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TRANSFERRED TO
FINE ARTS LIBRARY
*arvar& CoUeoe Xibrar?
FROM
American Photographio
Publishing Co.
tRANSFERf7ED TO
^^^^ ARTS LIBRARY
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BULLETIN OF
PHOTOGRAPHY
THE WEEKLY MAGAZINE FOR THE
PROFESSIONAL PHOTOGRAPHER
FRANKiV. CHAMBERS JOHN BARTLETT
EDITORS
1921
VOLUME XXVIII
JANUARY 5 TO JUNE 29. 1921
FRANK V. CHAMBERS, Publisher
636 S. FRANKUN SQUARE
PHILADELPHIA
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INDEX
A PAGE
About Posing -^^8
About Prices 19
Accessory 100
Accessory, X'alue of 614
Accordance of Ilody with Head Pose 108
Ad. Style of Vour 99
Adjusting the Light 565
Advertise Yourself 631
Advertise? To Whom Do You 612
Advertisements, Writing Effective 727, 375. 663
Advertising, Character in "^73
Advertising, Direct Mail l'*^
Advertising, Getting Results from Your 406
Advertising, Indirect 587
Advertising Often Unproductive? Why is 227
Advertising, Photographs for Effective 150
Advertising Photographs with Photographs 48
Alkalies, Relativity of 758-
AU the Way Through 420
Am 1 a Success ? ■396
Apparatus, Printing 10-
Approach to the Patron, The 643
Architecture, Some Points About 559
Art in Framing Pictures 526
Art, The Question of 69
Artistic Focus in Portraiture 645
Atlanta Convention 712, 728
Attractiveness of Genre 501
Avoidable Troubles 696
Avoirdupois vs. Apothecaries 388
B
Background for Portraiture 13
Background, Interest in the 109
Background and Dark Background. Light 714
Background Relation, Something About 742
Background and its Artistic Importance in Por-
traiture 1^^
Backgrounds ^92
Backgrounds and Its Artistic Importance 617
Backgrounds for Bust Portraits 265
Backgrounds, Interest in 293
Be Careful of Your Speech 214
"Be Sure You're Right. Then Go Ahead" 301
Best Pose 568
Black and White 563
Bouquet, Photographing a 533
Brightness of the Image 782
Bromide and Gaslight Prints, Developing 395
Bromide Paper, Elon and Glycin for 644
Bromides, Gradation in 522
Bromides. \'arious Tones on 774
Buckley Demonstration, From the 681
Bumps ^12
Business. Getting 663
C
Camera Club Redi vivus 467
Canadian Photographers 730. 788
Careful Posing 726
Carelessness 180
Character 101
Character in Advertising 473
Character in the Portrait, Get 548
Character of the Negative 528
Children, Photographing the 555. 432. 453
Chloride of Silver Emulsions .. 343
Color Values, Correct Rendering of 233
Coloring. Prints for 279
Commercial Photographers of Chicago 711
Commerical Photography as a Business or a Side
Line 489
Commerical Price Lists 205, 206
Commercial Tpct Complimentary to Artistic Instinct.. 355
Comparisons 665
Competitor Worry You? Does Your 269
Concentration of Portraiture 623
Consideration of the Print 611
Contrasty Negatives. Enlarging from 592
Control in 1 )evelopmcnt 201
Controllable Factors in Portraiture 35
Convention at Buffalo, The National.. 163. 492. 555
585. 619, 686. "24, 748. 785,
Convention, Middle Atlantic States.. 429, 452. 459,
594, 399, 300, 333, 357
Convention, Missouri X'alley Photographers' 436
Convention, New England 817
Convention of the Southwestern P. P. A 439
Co-Operation, The Customer's 461
Copy, Preparation of Photographic 550
Copying, Colored Light in 582
Correct Rendering of Color X'alues 2ii
Correcting Distortion in Copy 178
Costs and Bad Practices 745
Criticism, Value of Lay 790
Customer's Co-Operation '♦61
Customers What They Want. Give Your 726
D
Dark-Room Tips '. 138, 646
Decorative Quality ^
Density, Proportionate* 707
Deposits Come in Photographic Solutions, Why 365
Depreciation 278
Depth of Focus 364
Detail and Impression, Shadow 195
Detroit Photographers Organize 280
Developer, Response to the 373
Developing Bromide and Gas-light Prints 395
Development and Halation 772
Development and Lighting 41
Development, Control in 201
Development, Energetic 532
Development in Halation . . 619
Development, Sepia Tones by 116
Development, Single or Multiple 586
Dig 567
Direct Mail Advertising 142
Direct Sulphide Toning 336
Distortion in Copy, Correcting 178
Does Your Competitor Worry You? 269
Deaths:
Alpaugh, Mervin 57
Atwater, Henry Harrison 438
Bacon, William 600
Brooks, Frank E 246
Busser, Oscar W 281
Chase, Sumner J 794
Dow, J. Frank 438
Dozer, Leonard A 235, 309
Finley. Robert 538
Finnell, John Warren 762
Frees, Oliver Perry 730
Fryett, Frank C 121
Griffith, S. S 438
Hammer, Ludwig F 587
Haynes, Frank Jay 409
Howard, Garrett W 438
Johnson, Sven A 281
Jordan, Joseph A 121
Knee, Ellis W , 246
Lenske, Louis 246
Lett, James 761
Lovejoy, Charles L 694
Mason, Oscar G 409
Micklethwaite. J 730
Milloy, Paul Neil 600
Morrison, Wm. M 538
Nelson. C. .\ 666
Ollivier. Horace M 342
Pascal. B. Robert 777
Post, F. E 121
Power, Luke Watterman 57
Rosser, David 121
Salmela, Isak Hemming 217
Schlappig, Herman Adam 24
Stampfer. Oswald 342
Taft, Edwin R 438
Townscnd. Charles Henry 24
Ward. Henry D
Wyatt, Arthur D 694
E
Easter Booklets 1 70
Eastman Kodak Co.. Government Suit Against the ..211
Eastman Professional School 44, 45
Economics of Price Increase 805
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PAGE
Economy Plus 820
Effect of Strong Illumination 80
Effective Showcase 691
Elon and Glycin for Bromide Paper 644
Emulsion, Chloride of Silver 343
Emulsions. Home-Made 276
Energetic Development 532
Enlargement, Negatives for 86
Enlargements, Subduing Granularity in '. 9
Enlarging from Contrasty Negatives 592
Equity in Prices 483
Ethical Duty of the Photographer 739
Exposing, What to Do in 524
Expression, Illumination Aid to 717
Expression, Securing the 359
Eye Education 73
Eyes, Direction of the 228
Eyes Right. The 334
Eyes. L'sing Your 806
F
Face, Study the 566
Factor Success, The 387
Fading of Prints 167
Fallacies, Inconsistencies and Plain "Bull" 389
Farmer, Photographing the 422
Fighting for Business 652
Figure Study Portraits 568
Fishy! 710
Flat Lighting 67
Flattening Mounts, Methods for 569
Focus, Depth of 364
Focus in Portraiture, The Artistic 64d
Form Letters 261
Formulae, and How to Read Them 493
Framing Pictures, Fine Art in 526
Full-Lcnglh Photographs, A Fault in 212
Full-Length Portraits 708
G
Genre. Attractiveness of 501
Gerhard Engaged in Philanthropic Enterprise, Miss. 464
Getting Results From Your Advertising 406
(iive Technique a Chance 4
Government Suit Against the Eastman Kodak Co. ..211
Graber's Address, P. P. A. of Chicago 83
Gradation in Bromides 522
(irades of Development Papers 1*
Greatest Vulgarity 249
Groups, Something About 423
H
Halation and Development 772
Halation, Development in 618
Half -Tone and Shadow 715
Hardness, To Remedy 151
Have Conception of the Pose 468
Head. Position of the 228
High-Class Portraiture 43
Home 54
Home-Made Emulsions 276
Honestly Put 547
How to Have Good Help 297
How We Grow , 675
I
Idea for Signs 475
Illumination Aid to Expression 717
Hlumination, The Effect of Strong 80
Illumination, Simplicity in Portrait 804
Image, Brightness of the 782
Importance of Sentiment in Portraiture 78
**In Passing By" 291
In Praise of Photography 419
Income Tax ..22, 56, 99, 105. 110, 119, 184. 280 308, 471
Indirect Advertising 587
Individuality 687
Interest in Background 109, 293
Interiors, A Word on 16
Inventory. More About Your 21
Is Your Stationery Good ? 234
K. PAGE
Knowledge for All 694
Legal Department 12, 42, 76. 143, 173, 198, 210,
238, 273, 304, 338, 367, 394, 402, 427, 497, 523, 556,
588, 621, 626, 650. 685, 709, 719. 753, 778, 811, 816
Letters, Form 261
Letters to the Editor 356
Lewis' New Studio 266
Light, Adjusting the 565
Light Background and Dark Background 714
Light, Misplaced 5 1 6
Lights Tell, Where the Reflex 688
Lighting 369
Lighting and Development 41
Lighting, Flat 67
Lighting, The Study of 430
Living Pose, The 37
M
Making It Do 229
Management 665
Marginal Definition 146
Measuring Chemicals 590
Mechanical Pose, The 332
Middle Atlantic States Convention 300. 333, 357,
399, 429, 452, 459, 594
Mmimizing Defects in Sitters i69
Misplaced Light 516
Missouri Valley Photographers' Convention ........ 436
Motive in Portraiture 213
Mounts, Methods for Flattening 569
National Convention at Buffalo 163, 492, 555,
585, 619, 686, 724, 748*, 785
Negative, Character of the 528
Negative Drying 37
Negatives for Enlargement 86
New England Convention 817
New York State Photographers 217
Outline, Unpleasant 75
Objects in Space Allotted, Distribution of 580
Obtain Success 344
O-M-I Convention 666. 689. 784
On Being Original 452
On Knowing It 557
Once ...!!! 536
Outline in the Portrait, Good 818
P. A. of A. Convention at Buffalo 163. 492, 555,
585, 619, 686, 724, 748. 785
P. A. of A. School of Photography 307
Pacific Northwest Photographers' Association 788
Papers, Grades of Development 15 '
Patron, The Approach of the 643
Pictorial Construction 242
Personal Letter. The 202
Perspective of the Portrait 620
Perspective on the Job 658
Pictorial Intention 174
Picture. Some Effect in the 113
Picture.' What Is the Purpose of Your 579
Pictures in Everyday Life 683
Pittsburgh Photographers 411. 786
Philadelphia Photographers 247
Photographic Solutions I68
Photographic Subjects 259
Photographing a Bouquet 533
Photographing the Children 432, 453, 555
Photographing Medals and Coins 376
Photographing the Farmer 422
Photographs, A Fault in Full-Length 272
Photographs for Effective Advertising 150
Photographs With Photographs, Advertising 48
Photographer, Selling a 484
Photographer Sued — Prints Wrong Picture 505
Photography as a Means of Livelihood 803
Photography During and After the War 677
Photography in a Hurry m... 239T
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IV
Bulletin of Photography
PACE
Photography, In Praise of 419
Photography, The Teeth in 52
Plates. Red Lamps and Rapid 377
Playing the Game 119
Points About Typography 74
P. O. P. Toning 299
Portrait and Its Contributaries 654
Portrait, Get Character in the 548
Portrait, Good Outline in the 818
Portrait, Perspective of the 620
Portrait Photography, Stunt 582
Portraits, Backgrounds for Bust 265
Portraits, Figure Study 568
Portraits, Full-Length 708
Portraits That Please 298
Portraiture, Background and Its Artistic Importance
in 131
Portraiture, Background for 13
Portraiture, Conception of 623
Portraiture, Controllable Factors in 35
Portraiture, High-Class 43
Portraiture, Importance of Sentiment in 651
Portraiture, Motive in 213
Portraiture, Some Minor Points in 503
Pose, Accordance of Body With Head 108
Pose, Have Conception of the 468
Pose, The Best 568
Pose, The Living 37
Pose, The Mechanical 332
Posing, About 398
Posing, Careful 726
Position of the Head and Direction of the Eyes 228
Practical Experiment • 324
Preparing for June 495
Preparing for Spring 1 96
Preparation of Photographic Copy 550
Price Increase, Economics of 805
Price, Where to Put Your 781
Prices. About 19
Prices, Equity in 483
Print, Consideration of the 611
Print Transparent, To Make a 260
Printing Apparatus 102
Printing Out Paper. Rapid 179
Prints for Coloring 279
Prints, The Fading of 167
Profession, The Status of the 323
Professional Parasites 515
Proportionate Density 707
Q
Question of Art 69
R
Rainbow Chaser, The 740
Rapid Printing Out Paper 179
Reason Why We Retouch 457
Restoring Faded Silver Prints 537
Red Lamps and /Rapid Plates 377
Relativity of Alkalies 758
Response to the Developer 37i
Retouching and Texture 137
Retouching on the Eye 443
Retouching Varnish 10
Rule and Restriction 460
S
Salesmanship • 682
Satisfied 133
Say What You Mean 302
School Work, Your Spring 627
Securing the Expression 359
Sell Yourself 360
Sell Your Skill 23
Selling a Photographer 48-4
Sentiment in Portraiture, Importance of 651
Sepia Tones by Development 116
"Service Is the Word 793
Shadow and Half-Tone 715
Shadow. Detail and Impression . 195
Show 'Em as Well as Tell 'Em 780
Showcase, An Eflfective 691
PAGE
Showcase Notices, Window and 326
Signs, Here Is an Idea for 475
Silver Prints. Restoring Faded 537
Simplicity of Portrait Illumination 804
Single or Multiple Development 586
Sitters, Minimizing Defects in 169
Sitter's Choice. The 207
Solutions^ Photographic 168
Some Effect in the Picture 113
Some Minor Points in Portraiture 503
Some Points About Architecture 559
Something About Background Relation 742
Something About Groups 423
Southeastern Photographers 712, 728
Southwestern P. P. A., Convention of the 439
Space Allotted, Distribution of Objects in 580
Spring, Preparing for 196
Staining Prints 411
Stationery and How to LTse It 202
Stationery Good ? Is Your 234
Status of the Profession 323
Studiograms : 356
Study of Lighting, The 430
Study the Face 566
Study, What to 676
Stunt Portrait Photography 582
Style of Your Ad 99
Subduing Granularity in Enlargements 9
Success •« 525
Success ? Am I a 396
Success For Sale 79
Success, The Factor 3&7
System Successful 567
T
Tact in Dealing With the Patron 771
Technique a Chance, Give 4
Teeth in Photography 52
Texture and Retouching 137
Thoughts on Life and Business 87
To Please ? 5
To Remedy Hardness . .• 151
To Whom Do You Advertise ? 612
Tomorrow 537
Toning. Direct Sulphide 336
Toning P. O. F 299
Trade Acceptances, Some Difficulties of 650
Transparent, To Make a Print 260
Typography, Points About 74
U
L'npleasant Outline 75
Usinj Your Eyes 806
\'
\'aluc of Accessory 614
\alue of Lay Criticism 790
Various Tones on Bromides 774
X'ignetting -^^
W
War Amongst Photographers 695
"We Can Live Without Art. But — " 175
What Is the Purpose of Your Picture? 579
What to Do in Exposing 524
What to Study 676
What's the Use? 330
Where the Rertex Lights Tell 688
Where to Put Your Price 781
Why Deposits Come in Photographic Solutions 365
Why Is Advertising Often Unproductive 227
Window and Showcase Notices 326
Word on Interiors 16
Work-Room Economy 661
Worthy of His Hire 107
Writing Effective Advertisements 727, 375, 663
Y
You Can't Stand Still 684
Youngstown Photographers 784
Your Photographic Association 518
Your Spring School Work ^ . . , | • • 627
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No. 700
HARVARD COLLEGE LIBRARY -^^
GIFT OF THE
MWICAN PHOTOGRAPHIC PUBUSIVlNb 6fL
MAY 2^ 1125
Wednesday, January 5, 1921
FA 660 f. 849
Single Copy 5 CenU.
$2.00 per year, postpaid.
Entered at the Philadelphia Post Office as Second-Class Matter.
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GIFT OF T, ^
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IIAY2g,l>25
-^A-^60 t,fi4cL.
,\
BULLETIN-OF
PHOTOGRAPHY
[trade mark registered]
IN WHICH IS INCORPORATED "tHE PHOTOGRAPHER" ANO THK "ST. LOUIS AND CANADIAN PHOTOGRAPHER"
THE WEEKLY BUSINESS PAPER FOR BUSINESS PHOTOGRAPHERS
ess FrankUn Square {cor. 7ih and Race Sts.) Philadelphia
FRANK V. CHAMBERS, Editor and Publisher JOHN BARTLETT, Associate Editor
A. A. SCHENCK, Business Manager
Yearly subscription, in advance, postage paid. United States, Mexico, Cuba. Philippines and Porto Rico, $2.00.
Canada, $2.50. Countries in the Postal Union. $3.00. Single copies. 5 cents.
Remittances may be made at our risk by money order, check, draft or registered letter.
Items of interest upon photographic subiects will be gladly received.
Subscriptions received by all photographic and news dealers in the United States and Europe.
Vol. XXVm, No. 700 Wednesday, January 5, 1921
Price 5 CenU
$2.00 per Year, Post Free
Decorative Quality
JOHN BARTLETT
A picture in one sense is an arrange-
ment of the elements of which it is com-
posed so as to produce an agreeable im-
pression. If the various parts are not
associated in concordance, the result is
disagreeable to the sense of vision. There
are other qualities demanded of a picture
besides the decorative — such as the motive,
dramatic eflPect, expression, etc., but withal,
it is essential to pictorial reproduction that
our subject should conform to the natural
law^s of harmony and rhythm demanded of
all art. The public keeps insisting that the
picture should express some intellectual
meaning. The average person wants to
know what the picture means, and if the
story is pleasant, pathetic, or even tragic,
he is satisfied ; but the artist is not par-
ticularly interested in a pretty face or a
delightful landscape. He does not care for
what a picture means, but how it looks to
his artistic eye. He notes whether the
figures are well drawn, rightly placed,
agreeable in line, associated eflFectively in
light and shade and color, what is the
eflPect of the picture as a whole, has the
artist handled his material in the right way,
has he fitted the allotted space properly.
has he brought together lights and shades
truthfully. H he has accomplished all this,
to the painter's eye he has done infinitely
more than if he has told most effectively a
story, in terms of light and shade, line and
color.
The art of the average person is ad-
dressed more to the intellect. The art
which the painter seeks informs his <nesthetic
sense, in the way music affects. In a word,
a picture to the artist has a decorative
meaning. This does not imply that the
painter has no power of appreciation of
the poetic in art, has no heart for the
pathetic, or intellect for sublimity. All
great art demands these moral qualities,
but at the same time it is essential that art,
to be great, must have also the decorative
quality.
The decorative sense goes back to pre-
historic art. The cave dwellers in France
and Spain give evidence to a fine sense of
harmony of line and color. The man of
the Stone Age ornamented his rude
weapons of the chase and his domestic
utensils with color and delicate tracings,
exhibiting his delight in such performance.
It is worth noticing, too, how this primi-
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Bulletin of Photography
tive artist recognized the problem that he
had a certain space to fill up in a way most
pleasing to the eye. Just the same problem
which confronts the artist of the day. He
appreciated the fact that a vase surface
required a certain design, an open, free
sort of a pattern diflFerent from that suitable
for the haft of his spear. It was not long
before the decorative quality counted for
much and that space looked much more
pleasing when symmetrically filled than
when the drawing was used merely to con-
vey some intelligence in the shape of arrow
heads and squares and circles — that is,
had literar\' import instead of artistic. We
cannot follow decoration historically, but
you see in Egyptian and Assyrian and par-
ticularly in Persian art how the wall paint-
ers tried to express in a way pleasing to
the eye the dull records imposed upon their
craft ; and how, despite the superstitious
restrictions, they sometimes break their
fetters and give posterity something de-
lightful in the decorative quality. With
unfettered Greek art this decorative filling
of space reached perfection. We need only
call your attention to the marvelous way in
which the difficulty-to-handle-space of the
Parthenon frieze is filled with figures of
men and animals. I^ok at an ancient
Greek coin, how decoratively the confined
space is filled up. Compare the effect with
some recent coin productions of our mint —
full of a mass of ill-assorted objects. The
Greek is influenced solely by the decorative
effect. The American die-sinker wants to
give you a whole history of the United
States on a dime.
When painting began to rise in Italy,
it was called on by the church — certain
architectural spaces in the church had to be
filled, ovals, triangles, panels, recesses in
the apex, the dome, the ceiling and back
of the altar. We note the tentative way in
which this filling up of space is done, but
there is always a desire to produce a deco-
rative effect, unpleasantly mechanical at
times, for it was only when Giotto came
that we see some refinement and taste in
the decoration. Then came Masaccio and
Raphael and Michael Angelo, who show us
how space may be perfectly filled with lines
and forms. If you study the Sistine Ma-
donna just for the line effect in relation to
the space in which the figures are placed,
and note, for instance, the reason for the
flowing curve of the veil, you will see how
this simple decorative device contributes to
decorative quality of the picture.
Modern art is full of telling examples of
the value of decoration. It has taken hold
of the old problem and tried to extend
further the application. We might safely
say that no painter of the present day be-
gins upon an oval, square or triangular
panel without first definitely planning out
the method of best filling the space with
lines, forms, shades, lights and colors.
**What is the decorative quality?" is the
question with him of first consideration,
so we think that the photographer should,
before undertaking his picture, and indeed,
all the time during its inception, constantly
keep in view what effect this or that line,
this or that area, shall have upon the gen-
eral decorative eflPect of the picture.
Give Technique a Chance
Did the artistic photographer, who, sees
nothing but esthetics in photography, ever
stop a moment to consider that the high
phase which modern artistic photography
has attained is due solely to the more per-
fect methods of reproduction we now en-
joy over the workers in the art a half-
century ago ? Or that these chemical means
of expression, which translate so effectively
his high aspirations, are due solely and
singly to the untiring laboratory w^orkers?
We are not depreciating photographic art ;
rather would we hold up the hands of those
who are exalting its prerogatives, but we
would make a plea for more interest on the
part of the profession for the equally im-
portant technical and scientific phase.
Even Icarus did not disdain to construct
the best possible mechanical contrivance in
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Bulletin of Photography
his presumptuous aviator>' feat. Yet he
might have outwitted even Phoebus if his
wings had been made to resist the influence
of Old Sol.
Photography is most essentially a scientific
art, and even those who have only artistic
aspirations will fall afoul of their high goal
if they neglect the means by which photo-
graphic art alone can advance.
It is deplorable to note the ahnost uni-
versal disregard of the average professional
for the chemistry of photography, and yet
we get letter after letter, inquiring for ex-
planation of the cause of failure in the
working of some recommended formula.
They protest that they have Hterally fol-
low^ed directions, and are loud in their in-
nuendoes about careless editors and faulty
proofs. Yet the very questions they desire
elucidated display their woeful ignorance
of the fundamental principles of the photo-
graphic science.
The photographer who has a good
chemical acqaintance with what relates to
his profession is able of himself to sur-
mount impediments. He at once perceives
what is wrong, and is able, intelligently, to
modify or adapt to varying conditions.
Ever}' earnest worker is aware that the
conditions under which our work is done
are liable to very considerable variations,
and when the unexpected equation presents
itself, they are able either to solve it or to
determine its impracticabihty.
(^ne may have plain saihng and a pros-
perous voyage while things flow cahnly and
no adverse winds present, and a feeHng of
security as to results may make one in-
ch fFerent to the necessity of more than rule-
of-thumb methods; but a time may come,
doubtlessly has come to some of us, when
conditions are not so uniform, and when
the mechanical means are not adequate —
factors with which it is impossible to cope,
because of our ignorance of the principles
of the science. Then we are the mere slaves
of circumstance; then we appreciate that
these imexpected conditions have mastered
us, because of our lack of knowledge.
To Please
.?
C. H. CLAUDY
For whom do you make photographs?
Your customers? Your critics? Or your-
self?
Sounds easy to answer. You will proba-
bly say you make your pictures to please
your customers and that if you please them,
you are satisfied. But the chances are that
you are all wrong in thus answering, and that
you are only satisfied to please your cus-
tomers with pictures which please them //
the pictures at the same time please you.
A man went to an architect and said, 'T
want to build a house. I know exactly what
I want, in a house, but I don't know any-
thing about drawing plans. Will you take
my ideas and make the plans accordingly?"
The architect said he would, ver\^ gladly.
So the man and the architect w^nt to work.
The man wanted three towers on his house,
covered each with a different color tile. He
wanted a Colonial porch, a Gothic front
door, a mid- Victorian piazza and a Spanish
colonnade. He wanted the kitchen in front
and the parlor on the third floor and the
library down celler. And when he had
finished laying out his crazy dream, the
architect drew a long breath and said, "My
dear sir, I can't afford to make your house
for you. I'd Hke your fee, but the shock to
my reputation would be such that I'd have
to go out of business. You will find plenty
of architects competent to erect this house
by applying to the nearest insane asylum."
If you go to a doctor and tell him your
symptoms and he prescribes a course of
treatment and you say to him, *'but that
isn't the way I ought to be treated, I want
you to order me to Europe and to take ex-
tract of green peas three times a day," your
doctor will ask you who in time is the
doctor, anyway, and show you the door. If
you go to a dentist and he finds a hole in
one tooth, you don't demand that he fill
another tooth. If you did he would have
none of you. If you went to a sculptor to
be sculpted and demanded a third hand or
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two heads because you thought you'd look
better that way, he'd laugh at you.
If you go into Tiffany's and ask for imi-
tation diamonds, they would refer you to
some dealer in such things. If you go to a
Steinway dealer and ask for a cheap piano
for the children's play house in the yard,
you are shown where to go — but it isn't
there.
In other words, people who make things,
or deal in things, or produce things, have
their own standards of what is good and
bad and wrong, and they won't alter them
for the cranky or the exceptional customer.
You are probably no exception to the
general rule. You may say you make pic-
tures just to please customers, but if you do
a normal thirty-dollar-a-dozen business and
someone comes in and asks you for a dozen
ping-pongs at two for a quarter, do you
make them ? You do not. Why don't you ?
Because there is no profit? Not at all.
There is always profit in pleasing a cus-
tomer, even at a temporary loss. You do
not make the little pictures because you
can't afford to compromise with your repu-
tation, because you don't want your name on
such work, because, though the pictures
might please your small-pursed customer,
they wouldn't please you.
If a customer comes in and asks for a
colored photograph, do you supply it ? You
may show an enlargement carefully tinted.
Hut suppose the customer says, **\Vhat I
want is something brilliant, not all pale and
washed out, like that. I want lips and
cheeks red and hair yellow and dress bright
blue, so I'll have some color on my walls."
Do you supply it? You do not. Why don't
you? There would be much profit in it, for
this sort of coloring takes not an artist, but
a dauber — and daubers are cheap. You
just can't square it with your conscience,
that's why. You can't put out work you
know to be bad work, poor work, inartistic
work, work you are ashamed of, just to get
the money. Isn't that true?
Of course it is. Well, then, if you have
ever asked yourself the question. "How shall
I raise the standard of my work, and make
my customers contented to accept the
change?" here is the answer. The only suc-
cessful way is to raise your own standards.
When you have raised your personal
standards to the point where nothing less
than the best will suit you, then nothing less
than the best will be given to your cus-
tomers. For, look you, there are plenty of
ping-pong photographers and plenty who
put out daubs for colored enlargements.
They take the money and are happy. You
can't. If you put yourself in a position
where you cannot supply pictures which
your customers will take, because those
pictures don't suit you, you will inevitably
raise the standards of your custom.
The vast majority of people are honest.
You are honest — not only honest in that
you will not take what doesn't belong to
you. but will not give, for money what
doesn't suit you as honest value for the
money? You do not make pictures solely
to please your customers — you want to
please them, but you must please yourself
first. It is this which makes you an artist,
as it is this which makes you honest in
mind as well as in act. It is this, too, which
makes it possible for you to do an artist's
part in the world — which is to increase the
love of and the amount of beauty the world
possesses. The higher your standard, the
less you can compromise with indifferent
ideals of pictures, the higher the standards
of those you serve must be — and when you
come to cast up the final balance sheet in
this, will lie more profit and satisfaction
than was ever yet or ever will be expressed
with the $ sign.
C Even the goods
are from Missouri
— they ought to be
shou)n.
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August W. Albrecht
Courtesy of Eduard Blum Norheim, Cer.
Chicago
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G. J. Von Duehren
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Bulletin of Photography
On Subduing Granularity in Enlargements
There is not much to complain of at the
present time with regard to the coarseness
of the grain of plates even of the most
rapid type. It was different a decade or so
ago, when an extra rapid plate meant a
considerable amoimt of granularity of the
image. Thanks, however, to the skill of the
plate-makers that is a thing of the past
with most brands of extra rapid plates at
present on the market. We now gee exceed-
ingly quick plates with a grain almost as
fine as that of plates of ordinary rapidity.
Still the grain of the ultra-rapid plates, al-
though not visible when the negative is ex-
amined by the eye, may show in a marked
degree if an enlargement is made from it
to a degree of, say, ten or twelve diameters.
The granularity is usually more pro-
nounced if the enlargement is made by ar-
tificial light, as in the enlarging lantern,
than when diffused daylight is employed.
It is by no means an uncommon thing for
a photographer to have to produce an en-
largement, say, a life-size head, from an
original which may be of the cabinet size or
smaller, and very often from a paper print.
This, of course, is a great magnification.
If it w^ere only three or four diameters
the coarseness of the grain would in some
instances pass almost unnoticed, but with
the great amplification it may become most
objectionable. The question for considera-
tion is how may the granularity be re-
duced to a minimum, for it is obvious that
when the grain is very conspicuous it en-
tails a considerable amount of extra work
in the way of finishing in monochrome or
color.
We shall first consider the case where an
enlarged negative is required to be after-
w-ard printed from in the ordinary w^ay.
In this case it will be necessary to prepare
a transparency, say by contact printing on
a dry plate, or by the carbon process. If
in making the enlarged negative from the
transparency the lens be put slightly out
of focus, the sharpness of the image will
not be materially impaired, but the granu-
larity will be far less conspicuous than if
the image were sharply focused, and if the
enlargement is not great it will scarcely be
noticeable. It may be thought by some that
making the enlargement a little out of focus
would be as objectionable as would be the
granularity, but in practice that is not the
case, for if the eyes and the darker parts
are strong and bold the picture will seem
sharper than it really is, and, what is more,
if these portions be roughly sharpened up in
the print with water color, it will alter the
general appearance of the picture greatly
for the better. It is in the lighter portions
that the granularity is so conspicuous. The
enlarged negative can, of course, be re-
touched and much of the coarseness got
rid of in that w^ay. In the development of
the enlarged negative it should be made
strong and vigorous, so as to get the blacks
as bold as possible in the print, as they then
do not as a rule exhibit the granularity
visible in the other portions. In connection
with this method of ameliorating granu-
larity, we may mention one case which came
under our notice some few years ago. For
publication purposes it was required to en-
large a number of old wax paper negatives
of very artistic landscapes. Of course, the
negative showed the grain of the paper very
strongly, and it was necessary that this
should be suppressed as much as possible
in the enlargements. The originals were
about the half -plate size, and the enlarge-
ments were about 16 x 13. The method pur-
sued was as follow\s : Carbon transparencies
wert made from the small negatives, and
from them the enlarged negatives were pro-
duced. In making them a R. R. lens, having
a great deal of spherical aberration, was
employed. The lens was really a very bad
one from an optician's point of view, as it
would not yield crisp definition unless it
was well stopped down, but in this case it
was worked at its full aperture. The en-
larged negatives were made of considerable
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Bulletin of Photography
vigor in the development. The finished pic-
tures showed very httle granularity.
Another way of reducing the apparent
granularity when an enlarged negative of
a portrait is used is to mask out the back-
ground entirely and print in another with
a graduated tint, for it is in the background
that the granularity is always the most
conspicuous, and if that be got rid of and
another introduced the rest of the picture
is seen to be much improved in appearance.
Still another way of subduing the grain in
enlarged negatives may be mentioned.
Here, again, it is assumed that the nega-
tive has been made tolerably strong in the
development. It is put into the printing
frame and a print made. When it is about
half-printed the blacks will have consider-
able vigor, while the lighter portions are
but very faint and show but little of the
granularity. At this point, between the
negative and the partially made print, a
sheet or two of thin celluloid are interposed
and the printing continued to the propef
depth. In this way much of the pro-
nounced granularity will be got rid of and
a good result obtained. The first printing
secures the necessary sharpness and detail,
while the second produces a certain amount
of diffusion, which greatly reduces the gran-
ularity without materially interfering with
the definition of the more prominent por-
tions secured in the first.
In the foregoing we have been assuming
that enlarged negatives are employed, but
at the present time the greater number of
enlargements have to be made direct from
the original or bromide paper, and here we
have not the same scope for getting over
the trouble. One very general way is to
make the enlargement with the lens slightly
out of focus, as mentioned when dealing
with the enlarged negative. But there is a
marked difference between a picture taken
with a lens that gives critical definition,
put out of focus, and one that has a certain
amount of spherical aberration worked at
its best focus. This is well exemplified in
the portrait lenses,* in which spherical aber-
ration (''diffusion of focus") can be intro-
duced at will. A lens with a good amount
of spherical aberration is best to use when
granularity is to be reduced to a minimum,
and thus what is, optically speaking, an
inferior instrument may at the same time
be the best photographic tool in some cir-
cumstances. Most R. R. lenses, even those
by good makers, are not free from spherical
aberration, and an imaged focused with a
small stop will not be at its sharpest if that
be removed and the image examined with
the full opening. Advantage may be taken
of this to reduce the granularity in en-
larging. The image is focused with the
smallest stop, and, say, half the exposure
made; then the stop is removed and the
necessary exposure completed with the full
aperture. The first exposure will secure
the necessary detail in the thinner parts of
the negative, and the second will yield a
certain amount of diffusion in the grain,
thereby reducing its conspicuousness. An-
other plan sometimes adopted is to slightly
alter the focus of the picture by moving the
easel, carrying paper slightly backward or
forward after a portion only of the ex-
posure has been made. — The British Jour-
nal of Photography.
Retouching Varnish
The making of varnish for photographic
purpose is one fortunately no longer neces-
sitated, as it requires much care and atten-
tion to detail and, besides, is attendant with
risk when the formula demands the use of
heat. In the collodion period every nega-
tive had to be varnished to protect the film
from abrasion, but the introduction of the
gelatine plate did away with the need of
varnished surface. The only use the
photographer now has for a varnish is for
the purpose of forming a hard surface for
retouching the negative, and so we shall con-
fine our fornuilae to methods of preparing.
COLD VARNISHES
There is or was on the market a varnish
called *'Cr\'star' varnish, which enjoyed
some reputation. It is an ammonia varnish
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containing shellac. Shellac dissolved in
alcohol does not yield a clear film, but the
addition of ammonia results in the forma-
tion of a very clear film upon the cold sur-
face of the plate.
The ammonia is added after solution of
the shellac in the alcohol.
Another way to make the ammonia shellac
varnish, which is considered the best :
Ammonia-alcohol 3^ ounces
Shellac 120 grains
.Vmmonia-alcohol is a solution of am-
monia gas and alcohol.
I f a thicker varnish is wanted, you may
increase the content of the shellac to 140
grains.
The shellac will merely swell up in the
ammonia-alcohol, but if the flask is slightly
heated, the varnish flows nicely and uni-
formly over the negative and forms an
excellent surface for the retouching lead.
The following cold varnish furnishes a
rapidly drying and very hard surface :
One ounce of copal (best) and 1 dram of
amher are finely pulverized and mixed with
Ether 11 ounces
.Acetone 8 ounces
Chloroform 3 drams
These gums are brought to solution by
prolonged digestion in the solvents and
shaking from time to time.
Let stand and pour off clear portion.
It forms a quick drying, clear and hard
film, very good for retouching.
Benzole Cold Varnishes. — The principal
ingredient of this kind of cold varnish is
sandarac or gum damar. X'arnishes pre-
pared with the latter gum are always softer
than the former. As these gums dissolve
only with difficulty in benzole, artificial
means must be employed, by treating the
gum first with a little alcohol and then
adding the necessary quantity benzoic. If
proceeded with in this manner, clear var-
nishes are obtained, which furnish a solid;
but by employing gum damar, a slowly
hardening, clear film.
A good formula of this kind is the fol-
lowing :
Benzole 3 ounces
Alcohol 3 drams
Gum damar 120 grains
This gum can also be applied to papers,
and for this purpose a corresponding dilu-
tion is necessary.
Collodion Cold Varnish. — Varnishes of
this kind sold in market (crystalline, brasso-
line, Zapon-varnish) mostly all contain
amylacetate. They consist of collodion,
which has been dissolved in amylacetate and
acetone with or without the addition of ben-
zole and sometimes camphor.
The quantity of amylacetate in these var-
nishes makes the use of the same under cer-
tain circumstances very disagreeable, but
they form very solid and well-adhering
films.
Such a varnish can easily be produced by
pouring 32 ounces acetone upon 40 grs.
collodion wool (soluble cotton) and then
adding a mixture of 64 ounces amylacetate
and 64 oz. benzole. The so-obtained solution
still contains small fibers of undissolved
pyroxyline and is, therefore, somewhat
cloudy, but is cleared the same way as col-
lodion by filtering and precipitation.
Finally, we will mention a varnish not
in the market, but an improvement on the
ordinary benzol varnish.
This varnish can be obtained by mixing :
Sandarac 3>2 ounces
l>enzole 15 ounces
Acetone 16 ounces
Alcohol 8 ounces
And after solution filtering the same
through paper. The varnish can be pro-
duced quickly, particularly if heated care-
fully in the water bath, clears well, and
gives clear, quickly drying films, which are
harder than those which are furnished by
the ordinary benzole cold varnishes which
frequently contain damar.
The world's champ prevaricator lives in New
^'ork. He claims he has seen a magazine cover
girl in real life. — Nciv York Evening Mail.
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Bulletin of Photography
OUR LEGAL DEPARTMENT
CONDUCTED BY ELTON J. BUCKLEY, ESQ.
(Mr. Buckley is one of the leading members of the Philadelphia Bar, and an authority on legal matters.
If our subscribers have questions on legal points, and submit them to us, Mr. Buckley will answer them
free of charge, A stamped and addressed envelope must be enclosed for reply. Make your question brief
and write on one side of the paper only.)
