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ROSS LENSES 



These Celebrated Lenses 
(on the World's market 60 yrs.) 
are produced in all grades, that 
are shown in the combined cata- 
logues of all Lens manufacturers 

ROSS "HOMOCENTRIC 

"B"-F5.6 

"C--F6.3 

D-F8 

Da-F8 

ROSS-ZEISS "TESSAR* 



F 3.5 
F4.5 
F6.3 



ROSS STUDIO LENSES 
ROSS WIDE ANGLE 
ROSS-ZEISS WIDE ANGLE 
ROSS-GOERZ r 6.8 F II 
ROSS SPECIALS, for KodBka «nd 

Smkll Ctanvnm 
S«nd for Complete Caitelogue 



GEO. MURPHT, lao. XoEKS, 57 E/UT Stii Stueet, New Tonic 



•REDEVELOPED- 



. J" 



V • 



s J 



The American Annual 
of Photography 

1908 



VOLUME XXII 



Edited by John A. Tennant 




NEW YORK 
TENNANT AND WARD 



M C M V 1 1 



• • 1 



Coi'YRir.HT, 1907, BV TkNNANT AND WaRD, NeW YoKK. 



I'KttSS O!- STVI.HS AND CASH, NEW VOKU, 



PREFACE. 




E EDITORS do far too much talking, as Every- 
man knoweth. In truth, it is rarely by choice 
of ours, but rather a cloaking of the dry bones 
of necessity with the seeming fair robe of virtue. 
The editorial function in an Annual — to mv 
mind at least — should properly be confined to the gathering of 
interesting material, and its presentation in readable and attrac- 
tive form. Unfortunately, material ofttimes falls short and the 
editor has to "fill space." 

Gladly, therefore, do I record the fact that this year's volume 
— the twenty-second issue of The American Annual of 
Photography — is wholly the work of photographers here and 
overseas. Its information comes from their experiences; its 
illustrations show their activities and interests. Thev have 
filled its ample pages with royal goodwill and crowded out the 
miscellany which bulked some of the earlier volumes. To 
each and every contributor my warmest appreciation and grati- 
tude. 

JOHN A. TENNANT. 

New York, November, 1907. 






« KmA 



TABLE OF CONTENTS. 



Contributed Articles. 

PAGE 

The Size of the Camera. By Chester B. Duryea 9 

The Possibilities of Kallitype. By Eleanor V\ . Willard 21 

Intensification: the Best Method. By Rev. John Gmeiner 27 

Focal Plane Cameras. By H. W. Hales ; lllus. ra.cd 32 

Developing in the Tropics Without Ice. By R. VV. Harrison ZS 

Amidol. By Henry Erie Cooper 38 

Test Papers in Photography. By David Gray Archibald 42 

Tank Development. By C. H. Claudy 4S 

Time Devcloijment. By W. S. Davis Illustrated 51 

Church Interiors. By Robert W. Tebbs Illustrated 57 

The Kallitvpe Process. By Walter \V. Lakin 61 

Coloring Post Cards. By Henry C. Delery 65 

Recording Exposures. By H. W. Gassman 71 

Photographing Tarpon. By Julian A. Dimock 73 

N'acation Photo^aphy. By 7. C. Hcgarty Illustrated 79 

Photographing hootprints. By John Boyd Illustrated 87 

Mounting Prints in Albums. Bv C. M. Whitney 91 

A Universal Developer. By Maximilan Toch, F.C.S Illustrated 95 

Press Photography. By Catharine Weed Ward Illustrated 97 



Photographing Blossoming Trees. By C. M. Shipman Illustrated 105 

An Ideal Outfit for the Amateur. By " " ' 

The Jewel of Great Price. By W. F. Oliver ii'i 



leal Outfit for the Amateur, 'ay Gaston M. Alves 107 



The Pinhole for Wide Angles. By J. A. Anderson Illustrated 1 1 5 

The Garden as a Studio. By Oscar Maurer Illustrated 121 

Photoj^raphing the Forms of Water. By Wilson A. Bentley Illustrated 125 

The Construction and Use of a Lens Chart. By R. T. ]effcott. .. .Illustrated 129 

Illustrating a Story. By J. Ellsworth Gross Illustrated 137 

A Lens Hood and Its Attachments. By Jas. E. Callaway, D.D.S Illustrated 140 

A Story with a Moral. By J. W. Little 14a 

Pyro and Its Preservation. By Henry F. Raess 148 

Film Pack Development. By George Rettig 151 

The Photographic Magazine and Its Readers. By Fa- • tt** J. ( l.i*e 152 

Printing Gaslight Papers with Magnesium Ribbon. By W. H. Zerbe 161 

Notes on Red Sensitive Plates. By Malcom D. Mill?r, M.D 163 

Titles. By Russell \V. Taft Illustrated 167 

In Quest of Snow. By Harry S. Hood Illustrated 170 

Paramidophenol as a Tank Developer. By Milton D. PunntU 175 

An Undiscovered Country. IW Mark W^ Thomps'.one Illustrated 177 

Quick Drying[ of Negatives. By Ernest A. Turner 183 

A Cement Sink. Bv A. B. Stebbins Illustrated 186 

A Passepartout Guicie. By Richard Trotter JefFcott 190 

On Portraiture. By Carl Rau 193 

A Word About Posing. By Chas. Stillman Taylor 196 

A Simple Portrait Lamp. By A. W. Weston Illustrated 204 

Standard of Excellency. By Geo. D. Jopson 207 

Ozobrome. By Thomas Manly 209 

Toned Lantern Slides. By Alfred H. Saunders 214 

Process Cameras. By J. Arthur H. Hatt 218 

Etching by Machine. ( Communicated K . . . . ._^ . .^ Illustrated 223 

Abus 



The Abuse of the Hand Camera. By F. G. P. Benson Illustrated 228 

How to Make An Album. By A. S. Hull Illustrated 230 

Zeiss Diaphragm Markings. By Harold M. Bennett Illustrated 234 

Insect Photograph v. By J. W. Bandtel Illustrated 239 

The New Scenic ftoute to Yosemite. Uy Edgar A. Cohen Illustrated 242 

What (iocs on in a Lens. By Gustav Dietz *. 253 



By Gustav Dietz *. 253 

Photography at Sea. By Robt. E. M. Bain Iilus:rated 2$7 

Two Useful Dodges. By W. H. Brackenridge 260 

Gum Print Possibilities. By W. H. Thompson Il'uslratcd 262 

Painters vs. Photographers. By Otto W. Beck Illustrated 266 

Mineral Photography. By L. P. Gratacap Illustrated 273 

School Camera Clubs. By George D. Firmin Illustrated 281 

Photography at Nipht. By H. Mortimer-Lam":) Illustrated 285 

rhoto^raphing in Central Park. Bv F. M. Ingalls Illustrated 293 

The \ ersatility of Photography. By O. W Lange Illustrated 2gg 

Underground Photography. By J. Wilbur R.ad Illustrated 307 

Print Circulating Societies. By C. W. Canficld 313 

American Photographic Societies 325 

United States Weights and Measures 329 

English Weights and Measures . . 330 

Metric System of Weights and Measures 331 

Conversion Tables 332 

U. S. System of Diaphragm Numbers f-i to f-roo 333 

^^opyright for Photographs 334 

Klsden s Tables of Poisons and Antidotes.- 336 



Index to Authors. 



[2.1 " 'AGE 

Alves, Gaston M 107 

Anderson, J. A 115 

Archibald* David Gray 42 

Bain. R. £. M 257 

Bandtel, J. M 239 

B«ck, O. W 266 

Bennett, H. M 234 

Benson, F. G. P 228 

Bentley, Wilson A 125 

Boyd, John 87 

Brackenridge, W. H 260 

Callawav, jfas. E 140 

Canfielcf, C VV 313 

Claudy, C. H 45 

Clutc, Fayette J 1 52 

Cohen, Edgar A 242 

Cooper, Henry Erie 38 

Davis, W. S 51 

Delery, Henry C 65 

Dietz, Gustav 253 

Dimock, Julian A 73 

Duryea, Chester B 9 

Firmtn, Geo. 1) 281 

(tassman, H. M 71 

Gmeincr, Rev. John 27 

Gratacap, L. P 273 

Gross, J. Ellsworth 137 

Hales, H. W 3^ 

Harrison, U. VV 35 

Hatt. J. A. H 218 

Hegarty, J. C 79 

Hood, Hy. S 170 

Hull, A. S ii\i 



PAGE 

Ingalls, F. M 293 

Jeffcott, R. T X 29, 190 

Jopson, Geo. D 207 

Lakin, Walter W 61 

Lange, O. V 299 

Levy, Max 223 

Little, J. W 144 

Manly, Thos 209 

Maurer, Oscar 121 

Miller, Malcolm 1) 163 

Mortimer-Lamb, H 285 

Oliver, W. F 111 

Punnett, Milton D 175- 

Raess, Hy. F 1 48 

Rau, Carl 193 

Read, J. W 307 

Rettig, Georce. 151 

Saunders, Alfred H 214 

Shipman, C. M 105 

Steobins, A. B 186 

Taft, Russell W 167 

Taylor, Chas. S 196 

Tebbs, Robert W 57 

Thompson, W. H 262 

Thompstone, M. W 177 

Toch, Maximilian 95 

Turner, E. A 183 

Ward, Catharine Weed 97 

Weston, A. W 204 

Whitney, C. M 91 

Willard, Eleanor W 21 

Zcrbe, Wm. H i6o 



Index to Illustrators. 



PAGE 

Anderson, J. A 116, 118 

Bain, R. E. M 257 

Baker, F. C 9« 4*. ^76 

Bandtel, J. M 237,238 

Beam, Geo. L 16, 49, 322 

Beeby, John 55 

Bennett, Mrs. J. £. 43, 104, 124, 272 

297 
229 
128 

305 
81 



Benson, F. G. P 

Bentley 125, 127. 

Bertling, W. E 103, 

Bodine, M. L 

Boughton, Alice 157 



Bourgeois, C. 

Boyd, John 

Brookins, D. H 

Brown, Fedora E. I) 25, 

Bruce, R. S 259. 

Bull, Dr. C. G 147, 159, 185, 

Carter, Chas. M 

Clarke, C. E 153, 

Cohen, E. A 241. 

Conkling, O. C 65, 

Conyers, H. B 114, 

Cooke, H. W ic6. 233, 

Cooper, C. M 

Cooper. Hy. E 71, -72^ 162. 

Crowell, W. S 

Dassonville, W. E 

Davis, C. H 

Davis, W. S 51, 

Dixon, Jessie B 260 

Duhrkoop, R. 10, 26, 40, 48.64. "2, 81. 

i«;5. 200. 203, 22,Zs 278 

Eickemeyer, Jr., Rudolph 264 

Eiser, Dr. G 60. 78 

Eitel, Theo. E 20. 76, 324 



316 

88 
208 

31 
176 
271 
22 z 

3^1 
3^3 
^2 
313 
306 

315 

3-20 

220 
284 

n 
109 

53 



PAGE 

Ellis, W. S 206 

Fair, Hy 216 

Firmin. Geo. D 281,283 

Fleckcnstein, Louis 50, 70, 314 

Gatch, Helen 1* 303 

Green, J. E. B 17, 165. 289 

Gross, J. E 138, 139 

Hales, H. W 33 

Hall, Hy 311 

Hammond, M. 1 88 

Hargett, A. B 143, 164 

Hatt, J. A. II 217 

Hegarty, J. C 84 

Hendrickson, H 48 

Holden, E 86 

Hood, H. S 171. 173 

Hutchinson, T. M 304 

Ingalls, F. M 292, 295 

Jeffcott, R. T 130, 13b, 193 

Kaiser, L-M 21, 65 

Krantz, K. Theo 42 

Kupper, L. \' 89 

Lange. O. V 298.301 

Levy, Louis E 223, 227 

Lewis, N. F 81 

Lifshey. S. II 136 

Matthews, Kate 62 

Maurer, O .....120. 122, 123 

Morgan, Thos. A 12, q6, 321 

Mortimer-Lamb, 11 .287, 289 

Mortimer, F. J 312. 32 1 

Muntz. G. K 2T, 304 

T'arrish, W. & G 35, 114, 160 

Pcarce, Mrs. \V. W. iiq, 121, 142, 189 

265, 280 

Pike, Oliver G 19-2 

Porterfield, W. H 214. 240 



PAGE P.-.U^ 

Read, J. W 307, 310 Thomson, Jas 68, 291, 318 

Kctce, Jane 338 Toch, M 94 

Robison, liana 45 Walburn, A. W 59, 222 

Rose nbcrgcr. T. L 96, 296 Wallace, W. H 213 

Sargent, John S 267, 269 Ward, C. W 98, 101 

Semon, C nrle 32, 169 Watts, Rev. E. G 195 

Shipman, C. M 105 Weeks, Robt. E 69, 81, no, 279 

Smith, X. G 272, 277 Weston, A. W 205 

Stcbbins, A. 1? 302 Whitehead, J. M 44, 148 

Swan, Chas. A 63 Whitmak, C. C 282 

Taft, R. VV 166, i62 Whitney, C. M 40 



'O 



Tebbs, R. W 56, si Willard, Mrs. E. W 105, 257, 297 

Thompson, W. H 128 Zerbe, W. II 39, 145 

Thompstonc, M. W 177, 183 Zicrath, Dr. W. K 108, 169, 174 



Index to Advertisers. 

PAGE 

Ansco Co iii — x 

Air Brush Mfg. Co li 

Adams, J. F 1 v 

American Aristotype Division 4th cover 

Albemarle Paper M f g. Co Insert 

Autotype Co., The Insert 

Burke & James xxvi, xxvii 

Bausch & Lomb Optical Co xxviti 

Baker & Ta^'lor Co xlviii 

Berlin Anihn Works 1 

Cramer Dry Plate Co xlvi 

Camera Craft xlvii 

Crown Optical Co 1 

Ccnturv Camera Division 11 

Clark & Freed Iii 

Curtis & Cameron Ivi 

Chicago Photo Scenic Co Insert 

Carmichael. 1 1 rci val 3rd cover 

Eastman Kodak Co xxii — xxv 

Folmer & Schwing Division xlvi 

Flinsch Co., Ferdinand Iv 

Goerz American Optical Co., C. P xv, xvi 

Greenwood, Miles Iv 

Hammer Dry Plate Co xi 

Higgins & Co., Chas. M liv 

Japanese Water Color Co Iv 

Kalamazoo Shutter Co liii 

Levy, Max ^"^!?S 

Murphy, Inc., Geo 2nd cover, i, ii, xx.x, xx.xix — xliii 

Multispced Shutter Co xii, xiij 

Merck & Co xxxviii 

Meyrowitz, E. B xlv 

Milton Bradley Co xlv 

Millard, Geo. £ xlix 

Mellcn Photo Co Hi 

Mallinckrodt Chemical Works liv 

Michigan Shutter Co liv 

New York Camera Exchange xxxvii 

Norman Photo Paper Co ^^vjjj 

Nehring, Lens liii 

Pinkham & Smith Co xliv 

Powers, Weightman. Roscngarten Co xlix 

Rochester Optical Division .• ■ • • '^PSl 

Robey-French Co xxxii. xxxiii 

Rough & Caldwell Co xxxiv 

Ross Lenses 2nd cover 

Sobering, E xiy 

Sprague & Hathaway Co. , xxxvi 

Standard Paper M fg. Co Insert 

Taylor, Taylor & Hobson, Ltd xxxv 

Tennant and Ward Insert 

White Co., Otis C xlvii 

Wollensak Optical Co ; Iii 

Wolff & Dolan liii 



REFERENCE 


CALENDAR 


FOR 


THREE YEARS. 








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PHOTOGRAPHIC SCHOOLS OF INSTRUCTION. 

AMERICAN. 

American School of Art and Photography, Scranton, Pa. 
( Correspondence ) . 

Ann Harbor University, Michigan. Director, Prof. A. B. Stevens. 
Theory and Practice; Special Instructions in Photo-micrography; 
Lectures on Photo-mechanical Processes. It is obligatory for the 
students to have passed two courses in Chemistry. Examination and 
Diplomas. 

Columbia University, New York, N. Y. Practical Instruction is 
given to a limited number of men in the Photographic Laboratories of 
the College, in the Technique of Photography, Photo-micrography, and 
Skiagraphy for Scientific Purposes. The time necessary for the acquire- 
ment of this technique varies with the facility of the student and the 
hours devoted to the theme, and is subject to special arrangement. The 
facilities of these Laboratories may be drawn upon for purposes of 
record and illustration by Instructors in various Departments of the 
College and by others. Instructor, Ed. Leaming, M. D. 

Cornell University, Ith.aca, N. Y. Instructors, Assistant Pro- 
fessor Moler and Messrs. Hotchkiss and Sharp. One lecture a w'cck, 
with Laboratory practice, during the spring term. An advanced course 
in Problems in Photography is also offered. A certain knowledge of 
Chemistry and Physics is obligatory. Courses only open to students 
taking the usual amount of other work. 

EUROPEAN. 

Photograph ic.\L Laboratory of the Polytechnicum in Charlot- 
TENiJURG, Berlin. Prof. Schlichting, Director. Prof. Dr. H. W. Vogel. 
Instructor. Chemistry, Physics, Drawing, Practical Exercises and 
Photo-mechanical Printing Methods. 

Braunschweig Department of Polytechnical School. Prof. Dr. 
C. Koppe and Dr. Max Muller. Theory and Practice ; Photo-micro- 
graphy ; Photo-grammetry. 

Karlsri'he, Badex. Prof. Dr. Schubcrg. Theory and Practice in 
Studio and Field ; Lectures. 

Munich, Bavari.\. Dr. H. Th. Edmann. Photography applied to 
the Mechanical Arts. 

Munich. Bavarl\. School of Photographic Instruction and Ex- 
periment. Two Years' Course. Director, G. H. Emmerich, and seven 
assistants. 

Schloss Gronenbach, B.waria. W. Croneubcrg. Mechanical 
Printing Methods ; Wet and Dry Processes. 

Tmperial Polytechnicum, Vienna, .Austria. Prof. Dr. Joseph M 
Eder. Elements of Photography and Photo-chemistry ; Reproduction 
Methods. 

Imperial In.*^titute for Photographic Practice, Reproduction' 
Methops, and Mechanical Printing, Vienna. Au.stria. Prof. Dr. 
Joseph M. Eder, Director. Profs. Hans Lenhardt, Alex. Laiiier. I. 
Horwater, C. Jasper, Instructors. Two Courses of Instruction. Draw- 
ing; Chemistry; Optics; Theories of Photographic Processes; Re- 
touching Positives. 

8 



iBt Jimnmn Snntttil 
of PJotogrfipft^ » ♦ 1908 



THE SIZE OF THE CAMERA. 

By CHESTER B. DURVEA. 

CHILE satisfactory choice of size for general 
5 utility cameras might seem at first sight rather 
\ an arbitrary matter, dependent more on mere 
V personal fancy than upon important philosophical 
\ considerations, such in fact is not really the case. 
This statement is hardly startling news to the initiated, but a 
fairly broad observation warrants the conclusion that there is 
much confusion and vagueness of thought respecting this ques- 
tion among even tolerably experienced photographers, and of 
course the tyro, unless well advised, is at a great disadvantage. 
There is naturally room for considerable difference of en- 
li^tened opinion regarding the details of the subject. 

These incomplete and tentative notes are only intended to 
serve as an aid to the relatively inexperienced, but not wholly 
uninformed, in order to help them to avoid those unquestionably 
incorrect ideas and vacillating courses of procedure relating to 
the matter, which we have all more or less shared, and which 
lead to so much discouragement, unnecessary expense, and in- 
ferior results, through the use of unsuitable apparatus. 

At the very outset it is well to remember that, aside from 
the question of portability and initial outlay, it is not so much 
the size of cameras and plates which makes a rational selection 
necessary, if photography is to be pursued effectively, both as 
regards results and the facility of their attainment, as it is those 
limitations imposed by the widely varying optical qualities of 
lenses of different foci and relative apertures. In view of the 



obvious absurdity of customarily using portable cameras built 
for plates larger than the ones most suitable for the lenses 
generally employed, cameras and lenses will be considered 
here as related to each other in their most mutually efficient 
way. 

For the sake of simplicity even at the cost of some repetition, 
stand and hand cameras will be treated separately, although 
there is no sharp line of demarcation between the two varie- 
ties. In this classification, irrespective of size, stand cam- 
eras are understood to be all portable cameras generally used 
upon a stand, with exposures from about one-eighth second 
up; and hand cameras those customarily operated without 
artificial support, with exposures ranging down from about 
one-eighth second to very brief intervals of time. Further- 
more, as the factor of expense is a purely personal one, it will 
be referred to only incidentally, and not given the same force 
as the more uniform element of portability, and those fixed 
considerations based upon optical and chemical laws. 

Stand Cameras. — Convenient divisions would here 
seem to be: ist. — Cameras taking plates from 3}^" x 4^" 
to 6J4" X Syi". 2nd. — 8" X 10" cameras. 3rd. — Cameras 
larger than 8" x 10". The reasons for this classification 
will appear as we proceed. 

By now no doubt every one knows that relatively long focus 
lenses are necessary in order to get pleasing perspective, simple 
arrangement, etc. ; lenses with equivalent foci certainly not less 
than the diagonal of the plate employed, and far better for 
general use about double the base line of the picture. More- 
over, where bodies of water are situated in the foreground, 
where moving clouds, wreaths of mist, and various wind 
motions are present, very brief exposures (^ second or less) 
are frequently unavoidable. Besides, orthochromatic plates 
with appropriate color screens, increasing the normal exposure 
from three to eighteen or more times, are likewise no longer 
considered optional, but on the contrary quite essential to rea- 
sonably correct rendition of multi-colored subjects. 

Applying the principle of these considerations to the whole- 
plate size (6y2 xHyi) many find that the most useful lenses 
approach or even exceed 16 inches equivalent focus. Now 
substantially normal exposure is, of course, the most important 



10 



THE DIFFICULT LETTER 



factor in successful camera practice. Bearing in mind the 
frequent restrictions referred to respecting length of exposure, 
and the generally necessary use of color screens, experience 
teaches that f/12.5 is about the smallest stop that can be 
habitually used with whole plate lenses in comprehensive stand 
camera work when fully exposing plates. 

Here we reach the first justification of our divisions, which is 
that lenses exceeding about 14 or 15 inches equivalent foci have 
so little depth of field at the required f/12.5, ^^^^ many of our 
whole plate negatives making direct prints closely approximat- 
ing our predetermined effects, break down in enlarging into 
something very different in appearance, often decidedly dis- 
appointing. At any rate the preconceived result is lost. 

Hence, we have here reached a natural limit. A limit 
characterized by results of sufficient size to be very satisfactory 
for book illustrations, portfolios, etc., but too small for really 
effective appearance upon the wall in more than exceptional 
cases, and yet at the same time unfortunately frequently in- 
herently unsuitable for enlarging purposes. Simultaneously, 
the limit of ordinary fK:)rtability of camera and accessories, 
lenses, shutter, plate-holders and plates, focussing, glass and 
cloth, tripod, etc., has also been reached. 

Here then we must either reconcile these inharmonious con- 
ditions by providing two or more sets of apparatus of differ- 
ing dimensions, or make a really radical choice of one all-round 
size. This choice, from the nature of things, will be more or 
less a compromise, but not necessarily a disappointing one. If 
it be in the direction of smaller instruments, the optical ad- 
vantages will increase in much greater degree than plate dimen- 
sions are reduced, and the convenience and general ease of 
working the smaller sizes are most grateful. 

The optical advantages are of course due to the fact that on 
the same basis of relative aperture, as we arithmetically reduce 
the equivalent focal length, we gain in depth of focus and field 
in geometrical ratios. This is an enormous advantage from an 
enlarging point of view. Moreover, on the same basis of depth 
our relative apertures and speed are vastly increased, greatly 
widening the choice of subject and lighting. 

In general terms it may be said that the smaller the original 
negative, other things being proportionately equal, the more 



12 



suitable it is for a given enlargement, provided that in enlarging 
the stage of granularity due to the structure of the silver image 
is not reached. However, in actual practice 3j4 x 4J4 inches 
may safely be designated the minimum limit ; 4 x 5 inches has 
a decided advantage in that it yields more presentable direct 
prints, but if systematic enlarging is adopted, larger than this, 
it is, perhaps, best not to go. The comparatively unimportant 
increase in size of half plate and 5x7 inches prints over 4x5 
inches does not satisfy, and the optical loss for enlarging pur- 
poses, and increase of weight, bulk, and expense are decidedly 
great. 

I would, therefore, venture to suggest, if but one general 
utility camera can be had, that great stress be laid first upon the 
question of portability, because the annoyance of excessive 
weight and unwieldiness during manipulation are constant 
and will in time wear out all but the keenest enthusiasm. 

As a corollary, whether or not one is willing to enlarge much 
or little appears to come in order of force. If you are prepared 
for much enlarging, it seems conservative to recommend 4x5 
inches as the best choice. 

On the other hand if you can be generally contented with the 
really excellent dimensions of direct prints from whole-plate 
negatives; only wish to occasionally enlarge some especially 
successful result for home or exhibition walls, or confine your- 
self for enlarging purposes to appropriate subjects ; and, in ad- 
dition, can be serene under moderately wearisome physical 
burdens, then in that case you will probably congratulate your- 
self upon the choice of their classic size. 

If, however, you desire to be in position to see most of your 
direct work upon the walls; can remain tranquil with a 
moderate yet effective size for that purpose, even when your 
modest prints are hung in the company of veritable monsters ; 
can further reconcile yourself to ever present punishing 
weight and bulk, then the 8 x 10 inch size, notwithstanding 
its inherent restrictions regarding subjects and lighting, will 
very likely prove the most permanently satisfactory of any that 
can be worked for general purposes. Of course, the nega- 
tives, as a rule, will not be so fit for amplification as those from 
whole plate cameras. 

Above 8 X ID inches the increase in weight and bulk are ex- 



cessive. But most serious of all, the depth of field, etc., of the 
associated lenses become so slight that the use of smaller stops 
is imperative, greatly increasing time of exposure, and very 
seriously limiting choice of subject, lighting, and other con- 
ditions. Inasmuch, therefore, as it may safely be said that 
sizes larger than 8 x lo inches are unsuitable for general use, 
they will be dismissed from further consideration here. 

Referring again, in passing, to whole-plate cameras, atten- 
tion should be called to the fact that broadly speaking tele- 
photo negatives do not enlarge well, but that they can be con- 
veniently taken direct up to and including whole-plate size. 

Hand Cameras. — With stand cameras we had to deal 
with size in relation to portability, only on a basis of plate 
dimensions, and not with respect lo form or type of camera, i. e., 
whether box or folding. The double consideration here pre- 
sents itself and involves not only the portability of instruments, 
but their essential suitability for various purposes as well. The 
optical restrictions, however, are of the same nature for all, 
except those of the reflex type. Our main classification then is : 

First, box scale- focusing hand cameras ; Second, folding hand 
cameras; Third, reflex hand cameras, exclusively of the box 
type. 

Simplicity and clearness suggest that we consider size first 
from an optical point of view, as limitations of this kind apply 
equally to all hand cameras of our first two divisions. This hav- 
ing been done we will examine the question in relation to bulk 
and weight of apparatus according to its type, i. e., box or fold- 
ing. Proceeding in this fashion we are at once confronted with 
seriously conflicting conditions. 

First. — Exposures must not exceed about one-eighth second, 
because aside from any movement of or in the subject itself, 
one-eighth second is nearly if not quite the maximum exposure 
period that can be relied upon to yield sharp negatives with 
cameras operated while held in the hands. The average of 
judicious hand cameras exposures, exclusive of high speed 
work, may be placed at from about one-sixteenth second to 
1/32 second. 

Second. — To get fully timed negatives on average hand cam- 
era subjects with such brief exposures, relative apertures of 
f/8 or greater must be generally used. This involves less 

15 



specific depth of field than available in stand camera work, 
where smaller diaphragms may be employed. 

Third. — Great actual depth is necessary, as focussing can 
be only approximately estimated, instead of adjusted with the 
precision possible in the use of stand cameras. 

Fourth. — The effects due to the use of light color screens and 
orthochromatic plates are nearly as often indicated as with 
stand camera subjects, further intensifying the wisdom of tak- 
ing full advantage of the exposure power of large aperture 
lenses, compensating for their characteristic slight depth of 
field by shortening focus with corresponding reduction in plate 
size, and relying upon enlargements for the final dimensions 
of our prints. 

These controlling factors then, limit us to the use of lenses 
of much shorter foci than permissible for stand cameras, be- 
cause of the necessity of compensating for less inherent depth 
due to increased relative lens apertures, and also to provide for 
errors in the visual estimation of distances. 

Recalling now the limitations imposed upon the relation of 
focal length to size of plate by the laws of pleasing perspective, 
etc., we are forced to the conclusion that for hand cameras 
of the first and second type, 4x5 inches is about the maximum 
limit for general scale focussing work. Half-plate and 5x7 
inches are entirely too large. 

On the other hand, below quarter plate, direct prints are 
too insignificant. We then, irrespective of box or folding form, 
should choose 3^ x 4% plate or 4 x 5 inches, or their near 
equivalents. Between these two sizes, other things being 
relatively equal, quarter plate gives more depth for enlarg- 
ing and for greater margin of error in estimating distances, but 
direct results, unless for memorandum purposes, are a trifle 
too minute. 4x5 inches yields more satisfactory contact prints 
with increased latitude for trimming, permits the peculiar print- 
ing quality of such papers as platinum to be better availed of, 
and still retains all the optical qualities needed for general en- 
larging. Where portability is of paramount importance as in 
touring, etc., quarter plate should be selected, otherwise per- 
haps 4x5 inches. Unobtrusiveness and suitability for street 
work, etc., are more dependent upon type and design of camera 
than mere size. 

16 



A JAPANESE EFFECT. J. Edward B. Gieene. 



CATHEDRAL SPIRES. COLO. 



Box or Folding Form. — If much work in public places, 
taking of natural groups, etc., is projected, a small and reliable 
form of box camera such as a Newman & Guardia quarter 
plate instrument is to be preferred. The excess of weight and 
bulk over say a folding film camera is, in the opinion of many 
more than counterbalanced by its greater efficiency in use. 
Aside from the capital shutter fitted by its makers to this par- 
ticular instrument, the ever ready condition of small box cam- 
eras in general, and the inconspicuous character of their ap- 
pearance and that of their expeditious manipulation, as com- 
pared with extended folding cameras, are exceedingly im- 
portant advantages in this class of work. 

If, however, portability must dominate and street work is 
not particularly desired, a folding camera should unhesitating- 
ly be chosen. A well adjusted 3 A. F. P. K. should be found 
very satisfactory, especially if the regular shutter be replaced 
by one having higher light passing efficiency. Bruns and 
Deckle, of Munich, Germany make an excellent one. 

Home Work. — Work about home is really subject to 
general considerations governing touring, only that the ele- 
ment of portability is not quite so important. One is apt to find 
that because of the ease of the thing the folding camera is often 
carried, but on account of the bother and conspicuousness of its 
use, it is frequently brought back innocent of results. The box 
form when taken is almost invariably put to some good pur- 
pose. At any rate for home use, where doubt is felt regarding 
which size to select, 4x5 inch is a safe choice, whether box or 
folding, for plates or films. A plan frequently employed with 
great satisfaction is to use quarter plate lenses on 4 x 5 inch 
plates, rendering painful finder inspection unnecessary, and 
greatly facilitating rapid work. Results are of course freely 
trimmed. 

Reflex Cameras. — We have now an exclusively box 
form of camera to consider. The reflex type of camera differs 
from the ordinary kind of box mainly in the following well 
known particulars. 

The image being visible and focusable upon a secondary 
ground glass screen, the same restrictions do not obtain re- 
garding depth of field (aside from the enlargement factor), and 
lenses of longer foci or larger apertures, either or both, may be 

18 



used. This permits larger plates without sacrifice to good per- 
spective, etc. And further, the great Hght passing power of the 
focal plane shutters almost invariably fitted (except with twin- 
lens cameras) enables smaller stops to be used again permit- 
ting augmentation of plate size, with proportionate increase of 
focal length. 

Bearing in mind the question of enlargement suitability and 
giving full force to the excess of bulk and weight of reflex 
cameras over scale focussing instruments of the ordinary box 
form taking the same size plates, 5x7 inches, should be con- 
sidered the extreme limit for a camera of the reflex type for 
ordinary work. Such an apparatus is decidedly ponderous, 
and unless contented with 5x7 inch prints, the far greater 
portability of the 4x5 inch size, the much superior enlarging 
qualities of the negatives it yields, and the greater practicable 
reserve speed of its lenses, should insure its selection. The 
quarter plate size of this camera is of course optional, but the 
preponderence of preference is in favor of 4 x 5 inches. This 
type is not particularly desirable for touring. The high co- 
efliciency of their focal plane shutters in connection with the 
exceedingly rapid lenses available make these cameras as in- 
dispensable for obtaining fully exposed negatives of feebly 
lighted subjects, or where color screens, or medium speed plates 
are used, as they are for high speed work. 

Where systematic enlarging is intended, care must of course 
be given to producing a certain well known technical type of 
negative. If bromide paper is not to be relied upon, but en- 
larged negatives made from the small originals, particularly if 
daylight illumination is to be employed for the purpose, this 
special quality of the originals need not diverge much from the 
normal, nor unfit them for any modern contact printing process 
whatever, unless perhaps the carbon be excepted. 

It will be noted that in connection with camera size, etc., no 
direct reference has been made to the relative merits of direct 
or indirect prints, or to the power large aperture lenses convey 
for rendition of atmospheric eflFect, differentiation of planes, 
softness of definition, and the like. To a certain extent, how- 
ever, considerations relating to these matters have been in- 
corporated in the ideas expressed respecting large apertures, 
depth of field, enlarging suitability, etc. An analysis of the ques- 

IQ 



tion here would lead either to undue extension of an already 
somewhat lengthy dissertation, or else involvement in con- 
fusion; even if, indeed, it would not be useless to attempt to ap- 
ply rules to matters so much dependent upon varying personal 
taste. 

While not strictly germane to the present subject, I can not 
forbear emphasizing the great necessity in hand camera work 
of reliable shutters of the highest co-efficiency, particularly 
when films are used, usually considerably slower than fastest 
plates. 

Finally, it is certain that whether the chosen size is large or 
small, or prove to be the best all round choice or not, it will 
be particularly well adapted to some special purpose, and the 
success of results in any case will depend mainly upon yourself. 

It is not expected that all will agree with the expressions of 
this fragmentary paper. When dealing with subjects of this 
character it is, at times, very difhcult to determine where actual 
knowledge ceases and mere opinion begins. But, if these im- 
perfect notes serve no other purpose than to assist some few 
others in arranging and clarifying their own ideas, even if only 
by disagreeing with mine, my effort will have been worth while. 



A LEAFY GLADE. 



A WOODLAND PATH. 



THE POSSIBILITIES OF KALLITYPE. 

By ELEANOR W. WILLARD. 

SOR several years I have been interested in the 
iJ Kallitype process, having first made experiments 
^ with Mr. Hall's formula as published in The 
n Photo-Miniature, No. 47. Very perfect and 
\ beautiful prints may be made by his method, but 
for simplicity the formula; recently published by Mr. James 
Thomson in October, '06, Photo Era, and those which I under- 
stand will be soon made public through The Photo-Miniature, 
are superior. With care about cleanliness of manipulation, 
and purity of chemicals, prints should be obtained which are 
strong rivals of platinum. 

Many people have the idea that the home preparation of 
printing papers is a mussy perfonnance, and that a great deal 
of labor and paraphernalia are involved. This is not at all 
true. Two wide-mouthed bottles into which the proper chemi- 



cals have been literally "dumped," are the chief stock in trade. 
One holds the sensitizer, the other the developer. Add to 
this equipment a piece of white velvet about three inches square 
folded over an old celluloid film, and the two edges brought 
together and held by a couple of small sticks, bound round by 
rubber bands, and you have an admirable coating brush. The 
velvet may be washed out and used many times before being 
renewed. 

All aside from the economy of the process, which compared 
with platinum is great, there is a fascinating opportunity in it 
for experimenting with different kinds of paper. 

The papers most suitable perhaps for general use are the 
ledger papers. Brown's, Weston's, or that known as general 
ledger, which may be obtained of any wholesale paper house. 
A paper which gives a result almost identical to smooth 
platinum is that called "wedding stock bristol," smooth finish. 
Any "sized" paper may be used, such as ordinary letter papers, 
while certain unique effects may be obtained by using un- 
sized papers of various tints, and applying the size one's self. 
Next to the ledger papers, the Whatman drawing papers are the 
most serviceable, both in the smooth and the rough, but they 
require a coat or two of arrowroot size. Delightfully broad 
effects are possible with them. 

But the papers that are most bewitching to work with are the 
Japanese tissues. They of course require extra care in the 
handling, and demand about three coats of sizing, but the re- 
sults are quite worth the trouble. I believe that as fine prints 
may be obtained on Japanese tissues with Kallitype as are 
possible on the very expensive tissues commercially coated with 
platinum. That with which I have had the best success, is 
called "water-color tissue," and is to be obtained through 
Devoe & Raynolds. A gelatine sizing is best for these, the 
arrowroot being too "soft." Coating is best done on a sheet 
of glass. One may dry between coatings by a fire or lamp and 
soon have a number of sheets ready for sensitizing. When 
ready for developing it is advisable to pin the tissue to a piece 
of heavier white paper, for the sake of convenience in hand- 
ling, as well as to be able to judge the depth of the print by 
having the white surface underneath. Otherwise the tissue 
is likely to give one trouble by turning on itself in the developer, 



22 



and one is apt to misjudge the printing, and get it too dark. 

Care should be taken in pinning up the tissue to dry to leave 

plenty of slack, as it expands when wet and shrinks again in 

drying and if it draws between the pins it will inevitably cause 

a cockle along the edge which will prevent flat mounting later. 

The coating formula used for the tissue and for general 

work is that which Mr. Thomson designates as Formula A, 

and is as follows : 

Distilled water i ounce 

Citrate of iron and ammonia 32 grains 

Ferric oxalate 16 " 

Oxalate of potash 33 " 

Oxalic acid 10 " 

Chloride of copper 4 " 

Citric acid 4 " 

Silver nitrate 10 " 

Gum arabic 10 " 

Bichromate of potash, 5% solution 10 drops 

Put in the chemicals in the order named without waiting 
for each to dissolve. Let the mixture stand quiet for 48 hours, 
then shake thoroughly, filter through cotton, and always shake 
before using. 

The developer (stock solution) is: 

Distilled water i ounce 

Citric acid 10 grains 

Silver nitrate 40 " 

Phosphate of soda 1^2 " 

To seven drams of water take one dram stock solution, and 
add about one grain of oxalic acid, or just enough to give good 
blacks. Too much will give faded prints. Clear, after rinsing 
in hypo ij/i grains to the ounce. For tissues yi grain to the 
ounce is better. 

Other formulae, and detailed directions may be found in the 
valuable articles Mr. Thomson has contributed to the maga- 
zines from time to time. 

All operations of coating and developing may be carried on 
in daylight, and when printing use about the same precautions 
as for platinum. The sensibility of the paper varies with dif- 
ferent coatings and formulae, but as a rule I have found it to 
be a little slower than platinum. 

For work with tissues, a fairly strong negative of good con- 
trasts is best adapted, although by varying the formulae slightly, 
coatings may be adapted to negatives of varying densities and 

23 



contrasts. It is well to remember that more contrast may al- 
ways be secured by adding more bichromate of potash to the 
sensitizer. 

The gelatine size for these tissues may be that with chrome 
alum, usually recommended for carbon supports, or, what is 
probably better, the following: Water, 15 ounces; gelatine, 
75 grains ; alum, 45 grains ; methylated spirit, 3^ ounces. 

There will of course be troubles. There will occasionally 
be unaccountable spots and markings, but when such occur, 
and careful filtering, shaking of solutions, and smooth coating 
does not remedy matters, it is best to throw the mixture away 
and begin over again. The cheapness of the ingredients 
renders one able to do so with a fairly clear conscience. Often 
a fresh lot of diluted developer will be the remedy. 

In laying in the stock of chemicals, special care should be 
taken to secure the ferric oxalate in right condition. None 
of the other chemicals display any crankiness, but the ferric 
oxalate calls for close watching. If right when bought, it 
will remain in good condition with ordinary care for months, 
or even years, but if wrong, it will get more degenerate with 
every day. It should come in glistening brownish-green scales, 
which show no tendency to mat together, or to cling to the sides 
of the bottle. Mallinkrodt puts up the right article, if one 
can only obtain it fresh — a feat not always easily achieved out- 
side of the large cities. 

Having once obtained the supply of chemicals, at a total cost 
of about a dollar and a half, one has the materials for a great 
many messes of sensitizer and developer, and endless fascinat- 
ing possibilities for home experiment. 



24 



SUMMER DAYS. 



FIGURE PORTRAIT. r. uOhrkooi-. 



SATURDAY AFTERNOON. 



INTENSIFICATION: THE BEST METHOD 

By REV. JOHN GMEINER. 

!INCE dry-plates are in use intensifiers, like de- 
velopers, liave appeared in bewildering' numbers. 
Which is the best for all-around purposes? 
> The writer has tried about all intensifiers or 
% intensifying methods that have become prominent 
since the appearance of dry plates and seemed worth trying and, 
after many experiments, decided years ago on using a certain 
method of intensification which, at least for his own purposes, 
he considers the best for negatives, lantern slides and bromide 
papers. 

Some intensifiers give more intensification than one oc- 
casionally knows what to do with; others exagerate the con- 
trasts to an unpleasant degree. Some require a most careful 
manipulation, and a little oversight results in failure and spoil- 
ing of the negative, slide or bromide paper. Some give but 



little intensification, and a repetition of the process improves 
matters little or not at all. Some methods of intensification 
can be used but once, and if the result is unsatisfactory, there 
is nothing else to be done but to be content. After the use of 
some intensifiers, reduction, if desirable, is out of question. Some 
intensifiers are inclined to stain the film or spoil it later. Some 
intensifications are not stable but change in the course of time, 
usually for the worse. Some intensifiers may do for negatives 
but not for lantern slides or bromide papers. Some methods 
of intensification require more time and patience than average 
human beings have at their disposal, and some are so filthy and 
nauseous that they should be used only in back yajds where 
filth and stench would be less objectionable than in a room. 

An all-around good method of intensification ought to have 
the following qualifications : It ought to be cleanly enough for 
average civilized people and easy enough so as not to rile one's 
good humor. It ought not to include too dangerous poisons. It 
ought to give a fair, proportional and certain amount of 
permanent intensification. It ought to leave the film clean and 
clear. It ought to be possible to repeat the process as often as 
necessary, and to reduce the intensity, if desirable. An all- 
around good method of intensification should be applicable 
not only to negatives but also to lantern slides and bromide 
papers. 

After various experiments the writer has found about every- 
one of the generally recommended intensifiers wanting in 
some one or other of the qualifications just mentioned. The 
one method of intensification which comes nearest up to the 
ideal of the writer is that advocated by Chapman Jones, were 
it not for the practical difficulties attending it. Mr. Jones 
says in his "Introduction to the Science and Practice of Photo- 
graphy," page 20I, London, 1895: "The only method of in- 
tensification that is theoretically and practically simple, that 
gives an image of known and stable composition with a sub- 
stantial but not too great an increase of density, that may be 
repeated any number of times upon the same negative so that 
any density may be obtained in the end and that can 
be depended upon in every desirable way, consists in the 
application of ferrous oxalate to the image bleached by mercuric 
chloride." 

28 



Mr. Jones has thoroughly investigated the subject of intensi- 
fication and may be considered an authority on the reliability of 
the mercurial method of intensification, but his particular pro- 
cess presents some practical difficulties, which, no doubt, also 
others, besides the writer, have found. The **Year Book of 
Photography," 1898, page 185, observes: "Ferrous oxalate, 
though possibly the theoretically correct blackening agent, is of 
little or no value practically." To use ferrous oxalate for the 
purpose indicated, it would be necessary to have a quantity of 
distilled water on hand, which many have not got, and to use 
extra trays and an extra room or place, so as not to get any 
of the iron solution where it is not wanted. 

In searching for the best method of intensification it would 
seem to be advisable to adhere to mercurial intensification and 
to look for another blackening agent that possesses the good 
qualities of ferrous oxalate without its practical inconveniences. 
Quite naturally the use of ordinary alkaline developers suggest 
itself to take the place of ferrous oxalate. "Such procedure," 
says Mr. Jones, "certainly leaves a pure metallic image, but 
in no case with a great number of different formulae tested by 
the author was the whole of the metals left behind. Generally 
from twenty to forty per cent, of the mercury was dissolved 
out by the developer." 

Even if so, a good and permanent mercurial intensification 
of from sixty to eighty per cent, was gained. 

Now the question is, may not an alkaline developer be so 
compounded as to reduce the loss of mercury to practically 
unnoticeable proportions? What ingredients of the developer 
dissolve out mercury? It seems to be the sulphite and the 
sodium carbonate, and it seems to the writer that these two 
ingredients may be sufficiently reduced so that they cannot 
dissolve out much mercury during the comparatively short time 
the blackening is going on. Acting on this view the writer 
years ago adopted substantially the following method of in- 
tensification and has found nothing better since. 

First bleach the film in the following solution : 

Mercury bichloride 2 drams 

Potassium bromide 2 " 

Water to make 16 ounces 

Hydrochloric acid 16 drops 

This solution is easily prepared, or any good druggist will 

29 



prepare it. It keeps indefinitely, especially if kept in a dark 
place or if some dark paper is wrapped around the bottle. Put 
as much of the solution as is required into another bottle and 
use it as long as it works sufficiently well. When it begins to 
work too slowly, pour off about one-half of the used solution 
and add as much again from the unused solution. 

After the plate is bleached give it one washing, then put it 
into a strong solution of common salt for about three minutes. 
This seems to have a clearing effect. After this give it yet 
about three washings at short intervals. 

Next pour on the following developer : 

Hydrochinon i grain 

Sodium sulphite 4 " 

Potassium bromide i " 

Acetone 5 minims 

(Or, instead of acetone, sodium carbonate, 

crystals 2 grains 

Water to make i ounce. 

If it should seem necessary, add later the same amount of 
hydrochinon with sulphite and acetone, or sodium carbonate, 
as indicated above, but no potass bromide. This developer is 
easily prepared and keeps well in the following separate solu- 
tions : 

Hydrochinon, i grain ; sulphite, 4 grains ; water to I dram or 
60 minims. 

Sodium carbonate and potassium bromide each in i :io solu- 
tion. 

Like the bleaching solution the developer may always be 
kept on hand ready for immediate use. After redeveloping the 
plate or bromide paper give yet three washings at short in- 
tervals, then dry it. 

The result will be a good, clean and permanent intensifica- 
tion, and if not sufficient, the process may be repeated in- 
definitely with continual increase of intensification. After re- 
peated intensifications the tone changes somewhat towards 
grayish. With the amount of potassium bromide indicated 
in the developer no "pinholes" will appear. 

The bleaching and developing should be done in a rather 
weak light to prevent mercury stains, which, if they should ap- 
pear, are usually of little consequence. 

The developer ought to be at about 70 to 75 degs. Fahr. to 
work well. Rocking the tray during bleaching and developing 

30 



should be done, especially at the beginning of the bleaching 
and darkening, to get even results. If the water used for 
washing the bleached plate is strongly alkaline it ought to be 
neutralized or slightly acidified with hydrochloric or citric acid 
before using. 

This method of intensification may not be the best possible, 
but it is the best all around the writer knows of. 



A GOOD BREEZE. 



FOCAL PLANE CAMERAS. 

B; K. W. HALES. 

JJOTWITHSTANDING the many advantages of 
J the focal plane camera and its great superiority 
S for most of the ordinary work of the photo- 
\ grapher, there are still many who think that it 
II is only applicable to certain classes of work and 
some who think it is only useful for instantaneous work. It 
is to correct or modify these views that these lines have been 
written, and those who have had experience with focal plane 
work will certainly endorse most of the opinions of the writer. 
One great advantage of focal plane cameras is— or should 
he — their non-liability to get out of order. Any person using 
a good curtain shutter of almost any type cannot help noticing 
its reliability as compared to almost any other type of shutter. 
I am aware that there are some focal plane shutters and cam- 
eras on the market with such an array of cogs, tapes and gears 
that go to make the adjustable slit, that they are an annoyance 
to their owners and a constant source of trouble. There is 
no need of such complications in most cases, however, and 
if the camera and shutter is well made it is astonishing to those 
who have never had any experience, what may be done without 
any adjustable slit whatever. 

There is no doubt in my mintl that the coming t\-\K of camera 
for the serious worker who wishes to obtain the best possible 
results, or the busy professional who cannot afford to waste any 
time or money, is a camera combining the ordinary type of 
folding camera with the focal plane shutter. Such a camera 
will do all that the ordinary camera can do, is not too bulky to 
be carried around and when any object presents itself that calls 
for high speed the operator is efjual to the emergency at 
once. Exposures as slow as one-tenth of a second can be 
made with great ease and this is as long an exposure as can 
be usually made steadily by holding in the hands. From 
this any speed can be obtained that is desired and when the 
highest speed of one-fifteen hundredth is used such objects 



THE BRIGAND. Carle Semon. 



as flying birds, race horses in motion, etc., are easily obtained. 

Even for tripod work much of the valuable time of the 
operator can be saved by opening up his camera, looking at 
the view and then if he decides to take it (using his tripod) do 
so. This advantage alone is very great and no one who once 
gets used to this will ever be satisfied with any other way. 

Much has been said and written about focal plane photo- 
graphy in Europe where a special study has been made of this 
class of work for years, but in this country it may be said to 
be only in its infancy, and while there are a larger number now 
taking it up there is no doubt that much more may be done to 
advantage, and there is a large field for the intelligent and 
careful worker, especially if he is thoughtful and painstaking. 

One caution is necessary in order to work the focal plane 
camera to advantage and that is not to use too high a shutter 
speed to start with. Learn to know somewhere near what 
speed your object requires and endeavor to give it all the time 
consistent with the subject. Almost all new workers in this 
line use too high a speed at first as it seems so fascinating to the 
average worker to be able to use the high speed, that he uses it 
whether it is necessary or not. Bear in mind that although the 
light intensity of the focal plane shutter is far superior to any 
other, still there is a limit even to this, and it is not desirable to 
have an under exposed negative if it can be avoided. It is 
better to show even a little motion in the picture rather than 
to have a negative that is worthless on account of insufficient 
exposure. 

From these few lines the reader will see that much may 
be done in this field of photography and the general interest 
cannot help but increase with the worker's knowledge and 
experience. The pictures accompanying this article have been 
selected from a large number not as extreme examples of focal 
plane work but rather to show the general or all around 
adaptability of cameras of this type and to show that they can 
not only do all that any other type of cameras can do but that 
work can frequently be obtained with them that could not be 
had in any other way. 



34 



MADAM BUTTERFLY. 



DEVELOPING IN THE TROPICS WITH- 
OUT ICE. 

By R. W. HARRISON. 

5 HE summer of 1906 found me on the coast of the 
Gulf of Mexico, and notwithstanding the re- 
T moteness of the situation I was frequently called 
K on to make portraits and develop films for 
{^ summer visitors. 
My first call found me without sulphuric acid or chrome 
alum, therefore an acid fixing bath was out of the question. 
Ice was twenty-five miles away and had to be handled by five 
different carriers to reach one's wharf, therefore its price was 
prohibitory, average temperature after sundown 85 to 90 de- 
grees. Water freshly pumped was 70 degrees. Running water, 
as from a tap, was not obtainable, and soon after pumping 
got to air temperature. These were the conditions; not much 



worse as to temperature than frequently obtained in northern 
districts. I could not take advantage of morning coolness as 
my dark room was not dark. 

