day to day. Now suppose we take the camera and go out some fine bright day and in some view we take, in an e"ndeavor to express the impression the day has upon us, what sort of atmosphere ought we to have? Something dark, dreary and funereal? Or shall be try to show the brightness and clearness and beauty of the day, so that those looking at it may enjoy the brightness of it? But our critic te-lls us that nature is not artistic and the artist must endeavor to correct the Creator's mistakes. To the novice this looks like too big a job. so for the present at least I think I shall try to show nature as she is without any improvements on my part.

TESTING COLOR SCREENS. Inquiries often re-ach us as to what increase in exposure ought to be given for any particular yellow screen. As every screen has its own factor and no general rule can be applied, we have the pleasure of quoting from Photography the following method of making individual tests : Two plates of the kind you propose to use" are necessary, and are generally sufficient for the purpose. Set up the camera in front of some convenient subject, of the type which you propose to photograph with

the. screen, and fix it as securely as possible. Focus the picture and inse路rt a fairly small stop so that the exposure may be manageable with the cap. Then inserting the dark slide, draw the shutter fully out, and give an exposure equal to about one-fourth of what you think to be corre-ct. Push the slide in a little way, without moving the camera, and give another exposure of the same duration. Push it in a little more and give an exposure twice as long; push it in a little more, and give four times as long

CAMERA AND DARK-ROOM as the first, and so on, doubling each exposure after the second, as long as you have any of the shutter to spare. Then, changing the plate for the second one, place the yellow screen on the lens, draw out the shutter, and give a similar series, but starting, say, with four times -as much as you gave in the other instance. Thus if in the first case the exposures were I, I, 2, 4, 8, I6, and 32 seconds, in the second they may be 4, 4, 8, I6, 32, 64, and I28 seconds. Develop lhe two plates side by side in the same dish for the same time', taking care to mark the plate with which the screen was used to distinguish it from the other. Fix, wash, and dry the two negatives, and write on each. strip on them the exposure actually given, which, if the above figures are followed, will actually be I, 2, 4, 8, I6, 32, and 64 seconds in the one case, and 4, 8, 16, 32, 64, 128, and 256 in the second. On examining the plates carefully, and making allowance for the alteration in the

gradation due to the scree'n, it will be found that if all has gone well there are two or three strips on one negative which are paralleled by two or three on the other. Thus, we may find that the strips which had 128 and 256 seconds with a sere~ are practically identical with those that had 8 and I6 without a screen. Then as 128 7 8 I6 and 256 7 I6 = I6, we know that, for subjects and in light such as the one selected, the screen increase's the exposure sixteen times. The plan is very simple, but we must first caution against supposing that there is路 a fixed and definite increase of exposure necessitated by any one' screen. As the light gets yellower then the increase of exposure becomes less, for example, and the color of the subject itself also exercises a great influence upon the exposure. But the method given above will give sufficient guidance for most ordinary purposes.

SOME PHASES OF NEWSPAPER PHOTOGRAPHY. Photographic "scoops" and "beats" are considered as important by a newspaper as reportorial performances of the same character. Since the sketch artist has been succeeded by the photographer on the news staff of the daily newspaper that personage has occupied a most important position. He must be the "on the spot man" when "things are doing," and to secure the sort of pictures which will please and interest the public and save him from the necessity of explaining to the "old man" is required to be diplomatic, quick of wit and action, of infinite patience, and prepared to stalk his subject as intelligently as a hunter stalks his game. His nerve must be good, too, else his negatives will be "dead" whe'n developed instead of showing the "live stuff" demanded by the managing editor. And it is the getting of this "live stuff" that causes the newspaper photographer much trouble and forces him into place's where angels would prefer to send their regrets. On the staff of a Chicago newspaper there is a photographer by the name of Wagner who prides himself on his ability to go out

after "good stuff" and bring it home. He acquired his nerve in the navy, and his picture-taking experience with a party of itinerant photographers who raided country towns some years ago for the purpose of "taking" store fronts, public buildings. "prominent" citizens, etc. His colossal nerve and strategy has won him many "scoops." One of the best in this line was achieved for The RecordHerald at the time of the last Republican national convention. Rumor had it that a great portrait of the late Senator Hanna was to be displayed in the Coliseum whe'n the convention met. It was not to be shown until the assemblage came to order, and naturally every newspaper wished to be first to have the picture. When the portrait was completed policemen and private detectives were posted in the building-all .instructed to see that no photograph of the portrait was taken until the convention was called to order. Half a dozen photographers had been unceremoniously ejected and all were in despair. Wagner and a friend finally managed to get

T.l:il:!: IIJ>W jACK KNIFE

Onâ&#x20AC;˘ of three prints awarded First Prize in Genre Competition.

Wm. H . Zerbe

CAMERA AND DARK-ROO.\! into the gallery with a five-by-seven came·ra and one negative was made without discovery. The friend took the plate, buttoned it under his vest and sauntered away, while \Vagner attempted to duplicate the shot. He was apprehended, and his captor, being a wise person, took all the plates and carefully broke every one. The friend, however. had reached the offi~e. the work in the dark room demonstrated the fact that the first shot had been a success, and the picture was printed the day before the chairman called the delc'gates to order. The photograph, a five-column enlargement, was sent to the man who threw the photographer out, the complimentary note reading: "I'm much obliged to you. You gave me all the time I needed. Come and see me any time and I'll be glad to take your photograph." Showing how the artist transcends the moralist in the photographer's make-up is an incident of the teamsters' strike. The man with the camera, on the watch for a "live'' picture. mixed np with a mob. He had been hit on the head with a bottle. bnt was still game, when suddenly an infuriated strike-brea!;er started for a striker with a pick-ax. The assailant had a revolver and both men were mad with rage The photographer. more intent upon the picture than anything else, his artistic spirit stirred to the utmost, swung his camera intf• position and, oblivio;Js to all else. shouted at the top of his lungs: "That's good! That's fine! Don't move! Hold that position just for a minute! It's great!'' His entire forgetfulness of everything hnt his professional work was too mnch for crowd and assailants alike. His earnestness· provoked a shout of laughter and the men did not clash. A "live" picture was spoiled, bnt the photographer had once again de·monstrated that true art is moral in its effects. His zeal for art had appeale<l to their sense of humor, preventing bloodshed and perhaps murder. At another time \Vagner was assigned to get a photograph of a certain residence mnch talked of hl'('ause of the connection of it.; occupants with the team.;ters' strikl·. He set his camera across till' street. f, •cn<ed

the machine and was about to press the bulb when a heavy-set, warlike colored man dashed up and told him to get away. He said that the house could not be photographed and intimated in language more forcible than polit-e that operator, camera and kit would be distributed all over the block if ·an immediate, sudden and instantaneous getaway was not forthcoming. But the picture man was equal to the occasion. He threw back his coat, displayed the star of a deputy sheriff. and exclaimed: "Go away from here! What do you mean by butting in with Uncle Sam? Don't you know that I can send you to the penitentiary for ten years? I'm here to get a picture for the government, and if I don't get it yon will he in a terrible fix when I tell the court about you." The colored man fled and a very good half-tone representation of the house appeared in the paper the next day. e\·idenct> of the artistic and diplomatic skill of th(' photographer. In the days when the sketch artist was supreme it was not so difficult to obtain pictures as it is in these days of newspaper photography. Then the artist could do his work at his leisure. If an accident occurred the man with the sketching pad could visit the scene at any timl'. draw the background of his picture and then sketch in the necessary figures. But the photographer must be on the ground when things happen else he gets no picture. One of the diplomatic stunts worked by a newspaper photographer was played upon l\lme. Sarah Bernhardt when she was last in this country. She objected to being photographed on the ground that the picture would ma!;e her look old. An enterprising photographer decided to "get her,'' and so he waited at the stage door of the theatre one evening until she came out. As she stepped into her carriage he snapped the shutte·r of his camera with a loud click. The actress turned, and, seeing the camera. asked what it meant. "Oh, nothing," responded the man, "I've just taken your picture." l\lme. Bernhardt called the photographer to her. "How could you take a picture of me in the dark?" she inquired. ''\Veil. you see." said the unblushing pic-

j oseph R . lglick

A BIT OF NATURE One of three prints awa rd ed Third Priz e i n

La ~ d i C l ;>C

Competition

CAMERA AND DARK-ROOM ture man, "I have a patent camera that works just as well at night as in the daytime. Of course the picture is not good, but it will have .to do be'cause you will not pose for a good one." The queen of tragedy considered a ~o ment and then said : "If you will promise not to use the bad picture you have taken and will come to my hotel in the morning. I'll give you a sitting."' As the' photographer had not secured a likeness he agreed, and was able to supply his paper with half a dozen fine photographs of the. famous actress. The chances that a newspaper photographer must take is illustrated by a recent incident at Mount Carroll, Ill. l\•leyers and Johnson were in jail there, charged with the murder of Mayor Barrett of Thompson. A newspaper photographer was sent to get their pictures. Sheriff Doty was afraid of the criminals, and would not enter

their cells. The photographer secured the sheriff's keys. entered Meyers' cell, locked the door behind him, put the key outside and then arranged his camera and flash light. By the time he had finishe'd his preparations Meyers, who had been looking on curiously, realized what was to happen. He objec.ted. and moved forward to give battle. The photographer was ready, however, and drawing a revolver, said: "Now, ).leyers, you sit right down in that chair. I'm going to take a nice picture of you." The man sat down. "Now, Meyers," continued the camera man, "I want you to look up and assume a pleasant expression. I want you to keep your eye right on me. I have to catch a train, and have no time to waste. This little operation will take just two minutes if you are good. If you don't behave I shall be obliged to blow the top of your head off." Meyers was good and the picture was securc.-d.

THE RETOUCHING OF THE NEGATIVE.

OW EVER careful we. may be in the operations of lighting, developing, printing, etc., a straightforward portrait negative is sure to show up and increase in contrast the many spots, wrinkles, and marks to be found in a face. Isochromatic plates help us a little, and minimize the work of a retoucher; but it is quite safe to say that every portrait negative-especially if we wish to please the sitter-can be improved, and even flattered. by retouching. It has been said that retouching cannot be learned from a book or an article on the subject, and there is a certain amount of tnrth in the statement. It is, however, possible to give the' principles and a few hints, from which the beginner may learn something about it. Continual practice will then make perfect. l\lany amateurs have become expert retouchers by taking corn·sponde11ce lessons, and these postal lessons are to be highly recommended to those who have a desire to become expert retouchers. First of all, we require a retouching-desk, either bought or home-made-and nowadays they can be bought so cheap that it is scarcely worth one's while to make onesome retouching medium and pencils.

Get a couple of pencils, good ones, Faber's or Hardtmuth's H B and H; a spotting brush, No. I Winsor and Newton sable (get a good one, they spring to a point better than a camel hair) ; some color for spotting (crimson lake, half-cake); small piece of opal plate for a pallette; fine sandpaper for :;harpening pencils ; a couple of knives for scraping the films. one small and fine for removing dark spots, stray hairs, spotty, patchy bits of light, the Qther larger for broader surfaces (the larger one may be got at the stock-house, but the smaller one is best made out of a large-size tailor's needle) ; break the point off about a quarter of an inch, then grind down on two sides and the point to an angle of say 45 deg,rees, put into a wooden handle, leaving about three-quarters of an inch of metal showing; an oil-stone for sharpening the knives.- A good finishing strop is made by cutting a piece of leather, say 6 inches by 2 inches, and gluing it on to a strip of wood. Rub some oil into it, then sprinkle it all over e\·enly with emery powder; n{b it well into the leather with the handle of an old table knife; use the strop frequently to keep a

UP HILL CHORES One of three prints awarJe l Eighth Prize in Landscape Competition

C. W. Seaman

CAMERA AND DARK-ROO.U fine keen edge. It's no use trying to cut on a negative with a dull knife. The medium can also be bought as cheaply as one can make it; but should one care to manufacture his own the following is a good formula: Sandarac . . . . . . . . . . . . . . . . . . . . l,.f: oz. Castor oil . . . . . . . . . . . . . . . . . . . ..o gr. Alcohol . . . . . . . . . . . . . . . . . . . . . 3 oz. First dissolve the sandarac in the alcohol, and then add the castor oil. Another good one is: Dammar . . . . . . . . . . . . . . . . . . . . . . 30 gr. Turpentine . . . . . . . . . . . . . . . . . . . . 1 oz. A bottle of turpentine and some old linen rags free from lint should also be provided to clean off the negative if a mistake is made. · Sharpening the pencil requires a little care, so that you don't snap them. Cut the wood away about two inches; take care not to cut the lead. Get a hit of sand or emery paper about three inches square: fold it in two, rough surface inwards, hold it between tl.e finger and thumb of the left hand: plat·e the lead point in the sand-paper and gently squeezing with the finger and thumh. draw rapidly backward and forwanl. giving a turn to the right and left at the same time. Yon ought to han· a point as lit:e and round as a needle. \Vhen ready to start. plan· the m~gative on the des!' and examine can•fully for ~nch marks as may have to lw takt•n away with the knife if it is in a "view." There may be too many ~potty high lights in the foreground: take the,;e down with a gradual scraping over the part. somewhat in the manner of taking out an ink hlot with a knife on paper. renwmht·ring always that it is well to ha.;ten slowly wlwn cutting, because' getting it off roughly. or with jagged edges only means more work to corrct·t with the lt·ad and hrnsh later on. \.Yhen all the "dense"' marks an~ remo,·ed, place a small drop of meclimn on the film. then ta!,ing a picce of rag. place" it over the cnd of the finger. moi.;ten it slightly with tnrpt•ntim· and rub the whole ~urface of tlw ncgati\·e. There shonlcl he no trace ni nwclillln s!Jowing. hut for most of the ,;oiter ami lit~t·r works. it gin~s ernngh "grip"" to enahle yon to ta!.:t· tl:un o::t with the ,;nfter p::t:cil.

Should there be parts requiring more work. e.g., where much scraping has been done. apply a drop of medium and rub it over the part with a piece of rag or cotton wool (the wool made into a hard pad about the size of a hazel nut). so as to just cover those parts to be worked on. If, after working with the pencil. you find it won't "take" sufficiently. finish with the spotting brush, and color, stippling evenly. Should some of the working show too strongly, reduce hy sti1>pling with the point of the smaller knife. and so keep on using knife and brush correcting each other until it is done so that it will not show in the printing. A little practice will enable you to fill gaps and holes in negatives quite easily. For a portrait, unless the background is much marked or spotted, you need only apply the medium so that it covers the head and about half an inch or so wider. for it frequently happens that a picture may be much improved hy taking out stray bits of hair, either with the knife or pencil. Also medium the hands if showing. In retouching portraits it is· not how much you may do to a negative, but how little: not crowding the lead on, but placing it just where the least work will gi\·e the mo~t effect. The secret of successful retouching is nnt to work all m•cr the face, but to fill up the spots. etc .. to the' density of the surrounding parts of the film. If we put equal work all over the face. not much good will b,· done. because there will still be unevenncs~. \\'hat is required is a general evenness or rounding up-that is to say. the deep shadows must be merged into the high lights and the spots filled up. The pencil must be kept sharpened so that the point is as fine as a pin's point by rubbing it on a piece ot fine emery paper. laid pt•rfeetly flat. The peculiar motion of the pencil when retouching comes only by practke. ami each worker soon adopts his own particular style. To improve one's own negati\·es it is not twcessary to be an expert retoucher, but just where there is a line-freckle or mark. or whatever the defect may be, carefully fill that part so that it comes even with the surrounding part, ancl that kept up gradu;:lly. yc,;t will tin\ that you are getting a

PHOTOGRAPHIC TERMS ILLUSTRATED . .

FOCUSING

PRINTING

...

DEVELOPING

REDU CII'\G

CAMERA AND DARK-ROOM mce ''grain" in retouching talk, or stipple. as others call it. During the progress of your work occasionally look at your negatjve reversed, sitting well back; take a general survey of it and where the work looks patchy, blend them into each other. Let all the cutting be done to th~ negatives before the medium is applied. Should the work not be satisfactory, it can easily be take'!1 off by rubbing over with the rag and a little turpentine and fresh medium applied, and in case a negative requires a great deal of work. say a big head (freckled), when you can't get any more on the film, varnish the negative, and when quite cold, apply the medium as before and continue the work. The stroke or peculiar method by which a retoucher applies the lead is largely a matter of habit. No one method is better than another. According to a writer in the Photographic News there are, roughly speaking, four retouching strokes, v~.:

â&#x20AC;˘

The above four sketches are, of course, greatly magn ified. A shows the "comma" touch, B the "dot,'' C th e "cross-hatch," and D the "scribbling" touch.Âˇ I prefer the latter. It is wise not to limit oneself to any particular stroke. but to vary them according to th e d fect desired. \ Vhen commencing. start with the softe st perÂˇcil, and fiJI up all freckl es. spots, and other blemishes. making th e touches very li[!. lrt icdecd. fe r. remember. it is easy to ar1d more if wanted than to take away the pcniJlir. g if teo much. So. be ca reful to huild up th e image gradually, and not to put too nwch on at li rst. Continue until aJI

defects are lost in the surrounding tone. Take no pencil-mark beyond the defect itself. When all the spots have been evened up, start on the wrinkles, and when they have been modified, correct and harmonize the patches of light and shade, blend the latter without destroying the half-tone between each, and be careful to prese rve the shape and character of the face or the likeness will be lost. Take' a rough print from the negative occasionally, just to see what progress is being made, work slowly and carefully, and do not try to do too much at once. Remember, practice makes perfect. The retouching can easily be removed by rubbing with the medium. When one is able to use the pencil sati sfacto ril y. the retouching-knife-used for scraping away-may be used. Special knives are on the market. or a miscroscopic di sse'cting-knife may be used. It is best to have two fo r use-one tapering to a point and one broader. The smaller one will be found useful in removing false lights in the eyes. st ray hairs, blemishes in the face, protruding bones in the' neck, etc., and the larger knife for large masses, such as objecti onabl e parts in a lady's dress, etc. The knife mu st be kept very sharp, or the film wiJI be torn. and dragged away instead of scraped . It sometimes happe'ns that a negative has thin shadows-th ough full of detail-and hard lights, the shadows being too black by the time the lights are printed up. Rub some crimson lake on the palette, getting it pretty thick. Put th e negative on the de'sk. glass side towa rds you, moisten the tip of the finger with th e lips and rub on to the color. ar_1d dab on to th e shadows to be held back; repeat until the whole is evenly colo re'd. SmaJI spaces to he colored, such as hands in shadow, shadows und er brows. etc., treat in the same way. Don't mind going over them wide. You can correct th e outline afterwa rd s witli :the knife. It might be men ti oned that in addition to th e articles required for retouching that the beginner lay in a good stock of "patience.'' That and practice rubbed weJI in will soon show good results. D on't be disheartened if the first attempts look sc ratchy; rub th em off and try again.

CAMERA A N D D A RK-ROO M

C. P. LOGA N.- "A Canadian Trout Brook." You have selecte路d a pretty v iew, focussed well and then wasted your mate rial by giving a too sho rt exposure, developing your negati ve too dense, and made - matters wo rse by printing it on a carbon mat paper which increase路s th e harsh contras tin ess of the negati ve. Compare yours w ith the reproducti on o f "Sun shin e and Shade" and note th e difference. Shad y noo ks require a long exposure and a weak developer to obtain anythin g like a truthful rend ering of th e scene. C. V . W EILER.- " Sunshine' and Shade" and "A Gray Day" a re both di fficult subj ects-that is, they are of a class o f subject which courts more failures than any other. Such bits o f nature are ve ry at-

SUl'ISHINE AND SHADE

tracti ve to the eye, but generally disappo inting when photographed. Seldom do we se路e any better than the two prints you send, and we reproduce th em as examples of good composition and ex cellent techniqu e. R egarding a market fo r large carbon prints o f such landscapes we are not sure if th e demand would warrant the troubl e, but in mos t la rge cities there are art stores wl: o will accept such pictures on consignment if th ey do not purchase them outright. W e will look into the matter for you. S. F. CLOWNEY.- "The Old Stone Bridge" is not a very nice subj ect, except it may be o f local interest. The sky and water are too white in contrast to the all too black shadows, and th e print is rather di sappointing compa red with oth er work you have su bmitted. CHAS. E. DIMICK.-"Po rtrait." The exposure of one- half second was about correct, but you carri ed th e development too far and buried alJ th e detail in the dress and sun shade'. W e recomm end a dilute deve loper to C. P . Logan for land scapes, but fo r po rtrait work we always use it still

C. V. Weiler.

JGO

CAMERA AND DARK-ROOM

weak er, as thi s is the only way to prese rve detail in white dresses. The expression on th e face is good, but th e eyes are · looking too high. The r ocker should have been r em oved. J oHN R oESC HLAU.-"At th e Circu s'' is a very good photograph of a group o f performing ponies undern ea th a canvas tent. Th e excellent detail through out speaks we ll fo r your lens, while th e even illuminatio n 1s due to the light-diffu sing quality o f th e white canvas. The picture is a nice m emento o f a· pass in g event, but too cro wd ed t o he o f picto rial va lu e.

SCHOOL SHIP ST. MARY

]. :\1. KANE.- Giad to h ea r fro m you aga in, and you will see that \V C have acted o n yo ur suggesti o ns. Th ere is no limit to the s ize of a picture th at may he sent for reproduction o r fo r critici sm. You r "Ho me Po rt rait"' shows that K odoid plates are wel l adapted fo r po rtraiture. and the face is very finely r enck red . Th e angle o f Yi cw doe s not plea se us so well, and we think t he head should haYe ei th er bee n turned a littl e kss or considerabl y mo re away from th e ca me ra. as the line of th e n ose and the left eye hoth suffer as it is. The lighting is too llat- too much in front. and a dark sc rc·cn to cut o ff th e direct fr ont light would han: !wen an impr on~ n ll'nt. A t op lig 11t o r at an angle o f -15 degrees is

best for portraiture, and re sult s in better modeling of th e face. This can eas ily be effected by screening. You should try the use o f opaqu e sc reens in producing light effect s. A lig ht stand that you can conveniently move around until you get th e rig ht effect is easily constructed. \Vhy th ose yello w stain s o n the Solio print? D o n't ove rw o rk your toning bath. ANTHONY ScHMITT.-We thank you for th e kind wo rd s. "School Ship St. Mary'' is as good as could be produced under the circumstances. You will admit. ho wen:r. that our trimmin g of an inch of water is

Anthony Schmi1t

an impro,·cmcnt. ln th e mak in g of a picture you are not comp el led to print the wh ole negat ive. T rimm ing is o ft en th e makin g of a pictnre. ''Wayside Bridge" has no pict o rial intere;;t. and if it wa s you r idea to o bta in a tru thful representation of the scene you haYe failed in th at Y'lll did not expose fo r th e shadow . T he da ta says, Cra mer Inst. ] so. pl ate. stop 16. exposure % second. 3 r.~t. Now. by all appearances o ne second wou ld ha\'e been none too mu ch. and then you wou ld h a,·e giYe n th e isochroma ti c plate· a fa ir chance to sho w wh a t it ca n do in rend erin g colo r ,· alues. ''The O ld :\Jill." same plate. same condition" except th at the ex posu re was r 1. ~ second s at f-3 2. also shows nnde r-expos urc. \\'e like

CAJ! E RA A.\ ·D DARK-ROOM th e glossy Cyko paper for reproduction, but a softe-r grade would suit th e negatives better-the portrait especially. Your work s hows improvement. howeve r. and an evident desire to do still better. Therefo re, in futu re train your eye- to see pictures in more simple subjects. and wh en you have selected you r point of interest do n ot sacri fice it by getti ng in th e picture all that th e lens will do. In rep roducin g th ese" we have covered up a ma ss of rocks which occupy about one-half of th e fi rst picture.

301

appear ce rtainl y odd. You sho:tld have" curtain ed one window and the botto m part of the other enough to hav e th e principal light fall from the top at one side and slig htly in front of the sitter. } AMES A . YoVNG.- ''A Cou ntry Road" is a ni ce bit and on ly lack s a wagon or figu re on the road to make it mo r e interes ting. The se-lection is good and the execu tion eq ually so. e \·en to the tone of the print and ha rmoni ous mountin g. It is

Cramer lso Plate . One-half second, stop 16. Light bright. Glossy Cyko paper.

Cramer Ins tantaneous Iso Plate One and one-half second, stop 3>. Subdued I i g h t. Glossy Cyl:o pap< r

LANDSCAPES

They a re not well enough photog raph ed for geolog ical specimens, and have no o ther po int o f intere·s t. If the focal capacity o f your came r a permits it. use a sin gle com bination of th e lens. Concentrate if your aun zs a pictu re. CHAS. A. FRE l\T H.-''Po rtrait" is very good in every respect sa,·e th e lighting. Both sides of the face a re strongly li g hted, whi le the front is in shado w sa,·e spots on the nose, lips and chin . Th e double li ght s in the eyes a l>o sc rn· to mah· th e picture

Anthony Schmitt

rath er too co ntrasty. howcve·r, to r eproduce as an e xampl e to follo w, and you should a \·o icl bla nk sk ies. T he pos ta l is a very good snap shot ind eed. onl y you mi g ht ha\·1! been a little farther away fr om th e fi gu res. Our Summer Prize Competition. The an nounet'llll' nt o f winners in th e Ge nre and Land scape open competiti on has hcen dclayecl. o win g to thl' difficulty in ch"osing hd \\Tt' n certa in pictures o f app:tn•nily t·q u:tl merit . Th e j11cl ge~ were

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302

the editor of CAMERA AND DARK RooM ; F. C. Beach, editor of Scientific American, and Francis D. Nichols, editor of American Homes and Gardens.. The pictures were then submitted as a whole to Messrs. Roland Rood, artist, and Sadakichi Hartmann, art critic, with the following result in order of merit : GENRE. I. 2.

3路 4路

s. 6. 7. 8. g. 10.

Wm. H. Zerbe, Richmond Hill, L. 1., N.Y. Jos. R. lglick, Rochester, N. Y. R. E. Weeks, Chicago, Ill. Miss Grace Mounts, Morrow, Ohio.. H. Town, St. John, N. B. Miss Juliana Royster, Raleigh, N. C. M. A. Yauch, Rochester, N. Y. F. B. Hargett, Baltimore, Md. S. Brennan, Frederickton, N. B. F. N. Reynolds, Jacksonville, Fla. LANDSCAPE.

Louis Bischoff, Port Washington, L. I. 2. R. E. Weeks, Chicago, Ill. J. Jos. R. lglick, Rochester, N. Y. 4. Wm. H. Zerbe', Richmond Hill, N. Y. s. S. E. Moody, Brooklyn, N.Y. 6. A. W. Campbell, Toronto, Can. 7. H. Town, St. John, N. B. 8. C. W. Seaman, Columbus, Ohio. g. F. P. Lotz, .Troy, 路N. Y. 10. Jacques Meyer, Saratoga, N. Y. Those contestants who do not find their names on the above list will receive their prints back with private criticism, and we hope that they will profit by the same' and be more successful in future contests. I.

Bromide Enlargement Competition. Acting on a suggestion from one of our subscribers, we beg to announce an open competition for the best bromide enlargement, the work of the competitor from start to finish. Co11ditio11s. I. The enlargements may be any size. 2. A contact print from the negative or film must accompany the enlargement. J. Enlargements and contact print may be sent rolled, flat or mounted, as may be most convenient. 4. The decisions will rest on the pictorial qualities of the print and the faithfulness

with which the tone values of the negative are rendered in the enlargement. s. The work, from the making of the negative, must be all done by the contestant. The prizes in this contest will be well worth trying for and be valuabl~ photographic goods. We desire to say here that a recent ruling of the Post Office authorities forbids us to offer cash prizes in competition or to publish announcements pertaining thereto. Our last three issu~ were held up at the post office and delayed on that account. The postal authorities also ruled against the Goerz Catalogue Cover Competition, and the cash prizes offered by the American Aristotype Company, but have since withdrawn their objections to these. We are endeavoring to get a special ruling from the department as to just what prizes and ntles of competition are open to us. P. A. of A. Convention. In point of attendance the Convention of the Photographers' Association of America at Boston last month was a huge success. The rental space of the large hall was also all taken and the treasury of the Association should be in a flourishing condition. All the leading manufacturers were there or represented, and many of them did good business. Of course, the most notable exhibit was that of the American Aristotype Company. They also showed the Aristo arc lamp. which makes the photographer independent of the sun, and they booked many orders. Th~ plate people were all there-Seed, Hammer, Lumiere and Cramer, the latter freely handing out sample boxes of their plates and also of their new pyro-acetone developer. The variety of papers exhibited was bewildering, Eastman's Royal Bromide having a very tasty display. Willis & Clements and Joe Di Nuncio had handsome displays of platinum, and Rotograph and Artura of gaslight papers. The keenest competition was shown in lenses, and Goerz, Voightlaender. Dallmeyer, Cooke and Ross lenses were well displayed. Probably the most distinctive exhibit was that of the Berlin Anilin Works. Adjoining their stand. on which were displayed

CA N/ERA AND DARK-ROOM packages of all the Agfa products, a circular tower representing an old Dutch windmill was erected, and in the windows were negatives and transparencies showing the qualities of Agfa !solar plates. The Folmer & Sching Mfg. Co. were the only exhibitors of hand cameras, and th e Graphic and Graflex camera was much in evidence. They also showed the "Skysc raper," an 8 x 10 outfit specially constructed for photographing the highes t buildings. Burke & Jame路s, of Chicago and New York, showed a large line of utilities, and booked many orders fo r a convenient headg round carrier. The Prosch Mfg. Co., with their electric flash lamps and flash powder, w ere much in evidence. The excellent flashlight groups which th ey made of the Association official s was the means of their t a king orders fo r many fl ashlight outfits. Altogether, the convention was voted a big success and the entertainment section was well taken care of by th e Photo Era of Boston. and a committee of photograph ers, notably Mo rris Burke P arkin son. wl10 proved himself to be as excellent a musi路 cian as he is photographe路r. Co., James town, N. Y., we have received a sample package of Ari sto Gold Post Cards. To say that we are pleased with the results is putting it mildly. The cards print rapidly and yield a pleasing sepia tone by simply fixing in hypo and washing. By FRoM

THE

AMERICAN

AlliSTOTYPE

303

O .te of the Ezhibits at the P . A. of A. Convention.

gi ving them a preliminary dip in a solution of common salt and water a purple tone is obtained. Save the Eastman sepia postals, there is no process more simple or quick, and Aristo Gold Pos t Cards should become very popular, both with amateur and profe ssionals. The latter will find in the picture postal a very conveni ent means of

A CORNER OF THE EXHIBITION GALLERY

CAMERA AND DARK-ROOM getting an extra dollar or two out o f a cu stomer. T he price of th e postal s is 30 cents per dozen, or $3.00 1>er gross, and the Ame rican Ari stotype Co., J amestown, N. Y., will be pleased to send a free sampl e package to all who would like to try th em.

* * * THE Ex!'o CDiERA.-I nquiry ha s been mad e as to wh eth er the Expo Watch Camera is "any good,'' and upon inves tigation we fi nd that th e res ult s are womle"rfully good fo r such a tiny in strum ent. 'vVe were sho wn pictures made with th e watch ca mera. and en la rge d by the Expo enlarge r,

which wo uld do credit to much la rge r camer as. A persona l tri a l res ulted in 12 perfec t little negativ es. W e mi ght add that, so fa r fr om th e Ex po bein g a toy, it is in use in th e offi ces of m any daily papers. The Toledo Blade of Jul y 16 contains an account o f a yacht race on Lake Erie which occurred th at sa me day. the illu st ration s bein g enlarged from Expo negatives. These were developed on boa rd a lau nch on th e scene o f action, dri ed and se nt by carrier pigeon to th e' Rlad c office forty mil es away. In four hour s from th e time th e pictures we re taken th e paper containing th e illu stration s was on sale in th e streets.

T ru sting thi s is not too late to rece1ve notice in you r Septembe·r issue, we are, Yours very truly, THE FoLMER & Sn-tWJl'G :\lFG. Co ['vVe might add to the above announcement that the Folmer & Schwing Company have decided to di scontinue th e manufacture of some of their mode'ls and hav e issued a " Bargain Li st," quoting ve ry lo w p rices on th e stock they have on hand. This is a chance to obtain at a lo w figure some very des ira ble cameras. as on the list th ere a re some' long focus camera s o f rigid construction. especially suita ble fo r telep hot o work-Graphic Specials and Graphic Senio rs. They will be pleased to send a copy o f th e li st on application.]

A New Retouching Desk. ln o rder that th e amateur may procbce negati ,·es of fri end s and g roup s in which , th e facia l imperfecti ons. such as freckles. ho ll o w che eks. deep lines. etc .. are no t too pronoun ced. it is necessa ry th at th e negati,·e should be retouch ed. and to do thi s successfully h e needs a properl y con structed retouching desk. It is due' t o th e enterpri se o f G. Gc nn ert. of !\ ew York and Chicago. th at such a desk has been placed hefo re ph otograph ers in gene ral unde r th e tk<ignati on o f "The Amateur."

To the Trade. NEw YoRK, Augu st 25. 1905. O n Sept em her _1. The F o lmer & Schwing ~lanufa c turing C<•mpany will remove th eir fac to ry and office to R oc heste r. • . Y., whne they will h an: increased faci liti es for tlw manufacture of th eir pro::l ucts. Fo r th e ben efit of th e trad e th ey will retai n th eir sale sroom at 175 Elm stree t (co rn cr o f Brno ml' strcl'l ). :\t·w Yo rk City.

Thi s des k is very well made of g ra ined as h titted with brass side suppo rt s wh ich can be ad ju sted to any angl e; kit s to ho ld 3%x4%. 4X5 and 5:X7. Negatives a r e furni shed. as well as a whit e r etlc'cto r ; t he who le closi ng up quite flat when not in use. The mode rate price. $1.25. at which this really u se ful de sk is o ff ered places it within th e reach o f a ll.

CAMERA AND DARK-ROOM The Labor Bureau. The Labo r Burea u o f the Professional Pho tog r aphers' S ociety o f New Y o rk has been o rganized and is no w in a position to receive application s fo r empl oyment fr om efficient wo rkmen wh o can furni sh sati sfactory refe rences a nd to furni sh their addresses to members o f the Society desiring h elp. It will cost a perso n wi shing to regis te r with thi s Bu reau a r egistration fee of one do llar. and for thi s s um hi s na me will be r eceiv ed and hi s refe rence·s carefully investigated. If found wo rth y he will be regi ste red and eve ry poss ibl e e ffo rt mad e to locate him in a position. This L abo r Bureau is inte11ded to se rve as a clearing house fo r reliable fJh o tographi c he lp and all members of th e Pro fe ss ional P h otographer s' Soci ety o f New York, whether active o r associate. are entit led to its help with out cost othe r than the regular membe rship fee in the Society. Application blank s may be had hy address ing W . T. Scandlin, \lanager. Labo r Bureau o f th e Pro fess ional Photog raph e rs' S ociety of New Yo rk, 3~5 Sixth Avenue. Brooklyn. N. Y.

The Goerz Competition. NEw YoRK, July 19, 1905. C .ui ERA AND D ARK R ooM, 361 B roadway. N . Y . Ci ty. Gentlemen: We take plea sure in info rmin g you that we have been fo rtunat e enough to secu re i\·!ess r s. Alpho nse l\!ucha. Alfred Sti eglitz and J ose·p h T . K ciley as judges o f th e Goerz Catalogue Co ver Comp etiti 0n. The name s of Mess rs. Stieglitz and Keiley a r e too well kn o wn to all th ose intere~ t e d in pictorial pho tograph y to need furth e r introduction. Mr. A lphonse :\[uchathough hi s nam e may no t be so fa miliar to man y o f our photographic fri end s-is a painter of universal reputatio n. R ecipient of seve ral foreign orde r s. fo r ma ny year s d irecto r of the celebrated F rench a rt schooi bearing hi s name. Mr. !VI ucha is to-day o ne o f the recognized leade rs in mo de rn decorative a rt and pos ter designing. vVe think that no better selec ti on of judges cou ld have been mad e fo r th e Goerz competiti on. A mo re effici ent a nd able jury. m e'n o f world-wide r eputation wh ose standing ability and integrit y ca nn ot be

qu es ti oned by anyone, could not have been found. Tru sting you will kindly in se rt thi s a nno uncement in your valuab le column s. a nd thanking you fo r the fav o r e xtended. we rema111. Yours ve ry truly, C. P . GoE.Rz OPTICAL WoRKS. A. K. Boursault, Adve rti sing Manager.

Post-card Printing. F . L. TRAI'E.RS.-Cnless ~ou a~e go ing into th e pos tcard bu sin ess comm e rciall y, it will not pay you to se nsiti ze your o wn ca rdhoa rd , e\"en in th~ full sheets. The R o tag raph Company, 771 East 1 6~th street , New Yo rk. und e rt a ke to print pho tographic pos tal card s in qu antiti es cheaper than you cou ld begin to do it. Their wo rk is a lso of high quality. A les. exp ensi1·e se ri es of pos tals cou ld he issued by o ne o f th e conce rn s th a t do photo-gelatin e· printing o r ph o to- lith ography. a nd still less expen si ve ones hy a ny good type printe r. if you will furni sh him with a half-ton e cut of th e p icture. Fo r sma ll quantities th e re is no thin g bett e r o r mo re cOJweni ent th an th e Ea stm an sepia pos tal s o r th e :\risto selftonin g pos tal. All th e m aker s o'f gas-light pape rs a lso furni sh sensiti zed postals.

Remedy for Fogged Plates. ]. F . KoENIG. -Light-struck pla tes may be recovered. hut th e sma ll sizes a re ha rdly wo rth th e troubl e. A good formu la is : Chromi c aci d . . .... . . . .. . .. 30 gr. Potassium bromid e . . . . . . ... 6o g r. \ Vater ..... .. ........ . . . .. . 10 oz. S oa k th e plates ir1 thi s fo r ii 1·e minut es by red li g ht. th en wa sh th o roug hly and dry in the dark. The drying m·ust be done in abso lute darkn ess and m ay he ha st ened hy rin sing th e last wa te r o ff in alcohol ( wood alco ho l will an s we r ) o r lintless blo tting mi g ht he used to abso rb th e surface wate r. Th e plates will th en be slightl y slo wer th an fres h plat es.

Jo6

CAMERA AND DARK-ROOM

DetermiDIDg Jb;poaure.

Miss ADA Locxwooo.-There is no better method of determining the exposure required for bromide paper than to use a strip of the paper until the right time is found for the negative in hand. Bromide papers vary in· speed, and each negative is a law unto itself. Shutter Patents.

]. WALTER HARTLEY.-You could not obtain a patent on the slit, and the method of cutting off the light from the plate is as old as the hills; moreove'r, your idea would make the camera even more bulky than focal plane shutters now on the market. Judging from your prints the speed of the shutter is all that could be desired, and if you have constructed a camera and shutter that serves your own purpose, be satisfied with that. Even if you did procure a patent on the mechanism, our opinion is that you would never realize the cost of the patent. We will say this, however: that your shuttel", with slight modifications, could be adapted to studio cameras with some advantages.

DiataDcea for EDlargillg. C. S. PoNTING.-Queries are not answered by mail unless a self-addressed stamped envelope is enclosed. To enlarge a 4 x 5 negative to 8 x Jo with the lens on your 4 x 5 camera, which presumably is 6 or 6%-inch focus, you will require an extension of at least 24 inches. The exact distance you can easily obtain by experiment. No, an ordinary 8 x IO plate-holder is not suitable, unless it is of the book pattern. You can use an 8 x 10 printing f·rame to better advantage, and can easily adjust it to your enlarging box so as to be lighttight. You can then insert a ground-glass in the printing frame with the ground surface away from the lens, and focus on that, then take the enlarging box into the darkroom, insert a plain glass into the printing frame, on the top of this the bromide paper, then a piece of opaque cardboard, clamp on the back of the frame and replace it on the enlarging box. Caricature Photographs. LEON LE FoLLETT.-We thought everyone knew how these caricature postals are made. The comical figure is drawn on a sheet of

cardboard, the neck just coming to the upper edge of the card. The party to be photographed then holds the card ih front of him or her with the face just over the neck of the figure in the drawing. Black Toned Prints.