More About Business Insurance Under the
Income Tax Law
A short time ago I wrote an article dis-
cussing a ruling by the Internal Revenue
Department regarding the status of business
insurance under the income tax law.
Readers hereof know that it has come to be
the common practice, among business men
in all lines, to insure for the benefit of the
business, the hfe of a partner, or a corporate
officer, or a valuable employee. This is on
the theory that the death of the man insured
would be a loss to the business, which the
insurance money would at least in part
recoup.
The premiums on this kind of insurance
sometimes run large, and a controversy arose
between certain business houses and the
Internal Revenue Department as to whether
the premiums could be deducted from gross
income as "expense." The Department
made a regulation that they could be de-
ducted only when the insurance policy was
necessary to give to some creditor as col-
lateral for a loan. For example : A and B
carry a firm policy on the life of A, who is
a particularly valuable man. If that policy
is merely held by the firm for protection
against A*s death, the premiums cannot be
deducted. But if the policy is needed and
used as collateral security to enable A & B
to borrow money, the premiums are con-
sidered a business expense, and can be
deducted.
My article was inspired by the fact that
shrewd insurance solicitors were trying to
sell that class of insurance on the argument
that it would be easy to get the premiums
deducted as business expense by using the
policy as collateral whether creditors asked
for it or not. In other words, forcing the
policy on creditors as security, the insurance
men argued would legally entitle the pre-
miums to be deducted.
I differed in that, and expressed the
opinion that any such course would be
considered a fraud on the Government
carrying a heavy penalty, and that premiums
on business insurance would be legally de-
ductible as expense only when used in good
faith as collateral security, and on the credi-
tor's demand. Now comes the Salt I^ke
City, Utah, office of the New York Life In-
surance Company, which saw the article and
sends in the following :
I cannot agree with all the things in-
ferred in Mr. Buckley's article. He
seems to infer that life insurance
solicitors would be breaking the laws if
they induced the purchase of business
insurance by appealing to the selfish
interest of firms or corporations by
pointing out that they would be saving
part of the money they would ordi-
narily be obligated to pay in income
taxes. The bone of contention is
whether the insurance is necessary to
help the credit of the firm or corpora-
tion adopting it. In this connection I
could cite you volumes of evidence that
it is necessary for any modern firm or
corporation to carry protection against
the loss of their "guiding spirits." In
fact, the President of the American
Bankers' Association states that "com-
plete coverage of man power of valu-
able executives is more important in
many cases than adequate fire insurance
to cover the physical assets." There-
fore, isn't it fair to assume that most
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13
corporations could claim exemption
under this ruling? Most executives will
tell you they have had their bankers sug-
gest such insurance many times, and
many banks positively refuse extension
of credit to any firm or corporation
unless such protection is carried.
Any firm or corporation needs it to
"bolster" their general credit and to be
in readiness for the time when they
could not do without it, since insurance
cannot always be secured whenever de-
sired — it must be purchased when the
parties desiring it can pass medical
and other requirements.
All in all, it appears to me that there
should be no hair-splitting concerning
this ruling of the Internal Revenue De-
partment. I understand the ruling was
made as a result of protest against the
discrimination made against business
insurance. Fire and similar insurance
is a deductible item. Business insur-
ance is considered just as necessary by
the majority of business men as any
other form of insurance, so why, in all
fairness and justice, shouldn't it be a
deductible item. And furthermore,
why cannot it be considered legally
within the ruling referred to?
I believe it can, and also believe the
big majority of firms and corporations
have no desire to defraud Uncle Sam
of any just tax due him. All they ask
is a fair interpretation of the law to
enable them to deduct the items which
are actually expenses of conducting
their business.
I agree that in very many cases business
insurance, i. e., insurance on the life of
somebody importantly associated with the
business, is as necessary as any other insur-
ance. But I do not agree that it is always
necessary as collateral for the loans of the
business. In fact, I happen to know that in
many cases it is not necessary, the bor-
rower's credit being sufficient without it. In
such cases it would, I feel, be dangerous to
force the policy on a creditor for the sole
purpose of claiming exemption for the
premiums.
(Copyright by Elton J. Buckley.)
Background for Portraiture
By the term background may be under-
stood everything seen in the picture beyond
the plane on which the figure or figures are
arranged.
There must be a setting to the portrait —
even if we have to call the plain paper of
the print a background. There must be
something to relieve the figure, but mere
relief is not all, because mere relief may do
injury to the thing relieved, lessen its effec-
tiveness in a work of art.
The background, then, first of all, dare
not be obtrusive, too self-assertive, demand-
ing too much consideration, and so we have
to relegate the plain unifomi background to
the discard just because it is per sc most
obtrusive.
Again, the background gets itself in the
obtrusive class if it is too busy, full of
multiplicity of detail, too interesting.
attracting individual attention and divorcing
the eye from enjoyment of the figure itself.
Neither should it be unmeaning or in-
appropriate to the associate figure, but sub-
ordinate at the same time.
It ought to play the part of a well
adapted musical accompaniment to the
singer.
So you may conclude that the background
is something rather troublesome, refractor)*,
a dangerous companion to the figure, cor-
rupting by communication like evil manners.
Nevertheless, it is capable of being made a
most valuable ally in setting forth the best
features of the portrait to advantage. But
it must always be somewhat negative and
retiring, never pronounced. It often affords
the artist opportunity for originality by the
introduction of some well conceived associa-
tion or ingenious allusion, adding grace and
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Bulletin of Photography
interest to the combination. And, again, as
a mere technical asset, it is valuable; useful
in giving vigor to some parts of the com-
position, softness and repose to others,
harmony and effect to the whole affair.
Do you need any further argument to
convince you of its importance?
We may classify portrait backgroimds
into landscape, architectural, drapery and
atmospheric — by atmospheric, meaning what
is usually miscalled *'plain," and we said we
had no use for the plain ground if it im-
plied uniformity or evenness.
When landscape is made a setting for the
portrait, it must always be a constituent
element of the subject, and not merely a
contrivance to help out the pictorial intent.
That is, a landscape background should not
be selected solely for its initial beauty, but
for its association on reasonable terms.
Architecture, early in the history of the
photographic art. was much used as a por-
trait setting, but nowadays very seldom em-
ployed. People got tired of the Doric
columns, but they can supply forms rich and
simple, calculated to give effect and grace
to the figure and, at the same time, a general
air of dignity to the whole picture.
As an example, we might point to the
works of Raphael, where architecture is so
effectively employed to relieve the figure.
Titian, Paul \'eronese, Reubens, Claude
and others of the eminent French painters,
show how well adapted architecture is to
portraiture.
The h^rench exhibit particular skill in the
treatment of backgrounds. You will find
just such settings as are adapted to studio
work.
They have even made good use of flat
walls and draperies suspended from the
ceiling.
In a full length figure a drapery back-
ground is of assistance in setting off the
accunnilation of parts in the costume. It
determines where the figure should be re-
lieved. Moreover, a ground made up of
curtains and hangings may be called to
service either in making distinct certain fine
features in the portrait, or for masking
irregularities. For instance, we may so
manage the drapery background as to have
the dark side of the figure merge into the
darker background, or the light into the
light without advertising how the softening
of the contrasts has been effected. Now,
finally, a word about the plain background,
or, as it should be called, the atmospheric
background. Such a setting to the head
should be studied for the artistic relief it
affords. It ought to present a massing by
itself, sustaining the head, not projecting it
forward as from a vaciumi.
To do this, the plain ground must be
properly gradated.
A perfectly uniform-in-tone ground — flat,
monotonous backgroimd — even if it is skill-
fully shifted at angles to the source of
light, will not always give the atmospheric
effect to the portrait it needs.
It is generally too dark on one side and
too light on the other end.
It should be in tone considerably below
the general tone of the head, and have its
own individual variety. The contrasts be-
tween it and the head must be carefully
studied so as to get proper space relations.
A bold relief must be avoided, and the sug-
gestion must be conveyed that there is
atmosphere about the head, not the idea of
the possibility of great depth of space behind
the head.
Income Tax in a Nutshell
WHO? Single persons who had net income
of $1,000 or more for the year 1920; married
couples who had net income of $2,000.
WHEX? March 15, 1921. is the final date for
filing returns and making first payments.
WHERE? Collector of Internal Revenue for
district in which the person resides.
HOW? Full directions on Form 1040A and
Form 1040; also the law and regulations.
WHAT? Four per cent normal tax on taxable
income up to $4,000 in excess of exemption.
Fight per cent normal tax on balance of taxable
income. Surtax from 1 per cent to 65 per cent
on net incomes over $5,000.
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Grades of Development Papers
A most important step towards efficiency
in the printing room is the choice of the
grade of paper to suit the negatives. In this
note we will endeavor to explain why it is
not practicable to manufacture an "all-in-
one" paper of the development type that will
give perfect prints from all kinds of nega-
tives, from "ghosts" to "soot and white-
wash." Our friends must bear in mind the
fact that all development papers have, apart
from their speed, a definite scale of grada-
tion characteristic to the grade, some long
and some short, and very little can be done
in the way of modifying the developer to
alter this scale, excepting at the expense of
the color of the print.
Scale of gradation may be described as
the rendering of steps of density, which are
steep in the case of vigorous papers and
gradual in the soft papers. We are told
that theoretically the best grade of paper to
use is one that will correctly reproduce the
actual gradations of the negative, but as we
have not reached the stage when "perfect"
negatives are the rule, we must perforce
adopt another dictum. In our opinion the
best rule to follow is to endeavor to repro-
duce the actual gradations of the subject
itself, as we may very frequently require to
purposely falsify the gradations of the nega-
tive. It may be that for some technical
reason the negative is poor, under-exposed,
or under-developed, and in order to get a
correct rendering of the subject recourse
must be had to the use of a vigorous paper.
Similarly a negative that is harsh in con-
trasts will require a soft paper.
A great deal of misunderstanding exists
amongst printers in connection with the
words Vigorous, Normal, and Soft, which
we use in describing our manufactures. The
terms are intended to describe the actual
scale of gradation given by each grade, and
must not be confused with the appearance
of the final prints. A soft paper will yield
a print from a good strong negative quite as
brilliant as a vigorous paper will produce
from a thin negative. If a negative is very
dense it does not always follow that a soft
paper should be used, as perhaps much of its
density may be due to inherent fog, or over-
development, so that the actual scale of gra-
dation may be long and require the use of
a vigorous paper. Also, a thin-looking nega-
tive that has been developed with pyro-soda
without sulphite may actually require a soft
paper to produce good results.
Careful printers who are anxious to ob-
tain the best prints from all sorts of nega-
tives that come their way will have at hand
all three grades, but considerable experience
is required to choose correctly the grade
which will give the best result. As a guide
we give below a description of the types of
negatives most suitable to the particular
grades, subject to the reservations above.
llgorous Papers. — Suitable for very poor,
thin negatives of weak contrasts.
Xormal Papers. — Suitable for negatives
on the thin side, but with good detail and
medium contrast.
Soft Papers. — Suitable for negatives of
harsh contrasts, and also for what is termed
"good" negatives such as the high-class por-
trait photographer produces.
Although we are particularly referring to
gaslight papers it must be borne in mind
that bromide papers are also made in dif-
ferent grades, vigorous and ordinary.
Most printers are now well aware of the
great change that has taken place in the
manufacture of slow development papers of
the gaslight type. These papers have always
been regarded as only suitable for printing
amateurs' under-exposed negatives, and
gave hard black and white results, but the
modern gaslight papers will do as much,
and more, than bromide, with many added
advantages as to comfort in working, etc. —
Trade Xotes.
Bobby (on his eighth birthday to his absent
father) — "My dear papa, whenever I'm tempted
to do wrong I think of you and say, 'Get thee
behind me. Satan.' *'
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Which Plate Should You Use?
Photographers are exacting in their demands of plates. In order to produce
the best work, they must have a plate especially designed to meet their
individual needs. Your plate is listed below :
SPECIAL "XX'* An extra fast Portrait or speed plate.
SPECIAL An all-around Studio plate.
COMET For Landscape and Copying.
POSTALS A fast plate for Postal work.
COMMERCIAL For Commercial photography.
COLORNON A Color plate rendering Orthochromatic values.
CONTRAST LANTERN SLIDE . Producing brilliant Lantern Slides.
PAN ORTHO A Tri-Color, or Pan Chromatic plate.
PROCESS For all Commercial Process work.
CENTRAL X-RAY An X-Ray plate of the highest radiographic quaUty.
NON- HALATION A Double Coated plate eliminating Halation.
PAN ORTHO D. C A perfect double coated Pan Ortho plate.
Order horn your dealer — today.
CENTRAL DRY PLATE COMPANY
NEW YORK ST. LOUIS, MO. SAN FRANCISCO
A Word on Interiors
In taking pictures of rooms, ordinary nicnt of various draperies, tapestries, oil
lenses which have a somewhat elastic apph- paintings, water colors, etc., the photog-
cation cannot be successfully used. rapher is obliged to use orthochromatic
A lens of some angular projection is plates. And where church interiors are
necessary. There are diflferently constructed subjects, the stained-glass windows demand
objectives possessing a picture angle of the screen or ray filter in conjunction with
ninety degrees or more, which give the per- the color sensitive plate,
spective of the room without apparent dis- The yellow screen may be often dis-
tortion. * pensed w^ith if the camera is not directed
liefore attempting to take an interior view towards the light and the windows be
you must consider what is the most suitable covered with yellow' oiled-skin paper. This
lighting of it. Since the windows are method permits also the brightening up of
generally the sole source of the illumination the over dark parts by use of artificial lights,
you must arrange so that the light may be It is self-evident that in taking pictures
distributed and not concentrated merely of large rooms with high windows, where
about the parts adjacent to the chief source, it is difficult to cover the window panes with
\ow, to avoid too great a contrast of light the yellow paper the photographer must call
and to obtain as far as possible a uniformity in service the ray filter,
of distribution of the illumination, it is Another consideration to obtain fine
necessary to depress and soften the bright effects is to be careful in taking interiors
light from the windows by means of thin that the sun's rays do not face directly into
curtains or tissue paper. the room, but only touch the windows.
In dwellings which show tasteful arrange- When it is possible, take the interior when
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MILESTONES IN PROGRESS
OF PHOTOGRAPHY^ SERIES ONE
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Bulletin of Photography
c
TTD A — When you see this
^^'^^ name on a package of
developer, you know it stands
for the best that can be produced.
Made by the Society of Chemical In-
dustry in Basle, Switzerland ; makers
of standard chemicals since 1864.
Metagol, "CIBA"
(Monomethyl poLramido phenol sulphate-
better than the best metol yon ever used.)
DiamidopheDol "CIBA"
ParamidopheDol "CIBA"
Glycm "CIBA-
HydroqainoDe "CIBA"
PyrogaUic Acid ''CIBA"
(Resublimed.)
At your dealer », or write us
FREE: New and complete book of developing formulas,
toners, intensifiers. reducers; lens table and many other
helps. A copy is yours for the asking.
CiBA Company, inc.,
91 Barclay Street New York
A NEW BOO K
THE AIR BRUSH IN
PHOTOGRAPHY
The most comprehensive work ever written
on work with the Air Brush, especially as applied
to photography, working up enlargements, etc.
143 PAGES - 45 ILLUSTRATIONS
BOUND IN CLOTH
$3.50 post paid
Mr. Geo. F. Stine, the author, is known as
one of the most expert workers with the Air
Brush in this country, and the series of 32 illus-
trated lessons, which forms a considerable portion
of the book, is the most detailed and carefully
worked out course of instruction that could be
imagined. With thehelp of this book any photog-
rapher can learn to use the Air Brush.
In addition to the comprehensive series of
lessons, there are seven chapters on coloring with
the Air Brush, a very valuable addition to the
book, and something not heretofore found in
print.
FRANK V. CHAMBERS
636 S. Franklin Square Philadelphia
the sky is overcast with light clouds, even it
you have to greatly prolong the exposure.
You thus avoid violent contrasts.
It is a matter of strict necessity that the
camera should be perfectly horizontal, so
as to avoid distortion and whenever possi-
ble it should be set up to at least one-third
the height of the room. And in selecting
the point of view, care should be taken to
have the lens protected from the ingress of
any light coming through the windows, and
that the principal object to be taken should
not be placed exactly in the center of the
picture.
Concerning the putting of the picture on,
the trouble is sometimes encountered in
fixing the limits of the subject owing to the
illumination being weak, even with a large
aperture of the lens. A lighted candle should
be used and moved slowly along the room
until its flame just touches the edges of the
ground-glass.
The height may be determined also by
raising and lowering the flame.
There is little danger of over-exposure;
therefore, full time should always be in-
dulged in.
A double-coated plate is indispensable and
pyro development preferable, because the
development often must be prolonged and
the pyro used much diluted. Besides the
slight coloration, incident upon its use, pre-
serves the thin shadows of the negative
during printing.
Give me for a boss the man who has worked
hard and accomplished much, who has met the
challenge of adversity with a smile, and listened
to the flattery of success with a doubting ear;
give me the man who has never belittled the
labor that gave him bread, nor fawned on the
hand that made up the payroll; give me this
man for my boss and I'll not work under him.
hut with h'lm.— The Lamp.
Bill Hohenzollern is saying nothing and saw-
ing wood. But he'd be yelling his head oflF at the
size of your 1920 income tax if he were doing the
collecting.
Receipt for an income tax entitles a man to
talk about "our part in the war." The cost in
dollars is yet to be met.
Please Mention Bulletin of Photography When ^"^»"^iAj|j|^^»sc^QQg|^
Bulletin of Photography
19
About Prices
While one may be willing to concede that
photography is a mechanical art, yet it must
be admitted that it requires the possession
by the mechanic engaged in it of an amount
of skill and talent which puts it above many
of the ordinary trade pursuits.
Conducted as a business, moreover, it
demands a combination of artist and busi-
ness man which puts it completely out of
the pale of requirements of the mere com-
mercial man. To buy and sell at a profit is
one thing, but to originate the product and
conditionally dispose of it is a different
proposition. When a tradesman increases
his business by small profits and increased
sales, it is a comparatively easy matter for
him to call to his aid others to handle the
j^oods — but this the photographer is denied.
The photographic business, if it is well
conducted, must be a self-exploited affair.
It is but little appreciated by the general
public that the work of photography in its
artist phase must necessarily be the unit of
the brain and hands of the artist. If the
photographer calls in help, like the painter*s
help, it is merely mechanical and it must
be seen that there can be no help for the
real artist in the pursuit of the higher
phases of his profession, because his repu-
tation hangs solely upon the artistic quality
of the work he himself puts forth for sale.
He must personally, by his individual tal-
ent, conduct and supervise his work, and
therefore if he is taxed beyond a certain
point, he nuist needs break down or he can-
not give to the public superior work.
Hence, see the folly, from a business
point of view, of trying to secure more
business by offering the commodity at a
lower rate than its production necessitates.
What a temptation there is, bearing the
whole time upon the photographer who cuts
prices down to the lowest point, to slight
his work, to let it go at just barely passable.
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Bulletin of Photography
Bausch & Lomb
Tessar Lenses
for immediate delivery
THE exacting photographer,
who seeks the best possible
lens equipment for his studio,
will be glad to know that for
several months past, production
has been restored to a normal
basis in this important depart-
ment of our business.
This means that you can get the
famous TESSAR Ic (F:4.5) without
delay, the lens that embodies all the
merits of the earlier type of so-called
''portrait lens" without any of its
defects, an all-around studio lens of
long established excellence.
It also means that you can obtain
promptly a TESSAR lib (F:6.3)
which in its larger sizes is invaluable
for group work because of its depth of
focus, combined with covering power.
No studio equipment is completely
high-grade without one or more
Tessars. Write for our new, beauti-
fully illustrated Catalog H.
Bausch^^ Ipmb Optical (5.
Rochester, N. Y.
Chic«ffo San Franciaco
630 St Paul Street
N«w York WMhmcton
Leading American Makers of Microscopes, Projection
Lanterns {Balopticons), Photographic and Ophthalmic
Len'ies, Stereo-Prism Binoculars, Range Finders. Gun-
Sinhls, Searchlight Projectors and other High-Grade
Optical Products.
Instead of personal attention to maintain
his high standard, he relegates the task-
more and more to his cheap paid assistants,
with the consequence that there is a tardi-
ness in filling orders and an unequal and
imperfect work, discreditable to his former
standard.
It must be admitted that the multitude is
attracted by the cry of cheapness. But the
photographer of reputation will soon dis-
cover that it will not do for him to attempt
to cater to the nibblers of cheap bait. He
will find that the photographic business can-
not be conducted on the extended scale of
sales which may be profitable to the cloth-
ing business.
To those who contemplate establishing a
business, demanding exercise of artistic
talent and charging of the minimum price,
we would say — first instruct yourself in the
business methods of those photographers
who have been successful in making their
profession a good business asset, say after
twenty or thirty years' career. The young
One of the hesU as well as
one of the rarest books on
art and composition is —
p^ urnet's
JH^ ssays on /\rt
Single copies of the original editions
have been sold as high as $100.00«
It has been reprinted in a limited
edition of only 1000 copies. Will
you have one?
Send $2.00 and get a
copy at once.
FRANK V. CHAMBERS
636 Franklin Square, Philadelphia
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Bulletin of Photography
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Interiors Inaccessible to Daylight
hold no photographic drawbacks when you have a box of
Victor Flash Powder
in your outfit
It supplies, in any location, instantaneous exposure-light
of any desired volume.
YOUR DEALER SELLS AND RECOMMENDS IT
J. H. SMITH & SONS CO. 3544 Cottage Grove Ave., Chicago, lU.
aspirant will learn that none of the success-
ful men were ever cheap men. On the con-
trary, the best off are those whose aim has
been to produce the best work ; work which
is creditable to themselves and work which
always commanded the highest price — or at
least a price which remunerated in a fair
way for the labor and talent bestowed
upon it.
The mean spirit of rivalry must end in
a short-lived success. Financial ruin is the
ultimate fate of the man who plants his
business beside an honest, well-established
studio and endeavors to get all the business
of the section by cutting prices. He may
possibly have the mean satisfaction that he
has ruined his victim at the same time. If
you want to compete in the vicinity of
others of your craft, who keep to standard
prices, let the competition be in the direc-
tion of trying to do better work than they.
This is laudable effort and will stir your
neighbors to higher excellence.
Let the competition be a best man com-
petition and if you crowd out your rival,
you can salve your conscience by applica-
tion of "the survival of the fittest."
The photographer should not go into
business solely for the purpose of acquiring
a fortune. If money is his sole object and-
he is assured of his talents in finance, he
should choose another field of enterprise.
But most photographers have something of
the artist in their blood — a hankering after
the exploitation of the aesthetic talent which
interferes with money-getting. A few in-
Haiprper Plates
Excel in every quality that goes
to make a perfect negative.
They are one hundred per cent
good in speed, brilliancy, ful-
ness of detail in shadows and
correct rendering of color values.
SPECIAL BRANDS for SPECIAL NEEDS
Hammer's Special Extra Fa«t (red label)
and Extra Fast (blue label) Plates for
field and studio work, and Hammer's
Extra Fast Ortbochromatic and D. C.
Ortbocbromatic Plates for color values.
Hammer Dry Plate Co.
OHIO AVKNUK AND MIAMI STRKET
ST. LOUIS. MO.
ENLARGING
FOR THE TRADE
A GRADE TO MEET EVERY REQUIREMENT.
STRICTLY HIGH GRADE WORK.
COLORING IN OIL.
Send for free literature or 25 cents
for sample print in oil.
CUNNINGHAM'S
Box 137-A UTICA, NEW YORK
Please Mention Bulletin of Photography When Writing
itingAdver,U,crs.^^yQQQgJ^
22
Bulletin of Photography
** Dependable Service^^
ENLARGEMENTS
OF THE BEST— and on time.
Ask for our price list.
Photo finishing for the trade.
Photographers' Portrait Service Co.
110 South Wabash Ave.
CHICAGO, ILL.
A$k your n*ighhor about our Cortotrttiort Exhibit.
A NEW EDITION
WALL'S
Dictionary of Photography
— lOth Edition—
Ready for delivery about
January 1
TOO Pages
2000 References
Revised and re-written with fuil
explanatory text.
$5 per copy — post free.
FRANK V. CHAMBERS
Tradk Aoknt
636 South Franklin SQuare
Philadelphia
Motion Picture — Commercial — Portraiture
Cameras and Materials Furnished Free.
Practical inftruction with modern equipment. Day or evening
daitet: easy terms. The School of Recognized Superiority.
Call or write for complete catalog. No. 65.
N. Y. INSTITUTE of PHOTOGRAPHY
141 W. 36th St., New York OR 805 State Street, Brooklyn.
stances of the successful amalgamation of
art and finance in the photographer might
be cited — but they are exceptions. Fortune
or good luck must also be taken into con-
sideration.
What Did You Make in 1920?
Work has begun on the collection of the in-
come tax for the year 1920. Uncle Sam, through
the Bureau of Internal Revenue, is addressing to
every person in the United States the question,
"What was your net income tor 1920?" The
answer permits of no guesswork. livery single
person whose net income for 1920 was $1,000 or
more and every married person whose net in-
come was $2,000 or more is required to file a
return under oath with the collector of internal
revenue for the district in which he lives on or
before March 15, 1921.
The penalty for failure is a fine of not more
than $1,000 and an additional assessment of 25
per cent of the amount of ta.x due. For willful
refusal to make a return the penalty is a fine of
not more than $10,(X)0 or not exceeding one
year's imprisonment, or both together with the
costs of prosecution. A similar penalty is pro-
vided for making a false or fraudulent return,
together with an additional assessment of 50 per
cent of the amount of tax evaded.
WOMEN .ML' ST I'AV TAX
The income tax applies to women as well as
men. Husband and wife must consider the in-
come of both plus that of minor dependent chil-
dren, and if the total equals or exceeds $2,000 a
return must be filed. A minor who has a net
income in his own right of $1,000 or more must
tile a separate return. To be allowed the $2,000
exemption a married person must be living with
husband or wife on the last day of the taxable
year, December 31. 1920. Divorcees, persons
separated by mutual agreement, widows and wid-
owers, unless they are the sole support of others
living in the same household, in which case they
are allowed the $2,000 exemption granted the head
of a family, are entitled only to $1,000 exemp-
tion.
T.\\ RATE FOR 1920
The normal tax rate for 1920 is the same as
for 1919—4 per cent on the first $4,000 of net in-
come above the exemption and 8 per cent on the
remaining net income. This applies to every
citizen and resident of the United States. In
addition to tlie normal tax a surtax is imposed
upon net income in excess of $5,000.
INSTRI'CTIONS ON FORM
hull instructions for making out returns are
contained on the forms, copies «>f which may be
obtained from collectors of internal revenue.
Persons whose net income for 1920 was $5,000
or less should use Form 1040A. Those with in-
comes in excess of $5,000 should use l**orm 1040.
Revenue officers will visit every county in the
I'nited States to assist taxpayers in making out
their returns. The date of their arrival and the
location of their offices will be announced by the
press or may be ascertained upon inquiry at the
offices of collectors. This advisory service is
without cost to taxpayers.
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Bulletin of Photography
23
Sell Your Skill
A short time ago a woman stopped at a leading
store in a large city and bought a sweater for a
young girl. She asked the clerk if a certain
shade was not the prevailing color. "Ah," thought
the clerk, "here is a chance to work off one of
those slow-selling colors."
The shopper, not wishing to buy a garment
that might make the young lady who was to re-
ceive it feel out of style, took the word of the
salesgirl. The result was the sweater worn by
the girl was conspicuous at school. The girl in-
formed the woman and she replied, "Why, the
salesgirl in the Blank store informed me the gar-
ment I bought was the latest color and that all
the girls were wearing them. I cannot see what
object she had in deceiving me."
The shopper did not know there was an object,
and a big one. She did not know the store was
heavily stocked on colors which were not moving
and that to clear the stock that old standby of
merchandising had been called into practice, the
P. M. system. The girl who made the sale made
a "spiff" of ten cents and the customer got
"stung."
It does not pay to sell goods along these lines.
The purchaser of an obsolete style who discovers
she has been imposed upon will avoid that store
as she would a dangerous railroad crossing.
The viewpoint from which you regard selling
goods has much to do with your success or fail-
ure. If you make up your mind that your future
lies in being proficient in the art of selling you
will have a greater chance to succeed than to use
mere words of persuasion as a temporary means
of earning a fixed stipend.
More About Your Inventory
The average business man, in taking inventory,
objects to writing off a certain portion each year
of what he considers good assets, and in many
cases his objections are justifiable. At the same
time, as fixtures do depreciate, there should be
some arrangement in every well-regulated com-
mercial establishment to provide new when the
old becomes obsolete or useless. The provision
of a reserve against depreciation appears to an-
swer every requirement. This reserve is estab-
lished out of profits and can be applied at any
time to replacements.
It also is advantageous, in the case of fire, to
show on the books the actual cost of the property
that has been destroyed.
The depreciation reserve is a part of the earn-
ings of the company, and any portion of that
reserve that is not required for replacements on
account of excessive depreciation is available for
distribution among stockholders.
It is desirable that goods should be sold in the
order of their purchase, that is, that goods bought
last month be sold before newer stock is disposed
of. Here is the method employed by a well-
known retailer: All goods are marked as they
are unpacked, as usual. The selling price is put
on in the usual manner, but before it is a letter
indicating a certain year. Thus, we will say that
the concern started in business in 1885 and used
a new letter each year and month. The letter
for the current year is "J" and the month "C,"
or March, the third month of the year. An
article selling for $1.25 would be marked "J — C"
"Agfa" Books
FORMULA AND
FLASHLIGHT
Sent Gratis with Orders
—FOR-
"Agfa" AMIDOL
ORTOL
" GLYCIN
EIKONOGEN
RODINAL
BLITZLICHT
PRICE LIST ON APPLICATION
Sagamore Chemical Co., Inc.
120-122 West Slst Street
NEW YORK
HAVE YOU USED
HaDdorson Flash Powder?
Unless you have used
HALLDORSON Flash Powder
you do not know that it makes
Less Report,
Has Greater Acdnic Power, and
b Higher in Orthochromatic Value.
This excellent Flash Powder
is being used by leading pho-
tographers everywhere, who
say that
It Has No Equal
HALLDORSON Flash Powder
is made in three grades of
speed — Medium and Extra Fast for portrai-
ture, Medium and Slow for the commercial
user.
Ask Your Dealer for
HALLDORSON when you make the next purchase.
AU dealers have it
THE HALLDORSON COMPANY
1778 Wilson Avenue CHICAGO
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Bulletin of Photography
THE LATEST DEVICE IN FLASHLIGHT APPARATUS
The Brieloff Hand Flash Lamp will safely make an exposure all the time. The apparatus
is constructed with battery and platinum curl in pan. You press the button and the
powder will ignite all the time. No change of fuse or the use of a percussion cap or flint.
Every exposure a sure negative. PrIce $5.00 and $7.50.
The famous Prosch Sunllte Flash Powder, made since 1862. will assure you in making
every flashlight negative a perfect one. Never fails to turn night into day.
^ oz. bottle, 45 cents. 2 oz. bottle, $1.50.
Prosch Portrait Flash Baits is the ideal for home portrait, parties and banquets. The
only system of its kind; can be operated in series for large areas.
Complete Bail, ready for operation, $22.50.
Th€ Pro$eh Blow Lamp ia the mo»t practical on the market for interior work.
Ask your dealer, or send for catalogue on
Sunllte Flash Powder Blow Lamps Spotlights and
Flash Bass Hand Lamps Reflectors
PROSCH MFG. CO., DepL B, 61 Fulton St., New York City
$1.25. A casual inspection will show at a glance
the presence of old stock.
The great drawback in the taking of an in-
ventory is the suspension of actual selling while
stock is being counted.
This can be overcome, in great measure, by
counting lots in the duplicate stockrooms a few
days before the actual inventory.
What's Doing in Photography
The studio of Allen J. Butler, Whitestone,
N. Y., was damaged by fire on December 10th.
The studio of Fred VV. Bates, MinneapoHs,
Minn., was badly damaged by fire on December
27th. Loss. ^,000.
W. H. Kennedy has re-engaged in the photo-
graphic business and has opened a studio in
Poplar Bluflfs, Mo.
Charles Henry Townsend, formerly conducting
a studio in Willimantic, Conn., died at his home
in Flagstaff, Me., aged 73 years.
O. R. Heineman, Burlington, Iowa, has dis-
posed of his studio to O. H. Evans, of Chicago.
\lr. Heineman has gone to Milwaukee, where he
has taken a position in the Rice Studio.
Herman Adam Schlappig, of the firm of
Schlappig & Endy, Reading, Pa., died suddenly
at his home, December 17th, from apoplexy. He
was 39 years of age and apparently in good
health. Mr. Schlappig is survived by his widow.
J. B. Hostetler, of Davenport, Iowa, opened a
branch studio in Chicago on January first.
George A. Black, of Gravelsborg, Sask.,
Canada, has purchased the Ekman Studio, Cen-
tralia, Wash.
W. I. Kreps, of Kendall, Wis., has sold his
studio to Ernest Bukatz. Mr. Kreps and family
have moved to Milwaukee, temporarily.
Casper Schmidt, of Middletown, Conn., will
retire from the photographic business on January
1, 1921, and will devote all his time to fire
insurance.
Mrs. Frederick Crooks, of New York, has
entered into partnership with D. L. Skeel, of
Malone, N. Y. The firm name will be the Skeel
Studios, Inc.
P. D. Gordon, Greenfield, Iowa, has sold his
studio to J. D. Wilcox, of Waverly, Mo., to take
effect March first. Mr. Gordon and family will
make their home in California.
Disastrous Fire
On December 29th fire swept through the third
and fourth floors of the H. Lieber Company, 24
West Washington Street, Indianapolis, Ind.,
dealers in art and photographers' supplies, and
caused a loss estimated by officials of the com-
pany at $160,000.
The fire, the origin of which has not been
determined, started in about the center of the
third floor, nearly all of which was used as
offices by the company, and burned its way to the
HIGGINS' ! MOUNTER
THE KIND YOU ARE SURE TO USE
WITH CONTINUOUS SATISFACTION
PASTE
At Dealers' Generally
CHAS. M. HIGGINS & CO-^ Manufacturers
271 NINTH STREET, BROOKLYN, N. Y.
Brandies: Chlcasow London
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Bulletin of Photography
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moving picture exchange on the top floor. Stocks
on the first and second floors and in the base-
ment were badly damaged by water.
Practically the entire third floor was in flames
when the first fire companies reached the build-
ing, and the flames swept up the stairway to the
top floor so rapidly that firemen had great diffi-
culty getting them under control.
Many valuable paintings, pictures and other
works of art were kept on the second floor.
Officials of the H. Lieber Company are Otto
R. Lieber, President; Robert Lieber, Vice-Presi-
dent ; Herman P. Lieber, Secretary, and Carl H.
Lieber, Treasurer.
Courtesy
"If I possessed a shop or store,
I'd drive the grouches off my floor.
I'd never let some gloomy guy
Offend the folks who came to buy;
I'd never keep a boy or clerk
W^ith mental toothache at his work,
Nor let a man who draws my pay
Drive customers of mine away.
"I'd treat the man who takes my time
And spends a nickle or a dime
With courtesy and make him feel
That I was pleased to close the deal,
Because tomorrow, who can tell?
He may want stuff I have to sell
And in that case then glad he'll be
To spend his dollars all with me.
"The reason people pass one door
To patronize another store
Is not because the busier place
Has better silks or gloves or lace,
Or cheaper prices, but it lies
In pleasant words and srniling eyes.
The only difference. I believe,
Is in the treatment folks receive.
"It is good business to be fair,
To keep a bright and cheerful air
About the place and not to show
Your customers how much you know.
Whatever any patron did
I'd try to keep my temper hid.
And never let him spread along
The word that T had done him wrong."
—Motor IV or Id.
If the war had not been won in 1918, what
would have been your income tax for 1920? Pay
it with thankfulness.
Argus had one hundred eyes. In his old age
he must have made a spectacle of himself. —
Cartoons Magazine.
FOR BEST RESULTS USE A
Packard-Ideal No. 6 Shutter
Operated at 1/25 of a second, in connection
with a hi^-power U^t.
MICHIGAN PHOTO SHUTTER CO., Maker*
AA your DmaUt. KALAMAZOO. MICH.
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all that professional
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Descriptive Price List on request
DEFENDER PHOTO SUPPLY CO., Inc.
ROCHESTER, N. Y.
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ON SLIGHTLY USED
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Our Bargain
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contains things
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Send at once for
your copy.
You will find the most up-to-the-minute Cameras,
Lenses, and supplies of every description, both used
and new, listed therein at sUrtling reduced prices.
Thousands have been pleased with our Bargains and
business methods. We can do the same for you. Every
item is guaranteed and a
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will be refunded. Can anything be fairer or squarer?
CENTRAL CAMERA CO.
124 M., So. Wabash Ave. - CHICAGO, ILL.
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186
Bulletin of Photography
THE
Commercial Photographer
By L. G. ROSE
148 PagM
85 IUa»traUon9
Price, mclotk,
$4.00 per copy.
Postage 15 cento eztri.
A work by a thoroughly
competent and widely ex-
perienced commercial pho-
tographer of the highest
reputation.
Every branch of the sub-
ject treated with a view for
presentation of the essen-
tials. The various appliances discussed, best methods of
exposure, illumination and graphic presentation to ensure
a successful outcome.
It is a book essentially for the commerical man and meets
every requirement. Profusely illustrated with examples of
work of varied kind.
The book will be found of pertinent interest not only to
the trade photographer but also to the specialist. The
application of photography is considered in Its bearings upon
the commerical man. the architect, the tradesman, the phy-
sician, the lawyer, and the scientist, by one who has had
extensive experience in different kinds of work required.
The edition is limited and we have a firm conviction
when the value of the work becomes apparent, that it will
be speedily exhausted.
OPINIONS OF THE PRESS
Mr. Rose has handled a venr eoctenslTe subject in a com-
prebensiTe way. The commercial photographer in the laiger
cities is, of conrse. a specialist, entirely distinct from the
portrait man and with totally different problems. In some
caaes. demands are so great that the pbotosrapher confines
himself to one line of merchandise to the exclusion of others,
ssj^for instance, furniture, etc.
The book will, therefore, appeal to all photographers who
are called upon from time to time to do commercial jobs.
—"American Photography."