My method at first was to take advantage of every scrap 
of coolness to be had, although later experience showed that 
extreme precautions were not necessary. For instance at first 
I put the hypo crystals into the dish, and only when I was 
about to begin development did I pour freshly pumped water 
in, thus I had a cool solution caused by the dissolving of the 
crystals. It is a fact not generally known that recently dis- 
solved hypo has a somewhat astringent effect on the film, 
while the same solution used next day has a positively soften- 
ing eflFect on the film. 

The problem of holding the film intact is about the same as 
developing it: there are two opposing principles in the de- 
veloper; one is an astringent or hardener, viz., pyro, the 
other is a softener, viz., the carbonate of soda. As the 
amount of the astringent is comparatively small, usually 
two to three grains per ounce of solution, and as the softening 
agent is much greater, four to eight grains per ounce, it 
stands to reason that to keep the film on the plate the softener 
must be held down in some way. In places where it is possible 
this is done by regulating the temperature with ice. But 
there are many places where ice is not obtainable and the solu- 
tion of the problem is to be .looked for in an accelerator which 
does not soften the film. These requirements are found in 
formaldehyde, a very powerful astringent, antiseptic and 
deodorant, sold in 40 per cent, solution by all druggists. This 
solution can be substituted entirely for any other accelerator, 
but I prefer the results obtained by using a little over one-half 
the carbonate of soda called for by the formula and two drops 
of formaldehyde to each ounce of developer. In some cases 
a small amount of bromide may be necessary, say one drop of 
a ten per cent, solution to each ounce of developer. The 
formula for developer which I adopted is as follows : 

Water 4 ounces 

Sulphite of soda, i mustard spoonful, about 20 grains 

Carbonate of soda, i mustard spoonful, about.. . 15 " 

Formaldehyde, 40% solution 6 to 8 drops 

Dry pyro, i mustard spoonful 10 grains 

It may seem strange to measure by mustard spoonfuls, but 

36 



it is sufficiently exact for practical purposes and infinitely 
quicker than weighing unless large quantities are used. The 
common little boxwood mustard spoon with a spherical bowl 
is the sort I have used. I am aware that large varieties of 
weights can be packed into the bowl of the spoon, but I know 
by experience that a very small amount of practice enables one 
to pack the right amount instantly. 

I have used the mustard spoon for measuring pyro many 
years and found great advantage in using an exact quantity of 
pyro which has not deteriorated in solution. The easy solution 
of the dried carbonate and sulphite of soda now on the 
market influenced me to try the use of all the chemicals in an 
absolutely fresh solution with resulting negatives which were 
to my mind very much superior to those made by the stock 
solution method. 

The formaldehyde acts both as a hardener and accelerator; 
this is hard to believe, but a fact. The carbonate of soda may 
be omitted and about twice as much formaldehyde and an 
equal quantity of lo per cent, bromide used, with good results, 
but I prefer half carbonate and half formaldehyde, which gave 
sufficient hardness to the film to stand fixing in plain fresh hypo 
solution and washing in water at 80 deg. Fahr. These were 
ordinary Cramer and Seed plates and Eastman films. Two 
or three times a plate was overlooked and remained in water 
overnight and in the morning was found all right. 

I observe that most of the plate demonstrators now instead 
of carrying around their carefully packed bottles of carefully 
prepared solutions, are now "toting" packages of ready 
measured dry developer. 



37 



AMIDOL. 

B; HENRY ERLE COOPER. 

-J' F the many modern developers given to the 
J] photographic world by the research of the Ger- 
« man chemists, amidol is probably one of the 
jj most successful, and also the least used. As a 
— -it developer for bromide paper and gaslight papers 
of the Velox type it undoubtedly occupies first place for pro- 
ducing pure grey tones, tending to the blue-grey which is 
probably the aim of ail photographers who value purity of 
color, and wish to avoid any suspicion of brown or green tints 
in their results. 

One argument in its favor is its extreme simplicity, being 
only a single solution developer, and containing only three 
or four constituents its preparation is a very simple operation, 
and where a large number of prints of large size arc turned 
out and consequently a quantity of developer used, this is 
worthy of consideration. Undoubtedly the reason why amidol 
is not more extensively used as a developer for paper prints 
is its rapid deterioration when mixed with the sulphite, and its 
loss of power after a few prints have been developed, the de- 
veloper turning discolored and making purity of prints an 
impossibility. 

The following method will, however, obviate this difficulty 
and render the keeping quality of the developer all that could 
be desired. First make up a stock solution of sulphite of 
soda as follows: 

Sulphite of soda lo ounces 

Metabisulpliite of potassium 2 " 

Water 80 " 

The use of the metabisulphite of potassium is to neutralize 
the sulphite solution and improve its keeping quality for 
where, as the simple sulphite solution will steadily weaken, the 
admixture of the metabisulphite will cause it to keep indefinite- 
ly. Another point equally important is that when the de- 
veloper is in use a much larger number of prints can be de- 
veloped, thus effecting a considerable saving in developer, be- 
sides giving purer results. 



WHERE ARE THE SONGS OF SUMMER? 



For the development of bromide paper the following 
formula will be found to give excellent results: Stock solu- 
tion of sulphite of soda, 20 ounces ; amidol, 80 grains ; bromide 
of potassium, 30 drops of a ten per cent, solution. Should 
there be any trace of greenness or brown in the shadows and 
dark tones, reduce the quantity of bromide of potassium, 
while if any appearance of greyhess and lack of brilliancy is 
noticed the bromide should be increased. 

One other point in regard to this developer that is im- 
portant is that the amidol should be in good condition when 
mixed, the powder being a silver grey color, if dark grey 
through exposure to the air or age deterioration has set in and 
pure prints cannot be expected to result. All bottles contain- 
ing amidol, whether in powder or solution, should have the 
corks dipped in melted paraffine wax to insure their being 
air tight. 

To all who have not tried amidol as a developer for prints 
the writer has no hesitation in most strongly recommending it 
as the developer par excellence for bromide paper, giving a 
blue grey color to the prints which is unattainable with any 
other developer together with a cleanness in making which is 
strongly in its favor. 



THE PARM ON THE MARSH. 



HOME PORTRAIT. 



A STUDY IN GREY. 



TEST PAPERS IN PHOTOGRAPHY. 

Bj DAVID GRAY ARCHIBALD. 

^HE use of litmus for indicating the acidity or 
'} alkalinity of fluids is known to every photo- 
f grapher. But the exact meaning of the chemi- 
\ cal action that takes place when test papers or 
6 solution turn red or blue in a bath is not very 
clear. Most of us know that if the test paper turns red the 
solution is acid and if it turns blue it is alkaline. The pre- 
paration of litmus for testing purposes, whether on paper or in 
tincture does not concern us as practical photographers. Those 
so inclined can find full particulars of the methods of prepar- 
ing it in any standard work on chemistry. The usual way of 
getting it is in ftrips or books. It is the better for being kept 
in bottles, closely stoppered and out of the light. Light action 
fades it and its color should be uniform and neither too light 
nor too dark. Litmus paper comes in red and blue, and most 
photographic dealers sell it in ten cent packets. 

Naturally the color of litmus is red and it only becomes blue 
from the action of a free alkali. 



In making up toning baths, etc., its use is a guide to the 
condition of our bath. The gold chloride used in toning conies 
in an acid condition and we add a solution of an alkali to a 
mixture of it to bring our bath to a state slightly alkaline, and 
here is where the rub conies in. This litmus paper is not nearly 
so sensitive a test as is commonly supposed, although if given 
time it will react if a bath be slightly alkaline or acid. If it 
turns rapidly red or blue, we have no knowledge of certainty 
kow acid or alkaline the solution is. By making up our solu- 
tions long before we want them it is given time to react. If a 
solution is too acid or too alkaline we can add an alkali or 
an acid and bring it around again. One already affected strip 
in the bath will show the change that takes place. 

There is another test paper than litmus although not as much 
used. This is turmeric paper. It is obtainable commercially 
and its change of color in the presence of an alkali from a yel- 
low to brown is highly characteristic and perceptible. 

Much testing will not be necessary if we proceed in a 
systematic way, not hap-hazard manner, in making up our 
baths. Add definite quantities of chemicals in making up 
baths. Then a test to be sure we are right and we are ready to 
proceed. 



THE FIRST STEP. 



THE REMINGTON PORTFOLIO. 



TANK DEVELOPMENT. 

By C. H. CLAUDY. 

> if ^^ °'*' order cliangeth and niaketli way for the 

tj new." When the dry plate came, the exponents 
y of the old order howled. Yet to-day the wet 
ft plate is nowhere, except in engraving plants and 
55 laboratories where all the photography is done 
within ten feet from the dark room. 

When the film arrived people decried it — still do, for that 
matter, — yet barring its expense, it is pretty generally recc^- 
nized that film is on a par with plates as far as results are con- 
cerned. 



It has taken, lo, these many years for the truth about develop- 
ment to get even a foot hold in the minds of photographers, 
both amateur, and professional alike; yet there is no question 
as to the facts, — time and temperature and original make up 
of solution are the deciding factors, after exposure, in the 
kind of negative — ^and all the addition and subtraction and 
change and jugglery in the world won't help a plate which 
has once started to develop. 

The facts have been proved. When a fact is proved to be a 
fact it ceases to be a matter of controversy — the only room for 
argument is whether or not it has been proved. To prove an 
established proof is sometimes troublesome, but not in the case 
of the tank, since the expenditure of a small sum of money 
and an honest following of instructions will prove it anew to 
any one who wishes to make the trial. 

As the fact has been proved to me, and as I have proved it 
several times for myself, I am not going to argue about it with 
you who read. But I am going to set down a very simple and 
easy way for you to prove once and for all for yourself whether 
or not time and temperature development is good or not. 

Now all rules for tank development, — meaning rule^ as to 
constitution of solution, temperature and time, vary with the 
particular brand of sensitive material employed. So the in- 
structions for one plate will give very poor results with another. 
Half the time people try the wrong formula on a plate and then 
blame the theory instead of their own mistake. So you will 
please use a roll of Eastman film in making this test and fol- 
low exactly the maker's instructions as to the developer. 

Take of pure, anhydrous sulphite of soda, 90 grains. Take 
of pure, anhydrous carbonate of soda, 60 grains. Dissolve 
these thoroughly in three pints of water and see that the water 
is at the temperature of 65 deg. Fahr. This means sixty five 
degrees, and not sixty or seventy. Just previous to develop- 
ment stir in the solution 30 grains of pyro. 

Now, you should have two rolls of film, with exposures vary- 
ing as widely as you please from snap shots to time exposures, 
but all as nearly as possible the correct exposure for the sub- 
jects they have reproduced. One of these rolls of film you 
are to develop in the solution given above for exactly twenty 
minutes, in the regular film tank, according to instructions. 

46 



The other you are to develop your way, whatever that may be 
— ^in the roll, in the piece after cutting them apart, juggling, 
arranging solutions, any way you think you know which will 
improve the resulting prints. Unless your way is to develop 
in the strip, and for a sufficient time to give the most over 
exposed negative its normal contrast, the tank negatives will 
be better than the ones you make by hand. How can I say 
that? Because I have tried it and seen it tried time and again. 
The tank makes the better negatives, the cleaner negatives, 
the crisper negatives. No, it has nothing to do with films or 
film tanks. Any plate tank and any plates will do the same, 
providing you have the right formula for that plate and the 
right strength of solution at the right temperature, and leave 
them in the right time. The formula is published for Eastman 
Film, — I do not know that it is published for any plate. Hence 
I took the film as an example, not wanting to offer the results 
of my own experiments as established facts, regarding the 
plates I use. . 

Now carry this test further. Make a lot of under exposures 
on a roll of film — make a duplicate for your own hand work. 
Expose a roll of film and have them all over exposed. Do the 
same for your own roll. Develop two in the tank and two by 
hand, but don't start those by hand in a restrained solution, for 
you must be fair and you will admit that you do not usually 
know when you start development that a plate or film is over 
exposed. If you did know, you wouldn't have so exposed it. 
After the development has started pile in bromide all you please. 
And again, I am positive that the tank results will give better 
prints than those you have developed by hand — at the outside, 
they will give prints fully as good, which shows the method 
has done all you have done — and with infinitely less trouble. 
In fact there is no test you can put a tank to — no manner of ex- 
posures, and no contrast between exposures, which the tank 
will not do as well with and nine times out of ten better than 
you or any one else can do by hand. And the reason is in 
no magic or no change from old things to new, but simply that 
the scale of tones is determined by the exposure — the steep- 
ness of the scale by the time and temperature of the developer. 
You can't alter the exposure once it is made — you can't alter 
the scale once it is made. You can alter the steepness of the 

47 



scale (contrast) by the time of development and you can alter 
it by altering; the constituents of the developer before the scale 
starts to develop, — beyond that, development has no control in 
the making of the negative. 

Exception of course, is made of local development and such 
methods as wilfully fogging, or flattening, for pictorial effect. 
These are beside the question and have no bearing upon it. 

It is because the tank operates upon established hnes, and 
because it is based upon scientific facts, that its worth is 
indisputable, — the only thing you can dispute is whether or 
not this has been proved, and the test lies in your own hands. 

Go and do likewise, and join the gradually increasing army 
which believes in making the negative in the camera, and leav- 
ing development to the laws of nature which govern it. 



THE JOY OF YOUTH. 



S FLECKENSTKIN. 



CAUGHT NAPPING. 



TIME DEVELOPMENT. 

By W. S. DAVIS. 

!? time development for plates is coming into more 
Ij general use, perhaps a few notes upon the sub- 
ject, drawn from practical experience, may be 
I found of interest. 

This method of development would undoubt- 
edly have been generally employed years ago, but like many 
other good things, numerous theories had to be overcome be- 
fore photographers could be induced to try it. 

The investigations of Messrs. Hurter and Driffield have 
thrown much light upon the subject of development, among 
other things, the old idea that "tinkering" with the developer 
after the image appeared, would compensate for errors in 
exposure, was shown to be false, as correct values or tone 
gradation in the negative depended upon correct exposure, 
and any modification of the developer must be made before 
development was begun. A good account of the investigations 
of Hurter and Driffield, and others, will be found in The 
Photo-Miniahfre, Nos. 56 and 66. 

From personal experience I believe that the timing method 
will give better average results on a variety of subjects than 
the old way of guessing at the proper time to stop develop- 
ment. 



One of the advantages of timing development will be felt 
in handling very sensitive iso or ortho plates, which are so liable 
to be fogged by examination before the ruby light, and of 
course the more sensitive they are to the less actinic colors, 
such as deep orange and red, the more danger there is of 
fogging them, but such plates can be manipulated with as 
much ease; as an ordinary slow plate, by timing, as they can be 
placed in a covered tray and developed in total darkness, and 
need not be removed until development is complete. 

Another advantage of timing, is the uniform results obtained, 
which it is almost impossible to get by guess work in the dim 
light (or should I say darkness made visible?) of the ordi- 
nary dark room, and this will be found especially true by those 
who only develop occasionally, as it is so easy to get out of 
practice when one depends upon a visual examination of the 
plate during development. 

Perhaps the reader will say : I can understand how uniform 
results can be obtained from correct exposures, but how about 
under and over exposed plates? Now this is where those 
who have never tried it are surprised at the results, but as a 
practical test is the best proof, expose three plates on the same 
subject, giving the first the correct exposure, the second less, 
and the third more than the normal exposure, and develop all 
three for the same time, taking the correctly exposed plate as 
a guide, and developing it to the desired depth. On examin- 
ing the other two, the under exposed plate will be found thin 
but with all the detail the exposure could give, and with a 
little care in printing, such a negative will yield the best print 
that an under exposure could give, whereas if development 
had been pushed beyond the normal time, as is generally done 
in the hope of getting more detail in the shadows or thin parts 
of the plate, the result would be a blocking up of both the half 
tones and high lights, producing a negative w^hich would only 
give a print made up of blotches of black and white, as is too 
often seen. The over exposed plates will be found somewhat 
dense or opaque, but wnll be found to yield a print of good 
contrast, only requiring a longer time to print, and if this is 
considered an inconvenience, it may easily be reduced im- 
mediately after fixing, by transferring to a tray of water in 
which a few grains of potassium ferricyanide have been dis- 

52 



solved. Ordinarily when the image appears suddenly on an 
over exposed plate, development is stopped too soon, resulting 
in a very thin negative lacking in contrast, while if development 
had been continued for the normal time, a negative with good 
contrast might have been obtained. 

From the preceding remarks I do not mean to infer that 
care should not be taken to make a correct exposure. On the 
contrary it is of course just as true of the time method as any 
other that the nearer correct the exposure the more perfect the 



RESTING. w. s. DAVIS. 

negative, and as an aid to correct exposure, I believe a good 
exposure meter to be of much value, especially to an occasional 
worker. 

In regard to the developer, I do not wish to convey the idea 
that it must always be of the same strength, or the tiine of de- 
velopment the same, as for certain subjects both may be 
modified with advantage. For example, if a subject has very 
strong contrast the time of development may be shortened, 
or where a plate is known to be very much under exposed, 
more water may be added, and development continued longer. 



generally in the same proportion to the dilution of the develop- 
er, i. e., if the developer is diluted with an equal amount of 
water the time of development may be doubled. And I may 
say here, that it is not necessary to mix a fresh solution for 
each plate, as the same developer can be used for several plates 
with uniform results. 

The question of what developer to use, is of small import- 
ance so long as it is made of the same strength each time, and 
the solution is of fairly even temperature during develop- 
ment, 65 deg. Fahr. is good, but a variation of a few degrees 
either way does not appear to affect the result. If one has a 
favorite developer it is only necessary to make one or two tests 
to determine the correct time for developing a properly expos- 
ed plate, and then stick to it. 

For those who wish definite formulae, I give two which have 
proven satisfactory for all around use : 

EDINOL. 

Edinol 8 grains 

Sodium sulphite (dry) 40 " 

Sodium carb. (dry) 40 " 

Water 4 ounces 

PYRO. 

Pyro 8 grains 

Sodium sulphite (dry) 48 " 

Sodium carb. (dry) 30 " 

Water 4 ounces 

No bromide is required with either. Both formulae are for 
four minute development. 

In closing I give a few notes regarding the exposure and de- 
velopment of the negatives, from which the accompanying 
illustrations were made, and while everything I have said ap- 
plies to ordinary dark room development, I may perhaps be 
allowed to say that the negatives mentioned were developed 
in daylight, by the timing method, in my daylight develop- 
ing machine for plates. 

"Resting," exposure 1/5 second, stop f/8, Ideal Ray filter on 
lens, Stanley plate. Developed four minutes with edinol. 

"Caught Napping," taken on a cloudy winter day by light 
of south window. Exposure four seconds, stop f/ii, Cramer 
"Crown" plate. Developed four minutes with pyro. 

Both the developers mentioned were mixed by the formulae 
previously given. 



54 



THE ELEVATED ROAD, N. V. 



CHURCH INTERIORS. 

B7 ROBERT W. TEBBS. 

SHILE for the past two years I have had the 
ff pleasure of writing for the Annual on the sub- 
^, ject of sporting photography, by the edict is- 
sued early this spring by the sporting editors 
I of the various New York papers that "Our 
Cartoonist will cover the pictorial end of sports this year," I 
found that I should have to look to other fields for a livelihood. 
And so with the kind permission of the editor I will tell 
something of my experience in photographing for builders and 
architects. 

When I mentioned interior work to my friends a lot of them 
immediately recommended such and such a time exposure 
meter; books by so and so; but profiting by snap shot experi- 
ences I decided to give one month to timing, not by meter, 
but by actual experience. Over-exposure was my main fault at 
first. When I thought I had learned the rudiments of the 
game, I looked around for a job and soon found a church to 
photograph. 

The first picture I took there has been so far the most dif- 
ficult one I have had. It was the accompanying piece of stucco 
work. No elevation of the camera could reach it from the 
ground. I finally borrowed two plasterers' ladders, and by plac- 
ing a board across the top of them and an old barrel on top 
of that 1 managed to get my camera on a level with the stucco 
work. But there was no room for me on this shaky platform 
and I was forced to bring into requisition a third ladder. 
This I placed back of the camera and proceeded to focus. 
Then I decided to stop my lens down. So down I climbed off 
the ladder and moved to the front of the camera. Then an- 
other move to the back to put in my plate holder. Then I 
found that if I attempted to remove the cap of the lens from 
the back I should shake the camera, so another move was 
necessary. But I got a beautiful negative although I quit work 
for the day when I had taken it. 



In that one church I did work for the architect, builder, 
stucco man and priest. In all I cleared some $300, so my first 
building job proved a success. 

Since then I have photographed about thirty churches. Our 



A NEW YORK CHURCH INTERIOR. Robert w. tubes. 

more fortunate friends "do" Europe and come back raving over 
the churches abroad but many of them never look at home for 
the beautiful churches around them. The accompanying 
photographs of the Church of "Our Lady of Good Counsel" 
on the upper east side, New York, do scant justice to its beauty, 
and this is only one of our many fine churches. 
58 



So far I have not used an ounce of flash powder. Many 
photographers insist on its use to save the long time exposure 
often necessary. Almost invariably on going to a church I am 
asked if I am going to "smoke them out." They don't like it, 
and from my short experience, I presume to claim that on an 
average a fifteen-minute exposure with a lens stopped down to 
£32, produces a finer and more natural picture than the finest 
flash Hght. Flash light workers are the nature fakirs of 
photography. 

I use an 11x14 camera with my old 5x8 Zeiss-Tessar 
usually stopped to f32. I have found nothing approaching for 
color value and general excellence the Standard Orthonon 
plate. And for a printing paper if there is anything more 
beautiful than the Special Studio Artura I have yet to see it. 

The only other requisite is patience. Don't be in a hurry. 
Give a little too much rather than too little time. Don't pick 
out the centre aisle and think you have the best view. Very 
often the side aisle showing the main body of the church 
through the pillars is far prettier. 

If you are not a worshipper at the shrine of some particular 
developer try the following: 

Metol '4 01. 

Hydroquinone I 01. 

Sulphite Soda (granular) 3 01. 

Carbonate Soda (granular) 5 oz. 

Bromide Potassium "4 °^ 

Water 100 oz. 

Do not dilute. Use over and over for plate and paper. 



IVY GERANIUM. 



THE KALLITYPE PROCESS. 

By WALTER W. LAKIN. 

GH the medium of this popular annual 
[d tike to call the attention of the serious 
r to the merits of the old printing process, 
allitype. Good prints by this process can- 
told from platinum, and now that platinum 
paper has advanced so in price, it is well to be able to use so 
good a substitute, one so satisfying as to tones produced, so 
easy of working, and withal so cheap. 

Paper. — Any surface of paper can be prepared to suit vary- 
ing effects desired, from the highly calendered to the roughest 
of water color paper, but I would suggest for the first trials 
Whatman's smooth and medium drawing paper, or a rough 
surface writing paper. 

Sizing. — All papers require to be sized, and for those rich 
velvety blacks use the following: One hundred grains of 
arrowroot made to a cream with a little cold water; add ten 
ounces of hot water, in which has been dissolved twenty grains 
of gum arable ; then put the mixture in an enameled boiler and 
bring to the boiling point, stirring all the time. When cold, 
take off the skin on top. Pin a sheet of paper down to a board, 
and with a fine sponge spread some of the solution evenly 
over the surface, wash out the sponge, squeeze dry and go 
lightly over the paper with it to even up the surface. When 
dry it is ready for sensitizing. 

Sensitising. — Weigh out seventy-five grains of ferric oxa- 
late, and put into a clean glass bottle with one ounce of distilled 
water; place the bottle in a saucepan with water and bring 
to a boil. Should the oxalate refuse to dissolve add a few 
grains of powdered oxalic acid, filter through paper while 
hot, then add thirty grains silver nitrate. This solution can 
be made and used in a gastighted room but it should be kept 
in the dark. 

Coating, — Pin down to the board the sized paper, and tak- 
ing a wad of cotton wool dip it in the foregoing solution and 



mop over the surface of paper. When covered fake a clean, dry 
camel-hair brush and dra^ it across the paper, then up and down 
until the surface begins to look dry. Now finish drying as 
quickly as possible by holding near a fire or other source of 
heat. 

Printing. — The sensitized paper will keep in good condi- 
tion for several days, but I would suggest using it within two 
days. Print in daylight till the details are visible in the high 
lights, and rather weak in the shadows. Immerse in the fol- 
lowing developer for black tones i Borax, one ounce ; rochelle 
salt, three-quarter ounce; hot water, ten ounces; pottasium 
bichromate solution, seven drams. The bichromate solution 
will keep a long time in the dark, so make up a quantity, say 
ninety grains in twenty ounces of water. Leave the prints in 
developer (which must be used cold) from twenty to thirty 
minutes, turning them over several times. Developer for sepia 
tones: Rochelle salt, half ounce; water, ten ounces; bichro- 
mate solution, four drams. 

Fixing. — Hypo, one ounce: strong ammonia water, two 
drams ; water, twenty ounces. Take the print from the de- 
veloper and put in the fixing bath for fifteen minutes, then into 
a second bath for the same length of time ; finally wash for 
thirty minutes in running water, or eight or ten changes, and 
hang up to dry. 



THE COUNTRY COUSIN, kate Matthews. 



THE BROOK. 



FIVE O'CLOCK TEA. 



COLORING POST CARDS. 

By HENRY C. DELERY. 

f HE Souvenir Post Card has now attained an im- 
/ portant position among the numerous quests for 
7 collectors, and though at one time thought to be 
ft a mere fad, it has outgrown this embryonic stage 
o and is now one of the most enjoyable, instruc- 
tive and most universal innovations of the present century. 

For the camerist, it has particular charms and the ease and 
rapidity by which they can be produced, appeals to all; as 
with the present day appliances in photography, one can take 
a view, develop and print the same and mail it to one's friends 
on the very day that it was photographed, affording an in- 
expensive but pretty souvenir which expresses more in its 
simple mirage of nature's beauties than ever pen can describe ; 
and the thought that the little missive is the work of the 
sender, renders it more precious and more likely to be ap- 
preciated by the recipient. 

The market is now flooded with innumerable views, some 

65 



exquisitely rendered, yet others wholly lacking in harmony 
of colors and artistic expression, at best but a masquerade of 
nature. It may have often happened to the camerist to desire 
something better, a truer representation of light and color as 
they appear in the camera, yet with the limitations of photo- 
graphy, one is practically impotent and must resort to artificial 
means to enliven the cold lifeless reproduction of the camera. 
Simple directions to attain this end is the apology for this little 
sketch. 

First, we must consider the nature of the card upon which the 
subject is printed, whether a smooth bibulous surface like the 
platinum or a gelatinous, as with the development or glossy 
collodion finish papers. 

The most artistic and perhaps the simplest process is the 
pure platinum paper. The surface of this paper being porous, 
it is advisable to first moisten the whole print in order to facili- 
tate the flow of the colors and prevent stains. Some advise 
the use of Acme solution. 

A large brush is used for this purpose and with a few strokes 
across the card, beginning at the top and moving downwards, 
the whole surface is gone over; the surplus water is then re- 
moved with blotting paper until only a sufficient amount of 
moisture remains so that the colors will not run. 

The matt surface papers, such as Aristo-Platino, Velox, etc., 
require a coating of Acme Solution and for colodion and glossy 
papers, Acme Medium, a different solution than the above, 
should be employed. 

The surface of the card being ready, we proceed to apply 
the colors. As to the proper colors to use, this must to a great 
extent be left to the taste of the colorist, who should study 
nature in all her different moods and strive to imitate her. 
And here must it be mentioned that it is far better to color 
the view from the spot from which it was photographed and 
note all the varying lights and shades, a most enticing study, 
when we perceive color effects which would otherwise be im- 
possible. 

The first colors to be applied are the broad washes, such 
as the sky and foreground, in a landscape. In this instance 
it is preferable not to put the colors on too thick, as it is better 
to apply a second coat if the first is not dark enough ; in fact the 

66 



placing of one color next to another has peculiar effects, and 
a shade which at first appeared too dark, will change its tone 
considerably when other tints are added. 

I find it advisable to use the brightest colors permissible with 
good taste, as the body of the photograph being naturally 
dark requires a greater brightness to give snap and vigor, than 
the ordinary water color drawing with its plain white paper for 
its background. 

For the sky, if pure white in the print and a plain effect is 
desired, Cobalt Blue answers best. A large brush is filled with 
the solution and beginning at the top of the print, the color 
is run across it with horizontal strokes, gradually diminish- 
ing the intensity as the horizon is reached where it should be 
almost white; here a slight tint of pink and yellow is added 
while the surface is still wet and the colors gradually and softly 
blended one into the other. 

The foreground next receives attention, in like manner and 
when completed, details can be worked out. One great rule 
should guide us in this operation, the foreground must be 
strong and bold and the distance subdued, gradually blending to 
a grayish purple to gain atmosphere and depth. Nature pre- 
sents a kaleidoscopic panorama with ever changing gradations 
of color effects and it would be impossible to set rules as to what 
color to employ to gain certain results. This the student had 
better learn with a little experience. Generalizing, the following 
colors produce agreeable effects: Hookers Green No. 2 and 
Sap Green for foliage of trees and meadows, darkened with 
Prussian Blue or lightened with Gamboge as the occasion 
may require; for sunlight effects on those portions which re- 
ceive the direct rays of the sun, Naples Yellow answers best. 
Trunks of trees may be gone over with Van Dyke Brown, 
brightened or darkened with Sienna or Green. 

As to the number of colors, very few are required, for 
with five or six primary colors, combinations can be made to ob- 
tain any desired tints. The following will suffice for an initial 
outfit: Cobalt Blue, Prussian Blue, Naples Yellow, Gamboge, 
Natural tint, Vermillion, VarjDyke Brown, Burnt Sienna, Rose 
Madder, and Chinese White. Moist colors of some standard 
make, such as Winsor and Newton, are recommended as being 
convenient, especially when travellin. A small tinned japan- 

67 



ned box as usually supplied, with a double cover, one having 
depressed panels to hold water for preparing the washes is very 
desirable. These are readily obtained from the art stores. As 
to brushes, only two or three are necessary, one should be quite 
large for broad washes, etc., another of medium size for 
general use ; and a small fine pointed one for touching up small 
work and details. It is a mistake to use too small a brush, as 
the best results are obtained with a rather good size brush, 
say a No. 5, 

When al! is in readiness, a little of the color is taken from 
the pans and placed in the depressed panels of the color box; 
water is added until the desired consistency is obtained and 
the color applied in the manner described above. 



"GOOD MORNING." 



ON THE ZUYDER ZEE. hv. erle cooper. 

RECORDING EXPOSURES. 

Bj H. M. GASSMAN. 

^EFORE starting on my summer vacation I pre- 

)l pared to take about four dozen pictures on the 

y trip. As there were no local facilities for de- 

A veloping the plates I brought them home. 

J{ The problem was to identify each plate from 

the time it was put in the holder until it was used for printing. 

My object was to find out the difference between plates, the 

effect of exposure and its relation to development and various 

dvelopers. Although these points have been investigated often 

with a few plates it requires some system rather than memory, 

for so many plates. My outfit included three lenses, a ray 

filter, four kinds and two sizes of plates. 

In the first place I secured six holders, numbered each side 
and put in the twelve plates at home. I took with me an 
empty box for each size of plate, a focussing cloth to keep 
stray light out of the room when changing plates at night, a 
folding candle ruby lamp, a camel's hair brush and a small ex- 
posure book. 

The book was ruled with vertical columns having these 
headings : 



Plate holder number, name of plate, size of plate, subject, 
character of light, time of day, lens used, aperture, exposure, 
date, serial number of exposure. 

By referring to this book I could select the particular plate 
desired, and be sure of getting it. The data on exposure was 
filled in immediately after making the exposure. Under "sub- 
ject" it is important to give enough detailed description to 
differentiate the plate from any other even though taken from 
the same point. If the view suggest an appropriate title it 
should be noted also. 

When I changed the plates at night the serial number of ex- 
posure was put on one corner of the film by a lead pencil 
or pin. The plates we packed in the empty boxes in the same 
manner as they were originally. Each box was labeled giving 
contents. 

This system worked very satisfactorily but may be modified 
in various ways to suit conditions which are very different. 



IN ROTTERDAM. hy. brlb cooper. 




PHOTOGRAPHING TARPON. 

By JULIAN A. DIMOCK. 

« 

IRST corner the market on patience, then develop 
an abhorrence for the conventional, and photo- 
graphing the leaping tarpon will become the 
veriest amusement to you. 

Through years of assiduous cultivation my 
supply of the first quality is equal to all ordinary Northern de- 
mands, but for fish work in Florida it falls so far short that 
it has been only the inexhaustible fund which my companion 
had on tap that enabled me to persist long enough to catch 
the fish. For catching the fish is the only real difficulty that ♦ 
one encounters. 

Avoid the conventional methods — for you are not fishing 
for the sake of catching the tarpon, but in the hope of photo- 
graphing his leap. Therefore banish the usual rod and reel. 
Use a hand line and play the fish to encourage his aerial per- 
formance. Finally reward him for his exhibition — unhook him 
and let him go his way. 

In photographing a leaping fish the chief trouble is to know 
where, or rather at what distance from the camera, he is going 
to jump. It is, in part, to overcome this trouble that I mark 
my line with ribbons, so that I can keep tab on how much line 
is out. At twenty-five feet from the hook is a red ribbon, at 
fifty feet is a blue one, at a hundred feet a white one. Thus 
I am able to approximate the distance of the fish. If, at 
the moment of his jump, the line is taut the mark accurately 
gauges his distance, and if he jumps straight up you have 
only to see that your camera is focussed for a corresponding 
distance to have a sharp image on your plate. A scale on 
your camera is a necessity while a digital scale, or one which 
may be focussed by sense of touch alone, is of much aid, for 
then your eyes are free to watch the marks on the line ; to fol- 
low the direction of the fish, and in general to see what is hap- 
pening or — more important — to see what is about to happen. 
For if the fish is goirg to make a record leap you do not want 

73 



to waste your plate on an exposure just as he comes out of the 
water but wait until he is away up in the air. If he is only 
coming half out of the water it is unwise to wait too long 
as he will be back in the water before you shoot. Free from 
entangling hoods you can sometimes forecast the future, but 
with your eyes hidden beneath it you are lost. 

The fly in the ointment of accurate focussing is that the fish 
cannot be held at any particular mark, and that he won't jump 
straight up. Often you will hear a buzz as the line slips 
through the fisherman's hands (he will wear gloves if he has 
had experience) and you have to guess at how much has slip- 
ped away since last you saw a mark. Then the fish may circle 
so fast that the line seems taut in one direction while the fish 
will jump in another and at a distance of only a few feet. 
Again if the line is straight and taut he may jump towards you, 
away from you, or to either side, and as the length of his jump 
may be more than a score of feet this upsets your most care- 
ful calculations as to focus. 

The most experienced of sporting photographers tells me that 
he is able to focus even a bass on the ground glass while he 
is in the air, but for me to look at the glass in photographing 
such quick action subjects is to court disaster. 

Sights, or a camera in the form of a gun, are alike disastrous 
for this work, for they use up too much time when there is 
none to spare. A very little practice with merely holding 
your camera on your knees, or against your chest, will enable 
you to center any object on your plate and in most cases to keep 
even the horizon line fairly level. If you must stop each time 
to lift a heavy instrument to your shoulder and line up the 
sights your quarry will be in his native element before you can 
make an exposure. When your little skiff is dancing around 
among the waves, so now the stern points up in the clouds, 
now down towards the depths, it requires some rapid change 
work to keep the camera level, but this is easier than it might 
appear, for automatically the arms swing to keep the heavy box 
in position. 

To get the jump at its best is a matter of luck, or judgment — 
according as to whether it is you or some other fellow that 
gets it. Occasionally I admire my own "judgment" in this 
matter and am often surprised at the "luck" which falls to 

74 



the lot of some other camera. There is one camera that 
caught a bass in the air, the fisherman in the canoe, and a 
background of clouds all on a big scale on one plate. That's 
luck, for no amount of judgment would give a fellow all of that 
at once. 

In practice I sit, facing aft, as far toward the stern as I 
can get, the fisherman sits on the thwart just behind me, while 
the oarsman rows from the forward seat. It rests with your 
two companions to keep the fish at the proper distance for 
you. The oarsman by backing or pulling forward can do 
much, but mainly it rests with the man at the line to keep the 
tarpon where he is wanted, and this by playing him with a light 
strain between times while you are changing plateholders, or 
when the fish comes in on the line, or by putting on a heavier 
strain when he seeks to run away. With the best of handling 
it is a matter of luck whefher his jumps come all at once, too 
fast for you to change plates, or with sufficient intervals be- 
tween for you to be ready for each one. Sometimes a big 
strong fish will simply run away with the line, going so far that 
it is a mere waste of plates to expose any on him. Again he will 
stay at the end of a fifty foot line and jump at intervals of 
several minutes. It happens that out of eight or nine jumps 
I will get every one, and again I will make only one exposure 
out of the same number of opportunities. In general I count 
on getting a little less than fifty per cent, of the jumps and 
having about the same proportion of exposures result in usable 
negatives. 

The hard part is to get the fish on the hook. One forenoon 
I caught so many that the mental strain was such that I simply 
had to stop as I could not distinguish a jump from a tree on 
shore. Sadly we paid for that day of good luck, for we didn't 
catch another tarpon the whole season ! If I know the man, I 
am ready to believe any tale of tarpon fishing for I have seen 
sights of which I dare not speak, but when I do not know the 
story teller I reserve the right to believe or disbelieve his tale. 

In the matter of exposure and of stopping down your lens, 
follow your bent in that direction. Mine vary with my passing 
moods, and range all the way from one two-hundredth to one 
eight-hundredth of a second, and the opening from wide open 
to F/16. While I have even made exposures with a ray filter. 

75 



Light, surroundings, and condition of the water all make this 
a variable quantity. With dirty clouds to reflect the light on 
smooth water, the result is sometimes so flat that only the use 
of a ray filter or working against the sun wilt give you any con- 
trast at all. My own partiality is to give a long time with 
a lens fairly wide open and so to get a fully timed negative. 
With the wonderful light of the tropics, though, this is sur- 
prisingly short. 

After all the length of exposure and the stop used are of 
small account. Get the fish in front of your camera, have the 
focus approximately correct and you can hardly spoil the result. 



ANTICIPATION. 



A CALIFORNIA MISSION (PINHOLE). 



In the following hints as to equipment the writer does not 
intend to convey the impression that the amateur must be 
equipped with the best lens and finest camera, but the sug- 
gestions are made to aid him in selecting a new outfit or adding 
to the one already owned. 

The most important part of the outfit will be the camera. 
The size will depend on the individual's taste. If he likes 
a large picture he will use a 6^ x 8j^ or 8 x lo camera, but 
if he prefers a smaller picture he will select a4x5or5x7 
size. There is no denying the fact that the large picture is the 
most satisfactory, but a large camera means increased expense 
and on account of the weight is not always desirable, particular- 
ly in the mountains where the instrument would have to be car- 
ried some distance. The small or medium size offers some 
advantages, as the plates are not so expensive, more exposures 
will be made and the weight will not be of so much import- 
ance; then if the negatives have been carefully focussed and 
developed fine enlargements can be made from the 4 x 5 or 
5x7 size. 

The camera should be equipped with rising and falling front, 
double swing back and other adjustments and should have 
sufficient bellows extension so that the single combination of a 
rectilinear lens could be used. The most important part of 
the camera is the lens and as the quality of the negative de- 
pends on the lens it should be a good one. If on a tour of 
some length, a small camera fitted with an anastigmat lens 
working with a large aperture would be the ideal instrument; 
by using an anastigmat lens rapid exposures could be made on 
dull days when snap shots would be impossible with a rectilin- 
ear lens. But for ordinary work, groups, landscapes where 
time exposures could be given or rapid work in good light, 
the less expensive rectilinear should be used. It should be of the 
convertible type so that three different lengths of focus are 
available. 

Pictorial workers sometimes use a single achromatic lens and 
if a good lens of that class is selected fine results can be had in 
landscape work. 

The style of shutter will be governed by the kind of work 
that is to be done ; where it will be open landscape views with 
an occasional snap shot, a simple inexpensive shutter will be 

80 



used, but if the amateur desires to make photographs of 
rapidly moving objects he will require a more rapid shutter 
preferably of the focal type. 

The tripod should be strong and rigid so the camera will not 
be shaken by the wind, the combined folding and sliding style 
will be found more compact when folded for carrying and when 
in use can be readily adjusted to the uneven ground often met 
with in field work. 

For work with orthochromatic plates where the effort is 
made to get color values or to get clouds with the landscape 
a ray filter or color screen should be included. It should be 
light in color, for if too dark the effect will be exaggerated. 

A focussing cloth of ample size and preferably of rubber, 
with a good supply of plate holders will complete the outfit. 
Before beginning work the camera, shutter and plate holders 
should be carefully examined to see that they do not leak 
light and are in first class condition. 

The photographer should use the plates he is familiar with 
and thus avoid the mistakes of over or under exposure. For 
ordinary work a rapid plate will meet the requirements and 
will probably be used in almost every instance. Some ortho- 
chromatic plates should be included for use where there is a 
variety of different colored foliage in the view or for mountain 
scenes, while they will be found indispensable for cloud studies. 
For scenes in the deep woods and landscape views where large 
trees stand out against the sky or other subjects that might 
suffer from halation, a double coated plate should be used. These 
plates permit such latitude in exposure that slight errors in 
timing do not affect the result, therefore where you are very 
desirous of obtaining a good negative and would not have an 
opportunity to make a second exposure a double coated 
non-halation plate should be used. Some workers advise 
that all plates be backed. In many cases this is a distinct ad- 
vantage, especially with plates that show halation readily. 

If a small camera is used it can be arranged to take both plates 
and film. This would be an advantage, for plates are heavy 
and if a great many are used they become burdensome on the 
journey. Films weigh but little and many rolls or packs can 
be carried in a small space. 

If the amateur proposes spending some time in a locality 

82 



he should go over the ground carefully without his camera 
choosing the places that he thinks will make pictures, and study- 
ing the scenes to determine the point where the camera should 
be placed to get the most pleasing view. He will also determine 
the time when the scene is lighted properly; the beauty of 
the scene depends largely on the lighting, so close attention 
should be given to this part of the work. It will be found that 
the early morning and late afternoon hours when the shadows 
are long will give the most pleasing results. If the amateur's 
time is limited and he is enthusiastic he will probably begin 
work at once, but he should not be too hasty in making ex- 
posures for unless the scene is properly lighted he will find the 
results inferior. Many scenes are beautiful on account of the 
color, but when shown in black and white are a disappoint- 
ment. We should therefore pay close attention to the lighting 
as well as the composition of the scene, remembering that the 
lens takes what is before it and does not possess the faculty 
of leaving out the objectionable parts. 

The earnest worker will not confine his photographic work to 
bright, sunshiny, days but will get some of his finest results on 
cloudy days or when there is a haze in the distance yielding that 
much desired eflfect known as atmosphere. All days are good 
days for camera work except when it is raining or when there 
is a high wind blowing. For work in the deep woods a dull 
day should be chosen, for if the exposure is made in bright sun- 
shine the photograph will have chalky high lights and very deep 
shadows ; give a liberal exposure as the light is very weak in the 
woods and when developing use the solution considerably 
diluted. Views along streams are always pleasing, but they 
require some care in exposure; where the shadows from the 
trees are heavy there will be a tendency toward contrast as the 
reflections from the water are very strong; give a liberal ex- 
posure to get detail in the shadows and take care of the high 
lights in development. 

For work at the seashore, snap-shots of waves, yachts or 
groups of bathers, a rapid shutter will be required and a plate 
that is inclined to give soft negatives without violent contrasts. 

The light being strong the exposures should be very short 
and as the subjects are constantly moving the work with the 
camera must be done quickly ; a part of the exposures will be 

83 



without merit perhaps, but a few successful ones will com- 
pensate for the efforts. 

The plates or films should be carefully packed soon after 
exposure, the plates in their original boxes, with coated sides 
together. The boxes should then be wrapped in heavy paper 
and securely tied with a strong cord. No developing should 
be attempted while on tour unless there is doubt as to exposure 
when an occasional plate may be developed as a test. This would 
necessitate the carrying of two trays and a limited supply of 
developer put up in powders ready for mixing. Dark room 
facilities are not always to be had and the amateur will do 
much better work in his own dark room where he can work 
leisurely in familiar surroundings. 

By the aid of the camera a vacation may be made most 
enjoyable and when it draws to a close you return home re- 
newed in health, rich in new experiences and with many gems 
of nature gathered wilh the aid of your camera. 




PHOTOGRAPHING FOOTPRINTS. 

By JOHN BOYD. 

HE fact that the Annual comes into the hands 
of its readers each year when the days are grow- 
ing shorter, and odd snowflakes are fluttering in 
the north prompts me to respond to the editor's 
invitation by offering him a winter subject. 

That it is not a common one is best evidenced by its rare- 
ness among the published prints, but that there is plenty 
material all around us can be attested by any who visit the 
fields or woods after a fall of snow. 

The footprints of some unknown bird or animal on the 
white page of nature stirs the curiosity of many, and its pic- 
turing by the camerist will often be the milestone that will 
mark a pleasant trip. 

We would like right here to touch on the natural history of 
various footprints, for there is a story in every path, but the 
nature of our publication bids us confine ourselves to their 
photographic possibilities. 

A footprint to appeal to the photographer must present some 
pictorial features amidst its surroundings. What these are 
we must leave to 'the individual worker, for here we can only 
point out in short paragraphs some of the things that will 
assist the novice on his way. 

The best negatives are made when the sun is shining. The 
reason is that we have got to get contrast and definition.' 

Nine-tenths of these negatives must be taken almost dead 
against the light, or at all events with the sun at right angles 
to the camera. 

Vertical views give the best results, as they accentuate 
the foreground, and carry the eye oif gradually into infinity. 

The tripod should be set low enough to portray the "pads" 
in the tracks. When these are well outlined the maker's 
name may be more easily read in the fleecy matrix. 

Stop the lens down to F 128 or even F 256. You will need 
to do so to obtain the depth of focus and definition desirable. 

87 



Use the swing back if you have one, and give it all the tilt 
it will take. This assists in bringing the various distances into 
a common plane. 

Use backed plates for all winter work, and especially in this 
particular class. 



COTTONTAIL RABBIT TRACKS. john bovij. 

Develop for strong results, and if you use the gaslight papers 
for printing, make them assist you in increasing or diminishing 
the contrast. 



Study the snow falls, and learn when the atmospheric condi- 
tions are best for getting these records of a night's wanderings. 

The ideal tirhe is when a snow fall of an inch or less follows 
after a crust has formed on top of a previous storm. 

If the second storm is slightly wet. or if it thaws enough 
to just "pack," the conditions will be still improved. 

Never walk near a trail that you are going to picture, lest it 
detract from the general effect. 

Strive to identify the tracks you find, for half the pleasure is 
lost if you "collect" an unknown footprint. 

Don't imagine that you have got to go far and find some 
of the rarer wild animals to serve as a subject for a successful 
picture. The prowling cat, or a wandering dog will give you 
a good beginning, besides allowing you to work near home. 

With these few hints I leave the subject to my readers, as- 
suring them that if they will but turn their eyes from the 
portrayal of human tracks or figures, and seek the wild 
places where the more diversified animal footprints exist in 
all their naturalness, they will find grander possibilities 
for their cameras, and more lasting pleasures for themselves. 



ON THE LAKE. 



SUNLIGHT AND SHADOW. 



MOUNTING PRINTS IN ALBUMS. 

By C. H. WHITNEY. 

( P OW do you get the leaves to lie so flat ?" queried 

^1 an acquaintance who was looking over with 

l< much interest an album in which I had just 

U finished mounting some prints. 

a A little further talk brought out such a tale 

of woe from my friend, who is just beginning to tread the 

path of the camera enthusiast, that 1 believe I am justified 

in repeating here, for the benefit of some of the "greenhorns" 

who each year peruse the Annual, some of the points on 

mounting that I gave my friend. 

There is probably no one operation in the production of a 
finished picture that causes the beginner more trouble than 
this same mounting, though why it is I know not, as most in- 
struction books take up the m:ilt;r fi.:!ly, so that it would seem 



that there should be no difficulty in carrying out this, the final 
step among the various ones that go to make up the sum total 
of photographic manipulation. 

I shall confine my remarks more particularly to the mount- 
ing of prints in albums, as this procedure seems to afford 
no end of trouble to the various amateurs of my acquaintance. 

My friend, in common with most others who are new at the 
work, had purchased an album with flexible leaves, had taken 
his print, smeared a liberal amount of thin, watery paste on the 
back, and tried to coax it to lie flat on the album leaf. 
Needless to say, it wouldn't "stay put." It rolled up as soon 
as the paste touched it, its corners refused to stay down when 
it was finally gotten into position on the page, and when at last 
it was driven by sheer force into sticking, it retaliated by 
pulling the album leaf into all sorts of shapes, the more as 
several of its companions were mounted on the same leaf. 

Properly managed, mounting is a pleasure. I use a good 
thick paste, made especially for photographic work. This 
takes hold and dries quickly, as it carries very little water 
to dampen the print, or with the flat end of a toothpick, a knife 
blade, or any similar tool apply a touch of paste to each com- 
er of the print, covering a space of perhaps one-quarter of an 
inch square. By taking the print in both hands and bending 
it up a trifle it can be lowered into position without the corn- 
ers touching the mount. Shift the print about until properly 
located, then withdraw one hand and press down the two cor- 
ners thus released. Remove the other hand and press down 
the remaining corners. A clean blotter or bit of paper may be 
laid over the print and the corners smoothed firmly into contact 
with the mount. 

For prints 5x7 inches or larger I put a touch of paste mid- 
way of each edge in addition to that on the corners. I find 
a small palette knife, such as is used by the painter in oils, 
very convenient for applying the paste, though any flat ended 
tool will serve. 

An alternative method, which I sometimes use, especially 
when mounting prints on individual mounts, is to run a line 
of paste about one-eighth of a inch wide around the entire 
edge of the print. This is rather harder to manage than the 
first method, as the print, unless handled very quickly, is apt to 

92 



expand where the paste is applied, thus making it difficult to 
secure good adhesion between it and the mount. 

The foregoing directions apply to any paper which has a 
"coated" surface, such as bromide, printing out and develop- 
ing paper. 

These papers all have a tendency to curl up, and must be held 
down at all four corners. For platinum or blue print paper, 
which has no gelatine coating, this secure fastening is not 
necessary, as the prints have no tendency to cockle. I think 
it preferable, however, when mounting in an album, to fasten 
all four corners, no matter what the print may be, as it pre- 
vents the prints from being torn or creased when the albtun is 
in use. 

In attaching a platinum print to a separate mount, however, 
it is best to apply the paste along the top edge only, covering 
a strip about one-ei^th of an inch wide. 

Prints may be attached to both sides of an album leaf in this 
way without causing the least tendency to warp or curl, and 
they may be readily detached if desired, by the careful use of 
a knife point, without injury to print or mount. 



AN ANXIOUS MOMENT. 



A UNIVERSAL DEVELOPER. 

By MAXIMILIAN TOCH, P.C.S. 

ijr JMPLICITY is one of the most desirable objects 
U in science as well as in art. Some years ago 
ft there was a fairly good plate on the market to 
\ which a formula for developing was attached 
^ that was enough to scare even a practical apoth- 
ecary. There were nine different items in this developer, and 
as the manufacturers were not responsible for results unless 
their formula was particularly carried out, the plate eventually 
disappeared from the market and the firm went into bank- 
ruptcy. The first simple formula, was published by the old 
Nepera Chemical Company, when Velox was originally exploit- 
ed. This formula invented by Dr. Leo Baekeland, the inventor 
of Velox, is used to this day, and is probably as good an all 
around formula as there ever was. However, it has the one 
drawback in not being as simple as it should be, unless the 
proper weights and measures are used, and in any institution, 
gallery or laboratory where much photographing is done, the 
writer has devised a simpler formula which appears to be as 
good for gas light papers as it is for plates, with the one 
possible exception that sometimes it has to be diluted a little 
more than at other times. Weighing is never necessary be- 
cause the raw materials all come in weighed packages. Dis- 
tilled water is not necessary under any circumstance, because 
both Metol and Hydrochinon are antiseptics of the highest 
order, so that even water containing more than a trace of or- 
ganic matter can be safely used without detriment. The 
formula is very simple and is as follows: 

Carbonate of soda, crystals r lb. 