Miss E. NEWCOMB.-The makers of Solio paper give a formula for black tones. We do not know of any better, as we now seldom use printing-out paper. If your aim is a glossy black print, why not use glossy velox, kruxo, azo, rotox, or any other developing paper, and thus avoid the trouble and uncertainty of the toning bath? RemedyiDg Diatortion.

L. RosENCRANZ.-Yes, it is plain to be seen that the camera was badly tilted. If you cannot obtain another negative, the lines of the building may be straightened by copying the print at a suitable angle. The best result will be obtained if the'copy and the swing back of the copying camera are equally tilted in opposite directions. After you have obtained a correct focus and perpendicular lines. make the exposure with a small diaphragm. We have in type an article on the subject which will appear a~ an early date.

PolaoniDg by Chemicala. VINCENT DANIEU.S.-No doubt it is the continued use of the metol-hydrochinon developer that is the cause of the soreness under your finger-nails. It may be that the carbonate of potass is also irritating to your system. We know of several similar cases, but the trouble ceased as soon as another developer was substituted. Why noc,.•. try edinol-hydrochinon? The results are claimed to be equal to that of the long time popular metol-hydrochinon, both for plates and for papers. Seuitive Paper for Ketera. Jos. EGGERS.-The formula for preparing the sensitive pape'r for exposure meters is a trade secret; the following, however, is used by some: Soak a sheet of ordinary bromide paper in a 10 per cent. solution of potassium nitrite and dry in the dark. When dry cut it into strips and wrap in parafined paper and store in air-tight box. Another authority says that a saturated solution of potassium metabisulphite may be used instead oi the potassium nitrit~

THE CHAUFFEUR

} . Will Palmer

ONEDOLLARTHEYEAR TEN CENTS THE COPY

New York. October, 1905.

Volume VIII.

Edited by

361 Broadway

No.J()

CBALl<:US.

Published on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COl\IPANY, (Telephone 853 Franklin)

New York City

Enterod at the New York Post Office u second claas mail matter. Subscription price, One dollar per year in advance. Foreign subscription price ssh. $1.25) P ositively not connected with any photographic stock house. Matter should reach office by the I sth of month preceding date of publication. Original MSS. solicited

VACATION

YARN.

BY OSCAR VON ENGELN.

HE CA MPER! His is the ideal life. Rising with the mists of the morning, he basks in the sunshine of day and at night retires when the dew falls. During the dark hours naught but frail wall s of canvas. separate him from the heart-throbs and breathings of Nature ; in the day her doings guide his doings ; they meet on common g round. And, if the camper be a photographer, how intimate they do become ! If you would a-camping go, make liOt the mi stake of the conventional camper, who spends a week sweltering by the riverside in a " States'路 July, '' when the air is sultry, the waters tepid, and all things feel parcheri with the heat. Better far , stay in the house at such times, with drawn blinds during the day, and everything 路 open at night ; you will be much more

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•· Back into the Woods."

comfortable. If you mu st camp near home, go out for a month during the early Spring, when the air is first balmy, and the nights still nip, or in the later year, when the winds are bracing, and the evenings approach frost. Best of all , go away in July or Aug ust to some place where the mercury does not soar; up into th·~ mountain s, along the seashore, or to the Korth \ Voods' country of Canada, thi s last a region accessible from both those g reat centers of our State's population-the East and the :\1idcll~ W est. 'vVe fixed on Lake Ahmic, 176 miles north of T oronto by rail and 40 mil e.; back into the woods by boat ( down the :\-[ag netewan River ) . as th e nearest our ideal of a location. Ba rring the securing o f an ample supply of plates and photo apparatu s, our prep · arations were of the sim plest. \ Ve took no lu xuri es, nor did W::! care to

rough it, in the strenuous meaning of the phrase. Our object was a month's enjoyment, to see the country ~nd tv secure some good pictures. August the 3rd found us in Toron to, with all the equipage bought and packed, and at evening of the sam!! clay we arrived at Burk's Falls, and at once embarked on the steamer which plies on the l\1ag netewan, a steamer so small that three men are ample crew, and so unobtrusive in her glidings that from her decks, in the gloaming, you may often see a startled deer jump back from the water's edge, as the boat rounds one of the many bends of the fort y miles of lake and river windings which it traverses. A woman can make the trip with slight inconvenience, yet when you land on some attractive point which juts into the lake (and there are many ), you will find that the wild things sti ll live there, that the trees are those which grew before the coming of the white man. Think of it, dweller from a city where civilization has held sway

•• A Glorious Sunset."

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"Think of it, Dwellers from the City"

for some onE, two, three or four ccn- entirety, pulsating, changing, trooptmies ; these are the conditions which ing by. O ur results in photographing presented themsel ves to the K ew E ng- them were largely disappointments, land forefathers when they came tu for in the clear air of day we were make homes in the New World. H ere over-exposing, and during the long a re th e forests of hemlock and piEe sunsets under-exposures betrayed us again. As we had plate cameras, we and the lonely reaches of water. dark-room constructed O n our a rri val we were at once im- r esorted to pressed by the panorama of the cloud<;. b) driving four stakes in the g round, O ne does not really know clouds until enclosing a rectang le about 3 x 4 feet, the oppo rtunity presents itself of covered with four or five blankets, to studying them where there is an un- change our plates. O ne experience bounded horizon from - a heig ht or Âˇ inside this and we concluded we did across a stretch of water. Then one not care to develop any experimental sees their almost fairy forms in -the plates, so it was hit-or-mi ss exposure.

Âˇâ&#x20AC;˘ The Panorama of the Clouds "

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If the clouds were magnificent, it was not until we had climbed an emiPence and looked out over the reach ur-on reach of the forest, stretching .away into the blue distance, that we ;felt the real grandeur of the country.

to brood over these great, unbroken stretches of woodland, extending awC:r.}' belike, to the world 's end, in the far and eerie north . In those shadowy forest aisles ali was peace, the wind did not penetrate

"In the Shadowy Forest Aisles all was Peace "

Here was a waving, undulating sea of g reen, over which watched isolated g roups of tall pines, towe ring high above the regu la r hemlock growth, like sentinels placed to guard the forest from surprise. O ne was invested by a feeling of mystery that seemed

far through that thick growth, and the light, made dim by its filtering throug h the plumed tops, was vague and feeble. Everywhere fallen giants lay, dead for years, yet their decay in~ shells still remained to give testimony to their former greatness. Shining

"The Clouds Were Magnificent"

" Fairy Forms, Ever Chan&ina:,.

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"Indian Pipe"

among these, with a waxen gleam, was the Indian pipe, or corpse plant, whose stems turn black at the touch. An outcast from true plant society, drawing its nouri shment from the decaying vegetation, this mrcanny one well deserves the name of corpse plant. So much for those g rand aspect-. which kindle th e imag ination and fill one with emotions of elemental depth. A healthier, saner spirit imbued tl .e camp life and occupations. The fishing was superb, black bass in plenty, and of a gamenes~ quite fasc inating-.

"Ji ggling for Frogs "

To the humor of the time was added the aftermath, which the over-zealou5 fisherman reaped when compelled to clean his own extra large catches. He who caught the fish must clean them was the maxim, and it tended to mo..!eration in the size of catches. Jiggling (as we termed it) for frogs became a passion with the botanist. He was willing to stand for hours in the bow of a boat endeavoring to snag the great, g reen fellows on a fishhook, laug hing with a gurgling delight when he landed some unusually aggressive croaker. The country round about the lake where the frogs were plentiful was peculiarly picturesque; the terraced hills and interspersed clump of woodland, with here and there a stone outcropping boldly; the lake shallows overgrown with verdure, all contributed to the composition of a glorious view. Here and there along the chain of lakes some settl er had hewn himself a corner out of the forest, and the stubbled oatfields dotted with stumps and bounded by wooden fences well deserved th e plates we exposed on th em. Living in boats would be an apt description of the manner in which we passed most of the time. In the fore~t the only practical path were the

CAMERA AND DARK-ROOM deer runs. Thus it was by boat we made all our journeys, rowing from eight to fifteen miles a day, visiting the many connecting lakes and water courses. It is a grand exercise, rowmg, especially so on rough lake wa-

the Wild West literature of our boyhood days. The chemist obtained it somewhere, and in the picture you may see that solitary Indian navigating. (Yes, Mr. Editor, I admit, terribly

"The Lake Shallows Overgrown with Verdure"

ters, \vhen the waves come with a slap and a dash against the sides of the boat. To our fleet of three boats we added a touch of romance in the shape of a birch-bark canoe. It was one of the kind which figured so largely in

under-exposed ; such things will happen. ) The light lingers long in these northern latitudes; you are near the land of the midnig ht sun. At nine o'clock the real nig ht first closed in.

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"The Fields Dotted with Stumps"

And what evenings there were. A torch was applied to a great pile of pine logs, gathered from among the driftwood along the shore for the occasion. The flames fairly leaped from the resinous butts. In their glow we passed the long twilight, watching the color of the western sky, the sunset glories fade away, enlivening the time by story, song, and camp jest. These were the jolliest hours of all. Then the botanist must needs complain of not having enough cover last night, and thankfully accept kindly offers of mosquito netting and bathing trunks to help his blankets keep out the cold.

As the long evening closed into night, the wind, which had been blowing all day, was stilled ; the lake became calm and glassy. 'Twas then we exerci s~d our echo, giving the Canadian boatman's vowel call, hiopehiope, and out of the stilly night the echoes would make answer fully seven times. It was really a wonderful phenomenon. When, as a last good-night before retiring, we shot the forty-four calibre gun, the echoes reverberated from the rivers and the lakes and the forest-crowned hills until the intonations sounded like thunder, the last faint "rhoom" coming in fully a minute after the first. In the fire the embers had faded to ashy gray.

That Solitary Indian Navigating"

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,..

'Livinc in Boats"

â&#x20AC;˘ The Shores of the Lake "

Oscar Von Engeln

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OPTICS OF THE PINHOLE

BY C. H. CLAUDY

OW that the Summer is over and the Winter is drawing near the magazines will commence to give the usual advice, "Don't lay your camera up for the Winter. Lots of things to take in cold weather. Do this, and that, and the other. Just as much material as in the dog days, etc., etc., ad lib." Nevertheless, a large percentage of the cameras do find their way to so:ne out-of-the-way shelf in cold weather. V'v'e no longer wander afield on Sundays with someone's sister for a companion, and a camera to take her picture with; we do not go boating with -well, with any one, in December. and we do not go a-hunting for f0!:age and light in the chilly winds of the dying year. We do not have the opportunities to use a camera, consequen~ly we don't use it. But there are lpts of things to do in photograph~ at home, after the family have sat for their portraits until the lens is ashamed to look them in the face, and when the family cat leaves the room by one door when the flashlight comes in at the other. And one of

these things is the study of the pinhole-at least, the preparatory study -which is wise, if we are to thoroughly enjoy this somewhat unique way of making photographs, when at last the warm weather of the next Spring tempts us to outdoors again. ~ow, there has been a great deal written about the pinhole, so much that to say anything new about it is almost an impossibility. But most of the publications to-day are concerned with the question of exposure and the practical use of this device in the field. The purpose of this article is to explain the optical principles controlling the pinhole, to the end that the practical work may be done in an un~ derstanding manner. Presumably all of my readers know that the pinhole is the ideal way of taking pictures, less two thingsspeed and definition. A pinhole has no focus, no distortion of any kind, is rectilinear, anastigmatic, has no curvature of field, curvilinear distortion, or flare or flare spot, and is perfect in its registration of colors and both visual and chemical rays. But it is slow,

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.. and at its best cannot give very sharply defined images. The reasons for these things are very simple, as the accompanying diagrams show. Figure 1 is a diagramatic representation of a luminous point radiating light in all directions. The rays of light radiating from the P impinge upon the front of the camera, F, and are stopped by it. One ray, however, and only one, gets through the minute opening H and continues on to L, where it forms a real image of the point P at P'. If more than one ray could get through the pinhole H, more than one image would be formed on L, and P' would be a blur. But H is too small for more than one ray, so the image is clear and distinct. It should of course be clearly understood that by the expression "one ray" is meant one minute bundle of rays of light-one ray to the eye. As a matter of fact, no one has ever succeeded in isolating a single ray of light, any more than we have succeeded in getting hold of an atom. ~ow we see why a pinhole is slow-it must be small, otherwise there will be a multiplicity of images, and no clearly defined picture. Being small, it passes little light, and so exposures are long. A farther exposition of the imageforming ability of the pinhole is shown in Figure 2. Here we have an ob-

ject ( 0), a candle, which by direct and reflected light is sending light rays in all directions. Three of these rays1 we will say, for convenience, strike the pinhole (H) and pass through it. X. Y, and Z continue through the hole, as X', Y' and Z', following the law which requires light to travel in a straight line, until they impinge on the plate (P), where, inasmuch as only one tiny bundle of rays comes from each individual point in the candle, they form a real, but inverted image of the candle at 0'-which I have shown, projected, at 0". Of course, the principle of inversion is the same here as with a lens. Before attempting to explain just why a pinhole has no focus and consequently infinite depth, it is necessary that the action of a lens, which has a certain limited depth of focus, be understood. In Figure 3, C is an object-a candle-from which rays fall on the lens ( L), which forms an inverted image of the candle at P. The triangle of rays (section of a cone) T a b forms, on the other side of the lens, the triangle a fJ t. SimilarlyE a b forms a e band B a b fonps b' a b. ~ow the a pedes of the triangles-or, as they are in fact, the apedes of these cones, are the points of pt:rfect focus. If P is moved to P' it is obvious that the cones are cut

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across. Now, geometry shows that a cross section of a cone is a circle, a section not parallel with the base is an elipse, etc.; consequently, at P' the image is indistinct, because formed of circles (called circles of confusion). And similarly, if the focal plane be moved backwards to pn the projections of the light rays will form more circles of confusion. In other words, with a lens, the focal plane has to be in a certain definite place, with refen路nce to the focal length of the lens and the distance of the object, and that place is the extreme tip of the cones of light projected by the lens. But a pinhole does not form co11es but cyliNders of light, the diameter of which is the diameter of the rinhole, and a cross section of this cylinder is the same at one place as at another. Consequently, the focal plane can be moved anywhere without altering the

definition of the image to any marked extent. To be sure, if the focal plane is many feet behind the pinhole, refraction and路 diffraction degrade the image, and if the plane is too close to the pinhole, the circles oi confusion (the cross sections of the pinhole light cylinders) are relatively too large for the size of the image formed, bu1i within reasonable limits the pinhole has no focus and infinite depth. In Figure 4 is a diagramatic representation of a house (H), a well (W), and a tree (T), at varying distances from the pinhole in the camera. These objects are radiating light in all directions, some of which strikes the pinhole and passes on the focal plane (F). Remember, these lines of light are tiny cylinders, not cones. Consequently the focal plane (F), where it cuts them, cuts them all alike, and an image results, the definition of which

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depends for fineness only on the diameter of the pinhole. If the focal J?lane were moved to F' it would still cut them in the same way-the circles of confusion would be the same size as before and the definition just as good. But as R to R' is shorter than r to r', the image formed at F' would be much smaller than formed at F. Thus the difference caused by moving the focal plane towards or near the aperture is one of size only, and this size bears the same relation to the exact size of the object, as the distance from plane to aperture does to the distance from aperture to object. For instance, if you pinhole-photograph a ten-foot ob-

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to form an image of the same size at P. In B the object (0) sends rays to form an image the 路 same size, through the pinhole (H) to the plate ( P), yet the distance from 0 to P in B is much less than in A. But in both cases the object and the plate are equidistant from the pinhole. It is obvious why the pinhole has none of the distortions resulting from the use of a lens. Curvature of field comes from a lens forming a curved image-in other words, the points of the cones of lights form on the inner surface of a sphere section. In a pinhole, there are no cones, consequently either a curved or a flat focal plane

~:-:

---

ject, ten feet away from the camera, and have the focal plane one foot behind the aperture, the object on the screen will be one foot high. One of the great advantages of the pinhole lies in this adaptability to the subject. If you are in a confined situation, move it close to the plate-then you have a wide-angle effect. If you want a good perspective, get the proper distance from the object to insure it, and then extend your bellows until the image is large enough to suit. It follows that the same size image can be kept while moving the camera to or from the object, provided the movement is not so great as to cause diffraction to set in when the pinhole is too far from the plate. In Figure 5 at A is seen an object (O)from which rays pass through the pinhole (H)

will show a distinct image. Spherical aberation is caused by the edges of a lens refracting rays to a focus nearer the lens than does its center. There being no refracted rays in a pinhole, such distortion is absent. Having no focus, the chemical and visual rays, travelling together, can be interrupted by a plate anywhere, and give similar images ; therefore no chromatic aberation is in a pinhole. Astigmatism, the inability of a lens to focus horizontal and perpendicular lines together, caused by different parts of the same lens surface forming the two images, does not apply to a pinhole because it has no surface. In all these demonstrations it is assumed that the pinhole is mechanically perfect-that is, that it is sufficiently minute to make a circle of confu-

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J22

sion too small to be objectionable to the eye and of infinite thinness. As a matter of fll.ct, pinholes cannot be thus theoretically perfect. In Figure 6 we

'Ft 'I I. see a pinhole through a brass plate, considerably magnified. Any rays from the object (0) outside of the limits A and B could not get past on account of the thickness of the brass plate (B). The image at P is circumscribed in limits of a and b. Magnifying this condition still further, as in Figure 7, we see that parallel rays ( R R R R) might reach the points {F, F,), but that if they did, two of

them travelling straight, and two by reflection, we would have two images of the object (0), one upside down and the other right side up, which would, of course, cause the wildest confusion. Therefore, the thickness of the metal or other substance

through which the pinhole is made must he sufficiently slight to cut out reflection of the rays, and at the same time permit of as wide an angle of view as may be desired. Such a condition is illustrated in Figure 8, where the metal is cut away so that

the thickness at the hole is nearly nothing, and the rays can form a wide angle. In practice, in making one's pinholes, this condition can be secured by boring with a flat-nosed drill a hole through the brass plate until the point of the drill is just about to penetrate. The hole is then to be made with a fine needle. Of course, it is impossible to avoid having some degree of thickness to the substance through which the hole is made, and consequently some degree of reflection must degrade the image. But it is a negligible quantity if the pinhole is properly made, just as the flare, which all lenses possess, does not amount to anything if it is properly distributed. There are, as stated, two things which cannot he expected of a pinhole, and which are the cause of our using lenses. One of these is speeti, the other definition. But by definition is meant that microscopic sharpn~s;; which can be had with good lenses. A sufficient degree of sharpness for some commercial work and all pictorial work can be obtained with the pinhole. Its lack of definition is comparative, not actual. and only the ill

A GLIMPSE BEYOND

S. S. Webber

DANDEL!O~

CLOCKS

S. S. Webber

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effects of refraction and diffraction and that consequent increase of length

ri, sof exposure from reducing the size of the aperture prevents us from

puncturing a microscopic hole and using that to obtain microscopic definition without a lens. Experiments with the pinhole, a thorough understanding of the first principles, and the use of the device when there is plenty of time i11 the Winter for experimenting, will provide you with a new and pleasurable tool for your Spring work. So, unl<e"ss you have already been a user of the lenseless camera, do not lay your instrument upon the 路shelf this Winter until you have made and used the tiny aperture which captures so many wonderful things that the best lenses cannot accomplish. You will find it well worth your while.

TONING GELATINO-CHLORIDE PRINTS WITH PLATINUM.

BY A. J. JARMAN.

EN prints that are made prints are produced in platinum of upon gelatino-chloride pa- such a beautiful jet black color, and per are toned in a correct- of great permanency, it is not at all ly-made gold toning bath, surprising that the amateur often and fixed in a plain solution of hy- wishes he could tone his paper路 prints posulphite of soda, the color obtained with the same metal. Toning prints is generally satisfactory; but when m a solution of platinum cari be easily such prints are toned in a combined 路 and readily accomplished, but not in toning and fixing bath, the resultant the form of a combined toriing and colors are not always atisfactory, to fixing bath. Those who wish to use say nothing about the non-perma- a salt of platinum in place of a salt of nency of prints so toned. The sickly gold for toning purposes must be preyellowish-green color so often seen in pared to devote a little more time to prints only a short time after they the operation, because, after all, when have been so treated is only a prelude a good negative has been made, and to rapid fading. Many times the am- a good print has been produced, the ateur photographer desires to know a beauty and finish of the print depends process by which he may be enabled upon perfect toning, fixing and makto tone his prints with platinum, which ing. Another point must be borne in will enable him to secure a variety of mind, that a platinum toning bath tolors not obtainable with a gold ton- must always be alkaline, and the dishes mg bath. When it is considered that or trays that are used to hold the so-

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lutions must be quite clean ; in fact, it is better to keep a tray specially for use with the platinum toning solution; then success is certain. It must be mentioned here that the prints to be toned in a platinum bath must be printed deeper than those for gold toning. The washing of the prints, too, must be thorough previous to toning. It must not be considered entirely new to use the salts of platinum for toning purposes. Platinum toning was known as far back as 1856. The object of the present article is to give the necessary instruction for the toning of the commercial gelatine papers used to-day-the papers upon which the majority of amateur photographers produce their prints. In the first place it will be necessary to make up a stock platinum solution as follows: Chloroplatinite of potassium .. 15 gr. Distilled water •.....••••.... 15 oz.

The bottle should be of amber glass to hold this solution, so as to protect it from the action of white light. Do not use common water, because if there should be a trace of iron, or lime, or organic matter in it, the solution will become blackened and inactive. When distilled water is used, no such deterioration takes place, and the solution can be depended upon. Now proceed to make up the number of prints desired, and, when ready, wash them in several changes of water, allowing them to soak awhile between each change. Five such washings should be given them, but in the_ last wash water but one, say in the fourth, a small quantity of common salt should be dissolved, one ounce of salt to half a gallon of water will answer the purpose ; the object of this mild salt bath is to convert the last

trace of free nitrate of silver contained in the coating into chloride of silver. The fifth wash water frees the prints of the salt. They are now ready for toning. The toning bath must now be made up in the following proportions, and if the temperature is low, as in Winter time, a small quantity of warm water must be added to increase the temperature. TONING BATH.

Stock platinum solution. . . • . • 2 oz. Water ...........••..•..... 20oz. Oxalic acid •••.•....•...••.. 10 gr.

The stock solution may be made up with the oxalic acid dissolved with the platinum, 75 grains of oxalic acid being dissolved· in seven and a half ounces of water and the platinum salt dissolved in another seven and a half ounces, and when both are dissolved, mix together. Take the prints, or five at a time, immerse them in the toning bath, keep them in motion ; it will be seen in a · short time that toning has commenced. · Do not carry it too far. As soon as · a very rich brown has been acquired, remove the prints, place them into clean water, wash twice, then place them into a third wash water containing a small quantity of bicarbonate of soda, two drachms of bicarbonate to half a gallon of water; change the prints about in this for five minutes, then wash in clean water and fix in a solution of hyposulphite of soda, two ounces; water, twenty-five ounces; the prints must remain in this bath for ten minutes, then well washed in running water for half an hour; then remove them, place them face down upon a piece of clean sheet glass, blot them off, and if they were of the required size before printing they may be pasted while upon the glass plate

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and mounted upon suitable card mounts, or they may be laid down upon a clean ferrotype plate, that has been previously very slightly waxed, and allowed to dry, when they may be removed from the plate with a brilliant glossy surface. The toning solution should not be thrown away; it may be kept for future use. Such a toning bath may be used over and over again for about half a dozen times by simply adding a small quantity of the stock platinum solution, and if the action of toning has become retarded, add a little more oxalic acid. Citric acid may be used in place of oxalic ; in this case just double the quantity must be added compared with oxalic. Where five grains of oxalic acid are used, ten of citric must be employed. \Vhen citric acid is used as the acidifying agent, the color of the print inclines more to blue and is somewhat colder in appearance than when -oxalic acid is used. If it is desired to tone the prints first of all in an alkaline gold bath, and afterwards in platinum, this can be accomplished without fear of injury to the prints, -only this method of toning is somewhat troublesome and expensive, the result often ending in the production -of prints of an intense blue color, while if the platinum toning is prolonged the color becomes a slatey gray and possesses none of the rich, velvety effect that is produced by platinum toning alone. If the toning is continued in the bath as described, with no previous gold toning, a decided rich brown black can be obtained~a color that cannot be produced by the gold

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bath alone. If the prints so toned are made from a good, brilliant negative, with the shadows printed well down, the resultant tones will prove highly satisfactory. There will be a richness in every print, with a velvety effect in the shadows that can be found in no other toning process. Of course, 路 the jet black that is produced when . platinum paper is used in the formation of the image cannot be obtained by this method of toning, as the image is a compound one of silver and platinum, together with some of the organic compounds of these metals. With regard to the permanency of prints toned as described, there is every reason to believe that they are just as permanent as any prints toned with a solution of gold. Platinum is a metal that possesses a greater resistance to the action of all the elements that affect gold, and as the toning process consists principally in the substitution of one metal for another by chemical action, there is every reason to believe that a platinum-toned image is a permanent one, and that it should resist the action of every detrimental element in a superior degree. The one great point necessary to insure permanency in any photographic print, is to be thorough in every operation, especially in the washing of the prints both before and after toning and fixing. Only a trace of hypo left in the prints will cause fading, by its action upon the organic part of the emulsion. By careful attention to the details of the process described, failure to secure good prints will be impossible.

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HOW TO WIN A COMPETIT10N.

BY SADAKICHI HARTMANN.

F course, there is no method absolutely certain of success. If there were one we all would simply make a picture, send it in, and get the prize, C. 0. D., if possible. The so-called "fixed job" is worked somewhat in that line. Everything is prearranged-one man knows that he gets the prize, and the rest of the competitors merely assist in lending some lustre to the occasion. No doubt this has happened quite frequently in the art world as well as in photographic circles, in literary contests and musical rompetitions ; but it is difficult to prove, and without evidence it seems rather futile to indulge in suspicions. I sincerely believe that the majority of competitions are handled fairly and squarely ; at least, that the intention to do so is there. Human nature, however, is very weak. It can so easily be swayed. There are dozens of ways how a judge can be influenced, even without fully realizing it himself, and I am of the opinion that there is no such thing as an absolutely impartial judge. In photographic contests it is often merely a toss-up which one of two or three of the minor exhibits deserves most credit, as they are all equally "good, bad, or indifferent." In such cases the exhibitor who has the strongest "pull"-a good, staunch friend among the jurors-will win out. It is quite natural that one would say for a friend the few "weighty" words that will drop the scale in his favor.

But to come to the point. There are three conditions which one should seriously consider before entering any competition. It may save one much time and unnecessary anxiety. ( 1) Who offers the prize, what is the purpose in offering it, and to what purpose will the prize pictures be used? ( 2) What are the personal characteristics of the judges, and what kind of work do they do themselves? (3) What is the trend of popular taste at present? Let us take up these questions one by one. First of all, we want to know whether the concern offering the prize is reliable, as it would be hardly worth while to go to any trouble for a fake competition. No doubt there are some of that kind, and we should make up our mind not to take part in any competition unless we are absolutely convinced of the responsibility of the parties concerned in it, or we merely foot ourselves, and life is too short for that. We readily understand that it makes quite a difference whether a prize is offered by a society,· club, "association for the advancement of photography,•• or by a business firm "for the advancement of business." The same style of picture would never do for both. We have to study the "specialty" the firm is dealing in (it may be a lens, a paper, or a mount), and see how we can make a picture that would specially suit its purposes. As for the judges, are they of the rare straightforward or of the diplo-

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matic kind ; are they narrow-minded merits of the pictures the other two or liberal ; can they only see good in gentlemen and I perfectly agreed, work that is made after a certain pat- although I considered some specimens tern and like their own, or can they of straight photography far superior detect sometl'Ung of merit in every to the prize winners. I felt, however, sincere effort ? We had better look that I had no right to assert my own up their record. Each man has his individual opinion; I would have been peculiarities. For instance, if I am on overruled, anyhow. the jury and encounter a picture that The members of the committee in is half photography and half pencil this instance were all extreme pictormarks, I make short work of it-1 ialists, and as they won nearly all the don't consider it at all. It is worth prizes, it was really useless. for anywhile knowing this. The people who body else to exhibit prints that were indulge in such commercial pleasant- not on the tonal order. ries could save themselves the trouble The present trend of taste runs of exhibiting at such an occasion. towards tone-and almost exclusively A clear, well-defined picture, no so. In the minor amateur contests armatter how good its composition may ranged by professional and popular be, has no chance whatever with a magazines, the clearly outlined picture fuzzytypist, and for the average ama- may still win out, but in all the larger teur it would be indeed love's labor competitions, even among the profeslost to compete in any exhibition that sionals there is a decided preference has a secessionist on the jury. If, on for tonal cotppositions. the other hand, you aspire to tonal This is hardly for the best of phoeffects, do not submit them to a jury tography. There is no particular obin which the older line of pictorialists jection to tone, as long as it remains are predominant. They have been so normal in its application; but it beoften sat upon that they may take a comes rather wierd if everything else special pleasure in treating you in is sacrificed to that one quality. It shows a complete stagnancy of ideas, similar fashion. At the Salon Club, where the judg- and if it should continue in this fashing is in the hands of artists who ion we will soon have nothing but an know mighty little about photography, endless chain of imitators, imitating every kind of manipulation is tabooed, each other. Yet there is very little to do about i.e., as long as it can be detected. They refused gum prints and accepted the it, so long as the majority of judges curious positive manipulations of are tonalists themselves. And all we can do if we want to win prizes is to Hillier, of Philadelphia. In every exhibition certain rules make fuzzytypes ourselves. Of course, it is merely a fad, and prevail, and it is well to know them. When I was judge at the last Brook- will die a natural death in due time ; lyn Institute exhibition, the commit- and the change will be a very sudden tee instructed me that the judging had one. In the meanwhile, the manufacto be solely for pictorial and not for turer could do a good deal to bring it photographic effect. My hands were about. He should cry halt! as it is in tied from the start. On the pictorial his own interest (he can't live from

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the upper crust alone). We had enough of freak criticism. The man with normal and sane ideas of beauty

(I don't mean commonplace ones) should also have his chance. And the sooner, the better I

NOTES ON THE PHOTOGRAPHY OF MEDICAL SPECIMENS. BY MALCOLM DEAN MILLER, A.B ., MD.

OTOGRAPHY offers the best means of reproducing medical specimens, because it allows of the production of fine detail, and, provided reasonable care is taken, the lens will not lie so grossly as the artist is sometimes unavoidably led to do. The pencil is, of course, superior when semi-diagrammatic or diagrammtic representations are desired, but for most work a good photograph will give a more truthful tone-value picture than can be easily · obtained with the pencil. It is the purpose- of this article to point out how any 'Physician with a little spare time and a suitable outfit can make his own prints for record or illustration. The first requisite is a good anastigmat lens, since only such a lens will permit sufficiently sharp pictures to be made. The focal length is immaterial, provided that the camera has enough bellows extension to allow copying in same size, i.e., twiCe the focal length. For all-around work, a 6-inch lens is very good for a 6% by 8% camera. The best type of box is the professional view camera with long bellows and both front and back, £0cus operated by rack and pinion. A tripod, a large cylindrical glass jar, a velvet-covered board to fit it, and couble-coated plates are also necessary.

The board mentioned above should be of soft wood and be covered on one side with white and on the other with black velvet, so that either a white or black ground may be obtained at will. Arrange the specimen on the board and pin it firmly in place. Immerse the preparation in water, dilute alcohol, or other clear fluid in the jar and place on the floor in the direct light from a window. Arrange reflectors of white card to lighten the shadows, because it is important to have the lighting very soft. Now put the camera on the tripod and strap the legs firmly to a board laid across a table or stand and weight down with books. Extend the bellows to 12 inches for copying full-size with a 6inch lens, and see that the specimen is also 12 inches from the lens. A sharp focus is very difficult to get, so it is a good plan to place on the specimen some metallic object with . sharply stamped design or lettering and focus on it through a magnifier by means of the back rack and pinion. Now stop down to flx6 or f 22, and give a full exposure for the shadows. Develop for four minutes in the fol. lowing : SoLUTION

P yrogallol . . . . . . . • . . . .. . . . . . Potass. metabisulphite .. . .. . . ' Vater to 16 oz.

I 2

oz. dr.

CAMERA AND DARK-ROOM SoLUTION

Sod. sulphite anhydrous ... 5 oz. Sod. carbonate anhydrous.. 2% oz. Water to 32 oz.

For immediate use take 2 dr. of A, 4 dr. of B and 12 oz. of water. If the exposure is not correct, make another rather than attempt to modify the plate in development. Uniformity of results is best attained by fitting the exposure to the developer and using the same always at standarq strength and at 65째 F. The negative should be clear and crisp, without sharp contrasts. Every tone of the specimen must be represented by a printable tone in the negative, and the effect as a whole should be soft. Much may be done to improve slightly defective pictures. If the shadow detail is foggy swab the plate immediately after fixing with a weak solution of potassium ferricyanide and wash well. This will clear the shadows or even remove some of the detail if allowed to act too long. The more common fault, however, is too great density in the lights with proper shadow detail. The lights must be cut down by some reducer which will act on them alone. Wash the plate for one hour after fixing and then immerse in the following until sufficiently reduced : Cerium sulphate (eerie) merck I oz. Sulphuric acid ( 1.84) ........ 짜.! oz. Distilled water .............. 20 oz.

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This solution keeps indefinitely, and may be used repeatedly. Wash in running water afterwards for fifteen minutes. Double-coated plates are necessary, because the plain plate will "plug" the highlights if enough exposure is givert for the shadows, whereas the double coating allows one to time the fast outer film for the darks, and the slow inner film prevents halation or spreading of the lights, and preserves all the delicate gradation. Prints should be made on glossy bromide or the glossy portrait grade of any of the popular developing papers. To prevent dark markings on the whites, a few drops per ounce of 10 per cent. potassium cyanide may be used as a restrainer in the paper developer. My own preference for this purpose is edinol : Edinol . . . . . . . . . . . . . . . . . . IS gr. Acetonsulphite (Bayer) ... 75 gr. Sodium carbonate (dry) .. II3 gr. Wate-r . . . . . . . . . . . . .. . . . . . 3lh oz. One drop 10 per cent. sol. potassium bromide.

White backgrounds generally need to be painted out on the negative with opaque, and black ones to be cleared with the ferricyanide-hypo mentioned above. This immersion method does away with all adventitious reflections and is really the only way that a satisfacto"ry picture may be obtained.

A SIMPLE, INEXPENSIVE METHOD OF ENLARGING FOR BEGINNERS. BY THOMAS A. SANDS.

In my rambles amongst societies and amateur photographe-rs generally I h~ve been struck with the great reluctance w1th which the majority of workers take up f.nlarging. Notwithstanding the many ex-

cellent methods for working this proces! given from time to time in this journal and in the" photographic press generally, the greater portion 6lf the army of amateurs fight shy of big work, and remain quarter

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or half plate workers to tht': end of the chapter. But why? To my mind, the great drawback to enlarging, from the average amateur's point of view, se'ems to be either its expense or the idea ·that elaborate apparatus and extra room are required for the work ; so I think, if I can convince readers that the expense' is not so weighty as it looks, and that the ordinary darkroom is the only place necessary for enlarging, there will" be no excuse left for the 4 x S workers to offer why they should not become possessed of IO x I2 or I6 x 20 pictures. It is with this object in view that I decided to write this article, and which, with the consent of our worthy editor, I hope will strike home and bear fruit in many a worker's dark-room. Enlarging, I will say at once (proof will follow), need not be a costly matter. A small outlay at the most, with careful and thoughtful manipulation, and there is no reason why any worker should not become a successful enlarger. I will treat of enlarging upon bromide paper. We are told that the percentage of pictures at our various exhibitions by this process is steadily but surely increasing, so that if prints made on bromide paper are good enough for the' Salon the process is certainly worthy of every amateur's attention; and further, I think it will be agreed that the great advantages offered by bromide printing, so far as the be'ginner is concerned,· are far· and away in advance of anything any other process of photography gives us, e. g., take the great sensitiveness of bromide paper, enabling the worker to be absolutely independent of daylight. What a boon in itself this is to some workers who are on the mill from early mom to dewy eve I But many other facilities in the beginner's favor art': offered by promide paper. It responds readily to the modifications of developer, its possibilities of tone, colour of image (brilliancy or softness at will), and the choice of papers-white or tinted, rough or smooth, thick or thin, enamel or matt surface. With all the-se advantages forming such an inducement to the beginner, he cannot do better than follow this process for his enlarging purposes, master it thoroughly, and I say he will not be disappointed. Now, the apparatus I wish to introduce

as ne'cessary for enlarging is not an elaborate or showy machine, but a simple, home-made, thoroughly reliable and satisfactory convenience, which I have uKd myself with success, and consequently can recommend. It comprises a plain deal board about 4 fe-et 6 inches long, IO or I2 inches wide, and, say, I inch thick; if thinner, it would require stripping underneath to keep it from warping out of the level. Of course, two 6-inch boards strapped together would answer just as well ; the size of this board is for e-nlarging from quarter-plate to IS x I2, and it forms tht': base bed or tramway upon which to fit the other part of the arrangement; cost about IS cents. Next we require a plain, narrow wood frame to take IS x I2 or the' largest size of print you are likely to require; no glass-simply a plain wood or stiff cardboard back. Such a frame is very cheaply made by any one handy with a tack and hammer, or could be bought at a frame-maker's for less than a quarter. Screw a foot or support to one' of the narrow ends of the frame, as Fig. I, the foot being made to exactly fit on the bed or tramway board, which is easily done by tht': two strips of wood tacked underneath the foot. at the proper distance. Put two scre-w-eyes in top of frame (these will serve their purpose later on). One screw-eye in one end of the foot support will, with a few turns, bind this frame anywhere along the tramway board perfectly firm and rigid (see Fig. I); of course, put another screweye at the other end if you wish, but I find one does tht': trick.