Frank V. Chambers, publisher of the "Bulletin of Photog-
raphy," in Philadelphia, has just nu ott his presses an
edition of the Tsry complete book on commercial photog-
raphy, "The Commercial Photographer." It is replete with
illustrations, instructions and sufsestions of all kinds
coTering the perplexing conditions that surround this Row-
ing field and it will be well for every photographer to nave
one on his shelf, if only for reference when a quick demand
of some kind or other to do a difficult job which comes under
the head of Commercial Fhotographv comes in and probably
finds him somewhat puzzled to obtam the best results. The
price of the book is S4. It is worth that if only to help
you through one job, but it will benefit all your employees
as well and make them more efficient for you.— "Photo-
graphic Poster."
"The Commercial Photographer." Since Hance's "Com-
mercial Photography of Today^' went out of print, there has
been a sad lack of a good practical book on commercial
photography in all its various phases. This new book by
L. G. Rom will find a ready demand. It is splendidly
printed and illustrated in Frank V. Chambers' best style,
and we commend it most hii^Iy to our readers, both portrait
and commercial. The portrait man should have it handy
for he never can tell when he will be called upon to do
some bit of work out of the regular, and this book will help
him out at any and all times: the commercial man can
afford to have it on hand, for many subjects on which he
Erobably is not quite conversant are covered thoroughly by
(r. Rose. Mr. Rose is well knovni to the craft and he has
covered his subject fully and with a thorough understanding
of all the difficulties to be met with in commercial work.
—Abel's "Photographic Weekly."
Mr. Rose deserves well of commercial photographers, for he
has written an admirable practical manual on the photog-
raphy of the wMe diversity of subjects which the commercial
Shotograpber is asked to imdertake. And the publishers have
one well by their author, for they have provided a luxurious
volume, printed throughout on heavy art paper and pro-
fusely illustrated on almost every page with naif-tone repro-
ductions. Perhaps they have been a little too lavish in this
respect, for it has meant fixing the price of the book at
a figure which, at the current rate of exchange, is aboat 24s
(|4). Nevertheless, the photographer who is learning to
qualify himself for this branch of his calling must, be a
most unreceptive individual if the cost of the book is not
returned to him many times over in the knowledge and
guidance which it gives him. . .
Mr. Rose is an American, and thus, aa roKards choice of
equipment, states his preferences in terms oT the apparatus
which is available on the market in the United States.
These include flash bags and a portable installation of half-
watt lamps, the equivalents of which appear not to have
been offered in this country. His chapter on the photog-
r^hy of architectural exteriors includes some striking ex-
amples of difficulties surmounted in obtaining views of
sky-scraper buildings common in American cities, but be
descends to more homely illustrations, for example, one
showing the devices used m the way of combination printing
for eliminating an unsightly telegraph pole from the fore-
ground of an architectural view. Panoramic views, exterior
and interior, axe the subject of an excellent chapter in which
is illustrated the method of joining up without showing a
sign of the line of junction. The latter part of his treatise
is devoted chiefly to the photography (in the studio) of
articles of merchandise from vnist watches to Utchenen.
He describes a novel form of horizontal table for the photog-
raphy of small goods, such as machine parts, by means of
a vertical camera. The easel is of ground-glass, illu m inated
below so that for part of the exposure the objects are
allowed to receive a diffused light all around their edges,
thus eliminating heavy shadows and at the same time pro-
viding opacity In the ground of the negative sufficient to
dispense with blocking-out. There are quite a number of
practical ways and means of this kind described in the
book, eridently as the result of the writer's own ingenuity
and practice. The routine in a commercial photographer's
establishment of making prints and enlargements is the sub-
ject of other sections, and there are chapters on the design
of advertisements, part photograph and part artist's work,
and on the eternal question of drawing up a tariff of prices.
Altogether a most excellent manual, which vre have no doubt
will be purchased from Messrs. Chambers by practicing or
would-be commercial photographers in this country.— 'The
British Journal of Photography" (London).
In scope and wealth of detail this is by far the most
comprehensive handbook to commercial photography thus
far published. It has the greater merit of being thoroughly
f»ractical in its information, giving the working methods,
ormulas, and experience of its author, a well-knovm expert
in this special field. To particularize the contents of the
book would be to list the principal branches of modern
commercial work. I. therefore, content myself with the
comment that Mr. Rooe has given us a manual and refer-
ence book which should be on the bookshelf of every pro-
fessional and commercial photographer. The text is pro-
fusely illustrated and the volume is well printed and
substantially bound for service.— "Photo-Miniature, No. 180."
This is by far the best book published on the subject oi
commercial photography. It is written by an expert-photog-
rapher in commercial work, who is likewise a capital writer.
A careftil examination of this admirable work convinces
us that the object-lessons here presented constitute in them-
selves a real course in commercial photography, which
appeals not only to the student interested in this department
of photographic work, but to the commercial photographer
or. as he is generally called, the all-around photographer.
The text presents all up-to-date methods, tricks and dodges
that are known only to a thoroughly experienced commercial
worker, and describes every step, from the choice of equip-
ment down to the finished print, whether the latter be a
straight contact-print, an enlargement, a colored print, or
one that is worked up to suit the needs of the photo-
engraver. The book is printed on the highest grade of
coated paper, in large, clear type, and is a credit to the
printer's art We heartily recommend this book to every
photo-worker interested in producing technically perfect
fiictures for the merchant, the architect, or whoever calls
or the most exacting photographic work.— "Photo Era."
In stock by following dealen:
J. Sttssman Photo Stock Co.. 223 Park Ave.. Baltlinore. Md.
Photo-Era. 367 Boylston Street Boston. Mass.
Robey-French Co.. 38 Bromfield Street Bocton. Mass.
Bass Camera Co . 109 N. Dearborn Street Chicago. IlL
Sweet Wallach & Co.. 133 N. Wabash Ave.. Chicago. HL
C. Welchsel Co.. 1611 Main Street Dallas. Tex.
Briggs Photo Supply Ca. 914 Grand Ave.. Kansas City. Ma
Howland & De%vey Co.. 510 S. Broadway, Los Angeles. CaL
O. H. Peck Co.. 112 S. 5th Street Minneapolis. Minn.
Chas. G. Willoughby. Inc. 110 West 32d St. New York.
Geo. Murphy. Inc. 57 East 9th Street New York.
J. L. Lewis. 522 Sbcth Avenue. New York.
New York Camera Exchange. 109 Fulton St. New York.
Schultz Novelty & Sptg. Goods Co.. 122 Nasttu St. N. Y.
Sol Pudlin Co.. 1212 Broad%vay. New York.
Tennant & Ward. 103 Park Avenue. New York.
Standard Photo Supply Co.. 125 Baronne St. New Orleans.
John Haworth Co.. 1020 Chestnut Street Philadelphia.
E. W. Stewart & Co.. Tacoma and Seattle. Wash.
Francis Hendricks Co.. 116 E. Fayette St. Syracuse. N. Y.
Hyatt* s Photo Supply Co.. 417 N. Broadway. St Louis* Mo.
Gross Photo Supply Co.. 1715 Spielbusch Ave.. Toledo. O.
FRANK V. CHAMBERS, 636 S. Franklm Sqmt, FUa.
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Bulletin of Photography 59
Lay your plans now
for a big business
in enlargements —
the extra business
that brings extra
profits.
Place your order
now for the
EASTMAN
PROJECTION PRINTER
// reduces costs — it increases productio?i
Makes enlarging as simple as contact printing. Operated
by one man, it does the work of two ordinary enlarging cam-
eras, and does it better. It's good business policy— it's good
advertising to use the most modern equipment. Eastman
Projection Printer, complete, $450.00.
Descriptive booklet on request.
EASTMAN KODAK COMPANY
ROCHESTER. N. Y.
All Dealers,
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222 Bulletin of Photography
That the same certainty and uniform-
ity that we secure in the manufacture
of sensitive materials may follow in
your results, specify:
Eastman Tested Chemicals
Look for this seal on the
bottle or package.
EASTMAN KODAK COMPANY,
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 253
EASTMAN
PORTRAIT BROMIDE
A new paper made especially for enlarging
from portrait negatives.
Portrait Bromide has the quality
and the tone and the texture that
enable it to reproduce, in the
enlargement, the quality and effect
of the contact print.
Two stocks — two surfaces,
D White, Rough Matte E Buff, Rough Matte
D White, Rough Lustre E Buff, Rough Lustre
At prices the same as for D. W. Artura Iris
EASTMAN KODAK COMPANY
ROCHESTER. N. Y.
All Dealers' .
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188
Bulletin of Photography
SEED
PLATES
Latitude is that quality in a plate
which permits the contrasts of the
subject to be rendered perfectly with
considerable variation in exposure.
So latitude is responsible for a greater
percentage of good results than any
other one quality in a plate.
Seed 30 Plates have exceptional
speed, fineness of grain and the
greatest latitude of any portrait plate
made.
EASTMAN KODAK COMPANY,
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 159
That the same certainty and uniform-
ity that we secure in the manufacture
of sensitive materials may follow in
your results, specify:
Eastman Tested Chemicals
Look for this seal on the
bottle or package.
EASTMAN KODAK COMPANY,
ROCHESTER, N. Y.
All Dealers'.
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The greatest progress in present
day photography is being made
in the use of artificial light —
and the broadest possibilities in
the use of strong, bold lightings
are open to the man who uses
Portrait Film
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers .
Please Mention Bulletin of Photography When Writing Advertisers.
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No. 708
Wednesday, March 2, 1921
Single Copy 5 Cents.
$2.00 per year, postpaid.
Entered at the Philadelphia Post Office as Second-Class Matter.
Veltex
A PAPER FOR ORIGINAL EFFECTS
IN
PORTRAITURE
A THIN, WHITE PARCHMENT-LIKE PAPER
WITH A LIVE MATT SURFACE.
VELTEX CHARM, ORIGINALITY AND MERIT ARE REFLECTED IN THE
ENTHUSIASTIC TONE OF THE LETTERS THAT COME FROM THOSE
WHO HEAR ABOUT VELTEX
^WHO SEE A VELTEX PRINT—
Most of all — from those
WHO ARE USING VELTEX
SPECIMEN PRINT AND PARTICULARS ON REQUEST
MANUFACTURED EXCLUSIVELY BY
Defender Photo Supply Co, inc.
BOSTON:
44 Federal Street
CHICAGO:
109 N. Wabash Avenue
ROCHESTER. N. Y.
NEW YORK:
The Printing Crafts Building
8th Ave., 33rd to 34th Sts.
KANSAS CITY:
Grand Avenue at 21st Street
PHILADELPHIA:
1033 Chestnut Street
MINNEAPOLIS:
322 Fourth Street, S.
TORONTO, CANADA: 71 Adelaide Street, West
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But it was J. N. Niepc^ another Frenchman, who gave most to the
art of photography, including its name. In 1818 he produced a negative
image on transparent paper by a six-hour exposure and then printed the
positive on silvered copper plates. Later he originated the present process
of copper-plate engraving. In IDecember 1829, Daguerre entered into
partnership with Niepce and in 1835 discovered that iodine iumes exposed
to his silver plates reduced the time of exposure to thirty minutes. The
open flask of mercury supplied the means of development. This was the
Daguerrotype process which made his name immortal.
In the photography of today, HAdX^lD ^^Photographic Papers stand for all
that simplicity, uniformity and dependability can mean to the users of
photographic papers. They are made under ideal conditons, by men
and women who know the exacting requirements of discriminating
photographers.
Let us send descriptive booklet
Chicago Office
68 W. Wuhington Sc.
ROCHESTER-. NEW YORK
^~^^r Ti6e HALOID Co.
ROCHESTER '. NEW YORK
HALOID
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BULLETIN"OF
PHOTOGRAPHY
[tradk mark rbgistbrbdI
IN WHICH 18 INCORPORATED "tHE PHOTOGRAPHER" AND THK "ST. LOUIS AND CANADIAN PHOTOGRAPHER"
THE WEEKLY BUSINESS PAPER FOR BUSINESS PHOTOGRAPHERS
636 Franklin Square (cor, 7th and Race Sts.) Philadelphia
FRANK V. CHAMBERS, Editor mad PubUaher JOHN BARTLETT. Associate Editor
A. A. SCHENCK, Business Manager
Yearly subscription, in advance, postage paid. United States, Mexico, Cuba, Philippines and Porto Rico, <2.00.
Canada. $2.50. Countries in the Postal Union. $3.00. Single copies, 5 cents.
Remittances may be made at our risk by money order, check, draft or registered letter.
Items of interest upon photographic subjects will be gladly received.
Subscriptions received by all photographic and news dealers in the United States and Europe.
Vol. XXVra, No. 708
Wednesday, March 2, 1921
Prices Cents
$2.00 per Year. Post Free
Photographic Subjects
There is a show of justice in the compiaint
which the painter sometimes makes, that our
modern life aflfords but a limited scope for
the expression of grand ideas in art, though
we would by no means subscribe to the
dictum some pessimists indulge in that art
is decadent. Indeed, there is too much
prattle both about progress and about de-
generation. People forget that progress in
any direction, art or morals, is impossible
without an accompanying decline in another
^direction. The history of all time has
forcibly contradicted that progress is one
continued, onward, triumphant march. But
we are off the track.
Apart from scenes of a tragic character
of a universally absorbing interest, like the
great painting of M. Rollo, "A Strike
Amongst the Miners," there are probably
but few subjects upon which the painter
might reasonably hope for future fame.
Xot much, it is true, in the present, that our
descendants a hundred years from now
would think of interest. Therefore, let us,
whether painters or photographers, be true
to the prosaic period in which it has been
our lot to be bom. Let us be satisfied with
what pictorial phases our age permits. If
we cannot attain the imaginative let us take
up the incidents from everyday life which
afford scope enough for the expression of
whatever artistic feeling we may possess
without taking an aviatorial trip to the
realms of idealism.
We call to mind some of the idealistic
feats made by the photographer. Before us
is a photograph possessed of most excellent
technique, conforming well to the laws of
artistic composition, quite delightful in
rendition of light and dark. In a word,
well studied and well executed. But the
subject! It is titled "Man, Know Thy
Destiny."
It represents a man masquerading (yes;
that is all it is) as an old hermit, with cloak
and cowl, a property grizzled beard upon
his chin, a human skull on a property rock
by his side, an ancient book (or it looks like
an ancient book) open before him, from
which we are to infer he is seeking to find
"his destiny," or man's destiny, rather.
Now, candidly, is this a subject to inspire
modem art, pictic or poetic? Do you not
think, with ourselves, that most twentieth
century hermits would be looking for their
destiny over their bank books, or stock
accounts or in workshops, around the rattle
and din of machinery — not in a lonely cell
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260
Bulletin of Photography
of medieval inactivity? Our day and gener-
ation have no sympathy with such a phase
of past social existence. We are only too
glad to have escaped it. Why should our
art have sympathy therewith, or, rather,
why should artists expect us to be touched
thereby? It is bad enough for painting to
be affected, but when photography under-
takes depicting such subjects it becomes
more than ridiculous; it gets disgusting.
^lany a beautiful piece of work by the
camera has proved that photography, by its
own unaided power, can be delightful — can
captivate not only the eye, but excite even
our subtler feelings. Photography has a
broad field for artistic expression — broad
notwithstanding its present limitations. But
when it attempts the ideal, aspires to the
realm of the imagination, or, in other words,
is not simple and sensuous, it shocks our
idea of the eternal fitness of things.
To Make a Print Transparent
The present method of rendering prints
transparent, homogeneous, and durable, is
perhaps the best that has already been pub-
lished. In the first place you have to pre-
pare the following composition. Take as
follows :
Canada Balsam 6 ounces
Spermaceti 4 ounces
Gum Dammar 4 drachms
Melt these together, and stir them up inti-
mately in a porcelain or glass evaporating-
dish ; as soon as the gums are all fluid, pour
the melted mass into a bottle for future use.
The next thing required is an iron table.
For this purpose take the round cover to
one of the apertures of a common kitchen
.stove, and fix this on four legs, six inches
long, formed out of four iron rods. Each
of these rods is riveted into a hole on the
outer edge of the iron cover at equal dis-
tances apart. If you intend to operate on
large prints, it will be necessary to get a
rectangular plate of iron of the proper shape
and size for the table in question.
The next requirements are two or three
small spirit-lamps, to be placed beneath the
table in order to heat the latter and main-
tain it at an equal temperature for any given
length of time. Each lamp is furnished w^ith
a sliding tube around the wick, by means of
which the size of the flame can be regulated.
The iron table is now covered with a
sheet of clean white paper of the size of the
table, and a quantity of the balsam is spread
over it so as ju.st to cover it, and the lamps
beneath are lighted. You must be very
careful not to let the temperature of the
table get too high, so as to burn or volatilize
the gums ; simply keep the balsam in a liquid
condition. Spread the balsam as it melts
over the paper uniformly, and then turn the
paper over, so that the balsam is now be-
tween the iron and paper. This paper is
always retained in this position for future
operations.
You now lay over the paper a piece of
clean plate-glass, and smear its upper sur-
face with balsam uniformly. The surface
is now ready to receive the print.
The print is now allowed to dry, and
when dry it is ready to receive the improve-
ments from stippling, hatching, etc. As soon
as the balsam on the plate-glass covers it
uniformly the print is carefully dried on its
plate over a stove or open coal fire, taking
care not to singe the print; whilst still quite
warm, almost hot, the print is quickly cut
oflF by placing a ruler along each side, and
running along the edge with a sharp-pointed
blade of a knife. The print is now placed,
picture side downward, on the melted bal-
sam ; more balsam is placed on the back of
the print, and spread over it by means of a
spatula. Keep down the heat, otherwise the
paper will not lie flat, and place the flames
of the lamps in such positions as to make the
heat equally distributed over the iron table.
In the course of half an hour, or less, the
print will be quite transparent; you must
continue the operation until it is transparent,
and you can easily see when it is transparent.
Having arrived at this stage, the plate of
glass with the print on it is raised up from
the iron table, and all excess of balsam is
removed both from the back of the glass
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Bulletin of Photography
261
and the back of the print by means of a flat
piece of thin wood of the size of a common
letter envelope, which is covered with buck-
skin on one edge. All excess of balsam be-
ing thus removed, and the plate being still
moderately w-arm, the print is cleaned
thoroughly on the back w-ith a clean linen or
cotton rag, and all bubbles pressed out. If
any bubbles arise, and the plate is getting
cold, hold the latter over the stove, and rub
again ovef the back of the print until it lies
evenly adherent to the glass. Of course, by
this time all excess of balsam has been
thoroughly removed, and the print is Hat and
transparent. Turn the print by detaching it
from the glass, and gently wipe off the sur-
face. It is now finished, and may be stored
away between the leaves of a book for an
indefinite time without change.
The trouble with other forms of balsam
hitherto has been this : the prints, containing
wax or turpentine, are always liable to turn
yellow^; they frequently, too, become hard
and lose their transparency. Prints treated
as above have been preserved for a year and
a half without any change whatever.
Form Letters
S. I. WILLIAMS
What are form letters and w^hat purpose
do they serve in the economy of a photo-
graphic studio? This question seems to be
a pertinent one, as there are many photog-
raphers about the country who do not
apparently know what the words "Form
Letters" signify. Many seem to possess the
idea that they are something admirably
suited to the needs and requirements of
some other man's studio, but are unable to
grasp the possibility of their being fitted to
profitable use in their own.
Xo greater mistake can be made than to
suppose that form letters are fitted to any
nne locality, class of trade or kind of busi-
ness, to the exclusion of others. A form
letter, properly constructed and sent out
through the mails in the proper way, should
appear exactly like a personal letter to the
recipient. It should deal directly and force-
fully with the question or questions under
consideration. It should build up a logical
argument for the photographer, and when
the reader follows it dow^n to and including
the fac-simile autograph of the sender, he
should be impressed with the idea that it is
a personal letter addressed to himself,
written to himself, full of suggestions and
argument to himself, and matter in which
he and the photographer personally are the
only ones interested. Such form letters can
be made and are made every day in the year.
and they bring to their users, in the aggre-
gate, in the United States, probably more
money in dollars in the course of a year
than the income of all the photographic
studios during the same time measured in
cents.
It is because a form letter has this per-
sonal appearance that it possesses the pull-
ing power that has ahvays attached to it. A
modern form letter is prepared in such a
way as to be, in a sense, general, while at
the same time, by the addition of the name
and address of the party to whom it is sent,
it takes on a direct and personal interest.
Such a letter may be printed to look almost
exactly as if it wxre written upon a type-
writing machine. The signature of the
sender may be printed from an autograph
plate in fac-simile, and the name of the
addressee be written at its top on the type-
writer in a type exactly matching the b<?dy
of the letter, and in a color that corresponds
perfectly thereto. The envelope addressed
in the same way, and the letter sealed and
mailed under a tw^o-cent postage, reaches its
destination, and in ninety-nine cases out of
a hundred impresses the party who receives
it as a personal, typewritten, individually
signed commimication. Is it to be wondered
at that such a letter receives a greater
amount of attention than a circular, folder,
or printed announcement ? People are, as a
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rule, inclined to be flattered by the attention
involved in a written communication of this
kind, and letters of this nature appeal to the
inhabitants of small towns or rural districts
with as much or more force than in the
larger cities where their receipt is more
frequent; and it, therefore, possesses an
influence of no small moment in such
communities.
Why is such a communication called a
form letter? Simply because five hundred
or a thousand, more or less, may be printed
from the same form, quickly and cheaply,
each being an exact counterpart of the other
in every respect. This is the only thing that
separates the form letter from a personally
written document, and to the ordinary
recipient the difference is never known. Its
value as a business bringer when compared
with its cost of production can hardly be
overestimated. The returns from it in every
business where it is used — and where can a
business be found that does not employ it?
— are traceable to the homes and offices of
all classes and conditions in the community.
I!y means of such a letter the photographei:
or business man in any line may present his
story to the leaders of fashionable society in
his community, to the wives and daughters
of the prominent men^ and to the influential
citizens themselves, feeling sure that in a
large majority of cases such a letter, if
properly constructed, will be read and its
contents absorbed before it becomes apparent
that it is of an advertising nature.
It goes without saying that the stationery
on which these letters are produced should
be of a fairly good quality, and that there
should be nothing in the letter to suggest
a thought that would antagonize the most
fastidious reader. If the general subject of
photography be taken up for the first letter
of a series, a few short sentences should be
devoted to its importance in the family
circle; to the facilities possessed by the
studio from which the letter emanates ; clos-
ing with a short statement bearing upon the
desire that the addressee avail himself or
herself of the advantages of the studio when
next in town; the object of the first form
letter should be accomplished. It must not be
very long; should err on the side of brevity
rather than of length, and should aim solely
to create an interest in the quality of the
work produced by the studio in question and
its direct value in the economy of every
household. Suppose a photographer in a
small town selects a list of five hundred
names for a trial of the form letter plan, rep-
resenting the well-to-do-farmers in the coun-
tr\' round about ; the prosperous business and
professional men within the limits of the
town itself, together with such other men
and women of social standing in the com-
munity as he would desire to have upon his
books. His first step should be to write or
have written such a letter, and to have it
printed as above outlined, with his signature
printed in black at the same time that the
letter heads were printed. The body of the
letter may be in purple, blue or green, as the
case may be. He next, if he possesses a
typewriter, will have written in the names
of all the parties represented in his list.
If he does not possess a typewriter, he
should send the list to the party preparing
the letter, and let them be addressed before
delivery to himself. In either case he must
be careful to submit a sample of the work
of his machine, if there is one in his studio,
to the parties printing the letter, so that the
type of the text may match the type used in
addressing. Once the five hundred names
are written in, and the envelopes properly
addressed in full, they should be sealed and
mailed to the entire list under full letter
postage. Results may then be awaited for
a while with interest and without too much
hopefulness.
This is but the first step in the plan, and
the second is like unto it, inasmuch as it
means going over the same list with a second
letter printed in the same way as the first,
but written with a stronger hand and a
firmer touch, getting more nearly to a con-
crete proposition ; some line of work adapted
to a special season ; some new and p>opular
style of print or mount, or something that
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Ben V. Matthews
Winston-Salem. N. C.
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Jerome F. Heyn
Omaha. Nebr.
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will carry the story introduced by the first
letter one stage farther, with the idea of
building up a desire to become acquainted
at least with the output of the studio. This
will, in its turn, be followed after an inter-
val of some weeks by a third letter, and
after these have all gone out the ground
should be carefully surveyed before further
operations. Records should, of course, be
kept upon a general list, or a card index,
which is better still, of all results traceable
in any way to this form letter campaign.
With each inquiry and each order that
comes from it entry should be made upon
the proper card, and all these records should
from time to time be scrutinized, and the
business resulting from the letters analyzed
and tabulated. All this may sound as if it
meant a lot of clerical work, but it is not so.
The keeping of a list of five hundred names
should be so simple in the hands of any
photographer as not to require the addition
of a single extra hand or an hour of over-
time work. He will probably find, if such
a couise is started, that the results traceable
to the first letter will be greatly disappoint-
ing; the second will, however, wake things
up to a considerable degree, while, under
the usual conditions, the third letter will
produce the best result of all. This adver-
tising has the double advantage of carr>'ing
a personal element on its face, and has em-
bodied in it that most necessary attribute of
all good advertising, persistency.
If in the minds of the readers of this
article there is any question as to the effi-
cacy of the form letter in other lines of busi-
ness, they have only to inquire of the various
library bureaus and manufacturers of card
indexes of all kinds for a hearty endorse-
ment of the writer's belief expressed above.
If having found this endorsement they
doubt its profitable application to their own
business, let them pattern after a number of
their more successful brethren who have
long since become converted to its advan-
tages, and who are using it regularly in their
own business and to their material benefit.
Backgrounds for Bust Portraits
W. H. TIPTON
The background for most subjects should
be lightest at the top, gradually becoming
darker as it approaches the bottom, where it
should be almost or quite black. It should
contain no design whatever, a simple retiring
effect of light and shade harmoniously
blended together. The most perfectly made
revolving grounds answer the purpose ad-
mirably when properly handled, but if the
reader takes the trouble to examine a collec-
tion of bust pictures, from the studios of our
good photographers, promiscuously gathered,
he will doubtless find that a large per cent
of them are made regardless of artistic effect
in the background.
It will be found that whilst one operator
rigidly adheres to the plan of contrasting the
lighted side of the figure against the dark
part of ground, another will as uniformly
practice the reverse, i. c, placing the illumi-
nated side of face against the light side of
ground, and the shadow side against the
darker. Pictures in these two styles will be
found most numerous. A third party will,
for all kinds of subjects, invariably use the
darkest side uppermost, and a fourth the
lightest. There are subjects suited to all of
these plans, and it often requires much study
and care to know which is the proper one to
adopt. Where the operator is unable to
decide which is best, we would advise the
plan w^e have suggested in the beginning of
this article, or an entirely plain one.
The principal objections to mode of
operator No. 1 are, first, the resulting picture
often has a cut-up, patliy effect, in which the
proper breadth of light and shade for a fine
artistic effect are destroyed. Second, a
homely feature (or maybe a homely face)
is made too prominent by contrast centering
interest to that part. In the pictures of No.
2. breadth is secured and a fine result often
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Bulletin of Photography
obtained, but unless the subject is entirely
suited, a plain ground would be best.
If the reader takes the trouble to examine
a few bust portraits by painters of known
ability, he will find that the background is
always subordinate to the figure, and no ac-
cessories or light or shade is introduced that
is not necessary to support it, or to bring
into prominence some pleasing feature, or
subdue one less so.
For an example, suppose we take as our
sitter a pretty young lady, with face of
almost faultless contour, place her three-
quarters face or nearer profile, showing left
side of face, light coming from the right.
Contrast the illuminated side of face against
dark side of ground, and the result is all that
could be desired. Now, let us take another
subject with high cheek-bones, unpleasing
nose, or ugly mouth, let the position, back-
ground, and light be the same, and the
result will certainly be unsatisfactory; it
requires but little study to see why it is so.
F5y many operators the background is
considered of but little importance, but by
the thinking successful worker, a thorough
knowledge of its uses is considered of as
nuich importance as the knowledge of
chiaro-oscuro or photographic chemistry.
And our most feeling and finest photog-
raphers are not only well informed in the
foregoing, but also possess a certain knowl-
edge (whether they know it or not) of
anatomy, physiognomy, and phrenology.
And my humble advice to the hungry photog-
rapher, who seats himself down to the table
of photographic literature, now so bounti-
fully spread, is to call for a few of these
last-mentioned side dishes, and do not leave
them for the last courses either. Of these
I shall write more in the near future under
a proper head.
C. L. Lewis' New Studio
We recently received a dainty souvenir
card showing the new studio just complete<i
by Charles L. Lewis, at Toledo, Ohio, and
it proved so attractive that we asked Mr.
Lewis to give us a descViption of the studio.
The following excerpts from his letter are
self-explanatory :
"The entrance to the studio at the front
door leads into a spacious hall, where the
frame cases are arranged on each side with
a fireplace and cozy nook at the further
end. Immediately to the right of the en-
trance, through a large opening off the hall,
you enter the reception room, suitably fur-
nished with a cabinet of drawers, contain-
ing samples, receptionist's desk, display
table, the necessary seats and rugs, all of
which harmonize with the room and the
delightful fireplace. The view from this
room is very channing, it looking out onto
Lewis' New Residential Studio
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Flashlight Photograph made by R. Kolder. Chicago, with Halldorson No. 2
Home Portrait Lamp
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268 Bulletin of Photography
Frank Scott Clarke
Detroit. Mich.
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Bulletin of Photography
269
the park. From this room you enter an-
other, where there is again a fireplace, and
this is a sort of waiting room off which
there are two quaint dressing rooms.
Through a mirror door one enters the
camera room, in which there is ample pro-
vision for light, both artificial and daylight,
the studio light being a straight side
window of the casement type, also looking
out onto the park. Immediately off this is
the retouching room, loading room, etc.,
through which you pass to the printing and
finishing rooms, which are especially well-
equipped with all things needful. From
this, through a passageway which serves as
cloakroom and lavatory, you enter the of-
fice, which is divided into a general and
private office, and you have completed the
circuit back to the entrance hall.
'*The dark-room, proof -printing, copying
and enlarging rooms, negative storage,
heating plant (hot water), and packing and
shipping rooms are all in the basement,
which is spacious and comfortable. This,
with a double garage immediately in the
rear, completes our equipment of the most
convenient studio I have ever had.
''The studio faces on Collingwood Ave-
nue, and the entrance to our living apart-
ments on the second floor is on Monroe
Street, separate and distinct from the
studio, where we have a delightful home,
with an abundance of room.'*
Does Your Competitor Worry
You?
C. H, CIAUDY
If SO, why?
If not, why not?
Recently a magazine contained a story
telling why Willie Hoppe is as yet the un-
defeated billiard champion of the world.
"His opponents," stated the writer, "play
Hoppe, while Hoppe plays billiards."
Babe Ruth, the phenomenal home-run
hitter, is credited with the statement that
he pays little attention to the pitcher who
opposes him, but puts all his attention on
the ball. The "contest of wits," which is
scheduled to occur everv' time Ty Cobb
faces Walter Johnson, is, according to Ty,
entirely a matter of whether he can keep
his eye on the ball or not.
In other words, sensational successes are
not made by men troubling about their op-
ponents, but only about the thing they have
to do. If they can do that one thing at its
ver>' best, they know they won't have to
worry about their opponents. If they can't
do what they do as well as it can be done,
fretting about what the other fellow has
done or will do won't impress their game.
Business is a game. It is a game with
very strict rules, and the referee is the pub-
lic, while the law stands behind as an um-
pire. All of us, presumably, play the game
according to the rules, or we would fail or
1921 CONVENTION DATES
Place
Date
Missouri Valley
Kansas City, Mo.
March 7-10
C. J. Fennel, Columbus. Neb.
South-Western
Dallas, Texas.
March 15-17
N. B. Stall, Ada, Okla.
Middle Atlantic States
Baltimore, Md.
April 18-21
L. L. Higgason, Asheville, N. C.
South-Eastern
Atlanta, Ga.
May 16-19
J. C. Deane, Rome, Ga.
P. A. of A.(International)
Buffalo, N. Y.
July 18-23
J. C. Abel, 421 Caxton Bldg.
Cleveland, Ohio.
Ohio-Mich.-Ind.
Winona Lake, Ind.
August 15-19
Fred. Bill, 746 Euclid Ave.
Cleveland, Ohio.
New England
Dates not yet settled.
A. K. Peterson, Pres.
Hartford, Conn.
North-Central
Minneapolis, Minn.
October 3-6
J. R. Snow, Pres.
Mankato, Minn.
Pacific North- West
Vancouver, B. C.
August 2-5
A.T. Bridgman, 413 Granville St.
Vancouver, B. C, Canada.
New York State
Postponed until 1922
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Bulletin of Photography
land in jail. But we play, within the rules,
well or ill, according to whether we play
the game or play the fellows who are play-
ing against us.
Photographers have always considered
that location an advantageous one, where
competition is conspicuous by its absence.
It does seem, at first thought, that where
no other man is in a position to serve the
public, the public must turn to the one man
who can serve them. And if there were
only one photographer in a state, perhaps
the supposition would hold. But in these
days of motor cars, intern rban trolleys and
suburban train service, absence of com-
petition in one's inunediate locality cuts lit-
tle figure in the photographic game. If I
make photographs and my townspeople
don't like them, there is always the next
town or the nearby city. And folks don't
stay home as they used to — he is a wise
man who can tell where the urban becomes
the suburban and the suburban the rural
today.
Business men of all kinds, in all lines,
are much too prone to think that a com-
petitor succeeds where they fail on account
of means and methods, rather than on ac-
count of product and service. This is natu-
ral, human vanity cropping out — natural,
because we all have an instinctive dislike
of admitting that the other fellow does
what we do best, better than we can. So,
when we find customers flocking to his
door, we say, "He knows more about ad-
vertising" or "His location is better" or
**He cuts prices." Rarely, indeed, do we
stand up in front of a mirror, look our-
selves in the eye, and say, "lie beat me to
it because he makes a better picture, and
does it more quickly and with better service
than I do."
"His opponents play Iloppe. while IIoi)pe
plays billiards." Hoppe doesn't care what
his opponent does. Nothing that the other
player can do affects what Hoppe does,
save only the shot which his opponent
misses, which may leave the balls awk-
wardlv. Even that shot cannot be altered
by anything whatever that Hoppe may do.
So Hoppe doesn't bother about what his
opponent is doing, but when it is his shot,
picks up his cue, and, though his opponent
have 499 out of a needed 500, proceeds to
run out his own string as if there were
no opponent within miles. That is truly
playing the game.
The wise photographer doesn't bother
about what his competitor down the street
is doing — cares not how many customers he
has, how much he charges, what his meth-
ods are. His only interest is in the other
"chap's products, li it is better than his
own, he wants to know why and how, and
proceeds to bring his own up to standard.
U it is less good, he doesn't care about it,
and goes on playing the photographic game
for all it is worth regardless of what his
opponent does. For he knows, does the
wise photographer, that if he plays the man,
instead of the game — if he meets price-cut,
"special opportunity" with "special oppor-
tunity" enlargement-as-a-premium with
enlargement-as-a-premium, he will soon be
devoting all his time and attention to beat-
ing out the other fellow, instead of winning
the game for himself.
J Seating the other fellow and winning the
game for one's self are entirely different.
Where there is bitter contest between two,
the third man usually wins the race. And
it is the race, the game, the contest, which
is to be won, not a place ahead of somec^ne
else.
It is a realization of this fact which has
brought men who compete with each other
together in local associations. Jim Jones
is often no longer afraid to tell John Smith
how he makes his newest lighting, and John
Smith is no longer fearful that if Jim learns
his latest formula, he will forge ahead.
The old days of suspicion and isolation are
rapidly passing. More and more, not only
in photograi)hy, but in every other line of
competitive business, are men coming to
realize that it is the thing they do which
counts, not the 7i'ay they do it. Your pub-
lic is not interested in anything but your
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BULLETIK OF PHOTOGRAPHY
271
COLLINS NATIONAL ADVERTISING is creating added interest and sentiment for professional photography
each month. Reproduced here, in reduced size, is the appealing advertisement which occupied a full page in
the February 1921 Ladima* Homm Journal. This ad will awaken the desire for good photography in the hearts of
two million readers. And Ultrafine Mountingt will contribute added charm and value to your photographic work,
twelve months in the year.
Please Mention Bulletin of Photography When Writing Advertisers. ^^ ^
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Bulletin of Photography
KODAK FINISHERS!!!
TOU CAN INCREJtSE PRODUCTION WITH A
SPEED PHOTO PRINTER
Thia improved model will pay for itself in 30 days,
TEN BIG FEATURES:
1. — Automatic order-numberinfr device.
2. — Pressure platen with oscillatinfr movement, and
special pressure lock insurinRT absolutely perfect
contact.
3.— Insbintly adju.stable masks, with illuminated scale
of standard sizes of paper.
4. — (iuick action ftim clip.
5.- -Automatic paper clip on platen, giving perfect
rcKister and border.
6. — No trinimiuK necessary.
7. — Economizes on paper.
8.— Practical electric switch inside lx)x. which operates
after conbict Is nvule between platen and paper,
and allows up to 400 watts of electric current.
Release lever for throwinir off lights before raisins:
platen. No after«:low.
9. — Only one second exposure required for medium
dense Alms.
10. — Operation so simple it can be mastered in a few
™'""^^« Circiilaf on r«qactf.
PRICE. 98B.OO
CHARLES G. WILLOUGHBY, Inc.
no Weat 32d St. New York City
DUMhutof for New York State
results, your prices and your service. It is
not even much interested in your prices —
the war taught us that value received is
much better than a cheap price. Given a
photographer who makes ju.st a little better
picture than any other man in his town,
and set him in the middle of it, and in two
years he will be the leading photographer,
regardless of the number of his competi-
tors, providing he plays the game and does
nothing but make better pictures. But let
the same man depend, not upon his supe-
rior work, but upon meeting every move of
his competitors with a similar move of his
own — and in two years they will own his
plant, and probably have a mortgage on his
motor car.
Don't worry about your competitor —
play the game. Never mind what he does
or how he does it, so long as you make
better pictures than he does. Devote all
your time to making your pictures better
than any other man within miles can pos-
sibly make, and not all the advertising,
price-cutting, prize-giving, coupon scheme
or talk-behind-your-back can keep you from
being the winner in your own game.
This is the one and only true answer to
the second question at the head of this page.