Sulphide of soda, crystals i tb. 

Metol I ot 

Hydrochinon r oz. 

Water I gal. 

This is shaken up and allowed to stand, and when dissolved 
will keep indefinitely if the cork is tight and if the bottle is full. 
To have i6 ounce bottles is a very handy thing, and I have 



known this developer to keep perfectly fresh for over a year 
and a half in a glass stoppered 16 ounce bottle. It is always 
a good thing to grease the stopper with a little vaseline to 
prevent the alkali from dissolving the glass and cementing the 
stopper to the neck of the bottle. 

For developing plates, this developer can be used full strength 
and one dozen 6j4 x 8J/2 plates can be developed in 10 minutes 
with ease.. If the subject comes up too black or white, it is 
always an excellent idea to have a tray of water alongside of 
the tray of developer, and when the plate is half developed and 
shows intensity and hardness, slip it into the tray of water and 
leave it in there five minutes. It will develop itself very 
slowly and evenly, and the hardness will entirely disappear. 

In black and white objects like the illustration a white 
dress with black dots and hardly any shadows, the additional 
water development is of great benefit and advantage. The 
plates and the gas light pcints from which these illustrations 
were made were both developed with the formula just noted, 
and the only care and admonition necessary to observe is that 
with some of the gaslight papers, it is necessary to add more 
water to this formula. 





PRESS PHOTOGRAPHY. 

By CATHARINE WEED WARD. 

AVING read a paper on this subject some months 
ago before the Society of Women Journalists of 
London it occurred to me as a good subject 
for the American Annual. There is much to 
be said, but I shall make my article brief and to 
the point. For some years past the trend of press and book 
illustration has been towards the use of the camera, and this 
is rather increasing than diminishing. There has been much 
complaint from certain art critics and others affected pecuni- 
arily by the use of the camera to the effect that true art is being 
injured by "machine-made'* pictures, that pencil and brush 
are being displaced by screws and buttons, and that Art (with 
a capital A) should veil her face before what is to her "the 
wreck of matter and the crash of worlds." Much of this out- 
cry comes from ignorance, sometimes jealousy, but occasionally 
is justified by results which never should have seen publicity. 
One cause for the last named is the multiplicity of cheap cam- 
eras which certainly require little brain effort, and the results 
often are much the same as if a dabbler in painting used im- 
pure colors and bad brushes. Having worked in painters' 
studios before taking up photography my reverence for Art is 
deep and sincere, and I firmly believe her garment is large 
enough to include Photography when the latter is used as it 
should be to do work worthy of preservation. It is not to be 
wondered at that the general public understand so little what 
photography really is when so many camera-users know little, 
(and often care less) of their instruments, save the makers' 
brief directions. Good work can only be done when one un- 
derstands the tools to be used, their possibilities and limits, — 
while poor work had better not be done at all. 

In taking up press photography many experts urge specializa- 
tion, as in the world of to-day to attract notice our work must 



NoTR : The illustrations accompanyincr this paper arc from the illustrated edition of 
"Lorna Doone" on which Mr. and Mrs. Ward are at present engaiged.— Editor . 

97 



rise high enough above the general level to be easily seen. 

The demand for certain subjects is growing, and can easily 
be made to increase, 
such as topography, 
science, records of pass- 
ing events, etc. With 
book illustration there is 
opportunity for careful 
thought an<l study, but 
with events which may 
be forgotten in a few 
hours the work must be 
done quickly. This 
should presuppose 
. practical experience, 
and training of eye and 
brain to see and think 
rapidly. The composi- 
tion of the view and 
the necessary technical 
details must be decided 
upon in a fraction of a 

CATHARINE WEED WARD. "''=<'"<' SO™'™". " 
Canle Rock LTnton Devon, matter mUch facilitated 

by thorough familiarity 
with one's lens, plate, stop and camera belongings. As 
a rule rapid work is best done with a hand camera, as being 
easy to carry and attracting less notice than a tripod. Where 
figures are not desired in the view it is well, very often, to 
use the smallest stop and increase exposure which allows 
a street to be photographed with no impression on the 
plate of any moving objects. It is well at times to do the work 
on Sundays when there ts little traffic, the objection being 
that gates, doors and archways are closed and blinds drawn. 
In the case of processions or similar events, rapid plates 
are required and a quick working, simple apparatus, well 
tested beforehand, and the preliminary as well as final ex- 
posures developed by the worker, as in no other way can 
exposures, often impossible to repeat, be properly estimated. 
In exposing for scientific photography, the work is in some 



respects simple, rapid plates are not generally needed; it is 
work often possible to do indoors, but the question of lighting 
and exposure must be 

very carefully consider- i 

ed, that suitable for a | 

portrait being usually 
advisable. Absolute ac- 
curacy is always obli- 
gatory in scientific re- 
sults, and negatives 
with minute detail 
must be obtained. 

Topography includes 
landscapes and build- 
ings, city and country, 
exteriors and interiors, 
when the camera must 
be used under widely 
varying con d i t i o n s. 
With the first-named 
the point most often 
slighted is composition, 
and even good workers catharine weed ward. 

forget or OVerlooksUch The W»«r,li<l., D»n< Valley, Devon. 

a matter as whether 

the subject should be viewed on the level of the eyes or would 
appear better if taken from above or below that position. New 
demands are constantly being made on photography, and the 
best landscape work can only be done with orthochromatic 
plates and, when possible, a tripod camera. Let me suggest 
including a telephoto lens in one's outfit, it is invaluable in 
mountain views and many otherwise inaccessible subjects. 

A very common, but wholly inexcusable fault, especially with 
views of interiors, — is the use of a very short focus lens. With 
landscapes this is not so noticeable, but scarcely a magazine 
article is published which has views of interiors but violates 
the simplest rules of composition. The foreground is very 
often too wide compared with the back, and the room, if a 
home interior, resembles a furniture repository, one piece con- 
flicting with another or placed too near the lens and seen out of 



all proportion with the rest. The average purchaser wbhes as 
much as possible for his money, and demands all that can be 
squeezed on the plate, which is not only inartistic but ab- 
solutely incorrect. It is somewhat on the principle of the wick- 
ed boy who put a great number of eggs under a setting hen to 
see, as he said, "the old thing spread herself." When mak- 
ing press illustrations there is not always time for the exposure 
required with color screens and orthochromatic plates, but 
their use always means better results. Even when using back- 



Oare Churcb, Devon, CATHARI.\£ WEED WARD. 

ed plates it is sometimes difficult to avoid halation, though a 
recent French writer, M. Balagny, in advocating an acid 
instead of alkaline developer, claims that the former obviates 
that difficulty. 

When it comes to printing papers the best for press purposes, 
or at least most editors and block-makers think so, is either 
albimien or glossy P.O.P., the disadvantage being that in 
dull weather printing must often be prolonged for hours, and in 
working for editors prints must be ready on time. It is neces- 
sary in such cases to use bromide or similar paper and, if 
wanted at once, the negative need only be partly washed, and 
the paper, being wetted, is pressed into contact, the exposure 



made, print developed and dried in minutes instead of hours. 
Glossy gaslight papers are often more convenient than bromide 
as they do not make a darlc room necessary as with the latter. 
The most important question is, however, what subjects 
editors will prefer. Before submitting work the illustrations in 
the current magazines and journals should be studied and the 
preference of each editor noted. Suitability is the great 
thing, as what might be instantly accepted by one would just 
as instantly be refused by another, not perhaps because of 



TirrSieps. B.xmoat, Deron. CATHARINE WEED WARD. 

the work being poor, only unsuitable for that one editor's pur- 
pose. Anniversaries and similar events being known long in 
advance, prints for them can and should be submitted months 
ahead to secure attention, and if accompanied by text are more 
likely to do so. Offered at the right time an only tolerably 
good view stands more of a chance than a better one arriving 
nearer publication time. Where buildings of historic or other 
interest are to be pulled down, views of them, if really good, 
are usually acceptable, although editors are more likely to favor 
a well known worker than a stranger. Of late years it is quite 
common for editors to have a photographer on their staff. 
A careless piece of work will be valueless, however, as compared 
with one showing artistic selection and technique, no matter 



THE PARTING GUEST. 



AT THE FOUNTAIN. Mr.. Eleanor W. WUUrf. 



PHOTOGRAPHING BLOSSOMING TREES 

By C. U. SHIPMAN. 

E mistake is often made in photographing trees 
n blossom of having most of the tree outlined 
gainst the sky, so of course there is no contrast 
s there would be in a painting where the sky is 
lue and the blossoms white or pink. 
To the eye, there is the contrast in nature of the two colors, 
but in the print the sky and trees are both white. 

One can usually find a position high enough or a tree whose 
branches droop, or if a background of dark foliaged trees are 
used, the details of the blossoms are brought out. In deal- 
ing with such subject it is advisable to focus sharply and de- 
velop the negative to good density, but in printing these nega- 
tives to get an artistic result, it is best to use a process like 
the carbon and print from the back of the negative, thus ob- 
taining softness and pictorial effect. 

It will be noticed that the parts of the trees against tiie sky 
in the illustration accompanying these notes, scarcely show any 
evidence of being a tree in blossom but are dark toned like 
ordinary foliage , bearing out a fact that many do not know or 
think of when exposing plates that nothing in Nature is as white 
as the sky, and should be relieved against a darker ground if 
the values are to be properly rendered. 



ORCHARD AND SHORE. 




AN IDEAL OUTFIT FOR THE AMATEUR 

By GASTON M. ALVES. 

>N this I shall advise as to the size of the camera, 
the kind of lens, and a suitable enlarging box. 

Lightness and small size is important in a cam- 
era, and a 4 X 5 is as large as should be pro- 
cured. The bellows extension need not be but 
little over twice the focus of the lens used, unless one wants to 
do telephoto work. The camera should have a good leather ' 
case, which will accomodate six plate holders, thus giving 
us the use of twelve plates. When one wants pictures larger 
than the 4 x 5, an 8 x lo size can always easily be had, as ex- 
plained hereinafter. 

The lens should be of superior type, i. e., an anastigmat. 
The focus may be from six to seven inches — ^not less than six, 
or more than seven. Enlarged images can if wanted, be had 
with the use of only one combination of the lens. Some who 
affect the picturesque, advise a common lens, but this is a mis- 
take, as a superior lens will do work which a common one 
cannot do, anj besides by proper use, give any picturesque 
effect wanted. In fact, it is only a foolish workman who wants 
a poor tool. 

With the above outfit, of course the pictures by contact print- 
ing will be 4 X 5 inches. For the majority of photographs 
this size will be quite satisfactory. If post cards are wanted, 
use a 5 x 7 printing frame and a bit of nonactinic paper for the 
side margin, thus giving a suitable margin for the writing. 
Should we have some much prized negatives, and from which 
we would like some wall photos, we may by the following 
method get them quite as easily to say an 8 x 10 size as we can 
get a contact print : From three eighths or one half inch lum- 
ber make a box. In one end cut a 4 x 5 hole to receive the 
negative. Make a diaphragm or partition to the box, and in 
the center of the partition fasten in an extra flange to your 
lens. Screw in the lens, and so secure the partition that the 
diaphragm of the lens will be distant from the negative, just 

107 



one and one-half times the focus of the lens — if the focus is 
six inches, then the distance should be nine inches, etc. Now 
procure an 8 x lo plate holder, and nicely fit it in the other end 
of the box at a distance from the diaphragm of the lens of 
three times the focus of the lens — if the focus is six inches, then 
the distance should be eighteen inches, etc. In getting this last 
distance it is best in practice to get it by trial. Make the box 
a little long.'and with the negative and lens in place, hold a 
sheet of ground glass at such a distance in the end of the box, 
that a distant scene will be nicely in focus. Mark the position 
of the ground glass, and place the grooves of the plate holder 
so that the sensitive paper will come even with the marks. 

To make enlargements in daylight, expose the negative end to 
a northern sky, using by preference a gaslight paper. To make 
enlargements by artificial light, a regular bromide paper, with 
a bright tin reflector over a 32 candle power electric light will 
be sufficient for the printing. By the above means, enlarge- 
ments can be made quite as easily as contact prints can be pro- 
duced. 

The foregoing outfit is an ideal one for a critical amateur. 
If, however, he wishes to do telephoto work, he will need about 
double the bellows extension to his camera, as that indicated 
above. 



THE HOUSE ON THE S.ANDS. 



Copyright i»oj by Da sis a Eick 
A SPRINGTIME PORTRAIT. 



€€ 




THE JEWEL OF GREAT PRICE. 

By W. F. OLIVER. 

[ONSISTENCY, thou art a jewel." I have often 
wondered how the public became agreed upon 
this proposition ; a jewel is generally supposed to 
be something rare and valuable. As we all 
know, consistency is a virtue every individual 
is conscious of possessing, at the same time he seldom per- 
ceives this virtue in another; possibly this explains why con- 
sistency seems so rare and precious,^possibly it may explain 
why I take the liberty to write what is to follow, why I studi- 
ously avoid anything that may be controverted by scientific 
fact and lurk in the realm of argument. 

In a previous issue, I note a complaint against certain un- 
just discriminations pertaining to the so-called faking in photo- 
graphic portraits, most insistence being placed upon the ob- 
jections raised against those manifestations of faking which 
are immediately and strikingly noticeable as being wholly 
foreign to photographic effects, as they are generally under- 
stood. The miscarriage of justice seemed to lie in the fact that 
ju'dges and art critics had overlooked or failed to debar various 
other forms of manipulation though such might represent a 
far greater amount of time, energy and skill. 

Harmony and unity are universally recognized to be the 
prime, the basic essentials of pictorial art. Volumes would 
scarcely elucidate the full import of these art terms, but it is 
safe to assume they are more concerned with results than 
with methods. I never chanced to hear a violin solo with a 
drum-corps accompaniment, — I never chanced to see a painting, 
part water-color and part charcoal drawing, — I never saw an 
architectural triumph with gilded domes and shining minarets 
reared high upon a skeleton frame of posts and girders, nor the 
full sculpture of a head placed upon a figure in bas-relief; so, 
when I see a portrait wherein the head, and possibly some of 
the adjacent anatomy, is rendered in the incomparably fine and 
inimitable "full presentation" peculiar to photography, while 

III 



the other portions are decorated with a series of more or less 
clever ''washes" or an intricate network of real or imitation 
lines from pen or pencil, and I hear that such portrait has not 
been highly honored by the critics, I am pleased to believe the 
result and not the method is responsible, — ^that there was 
absolute lack of harmony and unity between the graphic and the 
photographic portions, — and that the judges were consistent. 

Versatility is indeed great but art is so much greater they 
have little in common. I have seen the "all-round" musical 
athlete performing upon multifarious instruments, simultane- 
ously, but I observe the virtuoso, the artist, confines his studies 
and his efforts to one instrument, — delighted if he hopes evei 
to become a ''master" of it; thus it would seem well to draw 
a distinction between photographic art and photographic acro- 
batics. Our English brothers and others have spoken of Ameri- 
can photographic portraiture as being, despite its many ex- 
cellences, decidedly unconvincing; this phrase doubtless cov- 
ers extended ground though some of it may be clear to the most 
unsophisticated. 

Someone prints a head and shoulders against a background 
of glaring whiteness which he relieves by a few sweeping 
strokes of lead (pencil), — the production he labels an "etch- 
ing," "Gibson," whatever fancy dictates or will fool the public 
into paying the most money. But what is this production? 
What does its creator mean ? Does he mean he can make bet- 
ter backgrounds — possibly drapery — with the pencil than with 
the camera or does he mean he could draw a better face — if 
he had time? In the above respects at least, is not the pro- 
duction unconvincing, and if the result is unconvincing is not 
the method inconsistent? But a slight point is gained if the 
lines be printed on the paper instead of subsequently placed, 
the fact remains that the "story" has been told in two different 
languages. 

I do not understand that art takes cognizance of original 
conditions or difficulties, so it cannot count to argue that one's 
artifice or substitution has made a picture better, — the critic 
must consider only what is placed before his vision. So, 
when a well known writer alluded to various manipulations as 
'stunts, somersaults and hoop-performances,' I think he was 
consistent. At the same time, I do not wholly sympathize with 



TI2 



the idea of discriminating against a certain effect because it 
resembles some other medium of expression. I note the vast 
number of photographic reproductions of celebrated etch- 
ings, of the great paintings by the old masters, — I note the high 
prices being paid for many of them and yet I never hear them 
rated as inartistic or imitations, — ^the painters and critics of 
to-day advise their purchase and critical study. If one can 
draw or etch a whole picture and he has the opportunity to 
sell a dozen duplicates I believe consistency will permit the 
use of photographic means and not prefer charges of imitation 
or "faking/' 

The calling of these various productions by fictitious and 
misleading names is another proposition and manifests a most 
short-sighted policy, — the policy of looking only to the results, 
the financial results of to-day. To persuade the purchasing 
public of to-day that certain new effects are highly artistic be- 
cause they are new and, in one sense, unique, when the creator 
knows there is no art about them, — scarcely individuality, when 
he knows the most important feature of the portrait, the face, 
has remained unmolested and in no wise superior to the ordi- 
nary work without the fancy cognomen, is but to discredit 
honest and legitimate effort and bring contempt for all things 
photographic as soon as the public becomes aware of the decep- 
tions imposed upon it. 

When I see in the voluminous pages of modem advertis- 
ing, some get-rich-quick scheme, whether it be the making of 
concrete bricks or some depilatory lotion, equally efficacious for 
whitening the teeth, blacking the stove or cementing broken 
glass, I think if there was anything "in it" everybody would 
be trying the great opportunity. The grand, new things in 
photography strike me no differently. When I read the ad- 
vertising literature which relates the ease of acquiring the 
height of photographic skill, the short time required and par- 
ticularly the liberal salary received by graduates, — several times 
the salary of many men who have spent more than a fourth of 
their "alloted span" in attending school, I do not wonder the 
public has become convinced the "department-store" prices 
are all that consistency can demand. When I read of a brief 
and inexpensive course of instruction which will enable a 
photographer to immediately produce portraits superior to 

113 



many sold in New York for a great price, — a price twice the 
cost of the course of instruction, — I realize that these New 
York purchasers believed they were buying something valu- 
able and artistic, I realize that advertising is indiscriminately 
placed wherever it will possibly bring returns and that, by the 
time the public has been intermittently bled and enlightened 
a sufficient number of times, photography will be alongside 
Humpty-Dumpty, — where all the King's horses and all the 
King's men can't pull it up again. In plain English, I believe 
these indiscriminate, unqualified advertisements which en- 
thusiastically indicate that anybody can learn photography in 
a marvelously short time, — if they have the price — are doing 
more to bring ruin and confusion to photography than all the 
combined efforts of devoted workers can possibly do to build 
it up. It may mean cash but it doesn't mean consistency. 



■■ONE MATCH.' 



THE PINHOLE FOR WIDE ANGLES. 

Bj J. A. ANDERSON. 

Recently a picture of a church building was 
V wanted, for which the only practicable point of 
Jl view was directly in front, on a narrow street, 
ij which abutted on the principal street upon which 
the church was situated. 
With a lens of sufficient focal length for a proper render- 
ing of the perspective, the necessary distance of the camera 
from the church brought into undue prominence the sides of 
the narrow street, with some signs and other objectionable 
features, besides rendering the church buildings subordinate in 
apparent size, to the nearer buildings along the street. 

The only resource was a nearer position and a "wide angle" 
view. There being no lens available for this, the pinhole was 
used. The picture was taken from a point at a distance from the 
church about equal to tts height and where most of the ob- 
jectionable features were excluded. To get the building of 
suitable size, and properly placed on the plate, at such distance, 
required considerable elevation of the front board, in addition 
to tipping the camera, with corresponding use of the swing 
back, as well as a very short distance from the pinhole to the 
plate. 

The plate was 5x7, distant about 3^ inches from the pin- 
hole, which was No. 4 of the system recommended in The 
Photo-Miniature, No. 70, on "Advanced Pinhole Photi^raphy." 
and the exposure was calculated by the method therein pre- 
scribed. In a dull lig^t, measured by the Wynne meter, the 
calculated exposure was 45 seconds. An addition of 15 seconds 
was made to this on account of the lesser degree of illumination 
of the sides of the street, as compared with that of the church 
building. 

The definition of the principal object was, of course, some- 
what softened but not so much as to diflfer noticeably from the 
usual result with the lens. There appeared to be, perhaps, a 
little greater comparative degree of confusion at the sides. 



which was not objectionable and may have been partly due to 
the short extension. 

The very short extension necessarily used was much less 



Wide Angle by Pinhole. j. a, andersoh. 

than that recommended as best by authorities on the subject, 
and the results in definition and illumination at the sides of the 
plate, might have been better with a greater distance. The 
subject of the effect of different degrees of extension is dis- 
cussed in the number of The Photo-Miniature above re- 
ferred to and in No. 27 of the same publication. 

It is well understood that the perspective is not satisfactory 
in wide angle pictures and it is best to avoid them when prac- 



ticable. The present case is no exception to the general rule, 
although the defect was reduced to a tolerable minimum by 
presenting the church building in comparatively large pro- 
portion and retaining as little as would seem desirable of the 
adjacent buildings. 

In the matter of the rendering of the perspective the pinhole 
has no material advantage over the lens, for the same ex- 
tension, but a point in its favor is that its extension may be 
varied, while that of the lens is controlled by its focal capacity. 

It may be added, for pinhole experimenters, that the writer 
has found in German silver, about as thick as medium writ- 
ing paper, a satisfactory metal, the punching being done in the 
manner described in The Photo-Miniature, No. 27, by a 
needle broken off at its largest part and ground square. In 
selecting needles it was found that those bearing the same 
number of the maker could not be relied upon for uniformity 
in size, so that the average of the measure of a number laid 
alongside of each other was not a correct indication of indi- 
vidual size. The test relied on was by a home-made gauge, 
which magnified the thickness 20 times and gave very satis- 
factory results in the final selection. 

Upon the same day on which the church picture was taken, 
the pinhole was used for a picture, also a "wide angle," of an 
inscription on the side of a monument which stood so near 
the church as to allow but little more room than for the camera 
and a very short extension, with no space for the head in 
focusing. The size and position of the image had to be 
determined by calculation and measurement. The result 
showed the correctness of the manipulations, but the ex- 
periment was not an entire success, because of the inadequate 
illumination of the lettering. It is mentioned as a suggestion 
for an expedient in like circumstances. 

It is not at all improbable that the pinhole is being largely 
used in the manner pointed out in the foregoing, but if so, the 
excuse for the present presentation must be that the writer 
does not happen to have met with any statement to that effect. 

One of the illustrations herewith shows the church picture 
referred to, the other being a pinhole landscape with seven 
inches extension for a 5 x 7 plate. 



"7 



MISS MISCHIEF. 



"THERE ARE THE POPPIES, MAMMA.' oscar uaurer. 



MY SUNSHINE. mrs. w. w. ibarcb. 

THE GARDEN AS A STUDIO. 

By OSCAR MAURER. 

9ES, little people and gardens are made for one 
}} another. In no other spot are children so happy, 
* so full of naive grace and playfulness, so prettily 
] unconscious. I noticed the lagging step and 
I backward glance as nurse directed her charges 
within doors to the studio, and was struck at the change from 
indifference to eagerness as the children gathered about the 
open window overlooking the garden. 

The day was soft and luminous. Sun there was, but it shone 
through clouds, throwing delicate shadows — a "Leonardo day." 
I had been wont to call it. "For portraits, have a special 
studio," one gathers from Leonardo da Vinci's notes. "The walls 
should be painted black, with canvas curtains for the sun. 



Or, if you haven't the canvas curtains, work out-of-doors 
when the light is soft, as if shining under water. This is 
the favored condition of the atmosphere giving special charm 
to the face." Here was my opportunity, and the children's. 



THE SHADOW ON THE DIAL. oscar maurkr. 

So gaily we went back among the flowers, leaving the studio 
with its toys and baubles. We watched the butterflies among 
the posies, heard the birds sing, and became friends at once. 
The rest was easy. 



IN THE GARDEN. 



MEDITATION. uks. j. k, bennktt. 



Dew on Spider's Web. Dew on Strawberry Leaf. 

PHOTOGRAPHING THE FORMS OF 
WATER. 

By WILSON A. BENTLEY. 
(Illustrations by the Author.] 

S of the Annual may possibly recall 

le two preceding winters, 1905, 1906, 

iomewhat unfavorable for our work of 

crystal photography. Experience has 

that it is rarely the case that more than 

two unfavourable winters come together, and succeed one 

another. Hence it was to be expected that the winter of 1907 

would be a favourable one. This proved to be the case, and 

it goes on record as one of the most favorable ones, all things 

considered, occurring since we began our snow crystal work in 

1885. This is somewhat strange in view of the fact that the 

snow crystal season closed at an unprecedentedly early date, 

February 15. The winter storms that occurred, however, 

previous to that date, though not numerous, were very prolific 

of perfect and interesting snow crystals, and furnished us sets 

of crystals, which for beauty, complicity of form and oddity 

of design, rival any among those comprising our already 

numerous collection. 

The writer secured in all some two hundred new photo- 
graphs of these crystal beauties from on high, a few of which 
are reproduced to adorn these pages. The snow storms of this 
winter furnished a larger number than usual of very rare and 
odd twin crystals, and other strange forms. As heretofore, 
we found many snow crystals similar to, yet not of course ex- 

"5 



actly like unto, some of those found during previous winters. 
Yet it was amazing how many of them were new to us, and 
whose semblance we had never seen before, and we were 
amazed afresh at this new proof of the infinite diversity of 
the forms of the snow. 

Our attention and photographic efforts, however, were neces- 
sarily divided, between the gems from cloudland, and the 
scarcely less beautiful frost jewels that so often appeared upon 
and beautified our window panes. The cold winter was un- 
usually favourable for the formation of window frost, and we 
secured over a hundred new photographs of such. These, too, 
astonished us afresh by the diversity and elegance of their 
formation. 

Stars and ferns, balsam firs, twigs, leaves, rosettes, coral, 
lace work, and numberless other objects seemed to be imitated 
among these jewel like window pane frost designs. Among 
them were seen some new types not previously noted. 

During the winter, the writer carried on some very interest- 
ing and instructive studies of window frost, with the aid of a 
sling psychrometer (telling humidity, etc.,) kindly loaned for 
this purpose by the United States Weather Bureau. These 
studies were carried on with the purpose of ascertaining what 
temperatures and humidities favour or determine frost form 
type and structure. Space forbids mention of the results here, 
but readers of the Annual who wish to pursue the matter 
further may find much of interest in the writer's memoir, 
"Studies of Frost and Ice Crystals," with 270 illustrations, soon 
to be published by the Weather Bureau. 

Persistent readers of the Annual may have noted how the 
writer's photographic studies have broadened as the years have 
gone by, until they now include most of the more important of 
the many forms of water, both liquid and crystalline. The realms 
of the snow, frost, ice, hail, clouds, raindrops, and lastly that of 
the dew were entered in turn, and explored by the aid of the 
camera and the dry plate. Each realm has been found to teem 
with beauties unsuspected, and has richly repaid our every effort. 
The last one we have entered, that of the dew, is replete also 
with interest and charm. Even the dew has its own peculiar 
beauties both of form and arrangement, and plays a part in 
beautifying Nature. Its realms also furnish charming sub- 

126 



jects for the photographic camera. How beautiful the gleam 
and sparkle of the dew drops on the grasses at early morn, and 



SNOW CRYSTALS. wilson a. bentley. 

how regular Is their arrangement upon certain objects, and 
particularly on the spiders' webs and the strawberry leaves. 

Dew photography possesses some peculiar difficulties suf- 
ficiently formidable to try the mettle of even the most ad- 



vanced amateur or professional. It takes not a little skill and 
patience to secure the best results. A long extension camera, 
however, and a one-quarter size portrait or similar lens is 
perhaps best for this work. Very small stops should of course 
be used in the lens so as to secure necessary depth of focus. 
Dull black or gray backgrounds are preferable, and should be 
placed beneath or back of the grass or plant leaf, or spider's 
web, to be photc^aphed, and placed in position if possible a day 
or so in advance of the deposition of the dew. It is best in most 
cases to shade the dew laden object from the direct sunlight 
while exposure is in progress. When focusing is done, and all is 
ready, select for exposure some moment when there is not the 
slightest breeze stirring the air, as otherwise the dew drops 
may come out blurred in the picture. What charming sub- 
jects for the Camera dew laden objects are, may be realized 
from our photographic illustration, picturing a section of a 
dew laden spider's web, and a dew bedecked strawberry leaf. 
The dew collects differently upon different objects, and upon 
different species of plants and grasses, and it is a matter of 
much interest not only to observe these differences visually, 
but to secure photographic reproductions of them. 



WINDOW FROST FORMS. 



"MISTRESS HARRIET." 




ON THE CONSTRUCTION AND APPLI- 
CATION OF A TESTING CHART. 

By RICHARD TROTTER JEFFCOTT. 

O build and install such an apparatus as our title 
suggests was a problem before me in the early 
months of this year. Perhaps the most difficult 
point to be overcome was the adapting of such 
an instrument to our store conditions. Taking 
into consideration the many problems confronting one, the 
mode of construction and the application of the chart to a 
commercial enterprise will prove interesting reading. 

The fact that our sales of high-grade lenses had increased 
to such an extent that to present to intending purchasers a supe- 
rior method of determining what particular lens would best suit 
his requirements was ever before us. The lens buyer had only 
such description and data as the lens catalogues gave him. He 
then might possibly select a lens and give it, in his own way, a 
thorough test, yet hardly with the ready understanding of the 
lens's capabilities. The lens chart would give to him an op- 
portunity to test all makes of lenses along the same line and 
under precisely the same conditions, and, further, give him a 
complete record of what he might expect from each and every 
lens tested. 

Where one was buying a second-hand lens of perhaps un- 
known specifications, we would be in a position to demonstrate 
the best that particular lens would perform on the chart. 

Having before me the above advantages that such an ap- 
paratus would give to the public, and, further, having collected 
data from many sources, together with special trips to New 
York and Rochester, I was now in position to put the idea into 
practical use. 

It may, perhaps, be well to mention here at the outset that 
criticisms of our 'idea were welcomed and further given every 
consideration, yet if we have erred in building an apparatus 
heavier and more solid than our needs required, we trust 
our judgment suggested that strength and solidity guarded 
against our worst enemy — warping. 

129 



Rearranging our store fixtures provided a space 3 feet by 13 
feet for the specially constructed platform to support the en- 
tire apparatus. 

Detail drawings are herewith presented, giving, in addition, 
figures indicating sizes and heights, and a descriptive out- 
line of construction may be in order. Our platform was built 



Front View of Ai'paratus for Determining Dki-th of Focus, 



about 3^ inches above the floor line, the frame was made of 
3x4 inch joists and braced every two feet. The flooring was 
of Georgia pine, all being of the best selected stock, thoroughly 
dried and braced against warping. Attached to the outside of 
the platform a steel track was secured, same being ^ inch 
higher than the platform proper. This was used for the mov- 



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ing of the chart and stand to any desired position. Just 
outside the track was placed a facing, giving to the platform 
a finished appearance. The erection of the upright supports 
for the chart was given particular attention, and the following 
data may be interesting. A 4-foot frame work (cross-braced) 
was first laid down, and then the two main uprights and angle 
braces were bolted and secured into position. An open frame 
of 1^x8 inch pieces was now bolted on the face of the 
uprights, and directly behind additional cross-framing was 
done, presenting an absolutely rigid support, yet easily mov- 
able on the track. Specially selected rollers for this purpose 
were let into the ground framing. The uprights and framing 
were chamfered, presenting a neat appearance. 

A piece of slate, i inch thick and measuring 48 x 56 inches, 
was now securely bolted to our facing frame. Some idea of 
the weight of this completed apparatus may be gained by 
mentioning that the slate alone weighs 272 pounds. At this 
point special attention was given to the true position of the 
slate, and our later tests showed that the completed apparatus 
was "trye" in every particular. 

The construction of the camera stand was next in order 
(sketches of same are herewith presented.) Similar ideas 
in framing the base were adopted, as also the adjustment of the 
rollers. From the floor line to the top of the stand our 
measurements showed 4 feet ^ inch; this in connection with 
the centre of our chart and the camera ground glass centre 
measured exactly 5 feet from the floor line. At this point it 
may be mentioned that, on the completion of the entire ap- 
paratus, the camera front board had to be elevated less than 
1-16 inch to bring the centre of ground glass, centre of chart 
and axis of Jens in union. The camera stand was securely 
framed and paneled, outside dimensions being 2 feet 10^ inches 
wide by 2 feet 7^ inches long. For the better viewing of the 
ground glass a wide step was made part of the stand proper, 
permitting one to readily examine the critical focusing without 
effort. The back of the stand was left open, a shelf provided 
for the storage of holders and camera case. A special sliding 
feature was arranged on the top of the camera stand ; the draw- 
ings will, perhaps, furnish a complete idea of the framing of 
this slide. 

133 



The camera selected was a Folmer & Schwing, ii x 14 Sky 
Scraper. This camera possessed all the necessary points re- 
quired, and, in addition, was very rigid and compact, strongly 
made and having an extremely large lens board. The camera 
was first securely fastened to the sliding top and held in position 
by specially constructed guides (having movable adjustments 
and being locked by thumb bolts in position). Outside and 
inside guides were furnished, guaranteeing a positive position 
to the camera. 

An Iris flange was fitted to the lens board capable of open- 
ing to 4 inches and closing down to i 1/5 inches. This 
obviated the necessity of securing special flanges and lens 
boards for each lens. The ground glass screen was ruled, 
showing divisions from 4 x 5 to 10 x 12. At a later period we 
expect to have in position a brass frame carrying the focusing 
hood. 

The placing of the paper chart on the slate was a piece of 
work requiring absolute! care and precision. The chart 
(paper) was in three sections and after the face of the slate 
had been dressed to an absolutely flat field it was moistened and 
pasted in position. After being entirely dry it was critically 
tested and found to be in perfect position. The lighting of the 
cjiart proper was, after all, the most trying experiment. 
Various methods were suggested and found unavailable after 
practical tests. From what I have seen of the lighting of 
charts (mostly by daylight) I am led to believe that no chart 
of any size is evenly lighted, yet that understanding of the 
matter did not prove that such was impossible. Owing to 
our location daylight was entirely out of the question for illum- 
ination and the following plan, with some modifications, was 
adopted. From the ceiling were hung three window shades 
of the best material (absolutely opaque), one on each side and 
one directly back of the chart to cut out daylight. A special 
wire, no direct current, was arranged for rheostat connec- 
tions, and switch boxes were especially arranged at convenient 
points and run to our lamp. 

From experiments at hand would say that the method em- 
ployed was the best known. The lighting of the chart was ob- 
tained by projecting the light directly upon it. For this pur- 
pose a Stern's Midget Arc Lamp was used. A lamphouse 

134 



with 5-inch (diameter) condenser was arranged in position, 
and in connection with a ground glass screen an even distribu- 
tion of illumination was obtained. From data at hand, using 
an ordinary fast plate, the necessary exposure employed was 
about eight seconds. 

The above description applies only to such tests as the flat- 
ness of field and image circle given by a lens. For the system 
of focusing for depth two ingenious apparatus were prepared 
for us by Mr. L. J. R. Hoist, of the C. P. Goerz American 



Side view ov Apparatus for Determinikii Depth of Focus. 

Optical Company. Cuts of both are shown and perhaps an 
explanation of each would be appreciated. Arrangements had 
been made in the original design for securing this apparatus 
directly to the chart, but owing to the necessary framing of the 
back the idea had to be abandoned and a special arrangement 
made. Our first apparatus shows a brass tube 7-16 by 4j^ 
inches long, on which are mounted (fan-shaped) eight seg- 

135 



tnents of a circle. Each segment (brass) is fastened securely 
to the tube by a screw and securely held in position. Printed 
matter is glued to the face of each segment and varnished. 
By the adjustment of the segments the actual depth of any lens 
can readily be determined, consideration being given focus of 
lens and stop employed. Our second scale shows a specially 
constructed brass plate 2j4x8j^ inches projecting from the 
board at an angle of 45 degrees. The face of this scale shows 
a series of figures from to 4 running in each direction from 
the centre. Each large division measures i inch and is sub- 
divided into % inch parts. 



t DsTBRUiHiNC Depth c 




ILLUSTRATING A STORY. 

By J. ELLSWORTH GROSS. 

LABORER had watched an artist work for davs 
on his painting. When it was finished the fol- 
lowing conversation took place. 
"Did 'ee ever try phortygraphy ?" 
"No." 

" Tis a dee-al quicker." 

"Possibly." 

"An* tis a dee-al more like the place when eeVe done." 

Isn't this a plea for naturalness? The veracity of the lens 
places its statement in legal affairs above that of the word of 
man. Its truthfulness is unquestioned in depicting nature in 
all her moods and in her constantly changing scenes within 
her realm. We have but to view the glorious sunsets and the 
sudden change from blue sky to an awe inspiring thunder 
storm to realize what great value there is in quick and exact 
reproduction, and also that we owe proper respect to the great 
Artist that doeth all things best. 

The public has the right that all things placed before it 
typographically shall be, both on the literary and pictorial sides, 
free from distortion. The pictorial photograph is a hold-back 
to the over imaginative and enthusiastic writer who runs away 
with his story often times to a point where imagination should 
be spelled with a synonym of three letters. We have samples 
of this in some correspondents to our daily papers. A good 
story must be had, truth or no truth — even to caricaturing of 
nature. 

An illustrated article will always have a preference, not only 
that the picture adds to the attractiveness of the article and 
to the publication, but the mission of the illustration is ex- 
planatory as well. If often tells much in little. Seeing is 
believing and feeling, and feeling represents the naked truth 
which is demonstrated in the proof of the fact by the truthful 
photograph. 

137 



Naturalistic photography is the aim in illustrating Carrie 
Jacob-Bond's "Old Man." Her folk songs treat of the homely 
and little things of every day life in the most simple way. 
Her poems are touches of pathos or humor. And this old man 
phot<^Taphed at his own home in his work-a-day clothes adds 
to the melody that "touches" and in its simplicity we have tried 
to place the strongest li^t where it will accent the motif of 
the poem and yet hold the highly artistic. 



"MY OLD MAN'S HEAVEN." Copyrinhi, ,g=i. by j. Eii.«onh Gr™, 

Out of the old pump and the rusty tin cup we drank together, 
and we sat by the wood pile while Mrs. Bond told this elderly 
couple some of her songs in verse. His good wife brought 
apples and pears, a glass of home-made jelly and crackers for 
a mid-day luncheon and during our stay on this beautiful farm, 
we drank heartily of rich milk and fresh cider, but deeper 
draughts we drank of peace, contentment and harmony of man 
with nature. 



■■WHAT'S THE VSE." CopyriRhl, .,o6.by J. Ell»-onhGr<.>8, 

{Illustrating Carrie Jacob-Bond's "Old Man.") 



A LENS HOOD AND ATTACHMENTS. 

By JAMES E. CALLAWAY, D.D.S. 

€ HEN the back combination of a lens is to be used, 
'p it naturally follows that the diaphragm of the 
A shutter is set too close to the back lens to proper- 
P ly serve its purpose. It is of course impossible 
I? to move the diaphragm forward; but it is a 
simpler proposition to set the diaphragm wide open, and at- 
tach to the front of the tube a set of stops which will answer 
every purpose. The hood described in this article may also 
be equipped with a wing to shade the lens when the camera 
points toward the sun, and may be used as a foundation for 
other attachments to be described.. As the diameter of the 
lens tube varies in different cameras, dimensions cannot be 
given; but no difficulty need arise on this score, as the parts 
may be placed on the camera and fitted as the work progresses. 
The first requirement is a square piece of one-quarter inch 
board, in which an opening slightly smaller than the lens tube 
is made. Two pieces of thin brass are cut like Fig. i, and bent 
like Fig. 2. These are placed on the back of the board, fac- 
ing each other, to clamp the tube. When once set with the 
screws, whfch should be round-headed, they will require no 
further adjustment. 

On the front of the board place a disc of pasteboard, on each 
side of which some of the black paper from a film roll has been 
pasted. In this disc cut holes for the stop openings. About 
four of these will be sufficient. The dotted circle in the draw- 
ing, Fig. 3, must be about four times as long as the diameter 
of the hole in the board, to admit of proper space between the 
stops. Notch the edge of the pasteboard opposite the center of 
each slop, and put a peg in the board to show when stop is 
centered. 

To the top edge of the board hinge a piece of wood of the 
same size as the board. This is to act as a shade against direct 
sunlight, with either full lens or back combination. It may be 
held at the required angle by the notched strip of metal shown 



in Fig. 4, one strip being sufficient. It may be also changed 
in position by rotating the entire board on the lens tube. 




Many interesting stop experiments may be made by setting 
another disc on the board, ^and cutting vertical, horizontal and 
other openings in it. This second disc must of course lie over 
the first, and must have one full opening so that when set full 
it will not interfere with the first disc. One opening may be 
covered by a piece of cleared film dyed in a proper yellow dye, 
to act as a ray filter. 

Using the board above described as a support, a very 
efficient shutter may be improvised from pasteboard or metal, 

141 



if the lens shutter should become crippled. Two leaves are 
made as shown in Fig. 5, and slotted on the lines marked. 
These leaves are pivoted at A in Fig, 6. A wooden strip with 
a peg through it into the slots, at B, is pivoted at C and lies 
across the leaves. This is the actuating lever. The tr^er 
shown at D is pivoted at E, and a thin rubber band from F to 
G keeps the tri^er in the notches of both leaves at H and also 
pulls down the lever when the trigger is released. The shut- 
ter is released by pressing down tri^er D. This releases it 
from slots H and the lever, I, being pulled down, forces the 
leaves apart by its path through the angular slots, and then pulls 
them together as it completes its stroke. The shutter is reset 
by raising the lever I to its former position, when the tri^er 
again engages the leaves. If the leaves are of pasteboard put 
a screw at J to take the pressure of the trigger off the leaves. 
When not in use the shade wing of the hood folds down over 
the board, and so makes the device very compact. 



EARLY VIOLETS. 



THK FIRST VIOLIN, A. b. hargbtt. 



A STORY WITH A MORAL. 

By J, W. LITTLE. 

j? ONCE knew of a woman one of whose greatest 

/ trials in life was a continual conflict with that 

h noxious hexapod, so dear to so many of our 

*|J hearts, familiarly known as the bedbug. The 

'tt odoriferous insects vexed her almost constantly. 

Daily, and with infinite patience and painstaking, she sought 

out their rendezvous, while at night, with fear and trembling, 

she lay down in their habitat to dream of or perchance to be 

molested by them in fancy if not in fact. So acute were her 

olfactories that she could detect the presence of a bedbug in 

the adjoining flat of her neighbor (whence all bad bedbugs 

come, as any woman will testify) the moment it headed her 

way. To have her epidermis punctured by the cimex lectulari- 

us proboscis would almost superinduce nervous prostration, 

and the mere mention of bedbugs within her hearing meant — 

well, she never forgave it. It shows a poor sense of propriety to 

speak of ropes in the presence of a family a member of which 

has been hanged. 

This woman's efforts to get rid of the pests had been as un- 
remitting as they had been imavailing. She had tried every 
remedy and every preventive she could conceive of or could 
learn of from books read in secret, but with all her precautions 
they loved her still. She was in fact becoming bughouse her- 
self. 

Finally a sympathetic friend, to whom she had appealed in 
strictest confidence, and who knew much about such things 
(as every woman does, though few will admit it), advised her 
to use a solution of corrosive sublimate as an exterminator. 
She procured some at once and got busy with it. The grey- 
backs made a gallant stand but at last were forced to retreat 
and capitulate. Her joy was great. Like the fable of old, 
she now had as it were but to rub the magic lamp and forth- 
with the bedbugs disappeared. 
Needless to say, therefore, when our good woman dis- 



A HILLSJDE PATH. W. H. Zerbe. 



covered a few days later that in a place where the liquid had 
been applied to the border of the light green paper with which 
the walls of the room were covered, and where a small de- 
tachment of the enemy had been located, there it had left a 
stain also, she was disheartened. This was a contingency with 
which she had not reckoned. Still undaunted, she repaired 
to a nearby druggist (a man of much tact and learning and 
one always to be trusted with family secrets), who, with the 
instinct of his kind being ever ready to suggest a substitute, 
assured her that bichloride of mercury was a much better 
remedy than corrosive sublimate and that the former would not 
stain. He therefore prepared a solution forthwith, added a 
few drops of peppermint by way of disguise, and charged her 
a price which netted himself five hundred per cent, profit. 

Armed with the new weapon, and with blood in her eye and 
insecticide in her heart, she hastened homeward and again 
set forth to conquer. The bichloride of mercury worked well, 
and as at last account she had kept its use confined strictly 
to the legitimate haunts of the bedbug, and had not experi- 
mented with it upon the green wall paper, she was very happy, 
and I am told that upon her recommendation the kind hearted 
apothecary thereafter received many renewal orders, especially 
from weakly constituted ladies who occasionally in the spring- 
time felt the need of a little bedbug medicine that was safe and 
sure. 

I have no doubt most of my readers know that corrosive 
sublimate and bichloride of mercury are one and the same 
thing, as the chemical is one frequently used in certain photo- 
graphic processes. The point I want to make, however, is 
that in the conduct of their work too many photographers 
are in many respects like this woman in her efforts to free her 
house of bedbugs. They are earnest, enthusiastic and to a 
degree painstaking, but they are too superficial, too ready 
to condemn without sufficient trial, too ready to approve with- 
out adequate knowledge. They never get beneath the sur- 
face of things, accepting what they read or hear without ques- 
tion, and without taking the trouble to conduct a little con- 
firmatory investigation on their own account, either in thought 
or in practice. 

Of course the ordinary amateur, who takes up photo- 

145 



graphy as a mere pastime by which to while away an idle hour, 
is not to be presumed to make an exhaustive and scientific 
research into all the whys and wherefores of the myriad of de- 
tails and processes connected with the subject. But if he con- 
tinues to engage in it, he certainly should at least endeavor to 
master its rudimentary principles, not only on account of the 
amount of time and money that he will save, but also because of 
the much greater amount of pleasure it will yield, both with 
respect to the satisfaction that comes of doing things under- 
standingly and well, and the feeling of pride that comes after- 
ward in having something which he may not hesitate to show 
as the result of the time he has spent in the photographic 
hobby. 

For instance, the first process in the production of a photo- 
graph with which the amateur has to contend is the making 
of the exposure. Let us suppose that he is attempting a por- 
trait and that he is now engaged in focussing the subject upon 
the ground glass. Amongst other considerations it should be 
apparent to him that it is usually better to rack the lens out, 
rather than in, when it is desired to produce a satisfactory 
differentiation of planes or a slight diffusion of focus. Why? 
In making a snap-shot with a hand camera it is usual to have 
the scales marked so that the lens will be racked in as far as 
possible with a given stop without throwing the subject or the 
foreground perceptibly out of focus. Why? 

These are simple matters and require but an elementary 
knowledge of focussing to explain their importance, and yet I 
venture there are many photographers who do not know the 
value of these little expedients or who could even say why the 
treatment in the one instance is directly the reverse of that in 
the other. 

And how may the amateur, who does not care to go too deep- 
ly into these matters, acquire a good working knowledge of 
photography with a minimum amount of study? It cer- 
tainly is not required that he should possess a complete library 
of photographic literature, however desirable that may be from 
many points of view. It has been well said that the poor student 
often has greatly the advantage over the wealthy one because 
he has but few books and must know their contents before 
he can buy others. In the study of photography, one or two 

146 



well chosen books, with particular reference to the work in 
hand, thoroughly mastered, are of far greater value than a 
score of books half read, even though they purport to cover 
the whole field. It is not necessary that the student should 
read a great deal but his reading should go hand in rand with 
his practice. The concrete should be well mixed with the ab- 
stract. The most profitable study does not consist in exten- 
sive reading, but rather in short flights frequently repeated. 
Take your book with you on your photographic trips. Read it 
at odd moments and apply the knowledge thus gained while 
it is hot. 



THE LAST STAND. 



PYRO AND ITS PRESERVATION. 

B7 HENRY F. RAESS. 

( EFORE proceeding with this paper 1 have a few 
words to say by way of introduction. I have 
)} been working on this matter for two years and 
I brought it to a close about eight months ago, 
I wanted to see if there was not some better 
method for keeping pyro in solution than those in use at that 
time. I also wished to try the influence of large and small quan- 
tities of sodium sulphite, the minimum quantity necessary to 
have in the developer and the relative properties of a pyro de- 
veloper with and without sulphite. And further; the maximum 
and minimum quantities of pyro necessary in a developer to ob- 
tain results such as we require in our every day work. 

Considering the larg^ amount of matter which has been 
148 



written on this subject it may appear strange that anything 
could be added at this late date. But if we stop to examine 
some of the methods proposed and used we will see that they 
are far from ideal. Pyro has been used in photography since 
1 85 1, but no one thought of a preservative until 1882 because 
it was not until dry plates came into use that an alkaline pyro 
solution was necessary. The pyro solution used previous to 
this date was acid or more rarely neutral. A preservative is 
something which will prevent the pyro from oxidizing before 
having accomplished its purpose. 

Exception may be taken to the statement that salts of sul- 
phurous acid act as or are preservers of pyro, for it is well 
known that sodium sulphite will oxidize with greater or 
lesser rapidity according to conditions. It was recently found 
that certain organic compounds even if only traces of them are 
present, will greatly retard the absorption of oxygen by sodium 
sulphite in solution. So that, when we have a solution con- 
taining sodium sulphite and pyro they will mutually preserve 
each other. However, it is also well known that sodium sul- 
phite is alkaline and under such conditions pyro will rapidly 
absorb oxygen, but to prevent this various schemes have been 
proposed, to neutralize this alkalinity with various acids, or to 
add some acid to the pyro solution and mixing the sulphite 
with the alkali. 

As the Lumiere brothers recently pointed out, the presence 
of salts in the developer which do not take part in the de- 
velopment only retards the action. At present there are at 
least four compounds containing sulphurous acid suitable for 
the preservation of pyro (and of course other alkaline de- 
velopers) ; they are : Sodium or potassium metabisulphite, 
acetone-sulphite and sodium bisulphite. 

In this paper I shall consider only sodium bisulphite as a dry 
salt to distinguish it from the liquid bisulphite. The reason 
for choosing this compound is because it does the work equally 
as well and is much cheaper. As sodium sulphite has a retard- 
ing effect, experiments were made to see if there would be 
any advantage in using a pyro developer without sulphite on 
plates having a short exposure such as snap-shots. 

The strength of the developer was pyro one grain, an- 
hydrous sodium carbonate eight grains and water one ounce. 

149 



It was found that a small quantity of sodium bisulphite did not 
influence the development, but did prevent the developer from 
oxidizing rapidly. The images on the plates had the same 
qualities whether the developer contained sodium sulphite or 
not. Tests were then made to determine the smallest practical 
quantity of sodium bisulphite necessary to preserve the pyro 
and the subsequent developer. 

To obtain the best results one grain of pyro requires two 
grains of sodium bisulphite (a larger amount is unnecessary.) 
This amount of pyro and sodium bisulphite requires eight 
grains of anhydrous sodium carbonate. The above amounts 
in one ounce of water yield the best results for all ordinary 
work. The maximum amount of pyro per ounce of developer 
was found to be four grains. 