·''""•' J<•r €'ct,

,~,,

'LI

The next thing to do is to raise your camera so high off the tramway board that its lens comes exactly in the center of your frame. My camera, I found, wanted raising four inches, so that I procured an empty wood box from the confectioner's, took the

CAMERA AND DARK-ROOM hinged lid off, turned the box upside down; with a hole bored in its new top to take the tripod screw it made an excellent stand for the purpose; nail two upright strips of wood at each side of front of this stand, and about a foot high (se~ Fig. 2), and two strips underneath the stand to make it exactly slip the tramway board, and a screw-eye again will do the binding, as for the frame before mentioned; bore two small holes in the two upright strips of wood on top, to take two ordinary shawl pins about two inches long. ./~路

You now have your stand and frame in position on your base or tramway board, and they want connecting together at the top from路 the shawl pin to the screw-eye. Two umbrella ribs will effect this most admirably. Those who have beEn fortunate enough never to have seen an umbrella's

Fig-. -1

ribs bare, if they will look at Fig. 3 will see there is a small hole at either end. Push the shawl pins through the ends not pointed and the pointed ends run through the screweyes in the top of the frame. With your camera on its stand, you have then a piece of apparatus similar to Fig. 4, and you will see the frame can be movEd forwards or backwards on its baseboard for focussing purposes easily, the wire ribs working the while in the screw-Eyes. Throw your dark cloth over the umbrella ribs, and let it hang down each side, excluding all light, and, if necessary, have a small piece of cloth with hole in for lens to come through, and put this over the front of your camEra. You should now have a most excellent enlarging camera with splendid focussing arrangement complete. If any light is seen when looking

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through the frame towards lens, this can be easily rEctified by using extra coverings of any kind; but I have found in practice one need not be over-particular on this point, as it is almost impossible for the direct light to enter except through the lens. The negative is placed in the camera in place of the focussing screen, film side to lens. This can be don.e by removing the ground glass from its frame altogether and substituting the negative in its place, or placing the nEgative in the dark slide, drawing both shutters. The negative should occupy a perpendicular position, not horizontal. In the frame (Fig. I), of course, a sheet of ground-glass can be used for focussing upon, but as this comes expensive, wax-paper stretchEd out on a cut-out cardboard frame to fit inside Fig. I will cost next to nothing and give every satisfaction, or a piece of white card placed in position in Fig. I, and focussing can then be done with equal success under the cloth body of enlarger, looking on to the whitE card. To illumine the negative during focussing, I use an ordinary paraffin lamp, which answers very well, and can be moved to any part of the negative. It will not give, of course, a well-lit enlarged image all ovEr at the same time, but if placed in the center of negative, this part can easily be focussed, and afterwards the lamp moved to othEr parts of the negative if necessary, Behind the negative I always place a diffuser, made by cutting a 4% x 3% opening in a large piece of card, say about I5 x I2. Over this opEning paste a piece of wax tissue, keeping this close up to the negative during focussing and exposure. This card acts also as a preventive against any stray light finding its way through or round the camera or stand during exposure, and so fogging your paper. Now for light for exposure. Another visit to the confectioner's will st:cure an excellent light box. Cut away three parts of the front (see Fig. 5). Take an empty half-pound coffee tin, knock off the bottom, ope'n it out, and bend it round the inside of box (as sketch), run a piecE of wire through the box from side to side, to come just one inch higher than top of your negative. Now turn the box round and cut a slit in the top of back about two inches wide (seesketch, Fig. 路 5). Hang your seve'n-inch

CAMERA AND DARK-ROOM lengths of magn{.sium ribbon on the wire in center of box, place these three-quarter inch apart, having straightened them out as

well a.s possibk-of course, the top of magnesium wires slightly crooked, to clip the supporting wire. Now place this box six inches away from your diffuser at back of . negative (see Fig. 4), and all is ready for exposure. Having previously focussed, place your bromide paper in position; stop your lens down, if negative is thin, to F.zz at least, or, better still, put another piece of wax tissue over your diffuser opening, making it double thickness, and work with a large·r stop. Light the four wires with a match or t'ap{.r one after the other; do not try to do it simultaneously; there is no need. You will notice the smoke travels out at the back of your light box through the slit before mentioned; if you can carry it away up a chimney or somewhere, so much the b{.tter. Now develop you r enlargement, and I think you will be pleased with the result, and doubtless surprised. Whatever the quality of the negative', 11ever vary your number of wires; ngulate rather your · light by your stop and your wax-paper diffuser. Dodging can also be done on the wax paper. This method of lighting, I think all will agree', will give perfect and complete illumination to the n{.gative, and the diffusion, to my mind, is as near daylight as it is possible to get it. One word of caution. Do not expect that every negative you have will be' suitable for enlarging. The negative most suitable is a soft, sharp, clear negative:, not having either patches of clear glass shadows or dense, impenetrable high lights. It should be of good but not too great contrast, and should be full of gradation, detail in the shadows, and variety in the half-tones. Large work mean s, of course, largE· dishes. These can

be cheaply made by covering an ordinary wood box with oilcloth, a yard of which will cover half a dozen boxes suitable for developing or fixing 15 x 12 prints; or wood dishes, coated with equal parts of resin and paraffin wax will come cheap and answer evtry purpose. Wash large prints at the kitchen sink; stop up the outlet with a piece of pape·r, and a hole through this will regulate the water as it runs from the tap. This mode of enlarging has proved most successful in the hands of many b{.ginners to whom I have introduced it. I do not wish to lay claim to an original idea for a moment ; but I have found the proce·ss simple, reliable, and inexpensive, and can with confidence recommend it to any b{.ginners as worthy of their triaL-Amateur Photographer.

Camera Work-The Finest Photographic Publication in the World.

Camera ·wo rk has been before the pub· lie for three years, twelve numbers having been issued; and during that period its position as the leading exponent ofmodern pictorial photography throughout the world has been established beyond dispute. From Mr. Alfred Stieglitz we have received a circular reviewing the past and setting forth the program for 1906, from which we extract the following: PROSPECTUS FOR Igo6.

Number XIII will be devoted to the· work of the founders of the Viennese School-Messrs. Kuhn, Henneberg, and, vVatzek-and will contain twelve gravure proofs on Japan tissue, the plates of which were made in Europe under thepersonal supervision of Mr. Heinricb Kuhn and printed in New York under our own eyes. In addition to the gra-

CAMERA AND DARK-ROOM vures a number of half-tone illustrations will be included. Number XIV will be devoted to the recent work of Mr. Eduard J. Steichen. About twelve plates, including several examples of his interesting color-printing and color-photography, are to appear in it. The pictures will embrace some of Mr. Steichen's series of distinguished men and women, as also nudes, landscapes, etc., etc. Numbers XV and XVI will contain pictures by Joseph T. Keiley, George H. Seeley, Alvin Langdon Coburn, Frank Eugene, Sarah C. Sears, William B. Dyer and a number of others. REGULAR SUBSCRIPTION PRICE.

The subscription price of the regular issue of Camera Work is six dollars a year for America and six dollars and fifty cents for all foreign countries. Subscriptions at that price begin with current numbers. Single copies will cost three dollars upward, and all back numbers are at a premium. We earnestly advise that subscribers remit an extra fifty cents with the price of their subscriptions to pay for extra packing and registering, as we assume no responsibility after the magazine has left our hand!!. Registering and packing ensures safe delivery. Sample copies, $3.00 each. Back numbers are scarce. Prices quoted at request. CAMERA WORK SUPPLEMENT.

Supplementary to the regular edition of Number XV we have in preparation a series of additional plates, the work of Mr. Steichen, not heretofore published, which we shall issue simultaneously with that nu:nber. This supplement will contain about twelve to fifteen of these additional plates. Most of the photogravures are made from glass positives specially prepared for this edition by Mr. Steichen himself. The year's subscription for Numbers XIII, XIV, XV and XVI, and the supplement, together with the registering and packing of all the issues, will be ten dollars. To non-subscribers, and for extra copies of the Supplement, the price will be

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five dollars up to the date of publication. Thereafter the price will be raised considerably. All remittances, orders, etc., should be. addressed to Mr. Alfred Stieglitz, nn Madison avenue, New York, N. Y. A Gigantic Leas Concern. In a recent conversation with the adver tising manager of the Bausch & Lomb Op.. tical Company, the question was asked why more of the Bausch & Lomb lenses were not mtntioned in their announcements, andthe reply elicited a very interesting phase. of the development of the the great industry which has grown up in Rochesta during the last half century. "We havE. so many lenses," we are told,_ "that it seems almost impossible to bring out the various virtues of all with sufficient clearness in our business announce路 ments, and we have to be content with a. description of a few, asking our friends to send for our catalogs in ordtr that they may obtain for themselves a more complete description of the others. Being the. first manufacturers of photographic lenses in America, the Bausch & Lomb OpticaiCompany have steadily acquired thE.' most improved formnl:e for lens construction, and in addition to the lenses of their own. design, had placed in their hands the manufacture of the great series of lenses designed by the Carl Zeiss Optical Company in Europe, so that to-day their series in-. eludes lenses for every conceivable purpose, and of every type which practice has. shown to be practical. "In addition to the regular series with which the public is familiar and constant user, thE.ir product includes such extraordinary objectives as the Bausch & Lomb. portrait f-2.2 objective, the fastest longfocus photographic lens in the world, the. large lenses having a diameter of as much as 6% inches, capable of making full-sized heads by ordinary gas-light with only a ktr seconds' exposure. Thousands upon thousands of rapid pro)ection lenses for staeopticons. biographs, kinetoscopes, etc., are produced, as welt as those other still more highly specialized lmses required in the. making of moving-picture negatives, lenses. for photographic tia1e recorders, automatic;_

CAMERA AND DARK-ROOM photogr;.phic portrait machine;, photographing projectiles and other rapidly moving objects by electric spark; objectives for various scientific. instruments arE: among the products requiring the highest skill and accuracy, although but !itt!~ known to the general public. It ought to be some satisfaction for a photographer, whether he is making pictures as a pastime or for profit, to know that the lenses he use.s are produced in an institution of this kind and are examined and passed upon by those whose experience covers such a wide range in photographic optics. . "It is really wonderful how the testing and building of these lenses be'comes a part of the man's nature. A trained optician, after these lenses have 路 passed through his hands for years, is able to fairly fed the qualities of a lms and to adjust it and bring it up to its highest working efficiency with the same sort of intuition that a fine musician will tune the strings of his violin to the perfect accord which he requires for his finest efforts. Of cours~. it is necessary for him to havE: at hand those scientific aids in the way of apparatus and methods without which his skill would be ineffective. But these have long since become a matter of course in the Bausch & Lomb system of lens production. "If the users of lenses could take a little journey through the great factory and see with their own eyes the methods employed and the results accomplished, there would be no need for the advertising manager." A Strong Combination. Mr. Rudolf Eickemeyer, Jr., who has for some years been manager of the "Campbell Studio," at 564 Fifth avenue, New York, and路 who has won a world-wide reputation for artistic and be'autiful work, has purchased a half interest in this studio, and on December 1st the name of Davis"& Sanford will be changed to DAVIS & EICKEMEYER. As will be seen from the above announcement, Charles H. Davis, of Davis & Sanford fame, and Rudolf Eickemeyer, Jr., thE' achiever of so many pictorial triumphs, have joined hands and will bE: known to the public as "Davis & Eickemeyer." The general

opinion in photographic circles is that they will make a very strong combination. They have both an established reputation, and in their portraiture have walkEd on similar line;. They are both believers in straight photography and have but little patience with the impracticable whims of extreme pictorialism. They are both adhErents of the academic style in photography, the only one that will be permanmt and outlive all the contemporary "frills and fancies." Men like Davis & Eickemeyer .keep aloof from the路 contEntions of schools. Their aim is not the luxurious enjoyment of a fad, but to do something in their own way; they bring their own contribution of thought and study and aperience to the cause. They have created a style of their own that is based on all that is admirable in the: 路arts, and they have put it into practical use; but their principal aim is-as it should be of every perfect photographer-to be in living sympathy with the public, to give th~ public what it wants.

L. UBERFUHR.-"The Old Leaky Canal" is an excellent example of view photography. Seldom do we see such tEchnical perfection in the prints that are sent for criticism. The exposure of the print might have be'en a trifle less, which would have saved somE: of the shadow detail, but the negative has been fully timed, as the detail is visible when looking through the print. The point of view has been weil selected and the papt.r selected well adapted to the quality of the negative. We would like to see some of your pictorial work. AMY E. CoWING smds six prints, one of which we reproduce. Although only a beginner, the work shows good taste as well as technical skill. The: negatives appear to have been correctly timed, but the prints have all been slightly over-timed, especially the solio. Better blacks and whites would also have been obtained on the developing papers with a shorter exposure. The glossy papers all show abrasion marks in the

OlD LEAKY CAl!IAL

L. Uberfuhr

Il!l GREEl!l PASTURES Stop F-r6, ~ sec. ; bright sun.

Amy E. Cowing Print on glossy velox

CAMERA AND DARK-ROOM whites, and these surface markings, which are caused by friction of the paper in the packages, can be frased after the print has 'been dried by rubbing with a tuft of cotton moistened in alcohol or water. Another defect in several of the prints is an expanse of white paper to rep~ent the sky. If you cannot secure clouds in your negatives the sky should be toned down in the printing or suitable clouds printed in from ·a separate negative. RICHARD CoLLINs, N. H.-We would never think of giving I-Iooth part of a second exposure to a landscape in which there is dense foliage (1-5th would be more like the time), and the fact that you have a fairly good negative of "The 'Gorge" is due to the large stop (f-8) and the fast plate used.· However, you can get a far better print from that nega· live. The Rotox paper has been greatly over-exposed, resulting in a flat, mealy brown print, whereas that paper is capa· ble of yielding pure black and white prints. Try giving a shorter exposure on the paper and use no more bromide in the developer than just keeps the whites clear. "The Milk Maid" is also a fairly good negative, perhaps trifle -over-developed, but ·the pril1t, this time -on velvet vel ox, has :the same dull ap· pearance. It looks as -if the qeveloper you used for the prints contained too much alkali in proportion to reducer. Velox carbon special would give you a far better result from such a negativ~. The subject is well composed and would make a good enlargement. Shading the foreground and toning down the sky would enhance the effect. H. W. MooN.-"A Sail on Erie Canal" is a very pretty view and no doubt the bright and snappy picture would be praised by some. The print, which is on glossy cyko, we would like to have reproduced, only it is so wrong in values. Granted that r-soth of a second was the slowest speed you dared to use on the moving yacht, there was no necessity for stopping down to f-r6, as your lens is apparently a good one, everything, from foreground to horizon being sharply deli ned. If you had used f-8 you would not then have had to force the development until the high lights became ::.o dense

that the roadway, the awning of the yacht and the 'water of the _canal is nothing but white paper, while everything in the shadow is inky black. Bear in mind also that all manufacturers of papers supply a grade known as soft or special for use with contrasty negatives, while the slow or hard is for soft, thin negatives. It is a good plan to keep both on hand unless one can make uniform negatives. W. K. FRACKER.-The time, lA, se~ond with f-8, is about right, although the rather harsh contrasts in the ·print, "Rocky River," shows that lh second would have been none too much. Such a combination as sky, water, trees and rocks in light and shade is certainly a hard proposition and more errors in exposure and spoiled plates are made on such subjects than any other. If the .picture was made by way of experiment, you have succeeded pretty well for a beginner, but the tangled masses of rocks and roots of trees is not picturesque and there is no one point of interest. You have demonstrated to your own satisfaction .thit you can make a good negative and a good print, you now want to be mOl"e fastidious in the selection of your subjects.; study good pictures by others and see that there. is a point of interest or reason for its existence in every picture you make. J, W. l(ENNEDY.-"Qil Wells in Action• is a good view of a familiar scene in central Ohio. · Too' bad that the three' men included in the view wen not also "in action," that is, do{ng someriling, and not staring at the camera. A subject of this kind, which has no. pretens~ to pictorial qu-;uity, would look far better printed on one of · the smooth-surfaced papers. The yellow stain on thf other print was no doubt caused by a bubble of air underneath the print in the fixing bath. In working developing papers, the developer should be rinsed off before the' print is placed in the hypo and the print movfd about in the hypo for a moment to ensure even action and tke exclusion of air bells. A. F. RANDOLPH.-"The PridE of the Stable" is an excellent photograph of a handsome bay mare with a boy mounted

CAMERA AND DARK-ROOM on her back. The position is fine; a horse always seems to show up better when taken three-quartu view than if taken full side view. Of the two papers, we like the brown-toned aristo matt the best for the subject, and have no fai.tlt to find with any <>f the work b~tt the trimming. Because your 6¥.! x 8¥.! plate included several implements and heaps of rubbish, is no reason why you should spoil a good picture by printing the whole negative-even if yoLt think you mLtst fill the space' on the embossed mount. Trimmed down, two inches ·off the ldt and aboLtt two off the bottom, yoLt have a really good pictLtre, which ought to be mounted on ~ plain buff-colored card. CHAS. G. BEGG.-As it is, "In the Canadian Lake Districts" makes a nice decorative design and as a picture it is only lacking in tonal quality to make it a success. You may take it as an axiom that no tree trunk could be so black and sky so white at one and the same time. Where there is bright light there is always visible detail and it is the first requirement of good photography to get that detail in the negative. It can be done and we have repeatedly given the formula in these pages. (1) Sufficient -exposure; (2) starting developmnt with a weak solution until the detail is out

11'1 THE CANADIAN LAKE DISTRICTS Chas. G. Begg

34.1

and then building up to the desired density with the normal developer; (3) selecting a printing paper that is adapted to the strength of . the negative, Skies that are just so much whi~e J>!lper, as in your print, might as well be trimmed off, but in the printing it is an easy- mat-· ter to tone down the sky or even to add · clouds, and on such subjects it is not only well worth the trouble but imperative to success. Your other query answered by let'ter. ARTHUR H. Bt.ACK.-"Thirsty," two boys stretched out flat on the ground, in the act of drinking from a tiny stream, does not impress us as being either re'alistic or pictorial. True, the focussing is vuy carefully concentrated on the point of interest, but the line of light on the stones in the bed of the stre'am and continued across the field leads the eye away to nothing but an indistinct line of tree stumps. Pointing the camera down from too high a level gives an impression of a landslide, and the boys really appear as if tumbling down a hill. The photography is good, howeve'r, and we believe that you can do better pictorially. En. A. BENISCH.-"Quiet Hours on tl!e Farm." This is a well-composed picture of an old lady reading a newspaper in the shade of a tree. There are just enough farming utensils visible to carry out the title and so far you have done well; but you should . know by this time that harsh contrast of black and white' does not and neve r will represent sunlight and shade. This fault is even more glaring in your · canadian Landscape." Pure white paper does not represent water, and never was a cow so black and white. Now, the only remedy for this common error ·is sufficient exposu re in the first place', then development in a more dilute developer with little or no bromide, and lastly printing on a paper that is adapted to the quality of the negative. In your two pictures it is plain to be seen that the negatives are too contrasty and you have made matters worse by printing on carbon velox, a paper that is made especially for getting the best results from thin, flat negatives. Special velox or any other more' rap idly developing paper will give a mon harmonious print from a contrasty negative.

342

CAMERA AND DARK-ROO}vl

lfill811 Tinting Photographs. EDwARD CHAPIN, M.D.-Both carbon velox and royal bromide may be tinted with water colors, but the surface of the print should first be gone over with a dilute solution of ox-gall. The secret of success in the coloring of all photographs is to apply the first washes of color very weak indeed. It is easier to build up than to remove a color that has been applied too strong, and, after all, it is a mere suggestion of color that is wanted. Yellow Negatives. F. S.-The ·yellow color of the · film is caused by using a pyro or other devdoper which oxidizes readily and which is pre-· pared with too little or an impure sulphite of soda. Stain is also caused by handling the film or plate too much during the process of development and exposing it to the air, also by not washing off the developer before fhe film is transferred to the fixing bath. '{he printing quality of such a negative you will find exce-llent for platinum or the more rapid developing papers ; in fact, it is just such a color as many try to get in their negativts. (2) Regarding the surface markings on the transparent portions of the film, we believe' they are caused by friction in rolling and unrolling the film. Film should be handled and rolled carefully and not too tightly. The markings will gtnerally yield to vigorous rubbing with a tuft of cotton dipped in alcohol after the film has been dried. Film should always be de-veloped as soon after exposure as convenient. Gold Toning. Miss E. STEARNS.- The sickly blue tone of the print is not caused by thE. bath being too weak in gold; in fact, it is the opposite ; and you will find that one grain of gold to 48 ounces of water will work better. The color is due to you r adding too much borax. K e-ep a bit of litmus paper in the bath and only add the borax solution gradually until

the paper assumes a purplish tingt.; the more acid the bath, the redder the tones. The Film is Mildewed. ]. E. CHILDS.-The transparent patches on the film, on which you say the develope·r did not seem to act, is th(; effect of moisture or dampness which has affected the film previous to exposure. The film may have beell old when procured from your dealer and stored in a damp place, or you may have allowtd it to get damp while traveling. We have had occasional results such as this and assure you that it could not be caused by careless development. If you will send the manufacturers a section of the film and give them the particulars of its . usE. and the name of your dealer, no doubt they will replace the film. Applying the DeveiOiJer and Lens Terms Defined. FRED. STROHSCHEIM.-{I) It makes no difference whether you immerse the plate in the developu or l>Our the developer over the plate. It is more important to pass a tuft of cotton or the palm of the hand over the plate as soon as it is place·d in the developer, so as to be sure there an no air bells on the surface. (2) Quarter, half and whole plate are the terms used in Great Britain to denote 314 x414, 414 x6lh, and 61h x 81h, respE.ctively. (3) The terms symmetrical and rectilinear, as applied to lenses, are practically synonymous; convertible means a rectilinear lens, the front and back combinations of which are of dissimilar foci, so that by using either combination singly or together onE. has the advantages of three lenses of different focal length. The ordinary symmetrical, having both combinations of the same or almost equal foci, allows us to obtain only tw<> lenses of different focus. Combined Toning and Fixing Bath. P. A. CoNNER.-The following combined bath is as good as any:

A. Ammonium sulphocyanide ... . ... IS Sodium chloride (salt) . .... ..... 30 Hypo ....... . . .. . . .. . .......... 2 \,Yater ... .. .. . . . ..... ... ... .... IO

grains. grain s. ouncts. ounces.

B. Gold chloride. . . . . . . . . . . . . . . . . . . . I grain. V.' ater . . ..... . . . . . . .. . .. . .. .. to ¥.! ounce. For use, slowly add B to A.

TALES FROM MOTHER GOOSE One of three Prints awarded Second Prize in Genre Competition

Jos. R. lalick

TEN CENTS THE COPY

Volume VIU.

New York, November, J905. Edited by }. P.

361

Broadway

No. H

CHALMERS.

Published on the first of every month by THE AMERICAN PHOTOGRAPHIC PUBLISHING COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office u second claas mail matter. Subscription price, One dollar per year in advance. Foreign subscription price soh. $1.25) Positively not connected with any photographic stock house. Matter ahoultl rf'llch office by the 15th of month preceding date of publication. Original MSS. solicited

FILM TROUBLES AND HINTS TO HAND CAMERA USERS. ITHIN the past few weeks by the handling of the film before the I have received a number developer has acted to any great exof letters asking for en- tent. If a normal solution is used at lightenment as to the cause the start the greatest dexterity should or a remedy for various defects and be exercised to simultaneously wet the failures in film negatives. I therefore whole surface by passing the palm of summarize the replies in this article 路 the hand, or a tuft of cotton wet with with the hope that other readers of the developer, over the surface of the film. To dip the film in water before CAMERA AND DARK RooM may profit thereby, although it is unlikely that immersing in the developer is only those who neglect to read the very ex- courting the evil, unless equal care is plicit directions sent out with each taken to thoroughly wet the whole surKodak will trouble to read anything face. I do not approve of the previous wetting, but always use a very else on the subject. One reader wants to know the cause dilute developer and plenty of it in of transparent spots. In ninety-nine a large dish, and have developed huncases out of a hundred these are caused dreds of films without any air bells by air bells forming when the film is showing-, The one chance out of a immersed in the developer, especially hundred is that these transparent spots if it is handled in the full length of may be caused by undissolved crystals the roll and the developer is a strong of hypo resting on the surface of the solution. By starting development in film in the fixing bath. Another, though very uncommon a very weak solution the chances are defect, is larg-e, uneven transparent.or that the air bells will get broken up

CAMERA AND DARK-ROOM

Homeward

R. E. Weeks.

weak patches. These are 'ca.used by dampness or mildew of the film. This is one defect that may be traced back to the manufacturer, although it may be caused by careless handling or storage in a damp place. More common is the complaint o f black markings on the portions of the film that should be transpa rent. These are fricti on marks, of the same nature as those we encounter when developing glossy gas lig ht papers. When these marks occur in straig ht lines running across th e film they may certainly be la id to one of the following causes : Ca reless loading of the camera, causing the spool to bind and pull too tightly over the spi ndle, or, what is more likely, the film has beeq. unroll ed while th e came ra was closed and the bellows, pressing against the film , was the source of the friction. Hard rubbing with cotton and alcohol or a weak solution of cyanide wi ll re-

move such markings to some extent. It is best, however, to avoid them by unrolling the next film immediately after an exposure has been made and while the bellows is distended ; such a course also always ensures the camera being in readiness and obviates any chance of double exposu re. A n eminent clergyman sends me a roll of film , one of several exposed in P alestine, on which the images are so weak that he thinks it was the fault of the film. I have since learned that these films were developed in the Kodak developing machine by a careful operator and the exposures, all under-timed , were developed as far as possible. The owner of the film requested that I intensify them , but in such a case it is hopeless. There is no deposit in the shadows on which to build, and to pile more density on the

Coasting

Jos. R. Iclick.

RETUR!IIlCG TO THE FOLD

W. H. Zerbe

A HALT FOR LUNCH

W. H . Zerbe

CAMERA AND DARK-ROOM high-lights would only make matters worse. ' All he can do in his case is to use carbon velox or other slow, -contrasty developing paper and resolve that next time he sets out on a journey he will test the speed of the shutter in relation to the diaphragm he intends using. Yes, under-exposure is the cause of more failures than other incidental -causes. The article by Mr. Claudy in this month's number should be read with profit. Users of cameras should become familiar with the uses and values of stops. The shutters of most Kodaks and other hand cameras work altogether too fast and only permit of fully timed negatives if the largest stop is used and the day is bright.

When the principal object is at all close, or if home portraiture is attempted, a time exposure should mvariably be given; but not with the camera held in the hand, as we have known some beginners to do. For an out-door portrait in the shade an exposure of one second (and for indoors in an ordinary room, thirty seconds) will be about right. It is quite possible to get uniform negatives, even with varied exposures, but some care must be exercised in judging the intensity of the light. I might add that the developing machine or tank development invariably produces the best result:;, even with mixed exposures.

J. P.

CHALMERS.

CORRECT DIAPHRAGMS. BY C. H. CLAUDY.

The great problem in photography,

the one particular puzzle which we are all trying to solve all the time,

THE EVENING MEAL

with more or less success, is that of exposu re. Given a correct exposure -not a fairly correctly made or pretty

Joa. R. }&lick.

THE APPROACHING STORM

R. E. Weeks

CAMERA AND DARK-ROOM near right one, but an exposure which approaches closely to the absolute quantity which should be given to any particular subject, and a fine negative follows as a matter of course, whether we juggle it, develop it in a tank, or by the factorial system. I would not be understood as saying that a correct exposure cannot be ruined in development, but as stating that even a slight

GOSSIP

knowledge of development will produce a much finer negative if the plate has been correctly exposed, than a better knowledge can get from an incorrect exposure. The aids to the solution of the problem of exposure are simply countless. We have tables of all kinds-meters, good, bad and indifferent, books of instruction, papers of elucidation, and magazine articl es by the score, yet still

the constant cry is for some method by which the absolute exposure can be definitely determined in each and every case. But the time-joked cry of the baby is for the moon, and yet babies have lived and moved and had their being with more or less success for several centuries, and none of them, so far as is known, ever had the moon to play with! And so I think it

W. H . Zerbe

ts with photographers-although we beg for light on the subject, we go ahead making negatives in divers ways and have, on the whole, pretty good success. But some of us, who depend 011ly on experience to tell us what exposure we should give, have more success than others, who have had perhaps even greater experience than we have. Why is this? I take it that the factors on which they de-

CAMERA AND DARK-ROOM pend in making a formula for exposure are incorrect. Take such a man and provide him with a new lens, new shutter and new plates, and he is all at sea. \Vhat, then, are the factors of exposure? I do not mean those usually so named-time of day, time of year, actinic value of subject, state of atmosphere, depth of tint in shadows, etc., but the factors 路which are definite, or should be, and which are more or less under the control of the photographer. These factors are, I take it, 1. Size of lens opening. 2. Time of exposure. 3路 Speed of plate. Only three, and very simple, yet on these three rocks many a photographic craft has split and sunk, or drifted on, a wreck. In previous issues of this magazine I have endeavored to show how th~ speed of a shutter could be tested, and illustrated some of the variations from the normal, marked speed, which some shutters to which I had access were capable. I would now point out that such variations are of the greatest importance, if unknown. If you imagine that you are giving a twentyfifth of a second exposure, when in reality you are giving a tenth, it is obvious that, one way or the other, the plate is under or overexposedand supposing one of these exposures is correct, the other is two and onehalf times out of the way. But the worst of it comes in a case like this : You give a twenty-fifth (which is a tenth) at your largest stop U. S. 4路 You make a similar picture, which you think demands the same exposure, only here you stop U. S. 16, and consequently want to increase your time

351

four times, making it a sixth of a sec'''ld (approximately). You set your !:butter to a sixth, or a fifth, and expose ; but the perfidious instrument has given you perhaps the same exposure as before, a twenty-fifth of a second supposedly, a tenth actually. H~re you have a. tenth given, when what was really required was four times the actual first exposure, or four- 路 tenths, and your plate is four times less exposed than you expected. Now, if you add to this the possible fact that "the diaphragm was smaller than it should be at U.S. 16, you have still further underexposed. And then, of course, you wonder why you get a fair negative under one set of circumstances, and not the same result under what is apparently th~ same set of conditions, with stop and exposure only varied according to rule! It is therefore vitally important to know what the true speeds are, and if you use an iris diaphragm shutter the problem is even more complicated, since these shutters-some of themexpose a marked tenth, for instance, much faster at a small opening than a large one! But if you do not know the absolute value of your stops, and thoroughly understand them, your knowledge of your shutter will not help much. If you are used to a lens which you thinks works at U. S. 4 or F 8, but which really works at U. S. 8 or F 11, and you have occasion to use a new lens, or a borrowed lens, which really works at the opening marked, you will be always a hundred per cent. off in your exposures until you learn the rights of it. And while I do not want to get the name of an iconoclast from the merits of the goods put out by many of our excellent factories,

352

CAMERA AND DARK-ROOM

truth compels me to say tltat in making tests I have found many diaphragms mismarked, and badly so. One case I recall ; a man bought a cheap camera-twelve-dollar outfitand came to me in great excitement. He knew a little-just enough to get tangled. He thought he had secured a wonderful bargain, because, forsooth, the diaphragm indicator pointed to "4" at about the middle of the scale and the full opening of the lens was two or three times as large as that wrongly marked diaphragm. He imagined he had a lens which worked at about F 3 ! But it was only F 8 R. R., with a diaphragm scale meant for some other shutter. I contend, then, that if you have enough interest in working with known factors to test your shutter, you should also test your diaphragm scale, and, if it is not correct, re-mark it. Now, this is not a difficult thing to do, in any one of several ways. You will require a candle, a piece of pasteboard, a cap to your lens, a pair of fine dividers or inside calipers, a pencil and a rea~ or so of paper to make calculations on, and a knowledge of the extraction of a square root ; if you haven't this last, you can manage without it. The first thing you want to know about your stops is the actual focal value of your lens-what its opening really is. In a single lens this can be ascertained by dividing the focal length of the lens-its focus on infinity-by the diameter of the lens. Thus, if a single lens has a focus of eight inches and a diameter of half an inch, its focal value is 16--known as F 16. In a doublet or other compound lens this method will not do, as the front lens is partially a condensing- lens and

the diameter of the stop will not give the true value. Cut a small piece of bromide paper to fit inside the lens cap. Fit the cap over the lens with the sensitive side of the bromide paper next the glass. Substitute for the ground glass of the camera a piece of cardboard, with a pinhole in the cen- 路 ter. Having the lens focussed on infinity, set the camera up with a candle flame behind the pinhole. Leave for a minute, then develop the bromide paper.. The size of the dark circle thus resulting on the paper is the figure to be used as a divisor of the focal length to find the focal value of the largest opening of the lens. The result of this calculation should be marked on the new diaphragm scale (a piece of celluloid makes a good one) at the point where the indicator rests when the diaphragm cannot be seen from the front or rear of the lens when looking through it. Now, for the rest of the stops there are two methods of calculation. The U. S. stops are arbitrary numbers designating openings which bear relation to each other according to their areas. Thus, U. S. 8 is half the area of U. S. 4-not, as is sometimes thought, half the diameter. Now, the areas of circles are proportional to the squares of their diameters. So, to obtain the diameter of a circle which shall be half the area of another, we proceed as follows : We square the diameter of the known stop; for instance, if it is three inches, the square is nine inches ; we halve this square, and extract the square root; half of nine is four and one-half, and the square root of 4.50 is 2. I, approximately. Therefore, if three inches be our stop of F 8. which is U. S. 4, our U. S. 8 or F I I will be 2. I inches, approximate-

CAMERA AND DARK-ROOM

ly. In this way, by squaring the diameter of the known stop, halving it and extracting the square root of the result, we get the diameter of the next smaller stop, according -to the U. S. system. But the other method, which, for want of a better term, may be called the graphic method, may be easier to some. In place of the lens cap with the bromide paper, stretch a piece of thin tissue across the front of the lens, as close to it as possible. Have the lens focussed on infinity, and the cardboard screen with the pinhole, and the candle arranged as before. Now, we know the actual F value of the lens from our first experiment. We will assume that the lens was eight inches focus, and that the lens worked at F 8, so that our first test gave us a dark circle on the bromide paper of one inch in diameter. Now the second recognized stop, after F 8, in the F system is F I I (and a small fraction, which may be neglected). Divide the focal length of the lens, in this case eight inches, by eleven, getting eightelevenths of an inch, which must be the diameter of the next stop, of F I I. Now contract the iris diaphragm in the lens until the image circle on the tissue' paper is just eight-elevenths (approximately 23 thirty-seconds of an .inch) in diameter. This can be accurately ascertained with the dividers. Then mark the point at which the diaphragm indicator came to rest, as F I 1 or U. S. 8. The next stop in the F system is F 16; and, curiously enough, the next stop in the U. S. system is I6 also. It is the only meeting point of the two systems. Now a sixteenth of eight is one-half-the diameter of the F 16 stop in the eight-

353

inch lens we are considering. Consequently, we must narrow down the diaphragm until the image on the tissue is just half an inch across, and mark that point of the indicator as F 16. In this way you can go through all the stops, and determine for yourself the proper size of each one. After it is done, compare, by means of the inside calipers, the size of the stops as they were marked when the lens came to you, with your own determinations. Possi~ly they will be the same; if so, you will have increased confidence in your lens maker. If not, you have the satisfaction of know.. ing that you are now correct. In closing, I would like to call your attention to one little fact which you may not know. The meeting point of the two systems is, as has been said, at F and U. S. I6. This being so, I6 is the magic number by which one system can be converted into the other. If you have a stop of which you know the F value, and want to know the U. S. number, you square it and divide by I6. For instance, to arrive at the U. S. value of F 6.8 you multiply 6.8 by 6.8, which gives 46.24 as a result. Dividing this by 16 gives 2.89 as a quotient, which is the U. S. value of F 6.8; it is usually written U. S. 2.9. The contrary is also true. If you have a U. S. number of which you desire to know the F value, you multiply it by 16 and extract the square root. For instance, you want to know the F value of U. S. 32. Multiplying by I6 gives 5I2, the square root of which is 22.5 approximately, and therefore the F value of U. S. 32 is F 22.5. This simple rule is often a convenience; and, any way, its understanding presupposes a knowledge of stops. Hence, it is a good thing to learn.

CAMERA AND DARK-ROOM

.354

MAKING PERFECT SLIDES FOR THE LANTERN. BY A. J. JARMAN.

NE branch of the photographic art that interests the amateur at this time of the year particularly is the making of transparencies for use in the lantern, especially if the pictures so made are from choice negatives that the amateur has produced during a summer visit to some interesting place, or during the summer recreatio.n. It will not matter whether the views are made upon plates or films, or whether they are 4 x 5 or 5 x 7; there is sure to be some suitable little spot upon such negatives where a picture can be obtained by contact with a good quality lantern plate. It may so happen that in a 5 x 7 negative there is a rustic bridge, with a running stream beneath, perhaps the tail-race of a rustic wheel, with a few bushes near; if so, that will be just the kind of view that will produce an excellent transparency. Sometimes it ,is found that among many of the 4 x 5 negatives that we made on our outing in the country, or maybe in the street of a village, that there are some that possess the right quality for lantern slide making, and that tl)e whole of the space is not required. All that will be necessary in such a case will be to place the sensitive plate so as to cover the desired view. .Now, a careful slide maker always backs his plates. It is only wh en a backing is used that is in optical contact with the glass that crisp pos itives or negatives can be produced. If backing th e plates is too much trou-

ble, then place negative and plate in a printing frame backed with a piece of dead black paper previous to making the exposure. This prevents, to some extent, the effect of halation, which at all times gives the effect of a blurred image. As to the best kind of lantern plate to use it is difficult to state, because all of the makes of such plates to-day are good. Plates for such work are made now whereby they can be printed from the negative like printing out paper, and simply toned and fixed. The best advice that can be given here is for tl1e amateur to take a certain kind of plate and adhere to the method of working, until he is master of the right exposure and developing. If it is desired to be successful, thoroughly successful, do not try every kind of developer that is advised; learn to make up your own developer, become master of it; there will be found then po difficulty in making a good and successful lantern plate. The formulre here given can be relied upon for giving good and s:-tisfacfory results, and should the resultant transparency sometimes be a little hard, or too contrasty, it can be . reduced to the right density with advantage. In the first place, see that the dishes and trays to be used for transparency work are thoroughly clean; make up a new fixing bath as here given; be sure there is no stray light in the dark-room during all the operations, then there will be no fear of foggi ng, the shadows will be always clean. Should the desire be that the

CAMERA AND DARK-ROOA!

whole of a view must be shown upon the slide, then there will be no alternative but to make a transparency by reduction by use of a camera and lens. For simple working there is no better plan than selecting a suitable part of the negatives as described. Procure several clean glass bottles of about twenty-ounce capacity, fitted with clean corks ; provide also a large bottle of distilled water, for the reason that more failures are due to the use of impure water than from many other sources. Dissolve in the following order in one of the bottles :

thoroughly with a strip of glass. The resultant clear solution is ready for use. The following is also an excellent developer for lantern plates, but works more s'lowly. A rich, warm black tone is obtained by its use. Make up the following: (I.)

Warm distilled water. . . . . • IO Hydrochinone ............ I8o C. P. sulphite of soda...... 2 Potassium bromide . . . . . . . IO Sulphuric acid . . . . . . . . . . . . IO

ounce'S grains ounces grains drops

30 grains

As soon as the mixture is well incorporated add another six ounces of distilled water.

I6 ounces

(2.)

(I.)

Metol . . . . . . . . . . . . . . . . . . . . Warm distilled water. . . . . . Hydrochinone . . . . . . . . . . . . . Pure sulphite of soda. . . . . .

355

30 grains ¥., ounce

Add the sulphite after the metal and hydrochinone are dissolved ; now make up a solution of carbonate of soda, also mixed with distilled water: (2.)

Pure carbonate of soda.... I ounce Distilled wate'r . . . . . . . . . . . • 8 ounces (3.)