A Fault in Full -Length
Photographs
J. S. HOVEY
A great and almost universal fault in full-
length photographs, in my opinion, consists
in bringing out or delineating the lower part
of the picture too distinctly; especially is
this the case with pictures of ladies taken in
light drapery. The light from the skylight
naturally falls strongest on the lower part
of the dress, owing to its position, thereby
giving that part the most prominence. Now.
if the bottom of the picture were taken more
in shadow, it would add very much to the
beauty of effect, and consequent pleasure in
studying it. To illustrate this idea, take one
of the class of pictures I am speaking of,
and hold the hand across the bottom part, a
Please Mention Bulletin of Photography When Writing Advertisers.
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Bulletin of Photography
273
little away from the picture, so as to shade
and partly obscure that portion of it, and
you will see how greatly it improves the
appearance of the picture, and how much
more pleasure there is in looking at it. Now,
if that part were taken more in shadow, and
a little obscured, the same effect would be
produced.
This is my idea about a picture ; unless it
is the dress principally that we want photo-
graphed, then it is all well enough.
The same rule applies to bust pictures;
where the drapery is dark, let the lower part
of the background be the darkest; that will
give most prominence to the head, and the
same effect w ill be produced.
Drawing a Non-Cancellable
Order or Contract
The Cleveland (Ohio) Chamber of Com-
merce has issued the following statement on
the question of cancellation of contracts and
orders for merchandise :
The tendency on the part of many
buyers to cancel orders or repudiate
contracts has assumed alarming propor-
tions and has created a serious business
situation.
Contracts that protect only the pur-
chaser are a menace to business sta-
bility.
The purchaser has not the right to
demand nor expect prompt delivery,
or price guarantees, according to con-
tract, in a rising market, if it is his in-
tention or habit to reject goods when
prices decline. Such a practice will
rapidly destroy the fidelity of the con-
tractual relationship upon which our
economic structure stands and will
bring about a serious business dis-
arrangement with every decline of
prices.
It is suggested that every manu-
facturer immediately examine contract
making and order taking methods and
arrange to incorporate into written
contracts a frank stipulation w'ith re-
ENLARGEMENTS
WRITE FOR LATEST PRICE-LIST
M. S. BRIDLE, ENLARGER
1034 ARCH STREET, PHILADELPHL\
FOR BEST RESULTS USE A
Packard-Ideal No. 6 Shutter
operated at 1/25 of a second, in connection
with a hlab-power light.
MICHIGAN PHOTO SHUTTER CO.,Makera
A9k your Daalmr. KALAMAZOO. MICH.
SPL
The portraits by the
Gerhard Sisters, of St.
Louis, reproduced in the
February 2nd and 9th
issues of the Bulletin
o f Photography, were
made with a 3>^'inch x
18-inch STRUSS
PICTORIAL LENS
SEND FOR BOOKLET
FREDERICK W. KEASBEY
Box 303. Morristown. N. J.
THE LIGHT THAT TURNS
NIGHT INTO DAY
The famous PROSCH SUNLITE FLASH
POWDER will assure you in milking every
flashliiclit negrative a perfect one. It never
failH to turn night into day and get the
desired expression and pose even of tlie
most active subject.
Half ounce bottle, $ .45
Two ounce bottle, $1.50
SmA for fail iocripliM of Frmtk SmoIicIcm FU«k
Bog*. Hand FImIi Laapt ud Bridolf St««o Laaps
PROSCH MFG. CO., INC.
61 FULTON STREET NEW YORK, N. Y.
Please Mention Bulletin of Photography When Writing Advertisers.
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274
Bulletin of Photography
gard to cancellations. All contracts
should be brought within strictly legal
lines.
Buyers who repudiate their contracts
will soon be considered to be lacking in
business integrity and undeserving of
confidence. The effort of such buyers
should be deprecated by the entire
community.
A great many business organizations are
working on this problem of cancellations,,
and they all seem to be after one thing, viz. :
to draw a contract which will prevent what
has been happening all over the country for
the last six months, viz. : the repudiation of
orders for goods, chiefly on the part of
buyers because the market has gone down.
Most of the discussion on the subject
seems to be based on the theory that draw-
ing an uncancellable contract is a difficult
thing. ()n the contrary, it is the easiest
thing in the world. As a matter of fact,
every contract or order would be non-
cancellable (unless it contained a clause
specifically allowing cancellation), were it
not that so many business houses had
allowed free cancellation in the past. A
contract or order which says nothing at all
about cancellation is not cancellable — unless
the parties have so dealt together that the
right to cancel is read into every order or
contract entered into between them.
Even where such a course of dealing has
been had, however, it is the easiest thing in
the world to draw orders or contracts which
shall not be cancellable. All that is neces-
sary is to include a clause, "This order is
not subject to cancellation by either party."
It is questionable, however, whether the
seller would agree to this, because he usually
likes to have a clause in his orders which
reads something like this, "This order is
subject to strikes, or fire, or shipwreck, or
any other cause beyond the seller's control."
I might observe here that if the seller
wants the contract absolute as to the buyer,
he should agree to make it absolute as to
himself. It would be most unfair to put a
Which Plate Should You Use?
Photographers are exacting in their demands of plates. In order to produce
the best work, they must have a plate especially designed to meet their
individual needs. Your plate is listed below:
SPECIAL "XX" An extra fast Portrait or speed plate.
SPECIAL An all-around Studio plate.
COMET For Landscape and Copying.
POSTALS A fast plate for Postal work.
COMMERCIAL For Commercial photography.
COLORNON A Color plate rendering Orthochromatic values.
CONTRAST LANTERN SLIDE . Producing brilliant Untem Slides.
PAN ORTHO A Tri-Color. or Pan Chromatic plate.
PROCESS For all Commercial Process work.
CENTRAL X-RAY An X-Ray plate of the highest radiographic quality.
NON- HALATION A Double Coated plate eliminating Halation.
PAN ORTHO D. C A perfect double coated Pan Ortho plate.
Order from your dealer — today.
CENTRAL DRY PLATE COMPANY
NEW YORK
ST. LOUIS. MO.
SAN FRANaSCO
Please Mention Bulletin of Photography When Writing Advertisers.
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275
non-cancellable clause in an order for mer-
chandise, to bind the buyer, and at the same
time put in a clause such as I have
described to let the seller out.
A large number of cancellations which
have occurred recently, even though they
were illegal, left the seller with little or no
remedy. That was because they were not
made on account of a market decline, but
because the buyer didn't have the money to
take the goods. Where a cancellation is
made because the market has declined, the
seller has a remedy — he can sue the default-
ing buyer for the difference in value. Hut
where cancellation is made and the market
has not declined, while the seller can still
sue, his damages would have to be nominal,
because strictly speaking, there haven't been
any damages. The goods are worth exactly
what they were when they were sold. Sel-
lers have, therefore, attacked this problem :
How shall I make the contract non-cancel-
lable and at the same time make it cost the
buyer something when he cancels goods
which have not declined in price. Some
have sought to do it by including a clause
that if the buyer defaults he shall pay 20
per cent of the amount of the contract. In
another article I have explained that I did
not believe this clause could be enforced,
because it sought to penalize the defaulting
buyer for his default. This the law will not
allow, for it only awards actual damages in
such cases, and where there haven't been
any, nothing will be awarded. Mow can
this dilificulty be gotten around? There is
no way that I know of, in the contract itself.
The same result might be accomplished by
letting the various sellers in a given field
enter into an agreement to require payment
in advance or not to have any dealings at all
with concerns who unfairly cancel their con-
tracts. Would this be legal? I have not the
slightest doubt of it.
(Copyright by Elton J. Buckley.)
Not all of lis can be heroes, but all of us can
be patriots. Payment of your income tax helps
to make you one.
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Bulletin of Photography
WHEN IN DOUBT
Use Hammer Plates!
They will score the largest
possible percentage of suc-
cesses. For color - range,
speed and reliability, they
can't be beat.
SPECIAL BRANDS for SPECIAL NEEDS
Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
Held and studio work, and Hammer's
Extra Fast Orthochromatic and D. C.
Orthochromatic Plates for color values.
REG. TRADE MARK
Hammer Dry Plate Co.
OHIO AVKNUK AND MIAMI 8TRKKT
ST. LOUIS. MO.
CTID A — When you see this
^^'^^ name on a package of
developer, you know it stands
for the best that can be produced.
Made by the Society of Chemical In-
dustry in Basle, Switzerland; makers
of standard chemicals since 1864.
Metagol, ^'CIBA"
(Monomethyl paramido phenol sulphate-
better than the beat metol you ever used.)
Diamidophenol "CIBA"
Paramidophenol '<C1BA"
Glydn "CIBA"
Hydroquinone *'C1BA"
Pyrogallic Add "CIBA"
(Retiubliroed.)
A( your dealers, or write u»
FREE: New and complete book of developing formulas,
toners, intensifiers. reducers; lens table and many other
helps. A copy is yours for the asking.
CiBA Company, inc.,
91 Barclay Street New York
Home-Made Emulsions
WILLIAM BELL
The accompanying formula for the prepa-
ration of a gelatine emulsion for photo-
graphic purposes are the result of several
years of constant study and experimentation
on the part of the writer, and it is believed
that if the details of the process are strictly
carried out, with but an ordinary degree of
ability, plates may be easily and uniformly
prepared of a considerable degree of sen-
sitiveness.
AMMONIA-XITRATE EMULSION
Xo. 1
Boiled water 1 ounce
Iodide ammonium 5 grains
No. 2
Chloride ammonium 20 grains
Water 4 drams
Acid, nitric, a drop or two to render the
solution acid.
No. 3
Nitrate silver 60 grains
Water 4 drams
To the nitrate of silver dissolved in the
water (No. 3) add, drop by drop, the solu-
tion of iodide ammonium ( No. 1 ) , until the
precipitate of iodide of silver formed ceases
to dissolve in the solution. Then pour in
the solution of chloride of ammonium ( No.
2), wash the chloride silver formed with
three separate waters, draining each time;
then add some pieces of broken glass to the
moist mass, and then sixteen grains of
Nelson's No. 2 gelatine, and dissolve with
gentle heat (temperature 90 to 100 degrees).
Shake well, and add the following solution :
Water, 4 drams; bromide potassium, 43
grains ; liquor ammonia. 3/2 dram. Pour this
solution at one time into the bottle contain-
ing the melted gelatine and chloride of
silver. Cork the bottle to retain the am-
monia. Keep at a temperature of 90
degrees for fifteen or twenty minutes. Test
the emulsion by a drop on glass, looking
through by transmitted light from a match
to see if all reddish color *is gone. When
this has disappeared, and the emulsion
viewed by transmitted light is grayish blue
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Bulletin of Photography
277
Daylight Is Free, Yet Is More Expensive
as an Operating Light than the
Victor Studio Flash Cabinet
r^Hji' -J / The same reasons which eliminated dayligfht from your
j^Vii-^'^ :aj / printing: room apply with even greater force in favor of
^^' * your adoption of the Victor Studio Flash Cabinet for your
operating: ligfht. With it you secure, whenever desired,
an instantaneous light (l-38th or l-65th second) of any
required volume.
This means — uniformly timed negatives, free from
* 'moves" — animated expression and pose in your negatives
— and fewer exposures needed per sitting, thereby saving
materials and operating time.
With our Improved Normal Grade of Victor Powder — 3 to 6 grains of which
is ample for portraits — the report is very soft
Aak on Your Letterhead for Complete Deacriptipe Booklet.
J AS. H. SMITH & SONS CO. ^**1:S?SS*^'SI! ''^•-
or green in color, the heating has proceeded
far enough ; and then 120 grains of Hein-
rich's gelatine (previously softened in water
and melted at a temperature higher than 90
degrees) is added to the emulsion. This is
to be well shaken, and then allowed to cool
by gelatinizing it slowly upon the sides of
the bottle. Let stand six hours. Remelt at
a temperature of 100 degrees, gelatinizing
again upon the bottle. Allow to stand six
hours, and melt once more. It is now ready
to be mixed with the boiled acid emulsion
(see following formula). Or, if the am-
monia-nitrate formula is alone to be used,
the melted emulsion as just made is to be
poured into a dish and allowed to cool and
set ; when cold placed on a clean cloth (mesh
1/80 inch), squeezed through, the finely
divided mass well washed, drained, and
pressed under weight to expel excess of
water, remelted, filtered through white silk,
and then coated on glass. The final amount
should not be more than three ounces. If
more, then the gelatine has absorbed too
much water in washing ; to avoid this, press
longer. In preparing this emulsion it has
been found that the presence of the bromide,
with heat and free ammonia, favors the
acid and alkaline emulsions. When the
plates are coated they can be immediately
passed through a small opening into an ad-
joining room, kept at a uniform temperature
of 50 degrees, with free circulation of air,
and dried either on racks or on nails on the
wall, face outwards.
Glass. — This should be previously
cleaned by soaking it in a mixture of equal
parts of nitric acid and water, well washed,
dried on racks, polished with cuttle-fish bone
and water, using a piece of well washed
flannel. This should be washed with a weak
solution of soda, so as to remove any traces
of oil or grease. The plates, after being
dried, should be edged with a thick solution
of gum tragacanth, by means of a small
camel-hair brush tied to a short, thin stick,
with the end of the stick projecting a short
distance, so as to act as a guide for the
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Bulletin of Photography
** Dependable Service**
ENLARGEMENTS
OF THE BEST— and on time.
Ask for our price list.
Photo finishing for the trade.
Photographers' Portrait Service Co.
110 South Wabash Ave.
CHICAGO, ILL.
A»k yonr neighbor about our Convtntion Exhibit.
lO PER CENT REDUCTION
ON OUR ENTIRE STOCK OF
** Camera Work''
C)NCEDED to be the handaomeat magazine ever pub-
liihed for loveri of photographic art. The magazines
are made up of pictures (with a little descriptive text)
from photographs taken by those famous and original
in photography.
Many of the fine photogravures contained in Camtra
Work cannot be replaced, and all of them are worthy of
framing. Many of the editions command three to four
times their original publication price. We can supply
copies of the following issues at $1 .50 per copy, postpaid.
ume
No. DaU
PlaUs by
4 .
. . October,
1003 ..
. . Frederick H. Evan)*
5 .
. . . January,
1904 ..
. . Robert Demachy
10
... April.
1905 ..
. . Gertrude Kascbier
11 .
... July.
1905 ..
. . David Octavius Hill
22 .
... April.
1908 ..
. . Eduard J. Sieichen
29 .
. . . January,
1910 ..
.. George H. Seeley
31 .
... July.
1910 ..
. . I'^rank Eugene
32
... October.
1910 ..
. . J. Craig Annan
36
. . . October,
1911 ..
. . Alfred Steiglitz
37
. . . January.
1912 ..
.. David Octavius Hill
40 .
. . . October,
1912 ..
. . Huron A. de Meyer
41 .
. . . January,
1913 ..
. . Julia Margaret Cameron
Specials Nos. 2 and 3. suitable for art students, will be
mailed at $1 .00 per copy. Cubistic — not photographic.
Special \ A„o„.f 1017 i Henry Matisse
pKr2 i August, 1912 .,\ Pablo Picasso
Special I ,„_^ ,«,, f Cezanne. Van Gogh.
No 3 / J""^ *'*^ "\ Picasso. Picabia
FRANK V.
636 Franklin Square
CHAMBERS
Philadelphia
brush. The plates should then be stored in
the hot room until wanted.
Filtering. — If this is done in the hot
room it can be accomplished by passing the
melted emulsion through absorbent cotton,
otherwise a hot water jacket should be used
for the filtering funnel, and the emulsion
passed through well washed white silk or
cotton.
Depreciation
John G. Herndon. Jr.
When the Treasury Department is asked what
is a reasonable rate for depreciation on any kin-i
of asset, it never replies stating a rate which
suits all conditions, hut attempts to give one
which works fairness to the government and the
taxpayers under average conditions. One of the
questions which was asked me two years ago in
the column which I was at that time writing for
the Public Ledger was : "What is the rate of
depreciation on buildings erected in 1820?" I
told the inquirer that for the purposes of in-
vested capital a reasonable depreciation would
he one half of 1 per cent, of the original cost,
if the buildings gave prospect of lasting another
hundred years. For purposes of determining a
reasonable depreciation, however, as a deduction
from income in the case cited, the value of March
1, 1913, should be used as a basis and the rate
determined by the probable life thereafter.
If we can assume that the reasonable rate of
depreciation in most cases for piping is ten years,
that fact will only place a burden on a taxpayer
who claims that he is entitled to more than the
average. I am familiar with a case of this sort.
A taxpayer demonstrated that he was entitled to
a rate of depreciation between 25 and Z^ per cent,
per annum on the pipes in his estahlishment as
his business was that of the manufacture of acids,
and that these acids ran through the pipes, caus-
ing them to corrode at such a rate that they
needed to be replaced between every three and
four years.
However, there are certain rates of deprecia-
tion, concerning the correctness of which the gov-
HIGGINS' ! MOUNTER
THE KIND YOU ARE SURE TO USE
WITH CONTINUOUS SATISFACTION
PASTE
At Dealers^ Generally
CHAS. M. HIGGINS & CO^ Manufacture*
271 NINTH STREET, BROOKLYN, N. Y.
Branches: Chicatfo. London
Please Mention Bulletin of Photography When Writing Advcrtiscrs^^^ ^
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Bulletin of Photography
279
ernment seldom raises a question. They must
be given in percentages somewhat as follows :
Stone structures. Yj to V/i per cent.; brick and
stone, lyj to 2; brick, 2 to 3; brick and frame.
2y2 to 4 ; frame, 4 to 5 ; heavy machinery, 5 to 7 ;
light machinery, 8 to 12: office furniture and fix-
tures, 10; automobiles, 20; trucks, 25.
Patents are subject to depreciation at the rate
of one-seventeenth of the original cost in the
hands of the original owner. In case a patent is
subsequently purchased by another than the orig-
inal owner, the rate of depreciation which he
may take thereon is based on the number of years
of life which the patent has to run.
So-called depreciation of bonds is not recog-
nized in arriving at income subject to tax. A
loss of this sort can be claimed only when the
securities mature, are sold or become totalh
worthless. It is important here to emphasize,
especially in connection with banks and trust com-
panies, that they are entitled to add to their in-
vested capital all of the depreciation of this sort
which they have written off -on any securities
which they owned at the beginning of any taxable
year, in arriving at their invested capital for that
year.
The department allows depreciation to be taken
as a deduction in the case of a corporation, if on
the corporation's books there are entries explain-
ing the depreciation charged, even though made
in a year subsequent to the year for which the
depreciation is claimed.
Since depreciation is to be taken in real estate
only on the value of the buildings and improve-
ments thereon and not on the value of the land
itself, it is necessary for the taxpayer to make
a segregation of the two items of value. Un-
earned increment will not be considered in fixing
the value on which depreciation can be based.
It is not necessary in connection with deprecia-
tion that profit and loss be charged and a reserve
for depreciation be credited. Such reserves do
not constitute a part of surplus in arriving at
invested capital, but reserves for depreciation in
the value of securities may properly be added to
invested capital.
Prints for Coloring
Most colorists find some difficulty in obtaining
at the same time delicacy and brilliance when
working upon the modern developing papers. If
a print is made "light for coloring," it is usually
flat, and requires a great deal of work to give a
good effect, while a good ordinary print is usu-
ally too strong in the shadows for the coloring to
le effective. Black and white prints are pre-
ferred by many colorists. as the whites are gen
orally purer, but the difficulty in obtaining a sat-
isfactory rendering, even of brown hair, is great.
If nrints are toned by the sulphide method the
shadows have a tendency to become blocked up.
if the print is at all vigorous, while weaker ones
usually tone to a sickly yellowish brown. There-
fore, we recommend a trial of the liver of sul
BACK TO THE OLD PRICES
ORIGINAL
«AGFA'»
PRODUCTS
GLYCIN
16 oz. $10.00
8 " 5.25
4 " 2.75
1 " .75
RODINAL
16 oz. $2.00
8 " 1.10
3 " .60
AMIDOL
16 oz. $10.00
8 " 5.25
4 " 2.75
1 " .75
ORTOL
16 oz. $10.00
8 " 5.25
4 " 2.75
1 " .75
EIKONOGEN
16 oz. $10.00
8 " 5.25
4 " 2.75
1 " .75
BUTZUCHT
100 grains $2.25
1.50
50
25
10
.90
.45
SPARKING
METAL
Each 20 cents
•'AGFA"
FLASHLAMP
$2.00
SAGAMORE CHEMICAL CO., Inc.
120-122 West 31tl Street NEW YORK
SOLE AMERICAN DISTRIBUTORS
Save 25% to 60%
ON SUGHTLY USED
GRAFLEX, CIRKUT
AND VIEW CAMERAS
Our Bargain
Catalogue M
contains things
that the profes-
sional photog-
rapher needs.
Send at once for
your copy.
You will find the most up-to-the-minute Cameras,
Lenses, and supplies of every description, both used
and new, listed therein at startling reduced prices.
Thousands have been pleased with our Bargains and
business methods. We can do the same for you. Every
item is guaranteed and a
1 - DAY FREE TRIAL
is granted, after which time, should the outfit prove
unsatisfactory, same can be returned and your money
will be refunded. Can anything be fairer or squarer ?
CENTRAL CAMERA CO.
124 M., So. Wabash Ave. - CHICAGO, ILL.
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Bulletin of Photography
"A Manual full of good whole»ome material
and a valuable reference hook for every mem-
ber of the prof e9»ion, hig or little."
How to Make a Studio Pay
By FRANK FARRINGTON
CONTENTS
The Man and the Location
Buying and Arranging the Stock
System in the Studio
The Treatment of Customers
How to Know the Profits
Credit and Collections
Developing the Side Lines
Advertising You Can Do
Business-Getting Schemes
Qoth Boimi Price, $1.50, Net, Postpaid
FRANK V. CHAMBERS
PUBLISHER
636 S. FRANKLIN SQUARE, PHILADELPHIA
A NEW BOO K
THE AIR BRUSH IN
PHOTOGRAPHY
The most comprehensive work ever written
on work with the Air Brush, especially as applied
to photography, working up enlargements, etc.
143 PAGES - 45 ILLUSTRATIONS
BOUND IN CLOTH
93.50 post paid
Mr. Geo. F. Stine, the author, is known as
o le of the most expert workers with the Air
Brush in this country, and the series of 32 illus-
trated lessons, which forms a considerable portion
of the book, is the most detailed and carefully
worked out course of instruction that could be
imagined. With the help of this book any photog-
rapher can learn to use the Air Brush.
In addition to the comprehensive series of
lessons, there are seven chapters on coloring with
the Air Brush, a very valuable addition to the
book, and something not heretofore found in
print.
FRANK V. CHAMBERS
636 S. Franklin Square Philadelphia
phur toning, as by this means a delicate image
may be toned to a cool brown with little loss
of depth, while the shadows remain as trans-
parent as before toning. It is necessary to add
that all papers do not behave the same with liver :
some will not go beyond a purple P.O.P. tone,
while others will give any color between this
and warm sepia. — British Journal of Photography.
Income Tax Facts You Should
Know
Numerous errors in claims for deductions have
been discovered in taxpayers' returns.
To be allowed, deductions for losses must be
confined to the following classes : Losses sus-
tained in trade or business ; losses sustained in
transactions entered into for profit, though not
connected with a trade or business ; losses sus-
tained of property not connected with trade or
business if arising from fires, shipwreck, storms,
or other casualty, or from theft. To the extent
any of the above losses are compensated for by
insurance they are not deductible.
To be allowed as a deduction in the return for
1920 a loss must have been actually sustained dur-
ing that year. A taxpayer may feel certain that
real estate owned by him is worth less than what
he paid for it. A merchant may be convinced
that certain stock cannot be sold unless marked
below cost. In neither event, however, is he
entitled to a claim for deduction until the loss is
made absolute by sale or other disposition of the
property.
Claims for losses must conform closely to the
wording of the statute. A loss sustained in the
sale of an automobile purchased for personal use
is not deductible, because it is not a transaction
"entered into for profit." A loss sustained by a
taxpayer in the sale of his home is not deductible
for the reason that ordinarily when a man buys
a residence and moves into it he has no intention
of selling and has not "entered into a transaction
for profit."
Trade Photographers of Detfoit
Organized
The Commercial Photographers' Association of
Detroit was formed February 11th, at a dinner in
the Board of Commerce Building, at which 22
members of the profession were present. F. L.
Wyckoff was elected President ; George Adams,
First Vice-President; John J. Manning, Second
Vice-President; Judd M. Hawthorne, Secretary,
and JeflFery White, Treasurer. The object of the
Association is to promote co-operation and good
fellowship among commercial photographers of
the city. Meetings will be held monthly.
Patient — "Doctor, how do you pronounce spinal
meningitis?" Doctor — "Very dangerous, madam
— very dangerous !"'
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281
What's Doing in Photography
W. B. Ogden will open a new studio in Win-
chester, Ky.
The photographic studio of G. W. Scothern.
Hagerstown, Md., has been hold to F. D. Gruber.
After twenty years, G. W. Bullerman has re-
turned to Sullivan. Ind., and will be associated
in the studio with Bert Lutz.
John H. Kellberg, Charleston, W. Va., and
Lester Kendell, Dayton, Ohio, have entered into
partnership and will open a new studio in Colum-
bus, Ohio.
Arthur Hensen has purchased the Campbell
Studio. Concordia, Kans., and is now in posses-
sion. Mr. Hensen has been conducting the studio
for the past several months for Mr. Campbell.
On January 28th the studio of S. L. Wright,
Toronto, Ont.. was destroyed by fire. Investiga-
tion is being held, as the entire Forum Building
was destroyed. Loss, $100,000, which includes
fourteen other businesses.
Henry Mousel, who has conducted a studio in
DeWitt, la., for the past fifteen years, surprised
his friends by announcing the sale of that busi-
ness to W. J. Clarke, of Clinton. Mr. Mousel
will devote his entire time to another business.
Oscar W. Busser, a member of the firm of
Shadle & Busser, York, Pa., died of Bright's
disease February 10th at the age of 61 years.
He was ill about two weeks. Mr. Bi^^ser is sur-
vived by his widow, one son and three daughters.
G. W. Bayless, formerly of Carterville, 111., has
purchased McXetts Studio, Marion, 111. He made
the purchase from Mr. Davis, who has handled the
studio ever since McNett entered the army. Mr.
Bayless has made arrangements for Mr. Davis to
remain with him for some time and assist in the
work.
W. F. Baker, representative of the Eastman
Kodak Company, gave a lecture on modern pho-
tography and a special demonstration of new por-
trait films and special lighting effects at the
regular meeting of the Associated Portrait Pho-
tographers of Rock ford. 111., at the Marsh studio,
February 15th.
One of the high-lights of Mr. Baker's demon-
stration was the beautiful hair lighting effects
obtained with the use of the blue globes.
Swen A. Johnson, owner of the Johnson photo
studios at Park Falls and Phillips, Wis., died at
St. Joseph's Hospital at Marshfield, on February
9th.
Little hope was held for his recovery, as he had
fallen victim to cancer of the stomach. Mr.
Johnson was born in Sweden in 1866 and came to
this country in August, 1887, and has been one of
the leading photographers of that vicinity for the
past 25 years. Mr. Johnson is survived by his
widow and six children.
Bausch & Lomb
Tessar Lenses
FOR
STUDIO
WORK
THE Tessar lenses, in their
larger sizes, more than fulfill
all the requirements for high
grade studio lenses.
Tessar Ic is furnished with a lens
hood, which can be removed if desired.
Combining extreme covering power
with the greatest practical speed, this
lens is the best possible selection for
the portrait photographer, for use both
in the studio and for home portraiture.
Series lib Tessar, from No. 8 up, is
particularly adapted for group work,
due to its depth of focus. It may also
be used for portraiture, being espec-
ially suited, in the longer focal lengths,
for large heads. While it is as high
grade a lens in workmanship as the
Series Ic, its lower speed makes it
somewhat less expensive.
Every photographer who desires the
best in studio equipment should be
supplied with one or more Tessars.
Our new, illustrated Photographic
Lens Catalog will be sent on request.
Bausch^ Ipmb Optical ®.
632 St. Paul Street Rochester, N. Y.
New York Washington Chicago San Francisco
Leading American Makers of Microscopes, Projection
Lanterns {Balopticons), Photographic and Ophthalmic
Lenses, Stereo-Prism Binoculars, Range Finders, Gun-
Sights, Searchlight Projectors and other High-Grade
Optical Products.
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282 Bulletin of Photography
EASTMAN
PORTRAIT
BROMIDE
A new paper made especially for
enlarging from portrait negatives.
A paper that will help you to
sell large prints, because it
puts the quality of the contact
print into the enlargement.
Two stocks— D White, E Buff.
Two surfaces in each;— Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers*.
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283
Classified Advertisements
GlaMlll«d Adverdslna Rates — For Sale. Rent. Exch a ng e and
MiiceUaneous adTertisemenU. Minimum charge. $1.00 for
thirty wordi; additional wordt. 3 cents each.
Halp Wantad — Two insertions of twenty-one words, minimum
dmrge. 50 cenU; additional words. 2 cenU each. Cash must
accompany order.
SitiMtlon Wantad — Twenty-one words, one time. free. Addi-
tional words. 2 cents each.
No diaphiy allowad — CoMh miut b« —nt with order.
Diapkiy advartlaina ratea sent upon request.
Copy must be plain and distinct.
To secure insertion, advertisements must be received by 9
A. M., Tuesdays, one week preceding date of publication.
DO YOU WANT A POSITION ?
Read the ads, that follow
Wanted at ONCE—Good printer, retoucher. Ideal
climate and working conditions. Permanent
FK^ition. Your advancement depends on your
ability and co-operation. The Woodward Studio,
Inc , 21 West Adams Street, Jacksonville, Fla.
Where can I find a good fellow who wants a
position in a photo business in view of owning it?
Address — 948, care of Bulletin of Photography.
Wanted — A-1 expert printer (Artura). State
salary, age, experience and send samples of work.
The Sweet Studio, 67— 12th St., S., Minneapolis,
Minn.
DO YOU WANT AN EMPLOYEE ?
Read the ads, that follow
Position NVantbd — Refined, educated lady— three
years* high -class studio experience in every
branch — desires position as assistant. Salary, $30
per week. Miss Maye, care of Mrs. Burets, 948
Second Avenue, New York City.
DO YOU WANT TO BUY, SELL OR
RENT A STUDIO ?
Read the ads. that follow
Wanted to Buy — Good studio, preferably in
Michigan. Give full particulars in first letter.
Cash deal. Address— 947, care of Bulletin of
Photography.
Wanted— Small one-man studio, at once. State
particulars. Address, Box 946, care of Bulletin
of Photography.
MISCELLANEOUS
Read the ads, that follow
SPL— Get higher prices for your work. The unique
quality imparted by the STRUSS PICTORIAL
LENS will appeal to your more discriminating
customers. Fred'k W. Keasbey, Box 303, Morris-
town, N. J.
Motion Picture Developing and Printing for
the trade. Quality work, dependable service.
Price list and dealers' discounts on request.
Photo Finishing Company, 3159 Indiana Avenue,
Chicago, 111.
The husband, who had a great habit of teasing
his wife, was out driving in the country with
her. when they met a farmer driving a span of
mules. Just as they were about to pass the farm-
er's rig the mules turned their heads toward the
auto and brayed vociferously.
Turning to his wife, the husband cuttingly re-
marked, "Relatives of yours, I suppose?"
"Yes," said his wife sweetly, "by marriage."
Reliable Photo Sopply Houses
JOHN HAWORTH COMPANY
(Eastman Kodak Co.)
1020 Chestnut Street, Philadelphia
THE H. LIEBER COMPANY
24 W. Washington St. - Indianapolis, Ind.
Western Photo & Supply Co.
Photographers* & Photo Engravers* Supplies
328 W. Madison St., Chicago
WILLOUGHBY "•n^Vork*
Everything Used in Photography
SWEET, WALLACH & CO.
(Battman Kodak Co.)
133 North Wabash Ave., Chicago, 111.
SUSSMAN PHOTO STOCK CO.
223-225 Park Avenue, Baltimore, Md.
Norman-Willets Photo Supply
— INCORPORATBD
503-503 LE MO YNE BLDG. ntM in k nt\
180 N.WABASH AVE. CtllCAUU
ZIMMERMAN BROS.
(Eastman Kodak Co.)
380-384 Minnesota St., St. Paul, Minn.
HYATT'S SUPPLY CO.
417 North Broadway, St. Louis, Mo.
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(Baitman Kodak Co.i
125 Baronne St., New Orleans, La.
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prints tell the whole
story of quality.
The paper without a
disappointment.
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All Dealers' .
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Bulletin of Photography 285
Water-proof the print with
KODALAK
When you know prints will receive much
handling — will be exposed to the weather,
will become soiled; suggest a water-proof coat-
ing of Kodalak W P.
The print dipped in Kodalak WP is given
a thin, flexible, transparent, water-proof coat-
ing that protects it from moisture and permits
of its being cleaned with water.
Kodalak W P also gives a pleasing lustre to
dull surfaced prints that adds transparency to
their shadows.
Sixteen ounces of Kodalak WP will water-proof about
one-half gross of 4 x 6 prints or their equivalent.
Kodalak WP, 16 oz. bottle, $ l.OO.
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EASTMAN
PORTRAIT
BROMIDE
A new paper made especially for
enlarging from portrait negatives.
A paper that will help you to
sell large prints, because it
puts the quality of the contact
print into the enlargement.
Two stocks— D White, E Buff.
Two surfaces in each — Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 319
We test chemicals. When necessary,
we make chemicals to safeguard
your results when you use paper,
film and plate products.
We recommend
ELON
We make it — we know ifs right.
Now $9.00 per pound
at your dealer's.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
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riting Advgrtijiers^^yQQogle
When you have a subject that
requires real contrast — a copy
of a drawing, a letter, a printed
page, an advertisement, a trac-
ing, in fact any example of line
work, use the material that fits—
that will give any degree of con-
trast in negative or positive—
Eastman
Process
Film
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
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T L
The Complete Developer for
Photographic Papers
Now $5.50 per pound
Contains no aaulterants, requires
no additional developing agent.
We recommend it for Artura,
Azo and Velox Papers.
We make it — we know ifs right.
1 oz. bottle $ .45
Hb. " 1-55
ilb. " 2.90
1 lb. " 5.50
51b. can 27.00
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COLLINS NATIONAL ADVERTISING ia creating added intereat and aentiment for profeaaional photographj
each month. Reproduced here, in reduced aixe, ia the appealing advertisement which occupied a fuU page in
the Febnuuy 1921 Ladimt* Homm JourmiL Thia ad will awaken the desire for good photography in the hearta of
two million readers. And Ultrafinm Mountings will contribute added charm and value to your photographic work
twelve months in the year.
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BULLETIN-OF
PHOTOGRAPHY
[trade mark rsgistbrbd]
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THE WEEKLY BUSINESS PAPER FOR BUSINESS PHOTOGRAPHERS
636 FranhUn Square {cor, 7th and Race Sts,) Philadelphia
FRANK V. CHAMBERS, Editor and Publisher JOHN BARTLETT, AModate Editor
A. A. SCHENCK, Bustnen Manager
Yearly subscription. In advance, postage paid. United States. Mexico. Cuba. Philippines and Porto Rico. $2.00.
Canada, $2.50. Countries in the Postal Union. $3.00. Single copies. 5 cents.
Remittances may be made at our risk by money order, check, draft or registered letter.
Items of interest upon photographic subjects will be gladly received.
Subscriptions received by all photographic and news dealers in the United States and Europe.
Vol. XXVffl, No. 710 Wednesday, March 16, 1921
Prices Cents
$2.00 per Year. Post Free
The Status of the Profession
JOHN BARTLETT
Photography, as a profession, stands in a
somewhat unique position, relative to other
professions. In an extended sense it is
closely associated with the mechanical arts,
but in the application of the mechanical
means, it requires so much of the ability —
demanded of the professor in the fine arts —
that it needs must be classified considerably
above even some of the more dignified
trades in which the mechanical phase is
called into requisition, to the extent, too,
that, when conducted as a business, it calls
for the exercise of talent, associated with
artistic discernment, complimentary with
conmiercial instinct. So photography
stands, as it were, between the profession of
the painter and the medical practitioner,
and entirely out of the pale confining to the
requirements of the mere tradesman.
To buy and sell simply at a profit on
investment is one thing, but to conduct suc-
cessfully a photographic business is some-
thing quite different.
When a tradesman increases his business
by small profits and increased sales, it is a
comparatively easy matter for him to call
upon assistants to do the mere handling of
the goods, who need not necessarily possess
qualifications equal to his own. But this
cannot possibly be arranged in a studio
practice, because a successfully run photo-
graphic business must be under the constant
supervision of a responsible chief, familiar
with the detail and minutiae of the subordi-
nate positions.
The business must be evolved principally
from its head ; to so great a degree that ex-
tension of it, unless attended by exercise of
business acumen, may result in its deteriora-
tion if not ultimate dissolution; because so
little is it understood that the work of the
artist must necessarily be the unit of his
brain and hands. How often do we hear
the remark made to artists : "I suppose when
you are very busy you call in help."
Now, how possibly can there be help for
a true artist in the pursuit of the higher
branches of his art? Although this asser-
tion needs some qualification in application
to the photographic artist, since he can have
artistic help to a limited extent, still it holds,
in a measure, because his profession par-
takes so much of the character of a fine art
that he cannot delegate his skill beyond a
certain point.
He must personally, and by his own indi-
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We are told that the man who is willing
to sacrifice the natural desire for ease and
comfort and settle down to earnest labor
has the necessary motive force. He is a
thinker who projects his brain into his
hands. The complacent, easy-going com-
panion may have equal physical grey mat-
ter, but we all know that, unless cultivated,
the garden of the fairest mind soon runs to
noxious brambles and dense growth of un-
derbrush, whereas the less fertile soil, if
carefully watered, well weeded, hedged and
trimmed, will bloom forth with flowers and
fruit of ripe experience.
If the photographer looks at his occupa-
tion as a mere mechanical means of getting
a living, he eventually becomes identified
with it as a part of the machinery, instead
of the motive force, directing its successful
issue.
If we in the business remain satisfied that
our work is up to the general average, good
enough for the price we can get for it, we
are the slave of our occupation, not the
master.
Such failures in the profession are con-
stantly advertising the sale of the studio in
the belief that the lack of success is due
to misapplication of their talent to the par-
ticular occupation, and, that to be just to
their mental qualification, they ought to en-
gage in some higher profession. They are
fortunate if they discover in time that the
fault is " not in the stars, but in themselves,
that they are underlings." They want en-
ergy to compel the material to do their
bidding to healthful growth and ultimate
success.