For convenience two stock solutions are made, one containing 
pyro, eight grains, sodium bisulphite, sixteen grains; and the 
other, anhydrous sodium carbonate sixty-four grains, to every 
ounce of water. Thus every dram of pyro solution contains 
one grain of pyro and the alkali eight grains of anhydrous 
sodium carbonate; in other words equal volumes should be 
used. One to two drops (not more) of a ten per cent, 
potassium bromide solution to every ounce of the developer 
will keep the plates clear if they have a tendency to fog. This 
small amount of bromide does not influence the development. 
I have a pyro solution made ten months ago, the stock bottle 
only partly filled, yet it has only a faintly yellow tint. Sodium 
bisulphite is a dry white powder, the solution has an acid 
reaction. In price it is the same as any good quality of 
sodium sulphite. 



150 



FILM PACK DEVELOPMENT. 

By GEORGE RETTIG. 

OME of the Annual readers may be interested 

in a method of using the developing tank for 

"Film packs." 
The accompanying illustration shows a rack 

for holding the cut films during development, 
fixing and washing. Two strips of wood have grooves about 
one-eighth of an inch deep sawed in them. After being made 
waterproof they are fastened together, the top and bottom of 





Pin 



rO- -- 



Fin^ 



_ ^Pin 



,.^,,.. *-/»/>» 



the rack being left open. The films are slid into the grooves 
and held in place by pins pushed through holes drilled across the 
grooves and as near the face of the strips as possible. These 
pins also keep the films from touching each other during de- 
velopment. After being thoroughly wetted to prevent air bub- 
bles, they are developed and fixed in the usual manner. 

A piece of stiff wire sharpened to a chisel point makes a good 
awl to drill the pin holes with. 



151 



THE PHOTOGRAPHIC MAGAZINE 
AND" ITS READER. 

By FAYETTE.J. CLUTE, Editor "Camera Craft." 

jf HE average reader of a photographic magazine 
t) feels that he could give the editor some valuable 
' pointers on the getting out of a publication that 
, would more nearly fill the requirements, and he 
I sometimes goes to the trouble of putting his 
advitx into written or spoken words. His suggestions are 
always acceptable and if they are not acted upon it is because 
they are for good reasons unpractical. On the other hand, the 
editor feels that he could give a few words of advice that would 
enable the reader to derive more benefit from his favorite 
magazine. I have always been a very indefatigable reader of 
the literature of photography and as I still retain a very vivid 
recollection of my first efforts to acquire a working knowledge 
of photography from the, at that time, limited available litera- 
ture of the craft, a few su^estions may not be out of place. 

To begin with, do not neglect the articles that seem at the 
time to be too far advanced for your comprehension. Much 
of the information which such an article contains will be of no 
direct value at the moment but all unconsciously you will be 
absorbing valuable information that will piece in with other 
like material and as you come up to the subject later you will 
find that you have a good working knowledge of the plan 
or process. Even if the article covers a process which you 
never have occasion to use, the information gained concern- 
ing it will be of value, one photographic process dovetailing 
into another so closely. Describing an early experience of 
my own will perhaps convey a better idea of my meaning. 
A very technical article on lens construction was carefully 
studied through, despite the fact that it was mostly Greek 
to me at the time. A little later another article was encounter- 
ed that attempted to explain the location of the nodes of emis- 
sion and their importance in calculations to determine the 
conjugate focus. This In turn was but little more clear than 



MEADOW BROOK (Hobole.) c, p. clarkb. 



the former but coming a short time afterwards upon an article 
dealing with the proper laying out of a focussing scale I found 
that in the light of my former reading this last article was all 
quite clear to me while several of my more experienced photo- 
graphic friends could not understand the article, finding fault 
with the too technical treatment of the subject In addition to 
this, this last cleared up much that was not understandable in 
the two previous articles and in that way I had quite a valuable 
store of knowledge concerning the construction of photographic 
lenses, knowledge that made further reading on the subject 
very instructive and interesting. 

Keep all your magazines in handy shape ready for refer- 
ence at any time. At the end of the year if you find that one 
or two issues are missing, write the publisher and ask to have 
them replaced. As a rule he will be only too glad to do this 
for a subscriber who so evidently values a complete file. Do 
not delay this too long as back numbers go out of print in a 
few months, as a rule. It is not necessary to go to the ex- 
pense of binding them. For a few cents you can buy a simple 
belt punch that cuts a round hole. Make a pattern out of a 
piece of cardboard and mark each number so that all the holes 
will come in the same place. A piece of tape will then be all 
that is required to tie them into a compact volume. Do not 
depend upon the yearly index as many of the hints that are 
most valuable to you will be hidden away in articles with a 
caption that does not suggest any too strongly the information 
you may want. This can hardly be avoided. When you run 
across a formula, method or detail that you think will prove 
of interest at some future time, jot down the page and year of 
the magazine, when you first read the article. As these 
memorandums grow in number it will be a good plan to 
transfer them permanently to the pages of a small blank book 
or to a set of small cards. Do this only after you have secured 
a number of such memoranda as you will then be the better 
able to decide upon a classification best suited to your in- 
dividual wants. If this is not done you will find yourself 
wondering from time to time where it was that you saw an 
article covering some particular subject that you are at the 
moment interested in quite deeply. Do not try to make this 
index too complete. I know a friend who tried to index 

• 

154 



everything that his favorite magazine contained. The work 
itself became a great burden and the difficulty of using such 
a bulky index prevented his making any practical use of it, 
after all his work. 

Investigate every new advertisement as it appears. Write 
the advertisers for their catalogues and circulars. You will 
be greatly surprised at the beauty of many of them and at 
the fund of information that they contain. In no other line 
is the advertising matter so directly instructive as in photo- 
graphy. And in writing for these things, do not neglect to 
mention where you saw the announcement. Your so doing 
will be a wonderful help to the magazine whose editor is try- 
ing to convince the advertiser that his advertisements will se- 
cure the attention of a few readers each month. Furthermore, 
do not forget that the advertised article is pretty sure to be 
better value than the one that is not so brought to your atten- 
tion. A poor article cannot be advertised to advantage. Ad- 
vertising pays only when it is backed up by the right goods. 
A firm may advertise to send a sample of their paper for 
twenty-five cents. It is a safe calculation that every enquiry 
received will cost in advertising bills much nearer a dollar 
than it will the twenty-five cents. What the advertiser ex- 
pects to gain on is your future trade. He will have to have 
your second or third order before he is square with his ex- 
penditure. He would not be able to make a profit on this 
advertising unless he was quite sure that he had an article of 
better value than the one you might be using. 

When you read an article in the magazine that does not 
come up to your expectations, do not condemn the editor and 
say that there is a much better way of doing that particular 
thing or a more simple plan of securing the same results, as 
the case may, be. Remember that the editor can publish only 
what is submitted. If you have a better formula, method or 
process, write a description of it and send it to him. Do 
not bother about the literary merit of the article. Simply ex- 
plain that you did not have the time and ask him to go over 
it before sending it to the printer. If you are afraid he may 
change the story too much, request that he send you a printer's 
proof before publishing it. This he will gladly do if asked. 
Even if you do not feel that yoiu* method of working some par- 

156 



THE COURTESY. 



ticular photographic process is entirely new or unique, if you 
have learned to go through with the work conveniently and 
with success, write a description of your method and send 
it in. What the editor wants is a brief description suitable 
for a short note or else an article covering the matter com- 
pletely and in detail, using about two thousand words. You 
can easily tell how many words your writing averages to the 
page by counting the words in a couple of lines and multiply- 
ing the average by the lines on a sheet. Do not start out with 
a long preamble but get right into the subject. Explanations 
and the like will come in better at the end. And above all, 
do not make the process or method you describe appear dif- 
ficult or hard. It will frighten off the reader before he gets 
interested. Make it appear as simple as it really is and mention 
possible causes of failure as such, not as dangers to be over- 
come. 

Avail yourself of the editor's oft repeated offer to give advice 
on photographic subjects. He is a fairly modest man and rare- 
ly claims to know it all, but he has the advantage of being able 
to find out what you may want to know. He knows a man 
here that is expert in this line and a man there that is expert 
in another. Besides this, he may have helped another ccJr- 
respondent over the same difficulty as your own but a short 
time before and have at hand a full report on the subject. 
When you do write to the editor to ask his help, make it 
clear just what you desire. I have in mind a correspondent 
who wrote to me recently saying that his prints were covered 
with small spots and he wanted to know how they could be 
prevented. He did not mention the printing process he was 
using and so small a detail as the size, shape of color of the 
spots was utterly ignored. When you send in prints for 
criticism, send only two or three at a time and say whether 
you want them criticized from a technical or an artistic stand- 
point. It does not make the editor feel very kindly towards 
you to receive a reply saying you only wanted to know if the 
tone was a good one for Solio prints after he has spent the best 
part of an hour telling you where the prints failed in being 
artistic productions. 

Tell your photographic friends what a good magazine it is. 
Send the editor a card from time to time with the names and 

158 



addresses of possible subscribers thereon. There are thou- 
sands who are not subscribers because they have never seen 
the magazine. When your subscription expires, renew it 
promptly and add a few words of praise if you feel that they 
are due. Make a few suggestions if you think advisable. 
A very good friend of the writer's takes some five or six 
photographic magazines. A subscription agency offered to 
save him about two dollars on the lot. He would not ac- 
cept their offer. He said it was worth the difference to write 
each of the magazines, renew his subscription and send his 
best wishes. Besides that, he knew the magazine got the 
full subscription price instead of a portion going to someone 
who had no part in giving the magazine its value. 



PRINTING GASLIGHT PAPERS WITH 
MAGNESIUM RIBBON. 

B7 WH. H. ZERBE. 

JJHE editor has asked me to contribute something 
'J for the Annual that might interest its readers, 
jf Writing for publication being out of my line, 
R I was about to send my regrets, when it occurred 
^ to me that a little dodge which recently served 
me so well, if I passed it along for the readers of the Annual, 
they might think it good enough to give it a trial. 

A short while ago I had occasion to make a large number 
of prints on gaslight paper. The negative I was using took about 
fifty seconds to print by a Welsbach burner. With three hun- 
dred prints to make and with the time at my disposal, I saw 
that I would have to do something if I wanted to get the prints 
out on time. Daylight being out of the question, as I could 
not get away from business, I remembered the many purposes 
for which I had used magnesium ribbon, I thought why not 
try that. Accordingly an exposure was made using a piece of 
ribbon about three-quarters of an inch long. The result was a 
correct exposure in two seconds. Here was the solution to get 
out my prints in time, and I at once rigged up a temporary 
affair to print more handily. I have since fitted up a more sub- 
stantial affair, which has given me perfect satisfaction, 
and I give it here for the benefit of those who may be placed 
in the position that I was in, or to use as I do now, for all my 
gaslight printing. 

I will try to explain the apparatus by the aid of the sketch. 
The materials are all at hand in any household with perhaps the 
exception of a large enough piece of ground glass. A is an 
ordinary table, in the absence of which any board or shelf will 
do; B is a block of wood about eight inches square, thickness 
immaterial, with a stick about one inch square which is 
screwed to the board from the bottom (the height of this 
stick will depend on the size of printing frame used) near the top 
of this stick bore a hole to receive a metal tube. I find the 



THE WOOD FAERY W. 6» G. Pirri.h. 



handle of a mucilage brush answers very well, cut off the 
brush party and open the other end. C is also a board of a 
convenient thickness, and must be as wide as the piece of 
ground glass to be used. On this board nail two strips leaving 
a space or groove the thickness of the ground glass, this is 
simply a holder for the glass. D is the printing frame set on 
anything to bring it central with the ground glass and tube 
which holds the ribbon.The frame, ground glass and light 
must be central. The ground glass is used simply to diffuse 
the light, and lengthen the exposure, as the ribbon about a 
half inch long is apt to over expose a print from a thin nega- 




tive, and I find that this amount is the shortest piece that can 
be conveniently used. I would suggest that a piece of ground- 
glass about twice the size of prints be used. I find that I get 
an even illumination on an 8 x lo print by having the negative 
six inches away from the ground glass and the light about 
twelve inches away. 

When ready to print I cut off three or four feet of the rib- 
bon and run it through the tube, letting it come through as far 
as what has been determined to be the right length to give the 
correct exposure. I keep a lighted candle close by and when 
the printing frame with negative and paper is placed in posi- 
tion I use the candle to light the ribbon, which will burn only 
that portion that projects through the tube. After you have 
determined the amount of ribbon to be used you can repeat 



i6i 



these operations until all the exposures are made and can 
develop the prints at any time. 

Magnesium can be bought from any dealer at about 75 cents 
a roll, the amount it contains I am not sure of, never having 
measured it, but there must be at least a thousand feet in it. 
I have had my roll several years, have used it considerably, and 
the end is not yet in sight. 

To any of my readers who use a large quantity of gasli^t 
paper I would recommend giving this method a trial, I feel 
confident they will always use it for they will find it will save 
time as well as gas bills. 

I have found magnesium ribbon useful in many other ways, 
such as assisting in lighting portraits or interiors when win- 
dow lighting is used, as well as making flower studies using 
it as the illuminant, but I will refrain from going into these 
now for I fear 1 have already gone beyond my allotted 
space. 



AMSTERDAM. 



NOTES ON RED SENSITIVE PLATES. 

B7 MALCOLM DEAN MILLER, H.D. 

LY many thoughtful photographers in- 
iri orthochromatic photography have 
I do, the deficiencies of the common 
)r Iso plates. In this country, the most 
used is doubtless the Cramer, a typical 
erythrosin-stained plate, with great sensitiveness in the yel- 
low, yellow-green and orange bands of the spectrum. For 
many purposes these are most excellent, particularly when used 
with a deep-colored filter, such as the "Isochrom." The great 
trouble with them is their insensitiveness to all the dark 
shadow-colors of foliage in landscape-work, thus requiring 
prolonged exposure. If very fully, almost over-exposed, and 
developed in a very weak solution, the results will be good, 
though with a tendency to render the light greens too high in 
tone, in the print. Reduction with ammonium persulphate or 
eerie sulphate, to be sure, will partly correct the false scale of 
values, but I have found that the red-sensitive or panchromatic 
plates give better results and seldom require after treatment. 
Such plates are the Cramer Trichromatic and Lumiere's 
Panchromatic C. 

In handling red-sensitive plates it is best to work as far as 
possible in darkness. This is practically necessary in loading 
holders, and advisible during development. If, however, 
light must be used, a very deep red light is permissible. A 
plate stained with Methyl Violet 6B, with one or two sheets 
of ruby glass, will give sufficient illumination, though the 
plates should be exposed to it as little as possible until fixed. 
It is safe to slip the plate into the tray, rock thoroughly to cov- 
er the surface and break air-bubbles ; then cover the tray and 
do not hold the negative to the light until development is 
complete. This point is determined with advantage by the 
factorial system, hence we are led to the conclusion that tank- 
development is best, since the plate is perfectly protected from 
163 



all l^ht throughout the process, the end point of which is 
known from previous experiments. 

Red plates tend to be foggy, particularly as they have not 
such good keeping qualities as the common Isos, their average 
life being two or three months. On this account Glycin, 
which works clearest of all developers known to me, is to be 
preferred, and Glycin is the ideal tank developer. For tray 
development it should be combined with Metol to quicken its 
action. If the plates are loaded into the rack of the tank in 
darkness, removed in the dark and well washed, they will then 
stand considerable exposure to the safe light while being put 
into the fixing bath. 

Red plates give better color values in landscape when used 
without a screen than do the ordinary Isos. The exposure in 
this case is shorter with the faster emulsions, owing to their 
greater sensitiveness to' shadow colors. For full correction, 
a light yellow screen, requiring from four to eight times ex- 
posure, is all that is necessary, and the results are distinguished 
by softness and delicacy of tones and an accuracy of dis- 
crimination between slight steps in the scale of values un- 
obtainable with other plates. 



TWIXT DAV AND NIGHT. a. b. hargbtt. 

164 



BOY WITH BOOK. 



ATHOS, PORTHOS AXD ARAMIS. 



TITLES. 

By ROSSELL W. TAFT. 

my child, this article has nothing to with the 
[nights of the Bath or of the Garter, nor with 
le Princes of Jerusalem. I refer, not to the 
itles arrayed in Burke's Peerage nor the Al- 
lanach-de-Gotha, but to the titles to those of 
your prints that you deem worthy to call by name. Of course 
all pictures have some distinguishing appellation; probably 
eighty per cent, of our negatives are denominated rather for 
identification than otherwise — for instance, "Squinty — N. G. — 
looks sick," or "Duffelheimer's Brewery from tower Episcopal 
chapel" — but for the other twenty, which we may deem worthy 
of a place on the wall or in the portfolio, we must have some- 
thing by way of title. 

I assume that the self-respecting pictorialist needs no cau- 
tion against the materialistic title. If a picture is not worthy of 
study introspectively, the fact that it is a view of "Orchard 
Street taken from a point seventeen feet east by north of the 
granite horse block in front of the residence of Hon. Henry 
Simpson" will not save it, regardless of the fact that such a 
title savors of the "this-cross-marks-the-spot-where-the-bloody- 
hatchet-was-found" school of art. 

Passing by this class of titles we will find that there are but 
three requisites of an appropriate title. Consistency ; Originali- 
ty; Brevity. 

Consistency. — Above all things be consistent. Bear in 
mind always the remark of some literary fellow that consistency 
is a Jewel. And yet how many prints we see where the titles 
violate this rule. I recall one print of some boys in bathing 
entitled "Sea Urchins" where the glassy sea washed a bank of 
grass and the other shore was lost in some reeds about forty 
feet distant. In every picture there should be a motive (very 
high browed persons call it a moteef) a "guiding, controlling 
idea" as our friend Webster expresses it. Let your title, then, 
refer to it. If your print is a sandy beach and a distant head- 

167 



land in which plashing waves and nicely illuminated clouds give 
the predominating note of interest, is not "Sea and Sky," 
simply that, better than 

"The breaking waves dashed high 
On a stern and rock bound coast," 
when the waves are not of the high-dashing variety and the 
rock bound coast is a headland in the middle distance peace- 
fully slumbering in the misty light of a September afternoon? 



SEA AND SKY. russell w. taft. 

Originality.— Be original in the selection of titles. Why, 
after having seen "The Old Mill" 756,867 times any person 
should attach that moth-eaten and bald-headed title to a print 
of their own for the 756,868th is something with which my 
feeble intellectual powers are unable to grapple. If it ts an 
old mill, as it sometimes is, and not a detached shed some 
distance from a trout brook, the picture will show it, and a 
more suitable title will add to the value of the print without 
being tautological. Then there is "Quietude," a stately old 
dame with a toupee and store teeth, who is neck and neck 
with the "Old Mill," while a little in the tear, obscured by a 
suitable amount of dust, comes "In the Gloaming," only about 
438,243 times along. And we wonder why. 



ENCHANTMENT. 



Brevity, — If brevity is the soul of wit, be as witty as you 
can. Do not select a title that reminds one of the Orphic 
sayings of the Poet in "lole." "Thank you," he said tiiickly ; 
"thank you for your thought. Thought is but a trifle to be- 
stow — a little thing in itself. But it is the little things that are 
the most important — the smaller the thing the more vital its 
importance, until the thing becomes so small that it isn't any- 
thing at all, and then the value of notliing becomes so 
enormous that it is past all computation." The chronic dis- 
seminator of caloricised ether had best leave the titling of his 
prints to someone else. Sometimes an appropriate quotation 
from some well known poem will serve acceptably, but the 
cases are few and far between where the quotation will not 
overbalance the print. 

Choose a title consistent, original and brief. It may save a 
passable print, but a title inconsistent, hackneyed and verbose 
is far more apt to mar an excellent piece of work. And if 
you would learn a little on the subject of titles it might be well 
to run through the pages of any American Annual or Photo- 
grams of the Year applying to the prints the three tests sug- 
gested. Try it. Like homoeopathic medicine, it may do you 
no good, but it will certainly do no harm. 



ON THE SMOKY CHICAGO. 

I6g 



IN QUEST OF SNOW. 

B7 HARRY S. HOOD. 

jfNE Sunday morning when the good people of 
JJ Philadelphia awoke, their eyes were met with 
V a scene which might have been taken from Fairy- 
]] land, so pretty and delicate was it. Everything 
it in sight was covered with a white mantle of snow 
and the delicate, flaky crystals of which the poets write, were 
still falling with unabated vigor. It was on this ntorning that the 
writer and one of his cronies determined to go out to view the 
beauties of the famous and historical Wissahickon Creek as it 
appeared during the progress of a snow storm. The snow was 
nearly a foot deep and still coming down in such quantities 
that one was led to suppose that the supply was limitless. It 
was a beautiful day, from the point of view of the photo- 
grapher who attempts to portray nature in her various moods. 
Upon arriving at our destination, we were astonished by a 
display such as we had never before beheld. The snow formed 
a smooth white covering, unbroken by the footsteps of any 
living thing. Here was solitude indeed ! Nature never seems 
so grand, so awe inspiring, as when viewed alone, away from 
the noise and bustle of the cities, with no one near except, per- 
haps, a boon companion who can silently appreciate the won- 
ders of Nature as they are presented for our delectation, alas 
too often unheeded by the busy worker, intent only on secur- 
ing die largest possible bank account in the shortest possible 
space of time. 

As we stood in silent contemplation of the snow covered 
trees, it almost seemed that we could hear the flakes rustle as 
they tumbled and jostled each other in the merry race for the 
ground, to such a degree were all other sounds absent. It 
was a cause for much regret that we had not brought a 
camera along because of the falling snow. A more perfect 
representation of Fairyland could hardly be imagined and we 
straightway resolved to repeat the trip early the next morn- 
ing, this time including a camera in the party. 



ALMOST SNOW-BOUND. harry s. hood. 



The remainder of the day was spent in tramping through 
the lovely valley of the Wissahickon, and when we finally 
dragged our weary feet back to the hurly-burly of the city, 
it was with great reluctance to leave the scene of so much 
enjoyment. 

Early the next morning, the sun rose bright and clear and 
getting up betimes, we were soon headed for the haunts of the 
little gray squirrels, now tucked comfortably away in their 
winter abodes. This time we did not forget to take along a 
camera and a dozen plates. The camera was an eight by ten 
view camera and the exertion necessary to carry it from the 
trolley to the Creek strongly resembled work; but when we 
reached the scene of operations we felt amply repaid for all of 
our trouble. The sight that burst into view as we rounded the 
last bend in the road, was one that will always linger with us. 
The thought occurred to us that it was strange that we were the 
only ones who thought it worth while to come out and see 
Nature in one of her most attractive garbs. The deep blue sky, 
together with the snow covered evergreen trees formed a pic- 
ture that an artist would have loved to paint. What a pity 
it is that photography does not yet permit us to invest our pic- 
tures with their true coloring. 

First we stood on a bridge and took a picture looking up the 
stream. The photograph that we got is very far from ac- 
curately portraying the great beauty of the scene. To say 
that it was magnificent would be to put it very mildly. Tear- 
ing ourselves regretfully away because there were other fields 
to conquer and time was fleeting, we walked south along the 
banks of the stream. So many pictorial possibilities pre- 
sented themselves to our view, that we were at a loss to select 
the best ones and I fear that we let some of the finest go by 
while we passed on, unwilling to expose our plates because we 
feared that when they were all gone we would see better things. 
One dozen plates would, under ordinary circumstances, last 
for eight or nine expeditions, but such was the wealth of ma- 
terial, that we could have made many more exposures. 

When noon approached so near that the inner man began 
to clamor for his share of refreshment, liquid and solid, the 
sleighs began to appear on the drive on the opposite side of 
the Creek, and it was then that we secured the views showing 

172 



the sleigh tracks in the snow. Earlier in the morning, at 
about ten o'clock we had noticed several tracks in the snow, 
made by dogs. This would seem to indicate that the canine 
nature is susceptible in a greater degree to the beauties of this 
world of ours, than the human nature, superior as we egotisti- 
cally style ourselves, I will not, however, insist on this point, 
as it is possible that the dogs were returning from a very late 



WISSAHICKON DRIVE, PHILADKLPHIA. hafrv s. hood. 

call at the time. The latter is hardly likely, as dogs, at least 
as far as my knowledge extends, keep very good hours, much 
better indeed than their masters. 

When noon arrived it found us tired, hungry and in a very 
good humor because of the number of pictures we had been 
able to get. After we had eaten heartily, how heartily, the 
amateur who lays away his camera when cool weather comes, 
does not know, we betook ourselves to the darkroom and pro- 
ceeded to develop our plates. They were double coated, ortho- 
chromatic and we used tank developer for them. When 
they were completed they showed the delicate shadows in 



the snow; but much of the charm of the original scenes was 
lacking because of the absence of color. This is of course not 
so noticeable in a snow scene as it would be in almost any 
other kind of a picture; but it is a fault that we hope will be 
corrected in the near future. Several experiments are eveh 
now almost within striking distance of the great secret that so 
many have been and are striving to solve. 

In conclusion let me say a word to the amateur who puts 
his camera away with his straw hat. Don't do it I Some of 
the prettiest of all views can be gotten on the day after a snow 
storm, and even if you spend half a day tramping through the 
snow without getting a single picture, the resulting improve- 
ment in your appetite and the invigorating air that will fill 
your lungs, giving your blood a probably much needed tonic, 
will more than compensate you for the trouble you take. 
Exercise is good for you and when you combine exercise with 
pleasure, there results a very healthy combination. 



ON THE BANK OF THE RIVER. dr, w. f. zierath. 




PARAMIDOPHENOL AS A TANK 

DEVELOPER. 

By MILTON D. PUNNETT. 

5l^^5>!?N SP^^^ ^^ ^h^ "just-as-goods" which have come 
and gone on the photographic stage, Pyro as a 
developer for negatives still holds the boards. 

Take it all in all its equal has not yet ap- 
peared. Yet it is not perfect and some of the 
"just-as-goods" have some good points which it has not. 

Now that tank development has been found to yield nega- 
tives always equal to and generally better than tray develop- 
ment the staining qualities of pyro does not cut much figure 
as the hands need not come in contact with the developer. 
However, there are still some who would like to use some other 
developing agent, and for them I give the following formula 
for 3 J^ inch tank powder : 

Paramidophenol 25 grains. 

Sodium Sulphite (dry) 60 

Sodium Carbonate (dry) 60 

Water (65** F.) '. 36 ounces. 

Development 20 minutes. 
The Paramidophenol should be dissolved first. If the sul- 
phite and carbonate are mixed thoroughly, they dissolve quick- 
er for the reason that the sulphite keeps the carbonate from 
caking. This is a clean working developer and in my experi- 
ments gave as clear, if not clearer, negatives with old films 
than pyro. 

Using two powders and the same amount of water, will give 
you a solution which will develop in ten minutes (or a little 
less time if negatives of the same density as the twenty- 
minute development gives are desired.) More than one roll 
can be developed with one powder if care is used not to waste 
any of the solution. (This includes allowing the roll when 
taken from the tank to drain into the solution. To facilitate 
draining, hold the roll at an angle and it will drain practically 
free in about fifteen seconds.) 

175 



It 



I have developed successfully three rolls — six exposure film 
with one powder made as above. The first was developed 
twenty minutes, the second twenty-five minutes, and the last 
half an hour. At the finish the developer was not very much 
discolored and the negatives were a good blue black color. 



A FREIGHTER. 



AN BSSEX MARSH. hark 

AN UNDISCOVERED COUNTRY, AND 
THE ENGLISH HOLLAND. ■" 

By MARK W. THOMPSTONE. ' '' ' 

CN the southeast of Eng;]and, Ues a country vhidi 
/ even as late as the present century was called 
G "An Undiscovered Country," Avoided bytourists 
jl and holiday makers as flat and uninteresting, it 
a is only recently that the charms of Essex have 
been discovered by those who seek out the unfrequented paths 
away from the fashionable watering places, and beauties un- 
suspected have revealed themselves in this hitherto flat and 
uninteresting country. 

Beyond that portion made famous by Constable and the 
district haunted by the Complete Angler, very little was 
known except by the few, principally artists and phott^raphers ; 
so a short account of a ramble to one or two places along this 
ojast may be of interest to readers of the American Annual of 
Photography. 

A glance at the map of Essex shows it as a country broken 
and indented by numerous creeks and estuaries, tidal waters. 



rx > -T-L.L1IE ten ^c- 



^rji 3 ;= t-=r aoi nr i 



■'—■**■ -- a^T B^i rartT 



-? :^ r-r- SSI ^'n-: 



TM , i"*^ 



All Saints, the Parish Church of Maldon, has many fine ex- 
amples of Early English, decorated, and perpendicular work, 
but its chief feature is the singular triangular tower. St. 
Mary's, founded during the Norman era, is principally of the 
fifteenth century. In an old building, until lately used as a 
schoolhouse, close to the old tower of St. Peter's Church, is 
housed the famous library of some 7,000 volumes, collected and 
presented to the town by Dr. Thomas Plume, Archdeacon of 
Rochester, born at Maldon in 1630; he was also the founder 
of the Plumian Professorship of Astronomy at Cambridge 
University. He died in 1704, and lies in Longfield Church, 
Kent. 

A short walk through the fields, along the side of the Chelmer, 
which, just below the Abbey, forms a foaming waterfall 
crossed by a flat wooden bridge, brings us to Beeleigh. The 
Abbey of to-day is little altered so far as outward appearances 
go to what it was at the time of the Dissolution, for, unlike the 
majority, it was allowed to stand instead of being pulled down 
and a modern building built in its place. The result is a 
delightful jumble of different styles of architecture, early 
English windows and doors, Elizabethan brickwork, timbered 
gables, and chimneys in clusters, inside groined roofs and 
Tudor fireplaces. 

Close to the Abbey were the old mill and fishponds of the 
monks. A little to one side, near the floodgates, is a pretty 
thicket, crossed by trickling streamlets, where is situated the 
Lion Elm, so called from the curious formation of one side 
of the trunk, which resembles a lion's head. Beeleigh is the 
angler's paradise, for all manner of fishing can be had in the 
waters of the Chelmer and Blackwater, and in the Chelmer 
Navigation Canal, which joins the two rivers above Beeleigh. 

Leaving Maldon we join the main line at Colchester. This 
old town, whose history goes back 2,000 years, when, as the 
Roman town of Camerlodunum, it became their chief settle- 
ment in Britain, is now noted as the busiest agricultural centre 
of Essex, and one of the principal garrison stations of England. 
The origin of its name is unknown, but is supposed to mean the 
"town of Camulos," a Gaulish deity probably worshipped both 
by Britons and Romans; it was also the capital of Cunobelin, 
celebrated by Shakespeare in his play of "Cymbeline." 

179 



The chief feature of the town is the almost perfect condition 
of its ancient walls, for while the old buildings and narrow 
streets have given way before the requirements of commercial 
progress only a few old houses here and there, with a few care- 
fully preserved inns, remain to remind us of its ancient origin. 

One of the most interesting of the old Roman relics is the 
Balkan gate, situated on the top of the Balkan Hill, and with 
one exception is said to be the only Roman gateway left in 
England. 

Leaving Colchester and crossing over into Suffolk we reach 
the little seaside resort of Southwold situated close to the 



ST. EDMUND'S, SOUTHWOLD. mai* 

mouth of the river Blyth. Its history dates back to the year 
1490 and its fine church of St, Edmund even earlier. 

To the north of the town, on the way to Lowestoft, is the 
small fishing village of Covehithe, famous as the birthplace of 
that sturdiest of reformers, and most mordant of contro- 
versialists. Bishop Hale (1495.) Here also is a fine old church, 
whose ivy-clad ruins bear silent witness to the former wealth 
and populousness of a place which now ranks amongst the 
poorest and meanest parishes in the country (Illustrated). 
All the ancient parts of this once-stately pile arc crumbling 



into decay, but Divine Service is still carried on in a small 
building, built within the nave of the older church about 1672. 
The great arch of the east window still attests its former beau- 
ty, and the tower acts as a good landmark for travellers. 
" All roofless now the stately pile. 

And rent the arches tall, 
Thro' which, with bright drafting smile. 
The western sunbeams fait 

Tradition's voice forgets to tell 

Whose ashes sleep below, 
And fanc^ here unchecked may dwell 

And bid the story flow. A. Strickland. 

Five miles to the west of Southwold lies the little village of 
Blythburgh, situated on the River Blyth, noted for the ruins 



COVEHITHE CHURCH. mahu 

of the old Priory of the Augustintans, and its beautiful church 
of the Holy Trinity, 

Nearer the sea, on the road between Southwold and Dun- 
wich, lies the httle village of Walberswick. If Cromer is 
entitled to be called Poppyland, then Walberswick may fairly 
claim to be considered Artists' land, for this little village, with 
its quaint old houses, bridges, and ferry and its fine old ruined 
church is considered the most picturesque village on the Suffolk 
coast. It is the resort of countless numbers of artists, who love 
to depict its beauties with brush and pencil. (Illustrated). 



Its resemblance to Holland is so great that it has been called 
"the English Holland." Spacious green distances under bright, 
silvery Van der Velde-like skies, cattle feeding that Paul 
Potter might have sketched, dykes and waterways and high 
wooden little bridges, red roofs shining in the sun, backed 
by trees and topped by grey church towers, and over all there 
is sunshine and the flavour of the sea." The likeness is so 
great that the country might have been laid out and composed 
by Dutch painters. 

Leaving Walberswick, and following the coast line, we 
might easily fancy ourselves in Holland, with its dykes to pro- 
tect the lands against the inroads of the sea, its quaint wind' 
mills, and the watery pastures all reminding us of that country. 
A short walk brings us to all that remains of the once power- 
ful city of Dunwich — a few scattered cottages along a sea- 
washed cliff, and the crumbling ruins of a church. 

It was a port of some importance during the Saxon era, 
and Felix, the Burgundian monk, chose it for the establish- 
ment of the See of East Anglia in 632. 

Space forbids me to describe any further the beauties of this 
part of England, but should this short account induce any of 
by brother photc^raphers lo visit these spots 1 feel certain 
they will not be disappointed for want of subjects for their 



WALBERSWICK. mark w. thompstonb. 




QUICK DRYING OF NEGATIVES. 

By ERNEST A. TURNER. 

HEN we speak of drying a plate or film negative, 
we refer to the removal of the water absorbed 
by the gelatine coating or coatings (in the case 
of non-curling film.) For simplicity, let us con- 
sider first only a dry plate negative. We shall 
then have simply a sheet of glass coated on one side with the 
gelatine emulsion "film coating." The sheet of glass deserves 
no particular consideration. It serves simply to support the 
"film coating." The glass is entirely impermeable to the solu- 
tions and washwaters, it does not absorb and does not be- 
come "wet" in the true sense. Of course some drops of 
water will adhere to a glass plate when it is immersed in water, 
but this water does not penetrate even to a ten-thousandth 
part of an inch. This is easily proven by wiping and rubbing 
the plate with a clean soft linen cloth. The water on the sur- 
face of the glass is entirely absorbed by the linen and the sur- 
face of the glass becomes dry immediately without any time 
being necessary for evaporation to take place. The gelatine 
film coating is quite diflferent. It absorbs water greedily. The 
film coating on an ordinary dry plate is one-thousandth of an 
inch thick, — but place the plate in water for half an hour or 
carry the plate through the usual processes of developing, 
fixing and washing and the film coating swells up to ten- 
thousandths of an inch. The gelatine has absorbed nine times 
its own volume of water and it is this water that must be again 
taken from the gelatine before the plate negative is dry. 

Ordinarily we simply expose the plate to the air until 
the water in the gelatine has entirely evaporated. Now for 
the ways to hasten the drying. 

The first is to remove the water from the film coating by im- 
mersing the negative in some liquid which has a stronger 
attraction for water than the gelatine has. Such a liquid is 
ordinary alcohol. Immerse a wet negative in alcohol for a 
few minutes and most of the water is taken up by the alcohol. 

183 



The film coating shrinks in thickness and when the negative 
is removed from the solution what liquid it contains is not 
simply water but a mixture of alcohol and water which 
evaporates much more readily than water. The drying is 
hastened first by there being less liquid to evaporate and 
second by that liquid being more vaporizable. The negative 
dries in a few minutes. It is not necessary to use ordinary or 
"grain" alcohol for tiiis purpose. Denatured alcohol answers 
equally well and is much cheaper. A pint wide-mouth bottle 
of denatured alcohol will hasten the drying of a large number 
of negatives before it becomes too much diluted. It is used 
over and over and the wide-mouth bottle is suggested simply 
for the reason that it avoids the need of using a funnel when 
pouring the alcohol back from the tray to the bottle. 

A second method of quick-drying involves the use of form- 
aldehyde. Formaldehyde has a very strong tendency to "hard- 
en" gelatine and to make it insoluble. It is this same tendency 
that in alum produces that "puckery" feeling when a crystal 
of alum is applied to the tongue. The alum takes the water 
out of the tongue, — shrivels it. Alum does the same thing 
to gelatine, so does formaldehyde, only with formaldehyde 
the effect is many times stronger. When the wet negative 
is immersed for a few minutes in a five per cent, solution of 
formaldehyde the gelatine film coating gives up most of its 
water and shrinks or shrivels in thickness. At the «ame time, 
it becomes insoluble and capable of resisting heat. The nega- 
tives may now be removed and quickly dried in a moderate 
heat without fear of the film coating softening and running. 

The same eflfect is produced in a less degree by alum. 
Chrome alum is a much more powerful hardener than ordinary 
alum. A negative which is fixed in the usual Chrome Alum 
Fixing and Hardening bath does not carry nearly as much 
water in the film coating, and may be dried by a moderate 
heat. This hardening, of course, overcomes all hot weather 
troubles since it enables the gelatine to stand the higher 
temperature of fixing bath and wash water without softening. 
The softening tendency of the developer is not so important 
since the negative only remains in the developer for a very few 
minutes. 

The film conditions are exactly similar to those of the glass 

184 



plate. The film is simply coated on celluloid instead of glass 
and the celluloid, to all intents and purposes, resists wetting 
with water the same as a glass plate. Non-curling film, how- 
ever, is coated on the back with Chrome Alum hardened 
gelatine so that there are two surfaces to dry instead of one. 
This does not affect the rapidity of drying, however, as each 
surface has its own exposure to the atmosphere. 



A CEMENT SINK. 

By A. B. STEBBINS. 

J HE advantage of a cement sink for photograpliic 

I use are absolute security against leakage, deanli- 

* ness, and cheapness. If you follow the direc- 

i tions you can make one that will be a luxury 

[ compared with the ordinary wooden sink, and 

at a trifiing cost in labor and cash. The ni<»t important 

point is a good foundation, that is, a solid box so supported 

that there will be no settling or spring. Make your box 

four inches wider and two inches deeper than you want tfie 

inside dimensions of the sink, use good one inch lumber, (it 

can be cheap but should be sound ; rough hemlock is all right,) 

have it well nailed together, put it in the place used and have 

the drain pipe well fitted at this stage. 

I recommend that the cement bottom be two inches thick, 
so run the pipe through the box one and three-quarters of 
an inch so as to let the cement set around it, which it will 
hold tighter than if it were screwed in. See that it is fixed 
in the right place and stop it with a cork. It will be a good 
plan to put a union just below the sink if you are at all likely 
to want to disconnect it at any time. 

The cross sectron. Fig. i, shows the box ready to be filled. 
You will see that all the pattern or mould needed is a wooden 
frame four inches less in width, two inches less in height, 
(outside measurement) than your box. It is supported even 
with die top of the box by narrow strips tacked on so as to 
hold it in place equidistant from the sides and two inches 
from the bottom; these strips are indicated in Fig. 2. 

Now get your mason and have him put in the cement. Tell 
him to handle it dryer than he would for cement walks as it 
will drip through some, (no need of any tight joints in the 
box.) Let it set from two to three hours when you can pull 
the mould away and it is ready for troweling. Now let it 
set over night and it will be ready for use in the morning. 



Get the best Portland cement, and good clean sand. One 
half barrel of cement and three bushels of sand will make a 
sink 3x7 feet inside. 1 use three parts of sand, two parts 
cement. If you have any confidence in your mason let him 
decide these points. I have put two such sinks in my work> 
rooms ; got things ready, had the mason fill the moulds between 
five and six p. m. ; they were ready to trowel between nine 
and ten p. m. and were in use next morning. 



- SUPPORTIH& STRIPS - 



4-BOK 



FIG 1 



To finish the sink put a facing of planed lumber around 
■ the top indicated in Fig. 2 and let it project one-fourth of 
an inch inside (this is to protect the edges.) I also use a plan- 
ed piece of wood in the front of the box. A coat of paint 
gives it the finishing touch. If you think it necessary you can 
reinforce the sides, corners and lK)ttom of the sink by putting 
big nails or spikes in the cement. Have these completely buried 
and they will not rust. Heavy wires can be run in through the 
bottom, but if you have a solid box, good cement and clean 
sand, these are not essential. 

None of the chemicals used in ordinary work will efiEect 
sucfi a sink except strong actds. It does not absorb and re- 
tain moisture or odors ; developers do not stain it and it can 



be scrubbed out as you would scrub a stone sink, and it 
grows harder and more permanent as the years go by. 

The cx>5t will depend on local conditions. Cement cost 
me $1-75 per barrel, sand ten cents per bushel. One sink 
was put inside of an old wooden one, the box for the other I 
made out of picked up stuff. The mason will charge from 
fifty cents to a dollar for his work. 

If you once build a cement sink you will find it superior to 
anything else you have used. Follow the directions given and 
if there are any points not clearly understood I will gladly 
help you out if addressed at Canisteo, N, Y. 



THE WORKERS. 



PERTAINING TO PASSEPARTOUT 
GUIDE. 

Bj RICHARD TROTTER JEFFCOTT. 

fHE making of a passepartout is really a very 
/ simple matter. However, ideas relating to a 
' special method employed in the work, may pos- 
\ stbly be of advantage to the beginner. 

Some years since having occasion to make a 
number of passepartouts, I cast about for some arrangement 
that might be used to determine the matter of putting on the 
binding evenly — tJiat is, showing an equal margin when com- 
pleted. Gauging with the eye, measuring with strips of cards, 
and the use of rubber bands were out of the question, for the 
reason that some method, to do the work accurately and prac- 
tically mechanically could be found. 



CR.OSSSECTIOM> ACTUAL »IZK.PA%5>EPA,R.TOUT&VJ|OC 

The sketch herewith presented (actual size showing cross 
section) wil give a concise idea of the article I had made. 
The idea was submitted to a wood worker, who furnished my 
first guide and as I am still using it, although made some 
eight or nine years since, I know the scheme is beyond experi- 
ment. 

Two pieces of well seasoned cherry were selected twenty 
(20) inches long and one-quarter (%) inches thick. The 
bottom piece was two (2) inches wide and the top piece one 
and one-quarter ( i K ) inches wide. On the under side of the 
latter a slot was plowed five-eighths (5^) of an inch wide and 
about one-thirty-second { 1-32) in depth. The two pieces were 
now firmly glued and nailed as per the sketch. When com- 
plete the depth of the slot permitted the binding to project one- 
quarter inch (J4) on the face. 



We have now a guide that will give an equal margin of the 
binding on the glass provided care is used placing it in correct 
position and holding it there until the binding is withdrawn, 
at which time it adheres to the glass. 

The usual process of mounting our print on mat or card, 
the placing of it, and the "back" (to which the hanging rings 
have been fastened) together with the glass in position. We 
are now ready for the actual binding of the passepartout. 

To keep the several parts in position — glass, mat, and back — 
secure them with four wooden photo clips. Now take your 
guide and lay it along the edge of your work table, having 
previously measured off the required lengths of binding. Have 
within easy reach a saucer of water, some absorbent cotton, 
trimming knife and a pair of scissors. 

The short sides of your glass should first be bound. Take 
your binding and insert it gummed side up in the slot of 
your guide. Press it back into the slot until the margin is 
even. Now with your damp cotton go over the gummed 
surface quickly, being careful to push the binding back to its 
former position, as it will probably move during the latter 
operation. Take your passepartout in both hands and place 
it on the binding seeing that the glass edge is up against the 
guide firmly. Give an even downward pressure with the 
finger on the back of the passepartout and directly over the 
binding, withdraw and you have the binding adhering to the 
glass, and equally distant from the edge. 

Trim off your excess binding, proceed with the other sides 
and your finished passepartout will show equal margins. 

When it is desired to combine two colors of binding, for in- 
stance — silver-white and red-black — place your first binding 
on the glass alone and trim off along edge of glass. The 
second color being placed over the first can be readily gauged 
with the eye, and as an extremely narrow margin of the first 
color is generally desired no trouble will be experienced in 
procuring an even margin. 



191 



KITE ALIGHTING. 




ON PORTRAITURE. 

By CARL RAU. 

'O matter how much we may be attracted by other 
branches of photography, sooner or later a time 
will come when we shall wish to attempt por- 
traits and what could possess more charm and 
fascination, dian to be able to perpetuate the 
features and character of our fellow human beings? Camera 
workers hardly realize their opportunities and miss much that 
is of highest interest, charm and beauty. 

The themes to be recorded are endless, each sitter possessing 
something peculiarly his own, something different from any one 
else, from depicting the innocence and trust of childhood, the 
hopeful and dreamy days of youth, through middle age along 
to life's evening and the pathos of old age. Here we have 
chapters from life's history in which we all have a part and 
which touch us all alike. 

It is true many an amateur's effort and for that matter, many 
a professional's oftentimes also, is more than disappointing, 
often extremely ludicrous, if one's indignation can be mastered 
enough to see the "portrait" from the comical side. How 
many incongruities are dragged in, as to furniture and back- 
grounds, what a forced, look-pleasant expression of the 
features, what theatrical and often entirely foreign placements 
of the body, not to mention the many sins committed in the 
name of retouching, a slicking up to mere prettiness. 

Then again we have the hopelessly undertimed indoor portrait 
of the beginner, the black and white outdoor snapshot in direct 
sunlight and the flat, over exposed ghostly image, with its 
many variations. No wonder that many so-called "amateurs" 
eventually stop this waste of material, seeing the error of their 
ways and wisely drop from the ranks, leaving but the compara- 
tively few to continue to learn, to improve, to finally come out 
victorious, producing results which command recognition. 
It is lucky for the former that he can place the blame on 

193 



lack of skylight, darkroom facilities, on the party who finishes 
the exposures for him, on poor lenses, cameras, etc., on anything 
but his own incompetency — and yet we know of workers in 
the front ranks, who get their results without skylights, 
who obtain the most beautiful and exquisite effects with the 
most inexpensive lenses and find all the work they can possibly 
accomplish. But they are the students, the real amateurs, 
the artists, the ones that have a genius for hard work and the 
patience to persevere. 

In these days of plates of ihe utmost speed, a skylight can 
well be dispensed with, in fact its absence is often preferable. 
We do not usually meet our friends under skylight conditions, 
but under a great variety of light effects, both in and outdoors 
and the absence of skylight does away with many temptations, 
with much that is artificial, and has a tendency to produce 
originality and variety in light and shade. 

Of course the camera worker must take hold of his work 
intelligently, make use of his brains and possess sufficient ex- 
perience and technical knowledge to realize the limits and 
possibilities of his craft and such knowledge is apt to require 
years to acquire. 

For indoor portraiture strong, glaring light effects and 
opaque intense shadows should be avoided. A diffused light 
g^ves pleasing results and the effect is heightened if the light 
is somewhat more decided from one direction. Reflectors for 
softening heavy shadows may be useful and at times neces- 
sary, but should be used with judgment and the utmost caution. 
The exposures should be sufficiently long to time the plate fully 
in the shadow portions of the face and the developer not too 
strong. 

Very successful portraits have been secured outdoors and 
the rapidity of outdoor conditions is an advantage giving the 
sitter less opportunity to move and thus spoiling plates. Much 
care should be used to place the sitter in the most suitable light 
and, above all, front lighting must be entirely avoided. The 
light may come sideways or even from behind the sitter, so long 
as the sun will not shine into the lens. Backgrounds need be 
looked after carefully, many an otherwise good portrait has 
been about ruined by unsuitable background arrangements, 
Over exposure must be guarded against, since the diffusion 

194 



usually met outdoors inclines toward flat lig^hting without the 
help of over exposure. 

We all understand of course, that skill in portraiture does not 
consist so much in catching a pleasing likeness only, a map of 
the features, as it were, from the most favorable view point, 
but rather to represent the spiritual aspect, the man or woman 
as they really are and to accomplish this end it is very neces- 
sary to understand character, to make your sitters feel entirely 
at ease and forgetful of camera. This knack may be natural 
to some, but most of us must acquire it by hard study and work, 
as it is not an easy matter by any means. Above all, be in 
sympathy with your sitters so that your work will possess this 
sympathetic quality. 

By keeping high standards before us and learning by errors 
as we go along, we will soon be able to show some progress 
and finally results which people of good taste will admire 
and with a reputation for high class portrait work once es- 
tablished, there will always be plenty to do. 



A PASTORAL. 



A WORD UPON POSING. 

Bt CHARLES STILLHAN TAYLOR. 

jyHERE are many photographers of skili who 
/ stoutly affirm that the art of posing cannot very 
7 well be taught; that this very desirable facility 
n is not to be acquired, either with the aid of per- 
O sonal instruction or through the medium of print- 
ed text. That this viewpoint is altogether wrong, a little 
knowledge of the subject will quickly prove and as quickly 
banish the glamor of mystery which many amateurs associate 
with the skillful posing of the human figure. Despite the 
opinions of many able camera workers, who declare that pos- 
ing is a matter of inborn good taste, or a gift, I shall endeavor 
to point out, that the pose is really nothing more than a 
method of expression, quite the same as writing or speaking 
and that, by observing certain fundamental forms, it is quite 
as possible to cultivate a knowledge of how to pose, as it 
is to become profkient with the pen, or to acquire a pleasant 
and expressive manner of speaking. At the beginning it may 
be well to remark that the object of a portrait is to first 
portray the likeness of the model, then to bring into being 
the characteristics of that individual, and lastly, to so arrange 
the figure within the picture plane, that the effect may be pleas- 
ing to the eye. This arrangement of the figure to fit a space 
is the mission of the pose, while the arrangement of the lines 
and masses of a figure, together with the distribution of light 
and shade, is known as composition. Thus you see a portrait 
should possess three elements : likeness to the original model, an 
agreeable arrangement of the figure within the picture space, 
and a harmonious distribution of light and shadow, which 
will bring out or emphasize the character, beauty or grace of 
the model. 

In nature as in art, we find that the different forms of ob- 
jects have a deep significance to us and that different forms 
bring different sensatkins to our minds. Nearly everyone can 
appreciate the greater beauty of an oval when ccmpared to a 



square, and see that a curved line is far more beautiful than a 
straight one. And this is so, because the curved line appeals 
more strongly to our imagination and by reason of its greater 
variety, the circular line creates in our mind a greater number 
of suggestions or ideas. As a curved line gives us the greater 
pleasure, so does a vertical line give us the idea of support or 
stability; a horizontal line the idea of repose; while lines 
drawn at an angle from the perpendicular, suggest life and ac- 
tion. This brings us to the expression of beauty in lines, and 
in his "Analysis of Beauty," a rare work published in the year 
1752 — the artist Hogarth speaks thus of a flowing line. "The 
serpentine line, by its waving and winding in different ways at 
the same time, leads the eye in a pleasing manner along the 
continuity of its variety, which line with the triangle, gives 
the most expressive of figures, signifying not only beauty 
and grace, but the whole order of form." This line is often 
called by painters, the "line of beauty." Raphael was an ex- 
ponent of this serpentine line and in the reproduction of his 
Parnassus the grace and elegance of this line of beauty can be 
observed. 