Potassium bromide . . . . . . . . ¥., ounce Pure water . . . . . . . . . . . . . . . 6 ounces

The fixing bath must be made up and kept for use in a separate vessel after mixing; any sediment should be allowed to subside, retaining that which is clean and clear, pure. Fixing Bath. Warm water ............... 24 ounces Sodium hyposulphite . . . . . . % pound Sulphite of soda •.......... I20 grains

Stir well as soon as dissolved; add the following mixture made up of Warm water .. . . .. .. . . .. .. 8 ounces Chrome alum (commercial) % ounce

Add this to the hypo solution, mix

Carbonate of soda (crystals) I ounce Carbonate of potash. . . . . . . . I ounce Water .................... I6 ounces

The necessary solutions now being made up, take the negative from which the transparency is to be made, place it in an ordinary printing frame and repair to the dark-room. Open the box of lantern plates it is intended to use, brush the face of the negative with a clean, flat camel's hair brush, and the plate as well. Adjust the plate upon that part of the negative it is intended to reproduce. Place over it a piece of black paper, press the backboard into position, and hitch the spring tight. Now make the exposure to a good source of light, such as a full gas jet of about sixteen candlepower; make a test by giving, say, four or five seconds at two feet from the light. Having made the exposure, take of the No. I developing formula two ounces, No. 2 soda solution two ounces, add a few drops of No.3 (the bromide solution), or, in place of the bromide solution, use four drops ·of

CAMERA AND DARK-ROOM

citric acid to one ounce of water, rock can be used to bring up the image to the tray so as to mix the contents, full density. then insert the exposed plate ; rock The fixing of the image is carried the tray gently; in a few seconds the out in the same manner as described, image will appear, and in the course and well washed, wiped with wet abof half a minute to one minute the de- sorbent cotten ; a final rinse under the velopment will be complete. Wash faucet will complete the production of the plate well under the faucet, then the transparency, when it must be place in the fixing bath, and allow the placed in a rack to dry away from plate to remain some time longer in dust. The mounting of the plate is this bath than is necessary to dissolve the next operation, which consists simor clear out the creamy portion of the ply in placing a suitable cut-out mat plate. As soon as this is complete, upon the film, then covering that with wash the plate well for half an hour, a well-cleaned piece of thin glass of then wipe the surface over very light- the same quality as that upon which ly with a tuft of wet absorbent cotton the image has been made, and bindwhile the water is still running upon ing the whole together with strips it; then place in a rack to dry. !lf black gummed paper, which can To use the hydrochinone developer, be purchased at any photographic expose the plate in the same manner stock dealer's, where the cut-out mats as for the metol combined developer, are obtained. The mats can be puronly the exposure must be longer- chased at twenty cents for two dozen, from eight to ten seconds. The de- and the cover plates at twenty-five velopment will be a little slower. Take cents per dozen. The transparency of No. 1 two ounces by measure and will now be ready for use in the lanone and one-half ounces of No. 2. If tern. Of course, if any coloring of the image should develop at a slightly the slide is to be done, it must be carrapid rate, due to the negative being ried out before the binding up takes held too close to the light, or because place, upon the film itself, and allowed the negative is very clear in the shad- ta become perfectly dry before bindows, a few drops of the bromide solu- ing. Never attempt to bind the cover tion must be added to the developer. plate to the transparency without the This will assist slightly in retarding mat, because this answers the purpose the development, but if the image de- of a separator and prevents the picture velops up with good contrast, con- and cover plate from becoming stuck tinue development until complete. If together by damp or moisture, which more plates are to be developed, start would assuredly spoil the transparthem in this developer without the ad- ency. dition of fresh solution ; in fact, it is The description given is only for at all times a good plan to start the the making of lantern slides by condevelopment of a plate in the devel- tact and development, but there are oper that has been previously used. other ways of making lantern slides. This plan will save many a plate, es- One method is to produce them by repecially if the exposure has been a lit- duction in the camera, the other is to tle too long; then, if necessary, a sec- print them out by a dirrct printing 路ond tray containing fresh developer process, either by the carbon process

CAMERA AND DARK-ROOM <>r by the use of a simple collodion -emulsion. To enter into the carbon process here would occupy too much space, but for the benefit of those amateurs who care to make their own plates the following simple and certain formula is given. In the first place, provide half a dozen amber-col<>red six-ounce glass bottles, clean them out well, dry them, and fit a new <:ork to each. Prepare the following: No. r. Nitrate of silver ......... 120 grains Distilled water . . . . . . . . . . 2 drachms

This mixture is best made in a small <:hemical flask, so that the dissolving may be aided by heat. Add two <l.rachms of pure alcohol; when all the silver nitrate is dissolved it will be ready for use. No. 2. Chloride of strontium. . . . . . Pure alcohol No. J. Citric acid . . . . . . . . . . . . . . . . Pure alcohol . . . . . . . . . . . . . .

64 grains 2

ounces

64 grains 2

ounces

Obtain six ounces of plain collodion from the stock dealers ; take two <>unces of this, add thereto thirty drops <>f No. 1, shake the mixture, then add <>ne drachm of No. 2, a few drops at a time, shaking the mixture occasion-ally; then add half a drachm of No. 3路 Give the bottle containing this a good shaking. The mixture will be ready for use within half an hour. Clean a dozen of cut lantern slide plates with a mixture of alcohol one part, strong water ammonia one part, water four parts. Polish the glass well with a new chamois leather, brush around the 路edges of the plates for about one~ighth of an inch a weak solution of albumen-the white of one egg to ~ight ounces of water; when dry, coat the plates with the collodio-chlorirle

357

of silver by pouring a small pool of it upon the center of the plate, allowing it to run to each corner by tilting the plate, then drain the excess from one corner into the bottle it was poured from, taking care to rock the plate backwards and forwards, so as to prevent the collodion running in streaks. In the course of five minutes the plate will be dry. It is needless to say that the operation of coating and drying of these plates must be carried on in a safe light, not necessarily ruby; a gas jet will do, with a sheet of orange paper placed in front just to screen the direct rays of the jet from iliuminating the plate. As soon as the plate or plates are dry, place one upon the negative in just the same way as already described; then place the negative and plate in the sunlight or good, bright daylight ; fit the back of the printing frame so that when the back half is opened about half of the transparency plate can be seen from the back. Continue the printing until the shadows appear to be bronzed in, then remove the plate and proceed to wash and tone it just the same as for any printing out paper. Fix in plain hypo. sulphite of soda solution, one ounce to thirty of water. Wash the plate well in a tray by changing the water occasionally for half a dozen times. Do not wipe this plate ; the films will be too delicate. Simply place it in a rack to dry, and, when dry, mount it in just the same manner as described. Be sure the water is free from dirt. By tying over the nozzle of the faucet a piece of cheesecloth in which a tuft of absorbent cotton has been placed, this will filter out any dirt that the water may contain. The writer has sent herewith a lantern slide made by the collodio-albumen process thirty

CAMERA AND DARK-ROOM

years ago, by Levy, of Paris, and one of the latest gelatine printing-out ' chloride plates. The collodio-albumen process is out of date to-day, but there has never been a process that sur-

passed this plan of making transparencies. Every quality desired in a transparency is obtained ; as to lasting quality, they appear to be a,s permanent as the glass upon which they are made.

PRINTS ON BROMIDE PAPER. Many workers when first trying bromide paper get results which are disappointing. Their prints will turn out to be weak and gray, or a mealy brown or green black-anything but the bright and clear black and white which is desired and which the paper is capable of yielding. Pure whites can only be obtained if the exposure has been sufficient to bring out the details of the picture without forcing the development. A small quantity of bromide of potassium is also necessary; too much gives an olive black color, and some developers require less than others. I can develop bromide prints with edinol and get pure whites without using any bromide. Correct exposure is the keynote to success, and this is best determined by trial strips; the time and distance from the light should then be noted on the negative for future guidance. Bromide papers have great latitude in exposure ; and it follows that the prints have great variety in appearance. The developer may be tempered to suit any exposure, and it is well known that the longer the exposure and the more diluted and restrained the developer, the warmer will be the color of the print, even to brown or brick red. For certain effects these colors may be desirable, and such treatment is also useful in making use of a batch of paper that

is old or inclined to be foggy. What we most often want, however, is clear black and white prints. Now, as I have before remarked, get the correct exposure. The time for different negatives may vary, but there is a correct time for each, and that must be no longer than just allows the light to pass through the densest portions of the negative; no more. If this correctly exposed print is then developed in a normal full strength developer, and removed from the developer just before it has become as dark as the finished print should be, it ought to dry out clear and bright, with plenty of detail and rich black shadows. The emulsion of bromide paper is practically thl! same as that of plates, only a trifle slower. The method of development is, therefore, similar, only we must bear in mind that the image on the bromide paper is seen by reflected light, and is necessarily on the surface of the emulsion. It follows, therefore, that a strong image is best obtained by a strong developer, and in practice I use the same developer as I do for plates, only I add twice as much water for the plates or films, as I like a soft negative with plenty of detail. Bromide requires a stronger developer than velox or other slow developing papers. So far, my remarks presuppose a normally correct negative. Should

CAMERA AND DARK-ROO.ro.t

the negative be thin and flat, the exposure should be made at a greater distance from the light and a little more bromide added to the developer. Negatives of strong contrasts, on the other hand, such as are produced by under - exposure and over - development, yield better prints on bromide than any other paper. The exposure must be made closer to the source of light to enable the l:ght to penetrate the dense portions of the negative ; the developer must be diluted with twice the usual amount of water, and the result will be a soft, gray print from a harsh negative. Uniformity of results is obtained by !;.Uiting the exposur~ to the developer, and not vice versa. Brilliancy is obtained by giving the shortest exP<>sure that Will render the detail in 路 the high lights and using the strongest developer that will not fog the paper. Correct exposure, normal developer -brilliant prints. Correct exposure, dilute developer -soft, gray prints. Long exposure, dilute developerolive-brown prints. Long exposure, dilute and restrained developer-give colors from brown to red. I have lately side-tracked all other developers in favor of edinol-hydrochinone. My stock solutions of these and the alkali are in separate bottles, so that I can vary the ingredients to suit the work in hand. A normal developer contains from 3% to 4 grains of the reducer to the ounce, and the dilute developer about ll/2 grains. A late number of the British Journal of Photography gives the working formula of two other popular developers, as follows :

359

Of the modern developers for bromide papers amidol probably stands highest in favor. This is due, not only to the rich black color obtainable with correct exposure, but also to the simplicity of the formula employed and the ease with which it is made up. K o free alkali is necessary with this developer, and the only disadvantage in its use is that it loses its developing power entirely if kept for long as a stock solution. This developer, therefore, should be made up fresh for each batch of prints, and the most simple method of quickly preparing it is to keep a stock solution of sulphite of soda, and add the dry amidol as required. A convenient form of keeping the sulphite of soda is in a 10 per cent. solution. Sufficient water is added to two ounces of sulphite to make twenty ounces, and twenty grains of potassium bromide added. To each ounce of this stock solution five grains of dry amidol are added just before use, and the developer is then diluted with an equal bulk of water. The amidol will dissolve readily, but care should be taken that no particles remain in the solution or black spots will be caused on the prints. Filtering the developer will obviate this. If the stock solution of sulphite of soda is objected to, an alternative formula giving excellent results is: Water . . . . . . . . . . . . . . . . 20 Sulphite of soda ........ 650 Potassium bromide. .. . . . 10 Amidol . . . . . . . . . . . . . . . so

oz. grs. grs. grs.

This should be mixed in the order given and used within twenty-four hours. The restraining effect of potassium bromide is not very marked with

CAMERA AND DARK-ROOM .amidol developer ; and its action appears to be confined to keeping the whites pure. The best restrainer for use with this developer-when one is needed-will be found to be citric .acid. A few drops of a 10 per cent. solution has a very marked restraining .action. Rodinal, in the concentrated form .as purchased, can be regarded as an even simpler form of developer than ami dol. Water and potassium bromide are the only additions necessary to make a reliable developer for bromide prints; but in many workers' hands it does not give such fine blacks .as amidol. The correct procedure with rodinal is to develop with a .dilute developer consisting of rodinal, 10 minims; potassium bromide, 10 per -cent., 3 drops; water, 3 ounces, or any larger quantity in the same proportions. If the paper has been correctly -exposed, a weak, gray image will appear in about a minute. The developer should then be poured off and rodinal 25 minims, potassium bromide 5 minims, added to it and well mixed. This is poured back on the print and development completed. A good black tone should result. Both metol and hydroquinone have -qualities of their own that commend them to the bromide-paper worker, notably cleanliness of working and the number of times they can be used before exhausted. :Metol, however, has, unfortunately, an affinity for the cuticle of some workers, and its wellknown effects debar its use. It is, nevertheless, used extensively by more than one trade enlarger, and professional bromide printers who employ it find it very rapid in action and certain in results. The rapidity of metol is somewhat against its universal

adoption, although by following a certain procedure, as with rodinal, fine black tones are obtainable. It is in combination with the slow-acting hydroquinone that we get an almost ideal developer. Used either as a one, two, or three solution developer, metol-hydroquinone acts equally well . For general purposes the following one-solution formula will be found to give greatest satisfaction for correctly exposed bromide prints : Metol ............... Hydroquinone ....... Sulphite of soda...... Carbonate of soda. . . . 10 per cent. potassium bromide solution .... \Vater . . . . . . . . . . . . . .

grs. grs. 1lj2 oz. Ilj2 oz .

40 40

min. oz.

Ortol has also considerable claims for attention as a satisfactory developer for bromides, and unlike amidol, it is slow-acting. A certain amount of time is therefore necessary for the image to gain full strength, especially if the developer is used in a dilute form. It keeps well in solution, does not stain, and can be used several times before exhausted. A good formula is: A.-Water . . . . . . . . . . . . 20 oz. Metabisulphite of soda150 grs. Ortol . . . . . . . . . . . . . 짜2 oz. B.-Water ............ 20 Carbonate of soda. . . 1

oz. oz.

Equal parts of each are used for obtaining a good black color, but it will be found that with increased exposure and the addition of potassium bromide pleasing warm tones are easily secured with this developer. Edinol and adurol also lend themselves to the production of warm tones on bromide paper by increased

CAMERA AND DARK-N.OOM

exposure combined with dilute developer well restrained with bromide. For the production of the finest warm tones on bromide paper by development one must employ pyrogallic acid as the agent. It is a mistake to imagine that "pyro" is more likely to produce stains than any other developer used with the same amount of sulphite. Used either with ammonia, soda, or potash as the accelerator, pyro will be found to prove a very good developer for bromide paper. The following formula will prove reliable: A.-Pyrogallic acid .... . 112 oz. Sulphite of soda .... . 3 oz. Citric acid ........ . I dr.

Ammonium bromide.. I dr. \Vater up to .â&#x20AC;˘...... 10 oz. B.-Carbonate of potash. . 1f2 oz. Sulphite of soda. . . . . liz oz. Water up to ........ 10 oz. \Vith normal exposure take 30 minims of A and 8o minims of B, and add one ounce of water. This will give a warm black image. Double the exposure, double the quantity of water, and add 10 minims of a 10 per cent. solution of potassium bromide and an agreeable warm tone is produced. Increase of exposure, coupled with further dilution of the developer and additions of bromide will, with this formula, give a range of colors from black to red.

WAI3M-TONED BROMIDE ENLARGEMENTS. BY W. SHENTON.

Having noted from time to time the inquiries for a reliable method of toning bromide prints, I beg to submit the enclosed method to the craft. I may say that the method here described has enabled me to considerably increase my business and to obtain a price half-way between that of ordinary bromides and carbon, and I find they give absolute satisfaction. I have had a print in full sunshine for the last two summers and it shows no sign of any change whatever up to now, which is, I think, a very severe test. First, select a good bromide paper -the ordinary smooth-surfaced variety is best, known to possess a heavy coating of emulsion. Make the enlargements in the ordinary way, taking care that there is a fair amount of contrast. The print should be very

thoroughly soaked in alum, or formaline, or, better still, both, as the subsequent toning operations tend to blister and soften the film. When the enlargement has been very thoroughly washed, it is placed in the following bleaching solution (which may be poured back into the bottle and used over and over again) until all trace of blackness has disappeared, and only a faint image remains visible. This takes from a few seconds to two minutes. No.1. Potassium ferricyanide.. . 1 oz. Ammonium bromide. . . . . 1 dr. Water . . . . . . . . . . . . . . . . . 20 oz. Rinse quickly in two changes of water and transfer to the following, which can only be used for one batch of prints <tnd should then be thrown away.

CAMERA AND DARK-ROO.JlJ

No.2. Sodium sulphide (sat. sol.) 1 dr. Water .................. 5 oz. It is sometimes necessary to use this rather ~tronger, but the weaker it is the less chance there is of blistering. In this solution the print will gradually regain full vigor, and, if in the first instance at all too dark, may be taken out when the correct intensity is reached. The prints will now have assumed a rich sepia-brown tone, which has not affected the original permanence, or in any way degraded the whites. They should be washed for at least fifteen minutes and hung up to dry. When quite dry, any surface may be produced by first soaking and then squeegeeing on to any of the following, which must, of course, be abso-

lutely clean and prepared with French chalk, or any other preparation to prevent sticking, in the same way as for P. 0. P. Rough ground glass can be used for broad effects ; opal for medium surface, and fine ground glass, as used for focussing screens, for semi-matt surface. Ordinary temporary support, as used for carbon prints, well waxed, produces a surface similar to the ordinary carbon print. If a highly glossy surface is desired, the glossy paper may be used and squeegeed on to polished glass in the ordinary way. It is advisable to back prints while on the support and mount by gluing the edges only. Enlargements treated in this way have the richness and depth of carbon prints, and, as far as exhaustive tests can prove, are practically permanent.British Journal of Phatograph~l路

DARK-ROOM ILLUMINATING. A timely hint on the safety of darkroom lighting appears in the British Journal of Photography: "If the developing-room is illuminated by daylight filtered through some orange or ruby material, the summer light will probably have lessened the efficiency of this medium. Particularly will this be the case if the medium employed is paper or one of the stained fabrics, though it must not be too readily assumed that continued strong light has no effect on colored glass. We are often surprised to note the dodges resorted to by workers to enable them to develop with what they know to be a more or less unsafe light. As the cost of renewing the materials is so very slight, this can only be to save the trouble of

doing the work. If the least doubt is entertained, the filtering media should be renewed at once and the new light careft.Hly tested. This can be done by exposing one half of a plate of the brand in use for say two minutes, placing the dark slide in the spot usually occupied by the dish when developing. The slide must be loaded in darkness, and the plate developed for five minutes with a normal developer, keeping the dish covered the whole time. If, on fixation, no difference can be seen between the two halves of the plate, the light may be regarded as safe. It must be observed that, though a light may be perfectly safe when tested in this way, if the plates are held repeatedly and for unduly long periods close against the window,

CAMERA AND DARK-ROO.lf

fogging may ensue with the safest of 'safe lights.' / .. plate may remain unfogged with the light two feet away; but may be very readily fogged when held within two inches, receiving as it would 144 times as much light. It is assumed that the dish will always be covered during development, and

the time of the test exposure, viz., two minutes, is long enough to allow for one or two brief examinations for density toward the end of development. Assuming daylight to be the illuminant, the test should be made about noon on a bright day, so that the maximum light is known to be safe.''

TONING THE SILVER IMAGE. Die Photographische lndustrie (July 26, 1905, p. 710) refers to a method, patented in Germany (No. 161,400) by the New Photographic Association of Steglitz. The following is an example of the method : The silver print is immersed in a bath composed of equal parts of A and B. The solution A consists of 3 c.c. 10 per cent. potassium bromide solution, 2 c.c. 10 per cent. citric acid solution, and 3 c.c. of manganese solution made by mixing 100 c.c. of 4 per cent. potassium permanganate solution, 100 c.c. of normal caustic soda solution,

150 grammes of sodium tartrate, ami twenty-five grammes of manganese sulphate. Solution B, 20 c.c. of 2 per cent. potassium ferricyanide solution and 8o c.c of water. The image gradually disappears, then the print is washed and immersed in a bath compounded with 90 c.c. of 2 per cent. of potassium ferricyanide solution, and 10 c.c normal caustic soda solution. Here the image becomes brown. The print may now be washed and further toned by means of a solution of aniline hydrochlorate.

PRINTING WITHOUT LIGHT. Apollo quotes an account of the following process, attributed to Niewenglowski, whereby the silver image i~ converted into a uranium compound, and the uranium image impresses a sensitive surface by reason of its radioactivity. A negative or gelatinobromide print on paper is soaked in a two per cent. solution of potassium ferricyanide, this solution being allowed to act until the silver image i'i completely whitened by conversion into silver ferro-cyanide. Washing for an hour or an hour and a half should follow, after which the original is soaked in the following bath: Water thirty gr;~mmes, uranium nitrate two-

fifth grammes, hydrochloric acid five drops. In this bath the image takes an intense reddish brown color. It is now washed, first in slightly acidulated water, then in plain water, and after a short immersion in a sulphite bath (water 30 c. c., "hypo" one-fifth gramme, sodium bisulphite 0.7 gramme) is washed and dried. The uranium image is said now to be in a position to evolve sufficient light action for its own reproduction, if left for two days or longer in contact with a sensitive plate. If the original was a negati\路e, the reproduction will be a negative.

CAMERA AND DARK-ROOM

RESINIZED PRINTING-OUT -PAPER. The resin process stands between the starch methods and the emulsion papers; also resin gives a ·delightful semi-matt surface; in short, the amateur is exhorted to try this delightful method of printing-a method which allows of much variation in treatment; and as a further incentive to the amateur inclined to digress a little from the beaten path, the following in favor of resin methods may be quoted from the Rev. W. H. Burbank's work on "Photographic Printing Methods ( r887 edition, p 5 r) : "The term resinized paper has been given to paper coated with resins in place of albumen. Such paper gives prints of wonderful softness and d~lic acy, and tones easily; indeed, the process deserves more attention than it has yet received." The following is Mr. Burbank's formula: In one ounce

of alcohol dissolve ten grains of frankincense, eight grains of mastic,· and five to ten grains of calcium chloride. Good drawing paper of any selected texture is saturated with this {best by immersion) and is hung up to dry. When dry, the paper is smoothed by means of a hot iron and sensitized by floating for a few minutes on a bath made .up as follows : Water . . . . . . ... ... . . . . I oz. Gelatine . . . . . . . . . . . . . . 2 grains. Dissolve and cool, then add Silver nitrate. . . . . . . . . . 6o grains. If preferred, the silver solution may be applied by mopping or brushing. care being taken not to use a wiretied mop or brush, and that the mop or brush is clean. \Vhen dry, the paper is printed out, and subsequent operations require no special mention. -A matcur Photographer.

GLAZING PRINTING-OUT -PAPERS. BY VICTOR N. WALLACE. It appears to me that the·re are a great number of amateur photographers who, from war.t of knowing the proper method, have very serious trouble when attempting to obtain a highly-glazed surfacf. on glossy P. 0. P. The method I am about to advocate is, from years of e'xperience and after trying every other way, I think, far ahead of any other. Get some pieces of platt'.-glass, size about 15 x 12 inches, if using prints 12 x 10 inche·s or less. I prefer the glass about this size as it is easier to handle than one very large piece, and less flkcly to get broken. Well, to commence work yon want some methylated spirit and some tissue paper-the very cheapest will answer the purpose· just as well as the very best. Now pour on the center of your plate-glass a small quantity of methylated spirit, then rub this all m·er

the surface with a piece of tissue' paper; don't use a duster or rag of any kind, or the lint and bits of fluff are likE.ly to cause trouble. Then get a second piece of tissue paper and rub the glass again, but this time without any more' methylated spirit; this gives the glass an extra special polish. Now get your print, which must have been alumed-I say must, for it is most uncertain whether the prints will come off if they are not almned. Take the dry print-please notice I say .dry print-then put into water, but only for a second or two, .just enough t<> wEt it through, and with a sponge, or your fingers, wipe the surface while in the water to remove dust or any specks which may have settled while the print was drying after t01~ing and fixing. The reader will d<> well to tlO!t'. that prolonged soaking of the prints before putting on the glass is often

CAMERA AND DARK-ROOM the cause of their re-fusing to leave it. So you see this is why the prints should never be put on to the glass straight from the washin g water (aftu fixing), as the gelatine emul sion of the P . 0. P . is too soft and is bound to stick. ' Veil, to get to business ; you have your clean glass, you have just wet and sponged your print ; now with both hands hold the print in th e form of the letter U so that the mi ddl e of the photograph touches the glass fi rst, then le't one end of th e pri1it gently down and pass the roller squ eegee ove r this ha lf, now let go th e other end and pass th e squeegee over this second half in the opposite direction, now ove r th e whole lot put a shee t of blotting paper to absorb all sup erflu ous moisture and squ eegee as ha rd as you like. The glass can be stood on end to dry in a warm place-not hot, but also not too cold. Jn our own practice we use a gas drying ap paratus, and the prints and g lasses get quite warm, but not sudd enly. The prints ltave the glass with the' grea tes t ease by ju st lifting one corn er with the fi nge r nail, but they will not come off unless th oroughl y dry. I m ay say that I sec so me hundreds of photographs ( not portraits) g lazed by the above meth od eve ry day, and we ve·ry rarely get one sti ck. T he print th at does has either not been in th e alum bath, or soaked too long. o r. put into too hot a place to dry; they on ly require wa rming, and th at done' graduall y.- A ma le ur P hotograph er.

Purchase rs of shutters should insist on a specially rna rked and correct scale. It may cost a trifle more, but we believe the buyer would be willing to stand for that to have the satis facti on of knowing that it was accurate.

* * * AcETONE as a substitute for the alkali in the developer posse·sses so many advantages th at it is surprisi ng it is not more commonl y used. T his is no doubt due to its newness and the fact that the platem ake rs do not give the formula in their plate bo xes. W e note, howeve r, that the G. Cramer Dry Plate Company, wh ose fam e rests on good plates and good ch emicals, have found the acetone developer eminentl y suitable to their plates. To encourage its u se they advertise that they will send a liberal supply and the fo rmula by mail for 15 cents. This is an opportunity to te·s t a good developer. P yroacetone is easily adapted to all kind s of exposures and is also economical and convenient.

* * * THERE is no such thi ng as a smokeless fla shlight powder, but th e nearest approach to it is Agfa Blitzlight. Mo rco \·e r, it is safe to handle an d economical, as th e light is so actin ic that less powder can be used.

* * *

THOSE who have tri ed th e' Lumi ere nonha lation plates kn ow that they are all right as fa r as the prevention of halation. This is accomplished by the presence of a nonactinic dye between th e em ulsion and the g lass. When th ese plates we re first introdu ced th e dye was coated on the clean · gla ss, and thi s resulte'd in the tend ency of the fi lm to badl y frill, especially in wa rm THE lying propensities of shutters is weathe r. ' 'Ve menti on thi s because the getting to be such a common nuisance that trouble no longe r exists. T he plates are it is hig h time something was done to now fi rst coated wi th a thin , insolu ble film remedy the evil. P ossesso rs of 'vVynn e' o f chromated gelatine, then the dye ami speed-testers, of cou rse, re-ma rk the scale latterl y the sensi tive emulsion. There is on th eir shutters, and some of th em make now not the least sign of frill ing eve n afmoney besides in testing shutters fo r their ter prolonged washing. fellow-sufferers. No doubt in the assembling of shutters it is impossible to get * * * springs and valves to al ways act in unison, L ANTERN Su oE :\T AKERS wo uld do well but it seems rid iculous to make the one t o t ry th e n ew P a rago n Printing-ou t scale, which is stamped out by th e th ouPl at es . Th ese pl a tes a re coa ted with a sand, to do se rvice fo r all shutters a li ke. chl o ri de emul sio n o f ex trem ely fi ne g rai n

CAMERA AND DARK-ROOM and print out fully in daylight, being toned afterward and fixed same as a solar print. The color and quality of one of these slides on a screen is a revelation compared with ordinary gas light plates. The Paragon Chemical Company, of New York, are the manufacturers and they also prepare print-out porcelain and transparency plates, which, when framed or matted. are superior in appearance to carbon and are much easier in manipulation. Professional photographers should do a large trade in these around the Christmas season. Fol"Dl08Ulphite.

THE MESSRS. LU'MIERE have conferred many favors on photographers by their thorough research after chemicals which will make the work of -the dark-room more simple and certain. When its virtues become more widely known, formosulphite will be recognized as one of the most valuable of the many discoveries of these !lcientists. It comes in the form of a fine white powder, easily soluble, and it takes the place of both the preservative and the alkali in the developer. It keeps without alteration either in powder or in solution, which is not the case with sodium sulphite or some of the alkalies. Replacing both the sulphite and alkali, its use greatly simplifies the compounding of the developer and it is also most economical, as the following pyro formula will show: A. Pyro ....................... I ounce Oxalic acid ............... IS grains \Vater .................... 30 ounces

B. Formosulphite ........... 路4 ounces \Vater ................... 30 ounces For use, take I ounce A, I ounce B, water I to 2 ounces. Development of varied exposures may be regulated with bromide of potassium as usual, or alteration of the proportion of formosulphite. For overexposure decrease the quantity, for underexposure add more formosulphite. There is no tendency to frilling of the negative and the hands do not suffer as with the use of the bas<'r alkalies.

The Value of Copyright. A case which involves a point of honor, which is not protected by law, was recently aired in a New York police court. It seems that a publisher of works of art obtained permission from certain millionaires to copy valuable paintings in their possession. The art publisher employed a photographer to make the negatives and prints, which he did ; but at the same time the photographer made for himself surplus prints, which he disposed of to art stores, appropriating to himself the proceeds, which the art publisher places at $4,ooo. The prisoner was charged with larcelly, but was discharged by the magistrate, who, however, remarked in rendering his decision that the plaintiff had grounds for a civil action. The magistrate based his decision on a precedent in English law, in which the late Queen Victoria and her husband had sued a man for having copied and sold sketches made by them. The royal pair lost their suit on the grounds that they had not protected themselves by the copyright law. In the present instance, neither the owners of the paintings nor the publisher had availed themselves of this protection. In brief, the decision gives to a photographer-or any person capable of manipulating a camera-the right to photograph paintings and reproduce such photographs, unless the proprietor of the painting has regularly applied to the law to restrain any one from copying, photographing, reproducing or publishing copies of the works. Rudol: A New Developer. It would seem strange if the year closed without a new developer being announced, and we are' not to be disappointed. Its name is Rudol and of course it hails from Germany-from Beuel-on-the-Rhine. This is almost equivalent to saying that it is good, for are we not indebted to German chemists for all our best developers and purest chemicals? The firm of L. C. Marquart is famous over the world for chemicals, and their American agent, G. A. Crayen, 7I Barclay street, New York, recently sent us a sample of a developer which has been highly commented on in the German photographic press and which,

CAMERA AND DARK-ROOM we are' info rmed, has had an enormou s sale in Germany on its merits alone in the short time since it has been introduced. Rudol is a concentrated liquid preparation -closely resembling rodinal, with this exc~tion, that it requires the addition of an alkali and is therefore more amenable to varied conditions of exposure. The fo rmul a calls fo r a 10 per cent. solution of carbonate of potash, so the developer is simple to use an::l convenient. Our first test was on a norma ll y exposed plate, which resulted in a negative of fine quality. We then trie路d it on some lantern slides, which came out so clea r that we tried it on a batch of plates which were four years old, and which would not .yield a passable slide with other devel opers. The result was several clea r and brilliant transparencies. With developing papers we did not have so much success, the image being gray; but this was, no doubt, because we used twice as much water as the fo rmul a called for and had no more rudol to strengthen it with. No doubt the developer will soon be obtainable in this country, and if so, we intend to have it on our shelves, if for no oth er purpose than as a saving develope r for stale plates. Home Portraiture Hints. That a studio is not necessa ry fo r the production of very satisfactory portraits was demonstrated the other day when a subscriber dropped in to ask our opinion on some photographs he had made in his back yard. The lighting and the modeling of the face was fully equal to the work turned out in the. average studio. He explained that the background had been hung at one side of an L formed by a high board fence, and the sitter being placed about two feet from the other side gave the necessary shadow. The principal lighting was at an angle of about 6o degrees, the high walls of the houses obstructing excessive front and side light, which tends to make all outdoor pictures fiat. We mention thi s, as some other readers may have similar conveniences which they can use to good purpose. As a rule, it is best to have outdoor portraits appear as if taken outdoors, unless the lighting can be successfully handled. While one worker has demonstrated that he is independent of a studio, another has shown that he can get along without a lens,

Made with an Opera Glass Leos.

so to speak. We rep rodu ce an indoor portrait 路as evidence. The print was made fro m an unretouched negative on kodoid film, and th e lens that did the wo rk was the obj ective of an ordinary opera glass. In makin g 路the photograph which we reproduce, . a cardboard sto p about half the diameter of th e len s was used , and he also showed us several made with the full ope ning, which were very good, although too so ft and flat t o reproduce well. The lighting in this case was from a single window, a white sheet being utilized as a reflector on th e shadow side. We might add that the results with the opera glass lens puts to shame much of the work we see that is done with cameras having good lenses. We do not recommend the use of makeshift contrivances, however, but would advise all who essay home portraiture to use their lens at the full opening and use a diffusing screen of muslin or cheesecloth between the si tter and the window. This avoids the chalkiness of strong direct lighting on the face and diffuses the light so that the shadows and half-tones will show up in more co rrect values.

CAMERA AND DARK-ROOM

s. HARTMA NN.

E. A. D oNALLv.-" Sunny Jim ' " is o ne o f th ose happy -go- lucky sh o ts which so m etime s turn o ut b ette r than expec ted. In this th ere is n o affec tati on o r s tiff p osing, a nd th e r esu lt is a charact er sketc h tru e to th e life. A littl e lo nge r exposu re wo uld hav e given tru e to n e va lues--:-all th at is n eeded to mak e th e picture perfect in its way.

Oquar;a Lake

F1ed ] . Stein

C. A. CAMPBELL-Th e " H o me P o rtrait" is a n exce lle nt res ult fo r ho m e wo rk, especially o f a child at a n age wh e n th ey a re ge n erall y too r es tle ss fo r a n y th ing s ho rt of the fast est lens and a studio skylight. Chi ldren sh o uld no t be posed,

Sunny Jim

E A. Donally

FRED路 ] . STEIN.-"Oquaga Lake" is a specimen o f ca reful selection, ta ste ful mounting and bad photography. We should have trimmed more off the top o r bottom so as to bring th e hori zon line out of th e ce11tre. The va lu es are also all wrongth e sky and water too white in contrast to th e blackn ess of th e trees. If you cann ot ge t correct valu es in your nega tives by gi \路ing correct exposu re, it is still possible to get bctter prints th an thi s by shadi ng and dodging in th e printing.

Home Portrait

C. A. CampbeU

CAJ'IERA AND DARK-ROOM

The Mornin1 Work In the Harbor

Carl Krebs

-as they weary of th e ordeal. Taken in their home and allowed to pose them·selves am o ng their toys, they always ap·pear· at their best.

Grace Morrow

tography is good-d istance, middle distance and foreground being rel1dered in good taste. The principal fig11r e is, however, direct ly in the centre of the picture, the weakest spot, and he is too evidct1tly posing. In thi s. as in all your work, there IS ev idence that your lens. though a good

CARL KREBS is one of the few who aim at and succeed in obtaining t o ne values ·in his pictures "\vhich are about as co rrect as lens and plate will render. " In ·the Harbor" is an exce ll ent rendering o f an ordinary subject; but it is weak pic·t o rially, the ho riz o n line dividing it equally top and bo tt o m, and the ma ssing of light and shade to o evenly ri ght and ·left. GRACE MoRRow.-"The Morning Work" is a genre picture of more than o rdinary ·merit as far as ar ran ge'rnent and posi ng is concerned. The mod el has done her part well, and the only fault lies in th e harsh contrasts. which could have been avoided ·by using a screen of mu slin or other material over the window to diffuse ami soften the light. The hair on the top of the model's head was so snow-white in the reproducti on th at we had the engra,·er burnish the plate. H. TowN.-"..\1aking a Cl ea n Sweep" is an attempt at a genre picture with some :good points and some bad ones. The pho-

Making a Cltan Sweep

H. Town

CAMERA AND DARK-ROOM

370

one, is of too short focal length for the sx7 plate; in fact, for pictorial work -4x5 is the largest it should be used on, unle"ss the bellows of your camera is long enough to permit your using the rear combination only. The stones in the foreground and the shovel and broom appear as if they were as large as the doors in the hou ses across the street, which shows that the lens embraces too wide an angle of v1ew. AMY E. CowiNG.-"The Old, Old Story" is a good subject, in which the photography is better than the composition. The two trees equally spaced o n each side with the figures in the center r--- 路

is too mechanical. Thi s is a case where a little more time would have been well spent in studying the effect on the ground glass, changing the position of the camera, getting a little closer to give more prominence to the figures, and avoiding the background to the faces. which now gives the pi'cture a confused effect. 'vV. H . HAZELL again gives us the "Cliff House," which shows in the relative tones of sea and sky the advantage of using o rth ochromatic plates and color sc reen. The pictures are well composed and also object-lessons of the use of long and short focus lenses. Such subjects.

THE OLD OLD STORY

Amy E. Cowinc

W. B . Hazell

CLIFF BOUSE Ne~~:ative

on Cramer Iso Plate

W . B . Hazell

CLIFF BOUSE Negative on Cramer Iso Plate

372

CAMERA AND DARK-ROOM

are a hard task, and it is enco uraging to see suc h good technical , if no t pictorial, phot o graphic repro ducti o ns. CH AS. MANN.-The prints are all ve·ry fair, but there is no reason why you should get so close to your subj ects. It is not necessa ry to have the subj ect fill th e pl ate, and di stan ce will give you better perspective and modeling. M1ss EM ILY \VERNER.-T he " P ortraits" are technically ve ry good in expos ure, developing and mounting. The figures a re all too stiff, howeve r. Do not attempt to "pose'' your sitters, o r allow th em to stiffen into such wooden-looking figures. Let th em drop into natural and easy attitudes. ext time cut off some front light and the strong direct side lig ht with sc reens. a llowing the principal light to come down at an angle of not less than 45 de·g rees. and you will get more modeling in the features.

An Educational Photographic Exhibition. A notabl e exhibition o f photographscontact prints and enl argements-was held during th e month in Conventi on Hall, Buffal o, by th e Eas tman Kodak Company. The exhibition was fa vo red by a very large att endance. and the' sess ions were enli vened by ente rtai ning lectures and demonstrat ions. Dr. J oseph K . Dixon, a well-kn own lecturer, has been engaged to tour the country with th e exhibit, whi ch is · at prC'sent in Clevela nd. whence it tra vels across the c ountry, touching th e principal citi es and returning by way of th e South ern Sta tes. Dr. Dixon is a photog raphic enthu sias t h imself and has a hi gh opi ni on uf th e educati onal value o f photography. In one o f hi s lectures he stated th at th e Eastm an Compa ny makes 25 .000 miles o f fi lm a yea r and 6o.ooo mil es o f printing paper-enough fi lm to go a round th e ea rth and enough pape r to reac h to 1he moon. " It's a pity." he ays. ''th at all th c·se tms ightly billboa rd s th at flaunt th eir se miindecen t pictures in th e face s o f school children ca n't be co,·ercd with photographs o f

nature's beauties. Goodness knows, the company makes photographic mate·rial enough to cover eve ry billboa rd in the wo rld and change th e pictures eve ry week " Film is mad e of 1 aw cotton, straigh t from the neld. It is cleansed, trea ted with acid until soluble and then 'flowed' ou t into a beautiful transparent substance which becomes the' base for the sensiti zed emulsion. Thus we see anoth er triumph o f science, inasmuch as the fi lm you take a picture on is o f th e sa me substance as th e shirt on your back. Ne,·ertheless you wouldn 't wish to we'a r a shirt mad e o f film , and you couldn 't take o ff your shirt and make a picture on it. As a matter o f fa ct. you can't take any picture unless. in the language of Hoke St~ith , yon keep you r shirt on."