Avoirdupois vs. Apothecaries
Possibly you have never had occasion to have
chemicals weighed out by the druggist, and pos-
sibly you have. Sometimes a formula calls for a
chemical the photographer does not happen to have
and he sends to the druggist.
And possibly he has several chemicals that make
up his formula weighed on the druggist's scales.
He knows those scales are accurate, and so they
are, but he has not remembered that his formula
is based on avoirdupois weight, while the druggist
uses apothecaries weight.
You may think that such examples are rather
unusual, and possibly they are, but we have also
heard of cases where the photographer was actu-
ally using apothecaries weights and thought all
the time that he was using avoirdupois.
Photographic formulae are based on avoirdupois
weights and photographic chemicals are sold by
avoirdupois weights, and if a formula is made up
by apothecaries weight it does make a big differ-
ence.
In the two systems of weights the grain is the
same, but the number of grains in the ounce is
different. The apothecaries ounce contains 480
grains, while the avoirdupois ounce contains 437^
grains. So, if your formula calls for one ounce
and you weigh your chemicals by apothecaries
weight, your ounce will contain 42^ grains too
much.
The pound avoirdupois, on the other hand, con-
tains 1240 grains more than the apothecaries
pound, because the latter contains but 12 ounces,
while the former contains 16 ounces.
You can readily see that this would make a
great difference in a nicely balanced formula.
If you have a lot of old weights and don*t
know what they are, have them tested or buy a
new pair of scales that you know are equipped
with carefully tested avoirdupois weights.
Remember that all formulae recommended by
American manufacturers are based on avoirdupois
weights, the table for which is given below. And
all chemicals for photographic use should be care-
fully weighed to produce the chemical combina-
tions in proper balance, as intended by the manu-
facturers.
AVOIRDUPOIS WEIGHTS
Pound Ounces Drams Grains
1 = 16 = 246 = 7000
1 = 16 = 437.5
1 = 27.34
And while we are on the subject of formulse
a word as to the combining of chemicals is not
amiss.
Unless otherwise specified, chemicals that go
into a developer or other solution should aU^ys
be dissolved in the order in -which they are given
in the formula.
The water may be given last, in which case the
formula is usually written:
"Water to make 64 ounces."
But in such a case it is understood that the chemi-
cals are added one at a time to a convenient
volume of water, each chemical being thoroughly
dissolved before the next is added. And finally
the volume of the solution is brought up to the full
amount.
If chemicals are not compounded in the order
given, the proper combinations are not formed,
precipitation often ocairs and the solution does
not function as was intended.
Use care in weighing chemicals, be sure your
weights are avoirdupois weights and mix your
chemicals in the order in which they are given.—
Photo Digest.
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Bulletin of Photography
389
Fallacies, Inconsistencies and Plain ^^Bull"
FEUX RAYMER
Yep, here I am again after something like
eight years' silence. Don't just exactly
know why I have been so quiet for so long
a time, unless it may be that I am a married
man and sometimes that plays a very im-
portant part in a fellow's life. But when I
received a letter from our handsome editor
asking me if I would not stage a "come
back," and send him something in the way
of an article, and he further added that
"ever}' once in a while he heard from some-
one who loves me," it caused my heart to
miss a beat, and I resolved to surprise him
(for I know he did not expect me to really
take him at his word), and send him some-
thing along the lines indicated in the head-
ing above. And right here, first of all, I
want to say that I think the last part of the
editor's letter was just "plain bull."
When one looks back over about thirty-
eight years* experience in a single profession
he realizes that there have been many
changes, and, on the other hand, if this pro-
fession happens to be photography, as it is
in my case, he realizes that there have been
dam few changes in some respects. So far
as the actual product of a studio is con-
cerned, one would be very foolish to claim
that there has not been a vast improvement.
But as far as the fallacies, inconsistencies
and plain bull are concerned, I must confess
that I see but blame little improvement. As
most of my readers will know, for about
eighteen or twenty years I was connected
with a college of photography, during which
time I did but very little actual practical
work of a studio nature. Prior to that time
I had been ever>'thing, from an errand boy
around a studio to a boss. But after having
served for so long a time in school work I
was somewhat doubtful as to whether I
could take my place again in the ranks of
photographers right oflF the bat. But I find
that there is but very little difference in be-
ing a boss nowadays from what there was
thirty years ago. True, we may be more
systematic and businesslike in our conduct
of a studio, but we had systematic men in
those days, and while we had slipshod men,
too, at that time, we still have them with us.
Yes, the business is on a better standing
somewhat in the community, but too often it
is the case that we are following in the foot-
steps of a gone generation.
For example, even as late as the present
day it seems that many of the boys seem to
think that they must live a life of apology
in the presence of their trade. We are too
often fearful that we will lose a customer,
if we stand right up on our hind legs and
assert ourselves. We are constantly saying
that the customer is always right. I don't
believe any such tommy rot. We know that
nine times out of ten the customer is always
wTong. Then why should we agree to
dance to his or her music? Be honest with
yourself and with your customer and speak
your little piece just as you feel it. That is
business and blame good business if you are
honest in it. We all know that w^e are deal-
ing with the very worst side of human
nature, for we are dealing with the vanity
of each and every customer that comes in
the house. If we do not make a picture that
is better looking than the customer, she or
he (yes, ten thousand times yes, men are as
bad as women) will want another sitting.
(And right here I am going to promise the
readers of this magazine an article on the
"resitting" problem some time in the future,
and it's DIFFERENT, too.) I do not be-
lieve in allowing a customer to play tag with
me. It is my business, and I expect every-
one to treat it as a business matter when he
or she comes into my place for a sitting.
If I incur expense, they must pa\ it and
I am going to see to it that they do. If the
photographer takes himself and his business
seriously he will impress his trade with the
same feeling. If he is dignified and attends
to his business in a businesslike manner, and
commands the respect of his trade he will
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Bulletin of Photography
receive it. If he agrees to every little foible
of his trade, and shoulders all the incon-
venience and expense of a lot of experi-
mental sittings and then allows his customer
to dictate terms he is going to lack the
respect of his trade.
One of the inconsistencies of the present
day, is the tendency of many to invest a lot
of money in fine studios and expect that
one thing to make them millionaires. A few
years ago we called it a galler\' ; now it is a
studio, and I must confess that I like that
better. But with the change of name came
the desire to really have a studio, and many,
to my way of thinking, have overshot the
mark and tied up too much money. I have
in mind two of my friends who have opened
each a studio representing an investment of
forty thousand dollars (hells, bells! if I had
that much money I wouldn't give it for ever\'
studio in America) and I have visited the
places and they are immense, fine, exquisite,
rambunctious, BUT, now gfet this: Get it, I
tell you, be sure you GIT IT. They arc do-
ing exactly the same grade of zvork that they
Zi'crc doing before they spent so much money
on their nice, pretty studios. In other
words, their studios are far superior to the
product that comes from them. They em-
ploy the same help, the same ideas, and
practically get the same prices for their
pictures, but the grade of work is the same
as that turned out of the old studio. Would
it not be more consistent to make the work
better so as to keep pace with the fine studio ?
Personally I have changed my ideas about
the big studios. (Oh, this is not sour
grapes, for I have one of the largest south
of the Ohio River), but I believe the time
will come when we will economize space,
work, strength, walking, and furnishings,
by having our studios more condensed. My
observation in the past eight years is that we
have two classes of studios, with a middle
class uniting the two. First, we have the
ultra-art studio w^here nothing but something
that actually smells of art is ever allowed to
pass out the door. Then we have the studio-
mill, where we grind out pictures by the
wholesale. I like that sort, and that is what
I have. Xot so high up in ART, but a little
longer on the green stuff that buys auto-
mobiles. But above all, no matter what sort
of a place one is conducting, he should give
the very best work that is in him. My idea
is to keep my work just a little bit ahead of
my studio, just a little better. As my work
improves, then let the studio step up a bit.
But for the love of Mike, don't let our
customers come into a palace and depart
disappointed in the work coming from that
palace.
A few years ago the magazines were full
of praise for this or that operator, showing
the work coming from him, giving him big
"write-ups," boosting him, and praising
everything he did. The operator was all of
it. He did the work of the entire studio,
none other had any right to even claim to
work there. Then all at once things
changed. Some chap riz up and said, "the
receptionist" is the whole cheese. She is
the one that brings in the money or she is
the most important personage in the studio.
Neither presumption is correct. Both have
their places, and both are important. But
much is claimed for and by the receptionist
that is foolisli as well as inconsistent. Just
a short time ago I had occasion to witness
an order being taken by a receptionist. The
sitter was a man of considerable reputation,
and well known all over the State. So the
operator had made several negatives of him.
When he first came in for his sitting he had
placed an order for twenty dollars. When
he came to see his proofs, I happened to be
present and watched with no little interest
the system of the receptionist. He placed
the proofs in front of his customer, and
stood silently waiting. At last the gentle-
man handed the receptionist one of them
and said, "finish me twelve of this," then
handed him another and said, "finish me six
of this." Then another and said, "six of
this also." And another and said, "three of
this." and so on. The receptionist had not
said a word. After the customer left, the
receptionist went to the boss and said with
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Bulletin of Photography
394
ft
u i
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392 Bulletin of Photography
A MOVIE ACTOR Karl Tausig
New York
Royal Photographic Society. 1920
Pittsburgh. 1920
Toronto. 1920
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Bulletin of Photography
393
a full chest, and large head, "I talked Mr. B
up to forty dollars on his order," and the
darn poor fish of a boss fell for it and in a
short time was telling me what a business
man he had for a receptionist. Now, say,
Rube, just listen to your Uncle Si for a
minute. I don't care a whoop how good a
receptionist you have, he or she is not worth
a tinker's cuss, if you haven't a good
operator, a good retoucher, a good printer
and good finishers. Get that, and let it
simmer. I believe in giving the receptionist
all that is coming to him or her, but remem-
ber, good work is the best clerk you can
have. A good receptionist cannot sell poor
work every day in the week for very long,
1>UT YEIA, Bo, a poor receptionist can sell
good work every day in the week, forever
and ever, amen. So be consistent. If you
have a humdinger of a studio, have hum-
dingers for workmen, and do humdinger
work, and get humdinger prices. Selah !
It seems that most operators think that
just so that they shoot up a lot of plates they
have done their duty. I believe in using lots
of plates — if one knows what he is using
them for. If he does not, he is just plain
foolish. In conversation with one of our
well-known photographers a short time ago,
he told me he had made 83 negatives of one
lady customer a few days ago. I asked him
if she paid him to make them. He said well
he would get a good order out of her. I
asked him if he knew what he was making
when he made each and every one of them.
He said well, no, but he wanted to make sure
that he would have enough to select a set of
proofs to show her. Just plain Bull. If a
fellow exposes a plate and does not know
what he did it for or what he was going to
get when he did it, he is not honest with
himself nor his customer either, for he is
leading that customer to believe that there is
something unusual about her and she expects
to see every proof, and if he fails to show
every proof, that customer is certain to be
disappointed. Mr. Operator know thyself,
and also know thy work so that you have a
confidence in doing things, and then don't do
anything without a reason. Don't waste
material, for it doesn't pay. The little leaks
in the expenses are the same today that they
were thirty years ago, in most of the
studios.
I notice that we still fly off after every
little fad or novelty and so on as we did many
years ago. Every once in a while some
ambitious chap pops up with a novelty in
lighting and expects to revolutionize the
world and send his name down to fame as
the inventor of *'some" lighting. The rage
now is the "spot" light (Yep, I have one;
know how to use it, too) and some of the
eflfusions made with it would give a fellow
the "willies" even if the country is dry. I
see many of them, and feel like taking a nice
clean handkerchief, and wrapping one comer
of it around a finger and sticking that finger
in my mouth and wetting it, and then trying
to wipe the spot off the lady's face. Now,
don't misunderstand me. I think the spot
light is a fine NOX'ELTY. But there is not
a blame grain of art to it nor anything made
with it. It's just what it's called — ^a spot
light. But for certain subjects, some ex-
quisite pictures can be made. But the
operator must use judgment in his selection
of a subject to use it on. Just as he must
use judgment in making any sort of a light-
ing of every subject. But to go into that
will take another article, and I may try to
take it up later. I believe in taking up any
novelty that will induce the dear public to
get reckless and spend some money. But
remember, that a novelty to be used suc-
cessfully requires a knowledge of the prin-
ciple; in this case the lighting. If one does
not understand the rules of light and shade,
he will not be a success as a spot lighter. We
may jump off after all these little fads, but
when it comes to the real meat and bread in
picture taking we have to come back to the
old time principles of light and shade after
all.
Well, there are other things that I would
like to take up, that are inconsistent and a
few fallacies and some bull, but I suppose it
will be better to let them pass for a time.
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Bulletin of Photography
Believe nie it's an interesting game studying
the situation after having been out of it for
a matter of twenty years. Yes, there are
some new things, but they will have to be
dealt with in another article, too. liut I am
back in again, and tickled to death at being
in. Never expect to quit the game again.
Our Legal Department
Dear Mr. Buckley. — I have just had
brought to my notice a matter on which I
wish your advice. It is the matter of copy-
righting a photograph of a prominent man
whom I once had a chance to photograph.
He gave me his consent to sell the pictures
whenever and wherever anyone wished to
buy them, and, as I thought that I was going
to be able to sell them, I sent two in for
copyright and then wrote across the face of
one that I sold, "copyrighted by myself" and
I just received a letter from him saying that
I had violated the laws of the land by writ-
ing the words on his picture for there can be
no copy of his photograph lying in the
Government office at Washington bearing
the copyright official seal without his
authority, and that he never gave nor was
asked for such permission. Now, I asked
for his permission to sell and he gave it, but
I did not ask him for permission to copy-
right same, did not think that it was neces-
sary. He is in British uniform and we will
call him Rev. John Smith, Church Missioner
Presbytery.
If I have committed any violation by so
doing, I did it unconsciously, and wish your
advice in this matter.
T. E. D.
Dear Sir. — Yours of the 2d is received
and carefully considered. You have a right
to copyright any photograph which you
personally make, with or wMthout the per-
mission of the subject. You are merely
copyrighting your own work, which, of
course, is your own affair and a matter in
which no one else can interfere.
The above is the law in cases such as I
understand yours to be, where the subject
of the photograph did not employ you in
the regular way to make the pictures. In
that case the right of copyright would be in
him. In cases where a photographer asks
permission of the subject to photograph and
does photograph him, without consideration,
the right of copyright is in the photographer.
Yours very trulv, t- t r>
t-. J. r>.
Dear Mr. Buckley. — Your kind letter of
March 4th just received regarding the
article which I wrote you through the
Bulletin of Photography, and thought
possibly I had not made it altogether clear.
The before mentioned Dr. Smith was in
this town, and I invited him, through our
local minister, to come in and let me take his
picture, which he did. I made several nega-
tives of him and made him a present of one
of each of the best ones, and never received
a cent for my work, and later I wrote and
asked his permission to sell his picture,
which he readily gave me. I, knowing that
he is a great man, decided that there would
be some demand for his pictures, and de-
cided to have same copyrighted, and sent
two of the best ones in for copyright. Wt-
fore I got returns, I received a letter from
a man in Indiana for the purchase of one of
Dr. Smith's photographs. I wrote and told
him my prices and got an order for one and
I wrote across the face at one comer, "copy-
righted by myself** and sent it after I got
returns from Washington. In a few days
I received a letter saying that I had no right
w^ithout Dr. Smith*s permission, hence the
reason that I wrote you.
A'oTi', what I wish to know at this time is.
after he has given his consent to me selling
them to whoever want them, and I have the
copyright, can he prevent me from selling
them as I choose, as long as I am decent
about it ; that is, I had hoped to sell them to
churches where he has preached, and to
people religiously inclined, who know him
and want his picture?
Dr. Smith wrote me that he had instructed
a newspaper to have a block made from the
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Bulletin of Photography
395
picture which I sent this man and to run
same ^in their paper. Now, could I get
damages from this newspaper company,
after he, Dr. Smith, had instructed them to
copy my copyriglited picture, which I had
sold to this other man whom Dr. Smith had
instructed to order from me?
I thank you, indeed, for your kind infor-
mation.
Yours very respectfully,
T. K. D.
Dear Sir. — Replying to yours of the 5th
inst., your right to have the picture copy-
righted under the additional facts which you
now submit, is clear. Dr. Smith not only
cannot prevent you from copyrighting his
photograph and selling it under copyright,
but he has no more right to sell it himself
or to make any use of it without your per-
mission, than a stranger.
Yours very truly,
E. J. B.
Developing Bromide and Gaslight Prints
"What is the best developer for bromide (excepting the soft grade) in one minute,
and gaslight prints?" There is no doubt The time of appearance of the image is not a
that it is the one recommended by the reliable guide, as it varies so much accord-
makcrs of the particular paper used, as they, ing to the quality of the negative used, and
knowing the exact nature of the emulsion, the temperature of the developer,
are able by careful experiments to arrive at There is one chemical in the developers
a developing formula that will bring put the that calls for special mention, and that is
best qualities of the paper. sodium sulphite. It is not a good plan to
Either M. Q. or amidol may be used with make up a stock-solution of this in bulk (as
equal success, and we append our own many amidol users do) and keep it any
fonnula with instructions for mixing. The length of time as it deteriorates in solution,
only alterations that should ever be made We, therefore, advise freshly-made sulphite
are, when necessary, to dilute the developer, solution for all developers. In order to ob-
and to increase the proportion of potassium tain blue-black images on gaslight paper
bromide. A well-restrained dilute developer some workers reduce the proportion of
gives fine warm-black colors on the soft potassium bromide, but we do not recom-
grade gaslight, and a well-restrained normal mend that less than 10 grains be used in 20
strength developer is the one most suitable ounces of developer,
for developing bromide prints to that METoL-HVDRogrixoxE developer
greenish color which gives such nice sepias (double strength)
in the hypo-alum toning bath. In both these Metol 16 grains or 2 grammes
cases the exposure must be on the full side, Hydroquinone .. .60 grains or 7 grammes
but printers should bear in mind that (ex- Sodium sulphite
cepting in special cases) correct exposure cryst 1 ounce or 55 grammes
followed by full development {i.e., develop- Sodium carbonate
ment carried on until the image ceases to cryst 1 ounce or 55 grammes
gain in depth) produces pure black images Potassium bro-
of fine quality especially suitable for sul- niide 20 grains or 2 grammes
phide toning. Xo useful purpose can be Water to make . .20 ounces or 1 litre
served by unduly prolonging development. In about 15 ounces of warm water dis-
indeed, it may introduce fog, but the solve the metol, then add the hydroquinone
practised printer will know by experience and sulphite, and when dissolved add the
when to stop development. Generally speak- carbonate and bromide. Make up to 20
ing, a bromide print should be fully de- ounces with cold water and bottle off in full
veloped in two minutes, and a gaslight print well-corked bottles.
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396 Bulletin of Photography
For bromides add equal volume of water avarice in friends and in gratitude extended
— for gaslight prints use full strength for to him for good works, who calls himself a
the vigorous and nonnal grades, but diluted failure because he hasn't been able to do
for the soft grade. more than he has. No one else calls him a
AMIDOL DEVELOPER failure. I know a man who has so many
Sodium sul- oodles of money (an oodle is more'n a
phite Ij4 ounces or 60 grammes minion) that he can't count it, who calls
Amidol 50 grains or 5 grammes himself a success, because he can buy and
Potassium bro- sell most men, whom his friends call a
mide 10 grains or 1 gramme failure because he himself has never done
Water to make 20 ounces or 1 litre anything, never produced anything, never
In about 18 ounces of tepid water dis- obtained anything, except money and what
solve the sulphite, then add the amidol and ^^ buys.
bromide, make up to 20 ounces and use ^ photographer can have more than one
within three days. Dilute only when de- definition of success. F'rinstance, I know
veloping prints on the soft grade gaslight ^"^ ^^ho is a huge success, measured by the
paper. — Rajar, Limited. dollars and cents standard. Makes a lot of
money, has a lot of customers, employs a
Am I a Success? lot of people. But if you measure his suc-
C. H. ci^UDY cess by his ability to make pictures, by his
Every man some time asks himself this, ability to make friends, by his ability to
Some men ask the question many times, make himself a factor in the community.
And, of course, the answer, be the question he's a poor failure. No one likes him, his
asked once in a lifetime or daily, depends labor turnover is large, and his pictures,
wholly upon w^hat the definition of success measured by either real photographic or real
may be. art standards, are punk-to-rotten.
If I ask myself, "am I a success," and my Per contra, I know a photographer who
definition of "success" is either the making runs a modest one-man business. He makes
or the prospect of making a fortune in ex- four or five sittings a day. Every one is
cess of Rockefeller's, then I must annswer carefully, even lovingly, made, just the very
"no." Most of us must answer in the nega- best way he can, and his very best is the
tive to such a question with such a definition product of much study, thought and effort,
as a premise. But one can easily fancy some It is his boast that once he has a customer in
wealthy man who has more money than he his studio, the customer never goes anyw^here
knows how to spend, asking himself if he is else. He doesn't charge as much as he
a success and answering in the negative, might, he never tried to commercialize his
because his definition of success reads, "one artistic ability by starting a chain of studios
who has made himself as famous as Roose- and hiring a lot of operators, and, financi-
velt." ally, he isn't a success at all. He makes a
Of course "success," as a generality, has comfortable living, has a flivver and belongs
no hard and fast definition. Our definition to a golf club, but one suspects him of hav-
may be totally different from Jim Smith's, ing his shoes half -soled. But any sane
and Jim's differs from Tom Brown's. And definition of success must include him, it
if Jim and Tom, and all our friends, have seems to me, because he is doing the job
one definition and we another, and we don't which is his lot in life, to his own satisfac-
measure up to their definition, then we are tion and the satisfaction and happiness of
not a success in their eyes even if we are in those for whom he works,
our own eyes. I know a minister, poor as There is much, too much, dependence
Job's turkey, wealthy beyond the dreams of placed on mere money in this world. We
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Bulletin of Photography
397
are all touched with the gold sign. Deny
it though we may, we do more or less wor-
ship cash, and are all too prone to measure
a man's accomplishments by what they can
be translated into in green-backs or a bank
account. And this, curiously enough, in
spite of the fact that the man we applaud
the most and venerate to the greatest extent,
are not men who make money. Neither
Midas nor Croesus are known to as many as
are Lincoln or Shakespeare. The man who
invents the process by which you read these
words was poor, and the scientist to whom
we owe the half-tone screen and the color
process of modern printing never made
enough to buy himself financial independ-
ence. Do you, does anyone, know or care
whether Daguerre was wealthy or poor?
His success was in what he gave to the
world, not in what the world gave to him.
I asked an old, old man who had
weathered all kinds of storms in life, what
he called success. His answer was that of
a sage and a philosopher, and it fits a photog-
rapher as a glove fits a hand.
*'Success," he answered, "can only be
measured in terms of the work one does. H
the work is well done, the man is a success.
H the work is ill done, he is not."
Is my work well done? Could I do it
better? Am I giving value to my customers
regardless of whether it be value for value
received ? When a woman brings a child to
me to picture, do I make such a picture of
that child as I would be willing to take be-
fore a jury of my peers in photography and
say, "this is the best which I can do?" When
a woman comes to me to be pictured, do I
picture her as she is, may be, should be, or
just her gown? Do I picture a man to
please his pocket-book or as his friends will
like to see him? Am I honest in my work
— not only in using good materials and
proper workmanship — but honest with life
and art and reality?
The answer to these questions is the
answer to the question which heads this
story. In any scale of values other than
monetary, success must be measured by
ability to do, not to acquire; ability to pro-
duce, not to amass; ability to create, not to
collect; ability to give, not to receive.
No man learns to do, produce, create,
give, in any line of endeavor, without work.
No man learns to be a really successful
photographer by studying only the business
end of his profession.
The man whose only interest in his game
is the collection of money for what he does,
can never be anything but a financial suc-
cess. And, while agreeing whole-heartedly,
that money is a mighty fine thing to have,
and that its getting is not always easy, it is,
after all, about the commonest example of
success there is. There are more people
who are successful in getting money than
are successful in any other line. For every
inventor who gives the world a printing
press or a flying machine, there are thousands
of wealthy men. For every writer who
produces a Hamlet or a Faust, there are
regiments of plutocrats. For every Wagner,
Beethoven, McDowell, there are myriads of
possessors of money. For every Rembrandt,
Whistler, Sargeant, there are any quantity
of payers of large income taxes.
Maybe because making a lot of money is
the easiest way to be what part of the world
calls a success, is why that part does call
that process successful.
But by real, not artificial standards, what
is your answer to the question ?
*
It is unwise to judge of anything by investiga-
tion of its defects. The first effort should be to
discover its excellencies.
TF you have any new photographic
-■■ ideas or methods that you believe
would interest readers of the Bulletin
of Photograqjhy, send them in.
Ideas and contributions will be
paid for.
BULLETIN-OFl
photography!
Philadelphia, Pa.
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Bulletin of Photography
About Posing
A good deal is written about posing the
figure, but a good deal of the suggestion and
admonition vouchsafed tends to perplex
more than to help towards getting a natural
unconstrained presentation of the model.
One great consideration is overlooked
when instruction is given for the proper
pose, and that is the necessity of getting
what may be called natural balance, or,
better, the ** resolution of movement."
Vou know, how even in the work of our
best portraitists, we frequently see a
tendency to rigidity in the repose, as if the
model at the last moment had been requested
to brace up, to look animated. Now,
**natural balance" exhibits none of this. It
is rather a presentation of muscular repose.
Whatever passion or emotion may be con-
veyed by facial expression, unless it be
accompanied with consistent equipoise of the
figure, there is registered^ a palpable contra-
diction. The face says one thing, the body
expresses another — and the intention of the
artist is necessarily misconstrued.
Hence, to represent with truth the relative
degree of muscular activity, the pose of the
body must be in conformity with the pose
of the head, and interpretative of the
expression.
Look at a picture of some of the great
painters, Raphael and Titian, for instance,
and you note this inevitable unity of purpose,
how all the parts of the body, even the
hands and feet, are in perfect accord with
the head and facial expression. So do the
great sculptors. Look how they show
diversity of action with energy of feeling,
Rubens delights and astonishes by his simu-
lation of movement, but when we look at the
faces we are disappointed by the want of
accordance. How careful were the Greeks
to avoid the tendency to the dramatic.
Their art was the ordered evolution of the
natural faculties under the strict control of
a well balanced mind. ** Nothing too much
— ." Their statues of the gods were the
concrete reproduction in form, feature, ex-
pression, drapery and pose of their concep-
tion of the ethical and intellectual qualities
of which they were symbolic.
To appreciate this natural accordance of
parts to unity of expression presupposes
considerable ability on the part of the artist
— that is, the painter, because he must have
the skill to manually reproduce, but with the
photographer the ability to recognize the
accordance is all that is necessar\', and this
is the reason why we see, at the present time,
so much better portraiture by photography
than by painting. The camera lends its un-
erring skill to the photographer.
Natural pose or grace of figure may be
seen in the delicate flexions of the head upon
the neck, and yet how often does the photog-
rapher destroy nature's pose by his conven-
tional turn he gives the head to confonn to
some set instruction. Again, this natural
balance is seen, also, in the flowing lines of
the arms, the rising or falling, advancing
and retiring of the shoulders, in the facility
with which the body turns on hip axis and,
besides, in those gradual changes which take
place all over the body to preserve its
equilibrium. But instead of noticing all this
and taking advantage of what nature
furnishes, the photographer will enquire for
the best book on posing the figure. He
wants a cut and dried method and feels that
his patron tells him the pose looks con-
strained.
H the photographer wants instruction in
posing we would refer him to the distin-
guished painters of portraits.
They have left us most valuable examples
of every kind of draped figure, but even with
these before him, he must not servilely copy,
but intelligently study to get at the funda-
mental principles on which the great painters
work, and by constant reference to nature
and due consideration of the demands of
his own art, get at their import and never
tr>' to force the figure to conformance to
some particular example which he thinks
most worthv of imitation.
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399
P. A.^LitiLM. A. S.
THE "BABY NATIONAL" CONVENTION BALTIMORE, APRIL 18th
ONLY EIGHTEEN MORE DAYS
The value and significance of conventions
goes without saying, but this much may be
vouchsafed, at any rate: The value is de-
pendent upon those who project them, and
those who propose to take advantage of
what is contemplated want to be assured
that they will be compensated for the trou-
ble and expense incidental upon attendance,
and the assurance of this is estimated by
the ability of those who inaugurate the
scheme. The reputation of the Photogra-
phers* Association of the Middle Atlantic
States is warranty sufficient that the issue
will be eminently successful.
It inspires confidence that the return for
the expenditure will be ten, twenty or thirty-
fold in profit.
We have received from the President,
J. W. Scott, an interesting letter of the per-
formance, from which one feels assured
that it would be simply a piece of folly to
stay away — a bad business move — a false
economy.
The program has been completed and will
l)e devoutedly carried out. The manufac-
tures' exhibit will be a revelation, something
never before attempted at any previous con-
vention, the Milwaukee Convention not
excepted.
The opening demonstration will be "Home
Portraiture," with a moving picture outfit
filming the method of making the demon-
stration, and the results shown directly on
the screen before the close of the
convention. ^
This is the first time anything of the kind
has been attempted at a convention and cer-
tainly will prove a drawing attraction.
Every phase of the use of electric light
will be practically exploited: open arc,
Mazda, spotlight, flashlight. This is an edu-
cational asset alone. An expert from the
National Electric Light Co. will be in
charge, who will give direct information and
advice in regard to installing and operation
of the electric light.
The drapery demonstration, by L. J.
Buckley, promises to go beyond all former
demonstrations of the kind.
Don't forget Jack Garo is going to be one
of the judges, associated with Howard D.
Beach.
Pirie MacDonald will give us one of his
stirring and eloquent talks on "W^ork and
1921 CONVENTION DATES
Place
Date
Middle Atlantic States
Baltimore, Md.
April 18-21
L. L. Higgason, Asheville, N. C.
South-Eastern
Atlanta, Ga.
May 16-19
J. C. Deane, Rome, Ga.
P. A. of A. (International)
Buffalo, N. Y.
July 18-23
J. C. Abel. 421 Caxton Bldg.
Cleveland, Ohio.
Ohio-Mich.-Ind.
Winona Lake, Ind.
August 15-19
Fred. Bill, 746 Euclid Ave.
Cleveland, Ohio.
New England
Dates not yet settled.
A. K. Peterson, Pres.
Hartford, Conn.
North-Central
Minneapolis, Minn.
October 3-6
J. R. Snow, Pres.
Mankato, Minn.
Pacific North- West
Vancouver, B. C.
August 2-5
A.T. Bridgman, 413 Granville St.
Vancouver, B. C, Canada.
New York State
Postponed until 1922
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400 Bulletin of Photography
But it was J. N. Niepce^ another Fretichinan, who gave most to the
art of photography, including its name. In 1818 he produced a negative
image on transparent paper by a six-hour exposure and then printed the
positive on silvered copper plates. Later he originated the present process
of copper-plate engraving. In December 1829, Daguerre entered into
partnership with Niepce and in 1835 discovered that iodine fumes exposed
to his silver plates reduced the time of exposure to thirty minutes. The
open flask of mercury supplied the means of development. This was the
Daguerrotype process which made his name immortal.
In the photography of today, HAUOloVhotopaphicVapers stand for all
that simplicity, uniformity and dependability can mean to the users of
photographic papers. They are made under ideal conditons, by men
and women who know the exacting requirements of discriminating
photographers.
Let us stnd deseripHve booklet
l-^r 7 he HALOID Co. «,°^°^
ROCHESTER '. NEW YORK
The HALOID Co.
ROCHESTER '. NEW YORK
HALOID
MiUtUmu in Progre** of Photooraphv — Series Three
Please Mention Bulletin of Photography When Writing Advertisers.r^r-^r^r^T/>
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Bulletin of Photography
401
Which Plate Should You Use?
Photographers are eicactfaig in their demands of plates. In order to produce
the best woric, they must have a plate especially designed to meet their
individual needs. Your plate is listed below:
SPECIAL "XX" An extra fast Portrait or speed plate.
SPECIAL An all-around Studio plate.
COMET For Landscape and Copying.
POSTALS A 6ist plate for Postal work.
COMMERCIAL For Commercial photography.
COLORNON A Color plate rendering Orthochromatic vahies.
CONTRAST LANTERN SLIDE . Producing brilliant Lantern Slides.
PAN ORTHO A Tri-Color, or Pan Chromatic plate.
PROCESS For all Commercial Process work.
CENTRAL X-RAY An X-Ray plate of the highest radiographic quality.
NON- HALATION A Double Coated plate eliminating Halation.
PAN ORTHO D. C A perfect double coated Pan Ortho plate.
Order from your dealer — today.
CENTRAL DRY PLATE COMPANY
NEW YORK
ST. LOUIS, MO.
SANFRANaSCO
Smile." This alone ought to take you if
you are hesitating.
A. H. Diehl will talk on "Limitations and
Service." You should send all your em-
ployees to hear him. It will pay! Diehl
knows how to talk straight to the subject.
George W. Harris, another good talker,
will discuss "Business Success."
The talk on "Art" will be by Alon
Bement. Director of Maryland Institute of
Art and Design, an artist greatly interested
in pictorial photography.
Commercial photographers will have a
chance to hear Howard Webster, of Chi-
cago, on "Costs and Bad Practices."
Grant Leet, of Washington, will talk to
the commercial men on the benefits of
organization.
Then there is the competition exhibit,
which gives a grand opportunity for com-
parison and self-analysis, and we anticipate
here great opportunities. We have, of
course, no definite means of saying any-
thing till it is accomplished.
Pictures should be sent to Geo. J. Kos-
suth, care of Hughes Co., 205 West
Fayette Street, Baltimore, Md. Three pic-
tures make an entry. There will be no
ratings or prizes.
The ten most meritorious pictures in por-
traiture and the best five in commercial will
be awarded Certificates of Merit.
Our entertainments on April 18th, 8 p. m..
Southern Hotel ballroom — reception, enter-
tainment and dance. We expect most of
this entertainment to be provided by
members of the craft.
Tuesday afternoon, an auto ride for the
ladies through Druid Hill Park, Guilford
and Roland Park sections, and then through
the beautiful Green Spring V^alley. This
ride goes through one of the most beauti-
ful sections of these United States, and at
tips time of year is alone worth making a
ttip to Baltimore. On Wednesday, we
make an inspection trip of the harbor on
one of our city ice boats. During this trip
one of our fire boats will give us an exhibi-
Please Mention Bulletin of Photography When
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402
Bulletin of Photography
Worth Its Weight in Gold'
SAYS A PROMINENT
PHOTOGRAPHER OF THE
SCREEN
PATKNTK^ JUNK IS. 1»aO
Does work, while you are lookinir on, that no expert neirative retoucher can equal. Sent complete with combination
(pink) fllm that produces results. 6x7 inch $5.00. 8x10 inch $8.00. 16c. in stamps for sample photo.
THE ARTOGRAPH SCREEN CO. BOO FlPTH AVKNUK, NEW YORK
tion. We shall stop on the spot where
Francis Scott Key wrote our national an-
them, a place every American should visit
at least once. We shall see the flag flying
from the same spot as the one Key saw "By
the Dawn's Early Light.'' Thursday night
we wind up with a big cotillion at the South-
ern Hotel — oceans of real fun. We'll for-
get all al)out business on this occasion and
just break loose. No soup clothes, abso-
lutely informal. Incidentally, if any one is
so unfortunate to come alone, we are going
to have enough regular Baltimore girls on
hand to go around. NolK)dy need be lone-
some. Higgy has sent out our hotel
list, and I advise everyl^ody to make early
reservation. j ^y ^^^^^
President.
Mrs. Odell to shopman — *'If you will cut me a
small sample of this I will find out from my
dressmaker how many yards I need, and can send
for the goods by post." Little Johnnie — "Why,
mamma, that's just what vou said in all the other
shops !"
The Pro and Con of Cancelling
Orders
My observation is that for the last two or
three years there has been a perfect satur-
nalia of order cancellation in all lines of
business. During the first part of that time
the demand for stuff greatly exceeded the
supply, and the cancellation was mostly done
by the seller, sometimes because he could sell
his goods in a better market. For the last
several months the buyer has been doing
most of the cancelling, because the bottom
has dropped out of the markets, and the
buyer preferred to unload the burden on the
seller.
Undoubtedly it is convenient and eco-
nomical for the party who benefits by it to
cancel an order that has gone against him,
but it certainly does not make for good busi-
ness. It would, in my judgment, be a good
thing in the long run for ever)'body if all
order blanks bore the words, "Not subject
to cancellation."
HIGGINS'
THE KIND YOU ARE SURE TO USE
WITH CONTINUOUS SATISFACTION
PHOTO
MOUNTER
PASTE
At Dealers' Generally
CHAS. M. HIGGINS & CO^ ManufactuNn
271 NINTH STREET, BROOKLYN, N. Y.
Branches: Chicago. London
Please Mention Bulletin of Photography When Writing Advertisers
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Bulletin of Photography
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I am constantly receiving letters on the
law of cancelling orders. The following
letter conies from an Ohio concern:
We wired the X Co. to cancel our
order for bottles and return our trade
acceptance, as we had thought we
would be unable to handle the propo-
sition, and wanted to drop it.
In answer to our wire the company
wrote us that the goods had been
shipped and it was too late to accept
our cancellation.
The date of this letter was April 16th,
and with embargoes in eflfect at almost
all points at that time, we knew the
goods had never been shipped, and even
at this date we have never received nor
heard any more about the goods being
shipped.
The company has made several at-
tempts to get the money for the trade
acceptance, but we did not think that
we should pay them, especially since we
have never received the bottles.
Will you kindly give us the dealer's
rights in this matter and tell us whether
or not the dealer can be forced to pay
for the acceptances?
In most lines of trade this custom of
allowing free cancellation of orders has
grown up. but it seldom goes so far as to
allow cancellation after the order has been
paid for by giving a promissory note in pay-
ment, for that is practically what a trade ac-
ceptance is. Still in some cases it even goes
that far, the only real condition being that
the goods must not have been shipped. If
they have been shipped the order cannot be
cancelled.