Much of the failure that comes to discourage the photograph- 
er who takes up portraiture in a serious way, is due to the 
ability which the camera has, of clearly delineating both the 
undesirable as well as the desirable feature of a view. This is 
one of the greatest obstacles the amateur portrait photographer 
has to overcome, and too much care cannot be taken to pre- 
serve the simplicity of a portrait ; that the eye may not be at- 
tracted by an overabundance of unimportant detail, but that 
the interest may at once be drawn to the personality of the 
model itself. While in the majority of portraits, the center 
of expression is usually in the head or face, the other members 
of the body play a very important part also. The attitude of the 
body should be given due attention and not ignored as a 
means to express character and individuality. In every picture 
there can be but one object upon which our interest is centered 
and to this objective point all lines should lead, that the eye 
may not stray along a confused tangle of conflicting lines, 
but be rather led, without an effort, to the point of greatest 
interest. It is not at all necessary, as many seem so inclined to 
believe, to throw all but the principal object of interest out of 

197 



focus, but it is important to so subordinate the lesser details 
or accessories of liie portrait, that they may not draw attention 
away from, and so conflict with the principal point of interest. 
A reasonable amount of detail is a necessary part of a por- 
trait, for without some support the composition would be lack- 
ing in variety, and thus simplicity if carried to excess, will pro- 
duce monotony and dullness, and so defeat our ends. Variety 
may be well considered as being one of the principal sources 
of beauty and, unless carried too far, it is a very important 
factor in photography, because by the introduction of several 
forms, lines or shadows, we give relief to the eye and so fur- 
nish entertainment for the mind. 

Repetition is likewise an important aid, and by thus intro- 
ducing repetition to oppose variety, we echo, as it were, the 
major chord. Yet in our desire for variety we must ever bear 
in mind, that a pleasant and well balanced composition cannot 
be had unless there is harmony between the several parts 
of a photograph, or in other words, we must have variety with 
unity. Alison in his essay on "Taste" speaks thus pertinently 
of harmony. "Beautiful forms must necessarily be composed 
both of uniformity and variety, and this union will be perfect 
when the proportion of variety does not encroach upon the 
beauty of unity." 

This may be also said of uniformity and symmetry, which 
if carried to extremes, results in monotony and weariness. 
In our oval we find a good example of variety in unity, while 
the outline of a square expresses the opposite sensation, unity 
without variety. 

Stability or support is yet another important element of the 
pose, expressing the idea of strength and rest. One of the 
most graceful as well as the most simple expression of support, 
is found in the forms of a triangle, where each line is found 
to support or balance that of another. This pyramidical form 
of design we find in many famous paintings and in portraiture 
The pyramid or triangle form in its many variations and modifi- 
cation is of the greatest assistance to the photographer. If we 
have lines running in but one direction, the effect is noticeably 
weak and one sided, and to remedy this awkwardness, other lines 
running in an opposite direction are introduced for the sake of 
balancing. 

198 



As the photographer's chief aim is to decorate a space, the 
worker should keep in mind those essential underlying pnnci- 
pies which have just been mentioned. In the composition of the 
figure, two methods are at the photographer's command. One 
method is known as the "decorative line," a form of arrange- 
ment which is very popular with many modern painters. This 
method wherein the line of decoration is both the beginning 
and the end of the composition, is seen in all its beauty in the 
works of the Japanese painters, and as a medium for the ex- 
pression of the worker's individuality, the decorative design, 
has, perhaps, more scope for freedom of execution, through the 
more conventional forms of composition. 

The other method of arrangement is the better known con- 
ventional composition and numberless examples may be seen in 
the many works of master painters of both the old and the 
modern schools of painting. In this method the figures are 
designed to conform with certain fixed principles and while 
many artists and art critics believe this order of design lacks 
the freedom of the decorative composition, this conventional 
design has long been regarded as the foundation of art. This 
order of form in figure composition is based upon the circular 
and the triangle line and their numerous variations and from 
the significance which these lines bear in the arrangement 
of objects, various art writers have divided these designs into 
circular and pyramidical compositions. 

Circular composition is of value where several figures are 
grouped within the picture space and by its simplicity and 
pleasant sweep, a great deal of character is given to the com- 
position. The circle with its variations, such as a circle within 
a rectangle, oval, el ipse, and so on, are not so widely used in 
photographic compositions as other forms. In outdoor por- 
traiture the circular line is of great assistance in combining 
the landscape with that of the figure, thereby producing a union 
and balance of masses and shadows, upon which the pictorial 
effect of the group so largely depends. 

The triangle or pyramid is especially adapted to the pose 
of a single figure and for this reason has been much used by 
the photographer. The pyramid is capable of many variations 
and may be lengthened or shortened at its base, or sides, in- 
verted and changed in many ways. 

199 



The vertical figure in composition can be oftentimes made 
to e3tpress a great deal, but in amateur photography the suc- 
cessful handling of the vertical is not so often seen as other 
positions of the figure. The vertical line is unquestionably a 
very attractive line in the portrayal of art, and the greatest 
drawback to its successful representation is found in the spaces 
unoccupied by the figure. By a vertical is usually meant, a 
standing one, where the model occupies considerably more 
picture space than if the same figure was sitting or reclining. 
The greatest objection to this vertical line, is that the two 
oblong spaces upon either side of the subject, show an emptiness 
or blackness, not at all in unity with the figure. In the full 
length portraits of women this point is not so strongly marked, 
as the angular line of the skirt breaks into the regularity of 
this side space. But in the portraiture of men, the full length 
figure presents a much more difficult problem, as masculine 
apparel is not so well adapted for this purpose. To preserve 
the unity of the vertical figure, the empty side spaces must 
be broken of their regularity and if this is accomplished by 
letting the figure encroach upon these side spaces, the unity of 
the composition is complete. 

But whatever form of composition is selected to express our 
idea of a pictorial photograph, the worker should by no means 
attempt to closely follow any contour of design, but by keeping 
fresh in memory those principles already given, should aim to 
so treat each figure in his composition, that beauty, grace, and 
character may be represented in the pose. The means employed 
should not be made too evident, but neither should toomuchcare 
be devoted to its concealment, which unless very ably done, 
shows the trouble we have taken to "conceal the art for art's 
sake." While a multiplicity of directions might be given for 
posing the body, the head, the hands, and so on, yet it is 
evident that any set of rules can be of but little if any real bene- 
fit, for unless the worker understands the underlying principles 
of the subject, he can only follow blindly such methods of pro- 
cedure, imitating the effect without knowing the cause. With 
this point of view in mind, I shall merely mention the important 
considerations of the subject and simply suggest to the reader, 
the points which should be kept in mind when an attempt is 
made to pose the model. 



200 



Formality should never enter into the pose for if a formal 
pose is selected, the greatest bug-bear of the photographer, — 
stiffness — usually creeps in to rob the work of its greatest 
charm. It may be said that women are easier to pose than men, 
and this is true, not only because the feminine costume is bet- 
ter suited for artistic endeavor, but is also accounted for by 
the grace of the subject herself. It is a woman's inheritance 
to look dainty and beautiful, while in a man we naturally seek 
for character, strength and ruggedness. A "nervous con- 
ciousness should be avoided at all times and for this reason it 
is a most excellent idea to interest the model in some of the 
many little things so natural to the subject, and which every 
day association so constantly recall to mind. The simple act 
of buttoning a glove, holding a fan, picking up the skirt, or 
arranging a vase of flowers, will add a motif and interest to a 
portrait, often unobtainable in any other way. The sudden 
suspension of motion which is so admirably seen in statues, is 
yet another means of obtaining animation in the model. 
An example of the effectiveness of arrested motion, is seen in 
the well known picture "A Daughter of Niobe," and which 
may be represented, photographic wise, by the model picking 
up a book whilst passing a table; pausing an instant as she 
greets an acquaintance; or perhaps it is nothing more than 
arranging a lock of straying hair. Reading, sewing and writ- 
ing also lend aid in relaxing the body, that it may assume a 
graceful, easy and natural pose. 

The arrangement of the hands in a portrait is often one of 
considerable difficulty and various methods are made use of 
to lessen conspicuousness of the hands. The principal reason 
for failure is due to the feminine subject who invariably com- 
plains that the hands appear unnaturally large. This dissatis- 
faction, arises, not because the hands are usually out of pro- 
portion with the head or other parts of the body, but is prin- 
cipally due to the artist, who previously to the introduction 
of photography, erred in drawing the hands and feet much 
smaller than the natural size. This error is a traditional one 
and while the camera has corrected much of the former ex- 
aggeration of the pencil and the brush, the hands are still the 
cause of much dissatisfaction. Unlike the painter, the photo- 
grapher must, for the sake of focus, keep the hands in the 



20 1 



same plane as the head, and upon this account the camera work- 
er is greatly cramped in working out his pictorial ideas. If 
one give an occupation for the hands, their natural disposal 
is assured, providing they are occupied in a manner which 
harmonizes with the subject, or motif of the photograph. The 
two hands should never be occupied separately, doing two 
things, because attention is drawn and confusion is created. 
When the hands are brought together care should be taken to 
avoid having their position form any noticeable figure or angle, 
which will conflict with the pose of the head or body. In 
some positions, the hands appear much larger than in others, 
and this is especially so when the broad back of the hand is 
seen, or when the hands are brought close together with the 
fingers interlocked, which under a broad lighting appear like 
one hand. A long wrist is often exaggerated in this manner, 
but may be easily remedied by a bracelet which breaks up 
this undesirable idea of length and breadth. The light should 
never fall too strongly upon the hands and seldom with the 
same intensity that illuminates the face or figure. 

Expression in portraiture does not consist in forcing the 
features to assume an unnatural, intense expression. Many 
faces are very beautiful in repose, a few appear almost idiotic 
when a smile is attempted, and a very few indeed can be por- 
trayed when laughing heartily. A smile if natural, is beauti- 
ful, but a made-to-order simper is far from attractive. Ani- 
mation, is upon the other hand suitable for all subjects and 
fully deserves the closest attention of the camera worker. The 
attitude of the figure should be in perfect harmony with the 
face and the expression should be characteristic of the in- 
dividual, while the scheme of light and shade should bind all 
together, and if this is intelligently done, the photograph should 
portray the desirable and agreeable characteristics of the sitter, 
which is indeed, all that portrait photography can be expected 
to accomplish. 



202 



.^ 



A SIMPLE PORTRAIT LAMP. 

By A. W. WESTON. 

f HE professional photographer has many a good 
'} lamp at his disposal, but the amateur of modest 
means still looks for the ideal inexpensive light, 
I which must be soft and powerful, yet cheap 
I enough to be within the reach of all. Alas, it 
is only an ideal at present, for cheap lights even when strong 
enough, are generally insufficiently diffused. 

It appears to me that the best way in which we can diffuse 
the light without losing its strength, is by moving the actual 
source of light over a large area at the precise moment of its 
use. Flash powder would of course be too quick to allow of 
this unless several discharges were used and the most suitable 
method is to employ magnesium ribbon cut three or four 
lengths. These igniting simultaneously take three or four 
seconds to bum. I first pursued the idea with a kind of wand 
burning ribbon at one end, and the arrangement being long and 
easily worked, it allowed great control of lighting. 

However, the arrangement of which I give a sketch, is more 
certain to give an evenly diffused light with even less trouble. 
The example which was taken with the same, illustrates the 
completeness of diffusion as no reflections whatever were used 
to aid it. 

It appears rather a strange arrangement for a ribbon lamp, 
but its construction is as easy as it is cheap. Taking one bam- 
boo cane about four feet long, some fairly thick wire, and a half 
of a broom stick, we proceed as follows: A hole is bored in 
the broom stick at A to receive the cane B, and eight small 
holes are bored in the cane to receive four wire holders, 
CCCC. Of course the pieces of wire are cut to the required 
length and threaded through the holes before being bent to 
the final shape of C, 

Having bent the holders it is only necessary to fill the rings 
D with cotton wool and bind it over tightly with fine wire to 
form four spirit lamps, and then the pieces of ribbon being 



tapered to a fine point and secured by the clips E, After 
saturating the cotton-wool with methylated spirit we have the 
lamp ready for use. 




It will be apparent that 
so long as the cane is kept 
in a horizontal position as 
it would be when rested on 
two projections FF, the 
flame is safe from the mag- 
nesium ribbon. But to take 
the lamp up by its broom 
stick handle and then twist 
the cane to a vertical posi- 
tion, brings the flame di- 
rectly underneath the fine 
points of the ribbon which 
catching directly give a 
fourfold light. We do not 
stop here, however, but 
continuing to revolve the 
handle, and perhaps mo\^ 
A. w. WBSTON. '"S '* along at the same 
time, we diflfuse the light 
over a very considerable area, and so diffuse the four points of 
light that they become equal to the diffusion of daylight ad- 
mitted by a window four feet square or even larger. 

Such a lamp is easy to make, easy and cheap to use, easy 
for the sitter and excellent for results. 



SUSAN B. ANTHONY (Last Portrait)- 




A STANDARD OF EXCELLENCY. 

By GEO. D. JOPSON. 

HAT profession is advancing with greater strides 
than that of the photographer? "For a' that" 
what standard has the photographer as a pro- 
fessional man? Should not there be some high- 
er goal for the photographer to strive for than 
the making of pictures for so much per dozen ? Should there 
not be some degree higher than the winning of a prize at a 
convention ? Should not the learned and skilled photographer 
be placed on the same plane with the physician, lawyer or any 
other skilled professional man? Should not the photographer 
who possesses much skill and learning be placed in a position 
where he will be in the eyes of the public several degrees above 
the "quack" photographer? Do you ask how this is to be ac- 
complished ? Only in one way. By the photographer's passing 
an examination as to both the technical and practical parts of 
photography. He should have a thorough knowledge of his 
chemicals, instruments, and art of making pictures. This is 
a good subject for our national and state associations and 
for our leading photographic societies. We must include our 
amateur friends in this for among them are those to whom 
the professional photographer is much indebted and to whom 
such a degree should be given. 

A clergyman may, by passing certain examinations, receive 
the degree of D.D., Ph.D., LL.D., etc. Should not a degree be 
created for the learned photographer as well? Should not 

he be a well! let us say Doctor of Photography — 

D. of Ph. From whence should he receive this degree ? From 
some high institution of learning that will institute a depart- 
ment for such a course. What about the photographer who 
can not leave his business to attend such an institute but is 
desirous to obtain such a degree? Possibly some arrange- 
ment may be made whereby he can take his course by corres- 
pondence. Enough said. The wise can see and realize the 
idea and I trust the suggestion is a practical one to them. 

207 



THE RETURN OF THE PRODIGAL. W. H. PorterfieU. 




OZOBROME. 

By THOMAS MANLY. 

ZOBROME IS rapidly becoming popular in Eng- 
land and no wonder when its advantages over 
ordinary carbon printing are considered. The 
manipulation is straightforward and simple and 
now that nine months' experience has been gain- 
ed in its employment by all sorts and conditions o£ workers, a 
very practical and scientific method of working has been 
evolved. 

If the latest instructions are accurately carried out and the 
worker has only a faint idea of carbon printing, there is little 
chance of his going wrong even in his first attempt. 

The abject of Ozobrome is to make copies in carbon of a 
variety of colors either on the top of a bromide print or to 
transfer the carbon copy to a fresh support leaving the bromide 
print available for further copies. All results come out the 
right way round, that is, not reversed as to right and left 
as in the single transfer in the ordinary carbon printing. 

The beauty and roundness of the Ozobrome picture leave 
nothing to be desired, and a dozen or more excellent carbon 
pictures can be produced from one bromide print without 
light of any kind. 

It is, of course, impossible in an article limited in length to 
suit an annual to give very precise working details but the 
following description gives a very good idea of the manipula- 
tions. 

Three porcelain dishes are placed alongside one another 
thus : 

Dish A DishB Dish C 

Working Half full Half full 

pigmenting of of 

solution cold water cold water 

Into A is poured the working pigmenting solution, that is, 

209 



the concentrated solution as sold plus four times its bulk of 
water. 

Dishes B and C are half filled with cold water. 

Place the bromide print (which should have previously been 
hardened with formal or alum and dried) face upwards, in the 
dish of water C and rub the surface with a soft sponge. 

Now immerse the plaster (cut little larger than the 
bromide print) in the same dish C and rub the surface with the 
sponge, but be careful not to allow it to remain in the water 
for more than thirty or forty seconds. 

Take the plaster from the dish C and after draining the 
superfluous solution from a corner, draw it face downwards 
wards, to dish A containing the working pigmenting bath 
and push it under the surface with a soft camel hair brush and 
then rock the dish to insure even soaking. 

Allow the plaster to remain in dish A for one and a half to' 
two minutes (the longer time for dense black bromide). 

Now remove the soaked plaster and after draining off the 
superfluous solution from a corner, draw it face downwards 
along the surface of the water contained in dish B and in 
bringing it out, drag the gelatine film across the edge of the 
dish so as to remove any airbells. 

Now transfer the soaked plaster to dish C where the bromide 
print is lying and very gently place it, film side downwards, 
upon the surface of the water, first touching the water with 
one edge only and then lowering the remainder of the plaster 
so as to drive forward any airbells, then take hold of the 
underlying bromide print and lift the two papers, clinging to- 
gether out of the water and at once shift them into position 
and squeegee them together upon a sheet of plate glass. 

After squeegeeing place the adhering papers upon blotting 
paper. 

In fifteen to twenty minutes time either of the two following 
methods can be adopted. The adhering papers can be develop- 
ed at once in warm water in which case the pigmented gela- 
tine will adhere to the bromide print and produce a carbon 
picture on the top of a bleached bromide print, or the plaster 
can be separated from the bromide print and squeegeed on to 
another piece of paper, leaving the bleached bromide print 
available for further transfers. 



2IO 



In the latter case, which is called No. 2 or the transfer pro- 
cess, the result is a pure carbon picture on plain paper without 
any silver substratum and in my opinion is just as simple to 
carry out as method No. i. 

To carry out method No. 2 a piece of transfer paper is plac- 
ed in dish C and the back and front rubbed with a sponge and 
left about one minute to soak. Now take the squeegeed print 
which was left upon blotting paper for fifteen or twenty 
minutes, and from which you want to make a transfer, and 
place it in the dish B and at once pull the plaster from the 
print under the surface of the water. Hold the plaster in 
your hand and leave the print in the water. Place the 
plaster upon the surface of the water in dish C, where the 
transfer paper is lying, in exactly the same manner as described 
in the operation of bringing the plaster in contact with the 
bromide print. Withdraw the two papers clinging together 
and squeegee them into close contact upon a sheet of plate 
glass. 

The adhering papers are then placed between blotting paper 
and subjected to a moderate pressure such as the weight of a 
sheet of plate glass. 

Tn about ten to fifteen minutes the papers will be ready for 
development which is carried out in a similar manner to car- 
bon printing. 

The bleached bromide print remaining in dish B should be 
washed for fifteen to twenty minutes previous to redevelop- 
ment with any bromide paper developer. 

Although a description of the various operations takes a 
good many words to express, the entire process is exceedingly 
simple and everything goes on like clockwork after one or two 
trials. 

Some stages of the manipulation may seem strange and un- 
conventional to a beginner, who may possibly ask himself, 
"Why place the plaster in water before soaking in the pig- 
menting solution ? It surely comes • to the same thing as 
diluting the pigmenting solution." This is not so. The soak- 
ing in cold water expands the gelatine film and as long as the 
film does not get saturated, it will more evenly and more 
eagerly imbibe the saline solution than if it were in a dry 
condition — the saline solution will moreover replace a good 



211 



deal of the absorbed water. One great advaittage of this 
method is Aat the plaster becomes fairly limp and is much 
more easily kept under the surface of the pigmenting bath. 

Now why do we draw the plaster unpigmented with the 
pigmenting solution across the surface of cold water? The 
answer is : if we were to bring the gelatine film direct from the 
pigmenting bath, covered as it is with a superfluity of an active 
solution, into immediate contact with the bromide print, the 
superfluous solution would attack the image before we could 
press the gelatine film into perfect contact, resulting in a loss 
of detail in high lights and skies. The simplest way under the 
circumstances is to produce a kind of buffer between the two 
surfaces in the shape of a layer of water which permits us time 
to bring the film into close contact with the bromide image 
before any appreciable chemical action takes place. 

It would therefore be advisable to squeegee the print and 
plaster together as soon as possible after they have been 
brought together in dish C. 

Why do we rub all surfaces with a sponge? First of all a 
clean sponge removes all dust and dirt, which are deadly 
enemies in all photographic operations. Secondly, the friction 
causes more even absorption and removes invisible airbells 
which have a habit of sticking to plasters and transfer paper. 
When transferring to rough paper, the sponge is invaluable as 
if the paper is vigorously rubbed back and' front under water it 
only requires one to two minutes soaking in cold water to pre- 
pare the surface for the reception of the improved plaster. 



212 



TONED LANTERN SLIDES. ^ 

By ALFRED H. SAUNDERS. 

JTAY, Father, why do you stick to such a dirty, 

u messy process in making your slides? Why not 

n give up the wet collodion, with all its baths and 

A array of chemicals, and go in for dry plates? 

S Then I might make some slides from my snap 

shots." Thus spoke my boy after seeing me fix up for a couple 

of dozen slides for a special lecture. My reply was, that wet 

collodion slides are easier to produce, give better quality, tone 

easier and are finished more quickly than dry plates. No 

maker with a reputation to keep, or make, will use dry plates 

if he knows the wet collodion process, especially for commercial 

purposes, and coloring, for which the neutral grey tone lends - 

such an admirable foundation. 

"Yes, but, cannot you color dry plate slides just as well?" 
"Not with oil ct^ors, and the aniline dyes in my opinion spoil 
a good slide, so don't bother until I've finished this toning. 
There 1 see what you've done now, these slides are too reddish 
brown and I have to make them over again, so be off until 
I've finished." 

"Now that you have those slides finished, can I ask my 
question?" "Yes, go ahead." "At the Board of Education 
lectures last season, two lecturers had various colored slides, 
blue for moonlight, pink for sunset, green for foliage, and 
some of them were brown. Can you tone your slides to give 
these various colors?" 

"I could but it is too much trouble, and I prefer to see a 
good plain slide full of v^or and half tone, rather than 
these monotones," "Well how is it done?" "These tones may 
be obtained in various ways, by making cartton slides with 
various colored pigments. By tinted glass in the lantern. 
By soaking the finished slide in aniline dye until it acquires the 
necessary depth, and washing the sky out with water and brush. 
By the various developers combined with exposures of short 
or longer time and last by toning after the slide is completed." 



"If you can spare the time, father, I would like to learn the 
last two methods." "Very well, then, first, I will take your 
moonlight pictures. After well fixing and washing the slide, 
(which should for preference be developed with a good hydro- 
chinone formula), immerse it in a weak solution of ferrous sul- 
phate, say ten to twelve grains to each ounce of water, for ten 
or fifteen minutes, (one or two experiments according to depth 
of color required, will soon prove the correct amount. I pre- 
fer twelve grains to the ounce of water). Wash well in run- 
ning water for ten minutes and place in a bath of ferricyanide 
of potassium, ten grains to each ounce of water. A deep blue 
color will soon result, after which again wash for ten minutes, 
and dry. The color can be yaried from pale to blue black, 
according to strength or weakness of the solutions. 
. For green tones, take : 

No. I. 

Uranium Nitrate ^ oz. 

Water 20 oz. 

No. 2. 

Potassium ferricyanide ^ oz. 

Water 80 oz. 

No. 3. 

Ferric Chloride i oz. 

Water 10 oz. 

Take equal parts of No. i and No. 2 and let the slide remain 
in until it is very dense. Wash for ten minutes and immerse in 
N0.3, one ounce to ten ounces water, until it assumes the color 
desired. The time varies from five to fifteen minutes. Wash 
well. 

To clear the green sky, if this is at all prominent on the slide, 
while in its wet state, with a gilder's camel hair swab, or mop, 
go over it with a weak solution of cyanide of potassium, one- 
quarter ounce in ten ounces water, holding it under the faucet 
after each swab until it is clear. Well wash and dry. The 
sky can be made blue with the blue toner if desired. 

Brown tones are obtained by overexposure in the camera, 
and a highly restrained developer ; or 

No. I. 

Uranium Nitrate 20 grs. 

Water 5 oz. 

No. 2. 

Potassium ferricyanide 20 grs. 

Water 2 oz. 

Add No. 2 to No. i, a dram at a time, until a very dark 

215 



brown tinge is obtained, immerse the slide and watch develop- 
ments. 

These are rapid, varying from a brick red, throu^ dark 
chocolate brown, to a reddish yellow tinge. Operations can be 
stopped at any stage by quickly rinsing under the tap. Wash 
and dry." 

"Thank you for those experiments. Now, what is the dif- 
ference between a slide and a transparency?" "Practically 
none, for use in the stereopttcon they are one and the same. 
Any positive on glass is a transparency. I have seen some 
pretty transparencies hanging in our friends' windows." "Are 
these made in the same manner as slides are?" "Yes, except 
that instead of reducing you make an enlarged slide. -Ex- 
posure, development and tinting are all carried out by the same 
process, the only change made being that instead of binding up 
with a plain cover glass, a piece of ground glass is framed 
up with the transparency, for better effect." 



!.WE-TONE-MY (Ncz Perces). 



THE POSE. 



PROCESS CAMERAS. 

By J. ARTHUR H. HATT. 

I^T is well known that process photographers have 
y been severely handicapped for the want of a 
p good camera, one which lends itself equally well 
N for direct and indirect half-tone, and for two, 
Q three or four-color work. Especially is it neces- 
sary that the camera may be easily focussed to one hundredth 
of an inch, if desired. And this hne adjustment should be 
done with the turn of a screw, without having to spend from 
five to fifteen minutes in pushing the bulky camera itself to 
and fro. It is equally essential that the screen distance shall 
be easily regulated, and that the photographer can be sure 
that once regulated, Uie distance will remain exactly as he 
fixes it. 

This feature of accuracy of adjustment is particularly neces- 
sary with the three-color half-tone photographer, who has 
to register his three negatives accurately whether the positives 
he has to work from are correctly in register or not. 

Similarly, for direct work on dry plates, the utmost ac- 
curacy of adjustment between screen and plate is necessary, 
because the dry plate requires much less separation between 
screen and plate than the wet plate. 

The front of the ideal process camera should be perfectly 
rigid, because a movable front cannot carry a heavy lens 
and prism and remain trustworthy, especially if these are ad- 
justed to a cone. There should be a cone on such a camera: 
first, to supply the necessary angle of view, and secondly, to 
permit the change of color filters during the exposure of one 
plate. This is usually done by means of a dark slide in the 
cone. 

It is almost twenty years smce I began my tussle with the 
great American process camera and some others made by other 
nations. In the beginning, as I freely confess, I did not know 
just what I did want in the way of a camera, and was satisfied 
to do the best I could with the apparatus I had. 



My first half-tone work was done with a kit made by the 
late Mr. Wolfe, of Dayton, Ohio. The kit was arranged to hold 
a screen on one side and a wet plate on the other. They 
were not easily adjusted to different spacing between screen 
and plate. Another drawback this kit had was that one had 
to use a plate the size of the kit every time. Fancy making 
a single column negative on a 14 x 17 wet plate. On the 
whole, however, the kit was reliable and would remain, as far 
as separation is concerned, just as it was fixed. 

The next contrivance I used consisted of a kit to hold the 
half-tone screen in front of the wet plate carrier. This was 
an improvement on the Wolfe kit in that it permitted the use 
of a plate smaller or larger than the half-tone screen. In 
accuracy of adjustment it was not as good as the Wolfe ar- 
rangement, but on the whole, more reliable than those in use 
to-day. 

About fourteen years ago I was the managing owner of the 
American Process Engraving Co., of Cincinnati, and had my 
first experience at that time with the adjustable holder. This 
utterly failed in its inability to keep the separation distance 
fixed as arranged in focusing. I therefore converted the cam- 
era for use in line work and took up a new French process 
camera made by Goring & Co. The screen adjustment of this 
camera was very accurate. The holder was made altogether 
out of machine finished iron. The screen was adjusted with a 
micrometer screw placed outside the camera, down at the bed. 
The drawbacks were its movable front and its great weight. 
It was only a 14 x 17 camera but it required two men to lift 
it. Another bad feature was the plate holder. This consisted 
of a nest of movable kits with glass corners. If the glass had 
a corner off it had to be discarded. This instrument was the 
first I worked with in which the screen was in the camera and, 
not in the holder. For large plates this is a decided ad- 
vantage. For small cameras from 14 X17 down, I believe that 
most process men would prefer to have the screen in the 
holder, for many reasons. 

The latest process cameras made in America seem to be more 
or less copies of the Penrose camera, and for that reason we 
can consider them all at once. 

The Penrose type of camera has a movable front, which is a 

219 



disadvantage for any work requiring accurate register. It has 
a screw for moving the front used in accurate focusing, which 
works admirably for all work in which a turned negative is 
used, but for direct work, or reverse n^;ative work^ it is ob- 
viously of no use for focusing, This type of camera cannot be 
made accurate enough for screen adjustment without using 
dry plates for the production of half-tone negatives. The 
moving device to place the screen in position before the plate 
cannot be relied on to place the screen accurately in position 
after the device has become a little worn in use. I have known 
this defect to be apparent even in new cameras of this type. 

The dial usually found on the outside of this camera is also 
lacldng in perfection. It is very much like picking the teedi 
with a crowbar to get the accurate measure of a screen ad- 
justment to one hundredth of an inch on one of these dials. It 
does not always follow that if you see it on the dial it is so. 
The process photographer who has to do good work must have 
accurate adjustment and must be able to measure actual screen 
distance itself with a gauge. Some of the cameras of this type 
have curtain slides, which makes it still troublesome to get 
at the real distance to measure it 

It has been my opinion for some time that most of our pro- 
cess cameras have been designed by persons having but a 
superficial knowledge of the process photog^pher's needs. 

Some time ago I took the time and trouble to design a prac- 
tical camera which would fulfill all the requirements. My sug- 
gestions were offered to the various camera manufacturers but 
it has taken me a whole year to interest one of the lot in 
these suggestions. At last the Century Camera Co. has agreed 
to build a process camera according to my specifieajjoas. 

If they do this, I can promise that the process photographer 
will be able to save half an hour to one hour every day simply 
in the adjustment of the screen. He will have a camera with 
which he can focus accurately by means of a screw for either 
direct or indirect (turned or reversed) negatives, and when 
the screen is once adjusted, it will remain so even if taken out 
of the camera and replaced. This will be of great advantage to 
the newspaper worker who has little time for adjustment; 
when his screens are once set he can change them as often as 
he likes and they will always be right. This camera wiH have 



2ao 



a cone with a dark slide, which will enable the photographer 
to place his color filter between the lens and change it during 
exposure, making two or more exposures on one plate through 
various filters. This will be especially useful in making the 
blade negative in four-color work. 

I am also in hopes that the new camera will have a glass 
troi^b as the bottom plate carrier, which should keep the 
silver away from the rest of the camera to some extent. 



ROINS OF CITY HALL. 



ETCHING BY MACHINE. 

(COMMUNICATED.) 

t. LOUIS E. LEVY is one of the earliest 
pioneers in the photo-engraving world, and is 
one of the most daring in the search for new 
ideas. 

It is about ten years since he conceived the 
idea of etching plates by means of a spray of acid projected 
against the surface of the plate, and demonstrated its merits 
as a laboratory experiment, and it is now several years since 
the method was introduced in practice to test its commercial 
value, and to furnish experience for the development of tiie 
machine to a commercial basis. 



Tuf. Lew Acid Bij 



The difficulties encountered in producing an apparatus for 
the application of the spray method that would work satisfac- 
torily, and stand the severe inroads of the acid when applied in 



the form of a spray, were very great indeed, and one material 
and design, apparently durable, was replaced by another as it 
developed weakness in the course of time in practice. 

In the meantime the general idea of superseding the old 
method of tub etching by something more in harmony with 
modem methods appealed generally to the sense of photo 
mechanical workers throughout the world. A number of other 
machines were developed and offered to the fraternity to ac- 
complish this purpose, but only one of these has thus far 
put in an appearance on the American market. Others have 
appeared in Europe, and, while they have met with some favor 
at times, they were either not sufficiently durable or failed in 
some particular to perform satisfactorily. The 'principle 
originally applied by Mr, Louis E. Levy appears to be the one 
that gives the best results and in the shortest time, and the 
thorough manner in which this machine has been developed, 
and is now being manufactured, renders it perfectly durable 
and very satisfactory in every way. The machine has been 
in use in a number of newspaper offices for several years, and 
is at the present writing just being introduced into commercial 
establishments in Europe and America. 

The apparatus is somewhat complicated and of rather ex- 
pensive construction. It consists essentially of the follow- 
ing parts : 

First. An acid compartment, supplied with jets for project- 
ing the acid against the plate. This compartment is supplied 
with a series of aspirators arranged in rows, which tend to 
produce the equivalent of a series of continuous brushes of 
acid spray. 

Second. A washing compartment, consisting of a tray fur- 
nished with a series of sprayers for washing the plate with 
water as it comes from the acid compartment ; a plate holding 
cover, a portion of which is supplied with a device for 
oscillating the plate at right anglers to the rows of aspirators. 

Third. A blower for supplying the water to the aspirators 
and the force for projecting the acid spray. 

The trays, forming the compartments mentioned, are com- 
posed of chemical stoneware, which is thoroughly acid-proof; 
the aspirators of porcelain, and the plate holding device of 
aluminum— the actuating mechanism being made of bronze. 

224 



OLD HOUSES AT 

WELLINGBORO. EN6LAND. 



The valve system, controlling the water supply, is so arrang- 
ed that the pressure can be regulated at will by the operator, 
and the circulation of the water is so designed that, instead of 
the fumes being given out from the bath, a gentle current of 
fresh air is constantly drawn into the different compartments, 
and the excess of water not required is led by a pipe to the outer 
air. In operation, the plate is clamped to the plate carrier by an 
extremely simple and quick-acting device, and is moved into the 

Sbctional View of The Lbvy Acid Blast Machink por Etchiho. 



The arrows show the circulation of the air. 

acid compartment, where it is engaged in hook connected with 
the oscillating device, and the air pressure turned into the 
etching compartment. 

The first bite on any job is completed in from thirty to sixty 
seconds; twenty seconds gives abundant depths for a 133 
line half-tone, and sixty seconds for a coarse half-tone. The 
plate, after receiving the first etch, is removed from the etch- 
ing to the washing compartment where it is sprayed with 
water and thoroughly cleansed. After powdering, it is given 
a second bite of usually about two minutes, and a third bite of 
from four to six minutes completes the etching to the usual 
depths. 



One of the most interesting features of this apparatus is 
the quality of the resulting work. By its means half-tones can 
be etched on zinc, having the same character as the very finest 
that can be produced on copper. The accompanying prints 
are photographs enlarged fifty diameters from plates made from 
the same negative by means of the acid blast and in the usual 
way. The difference in character is so apparent as to require 
no comment. The results already obtained by this method of 
etching, and the economy effected thereby, indicate very clearly 
that the old method of etching by means of rocking a plate in a 
tub is destined to be entirely superseded by mechanical and 
more modem methods of procedure. 

While the Etching Machine was undergoing development, 
Mr. Levy perfected a machine for powdering the plates and 
preparing them for th^ etching. This machine has been 
tested out for some years in several newspaper plants, and its 
performance, both as to quality and speed, amply confirms the 
conviction that thd powdering of a plate is a mechanical pro- 
cess, which can be better done by mechanical means than by 
hand. This machine lays on the powder, brushes the plate, 
heats it and cools it, all automatically, and is a continuous 
operation, the time consumed for a plate 20 x 24, or two smaller 
platefs, being but little over one minute for each powdering 
from the time the plate goes into the machine until it is ready 
for the next operation. 

This machine is also undoubtedly destined to aid the etching 
machine in promoting the entire process of etching to a more 
modem basis. 

Explanation of Plate on Opposite Page. 

Figs. I, 2 and 3 show the plate as etched in the tub in two bites oc- 
cupying seventeen minutes. 

Figs. 4, 5 and 6 show a plate from the same negative etched in 
the machine in one bite of sixty seconds. 



226 



THE ABUSE OF THE HAND CAMERA. 

By FREDERIC G. P. BENSON. 

piece of apparatus ever introduced for the 
practice of photography has probably been more 
misused than the self contained camera, intend- 
ed primarily for use in the hand. 
Its apparent simplicity is very misleading, and 
so far from being the easiest method of commencing photo- 
graphy, it is really a difficult form of the art, and should not 
be adopted until the worker has had considerable practice with 
a stand camera and become thoroughly conversant with the 
various processes involved in producing a photographic pic- 
ture. It is an undoubted fact that where the practice of photo- 
graphy is begun with a stand camera, in most instances in 
course of time pictures having some degree of merit are pro- 
duced, whilst on the other hand where a hand camera is the 
instrument chosen to commence with, it is only a few excep* 
tional individuals who ever attain even a moderate d^ree 
of success. 

The facility of use inherent in the hand camera (which is 
such an attraction to some people), is the very thing which is 
the cause of this failure, and it is mainly because the proper 
functions of a hand camera are not fully realized that dis- 
appointment so frequently results. 

Now what do we find usually happens? After a hand 
camera has been in use for a season or two, the only result 
is a heterogeneous collection of snap shots possessing neither 
technical merit, pictorial value, or personal interest. It is 
only in the rarest instances that pictures are obtained combin- 
ing all these features — even with the most skilful handling, 
and the one thing the hand camera worker should strive for 
is to get the utmost personal interest in his pictures, and if they 
possess this, although they may be of little artistic value and 
only poor technically, they will be a valued possession both to 
the producer and his friends. 
A hand camera is of most service on those little jaunts with 



a party of friends, when photography is, so to speak, only a 
side show and to use a stand camera would involve delay and in- 
terference with the progress of the party. On days like these, 
a hand camera with its ready availability and its capacity for , 
getting unconventional pictures, has a distinct value. 

In order to obtain the utmost value out of these little views, 
they ^ould be arrat^d in the order in which they were taken, 
and bound in a special portfolio (which need be of the most 
simple descripti<»i) with a brief account of the outing. 

A series of these records will in after years be a valued 
possession, and be treasured, where the same pictures stuck 
haphazard in an album or worse still, thrown loose into the 
nearest drawer, would not be worth the paper they were printed 



WHITBY. ENGLAND, 



HOW TO MAKE AN ALBUM. 

By ALBERT STANLEY HULL. 



\T occurs to me that my experience in making 
'/ albums nu^t be of interest and help to some 
^ who would like to make some really good ones. 
jj Everyone knows how the ordinary album 
^ looks after it is pasted full of views. Now it is 
not a first-class product, is it? Well, that is just the way it 
appealed to me and I set my brain to work to devise some- 
thing better in the way of assembling my views and the fol- 
lowing method is the result of that endeavor. 

The idea is to print the pictures after the manner of printed 
albums and this is the way to accomplish it. 

Use a printing frame the size of the album sheets, and have 
a glass in it. For small views up to 3J4 ^ 4/4 ^^^ sheets 
S X 7, for 4 X s use 6J4 x 8j^, and for 5 x 7 use 8 x 10. 

Make some masks whose outside dimensions are the same as 
the paper printed on, and with a variety of openings to suit the 
various views. 



Lay the negative on the glass in the frame and adjust the 
mask over it and place the paper on both and print as usual. 
In this way the picture will be properly located on the sheet. 
The presence of the extra glass in the frame will increase the 



time for printing in the case of glass plates but I find that the 
quality of the print is often improved. The print should not 
be in the centre of the sheet but nearer the right hand side 
and the top. The extra space at the left is of course neces- 
sary for binding. 

Very pretty effects may be obtained by grouping several on 
one sheet where the views are particularly associated, which 
necessitates several masks to obtain the correct positions and 
each picture made at a separate printing. 

For printing films the mask should be pasted to the glass 
and a little pocket left between mask and glass to reecive the 
film. This keeps the film perfectly flat and properly located. 



^BifHffitg 



1 




Outline of fhcket 
Outline of Kim — 
Ofiening in Mnsk 



Musk fiusfeef to gluss in this SfiB,e9 



^ 



Fig. 2. 

This is a very convenient feature especially with the old style 
films which curled so tightly and defied every attempt to 
straighten them out. 

Most of my films are taken with a 3J4 x 4j4 camera and I 
use 5x7 paper for printing them. This size of film is also 
convenient for post-card views so that I use the same mask 
for that purpose. An outline is drawn on the mask as may 
be seen in the illustration. 

The edges of the glass mask should be bound with passe- 
partout binding to prevent the light reaching the paper through 
the edge of the glass. 



231 



The sheets are finally punched and bound up with a cord or 
ribbon between flexible covers, which may be decorated accord- 
ii^ to the taste and ability of the operator. 

I have a number of these albums made in this manner and 
they are the wonder and delight of every one I show them to. 
I would not consider for a minute returning to the older pasted 
album in spite of the greater cost of my method as I think the 
resulting quality is worth the expense. 



PORTRAIT. 



MISTRESS MARY. 



ZEISS DIAPHRAGM MARKINGS. 

By HAROLD M. BENNETT. 

SNTIL 1895, when the VIIA Double Protar was 
i] introduced the relative fractional foci (F system) 
5\ was used by the firm of Carl Zeiss for marking 
u the diaphragm openings of photographic lenses, 
el The VIIA Double Protar is a convertible lens 
composed of two single lens combinations of equal or vary- 
ing focal lengths known individually as Series VII Protar. 
For example the Scries \'IIA, No. 10, Is a combination of 
two No, 4 Series VII Protars each having a focal length of 
13^ inches and combined, a focal length of j'^ inches. It 
would therefore be necessary if the F system were used to 
have two rows of F markings, for 7% and 13K '"ch foci, the 
largest F values being 6.3 and 12.5 respectively. A Series 
VII, No. 5 or No. 6, of i6>^ and 18?^ inches focus may be 
substituted for the front lens, the addition of the No. 5 chang- 
ing the largest aperture to F 7 and the No. 6 to F. y.y the com- 
bined focal lengths changing to Syi and gyi inches respectively. 
By interchanging the four elements seven different focal 
lengths can be had. the combinations, resulting foci, and 
largest openings being as follows : 

Series VII No. 4 

Focallengtbs 13^" 

Largest aperture P.12,5 
Series VII A No. 10 

Composed of 
Series VII No. 4 No. 4 
^e])arate Foci 13'^ — 13^4" 
Combined Kocus -^ ' 
Largest aperture F 6.3 



tb'A' iS?i" 



No. 4 

8, '4-' 9'A'' 10- 

t 7- I F7.7 F7- 



If the diaphrag]ii openings of these combinations were en- 
graved on the lens mount it would necessitate seven rows of 
figures which would be somewhat confusing. It was there- 
fore necessary to use a system of diaphragm markings which 
would be suitable for the various foci. A simple solution 
was to engrave upon the tube, a scale, the divisions of which 
correspond to a change of one millimeter in the diameter of 



the iris aperture, in other words by adapting a regular milli- 
metric scale to indicate the diameter of the iris aperture. On 
the scale half centimeters and centimeters are indicated by 
larger strokes, and only the 3, 4, 6, 8, 12, 17, 24m/m divisions 
are denoted by corresponding figures. 



Fig. 1. 

Prominence is given to these numbers since the squares of 
two consecutive nunAers are related at i :2 the exposures 
corresponding to these stops must be as 2:1 no matter what the 
focal length of the objective may be. Fig i shows the scale 
as engraved on the No. IV. Zeiss tube mount with the iris- 
aperture adjusted to 15.6 m/m. The lines numbered on the 
IV tube mount, and relative exposures with any combinations 
of lenses which fit it, would be as follows : 
Numbers on No. IV mount 3 4 6 8 12 17 24 
Relative exposures i 2 4 8 16 32 64 



Double Protar lenses are provided with caps having dia- 
phragm markings as shown in Fig. 2 ( for No. IV tube mount) 
by means of which the relative F value of the millimetric mark- 
ings can be easily learned. On these caps the focal lengths 
of the single elements are expressed in millimeters as shown 



in the outside row of figures. Thus, for instance the table 
supplied with cap of the No. IV tube mount contains the neces- 
sary data for the Protar-lenses of Series VII having* focal length 
of 350, 285 and 244 m/m respectively and also for their com- 
binations in the form of Double-Protar Series VIIA. The 
outer row of figures indicates the focal lengths of the single 
elements. 

The F and U. S. markings are indicated by the fifth and sixth 
rows, and the relative opening in millimeters 'for the various 
combinations, by the second, third and fourth rows. The 
second row shows the opening in millimeters for the focal 
length indicated in space above it in the outer row. Half 
of this opening would give the same F aperture for a combina- 
tion of two of these lenses. For example, the opening in 
millimeters for a Series VII Protar of 350 m/m focus to cor- 
respond with F 32 would be II while with a VII No. 10 
Double Protar composed of two 350 m/m lenses the opening 
for F 32 would be one half of 11 or 5.5 indicated by the 2 
after 11. The third row shows the millimeter opening for a 
combination of two Protars of different focal lengths — thus 
with a combination of 350 m/m and 285 m/m F 32 would be 
5 m/m and with a combination of 350 m/m and 224 m/m the 
opening would be 4 m/m. 

The center of the diagram shows the resulting combined 
focus of any two of the lenses indicated on the outer row. 



23O 



HOUSE FLY: X 64 TIMES. <Fig. i.) J. M. bandthi. 



BROWN SPIDER: X 64 TIMES. (Fig. a.) 




INSECT PHOTOGRAPHY. 

By J. M. BANDTEL. 

|N order to comply with your request for an 
article on some of my experiences with a cam- 
era, I will select one on the photography of in- 
sects, for illustrative purposes in magazines and 
for the use of schools. 

A friend, who occasionally writes for the magazines, on sub- 
jects relating to horticulture, was preparing an article on the 
destructive insects that infest trees, and it was desirable to 
illustrate his text with photographs showing the different 
stages of development of some of these pests. 

As these insects were very small, it was necessary to make 
some of these photographs considerably larger than the original 
specimens. 

Having had no calls for this kind of photography in the usual 
course of business, and therefore having no special instruments 
for this kind of work, I was obliged to resort to the use of 
such instruments as were at hand, which happened to be a 
very short-focus lens and a large portrait camera with very 
long bellows. 

I had made some experiments in this kind of work, using 
the fly and spider as subjects. 

I submit herewith, a few photographs of some of the 
specimens. 

Figure one shows the common fly, enlarged about sixty- 
four times. Figure two is a good "portrait" of the little brown 
spider who generally does business in the corner of the same 
room in which the subject of figure one is to be found (being 
a great lover of the owner of the "bright eyes and gauzy 
wing"). This "portrait" is about sixty- four times as large 
as the subject who "posed" for it. 

The spider and fly had been killed with ether (in order to 
avoid mutilating the specimens), and were fastened to a sheet 
of paper with a few touches of liquid glue. 

In photographing specimens of this kind it is important 

239 



I 



to get as perfect ones as possible, and if it is necessary to kill 
them, this should be done as quickly as possible and in such a 
manner that they will not be damaged. 

For making these enlargements isochromatic plates are al- 
most indispensable. 

For this work a very short-focus lens is required ; one, cov- 
ering plates about three by four, or four by five inches, and hav- 
ing a focus of about five inches. A lens of the rectilinear type, 
and having a considerable depth of focus is preferable. Small 
diaphragms are required. The length of camera bellows re- 
quired depends upon the amount of enlargement desired. 

In making the accompanying enlargements, the distance 
from lens to plate was about six feet for those requiring the 
greater magnification. 

A specially long- focus camera, but otherwise of small size, 
might be desirable, although the one used for the accompanying 
enlargements was an ordinary portrait box admitting of an 
extension of about six feet. 

It is desirable to have the support for the specimens to be 
phctographed, so fastened to the camera bed or stand that 
the object can be moved toward, or from the lens, according 
to the amount of enlargement desired, and preferably while 
cbserving the image on the ground glass. This can be accom- 
plished by several mechanical arrangements that are in use 
by most photographers (especially by those who have some 
experience in the ordinary methods of enlarging). It is very 
imix)rtant that the whole outfit be free from vibration, as the 
exposures may be anywhere from a few seconds to several 
minutes, and where great enlargement is required, especially 
in working w^ith very delicate specimens, a very slight move- 
ment means failure. 

These enlarged photographs of very small insects and other 
specimens, are valuable for school work as well as for illus- 
trative purposes in magazines and books, and where it is 
desirable to exhibit to classes it is best to make the enlarged' 
negatives only up to about two, or two and a half inches in 
diameter, and then make lantern-slides from them, by con- 
tact printing. 



240 



.--i 



THE WILLOWS. W. H. Porterfield. 



CHJMNEY ROCK: YOSEMITE. 



After leaving EI Portal for Vosemite. 



THE NEW SCENIC ROUTE TO YOSEMITE 

By EDGAR A. COHEN. 

ERYONE has heard of Yoscmite—hopes to 

;et there some time — and having been once 

vouM willingly go again. First a crater: next 

I lake: and now a walled valley, containing the 

greatest number of wonders within a hmited 

5pace. I have hunted and fished through the canyons of the 

King's River; have carried my camera through the grand 

canyons of the various forks of the Kaweah and Kern Rivers; 

but have always waited for a chance to devote sufficient time 

to photograph Yosemite properly, and am still waiting. 

In the summer of 1905, some of our local capitalists, having 
become convinced that a railroad up the Merced River would 



be a money maker, for the double reason that it would be the 
scenic short line of the Continent and would reduce the travel- 
ling time more than half, organized the Yosemite Valley Rail- 
road Co., and started building from the city of Merced, which 
is on the main lines of both the Southern Pacific and Santa Fe 
systems. 

By rushing work, the road was opened for business in the 
middle of May, 907; and shortly thereafter the management 
asked me to photograph it for them. I inquired whether the 
water were not too high for trout, and on being assured to 
the contrary, accepted their proposal. 

My experience photographing in the Sierras has taught me, 
that owing to the great height of the cliffs, medium and short 
focus lenses are required ; also that the less weight you carry, 
the more pictures you get. I want a contact picture of suf- 
ficient size to show the subject without necessity of enlarging ; 
so I took a 5 X 7 box with a long bellows, and my Goerz and 
Zeiss lenses. Photographers will understand that the length 
of bellows is necessary in order to use single combinations of 
a lens. 

I loaded up twenty-one plate holders, mostly with Seed 26 
though I also used some non-halations. In the mountains 
non-halations are of use to hold your distance, without getting 
it flat from overtime. The distance will be dense, but can be 
brought out to the required strength by special printing. For 
contrasty landscapes without distance a single coated plate is 
best, as a non-halation will simply increase the contrast. I also 
loaded my film pack adapter. I like plates better ; but with an 
adapter in my camera case, I have a large increase of ammuni- 
tion. 

The name Yosemite Valley Railroad Co., does not mean that 
the road enters the Valley, for while it would gladly do so, 
the United States government refused permission, so it extends 
only seventy-eight miles to the line of the Yosemite Park 
Reservation. The terminus is a city of tents at present, named 
El Portal, so called because of its being just below the gateway 
of the gorge of the Merced River. 

By permission of the United States Government, the railroad 
as part of its system has built into the Valley a stage road, 
which for varying beautiful and grand scenery surpasses anv 

243 



road of equal length I know of. The distance from El Portal 
to the Valley is twelve miles. 

Leaving Merced on the railroad, the trip for a few miles is 
through a farming country, becoming prettier as you advance, 
until at Merced Falls, twenty miles away, you come into the 
Merced River Canyon which you follow all the way to Yo- 
semite. 

Of course it was all new and pleasing, but I had the extra 
incentive of locating pictures. At Merced Falls my picture 
instinct was aroused, and for the rest of the trip, I hung off the 
platform on the river side, all eyes and interest. 

In the early gold days of California, the Merced River was 
one of the richest and most productive streams, and millions 
of dollars were taken out by hydraulic mining. This was pro- 
hibited by law a number of years ago, owing to its shoaling 
navigable streams with debris. 

The Merced for some fifty miles runs through the "Mother 
Lx>de," and there are mines scattered along the track for that 
distance. Many of them have not been much worked of late, 
owing to the ore being of too low grade to warrant the expense 
of getting it to the smelters; but now with railroad facilities 
afforded, there is renewed activity in both mining and pros- 
pecting. 