Sensitizing Silk. Fi rst wash th e silk or other fabric in hot water ; th en size and salt it with a ·oluti on of arrowroot and common salt. enough o f th e fo rm er to make th e fab ric somewhat stiff wh en dry and enough of the latter to make th e mixture' taste salty. Sensitize by immersion in sil ve r nitrate 150 grains, water 3 oun ces, made slightly acid with nitric acid. Dry in front of the fire and print ve r)' deep. Wash in two o r three changes o f water and tone in an ordin ary acetate go ld bath. Fix m hypo, wash and iron ou t smoo th. Blue Print Formula. A Ge rman exchan ge highl y recommends th e following fo rmul a for blue prints. \ Ve mi ght add th at. in thi s country. it would insure better keeping qu a lities o f th e solutions and better prints if the vari ous ingredients a re di ssolved in di stilled water : F or a ve ry ha rd. smooth -surfaced. wood pulp paper th e foll owing is recomm ended:

A. Green ammoni o-citrate tron \Va ter

of 2 ou nces 4 ounces

B. Potassi um ferricyanirl e .... . 320 g rains \,Ya ter . . . . . . . . . . . . . . . . . . . . 2 ounces

c. Dextrine ........ . ....... . <)6 g rain s \ Vater .. .. . .. . . . .. .... .. . . 2 ounces

CAMERA AND DARK-ROOM D. Potassium bichromate. . .. . . Water . . .. . .. .. . .... ... ...

grain minims

These are then mixed together in the orde r given above. The dextrine is used to obtain sufficient sensitizing solution on th e surface, and the bichromate make·s it insoluble. Fo r a very so ft paper, with plenty o f linen, the sensitizer should be : Green ammoni o-citrate .. ... 2 vVater . . . . . . . . . . . . . . . . . . . . 4 Pota ssium ferri cyanide . .... 320 Wate r . . . . . . . ...... . .. . . . . 1 2

ounces ounces grains ounces

Papers prepared with these solutions will keep for a month; if ten grains of oxalic acid be added a more se nsitive surface is obtained, but the· papers do not keep so long. Focussing Magnifier and Spirit Level Photographe·rs have to thank Taylo r, Taylor & Hobson, th e well kn own makers o f the almost better known Cooke lenses, fo r these most useful additions to a photographic outfit, useful under any circumstances, and for some phases of photography absolutely essential. The focussing magnifier, more generally called the focussing glass, where straight photography is the aim, small negatives

for enlargement, or negatives for lantern slides, enables the photographer to get with ease the perfect focus so necessary; and which, unaided, especially in dull light or when the eyes are not so good as they once were, is so difficult. For ordinary purposes the glass is simply held against the focussing screen and the magnification is such as to make accurate focu ssing easy, but for the highest degree of refinement in focussing, a different method is generally

373

resorted to, and for this the magnifier is: essential. It is the focu ssing of the aerial image, and for that purpose a disc of microscopic glass is cemented by Canada balsam on the ground side of the focussing screen, the balsam filling up and so destroying the roughness of the glass. The image formed in the focal plane of the lens is under thi s condition invisible, but becomes so in the focus of the magnifier, and when it is adjusted to that of the lens a focus that is practically absolute is at once obtained. "Brass and glass men" are sometimesspoken of disrespectfully in the micro-scopic world, but we have a fellow feeling: for them, and think that he that does not: delight in things of beauty loses half the: pleasure of life. And the Focussing Magnifier, like all the work of the firm that makes it, is a thing of beauty, and so admirably fitted that there is a real pleasure in the drawing in and out of the slide. Whereve r fine focussing is necessary a focussing glass is equally so, and we cannot imagine anything more suitable or more beautiful than this Magnifier. In appearance it is a miniature telescope, bell-shaped at the objective end, thereby giving a wider angle of view and making it easier· held again st the focu ssing screen. The· slide gives it portability, while a set screw enables it to be adjusted to suit the focus. of any particular eye. THE T. T . & H. SPIRIT LEVELS. What has been said of the workmanship of the magnifier applies equally to the levels. They are things of beauty as well as of accuracy, and being tested under considerable pressure, as well as allowed sufficient time for ripening, there is little chance of the bead or bubble becoming larger and larger by degrees until it disappears alto-gether, a not uncommon experience. They are in four different patterns and in both bright and black fini sh so as to suit all: tastes and various methods of fixing in or· on the camera; and while the pure pictorialist may not need such aid, a level is. essential to the architectural photographer and a decided advantage under various conditions. It costs little either in cash ortrouble, is never in the way, and sadly mi ssed when really wanted.

374

CAM ERA AND DARK-ROOM de sired to print quicker the enla rged negative m ay be treated with vaseline, casto r o il or white wax di ssolved in turpentine.

Saving Residues . OscAR MARSHALL.-Charles Cooper & Co., of Newark, N. ]. , purchase and refine waste residu es. Platinum waste is about the only thing worth saving at the present time and la rge use rs of · platinum paper would d<? well to save all th eir waste. A Flashlight Trouble . HENRY A. RoBERTSON complains that he has tak en several fl as hlight group:; lately, but th at in each case ne·a riy every individual in the g roup has hi s o r her eyes closed. It may be that th e fl ash is too slow o r the powder is spread so th at there is a preliminary small fl ash immediate'ly preceding the principal fl ash. The troubl e is also likely if a clumsy meth od of ignition is adopted. such as using a lighter of twisted paper, as we have see n done. In flas hlight work all arrange·ments of th e apparatus should be completed before th e g roup is posed, all lights in th e room th at a re not in the field of th e lens should be left burning, and if th e ignition of the powder is quick, certain and unexpected, all the eyes should appear bright. Permanence of Prints. Miss EMILY WILLIAMs.-Yes, prints on collodion paper, if properly made, toned in platinum and thoroughl y fixed and washed, should be as perman ent as the paper on which the emulsion is coated. Enlarged Negatives. CBAS. BERGSTROM.-An enlarged paper negative is what you want. Make a contact positive from your small negative, using a slow plate and giving a full exlJOsure, developing for detail. From this :make a bromide enla rgement on Eastman A Plat. ( H a rd ) o r R o tog raph negative ·paper. D evel op fo r intensity in the en'largement, as th e emulsio n is not so thick as that on pl at es. The papers men·tioned are so thin and the grain so fine that it should no t show in printing. If

"Tolidol " E. S. WEEKs.-No; we cann ot tell you the composition of "Tolidol," or whether it is a pat<;nted developer. Perhaps some reader can enlighten us. All we can say is that we' have used tolidol and found it to be an excellent developer of great keeping quality; in fact, we have a partly used bottle of the solution on our shelves which is labeled 1901, yet it is still in good conditi on. Shutter Distortion. VAL. HENSCHEL sends a photograph made with a focal plane shutte r which shows considerable disto rtion, and inquires how to avoi d it. tt should be clear to anyone that, as a narrow slit passes over a plate, the subject is exposed by degrees. The slower the shutter travels, the more noticeable will be the distortion in the moving object. It follows, therefore, that the' highest efficiency of this type of shutter is to be gained by wo rking them at the highest spring tension, and with the widest slit that will obviate blur. Mounting Prints on Muslin. A. B. O'NEILL.- To mount prints on muslin the' fabri c must be stretched tight as a drum on a frame. The muslin is then g iven a good coating of starch paste, also the back of the moistened print, which is th en laid on the muslin and rubbed into contact with a roller squeegee. The frame is then stood up to dry. This style of mounting is used by some to bind together sets of views by leaving an inch or more of mu slin at the left side of the print and trimming the other margins close. Carbon Troubles. GEO. A. T uRNER.-No doubt the insolubility of the carbon tissue was due to your keepine- it two days before' development after it had bee n exposed. After carbon tissue is exposed to the light the action of the light continues even after the tissue is stored in a "closed box." This fact is no doubt mentiont:d in the circular of instructions and had been ovtrlooked by you.

THI! NEW YOfU[

PU&UC UShAk V

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YOUTH

Wendell G. CortbeU

®ARB@

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DAB&~

ba.P

ONE DOLLAR THE YEAR. TEN CENTS THE COPY

Volume VIII.

New York; December, J905. Edited by

361 Broadway

No. J2

P. CHAuuiu.

THE AMERICAN PHOTOGRAPHIC PUBLISHI~G COMPANY, (Telephone 853 Franklin)

New York City

Entered at the New York Post Office u second class II!ail matter. _Subscription pric;e, One dollar per year in advance. Foreign subscription price ssh. $1.25) Matter should reach office by the 15th of month preceding date of publication. Ori!Pnal MSS. solicited

THE SECOND AMERICAN PHOTOGRAPHIC SALON HE work of the jury of artists on the Second American Salon was completed too close to our date of publication to allow of more than a brief notice in this number. Our next issue will contain a special supplement containing beautiful illustrations and a critical review of many of the pictures. We are informed that the Seconrl Salon will n1ake its debut in Providence, R. I. It is a matter of universal disappointment that the Salon could not open in New York, but at this time of the year it w·as impossible to secure a suitable hall in which to hang the pictures. New Yorkers therefore will have to wait until the early part of the Summer before they can view the S~cond American Salon. On Tuesday evening, November 21, a press view of the exhibits was arranged, but many of the pictures were still unframed and all were scattered promiscuously about the tables and benches

of the Metropolitan Camera Club. Consequently the pictures were not seen to their best advantage and it was impossible to carry away_ a connected idea of the exhibit. Taken as a whole, the showing impressed us as being far ahead of last year's Salon. The jury this year eit.her did not have so much mediocre work to pass upon or they profited by the criticisms made upon some of the work they admitted last year; the pictures this year are more even in quality, and good photographic technique seems to have influ~nced the jury to a more marked extent. With very few exceptions their selections should meet with general approval. Many of the last year's names are missing, but the Salon has brought out some new American workers of great promise and there is a decided improvement in the work shown by some of last year's salonists. Notably this is seen in the work of Louis Fleckenstein, who has imbibed the Seeley spirit in the treatment of his subjects,

CAMERA AND DARK-ROOM

but \\ith due moderation. Adelaide Hon. Mention- Frederick Haven Hanscom shows some strong work ilPratt, Worcester, Mass., "Study of lustrative of poetical themes. The a Face." Misses Parrish and Fedora E. D. $so AwARD BY "THE CouNTRY CALBrown show wbrk which would atENDAR" FOR BEST LANDSCAPE tract attention in any exhibition. We (AMERICAN WoRK). were also impressed with the great Jas. E. Underhill, Brooklyn, N. Y., improvement shown in the work of "Against Stonn and Tide." Curtis Bell. 路 Two of his pictures, Hon. Mention- Frederick Haven "Evening," a very poetical rendering Pratt, Worcester Mass., "Landscape of a landscape, and "Summer," a strik-Northern Italy." ing effect in green carbon, being espe$so AwARD BY THE LANDMARK PuBcially artistic. C. F. Clarke, SpringLISHING COMPANY FOR HISTORIfield, also exhibits a green carbon, CAL LANDMARK. "Winding Brook," which has great merit. Other workers who show an Geo. T. Power, Chicago, Ill., "Niagara Falls." improvement on their last year's work There were 346 pictures accepted, are Will D. Brodhun, Dr. A. Wilby 123 exhibitors, 81 American, and helmj, Virginia M. Praal, H. Hen42 from England, Italy, Argentine drickson, W. A. Boger, Solon L. Gates Republic, Cape Town, India, Holland. and D. H. Brookins. The foreign enSpain, Mexico, Ireland, Gennany and tries fall short in numbers, but excel Austria, making quite an international in strength and character ; in fact, the affair. The American workers are American public will profit greatly by credited with 2.65 pictures apiece, and a study of the foreign work exhibited at this Salon. We wish it all merited the foreigners with 3.16 apiece. There were some further pictures from success in its peregrinations. abroad, which, however, did not get The Jury of Artists have made the through the Custom House in time. following awards in the Second Amer- Guido Rey and Alfredo Omana, both ican Salon: of Italy, had the largest exhibit, with nine each. Curtis Bell, Louis Flecken$100 PURCHASE PRIZE OF THE AMERIstein and C. E. Townsend, all three CAN FEDERATION FOR THE BEST Americans, follow with eight each. PICTURE, SECONil AMERICAN Rudolf Eickemeyer, the Misses ParSALON. rish, J. H. Field, Vivian Burnett, of Mrs. G. A. Barton, Birmingham, Eng., this country, Mrs. G. A. Barton and "The Mother's Kiss." 1st Hon. Mention-Guido Rey, Turin, Marion Silverston, of England, and Giuseppe Castruccio, of Italy, have Italy, "Scene Antique." 2d Hon. Mention-Alfred Ornano, seven each, and the remainder from Genoa, Italy, "l\f. Maeterlinck La one to six apiece. The following is the complete list Mort de Tintagiles, Act IV." 3d Hon. Mention-Wm. Clayden, Ply- of exhibitors and the number of their pictures accepted: mouth, Eng., "Tugging Home." UNITED STATES 3 Berger, H;r., Jr. Hon. Mention-Louis Fleckenstein, 1 Barr, Chas. E. 5 Bin~rham, Katlierine Curtis 1 Bodme and Lewis, Faribault, Minn., "The Lily Pond." 84 Hell, Benedict, Dr. Albert R. Misses

CAMERA AND DARK-ROOM 2 Bog.,., W. A. 1 Horlin, Gust. 1 Bonfoey, A. D. 2 Hutchinson, Eugene R. J Brodhun, Will D. 2 Judson, 0. B. 2 Brookins, D. H. 1 Kaufman, R. S. 1 Brooks, Clarence G. I Kenned)', Holmer 4 Brown, Miss Fedora E.l Knox, Wm. T. D. 3 Lamb, Louis Al"ert 3 Bruce, R. D. 3 Martin, Samuel A. 7 Burnett, Vivian 1 1\fartindaie, !'hos. C. 1 Buschemeyer, W. G. 2 Maurer, Oscar 1 Canuteson, John I Meyer, Alfred ]. 1 Chaffee, A. 1>. 1 Minns, H. W. 2 Cbislett, John 1 Morrison, Paul R. I Clarke, C. F. 1 Oesting, Paul 3 Cline, Winfidd S. 7 Parrish, Misses W. and 1 Colman, Mrs. F. 1\f. G. 3 Cortbell, Wendell G. I Pearce, Mrs. W. W. 2 Das5cflville, W. E. 2 Peterson, J. R. 2 Davis, Chns. W. 4 Phillips, Wm. H. I Davis, Dwight A. 1 Pola•ek, Edw. 7 Eickemeyer, Rudolf, Jr.l Potter, C. Fredk. 2 Elmberger, G. C. 2 Power, Geo. T. I Engel, A. W. 5 Prall, Virginia )f. 7 Field, ]. H. 2 Pratt, Fredk. Haven 1 Fiocher, Fred I Redfield, Hy. S. 8 Fleckenstein, Loui• 3 Robison, Hana 2 Furness, Dr. W. ]. 3 Rodgers, Clarence M. 2 Gatch, Helen P. 1 RosenberJer, J. L. 4 Gates, Solon L. 1 Scheer, Dr. G. H. 1 Gay, Geo. Howell 2 Schuler, John W. 1 Gilbert, Homer W. 2 Shaw, Walden W. 4 Hanscom, Adelaide 1 Skolfiel<h_ S. S. 1 Hasson, John D. 2 Sleeth, K. L.. Jr. 5 Hendrickson, H. 3 Sweet Rrothers 2 Holden, Samuel 2 Swenson, Gust. F. 3 Holm, ~c · 1 2 Tracy, Margaret L. and 5 Holmes, G. L. Edith H.

379

8 Townsend, C. E. 1 Carlo, Sciutto Underhill, ]as. E. 7 Castruccio, Guiseppe Walbridg_e, H. F. 2 Cav•dim, Luigi White, W. MeG. 4 Garrone, Edwardo 3 Wilhelmi, Dr. A. 9 Ornano, Alfredo 1 Willard, Mrs. Eleanor 9 ney Gnido 4 Zerbe, Wm. H. 6 Gloeden, V. von E!fGLAlll' GERKANY 7 Bartnu. Mr.. G. A. J Grienwaldt, L. 0. I Bennett, Lionel C. 1 Bennett, Hy. W. ARGENTINA REPUBLIC 2 Blake, A. H. 2 Cardini, Eugenio A. 5 Campion, Rev. H. C. 3 Clayden, Wm. INDIA I Cheyne, Tulloch 1 Joshi, P. S. 2 Croft, ]. Page 2 Taylor, E. D. HoLLAND 6 Grindrod, Chas. F. 3 Kaufmann, Martin, Jr. 5 Hensler, \V. A. I. 4 Hoppe, E. 0. CAPE TowN 2 Kimber, S. G. 3 Keene, Mrs. Caleb 2 King, C. J. 1 Lane, W. Harold AusTRIA 5 Lee, G. Edgar 2 Ledenig, Adolph I Lloyd, Lewis 2 Lodge, R. B. IRELAND 3 Marriage, Ernest 1 McLean, Wm. 2 Mummery, I. C. S. 2 Nitsdale, W. H. AusTRIA 7 ).farian Silverston 1 Mayer, Theodore 7 Silverston, Marian SPAIN ITALY 3 Poquet, ]ose S Becutti, Umberto 2 Berta, E. MEXICO 1 Cambiaso, M. M. 2 Ravelle, H. 3 1 1

CLOUDS IN LANDSCAPES.

ALD-HEADS, as we term those pictures in which pure white paper is supposed to represent sky and atmosphere, are so provokingly prevalent that we cannot do better than close the year with a protest against this abuse of good photography and the suggestion of a few remedies. Among the readers of CAMERA AND DARK RooM there must be thousands of landscape negatives which would yield a far more artistic print if a suitable sky or cloud effect were added. It is useless here to speak of how these negatives might have been improved in the development by local restrainer; we have them with usthe results of our Summer field work. It is now up to every photographer worthy the name to make up for undue haste or lack of judgment in the field by the exercise of greater care and more taste in the printing. Clouds

are everything to the landscape painter. Imagine a picture by Claude, Chase or Turner without clouds ! As a great teacher once remarked, "Clouds are to the heavens what human beings are to the earth-their inhabitants." They give life and tone to a picture and are often skillfully introduced by painters to help the perspective. A very ordinary photograph may be made into an artistic picture by the introduction of clouds, but only if judiciously handled. Artistic taste and a knowledge of the peculiarities of clouds is therefore necessary to their successful combination with a cloudless negative. There is indeed truth in the saying, "A little knowledge is a dangerous thing." We have just been looking over some prints, among which were some examples of cloud printing which so outraged good taste that we would infinitely rather have had the

CAMERA AND DARK-ROOM 路 old-fashioned monotonous white paper sky. In one of the examples of bad taste there was a mass of heavy cloud over an expanse of water so calm as to be almost without a ripple, and by ~ontrast so white as to look more like snow than water. At a distance the picture looked top-heavy, and one could almost imagine the frame had been hung upside down. In another example the clouds had been printed over the distant hills and completely spoiled an otherwise charming landscape. The prevailing fault appeared to be a tendency to print in the clouds too dar.k, and in consequence destroy the aerial perspective-so important to a good landscape. These defects are pointed out as warnings to the beginner, but there are yet others of equal importance which must also be named. The necessity of true perspective in the clouds introduced must be insisted upon. We mean by this that their perspective must agree with the perspective of the landscape, for where proper attention has not been given to this most important point the oddest effects have been produced. Frequently the camera is pointed upwards in working for the cloud negatives, probably to avoid some tree, or house, or telegraph post, and in consequence the clouds overhead 路are taken, and these said clouds are printed into an extensive landscape; and thus, instead of a glorious perspective. of clouds gradually receding-until in the extreme distance they lose form and melt in the horizon-a mass of clouds appears, far too large for the subject, and too strongly defined, and, therefore, completely wanting in aerial perspective. Of course, such a result produces any- 路

thing but an agreeable impression on any one of taste who may happen to look at this most untrue and inartistic production. If the camera when looking at the scene is in a horizontal position and is afterwards pointed at an angle of 45 degrees when taking the clouds to be introduced, what can result but such an effect as we have described. Whenever possible-that is to say, whenever there are clouds suitable to the subject-it is well to take two negatives, one for the landscape and one for the clouds. In the first the full exposure, so as to secure proper detail in foreground, should be given : whilst in the second the most rapid of snapshots will be sufficient to securt: detail in even the most delicate clouds. When this latter negative is developed, of course, no proper detail in the landscape can be expected, but the proper combination of these two negatives will produce a perfectly bar路 monious result, particularly if the right effect has been patiently waited for. It sometimes happens that the combination of cloud and landscape is most striking ; in such a case, blaze away with all the enthusiasm that such a subject demands, but as a rule the patient worker is the one who gets the greatest reward for his labors. Frequently the sky forms only a small portion. of the picture, and thus naturally the clouds do not play such an important part; if, therefore, they are suitable in form so as to help the general effect and break the monotony of a plain sky, enough has been done, and the printer has not been seriously tasked ; but in an extensive landscape, or more particularly in a marine picture. the most perfect artistic skill will be needed to make a successful com-

CAMERA AND DARK-ROOM bination of clouds and subject. What, for instance, can be more offensive to any one of taste than to see the sparkle of sunlight here and there on rippling water and yet overhead clouds so placed as to render sun-lit water absolutely impossible. The use of clouds with the light on them in a totally different direction to that employed when taking the landscape is an equally grave fault. Ordinary observers may pass these blunders without notice, but they are glaring defects to the cultured eye. Unfortunately, the results of such misapplication of clouds are far too frequent in the va路 rious exhibitions, and they cannot be too strongly condemned. Having pointed out some of the most glaring faults which it is to be hoped may be regarded as danger posts warning the unwary what to avoid, we will now go on to ways and means, and endeavor to show the amateur the best method of printing clouds into his landscapes. Let no printer make the serious mistake of employing the same cloud negative in a number of different landscapes. This blunder has been freq-uently committed by those who certainly know better, but who were too indifferent or too lazy, and therefore did not take the trouble to have a sufficient number of negatives to select from. This fault was so glaring at a certain exhibition that it became a saying: "What! the same old cloud-good old cloud!" It is therefore advisable to have a goodly number of cloud negatives to select from. Kodoid or cut film or even negatives on thin bromide paper will be found the most useful, as these have the advantage that they can be used on either side, so that for all morning or late afternoon effects when

the sun is low and the shadows in consequence become elongated, if a suitable one be selected it can be used from the right or the left according to the requirements of the case ; but it must be remembered that morning and evening clouds vary considerably; great judgment is therefore needed in order to secure harmony. There is also another important point to bear in mind: The angle of shadow must be the same in the landscape and the cloud negative. It will never do to have the light nearly vertical in the cloud negative, and introduce this in a landscape with long evening shadows. And yet such things have been done. We will assume that a suitable negative has been selected and that we are ready for the printing experiment. Make a print from the landscape negative and then in yeiiow light or in a very dull room proceed to register the cloud negative. Lay it over the print and hold both up to the light. Move the cloud negative about until it occupies the desired position over the landscape. When this has been attained make路 a mark on each side in the margin, both on the cloud negative and print, exactly where the horizon line comes, to serve as register marks in the after operations. ~ow lay the marked print back on its own negative as nearly as possible in the correct position, and copy the marks on the print to the same exact spot on the sides of the negative. A slight lead-pencil mark will be sufficient, the object being to know where exactly to place the cloud negative. :\lake sure that the pencil mark is in the right place and then scratch a smaU cross with a penknife exactly on the spot, so that it will show in the print. Now carefuiiy, with a sharp pair of

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scissors, cut out the sky and attach the landscape portion to the wrong side of the cloud negative, taking care that the register marks correspond exactly. If the cloud negative is on paper, lightly fasten it to a piece of plain glass, and in a similar manner attach the cut-out landscape portion to the wrong side as above described. The thickness of the glass helps very much in softening the edges of the junction, and therefore helps to conct:al the mechanism. Put the landscape out to print in the ordinary way, but if the sky is thin and prints grey, a piece of cardboard with the edge slightly curled may be used. Of course, the adjustment must 路be carefully attended to. When the print is finished lay it with the printed surface upwards on a flat piece of board, and on it place the cloud negative. Make the marks register. In other words, take care that the cloud negative occupies its proper place on the landscape print. Cloud negatives are usually very transparent and should, therefore, be printed in very lightly. Remember what has already been said about the unnatural effect of clouds too heavy for the landscape. Do not leave the printing operation for a moment, or probably the clouds

will be over-printed. As the lower portion near the horizon does not r~ quire to be so dark as the rest, the curved cardboard may be employed to soften the light a:t the junction, or it may be gently moved about during the printing operation. As the print cannot be looked at without fear of shifting its position, a little judgment will be needed. Of course, a printing frame can be used, so that the print may be watched ; but more skill will be required in registering. Cloud negatives taken at the same time and on the same spot as the landscape are much more easy to manage, and if both are on plates of the same size the difficulty is reduced to a minimum. Th~ foregoing remarks, with certain modifications, also apply to printing on gaslight papers or bromide enlarging. The necessary modifications will suggest themselves to experienced workers in these processes, but the results are not so easily controlled as with the print-out papers. Enough has been said to start the serious worker on some earnest Winter work and we hope to see the fruits of such endeavor in the work of our readers during the coming year.

CHALMERS.

A NEW CAMERA CLUB. W ORCESTBR1 MASS. A club, to be known as the "Portfolio Club," consisting of a limited number of amateur ph<?tographers interested in the advancement of "pictorial" work, as it is called, has just been organized here. Its object is the mutual advancement of this line of work,

monthly meetings and talks upon subjects pertaining to artistic results, etc. A portfolio will be circulated monthly, each member being bound to place one print, and criticize each other. The officers are: Lee Russell, director, and Herbert R. Cummings, secretary and treasurer.

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SULPHIDE TONING OF SILVER PRINTS.

By A. J. JARMAN.

HE toning of silver prints is generally understood to be accomplished with some preparation employing chloride of gold as the actual toning agent, the use of platinum salts being quite exceptional. In many of the so-called combined toning and fixing solutions where chloride of gold enters into the combination the actual toning takes place by the sulphurization of the image, the gold remaining in the original solution, which can be extracted after the combined bath ceases to act. Sulphide toning is a very different thing when compared to the effects of sulphurization brought about by the complicated action of the combined bath. Sulphide of silver is a very permanent substance, and photographs can be produced in pure black sulphide of silver by a special process, where collodion forms the basis, and the developed image converted into sulphide of silver by an after process. It must have been noticed by many amateurs that the whites of so many prints are degraded, and present a sickly greenish yellow appearance, when they have been toned in a combined toning solution containing many deleterious substances. For sulphide toning the hyposul路 phite of soda solution must be much greater in strength than for use under ordinary circumstances, for in this case the fixing of the print takes place before toning, and success will depenrl very largely upon perfect fixing and thorough washing after fixing. The precautions to be taken are but few,

but they must be carried out in a thorough manner. The printing may be carried out the same as usual, about two shades darker than required for a finished print. Of course, a slight reduction of the image will take place during the路 fixing operation. Make up the fixing solution as follows: H yposulphite of soda. . 4 ounces Filtered water ......... 20 ounces As soon as the hyposulphite is dissolved the prints may be taken and plunged into the solution without being washed. As soon as all the prints are immersed, keep them in motion for ten minutes, so that the image becomes completely fixed; remove the prints, one by one, into clean water, or, better still, place a print upon the hand, rinse it well under a stream of water from a faucet, back and forth, then place it in a tray of clean water. Continue this operation until all the prints have been treated the same way, then, after rocking for a short time, change the prints again into another tray of clean water. This should be done eight or ten times. The prints may then be washed in running water for another ten or fifteen minutes. The object of this thorough washing is to free the print of every trace of hyposulphite of silver. As soon as the washing of the prints has been accomplished, make up the following toning solution : Filtered water ......... 40 ounces Sulphide of ammonia (hydrosulphuret of ammonia) ......... 10 drops

CAMERA AND DARK-ROOM Do not exceed twelve drops of this substance. · -Stir the mixture with a strip of glass. Toning may now. proceed by placing the prints in the solution. Keep them moved about by rocking the tray and turning the prints qver well--one over another After a short time the prints will commence to change color, first to a rich brown, then through the various shades to purple. Do not carry the toning too far; stop a little short of the color desired, because prints that are toned by this method will dry down much darker. As soon as the desired color has been reached, place the prints in clean water, give them a few changes in clean water, from tray to tray, then about ten minutes more in running water. They are now finished and can be trimmed and mounted the same as ordinary prints. It will be found that the colors obtained are very much like gold-toned prints. Rich in color, sometimes almost black, these prints will not fade. They are produced in true sulphide of silver. The hypo: fixing solution must be made fresh every time; if it is used twice, the probability is that the whites of the prints will suffer. The sulphur toning solution, too, must be thrown away as soon as toning is complete. This toning solution is probably the cheapest that can be made, the cost being about one cent per gallon. If the paper used to make the prints on is at all discolored, then it must not be expected to secure good, brilliant prints. If the whites should become degraded, then · the cause may be looked for in defective washing. If there is a trace of hyposulphite of silver left in the print, it will become reduced in the toning solution. The operations are not at all difficult nor

tedious. Those who have never attempted this kind of toning will be surprised at the result, and if attention is given to the details described, there will be no fear of being:unsuccessful. It may be well to mention here that the hydrosulphuret of ammonia is a somewhat offensive smelling liquid and should not be poured from its bottle except by drops directly into the water to be used as the toning bath.· No doubt the sulphide of sodium might be used, or the sulphide of potassium, but the proportions of these salts would have to be worked out for successful working, while the proportions for working with the hydrosulphuret of ammonia have been carried out successfully. In connection with sulphide toning may be mentioned the fact that after a paper print has been toned ·in a gold toning solution, fixed in hyposulphite of soda, washed and dried, it can be retoned to a variety of colors, especially the rich purples, by semi-sulphur toning, in the following manner: A combined toning bath will be required, which can be made up by any one as follows. The chemicals should be dissolved in hot water, the total quantity of water being forty ounces : Hyposulphite of soda.% pound Sulphocyanide of am.., moniun1 . . . . . . . . . .. 6 drachms Citric acid (crystals) . 2 drachms Powdered alum. . . . . . 2 drachms Nitrate of lead. • . . . . I drachm Acetate of lead. . . . . . I drachm Dissolve the above ingredients in separate portions of water, then mix in the order given; lastly dissolve six grains of chloride of gold in two ounces of cold water and add to the mixture ; stir the mixture well ; keep

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it under cover in a small stoneware jar or pitcher until quite cold; it is then ready for use. Pour into a clean tray about sixteen or twenty ounces of this mixture, then take the prints that have been previously toned and fixed, plunge them one at a time be路 neath the liquid, without previously wetting them. In a short time the color of the prints will be seen to change. Keep them in motion, so that the retoning will be uniform. Stop the toning, the moment the desired color has been reached, by plunging each print into a tray of running water; wash the prints for about fifteen minutes, then lay them out to dry, back down, upon clean blotters, or, if they have been previously trimmed, they may be pasted and mounted upon the desired mount, carefully rubbed down and dried. The writer has prints made upon printing-out porcelai~s toned in this manner six years ago. The color has not changed in the least. The image seems to be a compound of gold and sulphide of silver. When porcelains are retoned the action in the above so路 lution takes place rapidly. This combined toning solution may be used over and over again for about six times, if a large number of prints are not treated each time it is used.

When the solution is first made up it will be noticed that there is a pre路 cipitation of sulphur; this may be kept in a wide-mouth bottle, and the clear liquid poured off when required for toning. There apears to be an advantage in allowing the precipitated sulphur to remain, although it must not be allowed to deposit upon the prints. It is quite possible that the combined toning and fixing solutions that are made up for sale at the stock dealers will answer the purpose, but for those who desire to become acquainted with the chemicals they use, the above formula has been given. There is at all times a certain amount of pleasure in preparing the various compounds that are to be used in photography, and, having prepared them, to observe the action that takes place. This gives satisfaction and aids in fixing the cause and effect upon the memory. It also makes the operator far more proficient than if he simply buys everything he uses ready prepared. Then when work has to be carried out upon a larger scale, should difficulties arise he is competent to cope with them, which is not the case with those that at all times purchase ready-made articles.

THEORY AND PRACTICE OF TANK DEVELOPMENT.

BY C. H. CLAUDY.

NOVATIONS usually have a hard time until they demonstrate superiority to existing methods-then they become the rule with a rush. Instance the Kodak developing machine, at which thousands scoffed who remained to turn

the crank. Now tank, or "stand," development is not, strictly speaking, a new idea, or an innovation, but the advocacy of it by so many photographers both here and abroad is both. And certainly tank development, or its cousins, time and temperature de-

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velopment and factorial development, have come to stay, and the sooner we all give up our hardshell notions about the efficiency of tinkering, the art we have of managing a plate in the solutions so we get a beautiful result from a plate which had five times too much or too little time, the better for all concerned ! A certain philosopher once said, in better words, that for a man to acknowledge that he was in the wrong was but another way of saying that he knew more to-day than he did yesterday. Consequently the present scribe, who has until recently been one of the tinkering darkroom fiends, avows without shame or apology his complete conversion and his thorough belief in the investigations of Messrs. Hurter and Driffield, and Mr. Watkins, also. For the benefit of the uninitiated it may be well to state that tank development is that process of bringing forth the image on an exposed dry plate, which consists of immersing said dry plate in a dilute solution of a certain developer and leaving it to develop by itself, in the dark, while the "operator" eats his dinner or reads the paper. Nothing particularly wonderful -but I must not neglect to say that any number of plates of any varieties of exposure can be developed in the same solution for the same time, and produce the best possible negatives in the process. What the tank system will not do, and what the foes of the Kodak machine utterly neglected to comprehend, is to produce a dozen different negatives from twelve varying exposures all alike in density, printing time, opacity and detail. In other words, the gradation ratios of the deposits in any negative are determined by the exposure, and but little, if at

all, affected by various methods of development, but they may be affected by prolonged development. Now, to take a specific case, and of only six exposures, for convenience: I have a roll of six films, which have been exposed as follows: Water, noon, U. S. 64, 1-5 second; interior cabin, well lighted, U. S. 16, 20 seconds; portrait under awning, U. S. 4, 1-5 second; sunset scene, U. S. 4, 1-100 second; shady street scene, U. S. 8, 1-5 second; dog on same street, U. S. 4, 1-100 second. These negatives, all approximately correct exposures except the last one, will develop very differently, some coming up much faster than others, some having greater density than others. But, developed in a tank, each will have, no matter what its relative density, the proper range of gradation, caused by the approximately correct exposure. Developed by hand, each might have the same density and each would also have the right range of gradationbut what does it profit a man to have all his negatives precisely alike-so the thick and the thin ones make truthful prints? In the above case the last picture-the dog in a shady street at U. S. 4 and 1-100 secondwould be under-exposed. If developed by hand to the same density in the high lights as the others, the result would be a soot and whitewash print. In the tank, however, the dilute solution first gets out all the de路 tail there is, and then, not having much of anything to work on, practically stops working, and does not give density. Result, a ghostly negative, but one which has its gradations somewhat correct in proportion, and capable

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of being intensified or of being printed with care. Even the tentative development men will say that a long soak in dilute developer is the best they can do for an under-exposure ! But how about an over-exposure? Well, it is as sim· ple as the rest-an over-exposure within reasonable limits (and of course this applies to any exposure ; we are not trying to develop snapshots at night nor a half an hour's exposunof a landscape, and get results, this time)-will produce a good print if developed far enough. Over-exposed plates have the reputation of making thin, contrastless negatives. WhY.? Because they are usually developed just like an ordinary exposure. They should be much over-developed. Inasmuch as over-exposure tends to re· duce contrast, and over-development to increase it, a dense, heavily developed plate is the only hope for an over-exposure. If you know beforehand that it is a case of over-exposure then keep that plate out and use a heavily restrained strong developer, because that will give you the contrast without such great density. But all the dumping in of bromide, after the image has appeared, which you can accomplish, will not help -ymt. The tones then have their scale arranged and development b1tt puts density on those tones. Consequently, for unknown expo· sures, for under-exposures, and for any over-exposure not known beforehand, dilute and prolonged develop· ment is found to be a far superior method of development than the old hit-or-miss way. Without discussing the relative merits of tank, time and temperature and factorial develop· ment, it should be stated that tank de·

velopment is the easiest and simplest. takes less time and less trouble, and produces, on the whole, as many good negatives as either of the other two systems. But the so-called time and temperature system and the tank system are almost exactly alike, the former having a stronger developer which is allowed to act a certain time according to the temperature, the latter having a weak solution which is allowed to act a certain minimum time and as much more as is convenient, the only temperature regulation being that the solution be of "normal" temperature, i. e., between 65o and 72° F. In popular language, then, without any complicated illustrations of "steps" or "curves," the theory of tank development is that a dilute developer is the best possible one for an underexposure, that prolonged development is best for over-exposures, and that all exposures, properly exposed within the latitude of the plate, will yield the best possible series of gradated tone values when developed in a normal dilute developer, and that while the relative densities may differ, the relative sets of 'l!alues will remain the same in developing, in an equal time, exposures of different duration. Here again the tentative man has hit the truth in a way, instance his practice of "bringing out detail" with a dilute developer and "building up density" with a stronger one. The tank brings out the detail with the dilute developer and builds up the density, not with a stronger developer, but with the same one, operating through a longer time. The practice of tank development is simple. The requirements are a tank of some sort, and the right kind of developer. Tanks can be bought

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nowadays from several sources, and they can be made at home, or improvised. Except for the inconvenience of putting plates in and out and examining them, a new fixing box, which has never been used for hypo., makes a good tank. It should, of course, be provided with a light-tight cover. If it is desired to make a tank at home, make a wooden box, twice the depth of the width of the plate to be used. Make a tin or galvanized iron cage to hold the plates, such as you use in a washing box, and fit the box with a cover. Then paint the box, which should be reasonably well made, with asphaltum paint, or other waterproof material. When you start developing the plates, it is only necessary to transfer them from the holders to the tank, fill the tank full of water two or three times (all this in the darkroom; of course), empty tank, pour in the developer, cover, turn up the light, and wait the allotted time. The developer can be almost anything but pyro., and that is sometimes used. If the solutions are at all warm, however, pyro. tank developer is apt to cause a peculiar phenomen<?n called "drifting of the image," in which the photographic image rises like a cameo from the gel路 atine, and from the force of gravity drifts down the surface of the plate, causing doubling and distortion of the image. I presume the majority of tank users depend upon glycin for their developer, as it possesses the property of keeping indefinitely, gives splendid detail with no fog and sufficient dens路 ity. Personally I use the 1\1. Q. for路 mula I use for plates and paper. I take an ounce of concentrated solution such as I would add to four ounces of

water to develop Velox paper and dilute it with sixty ounces of water. I use this solution for the tank and leave the plates in it from twenty minute! to an hour and a half, and get firstclass results--plenty of density and no fog. I should say that these results are usually from plates which have had full exposure ; that is, rather past the center of latitude of the plat~ than before it. For instance, if the subject allows a plate latitude of from one to five seconds, these plates, so developed, will have had about three seconds. There is one point to which I would specially call your attention in this sort of work, and that is the almost perfect safety from over-development. You would ~~turally think that if a plate would develop in a dilute solution in half an hour, that to leave it in for a full hour would greatly overdevelop it. Such, however, is not the case, and the reason is not far to seek. The plate-any plate-develops less rapidly as development proceeds. There is so much silver affected by the light to be reduced. The first layer is at the surface, unimpeded. The second layer has to have developer which has soaked through and acted on the first, and as there is less reduced silver in the second layer than the first, there is slower action. So, when a plate is normally developed, further development, with a dilute solution, is very slow indeed, and: over-devetopment, unless for some unusual exposure, is hardly ever to befeared. As a slow-working dilute solution tends to lack of contrast, care should be taken not to remove the路 plate from the tank too soon. Overdevelopment not being a contingency which is much feared, and flat plates-

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with lots of detail but no density it is hardly necessary to speak-the meaning a lot of intensifying, it is well pleasure of doing a dozen plates in a tu take care in this part of the work half-hour, and reading comfortably and be sure they are sufficiently de- during the process, is not to be developed before they are taken out. spised. But it is not on account of Such care, however, will not be needed the convenience, but because of the after the first half-dozen experiments, uniformity of the good results obas the correct time for the conditions tained, that the tank is to be so highly under which you work-your average recommended. It may not be soothing exposures, average temperature, etc. to our sense of pride to reflect that a tin box can develop a dozen plates -will be soon ascertained. When development is complete, the much better than we can, in half the plates may be thoroughly rinsed right time, but inasmuch as it is an unin the tank, and then removed and put doubted fact, is it not the part of wisin the fixing bath in daylight, a lesson dom to pocket the pride and adopt the from the Kodak developing machine -box? Such has been my own experiwhich it is well to profit by. ence and the course I have pursued Of the convenience of this method during the past year.