In the case submitted the question is one
of fact : were the goods shipped prior to
cancellation? If yes. the order is not sub-
ject to cancellation ; if no, it is. But a trade
acceptance having been given, a new question
is introduced : has the acceptance been in-
dorsed over to somebody else? If it has that
somebody else can collect it. and this corre-
spondent might then just as well take the
GRAF
Super-Anastigmats
npHE enthusiasm with which Graf
* Lenses have been received by
the photographic world is confirma-
tion of what we said in announcing
them a year ago: * 'American made
lenses are at last available, which,
in every respect equal and, in some
respects, surpass the finest lenses of
foreign lands.**
We will gladly send literature
about them.
F:^.5 F:6..i F:7,o F:S procMtg.
GRAF OPTICAL COMPANY
306 AiMrico Bldf . Soith Bend, bd.
"A Manual full of good wholtMome material
and a valuable reference hook for every mem'
her of the profeeeion, hig or little."
How to Make a Studio Pay
BY FRANK FARRINCTON
CONTENTS
The Man and the Location
Buying and Arranging the Stock
System in the Studio
The Treatment of Customers
How to Know the Profits
Credit and Collections
Developing the Side Lines
Advertising You Can Do
Business-Getting Schemes
Cloth Bomi Price, $1.50, Net, Postpaid
FRANK V. CHAMBERS
PUBLISHER
636 S. FRANKLIN SQUARE, PHILADELPHIA
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Bulletin of Photography
SPL-
Send for booklet explaining "control
at foil opening" and giving names of
some of the prominent users of the
STRUSS PICTORIAL LENS.
Box 303
Frederick W. Keasbey
Morristown. New Jersey
VICTOR OPAKE
AN KXCKLLKNT PMPARATION FOR BLOCKING
OUT ON NKQATIVES. IS IN SMOOTH. MOIST
FORM— WORKS UP KASILY— DOBS NOT CHICK,
CRACK OR PHL. WILL WASH OFF WHKN DBSMBD.
No. 0-% OS. jar - - 25 cents.
J. H. Swtk ft SoM Co. , 3544 Cottaffe GroTe Ave. , CUcMo
Burnet's Essays on Art
The standard Art Book of the world.
A reprint — better than the original
edition — $2.00; Postage 15 cents.
F. V. CHAMBERS, 636 Fraaklia Sqaart, PkiUMpkia
FOR BEST RESULTS USE A
Packard-Ideal No. 6 Shutter
Operated at 1/25 of a second. In connection
with a high-power light.
MICHIGAN PHOTO SHUTTER CO., Makers
A«Jk voor DmaUr. KALAMAZOO. MICH.
**Dependahle Service''
ENLARGEMENTS
OF THE BEST— and on time.
Ask for our price list.
Photo finishing for the trade.
Photographers' Portrait Service Co.
110 South Wabask Ave.
CHICAGO, ILL.
A$k your neighbor about our Conventiort Exhibit
THE LIGHT THAT TURNS
NIGHT INTO DAY
Tlie famous PROSCH SUNLITE FLASH
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goods, for he will have to pay for them any-
way. But if the acceptance still remains in
the hands of the seller of the goods, and the
goods have not been shipped, he can legally
cancel and demand the return of his accept-
ance.
Here is another letter from a New Jersey
correspondent, also on the subject of can-
cellation :
Bros., wholesale grocers of
Newark, N. J., bought from us a load
of merchandise, amounting to $600,
during the month of June, for which
they were to call in a few days after the
date of sale. Terms, ten days net. This
sale was made through a broker, to
whom we wrote that the buyer had not
called for their merchandise, and time
for storage would shortly expire.
Broker wrote back to me stating they
had communicated with the buyer, who
had asked to have the sale cancelled
because they were unable to handle the
goods. Since the date of sale the value
of this merchandise has declined some.
Could the buyer be held to the sale
under the above conditions?
This case is typical of most of the cancel-
lations by buyers: the market declines be-
fore shipment of the goods and the buyer,
of course, cancels. In most cases the seller
has allowed him to, and so it becomes a
course of dealing and is binding.
In the New Jersey case there were a num-
ber of questions, such as whether it was a
valid sale in the first place. As a matter of
fact, it was not, because it did not comply
with the New Jersey law that no verbal con-
tract for the sale of personal property worth
over $500 is valid unless the buyer takes
part of the goods, or pays for part of them
or gives some earnest or token to bind the
bargain. But I am not discussing that phase
of the case, I use it merely to show what an
easy and casual thing it has gotten to be to
buy goods and then, when things go against
you, to throw the deal up.
If this had been a valid sale, and the
parties had never dealt together before or
Please Mention Bulletin of Photography When Writing Advcrtisers^r^ t
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Bulletin of Photography
405
BEATTIE'S
Hollywood Hi-Lite
INCANDESCENT TYPE
This new spotlight is equipped with
a specially made 400 watt, photo-
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and projects a pure white light — a
veritable *'beam of sunshine under
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The light may be focused to dom-
inate a 5000 watt ''floodlight" or
subdued to harmonize with weak-
daylight.
The weight is but 10 pounds, and
the price $65.00.
Send for beautifully illustrated booklet,
"The Spotlight in Photography."
BEATTIE'S HOLLYWOOD mUTE CO.
1645 Hndsoa Avf. HOLLYWOOD, CAUF.
done a lot of mutual cancelling, then this
order would not have been subject to can-
cellation, and the seller could recover his
damages.
A wholesale cotton dealer told me of a
recent case which shows how completely all
rule disappears when one has made a deal
which goes wrong. His firm sold an order
to a Pennsylvania buyer at the then market
price. While the goods were en route, the
market dropped and after the buyer had
them in his possession he wrote, "Unless you
reduce the price on these goods, we won't
keep them.'' In this case there was not the
slightest moral or legal obligation to reduce
the price, because the goods had been
shipped and delivered, but a concession was
nevertheless made in order to please the
buyer.
(Copyright by Elton J. Buckley.)
The Baltimore Convention — The
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406 Bulletin of Photography
BIND THE BULLETIN OF PHOTOGRAPHY
THE only Magazine Binder ever invented that will quickly and
securely bind each issue as published and bind one magazine
or a complete file without in the slightest manner mutilating
same, such as punching a hole in the magazine, gluing, lacing, or
in some manner attaching something to it. No strings, clamps,
springs or locks used. Retains at all times the appearance of a
neat and substantially bound book and the magazines are just as
substantially bound as a regularly bound book no matter whether
there is only one magazine in the Binder or a complete file,
C Nothing complicated, nothing to get out of order. A child
can use it correctly. Every Binder is thoroughly examined be-
fore shipment and guaranteed to be as represented.
C The Binders hold 26 copies (6 months) of the Bulletin of
Photography and resemble the loose leaf ledger binders, only
each copy is held in place with a flat steel rod fitting on pins,
holding every copy in its proper place.
C We've used these Binders in our own office for the past seven
(7) years and say that they are the best that money can buy.
Will last for yean.
Over 400 sold and
not a complaint
Price $2.00, Postpaid
Money back if you don't like them.
FRANK V. CHAMBERS, 636 S. Franklin Square, Philadelphia
Getting Results from Your Advertising
MRS. H. H. DENISON
Are you getting results from your adver- tell the mothers how good a time it is to
tising? If not, there must be something have the children's pictures taken, so easy
wrong with your advertising, your goods or for them to bring the babies in then, etc.
yourself. Generally speaking, all advertis- Tell the fanners, if you do that kind of
ing must be honest, attractive, readable and work, that this is just the season for a pic-
convincing. Photographically speaking, it ture of the farm home and surroundings,
must be all this and much more. Remind the amateurs, if you do finishing.
Your goods diflfer from those of the that "vacation days are Kodak days."
merchant in that people must buy food and Second, make your ads readable; short
clothing, yet can live without pictures, and to the point, but attractive. Give the
Therefore, your advertising must create a reader a reason for having his photo taken,
desire and demand for pictures. There will This done, convince him — but don't tell him
be comparatively little of either until created ; — that he can get the best service at your
or, if your business is all you can reason- place. Then prove it to him when he comes,
ably ask it to be without advertising, Then, last but not least, advertise steadily
judicious advertising will double it. if you want results. Only this kind counts.
If you are just starting in a place, adver- The only way to know if your advertising
tise. If you have been there twenty years, is paying is to watch results. The above
still advertise. It is the continued advertis- system of advertising has been closely fol-
ing that counts, provided it is the right kind, lowed in one certain studio for years. Such
Now, as to the right kind : First, make it direct and immediate results have been
seasonable. For example — in the summer show^n that when preparing his weeks' ad-
. Google
Please Mention Bulletin of Photography When Writing Advertisers
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Bulletin of Photography
407
vertising. the "Boss" will sit down and
soliloquize thus: "Well, it's getting just
right now to photograph the children, so
here goes for 'children ads'." Then, his
special samples of children are placed handy,
everything made ready, the ads appear and
the children begin to come.
This past winter, after the holidays, when
the supposed "dull season" was about to
begin, the "Boss" decided to make framing
the thing to knock the dull season out.
(There is a framing department in connec-
tion with this studio.) Accordingly, adver-
tising was carried for oval frames and for
frames made to order. Orders came and a
common remark was, "I saw your ad," etc.
One lady cut the large ad from the paper
and wrote the order in the space of the ad —
the "Boss" believes in lots of space, even if
it does have to be paid for.
These same ads brought an order from a
new doctor just moving in from the cities.
He had several frames to be made for his
office, but expected to leave his order in the
city, but after reading the ads, the "Boss"
got the job.
Does advertising bring results? Those
who have tested it thoroughly say "Yes."
But you must make your advertising timely,
truthful and attractive and of the kind to
create a desire and a demand for pictures.
Then, keep on advertising until results come.
Gainsborough laid down the following rules
for portraiture: "First pick out in your model
the most striking detail ; the expression, or the
hand, or the mouth, or even the feather in the
lady's hat. Then pass on to some other detail.
When you have thus fixed all the details, try to
unite them in a harmonious whole."
"What beautiful things are made of celluloid,"
said a lady to a shopman ; *'do you think you
could fashion a pipe out of it?"
"Why. madam," exclaimed the shopkeeper,
aghast. "don*t you know that — "
"Oh, I don't care what it would cost," she in-
terrupted. "I want to give it to my husband as
a birthday gift."
BACK TO THE OLD PRICES
ORIGINAL
"AGFA"
PRODUCTS
GLYCIN
16 oz. $10.00
8 •' 5.25
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16 oz. $2.00
8 " 1.10
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AMIDOL
16 oz. $10.00
8 " 5.25
4 " 2.75
1 " .75
ORTOL
16 oz. $10.00
8 " 5.25
4 " 2.75
1 " .75
ElKONOGEN
16 oz. $10.00
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100 grams $2.25
50 •* 1.50
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-AGFA-
FLASHLAMP
$2.00
SAGAMORE CHEMICAL CO., Inc.
120-122 West 31tt Street NEW YORK
SOLE AMERICAN DISTRIBUTORS
A NEW EDITION
WALL'S
Dicdonary of Photography
—loth Edition-
Ready for delivery
TOO Pages :: 2000 References
Revised and re-written with full
explanatory text.
$5 per copy — post free.
FRANK V. CHAMBERS
Tradk Aqknt
636 South Franklin SQuare
Philadelphia
Please Mention Bulletin of Photography When Writing Ad
Ivertisers. C"^ r\r^r%^o
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408
Bulletin of Photography
Classified Advertisements
MISCELLANEOUS
Read the ads, that follow
QaMlllMl AdTerdslnft Rates— For Sale. Rent. Exchange and
MieceUaneoui advertbementt. Minimum charge, $1.00 for
thirty wordB; additional words. 3 cenU each.
Halp Wanted— Two insertions of twenty-one words, minimum
charge. 50 cents; additional words, 2 cenU each. Cash must
accompany order.
Sttnatlon Wanted — Twenty-one words, one time, free. Addi-
tional words. 2 cents each.
No diaplay allowed — Caah most b« ttnt with order,
Diapkiy adTortlslng rates sent upon request.
Copy musi be plain and distinct.
To secure insertion. advertisemenU must be received by 9
A. M., Tuesdays, one week preceding date of publication.
DO YOU WANT A POSITION ?
Read the ads, that follow
Wanted at once— Good printer, retoucher. Ideal
climate and working conditions. Permanent
position. Your advancement depends on your
ability and co-operation. The Woodward Studio,
Inc., 21 West Adams Street, Jacksonville, Fla.
Where can I find a good fellow who wants a
position in a photo business in view of owning it?
Address— 948, care of Bulletin of Photography.
DO YOU WANT AN EMPLOYEE ?
Read the ads. that follow
Position Wanted — Young man (single) who has
had fifteen years' studio experience (all-around),
with exception of retouching, wishes to locate with
some reliable studio; can furnish reference. Ad-
dr ess R. S., Lock Box 113, Mansfield, Pa.
Position Wanted by lady, all-round assistant;
several years' experience; also retouching. High-
class small studio only. Address No. 952, care of
Bulletin of Photography.
DO YOU WANT TO BUY, SELL OR
RENT A STUDIO?
Read the ads, that follow
Wanted to Buy — Good studio, preferably in
Michigan. Give full particulars in first letter.
Cash deal. Address— 947, care of Bulletin of
Photography.
For Sale— $1000 cash and $500 on terms buys
well equipped one-man shop. Monthly profit over
$300, steaaily increasing. Old stand, low rent and
very large stock. Other business makes sale neces-
sary. Matzen, Photographer, Plainfield, N. J.
For Sale — Eight-room studio including two large
dark-rooms and living rooms, all modern; doing
fine business in high-class portraits and amateur
finishing, four large tanks for developing and fixing;
perfection system. Two-y^ar lease on studio and
living rooms at the low rent of only $25 per month.
Kodak finishing now running from $150 to $200 per
week, business well worth five thousand; for quick
sale will take ($2500) two thousand and five hun-
dred cash. A complete Florida home and business
ready to step in. Act quickly if you want a snap.
Finest climate in the world. W. V. B. Mullikin,
Fort Lauderdale, Florida.
For Sale — One 5x7 Speed Graphic camera, one
plate holder and carrying case — all in the best
condition, or as good as new — for $75. One 5x7
Auto Graflex camera, three plate holders and carry-
ing case, in fine condition, for $75. R. O. Bennett,
1042 Main Street, Bridgeport, Conn.
For Sale — One 100- name National Cash Register
Credit File; one 5x7 Verito Diffused Focus Lens;
one Wold Air Brush Outfit complete, except tank.
The Way Studio, Oskaloosa, Iowa.
North — "Has Marjorie any education along
musical lines?"
West — "I should say so ! Name any record and
she can tell you what's on the other side I" — Car-
toons Magazine.
Reliable Photo Sopply Houses
JOHN HAWORTH COMPANY
(BMtmmn Kodak Co.)
1020 Chestnut Street, PhiladelpliUi
THE H. LIEBER COMPANY
24 W. Wathinftton St. - Indianapolis. Ind.
Western Photo & Supply Co.
Pliotograpliers* & Plioto En^raTers* Supplies
328 W. Madison St., Oiicato
WILLOUGHBY "?,^Vork''
ETerytliintt Used in Pliotography
SWEET, WALLACH & CO.
(BMtniaa Kodmk Co.)
133 North Wabash Ave., Chicago, 111.
SUSSMAN PHOTO STOCK CO.
223-225 Park Avenue, Baltimore, Md.
Norman-Willets Photo Supply
— INCORPORATBD^
5t2-5t3 LB MO YNB BLDG. r< o t r> a r^ /\
18f N.WABASH AVE. CtllCAOU
ZIMMERMAN BROS.
(Baftman Kodak Co.)
38S-3S4 Minnesota St., St. Paul, Minn.
HYATT'S SUPPLY CO.
417 North Broadway, St. Louis, Mo.
STANDARD PHOTO SUPPLY CO.
(Battman Kodak Co.)
125 Baronne St., New Orleans, La.
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Bulletin of Photography
409
What's Doing in Photography
S. E. Moore has opened a new studio in Red
Bluff, Calif.
H. W. and Emory F. Smith, brothers, have
opened a new studio in Auburn, Wash.
Benjamin H. and Samuel Oxman have orga-
nized a new studio in White Plains, N. Y.
The studio of Harvey S. Greene, Providence.
R. I., was badly damaged by fire on March 13th.
Judson Smith, of Richmond, Va., has moved
to Fredericksburg, Va., where he has opened a
new studio.
Carl Schlotzhauer has moved from I^ncaster,
Pa., and opened a new and up-to-date studio in
Baltimore, Md.
F. A. Withers, Pratt, Kans., has purchased the
studio of Mrs. Hugh McSpadden. Mrs. McSpad-
den is selling because of poor health.
Aufenger & Dunn, for the past four years with
Underwood & Underwood, Washington, D. C,
have opened a studio in Roanoke, Va.
Incorporated: The Cleveland Photo Products
Company. Cleveland, Ohio; capital, $25,000; F. E.
Oiler. W. J. Claxton, M. Hird, F. Urban and
L. G. Nicol.
"Can you tell if there is any Saxon work in
this church?" asked an antiquarian. "Why, bless
yer, sir,*' replied the old native, "I be the Saxon
myself!"
OBITUARY
FRANK JAY HAYNES
Frank Jay Haynes, first official Yellowstone
Park photographer, died recently at his home
in St. Paul, Minn. He was 68 years old. Mr.
Haynes completed his 40th consecutive season in
Yellowstone National Park last year. Surviving
Mr. Haynes are his widow, daughter, two sons,
G. O. Haynes and J. E. Haynes, who succeeded
his father as official photographer in 1916.
OSCAR G. MASON
Oscar G. Mason, for fifty years a professional
medical and surgical photographer in Bellevue
Hospital. New York City, and until recently pho-
tographer of the unidentified dead in the Morgue,
died March 16th in the hospital of lobar pneu-
monia. He was 91 years old and lived at 211 West
80th Street.
Mr. Mason became connected with Bellevue
Hospital as a photographer in 1856. When X-ray
photography was introduced in 1897 he was made
the hospital radiographer. In 1906 he resigned.
Up to the time the Bureau of Unidentified Dead
was established at Police Headquarters, Mr.
Mason took photographs of the unclaimed dead.
He also maintained an office at 333 East 26th
Street and specialized in telescopic photography,
taking astronomical pictures.
Mr. Mason was admitted to the hospital suffer-
ing from hardening of the arteries. He is sur-
vived by a wife, his second, and by a daughter.
WHEN IN DOUBT
Use Hammer Plates!
They will score the largest
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Speed and reliability, they
can't be beat.
SPECIAL BRANDS for SPECIAL NEEDS
Hammer't Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and ttadio work, and Hammer't
Extra Fast Orthochromatic and D. C.
Orthocbromatic Plates for color values.
RE6. TRADE MARK
Hammer Dry Plate Co.
OHIO AVBNUB AND MIAMI STRBrr
8T. LOUIS. MO.
A RARE CHANCE TO
SECURE NUMBERS OF
"Camera Work"
C)NCBDBD to be the handtomett magaxine everimb-
liihed for loven of photographic art. The magasinet
are made up of pictures (with a little descriptive text)
from photographs Ulcen by those famous and original
in photography.
Many of the fine photogravures contained in Camif
Work cannot be replaced, and all of them are worthy of
framing. Many of the editions command three to four
times their original publication price. We can supply
copies of the following issues at $1.35 per copy, postpaid.
PlcUs by
. Frederick H. Evans
. Robert Demachy
, Gertrude Kasebier
David Ocuvius Hill
. Bduard J. Steichen
, George H. Seeley
, Frank Eugene
J. Craig Annan
Alfred SteigliU
David Octavius Hill
Baron A. de Meyer
Julia Margaret Cameron
Specials Nos. 2 and 3. suiuble for art students, will be
mailed at 90c. per copy. Cubistic — not photographic.
Volumt No.
4 .
5 ,
10
11
22
29 .
31
32
36
37
40
41
DMt*
. October, 1903 . .
. January, 1904 . .
. April. 1905 . .
. July. 1905 . .
. April. 1908 . .
, January. 1910 . .
. July. 1910 . .
. October. 1910 . .
. October. 1911 ..
. January. 1912 . .
. October. 1912 . .
January. 1913
Wf}!"
1913
f Cesanne, Van Gogh.
' \ Picasso. Picabia
FRANK V.
636 Franklin Square
CHAMBERS
Philadelphia
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410
Bulletin of Photography
THE
Commercial Photographer
By L. G. ROSE
148 Pag9$
85 IUu$tTation$
Price, m doth,
$4.00 per copy.
Pottage 15 cents extra.
A work by a thoroughly
competent and widely ex-
perienced commercial pho-
tographer of the highest
reputation.
Every branch of the sub-
ject treated with a view for
presentation of the essen-
tials. The varioXis appliances discussed, best methods of
exposure, illumination and graphic presentation to ensure
a successful outcome.
It is a book essentially for the commerical man and meets
every requirement. Profusely illustrated with examples of
work of varied kind.
The book will be found of pertinent interest not only to
the trade photographer but also to the specialist. The
application of photography is considered in its bearings upon
the commerical man, the architect, the tradesman, the phy-
sician, the lawyer, and the scientist, by one who has had
extensive experience in different kinds of work required.
The edition is limited and we have a firm conviction
when the value of the work becomes apparent, that it will
be speedily exhausted.
OPINIONS OF THE PRESS
Mr. Rose has handled a tctt extensiTe subject in a com-
prehensive way. The commercial photoffrapher in the larger
cities is, of course, a specialist, entirely distinct from the
portrait man and with totally different problems. In some
cases, demands are so great that the photographer confines
himself to one line of merchandise to the exclusion of others,
as. fc»- instance, furniture, etc.
The book will, therefore, appeal to all photographers who
are called upon from time to time to do commercial jobs.
—"American Photography."
Frank V. Chambers, publisher of the "Bulletin of Photog-
raphy," in Philadelphia, has just run off his presses an
edition of the very complete book on commercial photog-
raphy, "The Commercial Photographer." It is replete with
illustrations, instructions and sumestions of all kinds
covering the perplexing conditions that surround this grow-
ing field and it will be well for erery photographer to have
one on his shelf, if only for reference when a quick demand
of some kind or other to do a difficult job which comes under
the head of Commercial Photography comes in and probably
finds him somewhat puzzled to obtain the best results. The
price of the book is $4. It is worth that if only to help
you through one job, but it will benefit all your employees
as well and make them more efficient for you.— "Photo-
graphic Poster."
"The Commercial Photographer." Since Hance's "Com-
mercial Photography of Today^* went out of print, there has
been a sad lack of a good practical book on commercial
Ehotography in all its Tarious phases. This new book by
I. G. Rose will find a ready demand. It is splendidly
printed and illustrated in Frank V. Chambers' best style,
and we commend it most highly to our readers, both portrait
and commercial. The portrait man should have it handy
for he never can tell when he will be called upon to do
some bit of work out of the regular, and this book will help
him out at anv and all times; the commercial man can
afford to have it on hand, for many subjects on which he
Srobably is not quite conversant are covered thoroughly by
Ir. Rose. Mr. Rose is well known to the craft and he has
covered his subject fully and with a thorough understanding
of all the difficulties to be met with in commercial work.
—Abel's "Photographic Weekly."
Mr. Rose deserves well of commercial photographers, for he
has written an admirable practical manual on the photog-
raphy of the wide diversity of subjects which the commercial
Shotographer is asked to undertake. And the publishers have
one well by their author, for they have provided a luxurious
volume, pnnted throughout on heavy art paper and pro-
fusely illustrated on almost every page with tialf-tone repro-
ductions. Perhaps they have been a little too lavish In this
respect, for it has meant fixing the price of the book at
a figure which, at the current rate of exchange, is about 24s
{%i). Nevertheless, the photographer who is learning to
qualify himself for this orancn of his calling must be a
most unreceptive individual if the cost of the book is not
returned to him many times over in the knowledge and
guidance which it gives him.
Mr. Rose is an American, and thus, as regards choice of
equipment, states his preferences in terms of the apparatus
which is available on the market in the United States.
These include flaah bags and a portable installation of half-
watt lamps, the equivalents of which appear not to have
been offered in this country. His chapter on the photog-
raphy of architectural exteriors includes some striking ex-
amples of difficulties surmounted in obtaining views of
sky-scraper buildings common in American cities, but he
descends to more homely illustrations, for example, one
showing the devices used in the way of combination printing
for eliminating an unsi^tly telegraph pole from the fore-
ground of an architectural view. Panoramic views, exterior
and interior, are the subject of an excellent chapter in which
is illustrated the method of joining up without showing a
sign of the line of junction. The latter part of his treatise
is devoted chiefly to the photography (in the studio) of
articles of merchandise from wrist watches to kitcheners.
He describes a novel form of horizontal table for the photog-
raphy of small goods, such as machine parts, by means of
a vertical camera. The easel is of ground-glass, illuminated
below so that for part of the exposure the objects are
allowed to receive a diffused light all around their edges,
thus eliminating heavy shadows and at the same time pro-
viding opacity m the ground of the negative sufficient to
dispense with blocking-out. There are quite a number of
practical ways and means of this kind described in the
book, evidently as the result of the writer's own ingenuity
and practice. The routine in a commercial photographer's
establishment of making prints and enlargements is the sub-
ject of other sections, and there are chapters on the desim
of advertisements, part photograph and part artist's work,
and on the eternal question of drawing up a tariff of prices.
Altogether a most excellent manual, which we have no doubt
will be purchased from Messrs. Chambers by practicing or
would-be commercial photographers in this country.— "The
British Journal of Photography" (London).
In scope and wealth of detail this is by far the moet
comprehensive handbook to commercial photography thus
far published. It has the greater merit of being thoroughly
f practical in its information, giving the working methods,
onnulas. and experience of its author, a well-known expert
in this special field. To particularize the contents of the
book would be to list the principal branches of modem
commercial work. I. therefore, content myself with the
comment that ^fr. Rose has given us a manual and refer-
ence book which should be on the bookshelf of every pro-
fessional and commercial photographer. The text is pro-
fusely illustrated and the volume is well printed and
substantially bound for service.— "Photo-Miniature, No. 18C."
This is by far the best book published on the subject of
commercial photography. It is written by an expert-photog-
rapher in commercial work, who is likewise a capital writer.
A careful examination of this admirable worx convinces
US that the object-lessons here presented constitute in them-
selves a real course in commercial photomphy. which
appeals not only to the student interested in this department
of photographic work, but to the commercial photographer
or. as he is generally called, the all-around photographer.
The text presents all up-to-date methods, tricks and dodgeit
that are known only to a thoroughly experienced commercial
worker, and describes every step, from the choice of equip-
ment down to the finished print, whether the latter be a
straight contact-print, an enlargement, a colored print, or
one that is worked up to suit the needs of the photo-
engraver. The book is printed on the highest grade of
coated paper, in large, clear type, and is a credit to the
printer's art. We heartily recommend this book to every
photo-worker interested in producing technically perfect
fiictures for the merchant, the architect, or whoever calls
or the most exacting photographic work.— "Photo Era."
In Btock by following dealers:
J. Sussman Photo Stock Co.. 223 Park Ave.. Baltimore. Md.
Photo-Era. 367 Boylston Street. Boston. Mass.
Robey-French Ca, 38 Bromfield Street Boston, Mass.
Bass Camera Co . 109 N. Deart>om Street Chicago. III.
Sweet Wallach & Co.. 133 N. Wabash Ave.. Chicano. III.
Norman-Willetts Photo Supply Co.. 106 N. Waksh Avr., Okagt
C. Wekhsel Co.. 1611 Main Street Dallas. Tex.
Brltfgs Photo Supply Co . 914 Grand Ave.. Kansas City. Mo.
Howland & Dewrey Co.. 510 S. Brnadway. Los Anfleles. Cat.
O. H. Peck Co.. 112 S. 5th Street. Minneapolis. Minn.
Chas. G. Willounhby. Inc.. 110 West 32d St.. New York.
Ceo. Murphy. Inc.. 57 East 9th Street. New York.
J. L. Lewis. 522 Sixth Avenue. New York.
New York Camera Exchanfte. 109 Fulton St. New York.
Schultz Novelty & Spttf. Goods Co . 122 Nassau St. N. Y.
Sol Pudlin Co.. 1212 Broadway, New York.
Tennant & Ward, 103 Park Avenue, New York.
Standard Photo Supply Co.. 125 Baronne St. New Orleans.
John Haworth Co., 1020 Chestnut Street Philadelphia.
E. W. Stewart & Co . Tacoma and SeaHle. Wash.
FrancU Hendricks Co.. 116 E. Fayette St. Syracuse. N. Y.
Hyatt's Photo Supply Co.. 417 N. Broadway, St Louis. Mo.
Gross Photo Supply Co.. 1715 Spielbusch Ave.. Toleda O.
FRANK V. CHAMBERS, 636 S.FnaUm Spare, PUa.
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Bulletin of Photography
411
Pittsburgh Boosters' Banquet
Pittsburgh Section No. 2, Professional Photog-
raphers' Association, M. A. S.. in connection with
the Westmoreland and Fayette Sections, held their
annual "Booster Banquet" on the evening of Mon-
day, March 14th, at the Americus Club, Pitts-
burgh, Pa.
One hundred seventy- five persons attended and
a very delightful evening was spent in speech-
making, dancing and cards.
Mr. Howard D. Beach, President of the P. A.
of A., and Mr. J. W. Scott, President of the
M. A. S., were the honor guests, both making
excellent speeches.
Mr. J. J. Flaherty, President of Section No. 2,
was toastmaster of the evening, while Mr. A. H.
Diehl, Mr. E. W. Brown and others gave talks
on different lines. Mr. George Kossuth, of
W^heeling, W. Va., was also one of the speakers.
We were glad to welcome the members of the
Eastman Professional School, who were here at
that time and attended in a body.
Many signified their intention of attending both
conventions, so these sections should be well repre-
sented at that time.
Thos. M. Jarrett.
Secretary.
Staining Prints
Some very attractive effects may be imported
into bromide prints by staining them with the
dilute water colors used for tinting and coloring
purposes. We have found that these give supe-
rior results to those often obtained with the stains
generally sold for this purpose. The color of the
print may be much more varied and is more un-
der the control of the worker. The colors should
be used very dilute and applied to the damp print
in the usual way with a brush. Care must be
taken to get an even application of color. The
idea is to give a wash over the entire area of
the print. The depth of the tint may be con-
trolled locally by means of a brush lightly charged
with clean water, which will wash off any excess
of color in any section of the print, such as the
face of a portrait or the sky portion of a land-
scape picture. This method also has the advan-
tage over the usual commercial stains, that any
effect desired is readily obtainable, and a far
greater range of color effects is permissible,
either when the pure colors are used, or when
their effect is modified by mixing with others.
Sometime ago we were shown some very delicate
garden portraits, colored by a careful mixture
of blue and light green. Any of the commercial
transparent water colors may be employed, the
Velox transparent water color stamps being very
suitable. — The British Journal of Photography.
"I am surprised at what you say about Jazz-
lets and his loafing habits in your employ. I
thought he was one of those individuals who are
fired with enthusiasm."
"You're perfectly right ! No man in my em-
ploy was ever fired with more enthusiasm than
that with which I fired Jazzlets."
A NEW BOO K
THE AIR BRUSH IN
PHOTOGRAPHY
The most comprehensive work ever written
on work with the Air Brush, especially as applied
to photography, working up enlargements, etc.
143 PAGES - 45 ILLUSTRATIONS
BOUND IN CLOTH
$3.50 post paid
Mr. Geo. F. Stine, the author, is known as
o ic of the most expert workers with the Air
Brush in this country, and the series of 32 illus-
trated lessons, which forms a considerable portion
of the book, is the most detailed and carefully
worked out course of instruction that could be
imagined. With the help of this book any photog-
rapher can learn to use the Air Brush.
In addition to the comprehensive series of
lessons, there are seven chapters on coloring with
the Air Brush, a very valuable addition to the
book, and something not heretofore found in
print.
FRANK v. CHAMBERS
636 S. Fnaklin Square PhiladdphU
One of the best, as wett as
one of the rarest books on
art and composiHon is —
"R urnet's
PT ssays on A rt
Single copies of the original editions
have been sold as high as $100.00.
It has been reprinted in a limited
edition of only 1000 copies. Will
you have one?
Send $2.00 and get a
copy at once.
FRANK V. CHAMBERS
636 Franklin Square, Philadelphia
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412 Bulletin of Photography
From the deepest shadow
to the highest light
HRTORH
gives perfect reproduction.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealer s\
Please Mention Bulletin of Photography When Writing Advertisers^^^ ^^ ^^
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Bulletin of Photography 413
Enlargements on
EASTMAN
PORTRAIT
BROMIDE
sell better because they are better
enlargements. Portrait Bromide
is more than a quality paper. Its
quality is of a special character
that suits it to a special purpose —
enlarging from portrait negatives.
Two stocks— D White, E BufF.
Two surfaces in each — Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers',
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414 Bulletin of Photography
Safety plus
Comfort
WRATTEN
SAFELIGHT
LAMPS
Safety in your dark-room light preserves the
quality of your negatives — preserves their bril-
liancy by eliminating the degrading influence of
fog.
Wratten Safelight Lamps transmit a soft, in-
direct light that is a relief to the eyes — a com-
fortable light that is safe for the material with
which the Safelight is recommended.
Wratten Safelight Lamp, No. 1, as above $10.00
Do., No. 2, without slide for white light . 7.50
Series 1 Safelight, for plates not color sensi-
tive, 8 x 10 1.25
Series 2 Safelight, for Orthochromatic film or
plates, 8 X 10 1.25
Series 3 Safelight, for Panchromatic plates,
8x10 1.25
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
Please Mention Bulletin of Photography When Writing Advertiser
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Bulletin of Photography 445
Use Eastman
COMMERCIAL
ORTHO FILM
The ideal material for commercial
subjects, indoors or out. Excel-
lent orthochromatic quality — non-
halation properties superior to
non-halation plates, and no more
expensive than ordinary single
coated plates. All the physical
advantages of Film, too.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
Please Mention Bulletin of Pbotogkafhy When Writing Advertisers, f^ ,^,-^^J^
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476 Bulletin of Photography
With the coming of Spring, out-door
work looms big, especially if you are
developing the commercial side of
photography.
Eastman View Cameras No. 2 embody
all the practical conveniences necessary
for out-door work. The 7 x 1 1 is an
excellent size for landscapes or archi-
tectural subjects. The proportions of
the picture are pleasing — the materials
cost no more than those used for 8x10,
but the pictures look larger.
See the Eastman View No. 2, 7 x 11,
before you buy a new outfit.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
Please Mention Bulletin of Photography When Writ;
king h&w^rXisti^r' r^r\r\\o
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Bulletin of Photography 447
Expose for the shadows,
the highlights will take
care of themselves, will
retain their sparkle and
brilliancy — if the nega-
tive is made on
Portrait Film
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
Please Mention Bulletin of Photography When Writing Advertisers. ^^-. |
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508 BuLLBHN OF Pbotogiaphy
When you order a developer,
be specific — ask for the devel-
oper that gets results. Say
ELON
We make it — we know ifs right
Now $9.00 per pound
at your dealer's.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
Please Mention Bulletin of Photography When Writing Advertiser*^ ^
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Bulletin of Photography 479
Enlargements on
EASTMAN
PORTRAIT
BROMIDE
sell better because they are better
enlargements. Portrait Bromide
is more than a quality paper. Its
quality is of a special character
that suits it to a special purpose —
enlarging from portrait negatives.
Two stocks— D White, E BufF.
Two surfaces in each — Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers*.
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510 Bulletin of Photography
From the deepest shadow
to the highest light
TORH
gives perfect reproduction,
EASTMAN KODAK COMPANY
ROCHESTER. N. Y.
All Dealers'.
Please Mention Bulletin of Photography When Writing Advertisers^
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Bulletin of Photography 511
With a Cirkut Camera you can make
negatives from five to sixteen inches in
width and up to twenty feet in length.
Big profits are realized from Cirkut
Group pictures of conventions, graduat-
ing classes and similar large outdoor
gatherings.
Panoramic views of town and city real
estate, farm, timber, mining lands and
manufacturing plants are increasingly
in demand.
Cirkut Cameras make some remark-
ably profitable negatives — such a nega-
tive as the picture above was made from.
Let us send you the *^ Cirkut Book. "
Eastman Kodak Company
Folmer & Schwing Department ROCHESTER, N. Y,
Please Mention Bulletin of Photography When Writing Advertisers.
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Expose for the shadows,
the highlights will take
care of themselves, will
retain their sparkle and
brilliancy — if the nega-
tive is made on
Portrait Film
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
Please Mention Bulletin of Photography When Writing Advertisers. ^
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No. 717 Wedne«iay, May 4. 1921 ^^^^r^^^^^,,^
Entered at the Philadelphia Post Office at Second-Class Matter.
Veltex
FOR CONTACT PRINTS
'ENLARGING
FOR ENLARGEMENTS
THIN, WHITE PARCHMENT-LIKE PAPER
WITH A LIVE MATT SURFACE.
ENLARGING VELTEX HAS THAT DISTINCTIVE VELTEX SURFACE
AND TEXTURE AND, LIKE VELTEX. IS REMARKABLY ADAPTED
FOR MAKING ORIGINAL AND EFFECTIVE PORTRAIT PRINTS.
VELTEX AND ENLARGING VELTEX. EACH IN ITS OWN WAY,
WILL FAITHFULLY REPRODUCE THE QUALITY
OF THE PORTRAIT NEGATIVE
PRfC/-: LIST IN DEFEShlUl lU.n CATALOG J^OW RKAUY
MANUFACTURED EXCLUSIVELY BY
Defender Photo Supply Co., inc.
ROCHESTER. N. Y.
BOSTON: NEW YORK: PHILADELPHIA:
44 Federal Street The Printing Crafts Building 1033 Chestnut Street
8th Ave., 33rd to 34th Sts
CHICAGO: KANSAS CITY: MINNEAPOLIS:
109 N. Wabash Avenue Grand Avenue at 21st Street 322 Fourth Street, S.
TORONTO, CANADA: 71 Adelaide Street, West
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Sm so glad me had their picture tal^n
Photograpfis preaerve for you the ever-changing
sweetness ot childhood. Such pictures impart enduring
joy and one never regrets the expenditure for a good
portrait.
Birthday anniversaries, commencements and other
memorable occasions should always be recorded by a
photograph.
Your photographer accentuates the character and
richness of his work by encasing each print in a folder
of beauty and distinction.