I saw lots of picture possibilities. There were old shafts and 
miners' cabins, and occasionally men were seen working cradle 
and rocker, or sitting on their heels panning the sands for gold. 

A few miles further along we came to Box Canyon, with the 
River running swift and deep between palisaded walls. At the 
upper end workmen were building a dam to furnish power for 
the Exchequer Mine. Over the chasm, some seventy-five 
feet above the water, hung a suspension bridge ; and above that 
a wire cable for carrying freight across the river. Further 
up are a nymber of similar dams and bridges. 

By degrees the hills become larger, until behold they are 
mountains, and in the same ratio the beauty of the scenery in- 
creases. 

You come finally to Bagby, boasting the double distinction 
of being the only town and having the only wagon bridge be- 
tween Merced Falls and Yosemite. It is not in truth much of a 
town, consisting as it does of store, hotel, stable, saloon, electric 

245 



generating plant which derives its power from the dam, and the 
stamp mill of a nearby mine. However it is said that during^ 
the building of the railroad, the owner of the first four utilities 
cleared $75,000 from the construction gangs. I later spent 
a couple of days here picture making. 

Above Bagby the walls of the canyon draw together, and 
the railroad track perforce hugs the river, the right of way in 
many cases being chiseled out of cliffs. As you cross the North 
Fork, you see the whole river dump itself down 50 feet in a 
short swift cataract. 

I made my headquarters at El Portal, and found it a charm- 
ing place for picture making. The river drops down in a succes- 
sion of cataracts, with a roar that reminds you of Niagara. 
Here is Crane Creek, with falls that would be talked about 
were it not for the greater ones of Yosemite. Sloping precipi- 
tously to the South bank of the river are the Chinquapin 
Mountains covered with yellow and sabine pines. Over a 
high cliff leaps the Chinquapin Fall. In fact there are pic- 
tures all around you. The air is like wine, giving you a 
perennial appetite, and happily it is a place where you can get 
good things to eat. 

Anyone wanting genre pictures, would have a great field for 
them at El Portal. The new route has absorbed at once the 
bulk of the tourist and freight traffic, so that the point where 
the trains unload and the teams take up the burden is full of 
ever changing subjects. The incoming and outgoing stages, 
the Indians, the tenderfoot arrayed to conquer the wild and 
woolly West, the occasional pack train, and the varying types 
of humanity, are all picturesque. 

There are trout in all the Sierra streams, for those who 
know how to get them, and the Merced is no exception, even 
though the report has gone forth that the Indians are the only 
successful fishermen. The proprietor of the hotel at El Portal 
employs two Indians, who fish for him, and bring in good 
strings. They use grubs and worms for bait ; but when they ar- 
rive with their catches, their rods are not unjointed, and from 
their leaders hang an assortment of derelict flies, that were 
made to sell, and of which no self respecting trout would take 
any notice. Not so the tourists. They crowd around, and 
divide their attention between the fish and the flies. The 

246 



PINE POINT: YOaEMITE. 



THE ROAD PROM EL I'ORTAL TO YOSEMITE. 



water was too high for first class fly fishing; but I had no 
trouble in getting what I wanted on royal coachmani caddis, 
professor and black ant. 

There is not much game in this country ; but in the Valley 
it will strike you as curious to see notices posted, forbidding the 
throwing of stones or sticks at the bears, . This is not a joke. 
There are a number of bears there which are tame and harmless 
if you leave them alone ; but on several occasions of late, they 
have been met on the trails pursuing the even tenor of their 
ways, and the guides have stoned them to hurry their move- 
ments. 

One of my photographic trips was down the railroad to the 
Exchequer Mine, at the head of Box Canyon, where I was 
hospitably received. In crossing the suspension bridge it was 
inclined to dance with me ; and when I did not walk exactly in 
the middle it side stepped also. I made a number of nice 
pictures there, but had to work my way around rocky walls, 
where a slip meant death, and where experience taught me 
rattlesnakes would abound. Sure enough I poked several large 
fat fellows out of the way with my tripod. I could have made 
more pictures had I gone farther, but I was tired and did not 
like the company. 

I have always said that good mountain pictures mean hard 
work; climbing to points of vantage, and cutting away ob- 
structing brush and branches, and you must be properly equip- 
ped with heavy hob-nailed top boots, strong trousers, no sur- 
plus clothes on body, and a cool shade hat. My camera case 
contains five plate holders, a film pack adapter, camera and 
camel's hair brush, for dusting lenses and slides. Around 
the case is a canvas cover, and between the two I carry my 
field note book, color screens, extra lenses, focusing cloth, 
hatchet and garden shears. The whole outfit, together with 
tripod, weighs about thirty-five pounds in the morning, when I 
start out, but later in the day it seems much heavier. In my 
pocket or hand, as the case may require, I carry a view finder, 
which enables me to test the angle my lens will cut, without 
setting up my camera to find out. It is a great labor saver. 

On the stage road things came easy. I travelled it on mule 
back, with camera case hung on the pommel of my saddle. Oh, 
that road ! I made some forty views along it, and could easily 

249 



have made four hundred, but they came so easy it seemed a 
shame. Talk about picture making being an instinct, why there 
were pictures all around you, and the hard work was in choosing 
only the best, and having the courage to pass the others. There 
were numerous cascades falling from the cliffs; in places the 
road was blasted from the cliff ; wild flowers and ferns abound- 
ed ; giant rocks, that could not be removed, were either tunnel- 
led through or built around ; an arch was drilled to let the road 
through a wall of rock ; a rock as big as a house had fallen into 
the river bed and split, its shape reminding you of the shell 
partially stripped from a hard boiled egg, and then the first 
view of Bridal Veil and the wonders of the Valley. 

There was a cataract six miles long beside the road. While 
the snows are melting, in the spring and summer, the Merced is 
a wild unruly stream, its predominant color being white. Over 
much of its course it averages more than twenty miles per 
hour, and as if ashamed of such turbulent action at its time of 
life, covers its face with foam and spray. Getting definition 
in such wild water is almost impossible. Unless you are far 
above it, you see only the white crests of the waves. You 
must time for the dark greens, reds and browns of the trees, 
and for the shadows. Use a very soft developer, and you will 
find your picture blends the half tones properly into both high 
lights and shadows. I found 1/75 second would stop the 
motion of the water when I was ibehind and 100 feet above it. 
In the same water coming toward me, at a twenty- foot altitude, 
the same exposure showed little else than foam. Anyway my 
battle cry is, "Gave plenty of time when you can," and that is 
what I did. 

The San Francisco Camera Club is said to be the largest 
organization of the kind in America. The Sierra Club, some 
500 strong, spends the summer vacation months in the moun- 
tains. Both clubs are picture makers, and that they took ad- 
vantage of the new scenic route for their 1907 summer outing, 
made my trips over road and trails as full of companionship 
as if I were on the streets of San Francisco. 



250 



ARCH ROCK: YOSBMITE. 




WHAT GOES ON IN A LENS. 

By GUSTAV DIETZ. 

AVE you ever thought what a lens really is? 
Have you ever tried to understand the principles 
of light and illumination? Or have you just 
taken for granted what others have told you or 
what you have seen printed ? If this is the case, 
have not conflicting explanations sometimes raised a doubt in 
your mind concerning the value of the information you have 
acquired, or an uncomfortable feeling that there is something 
fundamentally wrong about most of the popular ideas on the 
subject of lenses? Possibly this has led you to try to make 
some tests with your own lens — probably a double anastigma- 
tic or rectilinear lens; that is, one lens system in front and a 
similar one in the rear of the lens barrel. Is it not your be- 
lief, as you probably have been told, that all rays cross in the 
center of the lens itself? 

Let us go over the matter of what focus means and why the 
image is reproduced on the plate. Possibly some points that are 
new to you may appear. 

In the first place we will discard altogether the class of rays 
which opticians make the most use of to explain the action of 
leiises. These are the formidable parallel rays, which are 
abused every time the word focus is mentioned. Parallel 
rays have nothing to do with focus, in fact never come to 
focus. They exist in such a minority that you might express the 
proportion as one parallel ray to a million others. As the 
eye sees everything in perspective, a fact that it is scarcely 
necessary to demonstrate, so it is with the lens ; we can there- 
fore consider only the perspective rays as producing images on 
the ground glass. 

In order to convince you of the necessity for entirely disre- 
garding parallel rays and to show that an analysis of their ac- 
tion leads to conflicting theories as was mentioned in opening, 
we will ask you to make a simple experiment with parallel 
rays. Take a coin one inch in diameter and with a lens of one 

253 



inch aperture, copy full size to give an image of one inch. We 
have here as many parallel rays as anyone needs for demonstra- 
tion entering a one inch lens. Strictly following out the prin- 
ciple that parallel rays meet at a point the focal distance away 
from the lens, we would have no image at all but merely a 
point of light — which is an obvious contradiction to the actual 
result achieved and illustrates the difficulties that parallel rays 
can get us into. The only way of accounting for the image is 
that it was formed by perspective rays. 

Now let us look at image- forming and focus from the view- 
point of these perspective rays. A landscape, for instance, is 
formed of a multitude of small objects each one having a cer- 
tain place and each one sending out rays in every direction. A 
certain number of these rays reach the lens. From any one 
object, the rays form a cone, the base of which is the lens open- 
ing, and the apex the object from which the rays start. Each 
cone of rays is bent on passing the front lens system and 
brought to a focus point again. This focus point forms the 
apex of another cone, similar to the first, whose base is now 
the rear of the lens. 

Suppose we have a symmetrical lens of ten inches focus. 
The front combination working separately will have a focal 
distance of twenty inches, which means that all rays ccwning 
from an infinite point will be brought to focus at their cor- 
responding 'point on the ground glass twenty inches from the 
lens. Objects nearer than an infinite distance will send rays 
that strike the lens at a different angle; the nearer they are, 
the smaller the angle to the lens surface. Furthermore, the 
nearer an object is to the lens, the smaller number of rays it 
can give off that will strike the lens opening. For purposes 
of illustration we can consider this bending process as the 
ability of the lens to turn all light rays that pass through it a 
given number of degrees toward its center. It will at once be 
seen that if cones of light strike the lens at different angles, 
the same number of degrees bend applied to all of them will 
result in their likewise leaving the lens at a different angle 
and there can be no common focal point for them behind the 
lens. Part of the picture is out of focus. Thus it will be seen 
that when we endeavor to photograph objects at varying 
distances from the lens, we are likely to get into trouble. 

254 



Now let us consider the action of the complete lens system 
with the rear member interposed. The rays which have passed 
through the front lens and have been bent, next enter the rear 
system and go through the same process of refraction. In the 
ten-inch lens mentioned above, they will now come to a new 
focal point ten inches behind the center of the lens. The 
second lens has cut the focus of the front lens in half and has 
therefore reduced the image in lineal measure one half; in 
square measure (area), one-quarter. 

It will be seen that the second lens has only the rays of the 
first lens to use as material for forming the new image. This 
same quantity of rays is concentrated on one-quarter as large 
an area as it would have been if the front combination alone had 
been used. Therefore the image formed has four times the 
illumination, or, to get an image just as strong, the double 
combination requires only one quarter the exposure required by 
the single lens. Some photographers explain this by saying 
that with a single system the rays are required to travel a long 
distance behind the lens and must therefore have a longer ex- 
posure to get time for this. However, in view of the tremendous 
velocity of light, it seems that the few inches concerned make 
a negligible difference. It is the number of rays rather than 
their length that counts. 

Stop Values and Stops. — We have already seen how the 
landscape is reproduced on the ground glass by concentrating 
rays coming from its various points to the corresponding 
points on their respective planes of focus. Now let us look 
at one of our cones again. The rays that form the outer sheath 
strike the lens near the circumference of its opening and are 
called marginal rays. Those that form the inner core enter 
the center of the lens opening and are called central rays. The 
central rays enter a lens more nearly parallel to each other than 
do the marginal rays. Consequently they are refracted evenly 
and come to sharper focus. But the outer rays enter the lens 
at different angles and are not refracted as evenly as the 
central rays. They are apt to cross either in front of or at 
the back of the ground glass on which the center rays, on ac- 
count of their close position, are nearly in focus. In other 
words they are trouble-makers and the necessity of getting 
rid of them arises. This is done by putting a diaphragm or 

255 



stop in. The marginal rays strike its surface and are pre- 
vented from passing through the lens. The central rays 
alone pass through and give a clear image with no "splashing" 
around the edges. 

Stops have another value in correcting vignetting — the dis- 
tribution of more light in the center of the plate than in the 
corners. There are two reasons for this action. In the first 
place, rays coming to the center of the plate hit practically at 
a right angle. They therefore penetrate more deeply into the 
emulsion of the plate than do the corner rays which hit it at 
an oblique angle. In the second place, a greater number of 
rays does actually come to the center of the plate than is re- 
ceived at the comers. We have noticed in focusing that the 
ground glass is splendidly illuminated in the center but quite 
poorly at the corners. Remove the ground glass from your 
camera and look at the lens from a corner of the back of the 
camera. You will notice that only about half of the lens is 
visible and that the other half is shut off by the conformation 
of the lens barrel. Theoretically this would mean that half the 
rays were excluded from the corners of the plate ; but some of 
them are reflected and we do not lose the entire amount. Now 
if we put in a stop small enough to be seen at its full diameter 
from every part of the focusing screen or camera back, it is 
evident that we get a uniform number of rays to all parts of the 
plate. Besides this we have cut out the marginal rays and thus 
improved the definition of the image. 

It must be pointed out, however, that we cannot always afford 
the loss of light that the use of a stop entails. If we divide 
the lens into three zones, central, intermediate and marginal, 
each having the same diameter, they will respectively have 
an illuminating power that can be expressed in a ratio as i 
to 6 to 15. Therefore when we stop the marginal rays by the 
use of a stop we do so at a cost of 15 units of light and have 
sacrificed two-lhirds of our illumination. 



256 



THE OLD WELL. Mr.. Eleanor W. WilUrd. 



Ftom the Crow's Neat, SS. Philadelphia . kokbrt e. m. bain. 

PHOTOGRAPHY AT SEA. 

B; ROBERT E. M. BAIN. 

J3ANY persons refrain from picture-making at sea 
fl from fear that unless a small hand camera be 
[} used the vibration caused by the machinery will 
r prevent sharpness of image. The best pictures 
!i are always obtained by use of the tripod or stand 
and the larger cameras can only be used by its means. The 
vibration in stateroom, engine room and on deck, especially on 
the fast steamers, is very noticeable, but a little thought will 
prove that the camera vibrates in common with its surround- 
ings — not more so — hence timed exposure may be made with 
impunity even for an extended period of an hour or more, with 
the best of results. Many interior views may be made by plac- 
ing the camera in a steady position, anchored as it were and left 
for a long period without further attention, and the results 
found as good as if taken ashore under the best circumstances. 



Plates and filters are now supplied which are sensitive to 
color value and these are most desirable in "seascape" work in 
view of their adaptability for cloud effects — ^most necessary 
in such pictures. Even for views on deck and in the saloon 
the color value is a feature, for the yellow-brown of the plank- 
ing and the color scheme of the decorations are quite flat 
otherwise. 

As a hint at desirable subjects to be found at sea we may 
mention the forward deck, particularly when the seamen are 
belaying or getting ready to drop the big anchor. The com- 
panionway to the bridge generally shows a quartermaster on 
duty, an excellent subject. A little persuasion will induce a 
good humored officer to pose either "on deck'* or on the bridge. 
The wake of the vessel is always a favorite, and since it is 
not necessary to have the camera vertical the effect of the tumb- 
ling water is very attractive. On some ships the "fire drill" 
and the "boat drill" make interesting pictures, but this work 
at practice drill is generally performed now-a-days in port. 
With the use of the tripod a most hiteresting picture may be 
made when the vessel is "signalling" at night to a passing ship. 
It would be impossible to hold the camera in the hand steady 
enough as the exposure should last the entire time of the burn- 
ing of the Coston light to get the best effect. Many interest- 
ing pictures can be secured of the steerage passengers dancing 
and singing. If the weather is fair and the ship fairly steady 
a curious picture may be obtained of the deck by hoisting the 
camera by the signal halliards, lens down, and snapping the 
shutter by means of a cord. The "taking" and "dropping" 
the pilot are always subjects of interest but not to the same 
extent as when the small pilot boat met the ship "600 miles 
out." The steam pilot boat has spoiled much of the romance 
of the pilot's coming aboard. Coming into and leaving port 
afford excellent means of obtaining interesting views, not the 
least of which is the crowd on the dock or pier. The arrival 
of the doctor's boat at Quarantine, with the Government 
reservation as a background, is attractive as a picture ; and the 
run down the harbor of New York requires mention as among 
the list of interesting subjects. Bear one thing in mind, how- 
ever, it will be useless to ask permission to take views from the 
bridge and the suggestion will hardly be received with favor. 

258 



In photographing the sea endeavor to "quarter" on the sun 
as much as possible without letting the direct rays strike the 
lens. This brings the shadow side of the waves towards you 
and the picturesque effect will be much heightened. Another 
feature of interest in connection with this class of photography 
is the absence of vertical lines allowing the camera to be 
pointed up or down without disastrous results. When per- 
mission can be obtained, very interesting views may be obtain- 
ed from the "Crow's Nest" on the foremast. It is not at all 
a dangerous climb and the view is charming. 



SAXON MTLL, WARWICK, ENGLAND. 



TWO USEFUL DODGES. 

Bt w. k. brackenridge. 

ERTAINING to PUtino.— K I may use the 
oft repeated phrase, I will tell you how to make 
Platino prints "with the delicacy and charm of 
an old etching." Your negatives should be of the 
clear "snappy" variety — not too dense. Place the 
paper on the negative with the emulsion side up; close the 
frame and print in the sunlight. Print exceedingly deep, 
more so than if the emulsion was in contact with the nega- 
tive. The grain of the paper has a softening effect upon 
the print, and the printing does not assume as much "depth" 
as in the ordinary method, consequently print until the 
lights are well tinted. Wash out the silver as usual and 
have a ripe gold bath thirty ounces water; gold, one-half 
grain, and neutralize with borax. Tone until the bright reel 



begins to change to brown, then stop ; wash the print thorough- 
ly, place it in hypo, hydrometer 20, for fifteen minutes, and 
then give it a thorough washing. The grain of the paper 
(which is very uniform) gives a very sketchy effect and is 
especially suitable for large portraits. 

Clouds Without a Ray Filter. — It has long been known 
that about the only two ways of getting clouds and fore- 
ground on the same negative in printable equality is with 
either ortho plates and a ray screen or with ortho plates and a 
sky-shade shutter. My method is somewhat similar to the lat- 
ter. Secure a pill box that will fit snugly on your lens mount or 
barrel and cut out one-half of the front as shown in Fig. A. 
Now cut notches along the line one-eighth of an inch deep as 
shown in Fig B., about ten or twelve will do, and then with a 
red hot needle, size five, burn about fifteen holes in the solid 
part, taking care to have them clean cut. The instrument is 
now complete with the exception of blacking the inside of the 
cap. The principle of working is this: The light from the 
foreground passes through the lens to the plate, while the light 
from the sky must pass through the small holes in the upper 
half of the pill box, thereby equalizing the intensity of the twa 
lights. jThe serrated line prevents the sky and foreground 
lines from ending too abruptly. Perhaps you have only a little 
sky'in the .picture. Slide the cap out on the lens tube and a 
greater number of rays of light from the foreground will pass, 
giving the necessary amount for the sky. If there is a dark 
object to the right or the left of the picture turn the shade 
so as to illuminate it. It is superfluous to say that ortho plates 
are necessary. I do not claim that this will suit every condi- 
tion, but as a rule it is applicable in ordinary outdoor work. 
When making a home portrait of a lady in a white dress use a 
shade with larger holes in it and turn it down so as to exclude 
the strong light on the dress, thereby equalizing the light and 
securing printable whites. 





261 



GUM PRINT POSSIBILITIES. 

B7 W. H. THOMPSON. 

f HE statement is very frequently made that the 
/ gum process is suitable only for certain sub- 
f jects and certain effects. This impression, the 
n result no doubt of an imperfect knowledge of 
o the process, is altogether incorrect; as a matter 
of fact quite the contrary is true, and a little c<»isideration and 
study of the subject will show that "gum" is more flexible 
and capable of a greater variety of effects than any other 
photographic printing method. With it, it is possible to ob- 
tain soft, delicate tones, exquisite definition and beautiful 
gradation; the deep rich effects of a carbon print; or on the 
other hand broad, sketchy results not unlike charcoal drawings, 
as well as certain qualities distinctly characteristic of the pro- 
-cess. 

With the aid of local manipulation it becomes a most sym- 
pathetic medium in the expression of individual pictorial 
taste. False values in any part may be corrected, undesirable 
features modified or entirely obliterated, scattered details 
simplified, clouds worked in a blank sky and numerous other 
effects which will readily suggest themselves as occasion de- 
mands. 

In the single printing method our range of gradation is 
somewhat limited, but from a pictorial point of view this is 
often a decided advantage and with a little care and a suit- 
able negative it will be found amply sufficient for a great many 
purposes; if not we may resort to "multiple" printing which 
will give a range of tones limited only by the depth of the 
pigment used. 

There is scarcely any limit to the variety of color at our 
disposal; with a very few exceptions any pigment that is suit- 
able for water color painting may be used. 

Then too, almost any kind of paper from Japanese tissue 
to heavy drawing board will be found suitable, some of it as 
it is, or in some cases with the addition of a coat or two of 



sizing. If the original color does not suit it may easily be 
given any desired tint with a thin mixture of gum and pigment. 

The texture of a print has an important bearing on its 
artistic qualities, and in this also gum offers an almost un- 
limited choice. If we select a fairly smooth paper, coat rather 
thinly and print to just the right depth we will obtain a print 
which cannot be surpassed for smoothness of grain. Papers 
of various surfaces, thick or thin coatings, quiet or forcible 
development all influence the texture of the print. 

A most beautiful quality distinctly characteristic of "gum," 
is the result of a slight running of pigment giving a strik- 
ingly soft and mellow effect, very difficult to obtain but well 
worth most patient effort. 

The multiple printing method has greatly increased the pos- 
sibilities of the gum process as an artistic medium, and a 
great many effects difficult or impossible to secure with the 
**single" method may be obtained quite easily with its aid. 
In local work in single printing great care is necessary and an 
unfortunate touch of the brush, or too much force in develop- 
ment in a particular part, will often spoil a print; but with 
"multiple" printing such mistakes may be covered over and 
corrected in the next coating, so that much greater freedom 
of touch may be allowed. 

Combination printing with the help of the multiple method 
is much easier than with other methods, clouds, figures or any 
portion of other negatives can be introduced with great ease. 

It sometimes occurs that some of the planes in a picture are 
disagreeably sharp; the background in a figure study, or the 
distance in a landscape for instance. A print is made in the 
usual way and in development the portion needing correction 
is washed off; coat and print again this time with a sheet 
of glass between the print and negative or a piece of bolting 
silk over the printing frame ; develop and sponge off entirely 
from the part already printed. The result will be a great 
improvement over a straight print. 

Many beautiful effects may be obtained by printing in two 
or more harmoniously related colors, as for instance in the case 
of a landscape ; a rather deep print in a delicate cobalt or light 
ultramarine, and over this a somewhat lighter print of Van- 
dyke brown. Or as a suggestion for an outdoor figure study, 

263 



a light background of a cool grayish green and the figure in 
red chalk. With a little study endless possibilities may be 
found in simple two-color schemes. 

For fuller and more complete color rendering the gum 
process is particularly well adapted. With several printings 
in carefully chosen colors it is possible, from a single negative 
with the aid of local development to secure results restricted 
only by the artist's taste and skill. 

For producing natural color prints from the usual three- 
color negatives, "gum" is very suitable, and the deficiencies 
and inharmonious results so common in this class of work are 
more easily avoided than in any other printing method. It is 
a very difficult matter to make theoretically correct tri-chro- 
matic negatives and the ease with which each separate color 
may be corrected in the gum print is greatly in its favor. If 
after the print is finished the color rendering is found to be 
faulty additional coatings will usually set them right. With 
a fourth negative and a print in a neutral tone the chances 
for a correct rendering are still better. 

In this necessarily brief article an attempt has been made to 
outline in a general way, a few of the possibilities of the 
gum process. The subject is by no means exhausted but 
enough has been said to show what may be done with in- 
telligent study and experiment. Everything depends on the 
artist's training and ability. 

It must not be supposed that "gum" is without limitations. 
Like all other printing methods it has its restrictions — some of 
them very pronounced in fact — ^but the careful, painstaking 
pictorialist who believes in quality rather than quantity will 
find it a most valuable aid in the expression of artistic feeling. 



264 



CoiJyrighi 1^,7, by Davis & Eiiki-mcyvr. 
SUGGESTION FOR Rudolph Eickemeyer. 

DECORATIVE DESIGN. 



PAINTERS VS. PHOTOGRAPHERS. 

By OTTO WALTER BECK. 

9N a volume recently published, which has already 
/ made its way into hundreds of studios, 1 have 
H said all I have to say about the application of 
ft "Art Principles in Photography." What re- 
tt mains to be explained to the art-aspiring photog- 
rapher, is the difference that exists between the work of the 
modern portrait jjainters and the portraits made by the most 
advanced photographers. 

This difference should be one of our serious. studies, because 
the fashionable and the famous portrait painters educate the 
public to a taste that leads it to expect work done in a similar 
spirit by all portraitists, including the photographer. This 
is quite a proposition to us because our tools, — the camera, 
plate and print, yield a jjroduct much more closely tied to the 
severe facts of nature. 

In photography we have been accustomed to think ourselves 
too greatly limited, but we are now waking up to see our plates 
yield an increased range in technique, and this will enable us 
to develop our art. By this added power, we shall obtain 
qualities that constitute not a bad rival to the best in painting, 
while always on the safe side as regards the likeness. 

To exploit this new means of expression, we must under- 
stand that in paintings the life-likeness usually results from 
intentional exaggerations of the features and forms that in 
the model pleased the artist. For instance, in this portrait 
rf Miss Barrymore by John S. Sargent the movements of the 
hair, the swing of the eye-brows, the long line of the profile 
and neck are exaggerations. To them we owe t!ie impressive- 
ness of this remarkable masterpiece. Every touch in this 
drawing follows a law of selection, and it is marked by its 
proper einpliasis. For example, those eyes photographed 
would not yield the life that is in this drawing; the open mouth, 
if printed from a gnod .straight negative, would not express 
what is in this work by the hand. Even the background. 



though it is simple in treatment, is yet "alive" in a way not to 
be found in a good straight photograph. The background 
satisfies us in this drawing, because it is perfectly balanced with 
the form, and the treatment gives it vibration in harmony with 
the picture's movements. 



Fig. ,. Mils Elhtl Biirryni.>r», t.om the steich by John S. Sargent. R. A. 

Why does art insist upon this mode of rendering nature? 

Let us consider that when we come unnoticed upon a per- 
.on, his absorption in self or in work removes him from us 
n such a way that we may speak r f him as being an object of 
nterest or a motive for a picture. I,;; we do not think of him 
V. hen so absorbed as a ready subject for a portrait. This is 
because there cxirts no direct communication between us. 

When, however, we speak to that person and he turns toward 



us his eyes, that is his attention, we have established the con- 
dition for a portrait. This personal contact must be felt in 
all portraits. 

When we are standing before a good portrait it seems as if 
the one portrayed were existing solely for us who view it. 
This imagined intimacy is a subtle flattery to which we are 
susceptible. 

Has it not occurred to all of us that our photo-portraits do 
not sufficiently establish such intimacy ; further, that we do not 
get in attitude or in facial expression those effects that we sec 
when we are actually conversing with people? 

For instance, a beautiful woman when replying to our ques- 
tion, will conduct herself so that while she meets our gaze, 
her own is sufficiently indirect to permit us at the same time to 
see those qualities of beauty of which she is possessed. While 
thus in conversation with her, the beauty of face, or her rich 
hair, or the graceful lines of her form will have their effect 
upon us. If we speak to a woman not so favored, one whose 
thoughts are given over to practical things of life, we shall 
find in her directness of speech and her look, our strongest 
impression of her. 

In each and every such encounter we find that our eyes 
ignore certain characteristic of the person and we see very 
distinctly certain distinguishing characteristics. For instance, 
we find the eyes "speaking** and then it is our business to 
so make our picture that our gaze is directed to them easily, 
by properly accenting them, and we thus receive the im- 
pression from the picture that we had when seeing the person. 

In this Sargent drawing of Miss Barrymore we find her eyes 
remarkably expressive because the artist has "managed" all 
the forms, the gradations, the accents and the omissions, so 
regulating his art that we see her as he did. We gather from 
the picture that the artist was in animated conversation with 
her. 

A similar centering of our interest in the eyes is true of 
this larger portrait of Lady Hamilton (Fig. 2). This was a 
difficult task because the master had to contend with all the 
bewildering richness of the material. However, he succeed- 
ed in exercising control over it. 

The picture is not a copy of nature, it is not a merely ar- 

268 



ranged pose, it has none of the truths that a good piece of 
straight camera work would give ; but it has a truth of that 
higher kind which we may speak of as "portrait truth," and 
"pictorial trutli," meaning thereby that this picture is full of 



By" 



managed exaggerations, as is the drawing of Miss Barry- 
more. 

These points of difference are not easily understood by the 
layman, but experience will verify the statement. 

Naturalistic though Fig. 2 is in pose and in execution, it 

yet has in its conception and its execution all the high technical 

36q 



qualities, the imagination, and the mastery that we find in any 
of those great pictures by Velasquez, Titian, Tintoretto, Hals, 
Van Dyck, or other masters of the grand style. I assert that 
the quality of the curve of the chair wherever visible, is pos- 
sessed of as much evidence of skill and management in bring- 
ing out the portrait as is any other of the picture's parts — 
even the eyes. Accent, the foil, plasticity, direction, intensity, 
and a hundred other factors enter in to make any part of this 
picture, let it be chair, fan, hand, lace, dress, background, 
features. They all show the same marvelous handling. And 
in this respect we find that the painted portrait is the teacher 
of what is to be the portrait in photography. First of all a 
photographer must learn to direct our eyes to certain parts of 
the picture and emphasize them in the degree he intends, and 
he must control all other parts so that they will take their place. 

Second, we must learn to have our figures rest in the pic- 
ture-frame and attain stability, thereby escaping the appear- 
ance of being forcefully detained. Third, our photographic 
texture must be changed, or rather it must be varied, that we 
may more fully feel the different qualities of flesh, wood, dress- 
goods, atmosphere, etc. Movement is not a characteristic of 
portrait-photography. All things seem arrested in our pro- 
cess, yet we must strive for and get movement. This can be 
done by manipulating the plate. 

We now know that it is possible to make on the plate by 
photographic processes, any kind of black lines or shadings, 
white lines and gradations. By this means it is possible for us 
to accent any part of a picture, to bring out or to cause^to 
recede whatever we like. With such means at our disposal 
who would not feel a new ambition in our photo-portraiture, 
in which we are witnessing this development! However, 
enthusiasm and confidence must not blind us to the extent 
that we begin experimenting wildly. I. believe photography's 
growth will be along conservative lines. The good photo- 
graphic likeness that is made to-day will continue to be the 
base but we shall deviate from it to the extent of making slight 
alterations to secure the foil to the face, to regulate the over- 
charged interest in which all photographic-portraits are at 
fault. 

This change will in course of time suggest other modifica- 

270 



tions of straight photography, such as the slight toning of 
the hands or linen. Later, outlines of a coat or other form may 
be made heavier to relieve over-charged interest on the face, or, 
to effect a similar result, we may soften outlines into the tone 
of the background. After a time, the backgrounds may be 
made to have more depth and a more broken texture. Then, 
we may attempt to construct a background and so gradually 
we may grow in power to create a portrait. 

Though the "Art Principles in Portrait Photography" 
recommends the use of very plain screen backgrounds, it will 
not be necessary for a master to confine himself to such, be- 
cause a man of invention may control any kind of ground that 
comes in "just right." 

The chief points to be kept in mind are that photography 
of to-day suffers from over-emphasis of the face, from unre- 
tiring backgrounds, from lack of picture-balance and from a 
feeble portrait intention. All these things can be remedied 
when we understand the art foundation. 



S rRATFORD-ON-AVON CHURCH. 



ILLUSTRATING -MINEkAL PHOTOGRAPHV." 



A BRITTANY WELL. Mrs. J. E. Bennett. 



MINERAL PHOTOGRAPHY. 

By L. P. GRATACAP. 

GRAPHY has accompanied man in al- 
very avenue of research. It has even per- 
i an excellent service in psychology where, 
I realm of thought and emotion, it might 
have been suspected of application. In 
the photographs of expression, abnormal facial states, of 
definite mental defects associated with physical features, 
photography has played a useful part. And it advances; 
methods improve and more and more skillful results are ex- 
hibited. Certainly in its artistic aspect the wonderful progress 
recorded in the last twenty-five years unfailingly shows how 
the operator becomes an artist. Delicacy and beauty, rich 
meanings and refined values of light and shade have been 
secured, its technique passing into the higher realm of artistry 
and composition. 

How invaluable to science photography is : how in geography 
and travel its most obvious use has replaced the grotesquely 
misleading pictures of former days which were hand-made 
and served more to gratify .the vanity of the illustrator than 
to inform the reader. In paUeontology, in botany, in all 
branches of natural history its amazing power has been re- 
vealed. Since the invention of rapid plates and lightning 
shutters photography has conducted the investigator into 
new fields and in some cases, perhaps, has substituted 
its own harmless ordinance for the rapine of the rifle 
and the shotgun. What vast utility — which in its con- 
sequences assumes almost majestic proportions— has it not 
compassed in astronomy. 

It is a pleasant problem to discover where photography — 
if applicable at all — has not been helpful. In the mineral 
world there are temptations for the photographer and there 
are conquests to be made. To malce a successful picture of 
crystals, to portray the fine needle structure of some zeolites 
to give character and definition to a specimen holding two or 



three different minerals, to reveal the enclosures of transparent 
crystals, to make a mineral species speak from the picture of 
itself are tasks more easily discerned than solved, more easily 
bungled than finished. The writer responds to the kind 
invitation of the editor to contribute something to the An- 
nual, mere from a desire to point out a field of work not yet 
adequately covered than from any conviction of his own that 
he has in this direction done any good work himself. 

Some time ago he induced his assistant, Mr. Milton G. 
Smith, to undertake some experiments, and the results, chosen 
from a large number, are here shown. They are attractive, 
but it is quite incontestable that they could be excelled. Mr. 
Smith developed with ortol. He used appropriate back- 
grounds and manipulated the light. In this respect much of 
the secret doubtless lies. The possession of a room with 
many windows, the use of reflectors, the careful adjust- 
ment of the specimens to the light, a perfect control of the 
light by shades all go towards helping out, in fact are the 
indispensable adjuncts of successful photographs of minerals. 
And then the lens! There indeed is the deus ex tnaehina of 
the whole business. The lens must have depth of foctis and 
definition for at all commensurate work. This has been 
demonstiated over and over again, and Mr. Smith's equipment 
in this resi>ect was not altogether adequate. 

Some excellent photographs of minerals have been made 
under the direction of F. A. Canfield, the collector and min- 
eralogist of Dover, N. J., and they were made with a superior 
lens. Ordinary lenses are of course greatly assisted by "stop- 
ping down " and long exposure, though in the latter respect 
gypsums, apophyllitcs, quartzes, and, generally, white and 
translucent or transparent minerals must not be too carelessly 
treated. 

As I have before insisted a wide range of selection is oflFered 
in minerak^gy of subjects, and more so than in almost any 
other branch of natural history since the variations of excel- 
lence in specimens is indefinite. It would be folly to waste 
time over poor specimens. Rut on the other hand the quality 
of some species is never high, and many have no photographic 
availability at all. On© would like to see an album made up 
of quartzes and calcites, another of the zeolites, another of 

2 74 



fluors, and in this last case it would be interesting to have 
Mr. Dugmore try color plates of minerals. If his success 
should be as startling as that achieved with shells there would 
be "prolonged applause.'' Then again the dark and opaque 
minerals as the pyroxenes, amphiboles, zircons, willemite, wer- 
nerite, tourmaline, all of which form strong crystalline and 
rather simple outlines would make a contrasted and capital 
group. The gem minerals as topaz, beryl, corundum, offer 
attractive subjects, and invite the use of color plates. 

In printing negatives of minerals by far the best results 
are attained by the use of silver papers or glossy velox; the 
detail is of course indispensable and it is secured on these 
papers. Surface markings, the pits, erosion or etched faces, 
wrinklings, truncations, inclusions, all the numerous minute 
features of a mineral deserve attention, and, if caught, greatly 
enrich and improve the picture. I have seen a fair photograph 
of Natrolite, which is an acicular mineral forming frequently 
delicate tufts, like small pincushions, bristling with its 
emergent needles, printed on dull velox paper, and the cushiony 
features became simply white spots, characterless and unmean- 
ing. The same negative printed on glossy velox showed the 
delicate hairs radiately pushed out from the light background, 
an altogether different and a very serviceable effect. And 
ye': — one never can tell! Just after recommending above a 
universal application of glossy velox for mineral prints I. find 
that the quality of some negatives clemands its rejection. To 
acquire a just realization of what paper to use for a negative 
perhaps nothing does but experiment. And yet generally a 
negative of detail will have its beauties best exhibited in 
mineralogical studies on glossy velox or silver papers prop- 
erlv toned. 

As regards the subjects presented with this short notice. 
Fig. I fairly well shows a glistening black heap of crystals 
of hematite, opaque and simply lustrous, upon a rock frag- 
ment of quartz crystals (out of focus). Fig. 2 shows a 
series of geniculated rutiles, those exquisite twinning groups 
which may form a closed polygon, or (as in the example on 
the lower left hand corner) a succession of elbow joints. A 
more searching lens would have improved this result. Fig. 
3 is attractive and is printed on a half-tone velox. The effect 

275 



of this in the velox print is immensely heightened by holding 
it against the light, letting the light enter it and give it relief. 
But the picture is quite unable to produce the exact effect of 
the original specimen. That is a spherical surface covered 
over with projecting twin crystals which intersect or unite in 
leaf-like sheets, of a wonderful beauty. The lens here again 
has failed in individualization and depth. The result is sensi- 
bly abortive. The specimen would offer a good crucial test 
to a fine instrument. Fig. 4 offers much less difficulty, and 



I'Ig. 4. C<:rii»Ic:truufuim<N. S. W.). Fig. i. Henutlte roKUe (Switi.). 

naturally elicits attention from the beautiful reticulation it ex- 
hibits. It is a carbonate of lead of unusual perfection. Fig. 
5 shows a group of pink translucent beryls impacted in a mass 
of lithia, mica, and tourmaline. The faces and edges are 
here detailed with some skill. 

The above examples scarcely do more than call attention to 
a very wide field of photographic experimentation, which 
while occupied, in a measure, might tempt fastidious operators 
to enter it as, to them, an untried and novel area of effort. 

Scientific requirements compel the photographer to intro- 
duce some sort of a scale by which the original size of the 
specimen, unless of natural size in the photograph, can be de- 
duced. It is customary to use an inch rule or just one inch 

376 



mark, but a very ingenious and adequate plan was devised and 
utilized by Mr. F. A. Canfield in his excellent work. He 
secured a steel ball of exactly one inch in diameter, and plac- 
ing this at the base of the specimen photographed, secured 
an, almost absolutely trustworthy result, the steel ball being 
easily manipulated and not readily displaced or shifted. 

There is another consideration which occurs to me, though 
it would naturally suggest itself to any practical photographer, 
especially those ei^aged in the reproduction of "still life," and 



that is the control of the high lights. Minerals have glossy, 
very lustrous, surfaces and if too much light is admitted 
halation over these surfaces takes place, and the prints are 
spotted, unreal, and worthless. It is quite usually found there- 
fore that the diffused light of even dull days works ad- 
vantageously. The chaotic reflections from such faces in 
minerals obscure and break the edges of the crystals while 
they greatly interfere with the penetration of the lens into the 
cavities. There are, on the other hand, dull surfaces of min- 
erals, absorbent colors, and the use of artificially directed 
light, as with small hand mirrors and where interior districts 
are to be illuminated, can be usefully invoked. 



RUNNING AWAY FROM MAMMA. 



THE WOOD ENGRAVER. 



SCHOOL CAMERA CLUBS. 

Br GEORGE D. FIRMIN. 



' Club, I realize that, to most, the subject is un- 
B familiar ; but I trust that what I may say will 
ft encourage photographers in general to take a 
a tittle more personal interest in these little socie- 
ties which are now a part of every well equipped school. Most . 
of us are busy men and those not in the teaching profession 
may find it difficult to give much time to these young people 
who are literally working in the dark. One will be amply 
repaid for any trouble or effort in behalf of the pupils of the 
sdiools. To be sure many teachers now-a-days dabble in 



photography and they can be of great assistance to their pupils. 
Unfortunately modern mechanical methods and lack of time 
cause these busy teachers to overlook or ignore the funda- 
mentals which the photographer and artist quite properly 
consider necessary to thorough work. 



How may wc lielp the buys and girls It has been my privi- 
lege and pleasnre to conic in close touch with the camera 
club of the Philadelphia Northeast Manual Training High 
School (^cpiite a name, isn't it?). This club has been in ex- 



istence several years. Its purpose is to help students photo- 
graphically inclined. Any member of the school may join. 
An exhibition of the work of members is held in June of each 
year. Prizes, usually ribbons, are awarded the best pictures. 
During the year instruction is given in development, various 
printing processes, lantern-slide making, bromide enlarging 



••GOLDEN RO]>." cE()h,;e d. hrmin. 

and the making of enlarged negatives. While a club affair 
and not in the school curriculum this work is under the direct 
supervision of the Professor of Chemistry. Other instructors 
'willingly lend a helping hand; so we have lectures on optics, 
.general science and art. The Forestry Club and the Camera 
Oub find that they can work together very nicely. This as- 
383 



sistance from so many apparently unlike departments helps 
not only in photography but also in correlating the general 
school work of the student. 

When the boys enter the school those interested in camera 
work are requested to bring examples of their work, privately, 
to me for criticism. A great deal of care is necessary here or 
the boy may be discouraged and give up altt^ther. Some 
of the prints submitted seem hopeless, still I try to tind sQiiie 
redeeming feature before making suggestions as how they 
might be improved and how to do better work next time. 
Most boys take very kindly to these criticisms. 1 try to 
persuade them not to change anything because 1 say so but 
because they see that the suggestion is an improvement. They 
are not told "This would be better, etc." The form is more 
apt to be "Don't you think that possibly this might improve, 
etc." That usually starts a flood of suggestions from the 
boy himself. 

The two young men whose photographs accompany this 
article have worked with me faithfully for something over two 
J ears. While accepting my criticisms favorable and unfav- 
orable in the spirit in which they were given, they have re- 
tained their individuality. They have ideas of their own and 
these show in their work. They have learned much more 
than the mere technique of development and printing. They 
have gone far towards learning the value of "exclusion" — 
something of proper balance and much of appropriate mourtt- 
ing — a most important thing — too often neglected. 




PHOTOGRAPHY AT NIGHT. 

By HAROLD MORTIMER-LAMB. 

PART altogether from the attraction photog- 
raphy has for me as a medium for artistic ex- 
pression, there is the added charm of the oppor- 
tunity it affords in the directions of experi- 
ment and research. The only drawback to this 
is that the beginner is prone to take injudicious advantage 
of his facilities in this regard and before thoroughly master- 
ing one branch of the art photographic, or perfecting him- 
self even in the fundamentals of development and the simpler 
methods of print-making proceeds forthwith to try his prentice 
hand at glycerine-controlled platinum, gum-bichromate, or car- 
bon printing — usually with very dire and disappointing results. 
At least that has been my own sad experience in the past, 
wherein I demonstrated to myself most convincingly the truth 
of the adage which refers to the temerity of fools in con- 
tradistinction to the prudent reserve exercised by angels. 
Well, it is just a question after all whether the fools are al- 
together to be condemned for the enthusiasm which leads 
them astray. Don't they at any rate derive lots of amusement 
and interest from their little experimental flights, and so 
long as we are not invited to admire their weirdly crude initial 
efforts, who are- we to deny them harmless pleasure, however 
seemingly futile? Certainly not I. And so I propose in the 
present brief article to go to the other extreme and in writing 
of some experimental exposures made at night, suggest that 
here lies another field wherein the beginner may pass many a 
pleasant hour and waste plates innumerable, to the great stim- 
ulation of trade; while I am not sure that the advanced 
pictorial worker who has not yet attempted out-of-door work 
at night, may not get a hint or two from hearing of my 
rather spasmodic efforts in this direction. 

I was first tempted to expose a plate by the light of the 

285 



moon one night the winter before last. I arrived home late, 
somewhere about eleven o'clock; and on my way I passed a 
little solitary cottage. A light was shining in a window, and 
this alone suggested warmth and comfort. The rest was 
dreary and cold. The full moon shed its clear, blue radiance 
over a snow covered earth, a cold wind blew, and one thought 
of the joy of the tired traveller as he approached this humble 
abode with the beacon light shining, a promise of the welcome 
awaiting him. So upon arriving home I got out my whole- 
plate camera and fitted to it an old-type Ross single land- 
scape lens of long focus, from which I had removed the 
original mount made with a view to stopping down the lens 
and giving fine definition — a much too critical definition for my 
requirements — and then retraced my steps to the neighbor- 
hood of the lone cottage. 

After adjusting the camera and focusing on the light in 
the window, it suddenly occurred to me that to properly carry 
out the idea of my first impression, I should require a model 
to pose for the figure hurrying homeward. Well, I was quite 
aware that there would be difficulties in the way of finding 
anyone good-natured enough to leave a comfortable bed to 
enable me to photograph them at midnight in wintry weather; 
so there was nothing for it but that I should be my own model. 
That point once decided, I marked as well as I could the posi- 
tion the figure should occupy to secure a more or less well- 
balanced arrangement, and then placing my walking-stick so 
that it stood erect in the snow at that spot, again examined 
the composition in the ground-glass to make sure that all 
was well as possible. I next inserted the plate-holder, remov- 
ed the slide and quickly got into position, pulling my slouch 
hat over my ears and crouching my shoulders to carry out 
the suggestion of a man who feels acutely the biting frost. 
As a matter of fact I entered thoroughly and appreciatively 
into the part, for the thermometer stood at ten below zero 
and after standing stock still for five minutes, the limit of en- 
durance, there was no mere acting about my pose." Hence I 
was not a little pleased when the ordeal was over and half an 
hour later discovered in the dark-room that I had a printable 
negative for my pains, — very thin, it is true, but one capable 
of yielding a print that would convey in a measure my con- 

286 



ception of the scene. The result is shown in the illustration 
here reproduced. 

Pictorially considered, it is perhaps disappointing, for the 
figure and the cottage are scarcely conected, and the general 
effect is, consequently rather "spotty" — one little man, one 
little house, one little lamp-ht window. But nevertheless the 
experiment succeeded in that I proved to my own satisfac- 
tion that with a lens working at about F6. it is possible to 



No. (•. THE LIGHT IN THE WINDOW, h. mortimer-lamb. 

take a satisfactory photograph by direct moonlight, assisted 
by the reflection of snow on the ground, with an ex[x)sure as 
short as five minutes. 

In reference to this particular exposure here are a few 
more working details: Plate, Imperial Sovereign (backed); 
developer, pyro-soda diluted to half stren^'th; printed on 
Eastman water-developed platinum. Of course, a much more 
contra.sty print might be obtained by using a gaslight paper, 
such as Vclox; but in this case I did not want more contrast 
than platinum would give me. 

Since this first attempt I have made several other experi- 
ments along the same lines and I find that one may photograph 



even street scenes by lunar light, provided one avoids includ- 
ing arc lamps in the view, as these cause bothersome halation. 
Often the big solemn masses of public buildings or churches 
appear very lovely — much more lovely than they ever do by 
day — under the soft light of the moon, and, especially in 
winter, they frequently afford fine subjects for pictorial treat- 
ment. 

The longest exposure I have given on subjects of this 
nature is half an hour and then only when it has been thought 
necessary to secure reasonable detail in the shadows; but, 
hitherto I have only attempted lunar photography when I 
had the aid of snow to act as a reflector. One word of warning 
to the tyro, in passing. It is obviously hopeless to think of 
including the moon herself in one's night pictures, for the 
longest exposure possible by which one may obtain an un- 
blurred image of the earth's gentle satellite is seven seconds, 
and this, of course, is all too short for the registration of 
other objects. I have, however, made tele-photographs of 
the moon, giving this relatively short exposure on a separate 
plate and afterwards used the negative for the purposes of 
combination printing ; but, except as an exercise, it is question- 
able whether the game is worth the candle. 

At the moment of pening these notes, the temperature in- 
stead of being below zero, is somewhere round the nineties, 
and as there is consequently no immediate prospect of snow, 
which I find so useful an auxiliary to night work in the winter 
season, I have recently attempted landscape photograpliy at 
night — it being then a cooler and more pleasurable exercise 
than during the heat of the day — employing now flashlights 
for illumination. My success so far has been extremely 
modest and hence I am unfortunately unable to fittingly point 
my moral and adorn my tale; but I nevertheless suggest ex- 
perimentation in this direction as offering great potentialities. 

Have you observed how glorious the woods are just as 
twilight is falling into the arms of night of a summer evening? 
All the distracting reflections from the sky on leaves and twigs 
and grass — beautiful though they too may be — seen earlier 
in the day are now no longer discernible. One now looks 
on Nature with eyes at "F4." Before us are great solemn, 
ghostly forms shrouded in mystery, suggestive, conducive to 

288 



J. Edward B. Greene. 



poetical imaginings. Emerging from the gloom are weird 
twisted shapes of tree trunks and branches like hmbs out- 
stretched, and beyond an impenetrable depth of shadow. This 



PORTRAIT STUUY. h. mortimer-lamh. 

is a new wcrld and we people it with spirits flitting through 
the dark. How the illusion grows as we listen to the song 
and soft sighing of the wind as it kisses the rustling leaves 



overhead. Knoiving how few painters can give a faithful 
rendering of night, its solemnity, beauty and mystery, it seems 
almost impertinent to hope that photography may be more 
successful. Yet the attempt is worth while, if only that 
photographers may come to love Nature more after studying 
her in, what is to me at least, her serenest and most entranc- 
ing aspect. 

The mode of procedure I have adopted is to go to the woods 
about one hour before dusk and look for a possible subject. 
One has. then sufficient light for focusing comfortably and 
may, moreover, decide how the flash shall be directed in 
order to give special emphasis where required. It might, 
perhaps, be a good plan to make a fairly long exposure before 

-.the darkness quite falls, so as to secure just so much detail 
all over the plate as thought advisable and then complete the 

' exposure by a flash that would emphasize the chief point of 
interest. But the difficulty here it seems to me would be in 
correctly guaging the preliminary exposure that the effect of 
night-fall would be preserved. On the only occasion I fol- 
lowed this method I fell into the error of over-exposure, the 
result being a flat, uninteresting negative which I threw away 
in disgust. 

The second print (unfortunately not reproduceable — 
Editor), was from a plate exposed at ten o'clock at night, 
at which time it was just possible to make out through the 
enveloping gloom the graceful lines of the white birch trees 
against the background of dark foliage. I focused by light- 
ing a candle which was placed on a convenient root at what 
I judged would be about the right distance under the cir- 
cumstances. Then leaving the lens, a Dallmeyer Rapid 
Rectilinear working at F8., open at full aperture, I exposed 
my plate by blowing magnesium powder through an alcohol 
lamp, and moving from place to place, outside, of course, the 
area embraced by the lens, in order to give more or less 
illumination to different objects in the view as I considered 
necessary. In all I believe I gave four flashes; two im- 
mediately behind the camera, first holding the lamp high above 
my head for the tree forms nearby, and then low down to light 
the ground and show the roots of the trees ; and the third and 
fourth lesser flashes at some fifteen yards in front of the 

290 



camera on either side so as to sufficiently illuminate the middle 
distance. Here again, the result was pictorially unsatisfactory. 
But my object is simply to suggest to others a new line 
of work which i£ patiently followed may aflford attractive re- 
sults, while the endeavor itself will be productive of keen 
enjoyment. 