STRAINING A POINT WITH THE CAMERA. In connection with the article on cloud printing, on another page, we repeat a suggestion which has already been given to CAMERA AND DARK RooM readers. It is a simple matter to produce 5 x 7 prints with a 4 x 5 camera or 7 x I I prints with a 5 x 7 camera by exposing two plates in sue~ cession and blending the negatives in the p"rinting. If it is a landscape the negative should be taken the oblong way of the plate, with the front board lowered as far as possible or the camera tilted down until the horizon line is just below the upper margin of the plate. A sufficient exposure being given, the front board is raised as high as it will go路 or the camera tilted upwards, and on another plate an exposure is made for the sky effect, with less time, or reduced diaphragm or both. \Ve have seen some charm路 ing effects produced in this way which it would be impossible to detect from

work done with a larger camera, but we would advise those who adopt this method to use in so doing the longest focus lens available or a single combination of a convertible. Of course. this is only combination panoramic work inverted, but with this difference, that in making negatives to be blended or joined side by side to pro路 duce a panoramic effect, the exposures must be uniform and the front board or vertical position of the camera unchanged; whereas in the method outlined we are enabled to give an exposure short enough to hold the detail of the cloud formation, while the tree-tops or objects silhouetted against the strong light do not seem to suffer thereby. All the utensils necessary, therefore, to produce a print of about d<;mble the capacity of any camera are trays and a printing frame of sufficient size.

CAMERA AND DARK-ROOM

AN IDEAL PRINTING PAPER FOR TONALISTS. BY THOS. A. SANDERS â&#x20AC;˘

In these days, when everybody is striving for tonal effects, the photographer with artistic inclinations is naturally looking about for such media of expression as lend themselves most successfully to the realization of har- , monious tints and subtle values. The Angelo Sepia Platinum Paper is really an ideal medium for the tonalist, and consequently enjoys a great popularity among professionals as well as amateurs at present. It has many proud distinctions. It is manipulated in an exceedingly easy manner ; it has the true sepia color, .a rich, warm brown, full of delicacy. It is also adaptable to a rich red, resembling very much the red charcoal effect of carbon and has this advantage, that it can be developed in a cold bath. This is a great inducement in its favor, as everybody will realize who has dabbled any length of time with hot developers. If one should put two men at work in one's dark room, one working continually with a hot developer and the other with a cold one, the first one at the end of less than two years would be a sick man, as the skin of no human being can stand the continual contact with heated oxalic acid, chloride of iron and mercury. Too much poison would have entered his system through the pores of his hands, and even "finger protections" would not entirely save him from injuring his health. While the other man would be as wholesome as ever, and he could well afford to laugh : "Why do you not use a cold developer, as I cto ?" But the Angelo has four other

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qualities which are highly recor.tmencled by all who have used it. Rudolph Diihrkoop, the commissioner of the German photographic exhibition at the St. Louis Fair, made some extensive experiments with it and praised it particularly for its permanency, its subtle tonal qualities, its fine quality of high lights, and, above all else, its great latitude of control in the developing and printing. Permanency is, in my opinion, always doubtful, as nobody can guarantee-particularly so in the case of a new paper-how it will look thirty years hence-but, if handled right, it may come next to carbon for permanency. Its adaptability to tonal effect is remarkable. It subdue$ details and produces tones that are uniform, but full of harmonious, subtle, half-tone tints. It can be best explained by an example. Fig. 1 represents a fold in a sleeve. A carbon prints shows almost the whole depth of the fold, accentuating its rotundity and recording all its light and shade variations. The dotted lines in the diagram show how far the other media suggest depth and rotundity. Albumen is already less translucent than carbon, and the ordinary sepia is still more opaque. The Angelo shows the depth of shadows almost as little as Platinum, but the simplification produced is a most desirable one, as it suggests the actual depth without showing it as a realistic and obtrusive fact. This is why all the Secessionists and the Salon club members are so enthusiastic over it It saves them really the wearisome

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ing frames in a bright sunlighted room without being afraid of spoiling the !."'i!!.- _-_: paper. No, on the contrary, it is apt ----.;!!~A::.--to improve the quality of the white. Clt,~u-r~ -·Let us look at Fig. 3· A-b represents a range of tonal value from the darkest black to the lightest white, as pure black and white cannot be reproduced. The star in the middle stands for the dividing line between white .,(, and black tones. In handling sepia c. I f ~r. paper a flash of sunlight is sufficient to make a picture look muddy, as the f•rl.~ contact with light has already robbed trouble of elimination and preserves the coating of its faculty to produce clear high lights. The Angelo, being the photographic texture. Still more valuable is the latitude of also a slow printer, on the contrary, this paper. It deviates in this respect can stand the exposure of light, as the very much from the ordinary stand- same amount of lig~t that will reduce ard. It is a very slow developer. But the white producing quality in sepia this proves to be of particular advan- from b-d would effect Angelo only tage. If the other sepia papers pro- from b-e. It would merely produce a duce a certain effect in three minutes, light film, a delicate veil which would the Angelo needs fully five minutes. And this fact can be utilized to the utmost, as we may readily observe in Fig. 2. The three perpendicular lines· explain themselves. Comparatively few prints of any good all-around negative ever reach the standard of what one might call normal or perfect development. They are either a trifle under or over-developed. And the more this is the case the more unsatisfactory is generally the result. Sepia, developing quickly, has only the latitude of b-e. If only a trifle more or less developed it is already unsatisfactory, while the Angelo allows latitude from a-d. It can be under-timed or over-timed and yet produce a good result. The same way it is in the printing. The Angelo can be handled more carelessly than most papers. The patron of the Angelo paper can fill his printS'~..:·r.: .........

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give to the whites a more refined quality. These are to me the leading qualities of the paper, qualities which have never been dwelt upon sufficiently. From a strictly pictorial viewpoint, there are few papers which produce such subtle values, such soft shimmering high lights, and such beautiful harmonious tints that are uniform without ever being monotonous. But, aside from these excellent qualities which nobody can dispute that is familiar with them, there is still another factor which has made the Angelo paper one of the most popular photographic articles in the States, and this is the inventor and manufacturer in person-Jos. DiNunzio, of Boston, 1-Iaving been for years a salesman for the Aristo paper, he became known to the entire profession, and nobody could help liking him. He had such

a jolly disposition and enjoyed such an enviable reputation for squareness and fairness in all his business transactions that it only took a few years to make him one of the most popular men on the road.. Everybody from the Atlantic路 to .the Pacific, from the wilds of Labrador to the Gulf of Mexico, knew at least of "Aristo Joe," as his friends call him, by reputation. Then he made his invention. The paper was chemically ''and artistically a success, and it only needed the charm of his personality to make it known as well as he was himself. And it is with the paper very much the same as it is with the man himself -if one has made his acquaintance, one does not willingly give it up, one sticks to it and continually discovers new qualities that make it more and more valuable in the realization of one's professional ambition.

HOW TO IMPROVISE A TWIN LENS CAMERA. BY

W. LITTLE.

How many of us. when we are photographing subjects where we are unable to use our ground glass, and are obliged to compose our subject with the aid of the little finder fitted to our camera, have not at times wished we had some more adequate means of judging of the relative. size, or of the exact position on the focusing screen, of objects included in the view, particularly when including figures or moving objects, than that afforded by our finder? We are able to see these objects in the firder, it is true, but how different they look when we come to see them in our negative or finished print. The perspective is often false, figures or objects in the foreground being altogether out of propprtion to those in more distant planes. Or, perhaps, although in other respects it may be quite

satisfactory, our figures are not in proper attitudes or do not compose well with relation to the other parts of the view, the microscopical image shown in the finder being too small to permit of the view being watched so closely as to take advantage of the moment of best possible arrangement of the various items included, in which to release the shutter. Or may be we are taking a portrait at home. Our subject has been posed, the plateholder inserted and the slide withdrawn. We-may, of course, yet make any alterations in the pose which may s1,1bsequently occur to us as desirableo but who of us have not wished that, with路 out replacing the sliqe and removing the plateholder, we could take one more look at the subject as it composes on the ground glass?

CAMERA AND DARK-ROOM To meet this want many devices have been suggested. Perhaps the most useful of these are the specially constructed cam· eras now manufactured, of the reflex and twin lens type, which enable the user to watch the subject on the ground glass until the actual moment of exposure. Such cameras are especially useful in photographing moving objects of all kinds, and particularly in focal plane war!.:. Another contrivance is the view-meter, consisting or a wire frame of the size of the plate used, with cross bars, fixed on top of the camera. through which the subject is watched by placing the eye at a distance equal to the focal length of the lens. Still another use· ful device. and for many purposes an improvement over the ordinary finder, consists of a collapsible rectangular frame holding a plano-concave lens giving a nonreversed but much reduced image of the subject, and used in much the same man· ncr as the view-meter, while the professional portrait camera is provided with a curtain slide, by means of which the operator can. by a simple movement, throw the plate out of position, view the subject on the ground glass and replace the plate at any moment he may so desire. These devices each have their own purpose and are all useful-some almost indispensable for certain kinds of work. Per· haps most of them are better than the one I am about to suggest. But there are times when some such device is much wanted and none of them is at hand. and it is then that the suggestion I have to make ma) be available. :!\lost amateurs, if they stay with the fas· cinating hobby long enough (and I think in most cases they do), in the course of their evolution as photographers acquire more than one camera. They usually com· mence with a small one and. as their am· bitions grow with accumulated experience, work up eventually to a camera of larger size. Often, too, they go afield with a fellow photographer. If then there are two cameras at hand, each having an arrangement for focusing on the ground glass, and the occasion arises where a twin lens or reflex camera would be of advantage, the emergency may often be very satisfactoril} met by simply placing one camera on top of the other, focusing both on the subject,

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and using the upper one as a finder through which to view the subject on the gr~und glass and the lower one with which to expose the plate. A small one will s~rve the purpose of the finder. They may be fastened together, if desired, by using strong rubber bands, or in any other way that may seem expedient at the time, or the uppl'r one may simply be steadied by the hand, the essential point being that the two cameras have approximately the same angle and that they are set squarely together so that the center of the view will coincide on the ground glass of each. If the subject is one containing objects moving at right angles, such as boating scenes, and the cameras as placed upon a tripod. it may be desirable to leave the tripod screw rather loose, so that both cameras may be swung together in order to closdy follow the movement of the object. This arrangement will often be found very serviceable and a considerable advantage over the ordinary small view-finder, but it of course has the disadvantage that the focus cannot be so conveniently altered at will as can be done with cameras of the reflex or twin lens patterns. and consequently the subject must be focused with the under camera before the plateholder is inserted and the slide withdrawn, and the focusing scale be depended upon to make further adjustment in focus should it be required. However, if the light is good and a medium stop is used to give good depth of field, this will not be found to be a serious drawback, as the focus usually need not be altered. If the moving objects are at some distance, slower shutter speeds may often be used, which will compensate for the use of a smaller diaphragm should this be necessary to secure depth, but if the ob· jects are beyond the hyperfocal distance of the lens at full aperture. a larger stop m:ty of course be used. Under ordinary circumstances, particularly in outdoor work and where the light is strong, a focusing cloth will usually he required. It is unnecessary to elaborate further. as other details will suggest themselves to any one familiar with the handling of pho· tographic apparatus. I do not propose this as an expedient of general utility. but rather as one which may be useful on occasions.

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TRICK PICTURES. Startling and Amusing Photographs made with an Ordinary Box Camem by an Amateur, without Previous Experience. BY R. R WINSLOW. Trick pictures, as th ose sta rtling and amusing photog raph s mad e by th e clever manipul ation o f camera and subject a re called, are popular amo1 ~ g am ateurs, who find that line of work a pleasant diversion for the Winter month s. One class of trick pictures ha s found its way into th e professio na l studi o, and it is now possible to be "taken" shakin g hand s, playing cards o r box in g with one's self. Tricks o f thi s kind are accomplish ed by th e use of a little device kn own as a duplicato r. This is merely a cap with a sma ll segm ent al opening in th e fro nt Wh en slipped ove r th e k ns the image can be thro wn on any part o f th e plate b) simply turning th e dup li cato r a round . B) attaching thi s in strument to the lens of any folding came r a, any person o r persons ca n be pho tograph ed in two positio n s on th e same plate, with out sho wing a elivi sion line wh ere the tw o cxposu re s meet on th e plate. Many humorons pictur<'s can be obtained in thi s wa y. and two person s can be photog raphed toge th er in a g roup without eith er one hav ing ever seen th e oth er. l ' nfo rtunately fo r th e amateur wh ose camera is of th e fixed-focus o r bo x vari ety, the duplica to r is intended for u se o nl y on th e view o r focusing camera. There is, howeve r. anoth er cl ass o f trick picture that is within the range o f th e box camera, exampl es o f whi ch are g iven in the accompanying illu strations. The picture> r eprod uced he rew ith were mad e by a you ng amateur. from in stru ction s given him by the au th o r. They represent hi s fir st attempt, and, th erefo re. arc not intended t c present th e bes t exampl es o f thi s class o f wo rk. The only necessary addition to the amateur's ontll t requ ired to dup licate th ese pictures are: A fine sable brush, a cake of "opaque" (a paint-like prepa rat ion f01 r end erin g any pa rt of a negative opaqu e) and a package of Aashlight sheets. If tc

thi s th e amateu r will add a little ingenuity he can make some photographs that will startle hi s associates and puzzle even the fo rtunate possessor of a focu sing camera and duplicator. Even pictures o f one person in two positions on one plate can be made withou t a dupli cato r, but the variety o f pos tures a re limited and cannot be made with a scenic backg ro und . The photograph of a young lady giving he'rself a bite of bread wa s made with tw o exposures on one plat e. A bl ack cloth was . hung as a background and the young lady;.was 'posed on the l eft fir st. The position of the bread w as mark ed by sticking a sma ll pin in the back ground and an expos nre mad e. care bei ng taken that .the hands hid e the pin. The subj ect wa s th en posed on th e ri ght, her position bein g fixed by the pin in th e backg round. ami a second expos ure m ade. The black backg round had no effect whatever on the plate, th erefo re, when the fi rst exposnrc was mad e th e oth er part o f the

J:oig.

Giving Herself a Bite of Bread.

pl ate remained unaffected, r eady for the nex t expos ure. The position o f the subj ec t on th e plate was ascertained _by the ,-iew-lmd er. The plate may be quite accurately divided by suspending a white cord in th e cente1路 o f th e background and making this cord coincide with a pencil line drawn throug h th e cente r o f the top glass of th e finder. Ghost pictures. in which apparently trans-

CAMERA AND DARK-ROOM

Fir. •

T he Ghost Story

pa rent app ariti ons are sectt, a re quit e sim· pic. ancl wh en properl y made th e cfTcct i ~ \' cry sta rtli ng. Th e trick o f thi s picture i< in th e flas hlight. In makin g th e picture sho wn here. th e g hos t and fri ghte ned lach was fi rst posed as sho wn and onc-q ua rtC'.t o f a ch arge of fl ashli ght set off ; in th i• case th e cha rge was a qtt.'l rt er o f a sheet of flas hlight paper. The gh'o st th en sli ppt'd q uick ly o ut o f th e picture a nd a full cha rge of fl ashlig ht. a wh ole shed. se t o ff. Tht lady mu st hold th e sa me pose fo r both fl as he s. as th e high li ght s a re apt to be caug ht o n th e pl ate during th e fi rst fl ash and any change o f pos ttt o n wo ul d spoil th e picture. Man y amu sin g e ffects m a' be o btained with fl ash sheets u see! in thi-, mann er. Wh ere th e fri g ht ened party is ~ man. he coul d be seen strikin g th e g host with a broom. By making th e fi rst expo sure with th e g hos t in fro nt o f th e broom it wo-.tld appea r to have passed through th e specte r. What mi g ht be called dream or ,·ision pictmes can he made in thi s man ner, and a little careful practice wo uld res ult in pho tographs th at a re a rti ~ tic a ~ well as amu sing. Such a pi cture would ~h .) W a sleeping subj ect and a hazy. transparent scene, represent it·g th e drea m. The photog ra ph woul d be made by th e sa mt methods empl oyed to make th e ghos t pic t ure. the entire picture bein g exposed by a quarter cha rge o f fl ashli ght and tlH pictu re witho ut th e drea m scene being ex· p o ~ t- d by a full charge of lig ht. The pictures described above are th e sim · pll'st o f box camera trick photograph s, as they r equire only th e m anipitl ation of suhject, and others will su gges t them selves. such as a lady standing o n her head on a

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toble or balancing herself on a chair or cane. In thi s case th e table, chair or caneis suspended from th e ceiling and the subj ect stands u nde rn ea th with the head resting against the . ch air o r tabl e top. A continu ous b a cl~ gro tmd is n eeded, and pictures or other a rti cles o f furniture fastened up· side-down again st th e background will ca rry o ut the e ffect. If a lad y is the ~u·:)j e ct, the skirts should be bound aro und at tlJe ankles with a co rd to obtain a natural effect. The startling and som ewh at gru esome photog raph o f self-d ecapitati on is an exa mpl e. o f doubl e printing and requires ver)' ca reful wo rk, with m any failures be fo re success is fin ally obtained. No. 4 shows th e fir st pose. bein g a print fr om the negati ve befo re it was ''docto red" with opaque Th e "docto rin g" in thi s case consisted of blocking out the head of one subj ect ancl the body of the o th er. All o f th e backg round except the lace curtain was al sc blocked o ut. N o. 5 is a print from the nega ti ve aft er it had been "docto red." The wind ow backg round was obtained from a nega tiv e in th e amateur's collection, but th is background could have been secured by photographing any window. In making th e photograph a print was first made from th e blocked-out negative. but not toned

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Self-Decapitation

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4- The negative before it was doctored. Fi&. s. The negative after it was doctored. Fig. 6 Puttin& in the background路. Fi&. 7路 The negative that supplied the back &round.

Fi~r .

The blocked-out section was cut out of this print to make a screen. This section was adjusted to the negative containing the window in such a manner that only the window would print. The print made in this mann er is shown by No. 6. The white portion, showing the outline of the lady holding the head by the hair, marks the position of the cut-out section. This po r路 tion o f the paper, being covered by the screen. was unaffected by t)le light during the printing, and was, therefore, capable of giving a print. As the next step. the paper. still in the condition shown by No. 6. was placed behind the block-out negative in the printing frame. By holding to the light. the undoctored part of the negative was made to accuratel y cover the unprinted section of the paper, and th e print finished: giv ing the startling res ult show n. By this cut-out and doubl e printing meth od man y amu sing photograph s can be made and many mystify in g effects obtai ned; such, fo r instance, as a head less man runnin g away from hi s head. which is flyin g behind him, or a headles~ football playe r kicking hi s own head . Spirit photograp hs are also quite possible with a box camera. T hese are photographs fr equentl y ex hibited by fraudulent spi ritua lists and fortune -tellers. They a re hazy, fogged -appearing pictures. in which there can be seen faint traces o f 1mman face s. The fraudulent spi ritu a li st~ claim th ey a re ph otographs of departed spirits. taken fr om the retina of the eye~ of a medium while in a trance. wh ile the fo rtun e- tellers sell them to th ei r superstitious patrons as ph otograph s of their future wife. o r hu sband, as the case m ay be. The making of th ese photographs is quit e si mple. requiring merely a white back-

ground. and no previous preparation or "doctoring" of the negative. It is only necessary to pose the subject against a white background, adjusting th e camera by means of the view-finder so that just the head will occupy the lowe r portion of the plate. The exposure should be a trifle shorter than would be required for a good, sharp negative. The camera is then turned on one side and another subj ect posed in the same position. After thi s exposure the camera is again turned; this time it will be up side down and the image will be on the top portion of the plate. When this has been exposed on another su bj ect, three parts of the plate have been aff ected. the top. bottom and one side. The next turn of the camera exposes the remaining side, g iving fou r different images on the one plate. Each time the shutter has been opened the white background has been photographed, and th e result is that when the print is made the faces appea r hazy and ha\'e the appearan ce of being below the su rface o f th e paper. Composite photographs are also within th e range of the box camera. and a careful amateur ca n obtain very sati sfacto ry results, with a little attenti on to detail. Being without a g rou nd glass upon which to view and foc us the picture. he mu st depend up on the v iew-finder. hut if the following directi ons a re ca reiu lly carri ed out the grou nd glass will not be m issed . F irst ascertain as accurately as possible the correct time of exposure to secure a good negati ve under th e light conditions prevailing at th e time the composite photograph is to be made. and divide thi s by the number of faces to be used to make the picture This will give th e co rrect exposure time

CAMERA AND DARK-ROOM for each face. As an illustration, say the correct exposure was found to be ten seconds, and ten faces are to be used in the picture. The correct exposure time for each face would be one second. The first subject is now posed in such a position that only the face will be taken. A portrait lens attachment will be found necessary with most box cameras in order to get the right focus. On the glass of the viewfinder mark a horizontal line running through the mouth and another horizontal line nmning through the eyes. Then mark a perpendicular line running down the bridge of the nose. This will give three lines, two horizontal and one perpendicular, each at right angles to the other. The marking is best done with a black thread wet in glue. The thread can be stretched across the glass and will be held in place by the glue. When these marks have been carefully made the first exposure of one second is made. The next subject is posed, the mouth, eyes and nose of the image shown in the view-finder being made tc exactly coincide with the black thread marks previously made. This will bring the mouth, eyes and nose of the two subjects in exactly the same place on the negative. The other subjects are posed in the same manner. A print from the finished negative will be, it is claimed, a photograph of a face such as would be possessed by a person in whom were combined the dominating characteristics of each member of the group. It would be a key to the characters and dispositions of the, group.

HARTMANN.

C. VAN ARTEVELDT.-"The Old Dam" and "Sunset" fall far short of being the best that can be done with a Brownie cameraand under the same conditions of exposure the results would not have been any better with a more costly outfit. The exposure was not sufficient to impress the details on the film, and in forcing development in an attempt to get detail the contrasts of light and shadow have been overdone; not onl) that, but friction marks, as explained in

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our last number. have appeared. Learn to give correct exposure; this is the first and main step to making good pictures. Then learn to stop development as soon as the film has become dense where the highest lights in the subject appeared. To carry development farther only builds the halftones up to the same density and thus destroys the gradations of tone values. Get these points imbedded in your mind and then act on them, and when you have a good negative get the best result you can by printing on a paper that is suitable to the negative and the subject. "The Grove iu Winter" is the best negative of the three. but we do not like to see \Vinter scenes printed in a warm sepia. Carbon velox or other rough developing paper would have been far better adapted to this subject. EMANUEL RENGIN.-"Rowing on the Lake" is a very creditable. bit of work, andÂˇ the rich brown color of the print ver)l suitable to the subject, although the engraver may not be able to brilfg out the quality. It was a happy thought to place the boat and the rower in the white shirt under the large clump of trees and in tht most effective spot-just where the water is cast into shadow. Cover up the boat and' the picture loses in composition as well at:in interest; as it is, the boat and figure helps to balance the bright sky and reflections to the left. We have not a word" of fault to find save to say that the result would have been still better if the plate or film had received a little longer exposure. CHAS. SPRANKLE.-"A Suburban Home" is a perfect technical photograph in which there is nothing to criticize. The particulars on the back of the print show that you are careful of details and that you make use of the best plates and materials. therefore the credit for the work is largely due to the manufacturer. There is just one thing that in our opinion would impronâ&#x20AC;˘ the print, and that is the trimming of a half-inch or more from the foreground and trimming the margins so that the lines of the building are perpendicular. as the tower now appears like the famous leaning Tower of Pisa.

J. l\L KA:sE.-"Portrait of Miss P." surely does not flatter the sitter. The lighting

CAMERA AND DARK-ROOM and pose i3 very good except that the double spot lights in the eyes should have been avoided by screening one of the sources of light. The teeth showing at one side of the mouth only is another defect that could be improved by retouching 0:1 the negative. but it is not worth the trouble. The "Profile Study" is better, a really good profile of a very pretty girl, and although the lighting is a trifle harsh there is enough in it to give promise of better things. "Perfectly Happy'' needs no comment.. It is a well finished print of a lucky snapshot, just such a picture that will please the mother and all lovers of children. HENRY A. PoRTER.-If the print. "~iag ara Falls," is the best you made of this much-photographed bit of nature. you must surely be disappointed. From the distant point of view, why did you not use the rear combination of your lens (if we mistake not. all Seneca long-focus cameras arc fitted with convertible lenses) -this would have given you better perspective. Then the exposure has been about onefourth of what should have been given. All that is worth saving in the negative is the sky and beautiful clouds. You can no -doubt make use of this sky in combination with another landscape negative some time, hut it is a waste of good material to make prints from the negative as it is and call it "~iagara."

G. F. CLARKE.-":\ Summer Landscape" is an attempt at the making of a picture with a result that is ludicrous to say th<' least. In the foreground we have a stretch of grass and hushes which are so out of focus and woolly that it leaves too much to the imagination. A winding stream. th~ hanks of which are lined with ·trees. leads up to a distant stretch of sunlit landscape which is sharply focused. The sky is the worst feature, yet it shows that :a serious attempt has been made to rem-edy that common deft·ct, a white sky. In this case the toning down has been overdone. a• for the space of an inch or more aho\·e the horizon the sky is perfectly white. from which it is sha<ll·tl until the zenith is as black as the darkl-st portions of the landscape. Consequently. the effect represents a physical illiJHl'"ibility in nature-a sun-lit la!Hl-capc under a black and stormy

sky. While it is considered unpictorial to have all the planes of a picture equally sharp. it is certainly unreasonable to have any part so much out of focus as this foreground. If any part of a picture is pur· posely thrown out of focus, our opinion is that it should be the distance, as this would tend to give the impression of atmosphere. The view is a pretty one and you should make another trial, and if you cannot get the clouds on the negative and are not adept enough to print them in from a sep· arate negative, then exercise a little more care and taste in toning down the sky to produce a natural effect. :\sniosv ScH!IIITT.-:\nother one of onr Jlllpils, as we are pleased to think, has made rapid progress. Each batch of prints submitted is better than the previous. and it is hard to suggest any points for improvement in the thn·e before us. All evidently views in a public park, are examples of perfl'ct technique, from the exposure of the plate to the finishing of the print. Park views. as a rule, do not yield the most artistic pictures. \Vhile the vegetation is beautiful and the composition well handled. as in "Where the Roads ~feet'' and "\Vhere the Road Bends," there is visible too much evidence of the hand of man. Such views of park scenery have their uses and are preferred hy many, but we favor more rustic simplicity in woodland scenery. For artistic effect, unity of desig11 and breadth of treatment. we much prefer. "Reflections." and venture to say that if this was enlarged to more pretentious size and printed in carhon, sepia-platinum or bromide, it would receive the approval of any salon jury. S. F. CLOWNEY.-There is enough merit in the little print, "The Nl'llie Bly." to make it worth while enlarging. It is very gratifying to see the steady improvement in the work of one of our regular correspondents. The 2 x 2-inch print, which is probably only a hit from a larger negative, shows taste in trimming and the capacity of selecting the artistic from the ordinary or commonplace. The contrasts and massing of the lights and shadows are almost perfect, and the exposure has been just sufficient to give the necessary detail and to suggest the idea of motion. The onrushing train, the cars side-tracked, and the belching smokestacks of the busy manufacturing city in the dis-

CAMERA AND DARK-ROOM t anct: co mbin e to make a picture of th e st renu ous A merican life that is worthy of a m o re distinctive title than simply "The Ne llie Bly." T he reproduction is slig htl y en larged and wo uld have reproduced better from a glossy instead of a matt surface paper. L. B. Vv'1N~.-"La n dscape." The colo r of the print, the mo unting and th e composi ti on are sati sfacto ry, but when o r wh ere did you fi nd such a landsca pe pictured in the blackness of n ight, yet under a brig ht and cloudl ess sky? Snch an unnatural re-

REFLECTIONS

l't1 lt r::m 0nl v be set dow n to one causeunde r- exposnre o f the negative and ove rLevelopment. It is a mi snomer to call a silhonett e a " lan dscape." L o ng a ft er th e highlights of sky and reAec ti o us in th e water were developed to sufficient den sity you still forc ed deve lopment in an attempt to get d ~ ta il whe re no image had been r ecorded ; consequentl y. th ere a re only t wo tones jn the print- black and whit e. Learn to make and kn ow what is a good negat ive. Expos~ fo r the shadows and stop dev elopn:ent a s soon as the hi ghest li ghts >ho w on the glass side; to ca rry development fart her

401

sacrifices the half-ton es. A nd when you do make a mi stake and get a wo rthless negati ve snch as thi s. throw it in the as h can rather th an waste good paper and other m ateri al. J. VVI LL I.\~1 DAVI S ( R oxbn ry) . -The untitl ed land scape is not bad for a fi rst attempt. T he composition is too complex - th e tw o trees, one at each side of the picture, bot h claim eqnal attention, and the cam era should h ave been placed so that one of them was cnt out. As it is, cutting th e print in tw o m akes tw o pictnres each

Anthony Schmitt

of which is bett er th an th e wh ole. T he advice given to I.:. B. \V inn to <'xpose fo r th e shadows and de,路e lop fo r th e tone ,路 ;du es a lso appli es in thi s case. You say th e ca me ra wa s one of th e fixer! foc us. snapshot hand cameras; well. if it has not a ny arrangement for a tripod o r a time shutte r, you had better lay it on a shel f un t il next summer r ather than wa ste plates. ;\Teanwh ile, try to obtain a focusi ng ,路iew c:1 mera. with g round g lass on which to focus, and a t ripod. E \路en if it has only a si ngle lens. with out a shutt er. and usin g th e lens cap for exposure, you will m ake hetter pict-

CAMERA AND DARK-ROOM

402

less exposure docs not make much difference in work of this kind, and such resul ts are easi ly obtain ed by anyone using good material. To say that the exposure was a minute and a half, withou t stating the focal aperture of th e lens, conv eys no informati on whatever. You are to be congratulated on th e neat and clean manner in which th e print have been mounted and the excellent result you hav e obtained with the Aristo Pla tin o paper. Trimming of the print is a cu re for many evil s ; one result of wh ich you wi ll noti ce is res toring to the ,·e rtica l th e leanin g towe r, as you will noti ce in t he rep rodu ction.

The White City

Jeno Hvass

ures and lea rn more with it in a month than you would in a yea r with the box form of camera. ]E NO HvA ss.-T he four photog raphs o f the " \Vhite City." a Chi cago place of amusemen t, are ve ry good. consid erin g your short experience. R ea ll y. th ere is nothing to criticise in th e work ; a few seconds more o r

THE WHITE CITY BY NIGHT {Chicago)

] .DIES GoRoox (Bu ff alo).-Although you have bee n photograp hin g for less than a year, th e prints you send a re better than the work of many wh o have been at it for yea rs. Now do not let your head swell. fo r you have yet mu ch to learn. Trim off a ll that is bad in Xo. 1 and you will fin d that you do 11ot have mu ch le ft. but what is left shou ld be vertical and not sliding dow n hil l. In No. 2 th ere is th e makings o f a fine picture. Prese rv e thi s nega ti,•e and when you a re farth er advanced reduce th e high light s on the water and tnake an e11la rge ment, printing in a suitabl e sky, and you wi ll hav e a picture o f which you may be proud. Nos. 3 and 5 show under-exnosure and 4 is lacking in interest.

Jeno Hvau

Where the roads meet

Where the road bends

Anthony Schmitt

S. F. Clowney

CAMERA AND DARK-ROOM

Bromide Enlargement Competition. At the reque,; t of a number o f read ers, we have r eopened th e Bromide E nl a rgem en t Cont est. which wa s suspended from lack of interes t-only two entries h aving bee n received. The time fo r receiving en· tri es to thi s competiti on ha s been extended to ] anuary 31 st.

Co 11ditiolls. The enlarge ment s may he any size. 2. A contact print fr om th e nega ti,·e or film mu st accomp any th e enlargeme nt. 3. Enlargements and co nt act print may be sent rolled. Aat o r motn;ted, as may be mos t convenient. 4· The deci sions will res t on th e picto ri al qualiti es o f th e print and th e fai thfuln ess with which the tone values of th e nega tive are rendered in ·th e en large ment. s. The wo rk. fro m the making of the negative, mus t be all done by the contes tant. , Thl'! prizes in this contest will be well wo rt!~ tryin g fo r and be valuable photographic goods.

Well, well well! If we were the possesso r of an "ounce of go ld" we would feel like mixin g something stronger with \ he wat e r. \V e have a ,.i,·id recollection u f having had to pay .JO cen ts fo r a ham sandwi ch and $.J.OO for th e u >c o f a rickety cvt a little over a year ago in St. Louis, but had no idea th at th e W o rl d's Fai r made o ur St. Lo ui s £riends so wealthy .that th ey actu all y bathe in gold. \Ve hope ou r readers will try the formul a. First ge t the o unce o f gold. Lock it in the safe. Then proceed to foll o w the directi ons only substituting an o unce of comm on salt fo r the precious met al. The re sult s will be all th at can be des ired.

Sepia Tones on Artisto Platino. Vl/ e reprod uce th e folo wing va lu able formul a (I) from th e R eplies to Queries depa rtment of th e St. l. ouis a11d Ca11adian

Photograplzcr: ''E. ]. R.- Sepia T one s o n Aristo Platina : You can wo rk th em ri ght along with your bl ack and white prints by proceeding as foll ows: Print th ose intend ed fo r sepia but a shad e darke r th an desi red in · th e finish ed print s; th e oth ers abou t two shade s darker. \\'as h as usual and then pl ace in a bath of one oun ce o f go ld in a gall on o f wat er. ll andl c fo r five minut es and then was h throug h changes o f water and th ey a re read y fo r th e toning. Use th e u sual bath and as soon as th e sepias are the des ired tone o f bro wn. place in clea r wa te r and th en in th e fixing bath . The rest you si mply to ne to a chocolate, was h in three changes and fi ni sh in th e plat inum bath."

THE A~IERI C.\ N ANNt" .\L OF PH OTOGRAPHY fo r 19:J6 is a credit to th e edito rs. ~l ess r s. Spence r B. ll o rd and W . l. Lincoln Adams. lt s 35-l pages a r c filled with o\·e r fo rty interes ting a rt icles on various m ethods and applicati ons o f photog raphy. The illu strati ons are especially fine and wdl printed and of so varied a character th at all schoools are r<'p rcsented and all modes and mann ers. The edit ion is limited and is sold thro ug h G. Gcnn ert, N ew Yo rk and Chicago : P aper covers. 75 cents : clo th. $ 1. 25; pos tage. 2 0 cent s. A hand some Chri stmas gift. PHOTOGR .DIS OF THE YE AR, T ennant & W ard, Ne w 'fo rk. As it s name implies. thi s welcom e annual aims to prese rve in co nveni ent and attracti,·e fo rm th e m ost strikin g o r di ,; tin ctiv e pictures th at h av'" heeen e xhibited at the salon s of th e year. Th e A m eri ca n wo rk is well to th e fo re. at least in numbers. in t hi s volume th ere bein g many reprod ucti ons from the F irst A meri can Salon anrl the St. L oui s ExpositiOn . Interspersed with the illu strations a re a rticle s by r eprese nt ativ e writers on th e prog ress o f picto ri a l photogr aphy in the different co untri es, and critical r emarks on th e ex hibits of th e two London salons. "Photogram s o f the Yea r" 1905 is a Yaluable and h and some volnme, an inspiration an d g uid e to all earnest devotees of the ca mera. Price. $r.oo. paper cove rs ; cloth.

$r.so. THE ~fonER N \ VAv IN PICTURE M AKING. Eastm an K oda k Co., R ocheste r, N. Y.,

CAMERA AND DARK-ROOM cloth, $r.oo. This is the most comprehen sive photographic publication of the year. In a series of short practical articles, written by experts, the latest formulae and bes t methods are given for working any photographic process, from the making o f the negative to mounting the finished pri1~ t There is also a chapter on "Composition' by Alfred Stieglitz and a series on "Nature with a Kodak," by A. Radclyffe Dugm ore Altogether the volume makes a very com· pl ete guide to th e aspiring amateur photographer. THE SENECA CA1.1ERA MFG. Co., of Rochester, have a good thing in their pocket Seneca, No. 31. \Ve had the pleasure of using one of these particular cameras on a trip extending from New York to the coast recently, and certainly secured some remarkably fine results with it, used in connection with the new film pack. The lit tle camera in question has nearly all the improvements of the larger and more ex pensive instruments within a very small space. The price is indeed very low, considering the excellence of its make up, anrl surely it will find room with amateurs who do not care about laying out a large amount of money for a pocket came ra. It makes a most acceptable Christmas gift and as such it should appea l to many who think enough of their fri ends to invest a few dollars in a present for them.

has at las t been perfected 2.nd is now on th e market as "The Skyshade Shutter." It is made by the Wollensak Optica l Com-

The Skyshade Shutter.

pany of Rochester, N. Y., whose automatic a nd other shutters are so well known. The Skyshade Shutter is made to fit on the hood of any lens and is ope rated by bulb and tube ;. a sp ring clamp ho lds it firmly to the len s. The exposure is made on the principle of the drop shutter, only that the blade of th e shutt er is governed so that it moves slow ly while th e foreground is being. exposed and rapidly ove r th e sky. The shutter has mechani sm fo r regulating the expos ure from "time"' to th e fracti ona l part of a second, and that it work s to pe rfecti on is shown by th e even illuminati on of th e landscape in the Wollensak Catalog and Price List for T9Q6. A copy ma y be had for th e as!; ing from th e ·woll ensak Optical Company, R ocheste r, N. Y.

of th e mos t promi sing signs o f improve ment in th e work of any ph otog-ra· pher is when he reali zes th at the white pa· per skies of his landscapes are neither a rti stic nor true to nat ure. H e th en tri es various meth ods o f dodging o r multiple printin g in order to co rrect this fault. but the bes t meth od of a ll is to gr t it ;, th e lzrf:ali< •e . If thi s can be done mu ch trouble is avoided, and also th e danger of fa lse lighting. Unfortunatel y all the popular m;tkes of shutters permit onl y of even illumination oyer the wh ole plate. hence the bright sky and more di stant p1rt s o f a landscape are always ove r-exposed before the detail in the foregrour'd is rend ered. A shu tter that would give more expos ure to th e foregr ound has long been desired, and it

The Cirkut Camera. ·without doubt th e mos t important photographic in n nti on which has been perfected during the yea r that has ju st closed is the "Cirkut''-a came ra th at marks a new epoch in th e taking of panoramic and cycloramic photographs. and which is uow being manu factu reel by th e Century Came ra Compan y. R oc heste r, N. Y. Some tim e ago a panoramic camcra was constructed for a large university in 1'\ ew York, with which a view of the campus and college buildings was mad e. se ven by sixt y-li,·e inches. This picture was such a decid ed dcpa rtme from the o rdinary photograph th at it was r ecein~rl with great favor hy the public. the sa le of prints amou nt-

0 1~e

CAMERA AND DARK-ROOM

ing to $1,000. No better proof is needed to demonstrate that the production o f pano路 ramie photographs can be made a lucrative occupation. The size of the picture nat路 urally commands a good price. The inventor of the Cirkut, having probably before him the weak points of all the others, has struck out in a different line and having at his command a perfect film: including even the daylight loading advantage, and with a revolving camera and moving film instead o f a revolv ing lens, has reached a success only hitherto dreamed of. The -camera is very substanti ally built having a draw of 24 inches when necessa ry: and is provided with a unique device for raising and lowering the lens front, based on the lazy tong plan. The lowe r ends of the diagonal bars are threaded to fit a horizontal threaded right and left hand screw adjusting rod. When the rod is rotated in one direction the ends of the ban a re spread apart which raises the front, when revol ved in the opposite direction th ey approach each othe r on the screw which lowers the lens fram e. No matte r what position it is placed the len s frame is always locked. The adj ustment is rapid and at the same time is very accu rate. The lens is also pivoted and ca n be placed at an ;,ngl e when desired, to sec ure prope r alignment on the ground g lass as a substit ute for the usual sw ing back. T he ground glass for focu ssing is divided lengthwise in a hinged frame, so that after the focu s has been obtained, coveri ng the whole field on the glass, one-half of th e glass is folded back on itself, leaving the clear space free for the lens image to strike the sensit ive film in the detachable film box. The film holder contains the spring propelling mechanis m, the shutter and rolls for carrying th e film. Adjus tments are provided

for taking varying widths of film rolls. Film as wide as ro inches may be used. After the foc us is secured the ground glass is pushed into the box, folded back, then the film box is attached and the exposure made by pressing the bulb, a second press ure on the bulb stops the rotation of the camera. Press ure on another button makes an incision in the film to mark th e dividing line between th e pictures. There are other devices to check errors in wrongly exposing the film, etc. The pinion on th e film box ho lder operates in the circular rack on the periphery o f the tripod head. Different sized fans, like clock fans, are attached to vary the speed o f rotation as may be Jesired. The tripod is very substanti a l, the sliding legs instead of being square are hexagonal which brings the angle opposite the pressure o f the set sc rew and locks the leg very securely, without play, in any position to which it is adjusted. T he tripod head is quite large and has on its upper face sitting flush th erewi th a concentric meta! track on which rollers, attached to the bottom of the camera, run. T he periphery of the tripod head is marked off in a scale of degrees of the circle, which enables the operator to determine any given degree of a circle it is desired to have the camera rotate also to estimate the number of inches of film used in making such rotation. Panoramic photography has neve r before been developed on account o f a lack of apparatu s adapted to the purpose. With the Cirkut Camera at one's command, fine results are insured and th e variety of work is greate r than would seem at fi rst thought. Among the numerous applications are the following: Scenery of a ll kind s, as mounta ins, lakes and valleys. Harbors, fortifications, battleships, army manoeuvers and manufacturing plants. Real estate locations for purposes of in surance o r legal proceedings, mining construction work and irrigation. llniversities, resideAces, groups. games, athletics. newspaper and magazine ill ust rations. Besides these, numerous oth er uses will suggest themselves to the photographer. The special fea tures of th e Cirkut Cam路 era are: The use o f fi lms of va rious widths. Its capability o f making views any length up to 1 2 ~-!! feet. U nlimited angle o f view, even th e full circle of 3Eo degrees can be

CAMERA AND DARK-ROOM included. The use o f lenses of different focal lengths. A dt~ vice for accurately fo路 cusing the image on the ground glass screen. Size of camera when closed is only 9 x 12 x 12 inches. The photographer who is fo rtunate enough to own a Ci rkut Camera has a new field before him, wherein he will be able to di stinguish himself by producing results never be fore dreamed of by the public, and incidentally increase his bank account.