Ask him to show you how
COLLINS
y^r^^.^^^^^ Ultrafine Folders
&r>;!uJn'L,"'.>S^'"'J "Add Charm to Every Photograph**
nay i*t >UMti mHch nunr awacx- A. M. CollIlM ManufaouciOC COk
MiiwjtwomcM'AcnionwafMl PhUaadphto. Pfc.
r<«lafi and malcri •/ ii««J«r4 »kaiafr«^k<c manutimgt far So t t * t »
Each page in the National Advertising Campaign increaaeM in excellence and beauty. Thi» appealing
appean in the March 15 i»$ue of VOGUE and will bring a heart throb reaponae from every father and
mother who read* it and they wiU note the message: "NO PORTRAIT JS SO COMPLETELY
SATISFYING AS ONE MADE BY A PROFESSIONAL PHOTOGRAPHER"
Please Mention Bulletin of Photography When Writing Advcrtiscrs^^^ ^
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a
BULLETIN-OF
PHOTOGRAPHY
[trad* If ark rsgistbred]
IN WHICH IS INCORPORATKO "THK PHOTOGRAPH KR" AND THK "ST. LOUIS AND CANADIAN PHOTOGRAPHKR"
THE WEEKLY BUSINESS PAPER FOR BUSINESS PHOTOGRAPHERS
636 Franklin Sqaan {car, 7th and Race Sts,) PhiladMlphia
FRANK V. CHAMBERS* Editor and Publisher JOHN BARTLETT, AsMciace Editor
A. A. SCHENCK, Buttnos Manager
Yearly subscription, in advance, postage paid. United States. Mexico. Cuba. Philippines and Porto Rico. $2.00.
Canada, $2.50. Countries in the Postal Union. $3.00. Single copies. 5 cents.
Remittances may be made at our risk by money order, check, draft or registered letter.
Items of interest upon photographic subjects will be gladly received.
Subscriptions received by all photographic and newt dealers in the United States and Euroxie.
Vol. XXVra, No. 716
Wednesday, April 27, 1921
Prices Cents
$2.00 per Year. Post Fret
Professional Parasites
Photography seems peculiarly prone to
attack from parasites which flourish at its
expense, and, like all such degenerate organ-
isms, have recourse to dishonest tricks to
deceive the environment from which benefit
is derived.
There are more dishonest schemes and
cunning methods devised by the lazy and
disreputable men who have attached them-
selves to the photographic profession, than
to any other profession ; so that the honest
worker is ever on the alert to find some
means for their suppression.
Efforts at reformation have been at-
tempted, but moral suasion seems to have
no effect, for they prosper and grow upon
what they feed. The only remedy effective
in toxodizing this obnoxious bacteria, better
than all the ethical appeals to the profession
to preserve its dignity and ignore them, is
to apply the antitoxin of "printer's ink.*'
As we said, these schemes of the parasite
are specious and apt to gull the unsuspect-
ing photographer by their plausibility.
The mode of application of the remedy is
by opening the eyes of the intelligent
photographer to the economic folly of their
plans, whose only purpose is complete ab-
sorption of the profit from the trade, with
ultimate ruin to the recipient who allows
himself to be gulled.
Advertisement of the parasite's wiles is
the most effective means of extermination.
If the professional would only examine
into what is presented as the means for
improving his business, and conscientiously
analyze it and not be obsessed by greed for
gain or envy of competitor, he would
hesitate, at least, to stultify his sense of
honor, his honesty of purpose and right-
fellowship, by its sanction; as to prevent
the eventual reaction upon himself to loss
of self-respect and lowering of dignity in
the profession, if not financial failure.
In the early days of our profession, when
photography demanded talent as well as
mechanical skill, there was, what might be
called, a sort of monopoly in prices.
A good daguerreotype could be obtained
only by paying a good price for it — a price
compensating the maker and encouraging
him to efforts of improvement and, at the
same time, respected as proper by the client.
Unfortunately, the great .success of the
daguerreotype, which only an artist could
make, inspired the making of imitations
and, at first, the work being done by skilled
hands, was very creditable and for awhile
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516
Bulletin of Photography
prices were commensurate with the work,
but the tide soon ebbed to the lowest when
indifferent work became popular and the
few high priced, reputable artists were
forced out of the profession.
Things got worse, until the advent of col-
lodion, the performance with which also
demanded artistic taste and considerable
skill.
There was fine work in this line from
1865 to 1875, and then the profession was
again flooded with poor, cheap work.
The coming of the gelatine dry plate
again improved quality and prices.
The cheap man had no chance and w^as
forced to the wall or forced to a higher
level, being pressed on the one side by the
good professional and on the other by the
intelligent amateur.
He had either to get out or improve and
most of them thought it better to improve;
but still feared to raise their prices much
above what they had received for their in-
ferior w'ork. But there was an improve-
ment all around in quality even wnth the
slight advance in price, which operated
beneficially on the profession, eliminating
the man of poor work, keeping out the one-
time tinker and blacksmith. No attempt,
however, besides the economic pressure, w^as
made to kill off the cheap competitor. He
was left alone to die of inanition.
There is really no economy in troubling
to exterminate the cheap man. If he per-
sists in making bad work, he will fade away.
If he cannot be pushed up, he cannot go
lower, because he is already at the dead
level.
The chances are that he will try to im-
prove, and with every advance in quality
there will follow advance in price.
Personally we know many, who started
low but had ambition to rise, who are now
prominent in the profession and know how
to charge for work and have an extensive
clientage.
So, dread not the parasite, but dread
meanness and jealousy and competition in
price scale.
Misplaced Light
A great scientist once described dirt as
matter in the wrong place; photographers
are badly in want of a term to describe
light in the wrong place. Sometimes they
call it fog; it is not really fog, but it is a
nuisance all the same. How often one finds
a negative taken under "fancy" lighting (as
the old stagers call it when the lens is point-
ing to the light) covered with a thick veil
which alters the whole scale of gradations,
and takes all the brightness out of the print.
This is simply due to the presence of light,
which was not needed to take the picture,
and our task is to find out how to dispense
with it. Some writers have maintained that
a lens is a window in the camera as well as
an image-producing instrument, and, while
this is not strictly correct, it may be well
to assume that it is so, as we can more easily
attack the trouble upon this hypothesis. If
we turn the lens of any ordinary studio
camera toward a strong light and examine
the interior from the position usually occu-
pied by the foaising screen, we shall be
astonished at the amount of light reflected
from the lens tube, the camera bellows and
every portion of the interior. How are we
to get rid of it? In the first place, we must
provide a hood screen or canopy for the
lens, so that no unnecessary light falls upon
it. A box lined with black velvet fitting
tightly upon the lens hood is very efficacious,
and its efficiency is added to by a cardboard
extension fitting over it in telescope fashion,
so that it can be pulled forward until dark
edges begin to appear upon the focusing
screen. This will remove the greater part
of the trouble, and we have now to attack
the minor points. The most important of
these is the interior of the lens mount,
which, especially if of large diameter, is
often in need of attention. The surface of
nearly all "dead" black varnishes reflects a
considerable amount of white light, appear-
ing almost light grey at some angles, and
there is none which can be compared with
a velvet or cloth surface for our purpose.
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Bulletin of Photography
517
The best way to prepare this is to cut a set
of paper patterns of the strips required to
line the mount, which will be one for either
side of the diaphragm ring, and one for the
inside of the hood. Now take a piece of
stout paper, "Nature" will do, or even thin
Bristol board, and cover it evenly with thin
velvet or melton cloth, taking care to glue
the paper evenly, and to press the fabric
gently into contact, putting the whole un-
der a light pressure, such as a large book
would give, so that it will dry flat. Care
must be taken not to force the glue through
the front of the velvet or the job will be
spoiled. When thoroughly dry the strips
are cut out by the patterns and sprung into
position. If necessary, the ends may be se-
cured by means of pieces of lantern-slide
binding, or even stamp-edging, stuck upon
the paper side. Much trouble can be saved
by using ready prepared black "flock" paper,
which has a surface like dull cloth, but this
is difficult to get, although we believe
Messrs. Dallmeyer will supply it. It makes
an excellent lining for telephoto tubes,
camera bodies, and the like. This leads us
to the question of the interior of the camera
itself. We have many revivers offered for
the outside of the bellows, but none for the
inside. With age, this usually becomes quite
light, and will be greatly improved by a
coat of aniline black dye dissolved in spirit.
There should, of course, be no gum or resin,
or the bellows will be made too stiff, besides
being slightly glossy. A bad condition of
the surfaces of the lens itself often causes a
veiling of the shadows through diffusing
light which should go to form the image
over the whole plate. This is generally due
to a partial grinding due to cleaning done
with more energy than discretion, and re-
quires the aid of the optician to remove it.
If a lens appears dull after cleaning with
pure alcohol, it should be returned to the
maker to be repolished. This will cost but
a trifle, and make the instrument equal to
new. Deep scratches cannot be removed,
but these will do no harm ; it is the general
surface which is of consequence. On no
account should any polishing powder or ma-
terial be used by the photographer, or irre-
parable damage will probably be done. We
know of lenses which have been ruined by
people whose optical knowledge was con-
siderable, but who lacked the long, practical
training which is necessary before the sur-
face of a portrait lens can be properly fin-
ished. The lensmaker, as a rule, is pleased
to do what is needed.
Outside the camera, the atmosphere itself,
particularly in London, is a fruitful source
of flatness. If a beam of sunlight is al-
lowed to fall across the studio, we see the
enormous reflective power of the particles
of dust and moisture in the air. Only in a
vaaium, or upon a mountain top, is the air
perfectly clear, and its natural turbidity is
made more evident as the light passing
through it becomes more intense. There-
fore, in strongly lighted subjects we should,
as far as possible, exclude all light from the
space between camera and sitter, not being
content with merely shading the lens from
direct rays, but shutting off all light except
that falling upon the sitter. It is desirable
even to screen off reflectors, so that they are
not visible from the camera. These pre-
cautions are especially necessary with the
powerful electric lights now in use, which
are necessarily in greatest demand when the
atmosphere is at its worst. Success is only
to be attained by attention to details ; all the
causes we have described contribute to flat
pictures. — British Journal of Photography,
On life's highway almost everybody is willing
to take the rich man's dust.
Prosecuting Attorney (to opponent) — "You're
the biggest boob in the city." Judge (rapping
for order) — "Gentlemen, you forget I am here."
— Syracuse Herald.
VICTOR OPAKE
AN KXCKLLKNT PRKPARATION FOR BLOCKING
OUT ON NKOATIVES. IS IN SMOOTH. MOIST
FORM— WORKS UP KASILY— DOKS NOT CHKCK,
CRACK OR PEEL. WILL WASH OFF WHKN DBSIRKD.
No. O— % oz. Jar - - 2fS cents.
J. H. Snitk & Sods Co. , 3544 CotUfe Grove Ave. , Ckkaffo
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Bulletin of Photography
Your Photographic Association
FRANK FARRINGTON
Would you slip around a back way and
down an alley and crawl through a hole
in the fence to get into the baseball grounds
or the trotting park? Not much! You
wouldn't think of doing a thing like that.
No business man w^ould. It is a kid trick.
Would you hang back and refuse to join
the local Chamber of Commerce and refuse
to help on public enterprises, while absorb-
ing your share of all the benefits resulting
from work done along those lines? N-no,
I don't believe you would. At least I hope
you would not, and not many photographers
would.
Well, then, how about refraining from
joining or refusing to join the county, state
or national photographic association that is
working to promote the interests of your
profession ?
That seems a little different, doesn't it?
But it is a difference of territory only. The
work done is even more specifically con-
nected with your profession than the work
of the local Chamber of Commerce.
The success of your business is influenced
by such organizations as comprise in their
membership the leaders in photographic
work. Such organizations are prepared to
act in connection with proposed legislation
that may affect business conditions. What
can you do alone, as an individual, to in-
fluence legislation? You can write your
congressman or representative in the state
legislature, and you get a neatly typed reply
which promises nothing and no real notice
is taken of your petition. An organization
stands for something and its representative
can get a hearing and exert influence.
Photographic associations keep in touch
with manufacturers who look to the former
as representative of the profession. They
promote scientific investigation and advance-
ment. They can do things, as organiza-
tions, that you and others could not do as
individuals.
The photographic associations hold meet-
ings and conventions which give the mem-
bers a chance to become personally ac-
quainted with one another and with men
who have achieved the greatest success in
photography. These meetings offer you an
opportunity to find out how others are
meeting the problems that confront you.
They give you expert talks on how to make
your business successful. They bring to-
gether men from over a large territory and
give them a chance to exchange ideas.
They encourage the men who have become
discouraged, by showing how others have
won out in the face of similar obstacles.
They furnish inspiration for the down-
hearted. They send men home with new
ideas, with fresh courage and a different
point of view.
Just for you to get together with a
photographer from a hundred or a thousand
miles away and discuss business with him,
will be worth money to you, even though
you know the business much better than he
does. Merely talking to him about your
methods will stimulate your brain and
cause you to think of things you never
would have thought of at home by yourself.
Association with other men of common
business interests develops your own
ability. It makes you think. You need
stimulus to make you think and you cannot
get much of that stimulus if you always
stay right home in the rut.
Well, since your photographic association,
the one covering your location, is doing
work all the while that is to your advantage,
the least you can do is to become a member
and pay the dues, thus contributing a little
toward the cost of the work that is for
your benefit. To refuse to do this seems to
me a good deal like crawling in through the
fence to see the game — profiting by the w^ork
without being willing to help pay the bill,
just as some of your local business men
profit by the work of the Chamber of
Commerce without joining.
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Heyn Studios
Omaha, Nebr.
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Dean Probert Shaw Studio
University of California Berkeley. Calif.
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But, if you want to get the most out of
any association, don't stop with merely be-
coming a member. Do all you can to help
to make the organization successful. Sup-
pose no one did anything but just join?
In all associations there are some who
retain memberships, but persist in kicking
and complaining. "What has the associa-
tion ever done for me?'* they ask. They
might better be asking themselves, "What
have I ever done for the association?"
They seem to think the organization exists
for their benefit and for a couple of dollars
invested they are entitled to several hundred
dollars return with no effort to get it. It
does not occur to them that the return a
man gets from his association is going to be
in proportion to what he puts into it.
You ought to take pains to write the
officials and give them any information that
might be useful. You ought to compliment
them on their good work instead of merely
damning them for their mistakes. You
ought to be willing to serve on a committee
now and then. Up to a reasonable extent,
the time you spend serving the organization
will be time well spent. Such work will
improve your own outlook and broaden
your vision.
When the association meets, arrange to
be among those present, and also among
those taking an active part. Don't go and
stand around on the side lines and then
come home and complain that nobody paid
any attention to you. If you pay no atten-
tion to anyone else, why should they fall on
your neck ? There may be bigger men than
you there who will not rush up to you at
once and greet you, but there will be mighty
few men, big or little, who will prove to be
top lofty or snobbish or above being friendly
wMth the littlest fellows, if the littlest fellows
make their presence known.
The biggest men know the smaller fellows
have ideas under their hats and represent a
big and important body of photographers.
If you feel a little afraid of the bigger men
who are convention-broken, while you are
comparatively green at the business, just
remember that there are other fellows who
are less experienced than you, and that you
may look to them to be above them and
holding yourself aloof.
A convention of photographers is not a
society function, where you cannot speak
to a stranger without an introduction. Don't
stand around like an icicle, waiting for
somebody else to come and thaw you out.
Do your own thawing and then go and thaw
some fellow who is too chilly to thaw him-
self. Mix up with the rest and don't be
afraid to act alive and to take part.
When you have something to say, get up
and say it. Don't wait to be called upon to
make a speech. Express your ideas and
opinions when you think they are worth it.
The fellows whose opinions are sought, got
that way by being ready to speak their
pieces unasked.
Theodore Roosevelt said that every man
owes it to his calling to devote a part of his
time to bettering its conditions. You owe
something to the future of photography, just
as you are indebted to its past for much
that is of help to you. There is no way in
which you can work better for the general
upbuilding of the profession than by help-
ing your association.
You will always find that the men you
meet at conventions are men of greater
breadth of vision than the fellows you see
sticking tightly to their own studios, afraid
to leave long enough to attend a convention
for fear some patron may get away from
them. Get the bigger view^point. Don't
settle down into the narrow groove that
runs between your studio and your home to
wear yourself out jogging back and forth
there.
Civil actions speak louder than words; a judg-
ment is worse than a dun.
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Bulletin of Photography
Gradation in Bromides
EDWARD FANCOURT
In a recent issue of your Bulletin of
Photography you speak of the bad practice
of adapting the printing process to the nega-
tive as a premium paid to bad manipulation,
an encouragement to make indifferent work
with the expectation of finding accommoda-
tion for its defects in medium which shall
not emphasize them. I heartily agree with
you and would go further and say I do not
believe any printing process, even including
carbon and platinum printing-out or develop-
ing methods of reproduction ever com-
pletely or adequately translate the excel-
lencies of our perfect negatives.
We go to great pains to get beautiful
gradations of light and shade in our nega-
tives, by judicious exposure and careful de-
velopment, only to find that the major part
of them is lost in the printing. The Daguer-
reotype owes its beauty to the mode of its
direct, positive reproduction and if we
could get some method of developing
directly, the print impression made in the
camera I think we would reach the acme of
printing. Even in a chloride of silver print
(P. O. P.), if we could preserve the im-
pression as it comes out of the printing
frame, it would be in a great measure satis-
factory, but by toning and fixing we ob-
literate much of the beauty of the original.
With developing papers there really is no
developing, strictly speaking, done. A de-
posit is formed on the affected portions of
the paper and after all it is only a substitu-
tion product and the substitutiorh is im-
perfect at the best. So is it with platinum
printing, a substitution product is formed,
better it may be because the platinum
particles are much more minute than the
silver-bromide. With carbon it is somewhat
better, but even here we are liable to wash
out some of the beautiful gradations of the
original.
Let us hope some one may discover a
method of printing which shall equal the
results had on the Daguerreotype plate, a
sort of paper Daguerreotype. The
mechanical methods devised in which
printers' ink is employed to take copies like
the lithograph process, at the best are only
passable. Woodbury type probably was the
most perfect of the kind, but even this could
not adequately reproduce.
I shall not say a word about the now
almost universally employed half-tone proc-
ess, used to illustrate our photographic
magazines. They are certainly apologies, or
rather the publishers ought to apologize, for
desecrating good artistic w^ork.
I have been compelled to fall back for
reliance for tolerable work on some of the
modern developing papers — and have sought
by certain modifications of the manipulation
to get better results than can be had in the
usual way and perhaps I may be doing some
good service by giving my method. As I
remarked, the cause of the falling off is due
to the too energetic action of the chemicals
on the latent image. Quite recently one of
the English magazines recommended the use
of hypo-sulphite of ammonia in place of the
sodium salt as a fixing agent, which after
its work had been accomplished on the film
could be much easier eliminated.
I was not specially interested in its
property of easy work, but rather inclined
to its use on account of its less energetic
action on the image. You had an interesting
paper on fixers in one of the issues of your
Bulletin, in which you dilated on the
virtues and shortcomings of a number of
agents which might be employed. You came
to the conclusion that hypo, that is the old
hypo sodium sulphite, would have to be still
employed, on account of certain peculiarities
of the other fixers, like ammonium sulpho-
cyanide, in attacking the film. Your objec-
tion to ammonium hyposulphite was its great
expense. The high price certainly is an
item of consideration. The hyposulphite
of ammonium is likewise not always so
easily procured. One catalogue listed it at
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523
75 cents a pound, but when I tried to get
some I found they were just out of stock.
This price, as compared with that of sodium
sah, is terrific. One thing to be considered,
it is more than twice as active (I do not
mean energetic), but that one-half the
quantity will do the same work as soda does.
This fact would make its price about 40
cents a pound, but I am sure a demand
would soon reduce the rate. By referring
to an old price list of chemicals in 1840, I
find soda hypo sold for 90 cents ; now, you
know, it is about two cents. Ammonium
could be made as cheaply as the soda com-
pound. But even though it be expensive, I
found it advantageous to use because of the
giving of better results. In lieu of the real
ammonia salt, I made up a mixture which I
found practically to work as well.
I took 16 ounces of the strongest am-
monia and diluted it with 8 ounces of water ;
then I added hypo soda until no more could
be dissolved. For use I still further diluted
with 4 volumes of water, that is, 1 part
stock solution to 4 parts of water, to get rid
of the superfluous ammonia. As I did not
want an alkaline hypo bath, I made a solu-
tion of sodium sulphite, then added sul-
phuric acid to the sulphite until the odor of
sulphurous gas was very manifest.^ This in
very small quantity I added to the hypo
formed as directed. So nmch for the fixer
of velox and bromide prints, now for a
modified developer that will give the best
gradations :
Water 8 ounces
Sodium sulphite (cryst.) ..120 grains
Sodium bromide 8 grains
Sodium carbonate 40 grains
Hydrochinone 8 grains
Metol 16 grains
The action, with normal exposure, is
rather moderate and the image comes up
with rich gradation. This developer I have
found to be superior to any other I have
tried for contact printing on bromide. For
enlargements I dilute the active developer
with a little water.
Our Legal Department
Dear Sir. — As a regular and interested
reader of the Bulletin of Photography
I write you for some advice in collecting a
bill that has some peculiar possibilities.
After reading the case I should be
obliged if you can tell me if it can be col-
lected and what sort of action or procedure
is best to follow.
This is the case:
I am an ex-U. S. soldier, discharged in
England, where I started a photographic
business. In the early part of April, 1919,
I made a photo of the crew of an American
boat at Liverpool, England. This crew
left for France before we had any orders,
but made arrangements whereby a certain
Lieutenant X. said he would be responsible
(verbally). On April 21, 1919, in reply
to a letter from me, this Lieutenant X.
cabled me from Brest, France, where the
boat then was, ordering 200 copies of the
crew to be posted to a certain Ensign A.,
care of Postmaster, New York City.
Perhaps it were better if I quote the
cable word for word, using X. and A. in
place of names.
To E. E. D.
35 Elm Rd., Wembley,
England.
Mail two hundred picture ensign A.
U.S.S. Blank Postmaster New York will
be responsible
X.
I have quoted, capitals and punctuation,
as the cable stands, leaving name of ship
**blank" and the men's names A. and X.
These photos were posted within a few
days of order as directed, through the U. S.
Naval headquarters in London. Lieutenant
X. or Ensign A. never acknowledged receipt
of same and growing anxious we made
inquiries at U. S. Naval headquarters in
London. As this crew was on a boat trans-
porting troops from France to IT. S., we
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Bulletin of Photography
couldn't catch them in European waters,
due partly to the officer in London being
taken to the hospital at the time the boat
was in Europe. When he got out, we
learned the boat was laid up to be refitted in
U. S., and the crew probably broken up.
I was told to take the matter up with the
Bureau of Navigation at Washington. I
have taken the matter up a number of times
and am now informed that Lieutenant X. is
demobilized from the Navy and not under
their jurisdiction any longer.
I traced Ensign A. to his home and he
informs me that he turned over 135 unsold
pictures and $76.00 in cash to Lieutenant
X. and has a receipt from him to that effect.
Lieutenant X., in response to a letter from
my sister here in U. S. A., returned the
unsold pictures by registered mail, but did
not write or communicate in any other
manner. I am obtaining Lieutenant X.*s
address from the Navy Department, as I
have lost the letter in which they gave it to
me before.
If you can make head or tail of this tangle
I should certainly like to know if this $76.00
is recoverable and, if so, what is my best
way to go about it. As I see it, it is a clear
case of misappropriation of money.
Thanking you for your answer, which I
await with hopefulness, I am,
Very truly yours,
E. E. D.
P. S. — I have recently returned from
Europe where I have been the past six
years.
Dear Sir. — Answering yours of the 15th
inst. to the Bulletin of Photography,
your best course, it would appear, is to hunt
out Lieutenant X. and threaten him with
legal proceedings unless he pays your whole
bill. He has apparently, both verbally and
through a cable message, made himself
personally responsible for this obligation.
If it was a debt of another person, it might
be some question whether his obligation
could be enforced, in view of the fact that
you hold nothing signed by him agreeing to
assume it, but as it is his debt as much as
anyone's, this question could not be raised.
I should hunt him out and then go after
him.
Yours ver>' truly,
E. J. B.
What To Do In Exposing
JOHN BARTLETT
We never had any faith in that old axiom
of photography, "expose for the shadows,
let the high-lights take care of themselves."
We prefer to expose for the general effect,
believing that a conception of the entirety is
more essential to pictorial effect than a
consideration of any special feature, and so
maintain that we shall go wrong or, rather,
the high-lights will go wrong if we neglect
the training of them artistically in our ex-
posure scheme. If we were tempted to
formulate any we would rather say, "ex-
pose for the half-tones and let enough
detail show up in the shadows to give them
luminousness.** It is this luminousness of
the shadows, combined with repose, which
makes a photographic picture so expressive,
but which is so difficult of acquisition.
In representing natural objects in mono-
chrome, we have only one means of trans-
lating the colors and gradations of light and
shade; our highest light must be the white
of the paper, and our deepest shadow the
darkest tint of the deposit, whether a pig-
ment or a chemical product. But the
purest white paper is much inferior in
brilliancy to the highest light of the object,
and our deepest deposit is not dark enough
for the deepest shadow, so that we are
obliged to modify the natural scale, only ap-
proximating the tonal values.
Consequently, artists find themselves
compelled to express a part of the truth
only; that is to say, something has to be
omitted, and here art steps in.
When we look quickly at a view, the eye
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Bulletin op Photography
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is primarily impressed with the masses and
the general effect of light and shade, the
principal objects, of course, being seen in
more detail. This effect is known as
"impression," and it has been applied to
photography, also.
This is no place for discussion, and we
are glad to avoid it ; but one thing, however,
is pertinent, namely, the representation
should be capable of giving something of
the "impression" which the original effects,
otherwise it tends to look flat from over-
elaboration of detail.
If two objects, such as a smooth and
rough piece of drapery, be put in a bright
light and be looked at with half-closed eyes,
so as to get small variations, it will be ob-
served that the shadows of both look
smooth, but the lights, and more especially
the half-lights, show differences, forming
what are called the half-tones, which thus
give the characteristics to the subject, and
for that reason they ought to be jealously
preserved. It is just in the rendering of
these half-tones that differences will often
be found between good and inferior work;
therefore, if we are satisfied that it is neces-
sary to omit any of the gradations, it is
better to sacrifice other parts than those
half-tones.
The depression of detail in the shadows
to the degree only of keeping them trans-
parent or luminous, is what renders a good
oil painting so charming. It is difficult to
get this luminosity with our matt or dull
surface prints, but with carbon and gum
pigment it is possible. It is strange, there-
fore, why professionals leave these printing
methods, especially the latter, to the amateur.
In printing on matt surface the shadows are
too opaque, even in the best platinum work ;
less, to be sure, on the rough surfaces, be-
cause the grain adds texture and trans-
parency to the shadows. But all of us in
working platinum have wished it would
dry down in the appearance it has while in
the wash water. Brown and sepias have
some advantage over black, because not-
withstanding the full depth of color the eye
imagines or expects something still darker.
It is generally acknowledged that it is ad-
vantageous to leave out detail not essential
to expression. To accomplish this one
should use as large an aperture of the lens
as possible consistent with presentation of
necessary definition. In trying to escape
the impressionist smudge the critic is apt to
overrate obtrusive detail, but the just pro-
cedure is to consider the general effect, to
study the picture in its entirety, not in
piecemeal.
Photography is a means of artistic repro-
duction, but it may also be productive art
work.
Success
B. T. RICE
There is a good deal of meaning in this
little word. And to no one does it have
more significance than to the photographer.
If there were more successful photog-
raphers, "there would be less complaint
about low prices." I think if we would
command good prices we must do good
work, and failing in the latter, we resort to
the vile practice of cutting down our prices,
in order to get work. I think the following
suggestions ver>' good to overcome low
prices, and to attain success.
See that your rooms are kept clean and
tidy, and make everything about your studio
as fresh and attractive as possible. Never
let a customer get away until you are sure
that you have secured as good a negative as
your skill will allow. I know we have a
tendency sometimes to slight the most
essential part of our work in making our
negatives. But to build up our trade and
secure good prices, we must not when ex-
amining our negatives, make use of an ex-
pression that I have heard used by the best
of workmen when looking at their nega-
tives; they assumed a rather doubtful tone
and said, they guessed "it would do." The
foundation of all your work is the negative.
If you get your subject rightly posed and
lighted, and your negative well developed,
the rest is comparatively easy.
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Bulletin of Photography
There is a Fine Art in Framing Pictures
The above sign in artistic gold lettering
swung over the doorway of a little shop in
a busy thoroughfare. Everything about the
place was in exact agreement with the sign.
In the little show window are seen etchings,
dainty water colors and choice prints of the
old masters. The girl who manages this
little shop so successfully says that in the
business of picture framing it is only neces-
sary to have good taste and some ideas on
the subject, which may be gained by thought
and investigation. She advises one who
would like to follow this occupation to
study frames and study pictures, and study
how to put both together artistically. She
says you cannot do it in a haphazard manner.
You must learn the laws of good taste in
relation to pictures and their frames. There
are rules for everj'thing we do, all the way
from washing a handkerchief to painting a
picture.
Ordinarily you go to a shop to order
something that is sawed off from an orna-
mental stick of moulding, which may or
may not be suitable in design and propor-
tions to the composition of your picture.
The greater refinement there is in a picture
and the more evidences of the free artistic
spirit, the less desirable is the use of machine-
made framing. The failure of the ordinary
worker to meet the decorative requirements
of the frame is not strange. Usually the
man who does the framing is not even an
intelligent artisan. His only interest in his
job is the daily stipend. He does not take
pride in his work, for it is not known as his.
Generally it is not designed and executed
by him alone. Piece-work prevails in nearly
all of the picture-frame stores to such an
extent that a dozen pairs of hands may con-
tribute to the making of a single frame.
The materials, furthermore, that are em-
ployed are as unsuited to the art as the
methods are.
Study the frames made by experts in
times past, especially Spanish and Old
English. While a frame should be designed
with reference to a picture, and may in
some cases have details emblematic of the
subject, it should not attract undue atten-
tion or be eccentric. The enriched mould-
ings of frames should diminish in import-
ance as they approach the picture. Works
not of much strength in water colors should
have broader flats than those in oil and not
heavy gilt frames with much burnish. Some
pictures are best without any burnish in the
frames. You will learn by experimenting.
Landscape pictures, in most cases, are better
in recessed than in projecting frames. The
color of a mount should not appear to blend
with any part of the picture it surrounds,
and the gold in all frames should be toned
to suit the pictures. Some works have their
best effect in carved woods, brown or black
frames, with or without fine lines of gold
added. Although a frame may, in and for
itself, be beautiful, its beauty must be kept
distinctly subservient to the aesthetic value
of the picture. In no event should it be
positively ugly.
This girl, upon request, also superintends
the hanging of pictures for those who are
furnishing their homes and want their pic-
tures hung in the best taste. In regard to
this branch of the work she says:
"In hanging pictures in a room we have
to consider two things — the pictures and
the room. The question of how to hang
them may resolve itself into this : How, in
a moderate-sized room, so to arrange a
certain number of pictures that, individually,
each will be placed in a good light, and, col-
lectively, they will contribute to the decora-
tive effect of the room. One solution will
be to observe how much of the wall space is
sufficiently lighted that alone is available for
pictures. A picture ought to be seen in a
good light. The lightest place in a room
usually is the floor, but, of course, we cannot
hang them there. To hang them fairly we
must limit the number of them in our
rooms.
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527
Which Plate Should You Use?
Photographers are exacting in their demands of plates. In order to produce
the best work, they must have a plate espedaUy designed to meet their
individual needs. Your plate is listed below:
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CONTRAST LANTERN SLIDE . Producing brilliant Lantern Slides.
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CENTRAL DRY PLATE COMPANY
NEW YORK
ST. LOUIS, MO.
SAN FRANaSCO
*'Hang very few pictures in the house,
but each one should be well worth stopping
before. Do not hang bunches of unrelated
pictures, each fighting for supremacy.
E^ch picture should hang alone in its wall
panel, or occasionally with one harmonious
neighbor. Each one should count for all it
is worth, too. In no room should there be a
picture which approaches the color or tone
of the wall coloring behind it. Each one
should stand out in good, strong contrast
from its background. For instance, in the
matter of frames, a living room with walls
covered by a silvery gray Japanese grass
cloth should have all dark wood frames,
excepting an oil painting, which needs the
brilliance of a gilt frame.
"The height of a picture from the floor
should be considered. Each picture should
usually be very nearly central on the nor-
mal line of sight, about five feet from the
floor. The blunder of hanging pictures too
high is as common as that of hanging them
too low is rare. If vou hesitate between two
levels decide upon the lower. When they
are hung on the line of vision a tiked posture
is unnecessary. They should hang perfectly
flat against the wall. Large pictures should
hang on two chains running vertically to
hooks on the picture molding.
"Everyone knows that a picture is not
buih into the wall, but that it is hung from
above. Why, then, try to conceal this fact
by using fine wire and invisible picture
hooks? Supporting chains or woven wires
heavy enough to give the impression that
they are well adapted to their work would
be much more impressive. Use judgment,
and do not have a chain too heavy or too
light for the picture. With the usual
arrangement of screweyes a picture cannot
hang flat against the wall. Have them put
on the top edge of the frame, in plain sight,
where they will hold the picture flat. They
should be dull black for dark wood frames,
brass for gilt frames, and should range in
size according to the size of the frame they
are to uphold.'* — Chicago Tribune.
Please Mention Bulletin of Photography When Writing Advertisers.
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Bulletin of Photography
Highly ientidve to all conditioiis of light and color-values
PWcs
ARE ID£AL
at this season. With shortest exposures they produce
negatives of the greatest detail and brilliancy. Their
record cannot be excelled.
Special Brandt for tpedal needt
Hammer*8 Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work, and Hammer's
Extra Fast Orthochromatic and D. G.
Orthochromatic Plates for color Talues.
RES. TRADE MARK
Hammer Dry Plate Co.
OHIO AVKNUK AND MIAMI STRKKT
8T. LOUIS, MO.
TF you have any new photographic
-*• ideas or methods that you believe
would interest readers of the Bulletin
of Photogreqjhy, send them in.
Ideas and contributions will be
paid for.
BULLETIN •OFl
PHOTO GRAPH yII
Philadelphia, Pa.
SPL-
Send for booklet explaining "control
at full opening" and giving names of
some of the prominent users of the
STRUSS PICTORIAL LENS.
Box 303
Frederick W. Keasbey
Morristown, New Jersey
FOR BEST RESULTS USE A
Packard-Ideal No. 6 Shutter
operated at 1/25 of a second. In connection
with a high-power light.
MICHIGAN PHOTO SHUTTER CO., Makers
Atk voor Deoler. KALAMAZOO, MICH.
Character of the Negative
Development is a sort of a fine art; at
least, it requires artistic perception to know
how to evolve an image on the plate.
The "artist" should study just what he
wants to get and how to get it.
We have quite a phalanx of developing
agents, from old pyro to the latest product
of Agfa, but it is only by judicious use of
such and intelligent application that wnshed-
for results are attained. We can have em-
phasized strength or softness, flatness or
vigor, wealth of detail or suppression of
minutiae by their individual use or combined
assistance, and it savors of folly to give up
these valuable aids to artistic effect and in-
discriminately consign all sorts and con-
ditions of exposure, all kinds of subjects, to
the one uniforming influence of the tank
solution.
Here we do not intend to go into detail
on methods of development, but desire
merely to call attention to the well-known
fact that the method of development, that
is, what we might call the mechanical phase,
has a peculiar individual and specific action
on the character of the image evolved, as
regards intensity or softness. That is, in
using precisely the same materials in
exactly the same proportions, with identical
exposures, a negative may at will be pro-
duced in which in the one case harmony and
softness shall prevail, and in the other case
intensity or contrast shall predominate by
mechanical means.
When the ordinary developer (normally
constituted) is applied to the exposed film,
it will be observed that the high-lights first
appear, the half-lights following, and so in
regular succession the least illuminated
areas appearing last. It w'ill also be ob-
served that in the process of development
there is a tendency to aggregation in the
deposit of silver. Wherever light has acted
most, the silver is there more readily pre-
cipitated, and hence in an underexposed
plate the lights acquire great density before
the less favored by light areas are attacked.
Please Mention Bulletin of Photography When Writing Advertisers.
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Bulletin of Photography 529
The Discovery of Hypo^^
Sir John Hetschel, an English scientist, discovered in 1819, the
solvent power of hyposulphite of soda on salts of silver. Twenty
years later he exhibited a number of photographs made permanent
by fixation, among them ^^a sketch of his telescope fixed from its
image in a lens."
Herschel was also the first to apply the well-known terms,
negative and positive to photographic images, having also experi-
mented extensively with printing processes.
Thus, printing papers had their beginnings and passed through
the experimental stages to the present high standard which is ex-
emplified in Haloid Photographic ^€f>ers. With the present-day
papers, photography has become a matter of individual expression
— a matter of choice among the best that can be produced. And
whether in portraiture, amateur finishing, or enlarging, HALOID
Papers give true expression to your photographic ideals.
Send for dtscripthe pamphlet
Chicago Ofiot
68 W. Waahingtoo Sc.
ROCHESTER '. NEW YORK
'l-^^r Tfc HALOID Co.
ROCHESTER '. NEW YORK
HALOID
MUeaUmea in Progreia of Photography — Seriea Four
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530
Bulletin of Photography
THE
Commercial Photographer
a figure which, at the current rate of exchange, is about 2te
(%i). NerertheleM. the photosrapher who la learning to
qualify himself for this branch of his calling most be a
moat onreceptiTe individual if the cost of the book ia not
returned to him many times orer in the knowledge and
guidance which it giTes him.
Mr. Rose is an American, and thus, as rapirds choice of
equipment, states his preferences in terms of the apparatus
which is available on the market in the United States.
These include flash bags and a portable installation of half-
Bv L.. Ca. RlJSl!* ^^t lamps, the eguiTalents of which appear not to have
a*jr a^. v»« a^w^a^ ^^^ otlenA in this country.. Hb chapter on the photog-
148 Pagtt
85 IttoMtrationB
Price, m cloth,
$4.00 per copy.
Postftfc IS ccBtt extra.
^^
A work by a thoroughly
competent and widely ex-
perienced commercial pho-
tographer of the highest
reputation.
Every branch of the tub-
Ject treated with a view for
presentation of the eaeen-
tiala. The various appliances discussed, best methods of
exposure, illumination and graphic presentation to ensure
a successful outcome.
It is a book essentially for the commerical man and meets
every requirement. Profusely illustrated with examples of
work of varied kind.