JAMES THOMSON, 



lirCentral I'ark, N. Y. (No. 3.) (Nj. 2). v. m inoali.s. 

PHOTOGRAPHING IN CENTRAL PARK. 

By FRANK M. INGALLS. 

NTRAL I'ARK, located in the very heart of 

klanhattan, is a delightful spot in summer time, 

vith its refreshing carpet of green contrast- 

iig with the <hrty streets whidi surround it. 

t occupies tile space of 153 city blocks. — an 

area of 840 aces. It is bounded by Fifth avenue, iioth street, 

Eight avenue and 59th street. Within its Hmits are about 

nine miles of carriage drives, about 6 miles of bridle paths 

and almost 30 miles of foot-walks. These all wind in graceful 

curves, and are shaded by beautiful trees of various species, 

with many flowering shrubs planted along the borders. Here 

and there statues and fountains nestle in the foliage Many 

of the foot-walks lead through beautiful vine-covered arbors, 

which contain seats where one may rest and feast his eyes upon 

the works of nature and art. In many places ponds and lakes 



add to the enchantment of the place. Seats for about 10,000 
persons line the walks. 

To describe all the interesting features of this park would 
take a large volume. Just a few hints for the camera work- 
ers will suffice for my purpose. 

At the principal entrance, 59th street and Fifth avenue, is 
conspicuously placed the bronze equestrian statue of Gen. 
William Tecumseh Sherman. It is a massive piece of work 
in gold bronze, placed high upon a solid granite base, located 
in a little plot of green grass, surrounded by a curb. 

Upon entering the park, the path that leads down to the 
left,past the swan-boat landing, up a few stone steps and a lit- 
tle climb to the top of a huge bowlder, will give us a point 
of sight that is well worth the trouble. Beneath us lies the 
"lower lake" surrounded by beautiful trees and beyond we 
get a glimpse of the tall buildings on Fifth avenue, including 
the Netherland and Savoy hotels. 

Should we have chosen to take the path at the right we 
would have come upon a scene no less beautiful — the little 
ivy-covered stone bridge which spans a narrow arm of the 
same lake. As we adjust the camera to take the picture, a 
stranger strolls into our field of view, and we hasten to immorta- 
lize him as his gaze directs our attention to the little swan- 
boat that has just emerged from under the bridge. 

We follow along toward the north, drinking in the views 
and wishing we had nothing to do but to stroll all over this 
beautiful world, depicting its places of interest that others 
might enjoy the things that we admire. 

Should we be inclined to study architecture here is an ex- 
cellent opportunity. Just across Fifth avenue some of the 
most beautiful residences in America, seen from the park form 
many interesting vistas. 

The laughter of children is heard and soon we see a pony 
with rider coming down the walk. We prepare for a snapshot 
at close range. There are also a number of donkeys and goat- 
carts for children to ride in upon the Mall which they enjoy 
very much. Turning to the left we soon come upon the 
building of the Metropolitan Museum of Art, at 82d street and 
Fifth avenue, the largest and richest art museum in 
America. The city furnishes the buildings but the col- 

294 



lections therein are controlled by private interests. One 
should not try to see all of the collection at a single trip but 
plan a series of visits, taking only a few sections at a time. 
The building is open every day, admission being free except 
Mondays and Fridays when a small fee is required. It is 
open on the latter evenings, and is then free, from 8 to ro 
o'clock. It is an excellent place to study art — especially on 
rainy days when we cannot enjoy out-of-doors life. 



In Central Park, N. Y. (No. i.i (No. 4.) f. m. ingalls 

Just south of the museum building, on a little rise of 
ground is placed the Obelisk or "Cleopatra's Needle," the 
most interesting historical object to be seen in America. It 
consists of a monolith of hard stone measuring about eight 
feet square at its base and seventy feet in height. It was old 
when Moses read its inscription. It has behind it thirty-five 
centuries. It withstood the various climatic changes during 
all this long period, until brought here whce the northeast 
storms have worn the hieroglyphics from two of its sides. 
A gold-plated cap has been placed upon its apex to protect it. 
In 1877 it was presented to the United States by the Khedive 
of Egypt, and removed here at private expense. Its com- 
panion was located on the Thames Embankment in London, 
the same jear. 



Farther to the ,=outh is Ln:ti)ii reservoir, siipitlying a part 
of the water usc<l in New York c;ty. At its soutlieast corner 
is an odd little stone tower. A fine view of the surrounding 
locality may be obtained from its upi.er llixirs. It is open 
at all times — free for all. The (jate an Eighth avenue, or 
"Central Park West" as it is called in the vicinity of the park, 
is near the elevated station of the Sixth avenue and Ninth 
avenue lines, at 8ist street and affords a fine view. 

When the great park has been exhausted, one may turn to 
the smaller city parks or "sijuares" with their pictorial op- 
portunities. One of the most favi^red of these is Madison 
Square Park, almost in the heart of the city. Two views of 
its chief features are here reproduced, the "Garden" with its 
beautiful tower, and Dr. Parkluir?t's old church, recently re- 
moved to make room for the tallest building in the world, a 
business block of forty-four stories in height. 




SPRINCJTIME. 



A VENETIAN PALACE. Mri. EImdof W. WilUrd. 



THE BIG DOLLY- 



THE GOLDEN POPPY (No. i 




THE VERSATILITY OF PHOTOGRAPHY. 

By O. V. LANGE. 

ITH a few studies of wild flowers of California 
I will endeavor to illustrate some of my pro- 
fessional experience, when trying to correlate 
in floral compositions the idealism of the artist 
and the realism of the scientist. 

In the majority of cases it is like trying to mix oil and water, 
for the scientist demands uncompromising and minute detail. 
To get these we must use a rather flat front light, an abnormal- 
ly small diaphragm, with the subject against a plain expression- 
less background. He wants to see and be able to analyze 
every filament, vein and stamen, etc., in the reproduction. 

This, then, is the truth for the realist. 

To the artist, on the other hand, this is all a painful super- 
fluity of useless detail. He only asks for simple impressions 
of the salient characteristics of the flowers, thus leaving much 
for his imagination to revel in. He prefers to feel the facts 
of beauty, rather than have them crudely visible. 

This, then, is the truth for the idealist. 

. It has always been marvelous to me, when I contemplate 
that photography can so readily satisfy the demands of these 
two extremes, thus proving its great versatility. 

In study No. i I have tried to preserve the freedom and 
abandon that are so appealing in the lines and curves of the 
California Golden Poppy. The background has been care- 
fully studied so as to get a rendering of subtle gradations 
in tone-values, thus giving the feeling that they are nodding 
and bending freely in the atmosphere. These last attentions 
satisfy the desires of the artist, and still are not objectionable 
to the scientist. 

In study No. 2 we have the Mojave Desert* Poppy, a distant 
relative of the Golden Poppy. The hard woody stem, the 
lobed, stiff, leathery leaves, and four-petaled flowers of this 
wild plant forbid the expression of much more than a mere 
scientific fact. 

299 



Now the man of science does not necessarily dislike artistic 
embellishments, providing they do not obliterate any of the (to 
him) valuable details. Therefore to gratify the esthetic 
taste, three stems were so arranged that a pleasing balance of 



THE MOJAVE DESERT o. v. lanoe. 

POPPY (No. 2). 

lines would result in a rich and fully satisfactory composition. 
The lightiiij^ was entirely from the side, and so subdued that 
at least some degree (if mystery and sentiment might be in- 
fused into the study, without s.icrificing any of the desirable 
features, such as rendering the true texture of the lobed leaves, 



and showing the stamens standing upright in their golden cups. 
Study No. 3 is of a wild lily found abundantly both in the 
California Coast Range and the high Sierras. To express 
the feeling of graceful freedom possessed by these wild beau- 
ties, has been to me more a labor of love than of stem neces- 



LILIUM WASHINGTONIA (No. 3). o. v. lange. 

sity. Therefore I almost defied the requirements of cold 
botanical facts exacted by my scientific friend. 

These flowers, of waxy texture and delicate cream tint, have 
almost leafless stems, which had to be intersected at various 



places to relieve the monotony of a succession of straight lines. 
Placing them at a slight angle, the feeling is secured as when 
being swayed by a gentle breeze. 

These lilies being of uniform color-value, the lighting was 
of an entirely different scheme than in the preceding study. 
Here variety, and incidentally sentiment, were secured by 
directing the light so that each one would be endowed with a 
different tone-value. The illusion of their being at various 
planes of distance from the spectator is accomplished by the 
light ones being brought forward against the darker part of 
the background, and the subdued ones are seemingly sent back 
by being placed where the background is of a lighter gray. 
This illusion is also enhanced by the darker ones being less 
in focus than the others. 

In these few flower studies, selected from many others, it 
has been my endeavor to blend scientific accuracy and artistic 
abandon, more or less, into a happy medium ; thus seemingly 
proving the versatility of photography, that can so nearly 
satisfy the demands of these two extremes. 



THE OLD FIREPLACE. a. b. stkbbins. 



THE LACE CAR HELEN p. gatch. 



UNDERGROUND PHOTOGRAPHY. 

B7 J. WILBUR READ. 

PHOTOGRAPHERS have told us how to do gen- 
^ eral work, architectural and landscape pictures, 
U lioiiie portraiture, wild animal photography and 
J] have left the surface of the earth to ascend 
^ heavenwards and use a camera in a balloon. But 
never have I seen anything in print, showing how the camera 
iiend would handle his box if he left daylight behind and 
started on a trip towards hell, which the preacher of a genera- 
tion or two ago told us lay down below, heaven being up 
above. Instead of working upwards in a balloon, I have 
travelled in the opposite direction in the gold mines of the 
Transvaal where I have secured some good pictures from 500 
to z,ooo feet below the grass roots. 

And now we will go below. It is seven o'clock in the 
morning and the day shift is going to work. We arc on hand. 



dressed in old clothes and wearing a pair of hobnailed shoes, 
weighing about four pounds each. I used a 5 x 7 No. 6 
Premo, fitted with an Aldis Anastigmatic lens, and have a de- 
cided preference for Kodoid plates for flashlight work under- 
ground. They weigh less than glass, and in case of accidents, 
such as occasionally happen when apparatus takes a tumble 
down a steep slope, they are unbreakable. In addition to 
a camera and six plate holders I have a blow-through flash 
lamp, magnesium powder and wire, methylated spirit and 
acetylene lamp, the latter being used in lieu of candles to enable 
me to see my way around. 

But the men are all down and the cage is waiting for us. 
I go down last with the shift boss whose duty it is to travel 
all over the mine (if it is a big one he has a certain section 
to cover) and inspect the work of every man under him. 
Naturally it is easier to go down hill than up, so he has the 
cage stopped at the first level on which work is being done 
and out we climb at the station. This is a fair sized chamber 
alongside the shaft where the ore is loaded into the skips to 
be hauled to the surface. 

"The Reef," as it is termed, is a layer of gold-bearing 
rock of low grade. It varies in thickness from a few inches 
to twenty feet, the average being somewhere around three 
or four feet. Around Johannesburg the dip downwards is 
slight, but at Randfontein, the western end of the Witwaters- 
rand 30 miles from town, it lies at an angle of 80 or 90 degrees, 
which means that it isn't the easiest thing in the world to get 
about. 

Running off from the station are drives going east and west. 
A drive is nothing more nor less than a tunnel, enabling one to 
travel about. The foot wall, or floor, has a track laid upon 
it, along which the Kafiir or Chinese boys train the ore from 
the stopes to the station. It behooves one to keep their eyes 
open, for often the hanging wall (or ceiling) is so low that, 
paradoxical though it seem, any number of stars can be seen 
way down below the grass roots. 

But here is a stope and the tap, tap, of a machine tells us 
that work is going on there, so down we go to hunt up the min- 
er who "bosses up" two machines, each of which has two Kafiir 
boys at work on it. A stope, remember, is an underground 

308 



chamber which has been made by the removal of the gold 
bearing rock. Off in the distance glimmer the candles of the 
men at work, and we make our way towards them with no little 
difficulty, for the reef is narrow here and this stope is only 
about three feet high, so one must do practically as the serpent 
did after it teimpted Eve, and literally crawl on our bellies. 
As we progress the stope grows higher and when we reach 
the machine we have been making for, we find it is six feet 
high. 



Driving DiBmond Drill. J. W. READ. 

Setting up the camera it is leveled off, and the picture is 
focussed on candles, top, bottom, right and left sides being 
obtained in the same way. Pouring a Hltle methylated spirit on 
the wick of our flash lamp it is charged with about a tea- 
spoonful of magnesium powder, and the spirit lighted. Then 
we burn a strip of magnesium ribbon to accustom the eyes of 
the miner and his boys to the light, then uncap the lens and 
fire the lamp. After packing up we go on down the stope 
and climb out on the next level, loo feet below the one we 
left above us. Along it we travel until we come to the end 
of it where we lind a man engaged in "driving." This means 
he is running the level along the reef so that all portions of it 
belonging to the mine can be got at on this level. Here is 

309 



where it is dead easy to rig up the camera, for we are on level 
ground, and the "hanging" is usually six feet above the foot 
walk, so one can easily stand erect. But right here is where 
picture making is difhcult, for the ventilation is poor and the 
dust from the machine makes things look pretty fo^^. But 
mister miner stops his machine and we wait a bit until the 
atmosphere clears up when we have a go at him and so ob- 
tain a picture of a machine at work in a drive. 



HAND STOPEING. j. w. kead. 

Turning back we start towards the station on this level and 
eventually bump into a gang of "hammer boys" at work start- 
ing a stope downwards. There is no machine here, but instead 
a lot of Kaffirs, each one of whom is hard at work with ham- 
mer and drill making a hole, that when loaded with dynamite 
and fired will bring down the ore containing the yellow metal 
which will buy anything in the world from a man's honor to a 
woman's virtue. Again we rig up our camera and bum some 
more powder, the result being a good picture. 

And so we tramp on, passing Kafiirs pushing truck loads 
of ore from the ore boxes at the bottom of the stopes to the 
station where it is dumped into ore bins preparatory to being 
hauled to the surface. 

3» 



Down from one level to another we go through the stopes 
until we reach the bottom of the vertical shaft. Ramblii^ 
around on this level we stumble on a diamond drill at work 
hunting for the reef which has been lost here. Another flash 
light exposure yields a picture of the drill with the shift boss 
on one side with his prospector's pick in his hand, and a Boer 
miner on the other side. 

Thence back we go, past the station, and find that an in- 
clined shaft has been sunk here. At the top of it is an electric 
hoist, and another flash yields a picture of it with the engine 
driver and his "boy" apparently hard at work. 

But it is close onto four o'clock. All the holes have been 
charged up and it is time to get back to the station before 
blasting commences, for we don't want to take any chances 
on "getting blasted" by running onto a charge accidentally and 
we don't want to get "gassed" by breathing a lot of dynamite 
smoke. The cage comes down soon after we reach the sta- 
tion, and in we climb preparatory to being hauled up to the 
surface where old Sol in all his glory, shines out of the 
western sky. 



THE TWO DOGS. o. c. conkling. 

PRINT CIRCULATING SOCIETIES. 



OHOTOGRAPHERS are a queer lot "except thee 
I and me, Betsy — and thee is often a bit queer." 
It would seem the most natural thing in the 
world for a number of them even in scattered 
, localities, to "get together" for mutual benefit 
and the comparing of notes and results, especially through the 
obvious medium of circulating collections of their pictures. 
But a diligent combing of records shows the present existence, 
in these United States, of only four societies along this line. 
"Pour ettcourager les autres," as well as in recogfnition of 
these devoted pioneers, the editor has thought it fitting to 
give some account of them here. 



It may not be amiss to set down as a preliminary, the 
editor's impressions concerning a few of the pros and cons 
which experience has developed as bearing on the subject. 

And the "cons" come first, naturally. 



THE PET ANGORA. 



In the first place, the motives which impel toward photo- 
graphic expression are so varied. For the vast majority, the 
amusemeni and occitpatiori derived from dabbling in photog- 
raphy are a quite sufficient end and aim — and criticism, 



which is so often made an excuse for fault-finding — is not 
desired. Would that our strenuous executive at Washington 
could codify the laws defining a sense of humor, so that a 



NARCISSUS. 



standard might be created ; it would certainly affect the spirit 
of the note-books that go the roinids with the albums and 
portfolios now in circulation ! The comments are so trite or 
so perfunctory tliat they cause pain rather than pleasure to 



A DAUGHTER OP THE NILE. 



the judicious griever. Instances are not wanting where the 
tyro or a button-pusher graduates into as rampant a "Re- 
belHonist" as any — with a capital "R" and a "why-drag-in- 
Velasquez" attitude; and proceeds to "flock by himself" if 
birds of a feather are wanting, disdaining earlier associa- 
tions. But the pictures themselvesL should be interesting, 
aside from the comments — and they ofttimes are. 

Then, again, the maintenance of interest means a lot of 
work for some leading spirit or two — and that is a detriment. 

Finally, the wealth of technical publications, and of depart- 
ments in general ones, offers great attractions and reaches 
larger audience. 

Still, the personal quality of the association, often ripening 
into permanent friendships, and the great advantage of see- 
ing original prints instead of copies, is a compensation de- 
voutly to be wished, and should be a stimulus to the forma- 
tion of many circulating societies in the near future — which 
will find full recognition in the Annual. 

The Postal Photographic Ciub— its full title adds "of the 
United States" — dates back to 1885, when the first album was 
issued on April 29th. The usual history of initial enthusi- 
asm, temporarily waning interest, inaction and then revival, 
is chronicled in the archives of the earlier years; the present 
activity has, however, prevailed for several years, and seems 
likely to continue indefinitely. 

Ten new monthly albums, prepared by the secretary, are 
circulated during the year, each member prepaying charges 
and forwarding to next on route list, after three days' in- 
spection. A note book accompanies each album, in which 
particulars are given regarding the making of negatives and 
prints. Each recipient is expected to enter some criticism or 
appreciation in the note-book, regarding each print. This is 
rendered impersonal by withholding the name of the maker 
of the print, until the circuit has been completed, the secre- 
tary then adds this to the record and the album and note-'book 
go the rounds a second time. After the final circuit, the 
albums become the property of the secretary. A vote for 
first and second in the two classes of Artistic Merit and 
Technique is also expected from each member, in respect of 
each album. 

317 



The membership is restricted to forty non-professionals, 
east of the Ohio River, and is at present filled, with a waiting 
list. The annual dues are three dollars ; the forwarding 
charges which are by express, not post, amount to from three 



AT SUNSET. JAMES Thomson. 

to five dollars mor*. Prints are limited to 8x lo in size, and 
may be made by any but the blue-print process. They are 
forwarded to the secretary, who arranges them in the albums. 
The present officers are Charles E. Fairman, President, and 
Gustavus A. Brandt, secretary and treasurer, both of Wash- 
ington, D. C. Their services have been continuous for the 
past six years, 

318 



The Postal Camera Club was organized in 1900, the first 
album being dated October loth of that year. The annual 
dues are fifty cents; the membership is limited to thirty ama- 
teurs. The prints are not sent to the director, to be arranged 
in albums, but are circulated loose in Portfolios, each member 
adding his contribution before passing the portfolio along, after 
three days for examination. The director sends out these 
portfolios, accompanied by an earlier one, and the usual note- 
book; presumably varying the routing so as to equalize the 
sensations and outlay of each recipient. The membership 
reaching from Vermont to Alabama, and as far as Colorado 
and California, was originally only twenty, but was increased 
to thirty by absorption of the Inter-State Postal Camera Club 
in 1904. 

The present director is Mr. Henry W. Schonewolf, Albany, 
N. Y. 

The Salon Club of America derives its title from the re- 
striction of membership to workers, either amateurs or pro- 
fessionals, of record as exhibitors "in leading Salons." The 
prints are mounted by the maker, and circulated in portfolios. 
Exact figures regarding the membership are not at hand, but 
it is stated to be large, and subdivided into various local 
circuits, thus expediting the circulation. 

The director is Mr. Louis Fleckenstein, Faribault, Minn. 

The Elect Photo-Art Club was organized in May, 1903, and 
is limited to twelve select serious workers, having for its object 
mutual helpfulness, and aims to show none but worthy work. 
The criticism, while severe, is constructive and inspiring. The 
club motto is "Unity, Simplicity, Breadth." 

The present membership includes, geographically. New 
England, New York and New Jersey, Maryland, Wisconsin and 
Michigan. 

The monthly portfolio system is used, 14 x 18, and each 
member adds his contribution and critique before forwarding. 
The Portfolios make the rounds three times. The director 
is Charles E. Barr, Albion, Mich. 

The particulars here given are derived from records 
furnished by the societies mentioned, communicated by Mr. 
Henry Hall, who has our thanks for his good will. 

319 



If any similar organizations have been overlooked, those 
interested will confer a favor by communicating with the 
Editor, so thai notice may be given in future issues. 



A HASTY RETREAT. 



THEO. EITEL. 



AMERICAN PHOTOGRAPHIC 

SOCIETIES. 



This list is compiled from information received from an inquiry 
form addressed to over one hundred societies during^ the latter half 
of 1907. It indicates either a considerable decrease in the num- 
ber of American societies, as recorded in previous volumes of the 
Annual, or a lack of interest in not supplying^ the information de- 
sired. May we ask all secretaries of societies not here listed, to 
send us particulars of their societies, so that the list may be 
made fully representative of the amateur photographic societies of 
America. — Editor. 

AKRON CAMERA CLUB— Akron, Ohio. Established 1890. Headquarters Y. M. 
C. A. Building. Membership, 56. Date of meetinf^s, second and last Tues- 
day in each month. President, Wm. Spanton, 84 Bittman Street. Secretary, 
George F. Kunz, 100 Bittman Street. Date of annual exhibition, March or 
April. 

AMATEUR PHOTOGRAPHIC ASSOCIATION— Selma, Ala. Established 
December 29, 1887. Headquarters, 916 Broad Street. Membership, 28. 
Date of meetings, first Friday each month. President, William S. Monk, 
Selma, Ala. Vice-President, S. A. Sexton. Librarian, Miss Mary Keipp. 
Secretary, S. Orlando Trippe, Selma, Ala. 

AMERICAN INSTITUTE PHOTOGRAPHIC SECTION— New York City. Es- 
tablished March 26, 1859. Headquarters, 19-21 West 44th Street. President, 
Oscar G. Mason. Vice-President. Robert A. B. Dayton, Treasurer, James 
Y. Watkins. Secretary, John W. Bartlett, M.D., F.R.P.S. 149 West 94th 
Street. Stated meetings, first and third Tuesdays of each month. No 
meetings during summer months. 

AMERICAN FEDERATION OF PHOTOGRAPHIC SOCIETIES— it 20 Wood 
Street, Wilkinsburg, Pa. President R. L. Sleeth, Jr., Pittsburg; Treasurer, 
W. H. Phillips, East Liverpool, O.; Secretary, W. E. Strayer, Wilkins- 
burg. Pa. 

AMERICAN LANTERN SLIDE INTERCHANGE— New York. Principal office, 
361 Broadway. Organized 1885. General Manager, F. C. Beach. Member- 
ship, 20 clubs. Board of Managers, F. C. Beach; New York; John P. Zen- 
ner, Buffalo, N. Y.; O. C. Rciter, Pittsburg, Pa.; H. R. Terhune, Orange, 
N. J.; Herbert F. Smith, Syracuse, N. Y, Annual meeting, December of 
each year. 

nOi- TON CAMERA CLUB— Boston. Mass. Established 1881. Incorporated 1886. 
Headquarters, 50 Bromfield Street. Membership, 120. Date of meetings, 
first Mondays. President, William R. Cabot, 141 Milk Street, Boston. 
Secretary, John H. Thurston, 50 Bromfield Street. Date of annual ex- 
hibition, spring. 

BROCKTON CAMERA CLUB— Brockton, Mass. Established April, 1894. Head- 

auarters. Arcade Building. Membership, 50. Date of meetings, third Fri- 
ny each month. President, Wm. F. Bond, Avon, Mass. Secretary. George 
W. Higgins, 34 Commercial Street, Brockton. Date of meeting, third Fri- 
day each month. Date of annual exhibition, third week in April. 

BROOKLYN CAMERA CLUB— Brooklyn, N. Y. Established February 2. 1900. 
Incorporated February 19, 1900. Headquarters. 776 Manhattan Avenue. 
Membership, 41. Date of meetings, first Wednesday each month. President, 
Wm. T. Knox, 279 Washington Street, New York. Secretary, U. Grant 
Dodson, 150 Noble Street, Brooklyn. 

CALIFORNIA CAMERA CLUB— San Francisco, Cal. Established March 18, 1890. 
Incorporated April 5, 1890. Headquarters, 2206 Steiner Street, San Fran- 
cisco. Membership, 454. Date of meeting, second Tuesday monthly. Presi- 
dent, Albert LeBreton. Secretary, Edward G. Eisen, 2206 Steiner Street, 
San Francisco. Date of annual exhibition, no set time. 

325 



CAMERA CLUB, Y. M. C. A.— H^de I^lrk. Man. Membership, 30. Date of 
meetiM, every Saturday evening. Annual exhibition in November. Hyde 
Park Cross Country Club merged into Y. M. C. A. Camera Onb. Pretidint, 
W. E. Higbee. Secretary, P. R. Heustis. Secretary, John W. Logan, 
Y. M. C. A.. Hyde Park Mass. 

"CAM£RADS"^New Brunswick, N. J. Established April 24, 1890. Head- 
quarters, corner Church and Neilson Streets. Membership, 12. President, 
George K. Parsell, George Street. Secretary, Harvey Ireadl, D.D.S., Lock 
Box 34, New Brunswick. 

CAPITAL CAMERA CLUB— Washington. D. C. Established May x, 1891. Head- 
quarters, loio F Street, N. W. Membership, 80, limited to xoo. Date of 
meetings, first Saturday in each month. President, P. H. Christie. Secre- 
tary, Dr. Andrew Stewart, The Rockingham, Washington. Date of annual 
exhibition. May. 

CAPE ANN CAMERA CLUB — 119 Main Street, Gloucester. Established June 5, 
1899. Incorporated December 26, 1903. Headcjuarters, 119 Main Street. 
Membership, 50 (limited to 50). Date of meetings, first and third Friday 
in month. President, Ernest L. Munger, Gloucester. Secretary, Herman 
W. Spooner, 6 Proctor Street, Gloucester. Date of annual exhibition, 
October 15th. 

CENTURY CAMERA CLUB— Erie, Pa. Established 1900. Headquarters, 
622 State Street. Date of meetiiu(8, second and fourth Tuesday of each 
month. President, L. Oemens. Secretary, Gust. Holmquist, 2207 Poplar 
Street. Exhibitions, once a year. 

CHICAGO CAMERA CLUB— Chicago, 111. Established, February 14, 1904. In- 
corporated February 19, 1904. Headquarters, Northwestern University 
Building, Dearborn and Lake Streets. Date of meetings, every Thursday. 
President, F. M. Tuckerman. Secretary, and TreasMrer, Qarence B. Hale, 
215 Jackson Boulevard, Room 506. Annual exhibition, March (Salon). 

COLUMBIA PHOTOGRAPHIC SOCIETY— Philadelphia, Pa. Established. 1889. 
Incorporated July 3, 1894. Headquarters, 181 1 North Broad Street, Phila- 
delphia. Membership, 150. Date of meetings, first Monday of each month, 
business meeting; other Mondays, lecture or demonstrations. President, 
Frank D. Long, S. E. corner 12th and Berks Streets. Secretary, Herbert 
J. Karn, 21 51 North 8th Street. Date of annual exhibition, January, 
prints; November, lantern slide. 

DAGUERRE CAMERA CLUB— Harbert, Mich. Established 1893. Headquarters, 
Harbert, Mich. Membership, 20. Date of meetings, first Monday of each 
month. President, F. Blish, Chicago. Secretary, Wells Sizer, Harbert. 

ELMIRA CAMERA CLUB— Elmira, N. Y. Established 1902. Headquarters, 112 
Baldwin Street, Elmira, N. Y. Membership, 30. President, Maxwell 
Minier; Secretary-Treasurer, W. J. Wctmore. 

ESSEX CAMERA CLUB— Newark, N. J. Esctblished April, 1901. Head- 
quarters, 33 Court Street, Newark, N. J. Membership. 75. Date of meet- 
ings, fourth Tuesday of every month. Fresident, J. McC Morgan. Secre- 
tary. L. J. Gcbhard, 235' So. i ith Street. Date of annual exhibition, 
January. 

HAMILTON SCIENTIFIC ASSOCIATION, CAMERA SECTION— Hamilton, 
Can. Established April, 1891. Headquarters, 104 King Street, W. Mem- 
bership, 80. Date ot meetings, second and fourth Mondays. President, Wm. 
Acheson, 165 Queen Street, S. Secretary, Sinclair G. Richardson, Traders' 
Bank Building, King Street, W. 'Date of annual exhibition, last week of 
October. 

HARTFORD CAMERA CLUB— Hartford, Conn. Membership, 100. Head- 
nuarteis, Brown-Thomson Building. Secretary, B. A. Doane, care of Hart- 
ford Times, Hartford, Conn. 

HAVERHHJ, CAMERA CLUB— Haverhill, Mass. Established 1898. Head- 
quarters, DaRRctt Building. Merrimack Street. Membership, 37 active; i 
honorary. Date of meetings, third Tuesday, monthly. President. H. L. 
Woods, Secretary, A. P. Heath, 105 Merrimack Street. Date of annual 
exhibition, no set date. 

HAWAII CAMERA CLUB— Honolulu. H. I. Organized, May. 1907. Head- 
quarters, Kapiolani Building, Honolulu. 

INTERN.\TIONAL PHOTO PRINT' EXCHANGE— Beach Bluff, Mass. Es 
lablishcd in 1893. Membership. 20 (limited to that number), each m'^mbcr 
in a diPFercnt country. Secretary and Treasurer, Walter Sprange, Beach 
Bluff, Mass. 

326 



JAMESTOWN CAMERA CLUB— Jamestown. N. Y Established, 1907. Head- 
(luarters, Gifford Building, Jamestown, N. Y. Membership, ^o. Meet- 
ings, second Tuesday of month. President. Miles C. Nichols; Vice-Presi- 
dent, John M. Cushman; Treasurer, O. D. Starr; Secretary, John J, 
Andrews. 

METROPOLITAN CAMERA CLUB— New York City. Established 1903. In- 
corporated 1904. Headquarters, 100-102 West loist Street, New York. 
Membership, 1^0. Date of meetings, first Monday of each month. President, 
George L. Flick, 189 Franklin Street. Secretary, B. F. Woodbum, 102 
West loist Street. Date of annual exhibition. May. 

MISSOURI CAMERA CLUB— St. Louis, Mo. Headquarters, Y. M. C. A. 
Building, St. Louis, Mo. 

MONTCLAIR CAMERA CLB— Montclair, N. J. Established November 10, 1898. 
Incorporated August 5, 1899. Headquarters, 460 Bloomfield Avenue. Mem- 
bership, 65. Date of meetings, xoth of each month. President, Wm. B. 
Smith, «5 South Mountain Avenue. Secretary, C. Russell Jacobus, 550 
Bloomfield Avenue. Date of annual exhibition next fall (date not fixed). 

MONTREAL AMATEUR ATHLETIC ASSOCIATION CAMERA CLUB— Mon- 
treal, Canada. Headquarters, M. A. A. A. Building, 250 Peel Street. 
Orgaiiized, May i, 1906. Membership, 40. Meetings monthly. President. 
G. A. Melville. Hon. Secretary-Treasurer, C. F. G. Johnson, 250 Peel 
Street, Montreal. 

NEW ENGLAND PHOTOGRAPHIC EXCHANGE MANAGING SOCIETY— 
Ogdensburg, N. Y. For information write to J. Eliot Davison, Pawtucket, 
R. I. 

ORANGE CAMERA CLUB— Orange, N. J. Established March 21, 1892. Incor- 

S>rated May 19, 189^. Headquarters, 222 Main Street. Membership, no. 
ate of meetings, sth and 20th of each month, except July and August. 
President, H. L. Cadmus. Secretary, Jos. L. Seilcr, 222 Main Street, 
Orange. Date of annual exhibitions, fall and spring. 

OREGON CAMERA CLUB— Portland. Ore. Established 1895. Incorporated 1903. 

Headauarters, 510 Maclay Building. Membership 140. Date of meetings, 

second Tuesday in January. President, James J. Tyrrell, care of Oregon 

Camera Club. Secretary, Jfohn V. Reid, Oregon Camera Club. Date of 
annual exhibition, week beginning October 21. 

PHOTOGRAPHIC CLUB OF BALTIMORE— Baltimore, Md. Established 1885. 
Incorporated 1890. Headquarters, Club House, 870 Linden Avenue. Mem- 
bership, active, 49; associate, 18; honorary, 10; non-resident, 3; total, 80. 
Date of meetings, every Tuesday, 8.15 p. m. President, Percy M. Reese, 
1 201 North Charles Street. Secretary, Julian A. Jenkel, 1629 Monroe Street. 
Date of annual exhibition, October. 

PHOTO-PICTORIALISTS OF BUFFALO— Buffalo, N. Y. Organized October, 
ipo6. Membership, 8. Meetings, first and third Thursdays of each month. 
Correspondent, W. H. Porterfield, 235 Hudson Street. 

PHOTO-SECESSION— Headquarters, 291 Fifth Avenue, New York. Director, 
Alfred Stieglitz. 

PITTSBURGH ACADEMY OF SCIENCE AND ART, (PHOTOGRAPHIC SEC- 
TION) — Pittsburgh, Pa. Organized January 23, 1900. Headquarters, Car- 
negie Institute, Schenley Park. Meetings, second Tuesday of each month at 
Club Rooms, 6017 Penn Avenue and fourth Tuesday of each month at Car- 
negie Institute, except July and August. Membership, 100. President, 
O. C. Reiter. Vice-President, Wm. Mc.G White. Treasurer-Director, Wm. 
McK. Ewart. Secretary, J. M. Conner, Shetland and Finley Avenues, 
Pittsburgh. 

PORTLAND CAMERA CLUB— Portland, Maine. Established 1899. Head- 
quarters, ^ 571 J4 Congress Street. Membership, 90. Date of meetings, 
every Friday evening. President, S. S. Skomeld. Secretary, O. P. T. 
Wish, 743 Congress Street. Date of annual exhibition, in February. 

PROVIDENCE CAMERA CLUB— Providence, R. I. Established 1883. Incor- 
porated 1889. Headquarters, 123 Eddy Street. Total membership, 79. Date of 
meetings, second Saturday of every month. President, Charles Morrill. 
Secretary, J. Butler Whittcmore, 123 Eddy Street. 

ROCHESTER CAMERA CLUB— Rochester, N. Y. Headquarters, Wilder Arcade, 
Rochester, N. Y. 

SAVANNAH CAMERA CLUB— Savannah, Ga. Established June, 1807. Head- 
quarters, Park Avenue and Bull Street. Membership, 46. Date of meetings, 
Wednesday of each week. President, J. S. Hexter, National Bank Building. 
Secretary, L. M. Williams, National Bank Building. Date of annual ex- 
hibition. Thanksgiving. 

327 



SYRACUSE CAMERA CLUB— SyractiM, N. Y. Established 1886. Incorporated 
Tanuary 19, 1892. Headquarters, UniversitT Block. Memberdhip, loi. 
Date of meetings, Friday evening of each week. President T. E. Bierhardt, 
Western Union Telegraph Co. Secretary, M. L. Trowbrioge, 216 Ulster 
Street. 

TORONTO CAMERA CLUB— Toronto. Canada. Established 1887. Incorporated 
1893. Headouarters, 2 Gould Street. Membership, 180. Date of meet- 
ings, every Monday, from October to April inclusive. President, W. J. 
Watson, 2 Gould btrcet. Secretary-Treasurer, Hugh Neilson, 295 Carlton 
Street. Date of annual exhibition, March or April. 

TOWN AND COUNTRY CAMERA CLUB— Minneapolis, Minn. EsUblished 
190X. Date of meetings, every week, at which lecttyes and demonstrations 
are given pertaining to camera work. Outinff excursions on May 30. Presi- 
dent, George L. Nevins. Secretary, M. W. Wright, 726 Pelham Street, St. 
Anthony Park, Minn. Exhibitions annually. 

THE CAMERA CLUB— New York. Established by consolidation of Society of 
Amateur Photographers and New York Camera Club in April, 1896. Incor- 
porated May 7, 1&96. Headquarters, 5 West 31st Street. Membership, 225. 
Date of annual meeting, second Tuesday in April. President, (Carles I. 
Berg. Vice-President, Chauncey H. Crosby. Secretary, John Hadden, 225 
Fourth Avenue. Treasurer, Frank M, Hale. 

THE CAMERA CLUB OF THE TWENTY-THIRD STREET BRANCH, Y. M. C. 
A. — New York. Established June 3, 1904. Headquarters, 23d Street Y. M. C. 
A. Membership, 87. Date of business meetings, first Monday in each 
month; third Monday in each month, socials, lantern slide lectures, etc. 
President Harrison C. Hall, 215 W. 23d Street, Room 8x2. Secretary, 
Frank M. Ingalls, Room 91^. 215 W. 23d Street. Date of annual ex- 
hibition, usually in January. No fixed date. 

THE PHOTOGRAPHIC SOCIETY OF PHILADELPHIA— Philadelphia, Pa. 
Established November, 1862. Incorporated April 24, 1885. Headquarters, 
1722 Arch Street. Membership, 160. Date of meetings, second, third 
and fourth Wednesdey, 8. F. u. President, C. Yamall Abbott, 43 South 
18th Street. Secretary, George Donchower, Room 902, 1201 Chestnut Street. 
Date of annual exhibition, February. 

THE POSTAL PHOTOGRAPHIC CLUB— Washington, D. C. Established De- 
cember, 1888. Headquarters, Washington, D. C. Membership, 40. Date of 
meetings, no rejrular meeting. President, Charles E. Fairman, 1006 F 
Street, N. W., Washington. D. C. Secretary, Gustavus A. Brandt, 631 
Maryland Avenue, S. W., Washington, D. C. Albums circulate mong mem- 
bers monthly, except August and September. 

TOLEDO CAMERA CLUB— Toledo, O. Member of the American Federation. 
Headouarters. Museum of Art. Meets second Wednesday of month. 
President, Cad^ Markley; Vice-President, E. H. Turner; Secretary, C. C 
Taylor, 3236 Cambridge Avenue, Toledo, Ohio. 

THE ST. LAWRENCE CAMERA CLUB— Ogdensburg, N. Y. Established 1900. 
Headquarters, 26 Jay Street. Membersnip, 12. Date of meetings, at the 
call or the Secretary. President, Arthur L. Jameson, 50 State Street. Secre- 
tary, John N. Brown, 26 Jay Street. 

THE TROY CAMERA CLUB— Trov, N. Y. Established February 2a. 1904. Head- 
quarters, Room 250 River Street. Membership, 150. Date of meetings. 
first Monday each month. President, Herman Krause. Secretary, Albert A. 
MacNaughton, Box 58, Troy. 

WISCONSIN CAMERA CLITB—Headnuarters, 623 Grand Avenue, Milwaukee. 
Meets first Tuesday of each month. Secretary, W. P. Homing. 

Y. M. C. A. CAMERA CLUB— Denver. Col. Established September, 1899. Will 
probably he re-organized on the completion of the new building, about the 
first of January. Secretary, H. W, Huntington, MacPhee Building, Denver. 



328 



United Sta.te8 Weights a.f\d Meatsures. 

ACCORDING TO BXISTIN6 STANDARDS 



12 inches = 1 foot. 
3 feet = 1 yard. 
6.5 yards = 1 rod. 
40 rods = 1 furlong. 
8 furlongs = 1 mile. 



144 sq. ins. = 1 sq ft. 
9 sq. ft. = 1 sq. yard. 
30.25 sq. yds. = 1 sq. rod. 
40 sq. rods = 1 sq. rood. 
4 sq. roods = 1 acre. 
640 acres = 1 sq. mile. 



4 gills = 1 pint. 
2 pints = 1 quart. 
4 quarts = 1 gallon. 



LINEAL. 

Inches. Feet. Yards. Reds. Fur's. Mile. 
12= 1 

86= 8 = 1 
198= 16.5= 5.5.= 1 

7,920= 660 =220 =40=1 

63,860 = 5,280 = 1,760 = 820 = 8 = 1 



SURFACE— LAND. 

Feet. Yards. 

9 = 1 

272.25 = 80.25 = 

10,890 = 1,310 = 

43,560 = 4,840 = 



Rods. Roods. Acres. 



1 
40 = 
160 = 



1 
4 = 



1 



27,878,400 = 8.097,600 = 102,400 = 2.560 = 640 

VOLUME— LIQUID. 

; Gills. Pints. Gallon. Cub. In. 
32 = 8 = 1 = 281 



FLUID. 

Drachms. 
= 1 .024 = 

= J28 = 
= 8 = 

1 = 

16 ounces, or a pint, is sometimes called a fluid pound. 

TROY WEIGHT. 



'Gallon. Pints. Ounces. 

1 = 8 = 128 

1 = 16 

1 



Minims. 


Cubic Centimetres. 


61.440 


= 3,785.485 


7,680 


= 473.179 


480 


29.574 


60 


= 3.697 



Pound. 
1 



Ounces. 

12 
1. 



Pennyweights. 
240 
20 
1 



Grains. 
5,760 

480 
24 



Grams. 

378.24 

81.10 

1.56 



APOTFiFXARIES' WEIGHT. 



lb. 

Pound. 

1 



Ounces. 

12 
1 



Drachms. 
96 

8 
1 



Scruples. 
288 
24 
3 






Grains. 
5,760 

480 
60 
CO 



1 = 



Grams. 

878.24 

31.10 

3.89 

1.80 

.06 



The pound, ounce, and grain are the same as in Troy weight 

AVOIRDUPOIS WEIGHT. 



Pound. 


Ounces. 




Drachms. 


Grains (Troy) 


1 


16 


— 


256 


= 7,000 




1 


= 


16 

1 


437.5 
27.34 



Grams. 

453.00 

28.86 

1.77 



329 



English Weights a.nd Moiksuresb 



APOTHECARIES* WEIGHT. 

20 Grains = 1 Scruple =r 20 Grains. 

8 Scruples = 1 Drachm = 60 Grains. 

8 Dracnms = 1 Ounce = 480 Grains. 
12 Ounces = 1 Pound = 5760 Grains. 

KLUID MEASURE. 

60 Minims = 1 Fluid Drachm 
8 Drachms= 1 Fluid Ounce. 

20 Ounces = 1 Pint. 
8 Pints = 1 Gallon. 

The above weights are usually adopted in formulas. 



All Chemicals are usually sold by 

AVOIRDUPOIS WEIGHT. 

27H Grains = 1 Drachxri= 27U Grains. 
16 Drachnis= 1 Ounce = 437f Grains. 
16 Ounces = 1 Pound = 7000 Grains. 



Precious Metals are usually sold by 

TROY WEIGHT. 

24 Grains = 1 Pennyweight = 24 Grains. 

20 Pennyweights = 1 Ounce = 480 Grains. 

12 Ounces = 1 Pound = 5760 Grains. 

NoTR. — An ounce of metallic silver contains 480 grains, but an ounce 
of nitrate of silver contains only 437^ grains. 



Vnlted Stottes Fluid MeoLSure* 

Gal. Pints. Ounces. Drachms. Mins. Cub. In. Grains. Cub. CM. 

1 = 8 = 128 = 1.024 = 61.440 = 281. = 58,328.886 = 8,786.44 

1 = 16 = 128= 7,680= 28.875 = 7,291.1107= 478.18 

1 = 8 = 480 = 1.8047 = 455.6944 = 29.57 

1 = 60 = 0.2 >56 = 56.9618 = 8.7« 



ImperioLl British Fluid MeaaurSb 

Gal. Pints. Ounces. Drachms. Mins. Cub. In. Grains. Cub. C.M« 

1 = 8 = 160 = 1,280 = 76,«00 = 277.27384 = 70,000 = 4,543.782 

1 = 20 = 160 = 9,600 = 34.65028 = 8,750 = 567.966 

1 = 8 = 480 = 1.73296 = 437.5 = 28.398 

1 = 60 = 0.21662 = 54.69 = 3.550 



330 



Metric System of Weights a.f\d Measures. 

ACBASX7RES OP LENGTH. 



DbNOMINATXONB AMD VaLUES. 



Myriameter . . . 

Kilometer 

Hectometer.... 

Dekameter. 

Meter. 

Decimeter 

Centimeter . . . . 
Millimeter 



10,000 meters. 
1,000 meters. 
100 meters. 
10 meters. 
1 meter. 
1-lOth of a meter. 
1.100th of a meter. 
1-lOOOrh of a meter. 



EQUIVAX.BMTS IN USK. 



6.2187 miles. 

.«2187 mile, or 8J»0 ft. 10 

828. feet and 1 inch. 

898.7 inches. 

88. S7 inches. 

8.987 inches. 

.8987 inch. 

.0694 inch. 



, MEASURES OF SURFACE. 



Dbnominatxons and Values. 



Hectare, 

Are 

Centare. 



1U,(NH) square meters. 
100 square meters. 
1 square meter. 



Equivalents in VoB. 



2.471 acres. 
119.6 Lquare yards. 
1,550. square inches. 



MEASURES OF VOLUME. 



Denominations and Values. 


Equivalents is Usr. 


Names. 


No. OF 
Liters. 


Cubic Measures. 


Dry Measurp.. 


Wine Measure. 


Kiloliter or stere 
Hectoliter 

Dekalitrr 

Liter 


1.000 
100 

10 

1 

MO 

MOO 

MOOO 


1 cubic meter. 
1-lOth cubic meter. 

10 cubic decimeters. 

1 cubic decimeter. 
1-lOth cubic decimeter. 
10 cubic centimeters. 

1 cubic centimeter. 


1.808 cubic yards. 
2 bu. and 8.85 

pecks. 
9.06 quarts. 

.906 quart. 
6. 1028 cubic inches. 

.6103 cubic inch. 

.061 cubic inch. 


264.17 gallons. 

26.417 £:allons. 
• 2.6417 gallons. 
1.0667 quarts. 
.845 gill. 
.888 luid oz 
.87 fl. drm. 


DeciHtcr 

CentJUter 

Milliliter 



WEIGHTS. 



Denominations and Values. 


Bquivalkntb 
IN Use. 


Names. 


Number 
OP Grams. 


Weight op Volume op Water 
at its Maximum Density. 


Avoirdupois 
Weight. 


Millier or Tonneau 

Quintal , 


1,000,000 

100,000 

10,000 

1,000 

100 

10 

1 

MO 

MOO 

MOOO 


1 cubic meter. 

1 hectoliter. 
10 liters. 

I liter. 

1 deciliter. 
10 cubic centimeters. 

1 cubic centimeter. 

1-lOth of a cubic centimeter. 

10 cubic millimeters. 

1 cubic millimeter. 


8204.6 pounas. 

220.46 pounds 

28.046 pounds 

2.2046 pounds 

8.5274 ounces. 


dyriagram 

Kuogram or Kilo 

Hecf^^m 


Dekagram 

Gram 

Deci^rram 


.8527 ounce. 
15.482 grains. 
1.5482 grain. 
.lo48 grain. 


MUligram '.'. 


.0154 grain. 



Fi>r measuring tur/acts^ the square dekameter is used under the term of ARE ; the 
hectare, or 100 ares, is equal to about 2>^ acres. The unit of capacity is the cubic deci- 
meter or LITER, and the series of measures is formed in the same way as in the case of 
the table of lengths. The cubic meter is the unit of measure for solid bodies, and is termed 
STERE. The unit of iveigkt is the GRAM, which is the weight of one cubic centimeter 
of pure water weighed in a vacuum at the temperature of 4 deg. Cent, or 89.2 deg. Fahr,, 
which is about its temperature of maximum density. In practice, the term cubic centimeter 
abbreviated c.c , is generally used instead of millilite: , and cubic meter instead of kilo- 
liter. 



331 



The Cofiversion of French (Metric) into English Measure^ 



1 cubic centimeter 
1 cubic centimeters 
3 



4 
5 
6 

7 
8 
9 
10 
20 
80 
40 
60 

eo 

70 

80 

90 

100 

1000 



17 minims. 

84 

61 

68 



86 

101 

118 

185 

152 

169 

888 

507 

676 

845 

1014 

1188 

1852 

1521 

1690 






«< 
•( 
<• 

•« 
<( 
t< 
«t 
t 
«i 

it 



<< 
f < 



(t 



M 
t< 
• 4 



8 minims. 
25 
41 

58 



or 1 dram 

1 •' 

1 *• 

2 drams 15 
2 •* 82 
2-49 
5 '* 88 

1 ounce dram 27 minims 
1 ** • 8 drams 16 



1 •• 6 
*' 2 ounces 
•• 2 " 3 

2 " 6 

3 " 1 
8 " 4 



5 

54 
48 
82 
21 
10 



= 1 liter = 84 fluid ounces nearly, or 2% pints. 



The Conversion of French (Metric) into English Weight. 

The foliovring table, which contains no error greater than one-tentb of 
a grain, wiU suffice for most practical purposes : 



1 gram = . 15( grains. 


2 grams = SOJ " 


3 • 


• = 46t •• 


4 ' 


• = 61| '• 


5 . • 


• = 77i •• 


6 • 


• = 92| - 


7 ' 


• = 108 


8 • 


• = 1281 •* 


9' * 


• = 138} •• 


10 • 


' = 1541 *' 


11 * 


' = .09| •• 


12 • 


• = I85i •• 


18 • 


• = ::oo{ " 


14 • 


' - JIO 


16 • 


* - .31J •♦ 


16 • 


' = 247 


17 * 


• = 202f " 


18 * 


* - 277t '- 


19 • 


• = 298i " 


20 • 


' = 308^ •• 


30 * 


• = -m 


40 • 


' = t>l7t " 


50 ' 


• = Wlf •' 


60 * 


• - Si26 


70 • 


' = 1080^ " 


80 ' 


' = i2-6il •• 


90 ' 


* = i:i89 


100 ' 


• - 1543i •• 


1000 ' 


' — 1 kilogram - 



(t 



«( 



or 1 dram 

1 '* 
1 
1 

2 drams 
2 •* 
2 •• 
2 
3 
3 
3 
3 
4 
4 
4 
4 
5 
7 

10 
12 
15 
18 
20 
23 
26 



IJ grain. 
17{ grains. 
82f 



(I 



• 4 



(< 



(I 



( I 



(< 



tt 



<t 



t( 



(I 



l< 



t< 



tl 



t« 



<l 



4 I 



t ( 




«< 
14 
• ( 
44 
44 



ii 
4f 
44 
44 
44 
4< 
ft. 
<< 
<4 
44 
4i 
44 
4( 
44 
44 
«< 



332 



'^Ufiiform System*' Numbers for Stops from f to ytit* 

In the following table Mr. S. A. Warburton has calculated the exposure 
necessary with every stop from / to ^^^ compared with the unit stop of 
the ••uniform system" of the Photographic Society of Great Britain. 
The figures which are underlined show in the first column what ^ must 
be in order to increase the exposure in geometrical ratio from ^, the 
intermediate numbers showing the uniform system number for any other 
aperture. 