The Illinois College. \Ve have received the accompanying illustration of the buildings of the Illinois College of Photography and Photo-Engraving. The work, from the photograph to the finished half-t one plate, is the work of one of the students and speaks highly for the thorough tuiti on obtained by a course at this college.

Copying Ink for Titling Negatives W . A. STARNAMA:'>.- To make a copying ink add one ounce of lump suga r or rock candy to a pint and a half of any good black writin g ink and dissolve. The lettering should he done on a smooth hard-sized writing pape r and the fi lm o f the negative slightl y moistened befo re the paper is .:. pressed in contact. An anilin copying ink ~ may be used with o rdinary rubber type. ~ In this case the impression from the rubif ber stamp is made on a strip of celluloid '0 or oilcloth which is in turn applied with :0 press ure to the negative. A copying ink ..!! for rubber type is made as follows:

-a

. = -

Ani lin red . .. ... ... . .. . . . .. 45 Anilin green . .... . .. .. ...... 45 Boiling water . . . . . . . . . . . . . . I Glycerine . . . .. .... . . . . . .. . . I :\Iolasses . .. . .. .. . .. .. .... . . 1,~

Burke & James, II8 \ Vest Jackson Boule-

.. 0

'"c

g rain s g ra ins ounce dram dram

~ vard. Chicago. Ill., manufacture se ts o f small opaque letters which adh ere to the negative film . It is sold in sto res as "Titleit." A Beginner . L. T.-It is impossible. from the piece of di scolo red paper, withou t a trace of an image. to say what is th e cau se of th e fai lure in your fi rst atte mpt at photograph y. Our advice is to get one of the cheaper manu als or hand -books to be fou nd at any o f the dealers; or. failing that. and perh aps better still, to get a photographing fri end to go through the modus operandi with you.

CAMERA AND DARK-ROOM Cleaning Bromide Enlargements R. J. WALKER.-Fog or surface marking~ on the white margins of vignetted enlarge· ments may be removed by painting thf surface with the followkg reducer: Iodine . . . . . . . . . . . . . . . . . . . . 10 grains Potassium Iodide . . . . . . . . . 30 grains Potassium Cyanide . . . . . . . . 6o grains Water .... :. . . . . . . . . . . . . . . 2 o<mces The greatest care is necessary in handling the solution or its ingredients, whic:1 are extremely poisonous.· Keep the bottl€ in a locked cupboard and label "Poison."

Stick to One Developer F. MARTIN.-The fact stated in your let· ter that you have tried "all kinds of developers" is no doubt responsible for your failures. All developers are good if rightly and intelligently used. Stick to one until you succeed in getting good negatives. A negative full of detail but flat and lacking in contrast is the result of over-exposure. A strong developer if allowed to act long enough wiiJ· help to give contrast and the negative can afterward be reduced slight!}' with the Farmer's reducer to clear and give printing quality. Type for Titling Negatives F. CHAPIN.-1\Iovable rubber type, nonreversed, for titling negatives, may be obtained from G. Gennert. 26 East 13th street, New York. It is put up in boxes contain· ing three or more of each letter and known in the trade as "Photoscript." Alba Varnish JoHN T. CoRCORAN (and others).-The waterproof varnish known as "Aibaline" may be obtained of the manufacturers, The Paragon Photo Chemical Company, 1162 Broadway, New York. What the constit· uents are we do not know, hut it is well known that celluloid dissolved in amyl-ace· tate is a most serviceable waterproof varnish. To make it flow more readily it should be very thin and another coating applied after the solvent has evaporated. Enlarging ARCHID.\LD SANns.-An article on how to construct an enlarging lantern appeared in Camcm a11d Dark Roam of January. 1903. ( 10 cents). Of course, you can en· large at night, but you must have some means of giving equal illumination. We cannot quote you prices on an enlarging

outfit. \Vhy not consult your dealer. The Eastman Kodak Enlarger lists at $15.00 and enlarges up to 6¥.! x 8¥.! inches. A Reducer for Bromides R. A. Bt"CHANAN (Hawaii).-The hypoferricyanide reducer frequently leaves a stain, which, however, disappears on the application of sodium hypochlorite. Belitzki's reducer is perhaps more suitable for bromide paper. The formula is : Potassium Ferric Oxalate ... 22 grains Sodium Sulphite ............ 18 grains \Vater ........................ 1 ounce When dissolved add oxalic acid, 3 grains. and shake until the red solution turns green. Decant from any undissolved crystals; then add sodium hyposulphite, 120 grains, dissolved in half an ounce of water. This reducer can be applied immediately after fixing and does not stain. The solution will keep in the dark indelinitely and may be used over and over again.

Replies by Mail Require a Stamped Envelope R. A. BROWN.-We do not recommend dealers. manufacturers or any special goods in this column. All queries requiring an answer by mail must be accompanied by a stamped addressed envelope. Coating Plates EMIL LANG HORN.-To give you directions and formula for coating your own plates would require a whole number of the magazme. V.' e refer you to a book, "Photography with Emulsions," by Abney, which may be obtained of our publishers-price, $1.50. Unless you have both money and time to waste, however, we will assure you that it is better and cheaper for you to buy your plates ready-made. Warm-Toned Slides. DR. LEE SIMPSON.-The most simple and certain method of obtaining warm tones in lantern slides is by subsequent toning. It is a waste of material to try and get uniform warm tones by tinkering with the developer and exposure. Use a normal developer that gives you a good black and white slide, then bleach and redevelop with sulphide of sodium as recommended for bromide papers. A compact and convenient form of this toning agent is put up by the Eastman Kodak Company and sold as Velox Sepia Toner at all stores.

ADVERTISEMENTS.

IE.astman .Kodak

ROCHESTER, N.Y.

members of the Commission and Officers .of the Panama Republic, were grouped and photographed in the reception room at the palace. About this time, Admiral Walker, Chairman of the Commission, began to get nervous. He had not come down to the Isthmus to entertain the officials there, nor to be photographed, but for business reasons strictly, and, at his suggestion, we broke away from the reception party and returned to our train which immediately pulled out for LaBoca where the Commission spent half an hour seeing what was to be seen, and I put in the time taking pictures. K ODAK . From LaBoca, we went to â&#x20AC;˘ Emperardo, where we were placed on sm1p boxes in two dumping cars and carried through the celebrated Culebra cut. We made several other stops along the forty odd miles of railroad paralleling the canal and finally got back to Colon about six o'clock in the evening. I had made arrangements with the roadmaster of the Panama Railroad Company, to use a large closet in his office, containing water, as a darkÂˇroom and, as soon as I had finished dinner, hastened there, anxious to see what I had secured in the way of photographs during the day. I had a great deal of trouble getting ice,

Company]

Canal r.ommlsslC' ners ln Culebn Cut.

which is a very scarce and expensive article on the isthmus, but finally, through the good offices of my friend, the roadmaster, secured enough for my purpose and started to work developing. I had exposed about thirty plates and, as the weather had been good during the day, barring a few showers, fully expected to have some good negatives. However, " man proposes, etc." Out of the entire lot, I succeeded in getting about ten fairly decent ones. Not only was each plate way over exposed but most of th em were so badly fogged as to be absolutely useless. I had been rather afraid of undertiming and could only attribute the e xcessive exposures to the remarkable actinic quality of the light in that tropical climate. To test this, I rose early next morning and made a picture from the roof of the Pan:t ma R:~ilroad Company's office. The stop used and time given would have bee n wholly inadequate, undt- r similar conditions, up no rth but, when I developed the plate, found it a little better than fully timed. There w<~s present also, the inevitable fog, which during my entire stay on the isthmus proved my constant enemy and sou rce of trouble. It was next to impossible, using every precaution, to remove a slide from a holder without Can.'\1 Commissioners Private Car.

Wh~n

writing to Advertisers please mention the CAKau

AXD

Dua: Rooar.

I I .J

ADVERTISEMENTS.

[EaStman 路 Kodak

ROCHESTER, N, Y.

Compan')"

KODAK.

At .W ork In Culehra Cut.

fogging the plate it .contained. As a result 路of luggmg my heavy camera around all day under the burning rays of a tropic sun and -developing at night in a hot stuffy hole, -only to lose plate after plate of great value, I acquired a vocabulary and fluency of 路expression which I would have considered impossible. One day, I bethought me of the little .4 x 5 Kodak which my good hearted friend had thrust upon me and remembering my promise to him, concluded I would take 1t with me for that trip and take the pictures I had promised him. I had to admit to myself at the outset that it was a pleasant -change from the bulky camera and numer-ous plateholders I had been lugging around with me, but did not expect much in the way of results. When I returned to Colon that night. I had exposed two dozen films and after dinner secured my usual supply of ice and, :seated in a rocking chair in my room, pro-ceeded to develop one of the rolls in the machine. After . the proper time had

elapsed, I fixed the film, then took it out of the developing machine and looked at it. It seemed too good to be true. Not a sign of fog and with the exception of one or two which had not been properly focused on the scale, the negatives were as sharp and clear as could be desired. From that day, or rather night, the Kodak was my constant companion. I could carry it easily, with several rolls of film in my pocket and at night could sit in comfort in a well ventilated room and do my developing. I gradually became more adept at using the focusing scale and it was a very unusual thing for me to lose an exposure. If I ever go to a tropical country again, taking pictures, I'll use a Kodak and, for the same reasons, only inverted, if I ever go to the north pole, I'll take a Kodak, always, understand, with the developing machine, for I have seen the error of my ways and am not too proud to profit by my experience. [Signed) WILBERT MELVILLE.

When writinr to Advertisers pleue mention the CuuntA

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ADVERTISEMENTS.

f 1

No toning solution needed with .

'I l I

E,ASTMAN'S

' .Mezzo=rone A printing-out paper with a. semi-mat surface. Charming effects in warm rich browns.

Sold by all dealers. EASTMAN KODAK CO. Rochester, N. Y.

When writin1 to Adnrtisen p i - mention the CAKDA Alfll Dua: RooK.

! I

ADVERTISEMENTS.

[ Eastman ..!.?.~~~ Company] Y.

THE. NEW COMPETITION. $2,000 IN PRIZES FOR THE USERS OF

KODAK

PRODUCTS.

Book of the

SPECIAL

£1,000

CONSIDERATION FOR THE NOVICE.

The Kodak Competitions which have been held during the past six or seven years have been something of a revelation in that they have shown that a very large proportion .of those amateurs who take photogr<'-phy seriously are frequent users of the Kodak. The same names that appear as Salon Exhibitors have appeared in the Kodak prize lists and often times the pictures that have hung on the Salon walls were from the same negative that won cash and honor in the Kodak com petition. This fact while most gratifying to us because it shows how high the Kodak is held in the estimation of the photographic leaders, has nevertheless brought forcibly to our attention the further fact that the beginner in photographic work has but a small chance against these people who have spent years in earnest photographic endeavor. In fairness to both classes, therefore, and because we want our competition to be open to all photographers, we have provided classes for the " Novice," i. e. amateurs who have never won a prize, and "Open" classes in which everyone is entitled to compete. We believe that this classification puts the competition on a fairer basis than any that has preceded it, and that accordingly it will receive most hearty support. To win in the " Open " class will certainly be one of the highest of photographic honors. Circulars giving full information may be had at the dealers or will be mailed upon request. When

wrltin~r to

Advertisers plea~~e

KODAK E.xhibition Containing reproduc• tions of over sixty pic• tures from the recent London Competition. BJ" m•ll or •t the Kod•k De•lera.

25 Cents. The illuatratlona mark the marvelous progress of the Kodak in pictorial work. The modest little book which contains them shows• the Iovin• touch of the master printer.

EASTMAN KODAK CO.

ment10n

the

CAMERA AND DA.._JC

RooK.

ADVERTT~EMENTS.

[ Eastman

"!,?.'!~

Company ]

A Kodak Home Portrait by the Steadma.n System. Anybody can learnÂˇto do this sort of work at home and with the simplest apparatus. Steadman's ""Home Portraiture " not only throws new light on timing and development but is full of valuable suggestions as to the relative positions of subject and camera. and light. Pa.per Covers, Leather Covers,

â&#x20AC;˘

25 Cents. 15 Cents.

.At the dealers, or by mail. When writing to Advcrtiscn plcue mention the C.un:u

AND DAIK

RooK.

_ . ___.

ADVERTISEMENTS.

Eastman Kodak Company] R.OCHitSTitR., N. Y.

LANDSCAPE PHOTOG路 of exposure became an important one. In order to be sure that we were right, R.APHY WITH A it was necessary to develop some, at KODAK. least, of our films on the spot. We EXTRACTS FROM AN ARTICLE BY FRANK ROY FRAPRIE, ASSOCIATE EDITOR OF THE PHOTO ERA, IN THE OCTOBER PRACTICAL PHOTOGRAPHER.

The greatest difficulty which I had expected to have with the Kodak was in the composition of my pictures, but this did not turn out to be nearly as much as I had expected, and I was soon able to determine the general effect of the lines and masses of the landscape very well. I secured a number of fine pictures on the trip, and among them were the only ones taken during a stay of more than a year in Europe from which I have thought it worth while to make enlarged negatives. During this time I used three different styles of plate cameras, so that I consider that film photography scored a decided point. So much was this the case that when I decided to go to Europe again in company with a number of photographers, I not only carried a 3 A Kodak myself, but advised all members of the party to do the same. As a result we all carried film cameras, and there was only one plate camera in the party. This and an --which one member J,.,_路'. were abandoned within two weeKs of landing, and we used nothing but Kodaks thereafter. 路 My 3 A had a brilliant finder, and I soon discovered that I could compose as well with it as on the ground glass. I used it with great satisfaction and succeeded in getting a large quantity of excellent pictures. Naturally in traveling from the north to the extreme south of Europe, under the blazing sun and cloudless sky of Sicily and Greece, the question

did not care to trust them to the tender mercies of professional photographers ; dark-rooms were hard to find, and we would have been in difficulty if it were not for the developing machine. We had three in the party, and they did not get rusty for lack of use. We developed many hundred rolls under all conditions, in all climates, with all kinds of water, and often under very unfavorable conditions as to time and room, and not a single roll was 路spoiled or poorly developed by any fault of the machine. On the whole, I am perfectly satisfied that as good landscape pictures can be taken with a Kodak as with a plate camera, and shall always prefer it on the ground of portability.

~a.strna.n' s

KODOID Plates. Orthochromatic, Non-Halation.

Wben writinc to Advertisen please men bon the

the weight of glass.

CAMERA AND

DA._It

RooM.

~) J.(;0V7

ADVERTISEMENTS.

IEastman ..!.~~~ EastDlan's

Mezzo-Tone Paper. The Simplest of Printing-Out Papers to Use. Tones in salt a.nd wa.ter.

Company

PLAN APPROVED. There has been a universal endorsement of our plan of dividing the 1905 Kodak Competition into two classes, •' Open" and "Novice." It's palpably fair for the amateur who has never won a photographic prize to compete only with other amateurs· who have never won such prizes. It is equally fair to the former prize winners that they $hould compete with each other. Indeed there is high honor to be gained for those who are successful in the '' Open '' class. The prizes amount to f,2,ooo, mostly in cash. The conditions are very simple. Competent and unprejudiced gentlemen will be sdected as judges. There ar~ classes for every kind of Kodak. Every amateur can feel assured that his work will be given careful consideration. There is no entrance fee. · Send as many pictures as you like. Send what you consider your best work and what you think the judges may consider your best work. Circular giving full details may be had at the Kodak Dealers or will be mailed on request.

THE FLASH.

Rich, warm Tones and a Velvety Mat Surface.

There is more than me-re fun in the flash light. Improvements in the flash itself; improvements in film and plates and lenses, together wid, a better understanding of how to use the flash have made it one of the most successful mediums for the making of portraitsespecially home portraits. Mr. Wm. S. Ritch tells how in his delightfully simple and attractivdy illustrated little book, '' Amateur Portraiture by Flash Light." Ten cents--at the dealers or by mail.

A 11 'Dealers. When writin1 to Adnrti1ert pleue ~ention the

CAliDA AIID

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l l I

ADVERTISEMENTS.

[ E.astman

Kodak Company

ROCHESTER, N.Y.

THE STE.REO路KODAK AT THE SIEGE OF PORT ARTHUR. \Vith Dunn in Korea, with Hare in Manchuria, with Jas. F. J. Archibald, George F. Bronson Howard, Percival Phillips, with Frederick Palmer, and with a score of lesser lights, the Kodak has done great service for the correspondent at the front. Some of these correspondents have written interestingly of their Kodak experiences and the publishers tell us that most of the pictures, ninety per cent. in fact, that they receive from the front are on Kodak films. Indeed the Kodak has made a record nearly as wonderful as that of the marvelous little Japs. Heretofore the pictures we have puhlished have been from Cartridge Kodak or Folding Pock et Kodak negatives. Those reproduced here were made by Mr. Richard Barry with a Stereo Kodak. The complete series, which of course we have not the space to publish, give a remarkable insight into the conditions prevailing in the Japanese camps during the weeks that preceded the fall of the Gibraltar of the East.

This view shows Major Yamajushi, \Vhen writing to A dv erti sers pleasr

chief interpreter and press censor, on the left, Richard Barry, the ln~ersoll View Company's war artist, m the center, and Major Oda, confidential messenger to General Nogi, on the rig ht. They are standing in front of the entrance to Gen. Nogi's headquarters.

A battery of Osaka '' Babies, '' on the morning of Oct. 28th, I 904. These great guns, the barrels of which alone weigh eight tons, were hauled by 500 willing hands through the mountains, a distance of three miles, and emplaced on foundations of 8 feet of concrete, this perilous labor being done at night under Russian fire and searchlight. The Osaka '' Babies'', trained under direction by telephone from the observation station on 203 Meter Hill were able to drop their shells into the very heart of Port Arthur. The nearest gun is elevated and trained ready to fire, its next neighbor is ready to receive its indigestible rations. It is to these batteries of I I inch mortars that Japan 0\yes much of her success in capturing one of the strongest fortresses in the world. mcrHion

th e

C AMERA AND DARK

f{ uow .

ADVERTISEMENTS.

(Eastman

..!.?..~~~

Company ]

Loading one of the Osaka ''Babies''. Each charge costs $4oo.oo, weighs 500 lbs. and a six-hour bombardment by the 18 guns cost $325,000.

Japanese troops in the Front Parallel, preparing for a desperate assault on the Russian fortresses at Port Arthur, only 300 yards away, in which the Kodak is certainly as nearly '' at the front'' as it is comfortable for the photographer to be.

The Kodak that

took Port Arthur-

Boiling water for the army to drink. S old iers are allowed to drink only such water as has been boiled, this fa ct no do ubt largely accounting for the remark able health of the Japanese a rmy.

No. 2 STEREO,

When writi ng to Advtrt isen plt as t me n tio n th e

Price, $15.00. C AM ER A AN D

DARK Roox.

â&#x20AC;˘

ADVERTISEMENTS .

Eastman Kodak Company

ROCHESTER, N.Y.

THE KODAK TANK DEVELOPER. Another important step forward has been taken in photographic methods. We have a new and better way of developing film. The latest process "Tank Development," follows the idea of the Kodak Developing Machine so far as the

)

Kodak Ta11k

Box, for rolli11g film up TraiiS)armt R~d A)ro11.

JJ eve!op~r

daylight development feature goes, but instead of the roll of film being revolved through the developer it is allowed to remain stationary in the solution. Careful experiments with Tank Development prove that it gives negatives of Âˇ better average than those developed in the darkroom and even better than those developed in the Kodak Developing Machine. With Tank Development the necessity of turning a crank throughout the process of development is obviated and the new method is even simpler than with the Kodak Developing Machine. Briefly, the process is this : The <:artridge of exposed film is inserted in a light proof winding box and rolled up, together with a transparent red apron on a Transferring Reel which Those who are has wide flanges. familiar with the Kodak Developing Machine will readily understand this process by glancing at the accompanying illustration. The wide flanged

Transferring Reel and the red apron protect the film from light during the transfer to the developer in much the same manner that the black paper and the flanges on a film cartridge spool protect it in loading and unloading the Kodak. After the film has been wound on the reel the developing solution is prepared with powders and water and placed in the Solution Cup. The cover is removed from the box and the axle (D) is pulled out, thus releasing the transferring reel holding apron and film, which is taken out of the box and let down either end first, into the developing tank. This operation should be performed in a subdued light. Development is allowed to go on for ten or twenty minutes, according to the developer used. The developer reaches all parts of the film immediately through with holes in the hollow rod and through the ends of the roll. It is advisable to turn the roll of film end for end, three times, during development. The roll is pulled from the tank with the hooked rod provided for that purpose.

Placi11g film ;,. rln â&#x20AC;˘dof>illg lank.

When development is completed, the solution is poured off and clear water let into the tank to rinse the film.

When writing to Advertiserw please mention the

CAMERA A~D DARK

Roow.

ADVERTISEMENTS.

Eastman Kodak Company J ROCHESTER, N.Y.

The roll is then removed, film separated in daylight from black paper and apron and placed in the waiting tray of fixing solution. The box in,which the film is rolled up in the light- proof apron is well made, with a mahogany finish. The metal parts are nickeled. The tank for the developer is of brass, heavily nickeled. Both handles of the box are removable and together with the tank and apron can be packed inside the box, thus making the entire outfit self contained. It can then be packed in trunk or suit case. Kodak Tank Developers are made in three sizes, the '' 5 inch,'' the "3~ inch" and "Brownie," the latter taking only 2 7( inch Brownie film.

The mtire outfit is ulf contained.

'With the Kodak Tank Developer the photographer can develop a number of rolls of film at once ; merely providing himself with extra tanks, aprons and reels which will be found listed (Duplicating Outfits) in the price list below. All Kodak and Brownie cartridges except the No. 5 Cartridge Kodak may be developed . in the Tank Developer. Any Roll Holder cartridges, except the 12 exposure No. 4 Horizontal, and the No. 5 may also be developed in the Tank Developer. Tank Development for film is introduced only after the most exhaustive experiments in our factory have conclusively proved that it is by far the best way of developing film ever

devised. The convenience of allowing development to proceed the full time without manipulation except reversing the Transferring Reel needs no comment. · The Kodak Developing Machine was introduced by us in the face _of the most violent criticism. Our faith in it was based, however, not on theory but on the most exhaustive experiments, and its three years of growing success have proven that we were right. We have used equal caution in our experiments with the Kodak Tank Developer. We have taken plenty of time. The quality of work 1t produces is such as to prove that another forward step has been taken in the growth of the Kodak Idea-Simplieity.

' f

f f

l '

THE. PRICE.. Brownie Kodak Tank Developer. F o r use with No. 1, No . 2 and No. 2 Fold ing Bro wnie Ca rtridges. complete, • • $2 y> Duplicating Outfit for same, consisting of I Solution Cup, I Transferring Reel and 1 Apron, • • • • • • I so 3~ inch Kodak Tank Developer. F or us~ with all Kodak or Brownie Cartr i d~: es ha vi ng a spool length of 3 ~ inches or less, complete, • - 4 0<> Duplicating Outfit for same, consisting of 1 Solution Cup, 1 Transferring Reel and 1 Apron, • · - 2 ooS inc h Kod a k Tank Developer. F o r use with a ll Kodak a nd Brownie Cartridges hav ing a spool length of s inches or less, complete, • • • • • s oo D upli ca ting Outfit for same consist ing of 1 Solution C up , 1 Transferri ng Reel arrd 1 Apron, • · • 2 so-

KODAK TANK DEVELOPER POWDERS. Kodak Tank Developer Powders, Brownie, per pkg. of ~ doz., • · • · · $o IS Do., for 3 ~ inch Tank . per pkg .. ~ doz. , 20 Do., for s inc h Tank . per pkg., ~ doz., · 2S

$2,000

in Prizes for

KODAK PICTURES. Circular at the dealers.

When writ inc to 1\dvertioert pleas• mention the

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f .

ADVERTISEMENTS.

JE.astman Kodak Company j B.OCHESTER., N.Y.

EASTMAN'S VELVET BROMIDE.

ing pad B, the pad being pushed to the extreme end of frame. Frame is closed and print made ; frame is then opened and pad pushed to extreme opposite end of frame and second

The unprecedented success of Velvet V elox led us to experiment with a bromide paper of similar sur- ~--=~;;;!i~~~~~ii'-iii~ face. The result of our experi- r ments was highly gratifying, enlargements on this new paper h'aving the rich velvety lustre that has proven so popular in Velvet Velox. This new product is particularly advantaâ&#x20AC;˘ geous when used with negatives having broad shadows, the slight sheen of the semi-gloss Br0W11i~ St"~o Pri.Uitcg Frame, s urface giving to enlargements from such negatives a life and bril- print made, the prints thus automaticliancy that is highly pleasing. ally transposing. It is all as simple, Chemically the emulsion is of with one of these frames, as making a medium contrast, having a wide range single print. <>f gradation, and it is therefore made PRICE.. in one grade only. While having the s ame surface as Velvet Velox, the Stereo Brownie Printing Frame, . $r so stock used for Velvet Bromide is Glossy Velox-for use in Stereo Brownie Frame, 3~ x 6~ inches, somewhat heavier than the Velox, per doz , â&#x20AC;˘ . o :>~ thus adapting it to use in large sizes Do., per gross, . 2 oo for e_nlargements. Solio, do., per dozen, 20 Do., per gross,

THE. STERE.OSCOPIC REVIVAL. The difficulty of stereoscopic printing has had more than anything else to do with the fact that amateurs have been slow in taking up this delightful phase of photographic work. The next drawback has been the high price of stereoscopic cameras. Both Qf these difficulties have been overcome. The No. 2 Stereo Brownie at $ r 2.00 takes care of one and the Brownie Stereo Printing Frame takes care of the other. This frame is made <>f just the right size for use with No. 2 Stereo Brownie negatives and does away with the necessity of cutting apart either tlze negatives or prints. The negatives, A A, are placed over the mask and held in place by the clamp x x. The paper is clamped to print-

BROWNIE STEREOSCOPES.

Any ordinary Stereoscope may be used in viewing Brownie Stereo pictures, but in order that the amateur may get his complete outfit of the photographic dealer, we are now listmg a Brownie Stereoscope that may be had at any dealers at 75 cents. These scopes are well made of birch, with aluminum hood, have high grade lenses and are handsomely finished. STEREO MOUNTS. r

Standard size, 3 ~ x 7, Stereo Mounts may be had of any Kodak dealer at 10 cents per dozen. ALL THE. ESSENTIALS.

Everything that is needed for the making, printing, mounting and view-

When writing to Advertisers please mention the

CAWERA A N D DARK

Roo w .

ADVERTISEMENTS.

Eastman ..!.2.~~ T. Company }

ing of stereoscopic pictures may now be had of any Kodak dealer and the whole expense need not exceed Fifteen Dollars. With the new Automatic Stereo Printer every difficulty is removed. The path is open for the stereoscopic revival.

TANK TALK. We cannot help talking tank. We are filled with the same enthusiasm for it that we had when we first put out the cartridge system; the same enthusiasm we had for the first pocket Kodak. The TANK may not make the talk right on the start that the machine did, because it is not so revolutionary. It was a long step from the Dark· Room to the Kodak Developing Machine. It's only a short one from th machine to the TANK. The TANK will prove even more popular than the machine because: It gives even. better chemical quality. It is more certain in operation and less likely to get out of order. It is cheaper in the larger sizes. It does away with go% of the crank turning. The TANK Developer is no experiment. We have literally developed thousands of rolls with it. After thorough experimental tests we began putting the TANK at work on regular orders in our developing department. The first order on which we used it was from a man of national reputation, and was for sixty-five rolls. This is what he said : '' Thanks very much for the remarkably perfect developing and printing. When one gets such excellent results from films and a folding camera I cannot understand why any man should care to cart about a ton of glass plates and a machine as big and unwieldy as a Saratoga trunk."

PR.ESIDENT R.OOSEVELT ON HUNTING WITH A CAMER.A. Everywhere there's a growing interest in out doors-a growing interest in nature and its study. The magazines are full of it and the camera is becoming closely associated with the life of the woods. Books that tell of the ways of the wild creatures of wood and plain and sea are evidently having a large sale, for the publishers are continually bringing out new ones. And very many of these books are photographically illustrated. Among the recent publications is "Wild Wings," by Herbert K. Job, a magnificently illustrated work, giving the adventures of a camera-hunter among the wild birds of North America on land and sea. The book opens with an introductory letter from President Roosevelt, which is interesting in that it shows the growing tendency toward the use of the camera, even with so strenuous a sportsman as the president. The introductory letter, written after a reading of the author's earlier book '' Among the WaterFowl," is, in part, as follows : WHITE HousE,

Washington. Mv DEAR MR. Jou: As a fellow Harvard man I must thank you for your exceeding!)' interestinf book. I have been delighted with it, and desire to express to you my sense of the good which comes from such books all yours and from the substitution of the camera for the gun. * • • * * * • There is altogether too much shooting, and if we can get the camera in place of the gun and have the sportsman sunk somewhat in the naturalist and lover of wild things, the next generation will see an immense change for the better in the life of our woods and waters. * * * * Faithfully yours, THEOI>ORE RoosEVELT.

Wben writin1 to AdYertioera pleue mention the l:AIIDA AD Dus Roo11.

ADVERTISEMENTS.

['E.astman Kodak Company ROCHJ';STER, N. Y.

TANK DEVELOPMENT. A. HORSELEY HINTON IN THE LON路 DON DAILY GRAPHIC.

On all hands the enterprise of various manufacturers of photographic appliances seems to tend to the simplification of the process of development, the difficulties of which have for years induced the dilletante to hand his exposed films or plates to others for development, with the result that, not being able to follow the evolution of the visible image from the apparently unaltered film, the photographic tyro learnt nothing, besides being unable to impart to his results that personal element which is so important a characteristic of the better-class photography. But the developing machines and tanks for stand路 development, of which so much has been heard of late, go far to remove the difficulties and constitute an allurement to the making of more numerous exposures, the higher avera~e of successes making the beginner better pleased with himself, and much more ready to persevere. The new Kodak Tank Developer combines with the advantages of stand development that of entirely dispensing with the use of the darkroom. The rollable film is first wound off into an orange cellu.loid covering, in which condition it is transferred to a cylindrical trough containing the developing solution, and there the entire length of film develops, only requiring to be occasionally withdrawn and returned in an inverted position. The entire procedure, from start to finish, is of the simplest description, otherwise the apparatus would defeat its own end, which is to encourage the beginner and facilitate the performances of the more practiced by imparting a mechanical certainty to the process of film development.

Ghe Neb1 'Daylight Method

KODAK

TANK Developer No Crank Turninc Durinc Development.

No Da.rk-Room.

Three years of successful use have pro ven that the Kod ak Developinll Machines produce better ne11atives than were produced by the old dark路 room method. The Kodak TANK is an Improvement on the Machine.

EASTMAN KODAK CO. Circular at flu d r.a l rn or hv mail.

When wrilin1 to Advertisers please mention tbe CAMDA

Rochester, N . Y.

AND DAaE

Roox.

ADVERTISEMENTS.

I E.astman Kodak Company ROCHESTER, N. Y.

My method of producing result shown on the little picture is no doubt aprarent to you, but I will take the liberty o explainmg in detail : I prepared a head covering or wig of grayish white tissue paper ; then powdered face ; then draped with ordinary white calico or muslin ; made pedestal and base of white cardboard and fastened it securely around waist ; then threw up a black background and draped arms and other exposed parts in black and this is the result. We have had but two months' experience in amateur photography and have received so much praise from our friends on the excellence of our work that I felt we should consult the Eastman people and get your views as to what, if any, improvement might be made on the sample submitted. I am simply looking for perfection. Yours路very truly, T. G. RowAN.

Don't ruin your FROM A NOVICE. CLEVER WORK WITH A NO. 2 BROWNIE CAMERA.

There is not, after all. much in the old saying that the camera tells only the truth. The accompanying reproduction of a Brownie print shows not only that photography can deceive, but that much pleasure can be derived from its deceits. And furthermore it shows that neither complicated apparatus nor long experience are essential to clever work. New York, March :z1st, 1905路 EASTMAN KoDAK Co., Dear Sirs:- Rochester, N. Y. T o the casual observer the enclosed little photograph would appear to be a piCture of a marble bust or statuette, but it isn't. It is a photograph of my wife which I took with that wonderful little instrument, No. 2 Brownie. I send you the photograph because I think the pose, etc. is somewhat of a novelty in th e line of portraiture, and I believe you will concede to me its excellence from an artisti c standpoint. Oth er portraits which I have taken of Mrs. R- are eq ually satisfactory.

Wh~n

wri ti nl' to Ad..ertioero pleue

negatives and prints with the "just as good" developers and solutions. Follow the formulae reCOmmended by the manufacturerS Of th e p Ja tes, f'JI ms an d paperS YOU Use-or USe the preparatiOnS pUt Up by them. m~ntinn tb~ CAMI!:IA AMD DAUt

RooK.

ADVERTISEMENTS.

IEastman . !拢?.~~~

Company]

and close is a mechanical delight. They come out to the correct focus every time, they close instantly with a certainty that no protruding part will catch and break. They have all the old simplicity with added effectiveness. Ask your dealer to show you

$2000.00 NEW MODEL. NO. I AND I A F 0 L D I N G POCKET KODAKS. A MECHANICAL DELIGHT. Every person who takes pictures, amateur or protessional, will be interested in seeing the new model Folding Pocket Kodaks, No. I and No. 1 A. Never before has such camera capability been put into so small a compass. Even though you have cameras big and little you should take a look at these, the smallest members of the folding Kodak family. The Pocket Automatic Shutter with its Time " Bulb" and Instantaneous action and its iris diaphragm stops is a tremendous advantage over the old style shutter. It has features that are more than mere" talking points," the most important of these being the smooth easy action which prevents all jar to the camera and is an especial advantage in making time exposures. The rapidity with which they could be opened-ready for business, has always been one of the attractive features with these little cameras. Fortunately, we have been able to retain this feature, at the same time putting on a bed that folds over the shutter when the camera is closed. The snappy precision with which they open

in .Prizes for

KODAK Pictures.路 3 Open Classes, 3 Novice Classes, SPECIAL PRIZES FOR VELOX WORK.

Contest Closes Nov. I st.

Circulars at the dealers or by mail.

When writinc to Advertiaen pleue mention the C.unu

AND

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ADVERTISEMENTS.

Eastman Kodak Company R.OCBESTER., N. Y.

FILM DEVELOPMENT UP·TO·D.ATE NEW EDITION. The booklets issued under the above title last year are no longer " up todate." A new edition now on the press is, however, and we want every amateur photographer and every professional that does amateur developing to have a copy. There are two important changes-the Tank Developer and the change in formula. Better and pluckier neg• atives are made with the new formula and we hope that everyone who is using our film, or does developing for amateurs will follow it. We shall be glad to furnish these booklets upon request.

His First Experience. Peoria, Ill., April 22, 1905. EASTMAN KODAK CO.,

Rochester, N.Y.

POSTER COLLECTORS. For several years past there has been a considerable demand from poster collectors for the lithographed hangers we have furnished to dealers. Only a very small part of this demand has been satisfied. This year there have been very many requests for the Gilbert picture of the girl in the jinricksha. While the supply lasts we will furnish these pictures on the foil owing terms : Unmounted, in tubes, postage prepaid at so cents each. Mounted on heavy board, carefully packed flat for express shipment, so cents each, express charges collect.

Eastman's

Velvet Bromide.

GENTLEMEN:My first experience with your new Kodak Tank Developer was with twentytwo rolls of 3A films, exposed during a three months' tour in Old Mexico last winter, every one of which turned out aood so far as development Is concerned. The Kodak Tank Developer Is another step forward In amateur pho• toaraphy. Yours truly, HENRY C. MORSE.

A SUPERIOR PAPER- FOR LANDSCAPE WORK. All Deale1'.t.

Wbea writiq to AdYertiHn p i - meatioa the CAliDA

AIID

Dull: Roo11.

ADVERTISEMENTS.

E.astma.n Kodak Company R.OCHitSTE.R., N. Y ., Thâ&#x20AC;˘ Kodak Cltg.

Mod~rn

D evd opmenl in

AGAIN THE TROPICS. The enthusiastic endorsements of the Kodak System which we receive from people who use it under ordinary -circumstances we usually pass over. They are pleasant things to have, we enjoy them, but out of sympathy for a public which already has had thrust upon it a surplus of undigested testimonials we refrain from publishing them. But when we get letters that tell of Kodak success under extremely adverse conditions we cannot refrain from giving them publicity. The tropics are well known as unhealthy for photographic material and apparatus. The heat and humidity rr.ake trouble with emulsions and with the wood work of cameras, where there is any. Dark rooms are like ovens. The g laring sunlight finds its way into plateholders that are seemingly absolutely tight. The Kodak system, however, !;eems to successfully combat all the difficulties. Here is another instance: BOCA SAN CARLOS, NICARAGUA, EASTMAN KoDAK Co.,

June

10 .