/ 



1.414 



1^ 






93 



8 

8Ji 
8M 
4 



4^ 
4K 

6 
6.656 



6 

OX 
7 

7J< 



8 



8% 
10 

11 

11.81 



18 
li 



U. S. Ko. 



A 






191 



T3I6 
.390 



.562 
.660 
.765 

.878 
1.00 



1.1-^ 
1.26 
1.41 
1.56 
1.72 
1.89 
2 



2.25 
2.44 
2.64 
2.84 
8 06 
8.28 
8.51 
8.75 
4^ 

11.25 
4.51 
4.78 
5.06 
6.34 
5.64 
5.94 
6 25 
7.56 
8 



9.00 
10.56 
12 25 



/ 
15 
16 



17 
18 
19 
20 
21 
22 
22.62 



28 
24 
25 
26 
27 
28 
29 
80 
81 
82 



88 
84 
85 
36 
87 
88 
89 
40 
41 
42 
48 
44 
45 
45.25 



4^ 

47 

48 

49 

50 

51 

52 

53 

54 

55 

56 

57 



U. S. No. 
14.06 
16 



18.06 
20.25 
22.56 
25.00 
27.56 
80.25 
82 



88.06 
86.00 
39.06 
42.25 
45.66 
49.00 
62.56 
56.25 
60.06 
64 



68.06 

72.25 

76.56 

81.00 

85.56 

90.25 

95.06 

100.00 

105.06 

110.25 

115.66 

121.00 

126.56 

128 



138.06 
144.00 
150.06 
156.25 
162.56 
169.00 
175.56 
182.25 
189.06 
196.00 
203.00 



/ 
58 
59 
60 
61 
62 
63 
64 



65 
66 
67 
68 
69 
70 
71 
78 
73 
74 
75 
76 
77 
78 
79 
80 
81 
82 
83 
84 
85 
86 
87 
88 
89 
90 
90.50 



92 
93 
94 
95 
96 
97 
98 
99 
100 



U. S. No. 

210.25 
217.66 
225.00 
282.66 
240.26 
248.06 
256 



264. U6 
272.25 
280.56 
289.00 
297.56 
306 26 
815.06 
324.00 
383.06 
342.25 
:;51.66 
361.00 
370.66 
380.25 
390.06 
400.00 
410.06 
4*10.26 
430.66 
440.00 
451.66 
462.26 
473.06 
484.00 
495.06 
n06.25 
512 



TilTTSr 

529.00 

r>40.66 

552.25 

564.06 

576.00 

588.06 

000.26 

012.66 

625.00 



.333 



THE COPYRIGHT LAW OF THE UNITED STATES, 
WITH REFERENCE TO PHOTOGRAPHS. 



The author, inventor, designer, or proprietor of any PHOTO- 
GRAPH OR XEGATIVE THEREOF, and the executors, administra- 
tors, or assigns of any such person shall, upon complying with the 
provisions of this chapter, liave the sole liberty of printing, reprinting, 
publishing, completing, copying, executing, finishing and vending the 
same. 

Copyrights shall be granted for the term of twenty-eight years from 
the lime of recording the title thereof. 

The author, inventor, or designer, if he be still living, or his widow 
or children, shall have the same exclusive right continued for the further 
term of fourteen years, upon recording the title of the work so secured, 
« second time, and complying with all other regulations in regard to the 
original copyrights, within six months before the expiration of the first 
term, and such person shall, within two months from the date of said 
renewal, cause a copy of the record thereof to be published in one or 
more newspapers, printed in the United States, for the space of four 
weeks. 

Copyrights shall be assignable in law by any instrument of writing, 
and such assignment shall be recorded in the office of Librarian of 
Congress within sixt>' days after its execution ; in default of which it 
shall be void as against any subsequent purchaser or mortgagee for a 
valuable consideration, without notice. 

No person shall be entitled to a copyright unless he shall, on or 
before the day of publication, in this or any foreign country, deliver at 
the office of the Librarian of Congress, or deposit in the mail within the 
United States, addressed to the Librarian of Congress, at Washington. 
District of Columbia, a printed copy of the title of the PHOTOGR.\PH, 
for which he desires a copyright ; nor unless he shall also, not later than 
the day of the publication thereof, in this or any foreign country, deliver 
at the office of the Librarian of Congress, at Washington, District of 
Columbia, or deposit in the mail, within the United States, addressed to 
the Librarian of Congress, at Washington, District of Columbia, two 
copies of such copyright PHOTOGRAPH: Provided, That in the case 
of a PHOTOGRAPH, the two copies of the same required to be de- 
livered or deposited as above, shall be printed from NEGATIVES 
made within the limits of the United States, or from transfers made 
therefrom. During the existence of such copyright the importation 
into the United Slates of any PHOTOGRAPH, so copyrighted, or any 
edition or editions thereof, or any negatives not made within the limits 
of the United States, shall be, and is hereby prohibited. 

The Librarian of Congress shall receive from the persons to whom 
the services designated are rendered, the following fees: I. For record- 
ing the title of any copyright PHOTOGRAPH, fifty cents. 2. For 
evcr>' copy under seal of such record actually given to the person claim- 
ing the copyright, or his assigns, fifty cents. The charge for recording 
the title of any article entered for copyright, the production of a person 
not a citizen or resident of the United States, shall be one dollar. 

For every failure on the part of the propriety r of any copyright to 
deliver, or deposit in the mail, the two published copies, the proprietor 
of the copyright shall be liable to a penalty of twenty-five dollars, to be 
recovered by the Librarian of Congress, in the name of the United 
States, in an action in the nature of an action of debt, in any district 
court of the United States within the juris:*icticn of which the delin- 
quent may reside or be found. 

No person shall maintain an action for the infringement of his 

334 



copyright unless he shall give notice thereof, if it be a PHOTOGRAPH, 
by inscribing upon some visible portion thereof, or of the substance on 
which the same shall be mounted, the following words, viz. : **Entered 

according to act of Congress, in the year , by A. B., in the office 

of the Librarian of Congress, at Washington ;" or, at his option, the 
word "Copyright," together with the year the copyright was entered, 
and the name of <the party by whom it was taken out, thus : "Copy- 
right, ig , by A. B." 

Every person who shall impress such notice, or words of the same 
import, upon any PHOTOGRAPH for which he has not obtained a 
copyright, or shall knowingly issue or sell any PHOTOGRAPH bear- 
ing a notice of United States copyright which has not been copyrighted 
in this country; or shall import any PHOTOGRAPH, etc., bearing 
such notice of copyright, or words of the same purport, which is not 
copyrighted in this countrj', shall be liable to a penalty of one hundred 
dollars ; and the importation into the United States of any PHOTO- 
GRAPH bearing such notice of copyright, when there is no existing 
copyright thereon in the United States, is prohibited. 

li any person, after the recording of the title of any PHOTO- 
GRAPH, as provided by this act, shall, within the term limited, con- 
trary to the provisions of this act, and without the consent of the pro- 
prietor of the copyright first obtained in writing, signed in presence of 
two or more witnesses, engrave, etch, work, copy, print, publish, or im- 
port, either' in whole or in part or by varying the main design, with 
intent to evade the law, or, knowing the same to be so printed, published, 
or imported, shall sell or expose to sale any copy of such PHOTO- 
GRAPH as aforesaid, he shall forfeit to the proprietor all the plates on 
which the same shall be copied, and every sheet thereof, either copied 
or printed, and shall further forfeit one dollar for every sheet 
of the same, found in his possession, either printed, copied, publish- 
ed, imported, or exposed for sale. Provided, however, that in case of 
any such infringement of the copyright of a PHOTOGRAPH made 
from any object not a work of fine arts, the sum to be recovered in any 
action brought under the provisions of this section shall be not less 
than one hundred dollars, nor more than five thousand dollars. One- 
half of all the foregoing penalties shall go to the proprietors of thq 
copyright and the other half to the us*e of the United States. 



335 



KODAK 



Eastman Kodak Company 



Manufacturers of 



Kodaks, 

Brownie CameraSt 
Eastman N-C Film, 
Kodak Tank Developers, 
Kodak Dry Mounting Tissue, 
Eastman's Solio Paper, 



Eastman's Bromide Papers, 
Velox Paper and 
Other Specialties. 



EASTMAN KODAK COMPANY 

Rochester, N. Y., The Kodak City 



XVII 



Ozobrome 



THE NEW PROCESS FOR MAKING CARBON PRINTS 
WITHOUT THE DIRECT ACTION OF LIGHT. 



Advantages of Ozobrome. 

The worker is independent of any light for printing, as 
no exposure of the tissue to light is required. 

' The sensitive material is bromide or Velox Paper. 

The print is produced by chemical action set up when the 
sensitized tissue and bromide or Velox print are placed in 
contact. 

Carbon enlargements can be made from bromide or 
Velox enlargements, thus doing away with the trouble and 
expense of making enlarged negatives. 

Ozobrome prints, with a choice of twelve colors, can be 
made either upon the original print or transferred to any 
suitable surface. 

The image is not reversed, making double transfer a 
thing of the past. 

A number of prints in Ozobrome can be made from one 
bromide or Velox print without the use of a negative, and 
the original print may still be retained unimpaired. 

Any class of negative may be used for making the print 
or enlargement as the numerous grades of bromide or Velox 
paper make it an easy matter to produce either soft or 
contrasty effects at will. 



EASTMAN KODAK CO.. 

SOLE AMERICAN LICENSEES, 

"'^SS'gS^S*" Rochester, N. Y. 



XVIII 



A PERMANENT SUCCESS 



Angelo 

Sepia Platinum 



For over five years 
Angelo Sepia Platinum 
has been permanently 
establishing friends. 

A cold developed fact. 



Jos. Di Nunzio Division, 

EASTMAN KODAK CO. 
Rochester, N. Y. 



XIX 



Right for Black and White, 
Rich when Sepia Toned, 

NEPERA 



Made with espedol relerence to the requirements of 
studio photography and is particularly adapted to the aver- 
age portrait negative. Prints by any light. Uniform In sur- 
face and chemical quality. 

THREE SURFACES : Velvet, Matt. Rough. 
Either Single or Double Weight. 

4 X 6 or CABINETS, ( SlSfjl?, ) $2.00 PER GROSS 
Sold in Professional Sizes Only, by all Stock Houses. 



Nepera Division, 



EASTMAN KODAK CO., 
;■""' Roctiester, N. Y. 



For Twenty Years the Standard 



Eastman's 
Permanent 

Bromide 



different grades Tvith a variety of 

surfaces, adapted to every class 

of enlargement and specially 

suitable for the new 

Ozobrome process. 



EASTMAN KODAK CO, 



ROCHESTER. N. Y, 



All Dealers. 



XXI 



TESTED CHEMICALS 

FOR PROFESSIONAL USE. 



on " dmloper miUs/t IBO 
aactt of developer. 
Price, 40. Cents. 



velapcr Pnv- 

red cfpceiillr 
a doprlnrlBi 



ApackiieiDikeiibecqai*- 
■leni at 04 ouaee* ol 
Nepen SoliirlDii. 

Price. S1.7B. 



EmIbub*! Gronnd ' 

Gr*H SubtiiEdAr^i 

ibe Ideil mtdluD loi 
•iMr-minlpalillDB OB 
Ibe back of ibe neia- 



tor nduclnt aeiallvo 

A boiher iiiTCr lor iba 

bair proleMlouL 

Price per carton 

ol 5 tubes, 

2S Cents. 



EASTMAN KODAK CO. 

ROCHESTER, N. Y. 
Ati Dealers. 



Why Grope in the Dark 

WHEN IT'S DAYLIGHT ALL THE WAY WITH THE 

KODAK TANK 



" It has been proved, by Ic^ic, by experiment and by rule of 
thumb, time aileT time, that tank development does all that 
hand and eye nursing can do, yet there are thousands who refuse 
to believe what is known as a fact, and who still stick to the old 
red tiiht, hot stuffy room and variable formula methods."-' 
C. H. Cloudy in " TAe Camera." 



The Experience is in the Tank, 



EASTMAN KODAK CO. 

Rochester. N. Y., Tht Kodak CItw. 



"KODAK" 

On the Spool End 

Guarantee perfect raw materials, 
perfect manufacturing conditions, 
backed by twenty years' experience 
and the combined knowledge of the 
most expert film and plate makers 
in the world. 

Load Your Kodak With KODAK Film. 



EASTMAN KODAK CO. 

ROCHESTER. N. Y. 
rA* Kodak cut. 



INGENTO AND IDEAL 

Enlarging Lanterns 
and Stereopticons 

HANDSOME, COMPACT AND DURABLE 



TheM Enlarging Lanteraa embody 
every practical feature for the rapid 
and pmect production of enlargmeats 
in the shortest po&sible tirae. 

They can also be used as Stereop- 
ticons for the projection of lantern 

Made in two sizes with 6Ji and 9- 

^ inch Condensing Lenses, and fitted 

with any of the following lights ; Electric Incandescent, Electric 

Arc, Incandescent Gas, Acetylene Goi or Gasolene Vapor. E^ces 

Irom |as up. 

FOR PUBLIC AND PRIVATE ENTERTAINMENT 

Ingento single and Double Stere- 
opticons ari; built on lines of the 
greatest simplicity combined with 
rigidity and ease of adjustment. 



mpact and very hand- 
lomeiy nnisned throughout, nuppl' ' 
Tith either Electric Arc, or Inc 



Onr New Booklet on « ENLALGING WITB THE LANTERN 

and PRICE-UST OF ENLARGING LANTERNS and 

STEREOPTICONS," Free on Application. 



A BURKE & JAMES 

I T..D. mark] 

118-132 ^^.JackionBlvd. CHICAGO. ILLINOIS 



FREE ON APPLICATION 



Our Number Ten Illustrated 
Geiieral Catalog^ie 256 pares 



The most complete list of Scientific Appliances 

ever published 



We Manufacture 
Retouching Frames Headground Carriers 



Enlarging Ljantems 


Backgrounds 


Head Screens 


Chemicals 


Hf^d Rests 


Trimmers 


1 IV^VIVJ 1 W/^ l*J 

Burnishers 

* /• A AA 


A 


1 I II t Al 1 IV/I W 

Washers 


Vignetters 


^^m u.r^K^^r^-j'^m ^^m 


Ljamps 


Cameras ' ' 


Chairs 


Shutters 


Scales 


Lenses 


Racks 


Stands 




Ltc. 



Our manufactures are for sale by all dealers 
and our catalogue should be in the hands 
of every Progressive Photographer 



BURKt & JAMES 

1 1 8- 1 32 W. Jackson Boul. Chicago 



XXVII 



The Choice of a Lens 

SUGGESTIONS FOR READERS OP THE 
AMERICAN ANNUAL 

CFor general use, all kinds of work requiring a short 
focus fens, the Tessar is the lens to use. 
Clf a long focus lens is sometimes wanted in addition 
to the short focus lens, a Series Vila should t>e your 
chcMce. The Vila ^ves you a short focus doublet and 
one or two long focus lenses according as you select 
a doublet composed of lenses of similar or dissimilar 
focL 

CThe Vila is practically a universal lens, in so far as 
any lens can be universal, it covers not only the field 
of the Tessar but in addition its own field. 
C.lf you desire to photograph architectural views and 
intenors you must have a Series V Extreme Wide 
Angle lens. * 

CFor furttier information see our complete photo- 
graphic catalog. 

"PRISM" 15 A LITTLE. MAGAZINE we publish monthly. Not a mere 
Bdverilaonait. but a beautifully made end printed little publication at>CMit that 
world of wonder and beauty seen by the lens. 5end us your name and we 
will enter your subscription free. 

Bausch & Lomb Optical Company 

Rochester, N. Y. 

NBW YORK BOSTON WA8HINQTON CHIOAOO SAN rRANCIBCO 



J 



No. lose- THE OPERA. SB c< 



A Sample DMign Crom the CaMlog of 



F^ivERSiDE Backgrounds 

Riverside Backgrounds are the standard of quality wherever 
good backgrounds are known. Whether it is the simplest and 
cheapest of plain effects or the richest design for elaborate work 
if it has the "Riverside" trade-mark it is the best of its kind. 

Catalogs and illustrations of latest designs furnished on request. 
Products for sale by jobbers and dealers throughout the world. 
Special designs and sizes for export trade. 

CHICAGO PHOTO SCENIC CO., 140 Deaiboni Street, CHICAGO, U. S. A. 



MAX LEVY'S 




Still Remain the Standard 



SPECIAL SCREENS 
FOR THREE COLOR WORK 

The circular screen fitted in Levy's rotary aluminum 
holder guarantees accuracy in duotype, three and four 
Color Work. 

ECONOMIC SCREENS 

Ruled but not etched. Valuable for extra large sizes, 
special rulings or for occasional use. Price one-half list 
on Engraved Screens. 

LARGE SIZES 

Any size in any ruling up to 72 x 27 inches. 

MAX LEVY 

WAYNE AVE. AND BERKLEY ST., WAYNE JUNCTION 

PHILADELPHIA. PA., U.S.A. 

Foreign Selling Agents 

England : A. W. Prnrosb & Co. Japan : R. Konishi. Tokio. 

Ltd.» London. Australia : Middows Bros., Syd- 
Germany & Austria : P. Hbmsath ney. 

Frankfurt, a/M. South America : H. Stbin, Bue- 
Prance : J. Voirin, Paris. nos Ayres. 



XXIX 




£agle Flash Lamp 

Patent Applied For 

CL The Eagle Flash Lamp is built on entirely new lines, superior to 
anything heretofore offered, involving new principles. Special acci- 
dent-proof powder igniter, blue umbrella, bulb release and pan con- 
structed so as to give a very broad flame. 





THE Ea^Ie Flash Lamp is very com- 
pact, being but 10 incties long", and 
IS fitted with a bulb release, also a 
stand that may be raised 12 feet, and a 
large special blue umbrella that may be 
used behind the lamp as a reflector or 
in front as a light softener when taking 
portraits, the new blue giving a light 
that has no equal for portraiture. Send 
for booklet which shows an Eagle Flash 
Lamp flash made with W ounce of 
Eagle Flash Powder placed In a little 
hill in centre of the pan, giving a flash 
49 inches wide and 87 inches nigh and 
a light equal to over an ounce of the 
same powder used in the old style ma- 
chines. 

€L Carrying cases can be furnished in 
canvas or leather if desired. 



PRICES : 

The Eagle Flash Lamp outfit complete, including lamp, 
stand, blue umbrella, bulb and 15 feet tubing, caps and 

flash powder $15.00 

The Eagle Flash Lamp Stand 6.00 

Umbrella made of a special blue cloth 1.50 

Eagle Flash Lamp Caps in a tube .10 

GBORGE: murphy, inc. 

57 EeLSt Ninth Street, New York 



XXX 




Prcmo Film Pack 

is used exclusively by the United States Government lo photo^reph every 

enlisted man for identificalion purposes. 

CA striking tribute to the unique merits of this system. 

C't (rffers the ground glass focusing features of plates, combined with all 

the conveniences of films, and permits the removal of one or more films 

(or development at any time. 

^If you kavt aptate camera, get a Premo Adapter and you can use 

daylight loading films at viilf. 

Our Uncfc Sam booklel will tell you all abouL il. This jind 

"If It'a schhI •mutth for Uncle Sun, tt'« t<Md cnouib for yon." 

ROCHESTER OPTICAL DIVISION 

Cutmrn Kodak Com|Mny 54 South Strut, Rochulcr, N. Y. 



IT IS UNIVERSALLY CONCEDED THAT 

3)arlot jCenses 

are the very best that can be procured at a low 

price. Many leading photographers use them in 

preference to all others. We are Sole United 

States Agents for this make and carry in 

stock a full line as follows : 



3)arlot 



S^ortrait £enses 
Jlantern Obfeetloes 
Slapid XemUpherleal 
Wide Jlmgie XemispAerieai 
Symmwtrhal Xaastigmat 
9em Uuh9% 
Condensing £enses 

The 4-4 Darlot Portrait 

Lens, at $40.00 list, is without 

doubt the most practical all-round 

studio lens at a low price. Well 

adapted for all studio work 8x10 or under 

Have your dealer send one on approval. Send for Catalogue. 



Stobey^Jrench Company 

Sfkirfy^four Zromfield Street, JSoston, Sla$s., %. S. X. 



XXXII 



HEADQUARTERS 



:FOR 



PHOTOGRAPHIC 
BACKGROUNDS 



OF EVERY CHARACTER 



No Professional Photo- 
grapher or dealer in 
photographic supplies 
can afFord to overlook 
our line. 



Illustrations of 200 Designs 
Sent free on Request. 



ROBEY-FRENCH COMPANY 

34 Bromfield Street 
BOSTON, MASS., U. S. A. 



XXXIII 






R.ovigh & CaLldwell Co. 

ARTISTIC 

Backgrounds & Accessories 



ILLUSTRATION SHOWS: 

No. 1083 Garden Set $25.00 

No. 183 Exterior Ground, 25c. per Sq. Foot 8x8 16.00 



STUDIO: 140th Street and Walton Ave.) vrnw^ v/-»t>i^ 
OFFICE: 57 East Ninth Street . .1 NEW YORK 

Sad Your Name uid Addnu (sr CinlOfiiu 

R.o\igh & CaLldwell Co. 



COOKE ANASTIQMATS 



r^O subject Is too quick for 
'™ a Cooke Anastlsmat 
used properly with a suit- 
able shutter. And every 
.gradation of fine definition 
may be secured, from the 
clear and sharp reproduction 
of a printed page, to the 
bloom of a flower or the hazy 
softness of an Autumn land- 
scape. 

Send for our catalogue con- 
taining >• Helps to Photog- 
raphers." 



DALLMEYER PORTRAIT LENSES 



COR forty odd years the supremacy of Dallmeyer Lenses 
lor studio portraiture has remained unchallenged, and in 
the best studios of tlie world to-day there are more Dallmeyer 
Lenses In use than all other makes combined. 
Send tor price list. 



T HERE IS MONEY 

FOR THE PHOTOGRAPHER 
IN HANDLING 
LARGE PORTRAITURE 
OF THE RIGHT KIND:— 

WTE MAKE A PORTRAIT 



One Portrait in Particular, 

is Not Equalled in Artistic 

Excellence — Outside our Studio — 

Whether in America or in Europe: 
It is a portrait ivhich appeals 
to the most exclusive patronage 
of the photographer, reproducing 
in the dull rich coloring of the 
Seventeenth Century — the superb 
qualities of his best negatives. 

Information for the asking — to the 
Photographer only. 

The SPRAGUE < HATHAWAY CO 

WEST SOMERVILLE 
MASS.. U. S. A. 



XXXVI 



! 






The Best Photographic Library money can 

buy is a complete set of 

Published Monthly; with Illustrations; 
Per Year $2.50: Single copy 25 cents. 

^ Plain and practical information, simply written 
without \^aste of words or space ; always clear apd 
right to the point; comprehensive, but not long* 
winded. 

^ Every number deals with a different subject, cov* 
ering its practical applications with actual working 
methods, processes and formulae. 

^ Its pages are written by men who know of what 
they speak; nothing is given place unless it has 
practical experience ot sound sense behind it. No 
other magazine is so carefully edited. 

Q All the news of the photographic world — men, 
methods, conventions, exhibitions and affairs of 
interest — are discussed in pithy paragraphs and 
departments for profitable reading. 

^ The magazine is carefully printed and linen 

stitched, so that it opens flat like a book. A pleasure 

to read or handle. Convenient in size for pocket 
use or the library shelf. 

Q The earlier issues of The Photo-Miniature are as 
interesting and as helpful in their information as 
is this particular number, the set forming a practical 
cyclopedia of photographic knowledge. Some of the 
numbers are rapidly going out of print and will soon 
be unobtainable except at a premium. Those who 
want a complete set should get such numbers as 
they lack without delay, to avoid disappointment. 

Subscriptions received and any number supplied 
by dealers in photographic supplies or news agents. 

TENNANT A WARD. Publishers, NEW YORK 
Chicago Wholesale Agents : BURKE A JAMES 
Great Britain : DAWBARN A WARD, LONDON 

Bern list on foUowinff paffe 



.v*. 



A COMPLETE LIST OF 

^l)e Pfioto = Jljl^tntatute ^tmsi 

Giving the titles of all the numbers thus far pub- 
lished. Numbers marked with an asterisk (*) are 
out of print, but may possibly be obtained from 
some dealers. 

Photofcraphic Chemical! 
Coloring Photographs frapby 

More About Orihochromatic Photog- 
DevclopfDcnt Printing Papers 
Kailitype Process 
Commercial Photographf 
Dark-Room Dodges 
Studio Construction 
Press Photography 
Aerial Photography 
Pictorial Principles. 
Outdoor Exposures 
Architectural Photography 
The Hurter & Driffield System 
Winter Photography 
Outdoor Portraiture 
Combination Printing 
Who Discovered Photography ? f ing 
Methods of Control in Pictorial Print- 
Vacation Photography 
Photography In Advertising 
Figure Composition 
Home Portraiture 
Practical Methods of Development 
Practical Orthochromatic Photography 
Decorative Photography 
Printing-Out Papers 
Advanced Pinhole Photography 
Marine and Surf Photography 
Photography for Profit 
Panoramic Photography 
Intrnsifying and Reducing Negatives 
Bromide Printing. Toning and En- 
The Hand-Camera [larging 

Focal Plane Photography 
Priming Papers Described and Cora- 
Choice and Use of Lenses [pared 
Outdoor Photography 
Ozobrome, Kallitype. Sepia and Blue 
Modern Dark-Rooms [Prints 

Coloring Lantern Slides _ 

(Others to follow) 

As the earlier numbers go out of print, it will be 
correspondingly difficult to secure a full set of the 
Series. Orders for copies to complete sets should 

be sent ^thout delay. 

PRICE PER COPY 25 CENTS 

SUBSCRIPTION : PER YEAR, POST-FREE, $2.50 

SOLD BY DEALERS EVERYWHERE 

TENNANT & WARD, PUBLISHERS 

287 FOURTH AVENUE. NEW YORK 



• 1 


Modern Lenses. April. 1899 


«4I> 


• 1. 


The Pose in Portraiture 


44* 


• 1- 


Hand-Camera Work 


*4^ 


• 4- 


Photography Outdoors 


«46. 


• 5- 


Stereoscopic Photography 


47. 


»6. 


Orthochromatic Photography 


m8. 


» 7- 


Platinotype Procrsfcs 


»49. 


« 8. 


Photography at Home 


50. 


— - 9. 


Lantern Slides 


♦ 51. 


• lO. 


The "Blue Print." etc. 


it- 


•II. 


Developers and Devr lopment 


n. 


* •H. 


Retouching Neeaiivcs and Prints 


•54. 


Photographing Flowers and Trees 


$f 


14. 


Street Photography 


56. 


• I?. 


Intensification and Reduction 


?7. 


• i6. 


Bromide Printing and Enlarging 


58. 


• 17. 


The Carbon Process 


?9. 


18. 


Chemical Notions for Photographers 


60. 


19. 


PhotoKraphing Children 


»6i. 


10. 


Trimming. Mounting and Framing 


6l. 


11. 


Albumen and Plain Paper Printing 


•6?. 


«ai. 


Gum-Bichrnmate Printing 


64. 


•*!. 


Photographic Manipulations 


65. 


•14- 


Photographing Clouds 


66. 


«?. 


Landscape Phoiography 


67. 


*z6. 


Telephotography 


68. 


zi. 


Pinhole (1 rnslrcs) Photography 


•69, 


»i8. 


Seashore Phoioeraphy 


70. 


•19. 


Flashliehl Photoicraphy 


71. 


JO. 


Phniogtaphing InlcTiors 


»72. 


• n. 


Photouraphing at Night 


7J. 


*?i. 


Dcfpcis in NcEatives 


74. 


*n. 


The Dark-Room (Scr No. Si) 


75. 


•u. 


More About Development 


76. 


— iS. 


Enlareitig Nejialives 


77. 


• <6. 


Lets F^icts and Helps 


78. 


?7. 


Film I'hotoeraphy 


79. 


*<8. 


Color Photoeraphy 


80. 


»i9. 


Photographing Animals 


81. 


40. 


Platinc'.ype Modifications 


8i. 


41. 


Copying Methods 


83. 


•41. 


Genre Photography 









SUh Percy King 




1 






Light Controller 






PatnUrdMarck llth. iqrrj 






The Controller does not 






lengthen the exposure or 












tion. It simply tonesdown 






the direct light at any 






point desired. It should 






be placed between the sub- 






ject and the light, acd as 






near the subject as possi- 






ble without cutting into the 






size of the picture being 






made. Every sort of por- 






trait, artistic and line light. 




' 


ia easily made with this 






Controller. 






The Controller in use 






weighs only 18, pounds can 






be easily carried abotit the 
studio, and is adjustable up 


' ^ , 






■ to 7 feet high, to suit any 






'efCect desired. 




THC IMPROVCO PERCY KING Ll 


QHT CONTROLLER 


BoMd for delivery a> follows : 


No, 1 K ng Light Controller, Black Canton Flannel. Screens and Apron $id 

No, > K ng Lighl Controller, White Cheese Cloth. Screeni and Apron id 

No. 3 K ng Light Controller. Yellow Cheese Cloth. Screeni and Apron id 

No. , K ng Light Controller, Black Felt Cloth, Screeni and Apron „ 

No. s K ng Light Coniroller, BUck Velveteen, Screen) and Apron 15 


We carry in stock and can furnish the variou. parU of the Percy King Light 


Nd. PhW l-rln Nd. Pi 
1 Head Screen. Black Canlon Flannel ti.88 ii Mai 

I Head Screen, Yellow (.hecK Cloth ■ 1,75 11 Mai 

3 Head Screen. White Cheese Cloth - ,,„ ij Mai 

4 Head Screen, Black Fell Cloth ■ - 3.^ ,* Mai 

6 M ddle S™e1;n, Black Ca'n'on Flannel \m ''I »*« 

7 M ddle Screen, White Cheese I loth - =,.» .7 Low 

<! M ddle S^r"": Black'peHCtoh'"!'' - 'fS, " T^J" 
ID M ddle Screen. Black Velveteen - - 4.50 » Clul 


Screen. Black Canton Flannel ts.w 

of™ n'troSer - 'f ™. I - \% 
t Seciion of Main Rod - - - i.oi 

fscre w a'^Jd* Holdt-"of Middle' 


( 


iEOROE MURPHr, Inc.! 57 E>si 


9th Street. New Yokk 



"Ghe Cornell Lens Hood 
and Light R.estrainer 



LBNS HOOD BXTBRDBO, SHOWING ATTACHMENT 



■) CLOSBD, SHOWING UGHT RESTRAINER 



PiUCES I 
L«na Hood ond AttaohmontB •.-,.. S3-90 MMh 
Luhl R.Mli*ln*r ktid AMMhmmiW .... |,S0 OMh 

GEOICGC MURPHY. Inc.. Trade Agents 

57 Ea.«t Ninth Street -^ >< NEW YORK 



THE BEST OF ALL 



They *n tbe Tb»y »n the 

Aiaatear'a Profeaaional'B 

Friend Heeeaatty 

OlTlmg hlM work Sarlat tba lima 

neat Pr»f»»mloBi 'nd tiviBg htm 

. took trom laal. trada mnd pleaa- 

f»r«Bt plaCM. THB DIXIE VIGNETTER '^ Cumtomer: 

The Old Reliable Dixie Vi^netter 

Excels All Competitors 
in producing Artistic Results 

Ease of Manipulation 

Kanje oF Adaptability 

Durability and Cheapness 

Other Vignetters vignette the negative. The DIXIE Vignetter 
vignettes the print. The advantage is : Vou can take any n^;a- 
tive and produce vignetted prints ^m it in eiidlesB variety. You 
can experiment until you get just the desired results. You can vignette 
any part of your negative and cut out the defective or undesirable 
features. Your negative is not changed or damaged in the leant You 
can always print it vignetted in any way or not vignetted at all. just as 
it suits your fancy. 

CIt is attached to the common printing frame and is thoroughly ad- 
justable to the limits of the plate, enabling the operator to see and form 
the sliape and sieed opening best suited to his subject. 
CSoft beautiful vignettes can be produced in endless variety from 
any negative, thus giving a variation and charm not to be attained 
in other ways. 



CThe Vignetted Print is again coming in favor and rightly so. 

as no other is so truly artistic and beautiful. 

CThe Dixie is the only practical vignetter for producing them. 

Give it a trial. We guarantee it to please. 

Priceonly 3oo.ea€b, $3.30 perdoM. tor regttlarBlgeeuptosxS. 

6yix8% 4S0. " s.oo '• 

8 X xo 000. " 7.00 " 

Po*tmge etght oeatm eaoA. 

GEORGE MURPHY. Inc.. 57 EAST 9" ST.. NEW YORK 

Munufacluren' Af^nt for Lbe Eiutern Stitei and Europe 



Thl Lagll Vignlhlr 



PATEin^ APPUE© FOR 




A^ 



practical ui>-to-date gallery 

t Vi^^tter at a remarkable 

low price. This Vignetler 

has every movement desired 

and several good features not 

found in more expensive models 

PRICL - ... - ONLY $&00 



Thl Pllrllss Magazine 
Flash Lamp 



PAT. APPD. 

FOR PURL MAGNE5rUM ONLY 

Weight 18 ozs. 

Con be Carried in Pocket 

BRASS. NICKE.L-PLATE.D 

NON-LXPLOSIVE 

ABSOLUTELY SAFE. 

I Fifteen Instantotieoui Flashes or 

Less of Longer [Xi ration 

Can be Attached to Tripod 



PRICE - $3.00 



GtO. MURPHY. Inc. Agents, 57 East Ninth St, New York 



ROSS' SPECIAL LENSES 

In Cells, for Kodaks, Hand Cameras 




Homocenbic 5' - 


»25.(K) 


HomoctrWt H' - 


30.00 


HonuKcntrk 8' . 


35,00 


llo»-Co<iz S- ■ 


32.00 


RoK-GocTZ 6' • 


39.00 


ltoiI.Go<iz ;»}■ - 


53.50 


..pplkd .U, 




APEHTUItE ud 




FOCUSING SCALES 



THE ROSS SPECIALS fit B.& L. Automatic and 
Kodak Automatic Shutters. Can b« Mnt RcKlrtarad Mall 



The CildaM-CaiMdt Lamp it upcctilfy adapted for both 

DEVELOPING AND PRINTING No Gas~No Oil 

Always ready for use, simply place carbide in 
the chamber, and fill tank with water. This 
lamp lias numerous advantages ever the old 
style dark room lantern. There is practieally 
no heat and the oxygen in the air is not 
absorbed by the use of this lamp. The flame 
is round, steady and white making it more 
actinic than any other light. For printing 
remove the chimney and the light is equal to 
33 candle power. The lamp is perfectly safe 
and can be operated by a child : even if upset, 
it does no harm. 

The Royal Carbide Lunp with sufficient Carbide for ilx hour*' luc 

S1-50. ' POSTAOe 2S.CENTS 

Calcium CaiWde, p«r pound, 25c. Full InttnicUoiu wltittcch laiiq> 



GEORGE MURPHY, Ino. 57 EuT 9th Street. New York 



SWISS ANGLE TRIMMER 

PRICE : $1.SO 

Hannfactnred by 

PINKHAM & SMITH CO. 

288-290 BOYLSTON STREET, : BOSTON. MASS. 

We ftlso mumfacnre 

The Klean Kut Upright Trimmer 
20th Century Ball Bearing Trimmers 

Models I aDd 2 

The Sonrenir Trimmer 
Aluminum Adjustable Tripod Heads 



Our facilities for the manufacture of small photographic 
specialties are unexcelled. We are prepared to quote prices 
and make to order Special Trimmers for large Jobbers 
when desired. 

If youT dealer does not have the Trimmer 
yon want, send direct to the mannfactnrers 



OUR SEMI -ACHROMATIC LENSES 

an nsed b; ibc best pholocnplurs of the Impressionist School 



CARL ZBISS 

"Almoat eqtikl to k C^rl ZeJii" Is 
th« highest compliment that can 
be pMd to « pnotogrKphic leas. 
The 

ic TESSAR. 

(SPEEDS ra-SMdA-S) 
Is the Istest masterpiece of the f*m- 
ons Opticsl Works of Carl Zeiss. 
P«rtrsitnre, Direct Color Woric, 
CinemstogTAphT and other nltr«- 
rapid photoEraph^ are the lines of 
work to which it is best suited. 



E. B. Meyrowitz 

Sole U. S. Audi for Curl Zil» Lcniai Hkda In Jana 

104 East asrd St., New York, U. S. A. 

NEW YORK Al*a «u NlcolUt Avaaua 

,_ F(Hh Avenue MINNEAPOLIS 

US Weat 41d Straat LONDON j^g^ g, p^^, g^^,, 

ty> Madlaon Ahduc PARIS ST. PAUL 



Bradley's 
Photographic 

^„™. „.«.,-. Trimmers 

For all requirements ol the professional and amateur photographer 

Guaranteed to do perfectly all the work for which fixst-class trim- 
ming boards ore intended. Hade in a variety of EiECH at various prices. 
Some of the popular ones are : 

Diamond, 6-inch blade • $1.35 1 Uonarcta, ta-iacb blade - $4.00 

Stndio, 10- " " - 3.00 1 Popular. 15- " " - 7,00 

Bradlev's Transparent Water Colors 

the best colors made for coloring photographs 

SBND FOR DESCRIPTrVB LIST OF PHOTOGRAPHIC GOODS 

MILTON BRADLEY CO. 

SpriofHeld. Ha». ntVM 




.FLEX 
lERAS 

Instantaneous expo sure s 
are possible M-itH a Brallas 
under conditions that re- 
quire time exposures with 
other cameras. The image 
is seen on the noundglass 
right side up. full size of 
negative up to the instant 
of exposure. Sraflax cam- 
eras are fitted up with Bra- , 
flax Fooal Plana Shuttar 
for time or instantaneous 
exposures 

Orallex Catoloa Free 

at yourdeolert or from 

FOLMER & SCHWING DIVISION 
Eastman Kodak Co., Rochester, IN. Y. 



Plates for all 
Branches of Photographv 

Crown tot Instantaneous Exposures 
Banner X for General Portrait Use 
Isochromatic for Color Lffects 
Trichromatic for Three Color Work 
Contrast for Engravers' Use 
Plates for Lantern Slides 
Plates for X-Ray Work 
All Brands nade to be used In Tropical Countries 



G. CRAMLR DRY PLATE, CO. 

17 WL5T 28th STREET. NEW YORK CITY. ST. LOUIS, MO. 



OTIS C. WHITE 
WORCESTEf?, MASS. 

Manufactiii'er of 

The Celebrated "WHITE'' Appliances 
for Posing and Lighting in the Studio 

WHITE'S HEAP SCREENS 

Three Styles. An absolute necessity in any studio 
Thousands in use 

WHITE'S POSING SUPPORTS 



I f 



Two Grades. Marvellous Adjustability. 
THE WHITE " POSING CHAIR AND ATTACHMENTS 



A Dozen Chairs in One 
WHITE'S" CHILD'S POSING CHAIR 



<f 



Recognized as the standard appliance of its kind 

WHITE'S POSING HEAD REST 

For attachment to any chair or accessory 

For sale by all stock houses or direct from ourfactory 
Send for price lists and information 



CAMERA CRAFT 

— — Sl-OO — 

SAMPLE COPIES FREE 

7I3-7IS CALL BUILDING 
SAN FRANCISCO 



XLVII 



ANY PHOTOGRAPHER CAN MAKE A LIKENESS 
BUT VERY FEW CAN HAKE A PORTRAIT 

A Itkcfieii growi oat of the old f ormtiU of Uf httng, potlag and icreeo ; best 
a portrait takes Into account certain lawi of fldorlat compoaltlon each am 

are explained In 

ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY 

Composition, Treatment of Baoiigrounds, and the 
Prooesses Involvod in Manipulating the Plate 

By OTTO VALTER BECK 
Art hstractor si the Frstt Institute, Brooklyn, M Y. 

ITell printed; eUe 6x9; many beautlfttl lUustratlooi^ $3^ poitpald# 

N« B.— The book and the woric are eodoncd by the Photographen' Aetodatton 

of Amerlcat and many other State Conventions* 

Union Square THE BAKER & TAYLOR CO. New York 



NORMAN DEVELOPING PAPERS 

DRY FLAT 

and yield pure platinum colors. Its gradation showing properties and 
easy manipulation have made it The paper for Professional Use or 
where the highest grade of material is Demanded at a fair price. 

e:xpre:ss prepaid on all paper shipments 

Norman Double Weight Platinum Imitation Papers 

PLATANOA (emooth) Cabs, S1.50 Gross. ARTANOA (rough) Cabs, $1.50 Gross. 

COSMOS, for Buff mrinta and Sopiaa» S1.90 Gross. 

VELVVET. "The Papor with a CoUodlofx Surfaoo/' Cabs, $1.23 Gross. 

Single Weight Papers 
MATTE, SATIN and GLOSS« Cabs. $1.15 Gross. 

POSTCARDS IN TEN GRADES 
Postpaid T'wo Dozen, any Grade, with developer as a sample. 25 Cents* 

We handle for the benefit of our paper customers a full line of Photographic 
Accessories, including lenses and unrestricted cameras at very low prices. 

Enlarging and Commercial Finishing, 

NORMAN PHOTO PAPER. CO.. 

CAST AVENUE. ROCHESTER.. N. Y. 

XLVIII 



STANDARD CHEMICALS 



AOD PYIIOGALUC. SODIUM CARBONATE. ETHER, COLLODION, 

POTAUIUM BROMIDE. SODIUM nVPOSULPHITE. C P. ACIDS. SULPHURIC 

POTASSIUM CYANIDE. SODIUM SULPHITE. tlYDROCHLORlC. NITRIC. 

POSASSIUM IODIDE. GOLD, SILVER HYDROCHINON. 

AND OTHEK lODIDD. AND PLATINUM SALTS. AMMONIA WATER. 

SUPFUgP BY JOBBERS THROUGHOUT UNITED STATES 

SPECIFY P-W-R ON YOUR ORDERS 

Powers-Weightman-Rosengarten Co. 

fl>anufacturino Cbemlsts 



PHILADELPHIA 



I 

B 

I 
I 

uisj 



The Mask that has 
been on the market 
ten years with a 
constantly increas- 
ing sale. 

Made in sizes to fit 
any printing frSme. 

MANNING'S PHOTOGRAPHIC MASKS 

Sold by leading jobbers and retailers 
in the U. S. Canada and Mexico 

Write for Circular 

GEO. E. MILLARD 

484 Fullerton Avenue. CHICAGO. ILL. 



There' is a Right and ol Wrong Way 

in everything 

The Right Way to Develop is to Use 

AGFA 



METOL 


RODINAL 


AMIDOL 


ORTOL 


EIKONOGEN 


REDUCRR 


GLyCIN 


PYRO 


INTENSIFIER 


RAPID FIXING SALTS 




BLITZLICHT 



And You Will Get the Right Results 

FOR SALE BY ALL DEALERS 

BERLIN ANILIN WORKS 

Dept. P. 215 Wetter Street NEW YORK 

CROWN LENSES 

are made by skilled workmen and of the best materials that 
can be procured. That is why when you buy a CROWN, you 
are certain of getting the best. Every lens Guaranteed 

THE CROWN ANASTIGMAT F6. 8 

has speed enough for the fastest work, cuts the 
plate sharply at full aperture and has a remark- 
able depth of focus. 

THE CROWN PORTRAIT F5. 

is a moderate priced lens with high priced char- 
acteristics. Primarily for cabinet work but makes 
a good group lens when slightly stopped down. 

CATALOG FREE — 



CROWN OPTICAL CO. Rochester. N. Y. 



The 
Owner of a 

CIRKUT 
CAMERA 

<; finds a 
ready and 
profitable market 

PANORAMIC prints'"' 

among pat/ons who can. and do. pay good prices. 
CIRKUT PRINTS 

ColleSes, Town Sites, etc., are always in demand at gcwd prices. 
Crkut Catabg free at your dealers, or 

CENTURY CAMERA DIVISION, Eastman Kodak Co. 

ROCHESTER, N. Y. 








THE AIR BRUSH 




has gained a world wide 
reputation for fine, clean, 
beautiful shading and color- 
ing. Much of the improve- 
ment in halftones and other 
branches of art the past 
twenty years is due to the 
air brush. We have the 
latest, as well as the first. 
We have the tool for the 
broadest, as well as the finest 


' We have the original, not the 

Circulars free. / 

AIR BRUSH MANUF^ 

102 NASSAU S 
ROCKFORD. ILL., 


imitation air brush. 
ddress, 
VCTURING CO. 

FREET 

U. S. A. 



A NEW POINTER 
FOR THE VIEW PHOTOGRAPHER 

Hnnorumic photography without a panoramic camera is mach 
more satisfactory tnan 7vith one. You make the negatives accord' 
ing to in!«truction8 in The Phoio-Minxature, No, 7?. and we will 
make the prints and guarantee them to be perfectly joined into 
onr cttntinuous picture. No photographer can put out a better 
advertisement than a three or four plate panorama of his own town. 
There is gtxxl money on panoramic work if you have a few good 
samples. Most any lens with the back comtiinatiou only will do 
the work. 

MELLEN PHOTO CO., 96 FIFTH AVE.. CHICAGO 



WOLLENSAK 

Products are Standard 

in every country and climate 

LENSES SHUTTERS 

RowiHVrtrait, t;>.S.S sires Automatic - 6 siies 



Scnos A *' 1 5. .1 

Rx>v,»' AnasT'.jjir.al t <».S. T 
Ka'.^-.v: Sv :v, met ; '.ca'. t >, I <> 

K A v: vi Rov : : *. : r.cir til, ^'^ 



Regular - 6 

Winner - 4 

Studio - h 

Skvshade - 4 

Senior - 1 size 

luTsior - I 

M:.:^et - 1 



I* 



it 



Our Guarantee 
of ** Absolute Satisfaction ** or money refunded 

covers them all 

WOLLENSAK OPTICAL CO. 

ROCHESTER, NY. 



CLARK & FREED 


4 Eas; S:h Strwt. New York 


Bromide Enlargements 


?VR'R\:T5 is ^ \T^R CC^CK. SEPU AW MK 


OVS VOrrC • ?V.--.rrrM» «=:* Qsa^itf " 


•»v5:t£ rrs ~V5 5»ccxi.et 




Sample of /9 x24-/20 Lbs. 

Chemically PufRE 



^a:\NiifcyRi0 Mfci^^Tf^^K 



V 



*.^ 



Made especially fdrPhdtdgraphic purposes. 

Absolutely Lintless. 
Carried in Stock in 

19X24-100,120 AND 140 LB-^OOSMEETS TO REAM. 



MADE BY 



Standard Paper Mfg. Co., 

Richmond.Va, U.S.A. 
SOLD BY LEADING PHOTO-SUPPLY DEALERS EVERYWHERE. 
ASK FOR IT 8c TAKE NO OTHER IF YOU WANT THE BEST 




It will pay you 
to know 

PROBUS 

better 

Its uses are 
innumerable 



Trade Stt*>"' 

GEORGE MURPHY, Inc. HIRSCH & KAISER 
57 EAst Ninth St. 175? Fillmore St. 

New York, N. Y. S»n Fnnciaco, CftL 

UANUFACTURED BY 

WOLFF & DOLAN 

1455 Broderick Street, S«n Francisco, Ckl. 

AU that is best in Shatters is yours when 
yon ha veaSI LENTO 

rTER that the nmat 

lira bleTnolKrera," and admit jo per CEnt.~more"K8h~ltb< 
ly oiher Shutter. 

Sold by your dealer. Write for circular to 

KALAMAZOO SHUTTER CO. 
Kalamazoo, Micli. 

HaoafBCtiirer* of the celebrated 
LOW 8HUTTKB8 



ANTI-TRUST LENSES 

I guarantee my customers a saviog of from 60 to 70 per cent, on 
Lenses and a saving of 40 per cent, on Cameras. 

80,000 satisfied customers pronounce my lenses equal, if not superior, 
to tbe best known makes offered at more than triple the price. 

Send for latest price list. 

LENS NEHRIN6 

442 Bast 166th Street, New York 



PYRO 



tt W^T/l^ i\ M THE GREAT 
DEVELOPER 



The relative merits of the different photographic 
developers offered may be discussable, but if a 
photographer decides to use the old reliable 
PYROGALLIC ACID, it is needless for him to 
look for a better article than the "M.C.W." brand. 
Our PYROGALLIC ACID has been the standard 
brand with photographers for over twenty 
years and is a perfect article in every respect. 

Specify *■ M. C. W. " 

MALLINCKRODT CHEMICAL WORKS 

ST. LOVIS NEW YORK 



HIGGINS' 



TOURINE MUSCILAGE 



OFFICE PASTE 



VEGETABLE GLUE, ETC. 
ARE THE FIMEST AND BEST GOODS OF THEIR kIMD 

...,„. «, J"iSHi=4'l '^'''s. M. Higgins & Co., Mfrs. 

kSbIw'V* «T«BESIHlL"They wiiFU a 2" HI nth St. BROOKLYN, N. V. 



REMEMBER 1 

PaCURD-IDEIL SHUTTERS 



AMATEUR PHOTOGRAPHERS 

desiring to obtain tbe best results from 
their films should send their work to one 
who makes a specialty of handling this line 

I GUARANTEE SATISFACTION 

MILES GREENWOOD 
84 Cottage Street, Melrose Station, BOSTON, MASS., U. S. A. 

MAIL ORDERS FOR WORK OR ANY KIND OF PHOTOGRAPHIC MATERIAL 

ARE PROMPTLY FILLED 



J.F.ADAMS 

459 Washington Street. BUFFALO. N.Y. 

The Leading: Supply House in Western New York 

We have everything for the 
Professional or Amatexir Photographer 

STEREOPTICONS AND SLIDES 

COLORING PHOTOGRAPHS, LANTERN SLIDES, ETC. 

DO NOT EXPERIMENT with dyes, or inks, when you color your Kodak 
pictures or lantern slides, as failure is sure to result ; ask your dealer for PEER- 
LESS Japanese Transparent Water colors, (The seif. 

blending Colors) they are sold everywhere and their application is so simple that 
a child can use them successfully'. They are indorsea by the most prominent 
Camera Clubs and Photog^raphic Societies in this country and in Europe. 
The following combination offer is made for the purpose of saving those who 
I { have heretofore been unsuccessful w^ith inks and piK^ments an opportunity to try 

these beautiful JajMinese Transj)arent Water Colors. We will send to any address. 
postage prepaid, on receipt of $f.<x> currency or money order (no stamps received) 
A COMPLETE SET OF JAPANESE WATER COLORS. 15 &^iades, with 
our book of instructions, sample picture, and brushes for applying^ the colors. 

Address: JAPANESE WATER COLOR COMPANY 
I 144 East 34th Street. New York City 




Ferdinand Flinsch Machinery Making and 
Iron Founding Co.. L*^ ?7^^%\'m"a"n? ^V'! 

Machines for photo- ___^ 

graphic paj)or. citrate 

I chloride^ bromide antl col 

lodirm papers, for coaling 

dry plates and for wash- ^^ 

mg the glass plates and t[^» L^^^ ferdmand flintch 

complete pUints tor end- *"^^ * "^ ****" '* ffif ^ w V /y"^ 

less rotary pothography. 

' .Machines tor wall aiul fancy papers, baryta papers and tubsized papers glass papers and 
emery cloth. Kor playing curds and for tin foil. 

Pasting machines for Hrist<«ls and all sorts of cardboards. 
Kirnt |irj/i' .'.tttud I'rix) GoM Me«lttl. Silver Medal, ftwarded at the Kxhibition of Pan*. WOO. 

LV 



|]i]'l.lf«'Bl:i:'l]Al:ill»i 




Use 

HARCOURT PLATINUM 

PAPER 



Because it gives best tone. 

Because it is simplest in manipulation: 
cold development in plain oxalate; no 
hot bath ; no sepia solution. 

Because it does not solarize. 

Because it is guaranteed in every way, 
including permanence of image. 

Because expert analysis (at the Massa-* 

chusetts Institute of Technology), proves 
it genuine platinum paper. 

Because you can rely upon open and 
fair dealings with the manufacturers. 



Curtis & Cameron 

90 PIERCE BUILDING, OPP. PUBLIC LIBRARY 

Boston 



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