Rochester, N. Y. Dear Sirs :-You will please find a negative of myself on a Central American

lh~

Tropics.

Plantation. I was so well pleased with the results obtained from your No. 3A Pocket Kodak and developing machine that I take this opportunity to express my thanks. I carl assure you that this combination will ~ive you results in the tropics that were . Impossible by the old dark-room system. Yours respectfully, G UY HOGAN.

All the film convenience combined with a full use of the ground glass is found in the new

Screen Focus

KODAÂˇK $30.00 All Dealer -;

When writinr to Advertiaen pleue mention the Cu uRA

AND

DAR&

~OOM.

ADVERTISEMENTS.

Eastman Kodak Company· 1\0CHE.STE.I\, N. Y •• Tile Ko4Gic Cltp.

IN A WASHINGTON HOT SPELL. Washington, D. C., Aug.

1905·

EASTMAN KoDAK Co.

Gentlemen: A recent experience of mine may be of interest to you. I was requested to test a camera for r~gister with both films and plates. I exposed one dozen films and one dozen plates. It was during one of Wa~hington's worst hot spells and I was unable at that time to get ice. I secured twelve perfect negatives from the films, but on removing the plates from the wash water, I found that eleven of them had so frilled and run that they were useless. This struck me as rather interesting and I have since made some rather severe tests, which have proven to me conclusively that films stand more rough handling and can be developed, fixed and washed in hot weather with less precautions and more certainty of results than any plate with which I am familiar. Whether it is due to the peculiar quality of the emulsion which you use, or to some physical fact which allows gelatine to cling more closely to them than to glass, I do not know, but the fact remains that, for hot weather work, films are more reliable than plates. C. H. CLAUDY.

The Kodak Developing Machine proved that better negatives could be obtained on the " timing system " than by the old, tentative dark•room method.

Ghe

KODAK TANK Developer Is an Improvement on the machine. Does away with 95% of the crank turning. Gives better negatives. $2.50

$4.00

$5.00

All f)ealer.s.

When "'·ntm~ to .-\ch·ertlsers pleas-e menttou the CAMEKA AND DA&K

Kou11.

ADVERTISEMENTS.

Eastman Kodak Company 1\0CBitSTitR., N. Y ., 'I'll• KotiGi Clt11.

OUR. 20 YEAR.S OF FILM EXPERIENCE..

n there is any one line of business in which experience is more important than in any other, that line is the manufacture of highly sensitive photographic goods. And of all photo· graphic processes, film making is the most difticult. It has taken us more than *wenty years to learn what we know about making film. And in that twenty years we have also learned how to make the perfect raw materials which are absolutely essential to. the manufacture of filmmaterials which cannot be obtained in the market with a certainty that they will be what they should be. We nitrate our own cotton for the film base ; we nitrate our own silver for the emulsion. We go further, we .even make the acid with which the .cotton anu silver are nitrated. Wher.ever it is possible to improve the .completed product by manufacturing the raw material, we erect a factory and make that raw material. Five years ago we felt that we were approaching film perfection, but nocon<:ern, even if it could make film as good as that was, could compete in quality with the Kodak N.C. Film of to-day. But experience is not the only advantage that our chemists and film makers enjoy. They have access to the formulae of the chemists who make the best dry plates in the world. The Kodak films of to-day have in them the combined knowledge of the most expert film makers and the most expert plate makers. The wise amateur wilt be sure that he gets the film with experience behind it. There are dealers fortunately not many, who try to substitute inferior films from inexperienced makers, the only advantageous feature which these films possess being the "bigger discount to the dealer''. Amateurs, .especially those who lea\'e their

Kodaks with tne dealer to be loaded, should make sure that substitution is not practiced against them. The film you use is even more important than the camera you use. Be sure it's Kodak film with which you load your Kodak. Remember: If it im' t Eastman, it isn't Kodak Film. Look for •• Eastman" on the box. Look for " Kodak" on the spool end.

A NE.W BOOK FOR AMATEUR PHOTOGRAPHERS. "THE MODERN WAY IN PICTURE MAKING,"

With a view to putting in the hands of the amateur photographer a better and more comprehensive work than he has had before, we have just published what we believe will become the standard book of its kind: •'The Modern Way in Picture Making." In this book we have combined the best features of our old publication, " Picture Taking and Picture Making,'' revised and brought up to date, and have added the entire text of Steadman's '' Home Portraiture'' and Ritch's "Amateur Portraiture by Flash Light,'' besides which there are new special articles of great value: "Simplicity in Composition," by Alfred Stieglitz, " Some Practical Hints on Winter Photography," by Rudolf Eickemeyer, Jr., and "Nature Study with a Kodak," by A. Radclyffe Dugmore. In addition to the above, there are a number of short and pointed talks by our own experts on matters of interest to all amateur photographers . The book is a complete and compre-

Wben writml(tu Advertioera pleue mention the

CAIIIII:RA AND 0AIIt

Roolol

ADVERTISEMENTS.

Eastman Kodak Company ROCHESTER. N. Y •• f'/1• Konlc Cltll.

bensive guide to the amateur photographer, from button pressing to lantern slide making and enlarging. It is printed on heavy enameled paper, is profusely illustrated, and contains 190 pages 6 x 9 inches. The cover is of delicate gray cloth, with the title in gold leaf. Price, $I.oo. " Picture Taking and Picture Making," our former work, of which more than 6o,ooo copies have been sold, is now out of print.

KODAK CORRESPOND· ENCE. COLLEGE.. There is pleasure in photography for those who merely press the button. But to those who delve somewhat into its mysteries, there is inspiration. True, its difficulties are not what they once were, but every little trouble overcome, every bit of technique mastered, adds to the fascination. And it is because we want them to enjoy the full measure of photographic enjoyment that we are careful not to lose sight of our customers. By keeping in close touch, we wish to carry them step by step through the various branches of the work, until they are capable of producing satisfactory negatives and prints, both from the technical and artistic standpoints. With this in vtew we have established The Kodak Correspondence College. Fortunately there is no study which can be more readily pursued by mail than photography. Negatives and unmounted prints can be safely sent by post at slight expense, and work can therefore be easily and inexpensively submitted to the instructors for criticism. . The course consists of instruction by correspondence in Exposure and Development.

Printing-Out Papers, both Gelatine and Collodion. Development Papers, such as Velox, Dekko, Azo. Outdoor Photography, including snap shots, street work, landscapes and groups, also composition. Portraiture, including posing and ligh£ing, together with the Improvising of a studio for home work. Flashlight Photography. Platinum Printing and Water Development Papers. Bromide Enlarging. · Lantern Slide Making. The text-book of the course, which is included in the tuition price, is a handsome cloth bound volume entitled "The Modern Way in Picture Making," described on another page. There are few amateur photographers whom this course cannot benefit. It treats both the technical and artistic side of photography, and appeals to all those who are at all interested in the work. The Kodak Correspondence College is open to all upon payment of two dollars, which price simply covers the cost of the book and a portion of the postage and stationery. This charge is indeed merely nominal and we depend for our gain solely upon the increased interest in photography among the pupils and their friends. We pay the postage in returning films and unmounted prints. Pupils are expected to pay the charges, !Jotk ways, on glass plates. We employ only competent teachers who give each pupi\ individual attention, and make their criticism and explanations in non-technical terms that anyone can understand. In our employ are experts in every branch of photography, whose advice, through the teachers, is at the command of every member of the "Kodak Correspondence College.''

When writinr to Advertisers please mention the Cun:aA AlfD DAalt RouM.

ADVERTISEMENTS.

Eastman Kodak Company ROCHESTER, N, Y., The Kodak Citg.

Tank Development. THE

SUREST,

l\IETHOD

EASIEST

Al'\0

BEST

DEVELOPil'\G FIL.\1.

-OPINioNs

HoME

AI'\D

ABROAD.

Testimony to the simplidty of the Kodak Tank Developer, and the improved results obtained by its use ha\路e poured in to us since the introduction of this method of film development. The following letters show how Tank D e v e 1o p m e n t is regarded at home and abroad:

used to be my trouble, now I obtain perfectly clean negatives. These machines are of the greatest va!ue to amateurs whose time is taken up mostly by business and are the best things I have struck yet. E. \V. CooK.

Technically Perfect. !\II LAN. All the negatives I have turned out with the aid of your machine are technically pt-rfect as far as development goes, and I am delighted with their printing quality. For this and other reasons the Tank may be considered a great advance on your previous "organ grinder" model which I have also operated. * * * * * * I have developed some 1oo exposures. The whole thing is too easy. . S. D. \\'ARD.

Tank Developer for Commercial Work.

95 Per Cent. 504 Battery St., SAN FRANCISCO, St:-pt. 1, 1905路

EAsTliAN KoDAK Co., Rochester, N. Y., Gentlemen: 1 am sending you enclosed herewith a print from a negative of mine, showing the Tank Developer in use in camp. I exposed nearly 100 films in the Sierra Nevada mountains this summer and developed them all with your " Tank " developing apparatus in daylight, as you will see by the enclosed r.rint. The resulting nega路 tives were umformly good and averaged 95% of the exposed films ; the loss of the remaining 5~ was in no case the fault of the Tank development, but generally through carelessness on my part. I have been doing photography for the past 20 years as amateur; have used about everythmg in the way of cameras, but I have now discared all except my 3A Kodak and my Tank Developer. Yours very truly, GEO. W. REED.

Better

N~gativea

than Before.

GosWELL RoAn, E. C., LONDON. I must say the Tank Machine of yours is giving me every satisfaction. I find no trouble or difficulty in manipulating it, and the negatives I have obtained by its use are better than those I obtained before using it. Scratched backs of negatives

KARLSBAD. I beg you to send me one Tank Developer 5 inch and four Duplicating Outfits for same, I have already made many trials with the Tank Developer and intend to use this method for developing the spools brought to me hy my customers as it works very cleanly and is easy and convenient. EsuARD Rl'sv.

Ask any Kodak dealer to show you how the Kodak Tank Developer works. He will be glad to do it.

CAN BE UNDERSTOOD. EDIToR

CHAMBERs

CoMMEI'\Ts oN

THE MoDERN WAYs IN PICTURE MAKII'\(;,

The average book is generally padded or. so prosy that it is no wonder that the bulk of the authors are an impecunious set, but could they prepare such a book as "The Modern Way in Picture Making," then they would have something useful, right to the point and worthy of commendation. Personally we h:a.ve

When writine to Advertisers please mention the

CAMERA AND DARK

Roow.

ADVERTISEMENTS.

E,astman Kodak Company llOCHESTEJl, N.Y., The Kodak Cltg.

enjoved every page of the book so much, that we unhesitatingly recommend it to our readers as being the best of its kind ever published. The book W<!S not gotten up with the idea of being a money maker for its publishers, but solely with the idea of helping the amateur photographer over his many pit-falls. Everything is treated in a simp 1 e m a nne r, thoroughly exploited by people who do know how and they tell it so that they can be understood. The book may be had for a dollar from all photographic stock houses or from the Eastman Kodak Company, Rochester, N. Y.-The Camera.

THE SCRE.E.N FOCUS KODAK.

Pictures 4 x 5. Price, eJO.OO. All the Kodak advantage in combination with an unrestricted use of the ground glass, is found in this new camera. It appeals to people who know about photog raphy. You can focus on the screen when using Kodak cartridges . This is accomplished by sim ply swinging th e roll holder containing the film out of the focal plane when ever it is desired to use th e g round glass. The No. 4 Screen Focus Kodak

becomes a plate camera by merely removing the roll holder and adjusting the plate holder back containing ground glass and focusing shade, an operation requiring but !l few seconds. The optical equipment of the No. 4 Screen Focus Kodak consists of a Rapid Rectilinear lens of exceptional quality and the Kodak Automatic Shutter. It has rising and sliding front operated with the most convenient adjustment, and a brilliant reversible finder with hood.

Easttnan's Pertnanent Brotnide Papers. For 18 years the Standard.

When writin1 to Advertiaers pleue mention the

CAW&aA AJfD DARK

RooK.

ADVERTISEMENTS.

Eastman Kodak. Company .

R.OC1fESTER., N. Y ., Th• Kollolc Citp.

THE. KODAK ENLARGING CAMERA.

37.( x 47.( negatives. Frequently, however, one wishes to use only a portion of a negative or to work from smaller negatives. To provide for this we furnish inside kits (extra) for 5 x 7 and 4 x 5 paper, although one may use the full 6~ x 8~ paper for smaller pictures- the broad white margins often being very desirable. AS A PORTRAIT CAMERA.

The Kodak Enlarging Camera may, by the addition of a lens board and lens, be used most successfully as a portrait camera. The negative carrier (and bellows attached to same) and

· Price $15.00.

The Kodak Enlarging Camera doe!;! .,way with the necessity of darkening ..t room and fitting up a window for the purpose of making a few enlargements from a small negative. Besides, the instrument folds into .a small compass and can be easily carried from place to place, or may be packed in one's trunk or grip. Every part of the camera is made of the best material, handsomely finished and the parts adjusted to that nicety which is essential for perfect photographic results. The selected negative is placed in the front of the camera, a holder containing a sheet of Bromide paper is damped in place, then pointing the camera toward the light of a window .a short exposure is made. The holder is then carried into a dark-room and the print developed and fixed. The whole operation requires but little more time than the making of a V elox prin~ . With this camera, 6 ~ x 8 ~ enlargements may be made from 4 x 5 or

the lens board are instantly detachable. All that is then required is to slip the extra lens board and lens into position. PRICE LIST. No. 1 Kodak Enlarging Camera, equipped for making · enlargements from 4 x 5 glass negatives or from film negatives of any size · 4 x 5 ~ inches, or smaller, • . $15.00 6~ x 8 ~ Inside Kits, 5 x 7 opening, ·3S Do., 4 x S opening, . . . ·3S Glass Negative Holders, 3J4 ~ 4!4, .so Do., 3~ X 3~, • • • . ·SO Do., 3!4 x 3 ~ . . . 11 . . .so Special Portrait Lens, 8 ~ focus, speed f. 8 for bust work, speed f. 11.3 when fully covering plate, 7-SO Extra Lens Board, . • • • . 75

At all dealers.

When writiac to AdYertioera pleue mention the

CAKUA AND

Dull( Roow.

ADVERTISEMENTS.

l:astrnan Kodak Company llOCBESTEil. N. Y •• The Kodak Cltg•

. EASTMAN'S

"Home Portraiture" by Frank Morris Steadman 25c. and 75c.

"Amateur Portraiture by Flashlight" by William S.. Ritch

Price, lOc.

-Two books that

will help the amateur in Portrait work

VE.LVE. T BROMIDE. PAPER. Try this paper the next time you enlarge from a landscape negative or one having broad shadows. Velvet Bromide has the rich, velvety · lustre that has proved so popular with Velvet V elox. The emulsion is of medium contrast having a wide range of gradation and is therefore made in one grade only. While having the same surface as Velvet V elox, the stock used for Velvet Bromide is somewhat heavier than Velox, thus adapting it to use in large sizes for enlargements. · You can buy Velvet Bromide of the photographic dealer.

EASTMAN FLASH SHEETS. For evening work at home these Flash sheets offer the best flash light medium possible. They are very economical and the method of handling them is to the last degree simple. Pin to a card and touch with a match. That is absolutely all there is to using them. Eastman Flash Sheets give only a slight smoke and very little refuse ; therefore they are particularly adapted to parlor work. They burn for about a second-giving the same photographic results as a short time exposure by daylight. This makes them of great value in portraiture for, not flashing up with the glare of the ordinary flash powder, they do not startle the subject nor give a staring effect to the eyes. Eastman Flash sheets are made in 3 sizes. No.

per pkg. "

.. 3 "

When writinr to AdYertioera please mention the

CAKDA AJID

~ " u

doz. sheets, $ "

••

DuE Roo1111.

.25 .40

.6o

ADVERTISEMENTS.

Eastman Kodak Company ROCBE.STE.R.,

Y,. Th• Kotlalc Cltg.

Stereoscopic Pictures are made as easily as single views with ·t he

·sTEREO Brownie Camera Price, Each Picture Measures 3J4 x

inches.

$12 .!!!!

and the

Stereo Self-Transposing . Printing Frame Price, $1.~ The sliding pape r holder (B) transposes the pictures.

With this frame the negatives are not cut apart for transposing, but are tr~sposed automatically in the frame.

W1acD writiq to Adnrtiaen please mention the

CAMUA AlliD

Du1t RooK.

ADVERTISEMENTS.

Eastman's Sepia Paper Used by America's leading salon workers.

ALL DEALERS.

EASTMAN KODAK CO. ROCHESTER, N.Y.

When writin1 to Advertisera pleue mention the CAliDA AlfD D.ua ltooll.

ADVERTISEMENTS.

I oro A printing out paper with insoluble emulsion-coated on extra weight stock..

At the Dealers.

PHOTO-MATERIALS DIVISION, EASTMAN KODAK CO.

Rochester, N. Y.

ADVERTISEMENTS.

Seed Dry Plates are unapproachable in GRADATION, CAPACITY, LATITUDE and UNIFORMITY OF QUALITY-the three moat deairable qualities in plates GRADATION capacity is the result of perfection in emulsion making. It means a plate that will record the most delicate gradation of tone in light and shadow. LATITUDE means a plate with the widest range in exposure, insuring good negatives under most difficult conditions and with most difficult subjects. UNIFORMITY is the crowning quality of a good plate. It means perfect confidence in manipulation and certainty of results. For Saep Sllots use the Gilt Edge brand. For General Portreit Work use the l6x. For Interiors and violent contrasts use the NOII-IIeletion. For Lendec:epea and cloud effects use the Ortbodlreaaetic:. h

correctly sensitive to yellows ud creens.

For Furniture and Commerciel Work use the Commerdel Ortho. For Peintiaga and contrasty subjects, where color values are wanted, use the Non-Hele&ioa Ortbo.

And where one plate is wanted, suitable for everything, use the NonHalation Ortbo. Our booklet," ART OF NEGATIVE MAKING," t.lls all aboNI thu1 aâ&#x20AC;˘d olhttr products ; also con tams useful information Ask your dealer for a copy or writ. tu.

M. A. SEED DRY PLATE COMPANY ST. LOUIS, MO.

New York Depot, 57 EAST NINTH ST.

Wbea writinc to Advertlaen pleue mention the CAliDA AJrD Dt.aiE Roo11.

ADVERTISEMENTS.

ALKALINE DEVELOPERS ARE OUT OF DATE

Cramer's (Liquid) Acetone A NEUTRAL CHEMICAL Replaces Carbonate of Soda or Potassium No False Densities, Fog or Frilling Works Quick and Uniform

Does NOT STAIN the Hands For Sale by All Dealers

Pint, SOc. ; Oallon, $3.10

A two ounce sample and formula by mall, rsc. Addreaa Department a

0. CRAMER DRY PLATE COMPANY ST. LOUIS, MO.

The Only Perfect Flashlight Powder Requires a minute quantity to secure results, and smoke trouble is eliminated

A most important feature is that AGrA Blitzlicht has been granted permission by the U. S. Postal Authorities

TO BE MAILED The only Flashlight Powder to receive this distinction (Speaks pretty well for its safety)

Be â&#x20AC;˘ure and have 7our dealer MAIL 70u a bottle at once PI\.IClt. 35c

MR. WM. S. RITCH the well-known expert on home portraiture flashlight work, says: "Other flash powders excel in some qualities, but are lacking in others; but with AGFA Powder all troubles disappear, and everything is smooth sailing.''

Berlin Aniline Works, 21 3 Water St., New York. Wben writinc to Aclnrtiaen pleue mention the

CAKUA AND

Du11: Roox.

ADVERTISEMENTS.

Pictur~s mount~b Wit~dl

HIGGINS' PHOTO MOUNTER

Han an u:cellence ~ecullarly tllelr own. The best results are oal7 produced by the best methods ud means-the best results in Pilot~ vaph, Poster and other mouatlac can only be attained by usinr tbe best mounting paste-

HIGGINS' PHOTO MOUNTBR (~1-lbnolowi. . . . .

Ju).

At Deelen I• Pilote ........, Arti8U' MaUri......

·~·

A 3-os. jar prepaid by mail for 30 eta., or circulara free, from

CHAS. M. HIOOINS 4: CO., Min. N- York Cblcqo Loadoa Main Office: 271 Nlntb Street I Brooii:IJ'•, N.Y •• P.ctory : 2-40.2-44 Etabtb Street r U. a. A,

. Wanted-Amateurs having cameras (not kodaks), 4x5, or any size larger, can earn $5.00 per week tak ing pictures for us at home. Send stamp for particulars. Oval Portrait Company, Caxton Building, Chlca'go.

HAVE YOU A

KODAK? F-6.

The Hit of the Year! A perfect

anastig~nat ,

be aut i ful deftniton, unusual speed, COIIl• pact for hand ca111eras, lo'W price, Hodak size.

THEN A

GET

DYNAR! For full particulan:, address

$25.00

Fits All Shutters.

The Voigtlander & Son Optical Co. 141 West l3rd Street, NEW YORk

STOLEN- From the Metropolitan Camera Club, a Bausch & Lomb 18-Inch Unar. Size, · No. 10. Serial No. 681980. Any of our readers learning of such a lens, please communicate with AMERICAN PHOTOGRAPIDC PUBLISHING CO. 361 Broadway, New York

ADVERTISEMEN:rs.

Man ufactured in Germany. For sale in th e United States only. Sole I mvorter and Agent for the United States G. GENNERT New York, Chicago.

<!:

WITHOUT THIS LITTLE TICKET

LEADS AND HOLDERS delightful profession . Pays well Good positions sec ured for graduates. Only College of Photography in the world . Terms easy and living inexpensi ve. Wnte for o u r beautiful illus trated catalogue.

ILLINOIS COLLECE OF' PHOTOCRAPHY 918 Wabash Ave., - Emngham, Illinois The abo ve school is co ndu cted in co nn ec t io n with the Bissell Colleg e of Ph o t o-en g r;~vin g .

Using more colored leads than any other business house in the world, and unable to lind a lead-holder that would hold and keep on holding, we invented one with a positive stop, no provoking clutch. It has stood the test of a dozen years' constant use ; it doesn't wear out; the lead can 't work back; it is a double-ender, it is perfection for editing copy, checking, etc. We mail it for 25 cts. , loaded with twoleads. Wesellblack,blue.green, yellow, and red leads, for $5.()0 a gross, 50 cts. a dozen, 5 cts. apiecemade for us, 3 in. long, the best quality we can get. Stamps acceptable.

Luce's Press Clipping Bureau WHY PAY LA.RGJt PR.O.-IT on Cameras an4 Unses when we save you money on all makes. 'Get Bargain List and see for yoursel.

16 Vesey Street 68 Devonshire Street

WE BUY AND EXCHANGE .

NATIONAL .SPECIALTY CO. 49 Wnt IStJa Street

JfllW YORK CITY

When writinc to Advertisen please mention the c.uaau

AND

DAalt RooK.

New York Boa ton

ADVERTISEMENTS.

GET. A . GOOD START

路 THEN YOU'LL BE IN AT THE FINISH MORAL:

GET A GRAFLEX THE G RAFLEX allows you to see your picture full size, and right side up at the instant of exposure.

. I

The GRAPHIC Focal Plane Shutter working up to 1-1200 of a second, will absolutely arrest motion, thus making the GRAFLEX THE camera, where animation in the picture is necessary. Just the thing for photographing Race Work, Automobiles and Children. ASK YOUR DEALER. OUR NEW CATALOCUE ON REQUEST.

The Folmer &, Schwing Mfg. Co. COR. ELM AND BROOME STS, NEW YORK. When writinc to Advertiaera please mention the CA:MDA

AMD

Dull: RooK.

- ______...

ADVERTISEMENTS.

15Â°/o SAVED ON A~L PHOTO SUPPLIES On orders of five dollars or over in cash, we will pay the express on photographic materials to any part of the United States or Canada. We carry all goods not manufactured by a trust. Send ten cents for catalogs. Special discounts to professional photographers.

PAUL FOURNIER, East Aurora, N.Y. A PROBLEM. Note Results.

Photography+

LUMJERÂŁ PLATES~ Perfection

Work it out for :yourself. Send for free sa1nples.

All kinds for all requirements. (Sigma Brand) fastest in the world. Green Label-extra rapid. Yellow Label-medium. Red Label-slow. Orthochromatic A-sensitive to green and yellow. Orthochromatic &-sensitive to yellow and red. Panchromatic C-sensitive to green yellow and red ; are the most sensitive to red manufactured. Non Halation Ortho-the only plate on the market which is all its name signifies. Lantern Slide and Transparency Plates. If you have not tried these, send for a free sample. :2

LUMIER.E N. A. COMPANY, Ltd., N. Y. Oftlce. 11 W. 27th Street.

Factories j L::yons. France. 1 Burlington. Vt.

'Vben wrUiq to AdYertiaen pleue mention tbe

CI.><UA AHD

D ... & Roo11.

ADVERTISEMENTS.

American Platinette A new paper for Platinum and Carbon effects, possessing qualities to be had in no other. For professionals and Amateurs

AMERICAN PLATINETTE Consumes less gold or platinum than Collodion papers. Does not curl and keeps indefinitely. Sold by Anti-T rust deallers everywhe re

J. L. LEW'IS 379 .Sixth Avenue. N. Y.

Korona Cameras MADE. for those who know something about the fine points of a Camera.

SOLD to the beginner who likes their appearance and to the expert who admires their practicaL features (We also· catch the man that wan ts the lowest price)

GUNDLACH-MANHATTAN OPTICAL CO. R.OCHESTJtR, N.Y. 769 CLINTON Ave., SOUTH

Get it Ia the aeptln.

Free Lesson in Photography To prove the power of our Home Study Courses to the Beginner, Amateur and Professiona l, we will send a FREE LESSON IN PHOTOGRAPH Y and a sample PERSON AL CRITICISM to all who apply for our descriptive book. This lesson w ill convii:tce camers ownera that our instruction eliminates all w aste, by making each exposure count for a gnod picture. We also qualify men and women to become successful Gallery Operators, Government and Press Photographen;, Advertising Illustrators and Retouchers, State what branch of photography you desire to learn. brte1Uiinr p u,-chaurs ' / Cameras, .Piroto a"d Art S11jJjUe.t sJ.•Nid seNd Joe. j ostage fqr ' ol4r 2.Jc. catalog. 2.50 Jares of nton~y-sa vi"r va /u~1.

American School of Art and Photography J. B. SCHRIBVER, President, Scranton, Pa.

KR UXO J.W THE BEST

Developing Paper on the market. Thousands using it say so.

====~I Buy direct form the factory and save money,

Send to-day for prices. Enclose ten cents for sample package with developer and prints. A~ents wanted. Paper made in all &rades.

Kilborn Photo Paper Company Manofa~torera

When writine to Advertiaera pleuc mention the C.UlDA AIID DA&E RooK.

ADVERTISEMEl'< TS.

Prize Winners Use This Brand Why Don't You? ·They Are The Best Size

Gennert~s

x 4, 55c. per dozen.

C. P. Liquid ·Acetone

Works without stain, fog, or frilling. Gives sparkling negatives with all Pyro Developers and replaces carbonate of soda. 16 oz., 4oc.; half gallon, · t1.so; gallon, t2.oo. Send for full particulars and formulre.

G. GENNERT ~4-~6

Ea•t 18th ••-•• NEW YOR.K

K.aet Lake .Ytreet CHICAGO

PHOTOCRAPHIC CoMFORT

THE DAYLICHT

0 BIF0

PROCESS

PATilNTS P E NDING

A simple preparation used by amateurs or profesaionala. Requires no ext. a work. JUKES DEVELOPING EASIER. COLORLESS.

PERMITS OF DEYELOPINC BY DA YLICHT. Does away with the dark room developing machine or substitute. No tanka, red lights, etc. Better air, better results. You can aee your work during all atagea of development. Removes fog. Gives better color values. llakea plates non-halation. Great for reproductions and enlargements. Excellent for halftone engravers.

IT IS WONDERFUL TRY APACKA&E AND BE CONVINCED. IT'S INEXPENSIVE. L your dealer doea not sell it send ua your order, also hia name. A PaOI'I..IIfT WISTIU PBOTOGaAPBU SATSa

"When I 'shall have used the solution I have on hand I shall want some more of it. Your OBIFO has given me.more comfort than any photographic preparation I have ever tried." For elcbt ounc:ca 10 c:enta-Por .sixteen ounces 50 c:eata Poatace paid

THE PRINDLE PROCESS CO., 74 BROAD ST., BOSTON, MASS. Wlaea writiac to AdTertieen p i - mentton the C.uuu

AND DAu

RooK.

ADVERTISEMENTS.

·THE COMPETITOR A NEW VIEW CAMERA Our New View Camera represents the acme of perfection in camera making , and is absolutely without a peer. The Price lower than you ever heard of. Carrying Case aud one Holder included . Made in three sizes.

5" 7 • • • $15.00 6! " 8! • • • 16.00 8" 10 • • • 17.00

\·

Made of the finest seasoned wood with polished mahogany finish . Metal work of polished brass, lacquered. HAS EVERY DEYISABLE IMPROVEMOT-Double swingback,extra large front board, plum bob for leveling. Reversible back. High front frame. Rack and pinion. Back racks to front for wide a ngle work, TWO tripod plates. Somedtalers carry Seneca Cameras. Some do not, owing to existing trade restrictions imposed by the photographic trust. If you are unable to buy a "Competitor" View Camera from your dealer, send to us direct. LIB:ER.A.L DISCOVNTS TO Tiflt TRADE

SENECA ·cAMERA MFG. N.Y. CO. 700 CLINTON A. VI:NVIt SOVTH ROCH:ES~R.,

An f ·5 Portrait Lens Home Portraiture

-------fo,. ------AT A PRICE WITHIN THE .REACH 0 F ALL

The Royal Portrait

is a portrait lens pure and simple. lt is for that great army of amateur photographers who have never been able to own a rapid portrait lens, but who appreciate that the greatest st.udy of mankind is ma.n.

The Royal Portrait

will make pictures in an ordinary room as fast as you can work the cap. Send for circular tuil.h. specimen portrait.

ROCHE STER LENS CO. ROCHESTER,

Yv ben writing to Advertisers please

mention

ADVERTISEMENTS.

WHEN SHORT ON LIGHTTHERE IS ONLY ONE WAY TO MAKE GOOD!

·· Use as fast a plate· as you can buy! ~ That means Hammer's .Extra Fast. This is conceded by hundreds every- .0 · S't•mMrEp~ where to be the best all around winter plate made! With these plates and a little care you can prodl.lce negatives of the first quality. It's the quality in our plates and the quality in your technique that brings the "quality" to your studio, and ifs the quality that comes to your studio that determines whether you merely make a living or money. · It's important, therefore, to use a plate that can be depended on:-- Hammer's Extra Fast. .Send for our little booklet, ••A Short Talk on Negative Making," mailed free ·to any address. -TRADUWII<-

HAMMER DR.Y PLATE CO. ST. LOUIS, MO. TAKE

PERFECT PHOTOS sv Gaslight AND Sunlight WITH THE

Simplex Exposure Meter A Time Saver. All exposures in 10 sec. , and less. . ' Purely Mechanical. No calculations to make. Accurate.

Fully Cuaranteed DI~ALEitS

SEND FOR SAMPLE DOZEN ON CONSIGNMENT "Card" Meters 2D cents "Disk" Meters - DO cents

Both meters sent on approval for two weeks upon receipt of postal card. ' Agents wanted. FO~

.5ALB BY

"The Photographic

Student" Issued monthly, contains full infor-

matJo~iU'JrE!t~"'cof~tE{1~:'.g

our

Send stamp NOW for a FREE copy, nlso the College Catalog to Dept. F.

Ca lifornia College of Photography, Inc •• PALO ALTO, CAL.

A. S. DUDLEY. Prts.

THE KNOWLTON CO•. WOONSOCKET, R.I.

l!astcn E•rollecat Office, Dept P, Zt9 Pulnroo4 Bl•d •. ~cctady, N.Y.

When writinc to Advertisen please mention the CuuaA AND DAaK Roox .

ADVERTISEMENTS.

Cirkut Cameras For Panoramic Pictures

are an innovation. They open up a new and almost unlimited field of profitable work. Especially adapted for photographing large Manufacturing Plants, Railroad and Steamship Properties, U niversity and College Grounds, etc., etc. Scenic Views heretofore impossible with ordinary Cameras are readily made with the Cirkut. Model I o takes pictures 10 inches wide or less and any length from I inch to 12,Yz feet. Daylight loading. Angle of view unlimited. Complete circle of 360 degrees or any part of it can be photographed. Size of Camera, 9 x I 2 x I 2 inches. Send for Booklet and Sample Picture.

Century

Camera

Company

Rochester, N. y.

PHILLIPINE ISLANDS Would you like to be the ONner of a Fine Collectlon ot Pictures from there? Send your name on a postal for list of sujects and fioe prospectus. L. E. PAUL, Box 186, Providence, R.I .

THE .OBRIG 路cAMERA CO. A. C. WILMERDINO AND W路 E. WILMERDINO.

165 Broadway,

NEW YORK.

just below Cortlandt Street Telephone, 4704 Cortlandt

CRAFLEX CAMERAS Fitted with F. & s. Focal Plane Shutter work In 1/1000 of a second. Dogs and horses jumping and running or birds flying can be taken at close range. Without Lens ...................... net, 178.80 01 With Coerz Ser. 1 B, No. 2... 128.88 With Plastlgmat No.2 ........ 01 118.80

We are Headquarters for KODAKS, CENTURVS, PREI'\OS, ORAPHICS, HAWKEYES, EASTMAN'S FILMS, W. & C, PLATINOTVPE PAPERS. Prompt Developing an!! Printing at usual rates. Send name for "l>OWN-TOWN TOPICS"--<>ur Cut Rate Catalogue. Wben writin1 to AdYeraun pleue mention the

CAM&aA AND DAn:

RooK.

- - - ___j

ADVERTtSEMEN1·s.

jje}\oiographers UAssociatio111

Qf.America, ·-' lioldinge •.., .;

ye QUarter ~

Centennial

Convention in ~ ye Mechanics

Buildinge. inye Gtie !ff. Boston.

Massachusetts, fromye eighth to ye eleventh

d'W~August, Anno Domini,

MD.CCCCV.

Office if ye .,-

Terre Haute Ind. June 28/05. Baush & Lomb Optical Co . Rochester, N. Y. Gentlemen: The 8 x 10 Unar Lens that you sent me some we eks ago, I find to be the best lens I ever used not only for Groups and similar work, but for the best style of Portrait work as well. We find it almost indispensible under our light and can not recommend it too highly. I was surprised at the softness as we ll as the definition procured wi th it. You have certainly made a most wonderful lens in the Unar. It is needless to wish you success with it, for it is bound to command the same. With bes t regard I beg ~o remain . Cordially and Fraternally Yours '

President, _, GeorgeGraham ~--· fi:,~~~. Hollowa-y. inye 17 '"¥~ = -=::::::rcitie ~.P I " :Terre- Haute: (Photographers • Association 'lndi~nt\., V~S.A.

of America)

When writina to Adnrtiaen pleaae

mention tbe UKUA .... o ..... aoo..

---

ADVER.TISEMEN'l'S.

TO Our Subscribers We would like each subscriber to CAMERA A~D DARK RooM, now on our list, to obtain for us this month at least one new subscriber~ To make it worth while, we will send for each one a Handsome Album, a Background (the regular $r.oo kind), or some other article of equal value. THIS OFFER IS ONLY AVAILABLE TO THOSE WHO ARE ALREADY SUBSCRIBERS

W,e will be pleased to supply a limited n11;mber of specimen copies, or will mail such to addresses furnished.

camera 8A~~ T~:rk R.00m Cosmopolitan Magazine

:. ~~V:r $1 .so

is an oft'4Sr that we are enabled to make to new . subscribers as well as those who may be sending in their renewals. This offer Will not appear again.

SPECIAL CLUBBINO OFFERS Camera and Dark Room ~ For one year Woman's Home Companion Revlew of Reviews Cosmopolitan • Reprar Price $6.00

$3 5O

or this:

Review of Reviews Woman's Home Companion For one Cosmopolitan · year Country Calendar ·· ~6 American Amateur Photographer ~ , Camera and Dark Room J Re1utar Price $10. SO AMERICAN PHOTO. PUBLISHING CO., 361 Broadway, New York

car b 0 type A NEW PHOTO PAPER FOR SEPIA EFFECTS AND BLACK TONES No gelatin or collidion in the emulsion, therefore the paper is very easily worked and has no tendency to curl. Made in four grades: Smooth, HalfMatt and Rough.

M~ tt,

For portrait or exhibition work the results are especially beautiful, and a decided change from the emulsion papers. .read ll.5 ceate tor epecl-•a Prlate and paclllal(e cablaete

••-•1•

Manufactured only by

EARLE PHOTO PAPER CO. CHICAGO. ILL.

WileD writiq to AdYertiaen p i - mention the CAKaiiA AIID Dull: Roo11.

Thousands of pounds of AGFA P)'ro are annuall)' sold in the United States being repacked and marketed under various brands

AS A SAFEGUARD our Pyro will now bear the label

AGFA PYRO Be sure and get it A prominent operator at the National Convention said :

" TH E R EASON WHY I use AG FA Pyro in preference to all others is that its devdopmg action continues much longer than any o ther brand,,.

Berlinâ&#x20AC;˘ Anllin Worlle. 213 Water Street. New York

MANY SUBSCRIPTIONS 'tXPIRE WITH THIS NUMBER

Do not fail to renew promptly if you desire to receive the magazine regularly for another year. Get your friends to subscribe or send us their names. The larger the list, the bigger and better will the

CAMERA AND DARK ROOM

AND HER

Famous Winter Resorts

BE NEXT YEAR

TBIS COUPON MUST II ATTACBID TO PICTURES SINT IN FOR CRITICISM.

IRON MOUNTAIN ROUTE.

T itl., of Pi ctur.,.

ELEGAJ!T THROUGH SEIVICf.

3-DAJLY TRAIN S- 3

s.,nd .,r.

D IN I NG CARS,

Wh.,n writine to Adnrtis.,ra

L_. _ _

plf&S.,

m.,nU. th., C..xau

AMD

Duz Roox.

.. AbVER.TtSEMENTS.

Its SUMMER IN THE ONLY

ELEC~IC

LIGHTED DAILY TJt/IIN TO

With its splendid Pullman Drawing-room and Compartment Sl4~lillj Cars, Observation and Dining Cars is ve ritably a sunny 1n,,,..,,_ sunny skies. You don't get' travel- worn, because the route is so and you get first choice of rooms because you arrive before COMMENCING JANUARY 8 Leaves New York 12:2 5 noon every day Arrives St. Augustine 2 :10 P.M. next day Booklets, ill1,slrating and ~scribing the leading Winter Resorts ill the South, will be S1'pplied by ticket agents oJ connecting tims a11d by any agent oJ the

SEABOARD AIR LINE RAILWAY New York, 1183 BroedwoJ Bostoo, 360 Wasbioiton St. Philo., H29 Cbutnnl St. Pillsburi, Pork Buildioi Ballimore,Coolioeotal Bldi. Wash., D.C., 1421 Ptona. Av.

C. B . R.YAN <lcncrBI Passenger Agent

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

THE NEW YORIC. PUBLIC LIBRARY REFERENCE DEPARTMENT

This book is uoder oo oiroumstaooes to be tekeo from the Buildio'