The book will be found of pertinent interest not only to
the trade photographer but also to the specialist. The
application of photography is considered in its bearings upon
the commerical man, the architect, the tradesman, the phy-
sician, the lawyer, and the scientist, by one who has had
extensive experience in different kinds of work required.
The edition is limited and we have a firm conviction
when the value of the work becomes apparent, that it will
be speedily extiausted.
OPINIONS OF THE PRESS
. , photog-
raphy of architectural exteriors includes some strikuig ex-
amples of difficulties surmounted in obtaining riews of
sky-scraper buildings common in American cities, but he
descends to more homely illustrations, for example, one
showing the devices used m the way of combination printing
for eliminating an unsightly telegraph pole from the forfr-
ground of an architectural tIsw. Panoramic views, exterior
and interior, are the subject of an excellent ch^ter in wliieh
is illustrated the method of Joining up without showing a
sign of the line of itmction. The latter part of his treatise
is devoted chiefly to the photography (in the studio) of
articles of merchandise from wrist watches to kitcheners
He describes a novel form of horisontal table for the photog-
nphy of small goods, such aa machine parts, by means of
a vertical camera. The easel is of ground-glasa. illuminated
below so that for part of the exposure the objecta are
allowed to receive a diffused light all around their edges,
thus eliminating heavy shadows and at the same time pro-
viding opacity In the ground of the negative sufficient to
dispense with blocking-out. There are quite a number of
practical ways and means of this kind described in the
book, eridently as the result of the writer's own ingenuity
and practice. The routine in a commercial photographer's
establishment of making prints and enlargements is the sub-
ject of other sections, and there are chi4>ter8 on the design
of advertisements, part photograph and part artist's work,
and on the eternal question of drawing up a tariff of prices.
Altogether a most excellent manual, which we have no doubt
will be purchased from Messrs. Chambers by practicing or
would-be commercial photographers in this country.— The
British Journal of Photography" (London).
In scope and wealth of detail this is by far the most
comprehensive handbook to commercial photography thus
far published. It has the greater merit of being thoroughly
ftractical in its information, giving the working methods,
ormulas. and experience of its author, a well-known expert
in this special field. To particularize the contenta of the
book would be to list the principal branches of modem
commercial work. I. therefore, content myself with the
comment that Mr. Rose has given us a manual and refer-
ence book which should be on the bookshelf of every pro-
fessional and commercial photographer. The text is pro-
fusely illustrated and the volume is well printed and
substantially bound for service.— "Photo-Miniature. No. 180."
This is by far the best book published on the subject of
commercial photography. It is written by an expert-photog-
rapher in commercial work, who ia likewise a caoital writer.
A careful examination of this admirable work conrinces
US that the object-lessons here presented constitute in them-
Mr. Rose haa handled a very extensive subject in a com- selves a real course in commercial photography, which
prehenaive way. The commercial photogn4>her in the larger appeals not only to the student interested in this department
cities ia, of course, a spadalist^ entirely distinct from the of photographic work, but to the commercial photographer
lanpr
portrair'man ~and~~vrith 'totiUl^ In some
cases, demands are so great that the photographer conflnea
himaelf to one line of merchandiae to the excluafon of others,
aa, for inatance, furniture, etc.
ThB book will, therefore, appeal to all photographers who
are called upon from time to time to do commercial jobs.
—"American Photogr^hy."
Frank V. Chambers, publisher of the "Bulletin of Photog-
ihy." in Philadelphia.^haa just run off his presses an
a?i
ition of the very complete
on commercial photog-
raphy. "The Commercial Photographer." It is replete, wiUk
illustrationa. instructions and suggestions of all kinds
covering the perplexing conditions that surround this grow-
ing field and it will be well for every photographer to have
one on his shelf, if only for reference when a quick demand
of some kind or other to do a difficult job which comes under
the head of Commercial Photography comes in and probably
flnda him somewhat puzzled to obtain the best results. The
price of the book is S4. It is worth that if only to help
you through one job, but it will benefit all your employees
aa well and make them more efficient for you.— "Photo-
graphic Poster."
"The Commercial Photographer." Since Hance's "Com-
mercial Photography of Today ' went out of print, there has
been a sad lack of a good practical book on conunercial
photography in all iU various phaaes. This new book by
L. G. Rose will find a ready demand. It is splendidly
printed and Ulustrated in Frank V. Chambers' best style,
and we commend it most hi^Iy to our readers, both portrait
and commercial. The portrait man should have it handy
for he never can tell when he will be called upon to do
some bit of work out of the regular, and this book will help
him out at any and all times: the commercial man can
afford to have it on hand, for many subjects on which he
Rrobably is not quite conversant are covered thoroughly by
Ir. Rose. Mr. Rose is well known to the craft and he has
covered his subject fully and with a thorough understanding
of all the difficulties to be met with in commercial work.
—Abel's "Photographic Weekly."
Mr. Rose deserves well of commercial photographers, for he
haa written an admirable practical manual on the photog-
raphy of the wide diversity of subjects which the commercial
Shotographer is asked to undertake. And the publishers have
one well by their author, for they have provided a luxurious
volume, printed throughout on neavy art paper and pro-
fusely Uluatrated on almost every page with half-tone repro-
ductions. Perhaps they have been a little too lavish in this
respect, for it has meant fixing the price of the book at
of photographic work, but to the commercial photographer
or. aa he is generally called, the all-around photographer.
The text presents all up-to-date methods, tricks and dodges
that are known only to a thoroughly experienced commercial
worker, and describes every step, from the choice of equip-
ment down to the finished print, whether the latter be a
str^ht contact-print, an enlargement, a colored print, or
one that is worked up to suit the needs of the photo-
engraver. The book is printed on the highest grade of
coated paper, in large, clear type, and is a credit to the
printer's art. We heartily recommend this book to every
photo-worker interested in producing technically perfect
pictures for the merchant, the architect, or whoever calls
for the most exacting photographic work.— "Photo Era."
In Mtock by following dealerB:
J. Sussman Photo Stock Co.. 223 Park Ave.. Baltimore. Md.
Photo-Era. 367 Boylston Street. Boston. Mass.
Robey-French Co.. 38 Bromfield Street Boston. Mass.
Bass Camera Co . 109 N. Dearborn Street Chicaco, IIL
S%veet WalUch & Co.. 133 N. Wabash Ave.. Chicago. IIL
Norman-Willetts Photo Supply Co.. 108 N. Walash Aft.. Oiafi
C. Weichsel Co.. 1611 Main Street Dallas. Tex.
Briius Photo Supply Co.. 914 Grand Ave.. Kansas City. Mo.
Howland & Dewey Co.. 510 S. Broadway, Los Antfeles. CaL
O. H. Peck Co.. 112 S. 5th Street Minneapolis. Minn.
Chas. C. Willoughby. Inc.. 110 West 32d St. New York.
Geo. Murphy. Inc.. 57 East 9th Street New York.
J. L. Lewis, 522 Sixth Avenue. New York.
New York Camera Exchange. 109 Fulton St, New York.
Schultz Novelty & Sptg. Goods Co.. 122 Nassau St. N. Y.
Sol Pudlin Co.. 1212 Broadway. New York.
Tennant & Ward. 103 Park Avenue. New York.
Standard Photo Supply Co.. 125 Baronnc St, New Orleans.
John Haworth Co.. 1020 Chestnut Street PhlladelphU.
E. W. Stewart & Co.. Tacoma and Seattle. Wash.
Francis Hendricks Co.. 116 E. Fayette St. Syracuse, N. Y.
Hyatf s Photo Supply Co.. 417 N. Broadway. St Louis. Mo.
Gross Photo Supply Co.. 1715 Spielbusch Ave.. Toledo. O.
FRAFK V. CHAMBERS, 636 S. Frankb Sqiare, lUi.
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Bulletin of Photography
531
If these facts are borne in mind, I think
you will see that after the developer is
applied a precipitation is formed on the
image, giving it a certain degree of appre-
ciable density, the rapidity of the deposition
being in ratio to which light has acted. If
then the plate be kept still as in tank de-
velopment, there is a gradual precipitation,
and the lesser lights slowly but surely ac-
quire density from the deposit of silver
immediately in contact, while the high-lights
do not get excess of the precipitation.
The result is a negative in which detail,
rather than intensity, persists. But if the
developer is subjected to agitation, the
tendency to aggregation is brought into
operation; the lights which are brought out
first having secured the monopoly of the
silver market, so to say, in immediate con-
tact find themselves in constant touch with
the supply, which in turn is precipitated
upon the parts which, in virtue of the greater
action of the light, have greatest attraction
for it.
In the meantime, the minor lights (detail
in shadows) suffer.
So it will be seen that agitation or calm-
ness of developer affects the character of
the results, and it is therefore essential to
consider one or the other way with refer-
ence to what you want to get in the
negative.
Many men have forgotten how to sell. They
are too busy whispering. But the man who wants
to sell his product has to talk above a whisper.
And he has got to think about his ozvn business.
He can go out right now and get two orders for
goods, space or whatever he is selling in the time
he takes whispering about a rumor or worrying
about a cancellation.
The engineer of a train, when he comes for a
moment to the valley below the hill ahead,
doesn't stop the train. He doesn't invite the con-
ductor to sit down with him beside the track
while he tells him hollow-toned ghost stories.
He gets his fire well coaled, puts his hand on the
throttle and turns on the steam.
It is exactly the right time for all American
business to take a hitch in its trousers and go to
it. It's time to quit whispering. It's time to
turn off the poison gas and turn on the steam. —
Printer's Ink.
POUND for POUND
NEGATIVE for NEGATIVE
PRINT for PRINT
CUMMINONE
(PRODUCT NO. 11)
gives better values—
than other developers
DISCARD
PYRO and its STAIN
METOL and its POISON
1 lb. CUMMINONE
(NO. 11)
PRICE $3.60
makes 32 gallons all-
purpose developer
'We USE as weU as MAKE"
Cummings' Laboratories
73 West Broadway, NEW YORK
Please Mention Bulletin of Photography When Writing Advertisers. ^<^ t
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548
Bulletin of Photography
to wash off the silver stains, so as to be
presentable to Liza Jane in the back parlor.
We even went so far as to hang out our
''Artistic Photographer" sign, with no more
artistic art education than the knowing how
to get good tones on the prints.
There have been glorious exceptions to
this, we must admit, men who have been an
honor to the profession, who devoted their
talents wholly to the art, who have leavened
the whole lump, who have elevated the
profession, but most of us are men of ordi-
nary ability, who, in our inner consciousness,
know just how much of the artistic make-
up is congenital — how much has been
mechanically transfused into our system.
But we respond splendidly to this art
treatment, and it is furthest from my inten-
tion to discount the value of art to photog-
raphy, but there is a possibility of the
''baker and candlestick maker" being origi-
nally out of their proper environment, of
Pegasus being harnessed to a plow. (No
reference here to myself).
We are glad to have these misplaced
geniuses to stimulate us plodders along the
art road. But it is salutary for us to realize
just where we stand and not allow our-
selves to be hypnotized into an auto-sug-
gestion that we are '7f/'
It does us good occasionally to present
ourselves with a lemon. The nearer we get
to the truth, the better for us financially,
anyhow.
Judging from what we know from
hearsay, many of our most successful men
in photography have differentiated from the
farm, the mill, the loom or counting house,
possessed of the incipient crude knowledge
of art, but they succeeded, not because they
kept their eyes fixed on the summit of
bright Parnassus, but at some little com-
fortable home of the future.
I sometimes question whether these ideal
men survive, whose souls are so full of the
milk of human kindness, who sacrifice good
business opportunities to benefit the pro-
fession.
I fear they suffer martyrdom, but
martyrs in photography, like martyrs of
any great cause, are the seed of harvest of
a hundred fold.
Let us then be grateful to such, but, at
the same time, it is not wise to immolate
ourselves on the altar of idealism or let
unwise enthusiasm wreck us on Poverty
Shoals.
Get Character in the Portrait
In our strenuous endeavor to be artistic,
we sometimes forget to be true, forgetting
that "truth is beauty, beauty truth," as Keats
tells us. While appreciating the marvelous
power we have at command in dealing with
light and shadow to produce charm of
effect, we ought to use this very means
which insures beauty to bring out the
character of the subject, not to mask it
or to destroy it altogether.
A great many of the exponents of modem
high art in portraiture seem scarcely to
appreciate the potent factor of light in
revealing character and individuality.
In the endeavor to get what is called
delicate effects, they destroy all semblance
of truthful representation, just as much as
if the landscape painter, in giving us a
moonlit scene, would have resort to mo-
notony of tone and color.
An apple ought to look like an apple, and
not like any kin to related fruit. If the
apple is rugged and irregular, with charac-
teristic features, it is only truthful art to so
delineate it.
It is not flattering it by smoothing it, but
is doing it injustice to make it look like a
luscious Delaware peach. So, with the
human face, the lighting of it should be to
emphasize character while we are placing it
in its most favorable position.
There should be places made emphatic by
darkness as much as places made apparent
by white, and both should be conspicuously
distinct from the half-tones, from the rich,
gradated shadows.
Take, for instance, that spot on your
studio floor, where the artistic mat is worn
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Bulletin of Photography
549
threadbare by the much tramping of your
patrons — the place where you are wont to
plant every one that comes to your gallery,
simply because you find it so easy to get
a good picture from that point. All you
need do is to reach out to the handy curtain
cords, and you have your charming stereo-
typed illumination. Let us ask you, now
that you have your subject there, to study
the effect of the light on the face. It seems
satisfactory this time, just as aforetimes.
You have discovered that it works best with
three-quarters view, with the camera
parallel to the window, so that you get your
high-light on the nearest side of the window
— and your shadow side is a nice black, very
artistic, but as flat as flat can be.
Now, just tr>' a little change. Instead of
keeping your blinds open so far as to give
the full flood of light, draw the blind down
further from the sitter. You object — it
will increase exposure. lUit remember that
hannonious illumination gives a better-timed
picture in three seconds than harsh illumi-
nation would in double the exposure.
Xow, you will notice that the high-lights
on the forehead and nose and other minor
lights are seen to perfection, and you get
fine gradations down to black, and at the
same time you get proper relief. This little
curtailment of the light, you see, effects
changes, but you must not stop here and
hold this trick as applicable to all sorts and
conditions.
You must extend your experiments, and
tr>- effects applicable to each particular
face.
You may reduce your light on occasion
to the minimum, if needed, but let the little
light be always of good quality.
By placing the camera on the dark side
of the studio and working diagonally, you
get richness of shadows; you get the darks
with luminousness and the lights with a
pearly like brilliancy.
It is well to get delicacy, but delicacy
does not imply flatness and poverty of tone.
You w^ant a certain amount of relief ; not an
exaggerated, stereoscopic relief, but enough
to show that your figure is situated in space,
and not jammed into a mosaic.
Your space surrounding the figure should
not suggest mere blankness, but atmosphere,
and however limited the area, it should not
seem to confine the sitter.
If you will take care that the shadows are
right, you need not trouble yourself inor-
dinately about the high-lights.
The practice of indiscriminately using the
effect of shadow for any face, irrespective
of its character, is to be condemned, even if
it gives you a portrait that will hang at an
exhibition.
"Johnnie," said a teacher of a juvenile class,
"what is the term 'etc' used for?" "It is used
to make people believe that we know a lot more
than we really do !" replied the bright youngster.
Heyn Studios
Omaha. Nebr.
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550
Bulletin of Photography
The Preparation of Photographic Copy
THE LATE H. A. GATCHEL
An Address delivered before the Associated Advertising Clubs of the World
Photographs form the bulk of the copy
given to the engraver for the making of
printing plates. They cover a wide range
of subjects — portraits, interiors, buildings,
machinery, and manufactured articles.
In some lines, such as landscapes, art sub-
jects, portraits, etc., the general effect rather
than detail is desired, whilst in others the
reverse is true, more especially in ma-
chinery and manufactured articles — in
these, completeness and accuracy of detail
is imperative.
It is a common experience amongst en-
gravers to find that too little attention has
been given to the most important part of
the work, that is the making of the photo-
graph itself, due sometimes to a false idea
of economy and sometimes to the difficulty
in finding a competent photographer. By'
"competent" I mean one with the equipment
as well as skill and experience necessary to
properly handle the particular work in
hand.
Many large manufacturing plants being
located at a distance from big cities, utilize
the local portrait photographer, and it is the
exception when he has a proper equipment.
For the classes of work where "picture*'
effect is the result sought, such as land-
scapes, art subjects, etc., a very ordinary
lens serves the purpose, but the more purely
commercial work requires a lens that is free
from astigmatism — one that will give equal
definition of vertical and horizontal lines
lying in the same plane. Assuming the pos-
session of such a lens, a strong camera, with
sufficient length of bellows, a rigid tripod to
prevent vibration, and a good level to insure
that the ground-glass is absolutely vertical,
we have the problem of perspective and
lighting to solve.
The normal eye subtends an angle of 60°,
that is to say, that whatever lies within the
space bounded by imaginary lines nmning
from the eye to the horizon is seen complete
and in natural perspective — any object lying
so close to the spectator that it projects be-
yond these lines on either side, cannot be
seen in its entirety without moving the eye.
Photographed from such a viewpoint, even
with a wide-angle lens, the perspective will
be distorted. Those parts lying nearest the
spectator will be too large in proportion to
the most distant parts with a result that is
no doubt familiar to you through observa-
tion. Perspective is regulated by the dis-
tance of the eye from the object and as the
lens takes the place of the eye, it is the dis-
tance from the object rather than the lens
that regulates the correctness of the perspec-
tive.
Articles that can be taken to a studio to
be photographed should offer no difficulties
to the operator — he has there the facilities
and the lighting entirely under control. But
buildings and machinery are frequently
photographed under conditions which make
it almost impossible to obtain perfect re-
sults. With machiner>' particularly, the
lighting is poor, and as this class of work is
generally done in the assembling room or
the foundry, space is generally at a
premium.
If the photographer is equipped with the
necessary knowledge and apparatus, even
under these conditions, photographs free
from distortions can be made. Possessing
this quality, it is then only a question of the
skill of the artist to add to the photograph
the proper lighting and perfection of detail.
In the making of half-tone engravings of
machinery from photographs, the chief item
of expense is the retouching of the photo-
graph to eliminate imperfections, strengthen
detail, and improve the lights and shadows.
It is possible to reduce this expense ma-
terially by a little forethought and care in
preparing the subject to be photographed.
The eye, in glancing over a machine,
takes in the subject as a whole, and quite
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Bulletin of Photography S51
From the Beattie Demonstration at the Baltimore Convention
Hammer Red Label Plate
Cyko Print
Negative and Print developed
with Cumminone
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552 Bulletin of Photography
The late L. F. HAMMER, of St. Louis, Mo.
Died May 8th. 1921. Aged 87 years.
"God'» finacr touched him, and he •le|>t." — Tennyson.
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Bulletin of Photography
553
frequently, depending on the habits of ob-
servation of the individual, passes over
minor details or defects. Not so the lens.
With unfailing regularity it picks out flaws
in castings, oil spots, reflections, etc., and
reproduces them on the negative with a
prominence that is sometimes startling, al-
ways disconcerting and not infrequently
costly to remove.
A coat of gray paint on the castings,
absence of varnish of any part, and careful
wiping away of oil stains or other foreign
matter, will contribute very materially to
the production of a photographic copy that
will require very little time-consuming art
work.
Another source of annoyance and expense
is carelessness in adjusting the parts in
exactly the position it is desired to have
them show in the advertisement or cata-
logue.
Careful screening of the surroundings is
desirable, especially where openings in the
machine or projecting arms, etc., might
permit the details thereof to be confused
with parts of adjacent machinery.
If the subject being illustrated is an enor-
mous pipe or a gigantic casting of simple
design, and the showing of its size has ad-
vertising value, it is a good plan occasion-
ally used, to include in the picture a figure
of a workman, an extended rule, or some
other object, the size of which is known, to
suggest without any mental effort on the
part of the observer, the unusual size of the
object.
In the retouching of photographs of ma-
chinery, or manufactured objects, either
singly or in groups, the background is a
matter of some importance. The best rule
to follow in having such eff"ects added is to
be sure and keep such eflfects subordinated
to the object. It is not unusual to see back-
grounds of such weird and ingenious con-
struction that they completely dominate the
composition — the article that is supposed to
be illustrated, is, paradoxical though it may
seem, pushed into the background, by the
background.
In handling small objects which are to
appear in groups, it is frequently more de-
sirable to photograph them separately and
have them cut out and grouped by the en-
graver. In this way the proper view and
right perspective can be had on each item
and distortion avoided.
As to the particular kind of print to be
used there is no hard and fast rule. For
subjects requiring no retouching by the
artist, any of the good papers are acceptable.
For machinery most artists prefer solio
paper, fixed without the use of a hardening
solution — the more absorbent the coating
on the paper, the more readily it takes the
paint.
Photographs as copy should be somewhat
larger than the desired engraving — one-half
larger, permitting one-third reduction, is a
good working size, though beautiful results
are obtained in subjects with detail from
copy two or three times the size of the plate.
Speaking along this line, the retouching
of photographs, there is one phase of the
proposition that merits a few moments
attention at our hands. To some buyers a
retouched photograph is simply a retouched
photograph and nothing more. But to the
engraver there is sometimes a marked dif-
ference between two pieces of prepared
copy which to the uninitiated appear
identical.
Color is not always the same actinically
as it is optically. That is, the lens does not
see it as the eye does. Two tones on a
retouched photograph may appear the same
to the eye and yet on the engraver's negative
there will be a marked difference in their
values.
A dark photographic tone has a depth to
it that paint of apparently the same color
has not. It reproduces differently. A back-
ground made up of beautiful pearly tints
shading from red, to purple, to blue, seems
to the eye to have a smooth gradation of
color. The negative made from it will have
several distinct tones with apparent lines of
demarcation. A polished cylinder, smooth
and unblemished to the eye, will reproduce
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Bulletin of Photography
full of streaks if the air brush work is
handled in the wrong way.
These effects in the engraver's negative
mean additional and expensive work in re-
etching and burnishing the copper plate to
restore the apparent values and effects of
the original copy.
I might remark in passing that "outside"
or "free-lance" retouchers who do work for
the buyer are frequently responsible for
much of this kind of work. Being con-
cerned only with the appearance of the copy,
its reproductive value is of minor import-
ance. The natural deduction from the
preceding is that the artists employed by
the engraving houses are much more likely
to have impressed on them the necessity for
producing copy which would bring results
most directly and with the least waste of
effort and expense in the subsequent proc-
esses.
The foregoing has all applied to the mak-
ing of plates to print in one color. Such are
the modern developments of the engraving
business, that photographs are now avail-
able as copy for the making of plates to
print in two or more colors. In the duo-
graph, so-called, two half-tone plates are
made from the one photograph, the lights
and shadows being re-etched differently in
certain determined relations to each other,
so that very beautiful effects are obtained.
Three or four-color half-tones are also
made from photographs by artist re-etchers.
The doing of this involves the production
of a plate for each of the three primary
colors from the one-color copy and de-
mands a high degree of artistic conception
of color on the part of the re-etcher.
The most frequently employed method is
the use of a half-tone of the photograph as
a key plate and the making of the required
number of tint blocks with Ben Day treat-
ments, etc. A rough color sketch indicating
desired effects should accompany the photo-
graph for work of this kind, unless the work
is of such character that a pleasing color
"picture" effect is all that is wanted. It
can then be left to the judgment of the artist.
It is my understanding of the subject
assigned me that I am limited to the single
field of photographic copy and its prepara-
tion, but I would like to add a few words
more, with due apologies to the other
speakers, should I intrude on their domain
in doing so.
Photographs, in my opinion, are the best
copy for subjects such as I have referred to,
when facsimile reproductions of inanimate
objects are desired or likenesses such as
portraiture. But where feeling or sentiment
are to be expressed, the artist must be called
in.
For instance, to use a purely commercial
illustration, a photograph for a clothing ad
seldom conveys the same atmosphere of
aristocratic nonchalance as the drawings we
have grown so familiar with. And who
wouldn't buy a certain brand of collars if
the wearer would thereby resemble the
Adonis who adorns the ads?
But there are times when a combination
of photographic accuracy and suggested
sentiment are required in one composition.
In such cases a photograph can be skillfully
combined with drawn accessories either in
wash or line and very satisfactory results
obtained.
This brings a thought with it which is
one of those things we all know and im-
mediately concede to be true, but which is
not put into practice as fully as it should.
•Conceding the rapid strides the engravers
are making, the new processes and methods,
and new uses of old methods which they are
constantly developing, wouldn't it seem to
you to be the part of wisdom to seek their
co-operation in the preparation of any
printed matter of which engravings are a
part?
There are matters of press work limita-
tions, paper, type, etc., all of which call for
certain styles, grades and finishes of work
to produce the best results under the given
conditions. It requires constant attention
and alertness on the part of those in the en-
graving business to keep fully posted, so
many are the inventions and novel uses of
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old processes. How, then, can one with
whom engravings are only incidental, hope
to utilize these things to the best advantage
if he works by himself in a narrow groove?
In closing, 1 would urge you to pursue
one course in buying engravings — buy the
best, get good photographs. However much
or little work you have done on them, have
it done right for your purpose. Don't buy
valuable space and spend time, effort, and
talent on convincing copy and have the work
neutralized by poor engravings. The best
engraving is the least expensive, and the best
is the one that adequately shows in propor-
tionate quality the article to be sold and is
so made as to assist the wTitten copy in
arousing in the beholder's mind the desire
to possess —
"A consummation devoutly to be wished."
What's to be Done at the
Buffalo Convention
CLARENCE STEARNS
Someone has said, ** Nothing succeeds like
success" and the wonderful success of last
year's Milwaukee Convention and the start
which the P. A. of A. has made in giving
all the year 'round service to the photog-
rapher, has created a real momentum, so that
with President Beach at the throttle, we are
speeding up this year and will go much
further toward giving every member real
service. This service will be worth many
times the amount which one pays in dues.
The $10.00 dues will furnish fuel for the
engine which it never had before and surely
this is the best small investment a photog-
rapher could possibly make.
The Association has accomplished a great
deal in the past with the limited funds with
which it had to work. Just the little matter
of keeping the luxury tax off of photographs
has saved many dollars to every photog-
rapher in the land. Xow a great deal more
can be accomplished and I know that Presi-
dent Beach, with the oncers and members
backing him, is going to put across a pro-
gram of service which will make us all glad
we belong to the P. A. of A.
The Association School of Photography,
at Winona Lake, with such men as Harris,
MacDonald and Marceau on the Governing
Board, is bound to be a success.
This year members will receive free legal
advice and the free use of a fine traveling
exhibit comprising the work of America's
foremost photographers. Making use of
such an exhibit is one of the best advertis-
ments a photographer can put across. I
know this because I have tried it.
Members will be informed every month
of what is going on through Pure Ginger,
which is the Association's new bulletin.
There's a brass membership sign and a
transparency for your show case as well as
a cut of the Association emblem for use on
your printed matter, all free with your mem-
bership, and no extra convention charge this
year— and SOME CONVENTION!!
With a hall even bigger than the hall we
had at Milwaukee, there will be a complete
studio doing business every day. The coun-
tr\''s best receptionists, operator's and work-
men — all there to show you how they work.
There's a lot of new talent up for the
regular program and the commercial men
will have a hall and a program all their own.
And the entertainment — it's hard to keep
my promise not to tell and Pm going to
chance going this far — they tell me that the
manufacturers and dealers are going to take
the whole bunch over to Canada. Now, Pm
not from Missouri, but Pm willing they
should "show me" what Canadian hospitality
is like and I don't expect to be lonesome on
that trip.
Mark your calendar — July 18th to 23d.
Child Photography
Child photography is an art in itself, and its
salient point is to keep the little one natural and
interested. The easiest way to accomplish this is
to give him the playthings he is used to, and let
him have a gocxl time by himself until the picture
is over. The "listen to the birdie" incentive usually
fails, for your modern child scK^n discovers he has
been deceived, and begins to bawl at just the
crucial moment. If matters must be explained,
do it simply, and interest the little one himself in
the picture that the "black box" is taking.
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Bulletin of Photography
OUR LEGAL DEPARTMENT
CONDUCTED BY ELTON J. BUCKLEY. ESQ.
(Mr. Buckley is one of the leading members of the Philadelphia Bar, and an authority on legal matters.
If our subscribers have questions on legal points, and submit them to us, Mr. Buckley will answer them
fru of charge, A stamped and addressed envelope must be enclosed for reply. Make your question brief
and write on one side of the paper only.)
Where You Stand When Somebody Quotes You a
Price on Goods
The question asked by the letter repro-
duced below has probably been asked by
thousands of other retailers, more or less
often in their business experience:
Chicago, 111.
Kindly give us your advice on the
following question: Last month we
asked a certain wholesale house to
quote us prices on certain goods which
we carry in our line of business.
The house quoted us the prices, and
on the strength of the quotation we put
in an order. However, on receiving
the goods we discovered that they had
been invoiced at a higher price than the
one quoted us.
The house insists that we should pay
the prices charged. We insist that they
are bound to the prices quoted. We
remitted exchange according to prices
quoted, the house insists on claiming
the balance. We refuse to pay the
balance.
Are we right in our contention ? We
will appreciate your advice on the sub-
ject. Clesi Bros.
The question therefore is:
When somebody quotes you a price
on goods and you accept it, is it a bind-
ing contract which you can enforce
against the seller or if the market has
advanced by the time the goods are
shipped, can the seller charge you the
higher price?
The answer depends on a number of
considerations. Ordinarily it is a binding
contract without doubt, but it may not be.
For instance : A, a wholesale dealer in New
York, receives a wire, or a letter from B, a
retail dealer in Philadelphia, asking for a
price on a certain quantity of merchandise.
A answers in the same way, that is, if the
communication was wired, he wires the
price, and if received by letter, he answers
by letter. There is nothing on record be-
tween A and B to show that all quotations
are subject to change without notice, and
there is nothing in A's wire to that effect
or in the letter. It is a straightforward
request for prices and an unqualified
answer, giving the quotations desired. B,
upon its receipt, at once accepts and for-
wards an order, by wire or by letter, it
makes no difference.
That was a binding contract between A
and B, and in such a situation, no matter
what the market did by the date of ship-
ment, A could never charge B a penny more
than the price he had named him.
So that if the correspondent's case is like
that, he has his answer.
But there are conditions which would
change the rule. Nobody who quotes prices
on merchandise is expected to keep the offer
open forever. Sometimes he stipulates
"subject to immediate acceptance,*' or "sub-
ject to acceptance before ." If
nothing like this is stipulated, the person to
whom the quotation is given only has a
reasonable time to accept it. What is a
reasonable time depends on circumstances.
If the market was advancing, a reasonable
time would be shorter than if the market
were not advancing. At the end of the
time named for acceptance, or at the end of
a reasonable time if no time was named for
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acceptance, an offer comes automatically to
an end. If it hasn't been accepted by that
time, it cannot be, and if the buyer sends in
an order after that, and the seller ships the
goods, they will go at the market price at
date of shipment. Always provided that the
order isn't accepted in such a way that the
seller can fairly be charged with knowingly
accepting it at the former price ; that is, the
price he had quoted.
The above is, of course, no exception to
the rule that a prompt acceptance of a
definite quotation creates a binding contract.
But the quotation must be definite, the
acceptance must be just as definite, and,
moreover, must be prompt. If it fails at
any of these points, there is no contract, and
an order sent in can be filled at the market
price, regardless of all previous quotations.
For instance, a firm wishing to buy some
glass jars wired a manufacturer: "Please
advise us the lowest price you can make us
on order for ten carlods Mason green jars.
State terms and cash discount." The manu-
facturer replied: "We quote you Mason
fruit jars complete (stating prices) for
immediate acceptance and shipment not
later than May 15th (also stating terms)."
The buyer at once accepted, but the seller
later tried to get out of it. When the matter
got into court, it was held that "there was a
present offer by defendant (the manu-
facturer), the immediate acceptance of
which closed the contract."
In another case a retailer wrote a mill
about selling some bran, and the mill replied
that it would sell for $7 a ton. The inquirer
wired that he would take fifty tons at the
specified price. This also was held to be
a good contract.
A seller of merchandise who quotes a
price can't get out of it, after it is accepted,
even if he carries on his letterheads some-
thing like "Prices subject to change without
notice." That only has to do with standing
prices, it does not concern a specified
quotation, which stands just as long as it is
stipulated it shall, either "for immediate
acceptance," or "subject to acceptance be-
fore ," or if no time is specified.
then it stands for a reasonable time.
(Copyright by Elton J. Buckley.)
On Knowing It
C H. CLAUDY
A country boy, who had studied for the
ministry, ran off to join a minstrel show
and worked in a circus, became tired of
roaming, walked the rails to a big city and
got himself a job in an optical store. This
was twenty-five years ago. Today he owns
his own optical emporium, employs a lot of
people, makes an income which requires a
four figure income tax to settle up, and goes
about looking for ways to spend his profits.
A lad of no education, beyond the eighth
grade, was given a job sweeping up the
floor of a composing room. From sweeping
the floor to distributing type, from distribut-
ing to setting it, from setting it to proof
reading it were slow steps, but he took them.
Then he commenced to read the history- of
printing, the art of printing, the mechanics
of printing, and before long he was down
in the front office making out bills. Today
he owns the shop, has a hundred employees,
one of whom is always a boy without much
education, getting his chance.
These are both true incidents — they are
not as spectacular as the stories of the coun-
tr}' boy who became a millionaire, or the boy
without education, who became a college
president. But they are facts — every-day
facts. The country boy and the eighth
grade boy arrived at the top of their respec-
tive little heaps, entirely by learning their
jobs inside out and upside down. They
were afflicted, both of them, with that divine
curiosity which makes its possessor unhappy
until he knows — knows all there is to know
about the particular subject which interests
him. No man ever made even a little suc-
cess without some of it — most successes are
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Bulletin of Photography
in direct proportion to the amount of curi-
osity their makers have regarding the wheels
in their particular machine.
This page will be read, presumably, by
some printers, operators, retouchers, photo-
graphic workmen of all kinds. They will
have read before of "good advice to a work-
man,'* and "how to be happy on thirty a
week," and "the sure way to be your own
boss, take a correspondence school course
in 'steen lessons, dollar down and dollar for
life !" There is nothing like that here.
But, friend workman :
Of every hundred workmen, some
become owners of their own busi-
nesses.
Something causes A and B and C
to be the "lucky" ones and something
else prevents X and Y and Z from
ever being anything but drawers of a
salary envelope.
What is the something?
You can give it any name you please.
Sometimes it's ambition, sometimes it's con-
centration, sometimes it's determination,
sometimes just bull-dog courage, sometimes
a natural gift, sometimes opportunity — but,
be the cause what it may, no man ever be-
came his own boss and stayed so who didn't
take time to learn something of his job
besides the immediate knowledge required
for its immediate production.
Knowledge does not have to be applicable
to be valuable. You will make just as good
a photograph if you think Botticelli is the
name of a cheese, Stradivaris the name of a
disease and Karma the name of an auto-
mobile. But if painters, violins- or eastern
religions be a topic of conversation, you
won't impress your hearers much with your
general knowledge if your impressions are
as above. In other words, knowledge may
be a background of culture, a canvas on
which you paint the man you are, for all
who know backgrounds to see.
Knowledge builds personality. Person-
ality builds success. But knowledge of
your job alone is not enough. It is but the
foundation. If there is anything about
photography you don't know, you ought to
learn it. This isn't intended to convey the
idea that you should be able to calculate the
curves of a lens or memorize every formula
you ever used. It does mean you should
know something of the history and develop-
ment of your art, something of its ramifica-
tions and possibilities beyond portraiture,
something of its literature, science and art.
But that isn't enough; you want, must
have (to be a real success) a broad general
knowledge of anything and everything re-
lated to your job. In photography this is a
pretty large order; to be a high-grade, A
Xo. 1 photographer, means a lot. The
broad-gauged photographer must know
business, economics, costs, advertising,
civics and political history. He must know
something of chemistry, physics, electricity
and optics. As photography enters into
astronomy and navigation, manufacturing
and mining, mapping and engraving, he must
know something of these. He must know
sontething of art, its history, mechanics,
principles and master artists. Lighting —
a fundamental of photography — brings up
decoration, color, color schemes and propor-
tion. Proportion suggests architecture and
architecture suggests sculpture; surely the
photographer should know something of
these.
The capable photographer should be able
to talk with anyone; if he cannot impress
his cultured sitter with the idea that he
knows his job, his cultured sitter will re-
gard him as a mere mechanic. That hurts
all photography, which isn't a matter of
mechanics. Wherefore, history, religion,
literature, music, poetry, song, drama,
politics and philosophy are necessary to the
well-rounded photographer.
Xay, gentle workman, no word is here
said to indicate you should or nuist know
all of all of these — you have but one life-
time. Xo man living knows all there is to
know of any one of these subjects, let alone
all of them. But enough should have been
said to indicate that there is no time for
wasting — that if you agree that the way to
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559
get ahead is to know things, then you should
also agree that there is no more profitable
investment for spare time than reading and
studying the thousand and one things which
enter into the making of a picture and the
making of a high-grade maker of pictures.
If this draws an exalted diagram of a
top-notch photographer, the present scribe is
glad. To those who regard photography as
a mechanic's craft and photographers as but
super-workmen, about on a par with the
foreman of a ditching gang, or the chief
janitor of a force of floor scrubbers, this
story will read as nonsense. But to those
who see the photographer as he is here seen
— as an artist using a tool of science for the
painting of portraits of the personalities of
people — there will appear nothing incon-
gruous in the advice given to those who are
but starting to make of themselves men
worthy the name of portrait artists.
To be the best of your kind, to make of
yourself the best you can, the first, the
middle, and the last rule is, find out zvhat
you don't knozv, and then, as far as your
capacity and time zvill permit, learn it!
Some Points About Architecture
There is always something disappointing
in the reproduction of an architectural pile.
This sense of a shortcoming in the picture
is not confined to the photograph, but ap-
plies equally to the best artistic work of the
draftsman. Even the most skilled achieves
an approximation only in a most faithful
copy. The difficulty encountered lies in the
subordination of the infinity of detail to the
mass, giving simplicity and breadth with
modulation of surface, which is the charac-
teristic of all great art. However, we can
say this much: No work of the hand is
able to present such subjects in a way ap-
proaching a well-executed photograph, and
observe we say a well-executed photograph,
because the conditions demanded in repro-
duction of such subjects necessitate the
greater exercise of taste and judgment than
required by subjects of a different nature.
AT THE
Baltimore Convention
(APRIL 18-21)
all negatives and prints
therefrom — made in the
Halldorson, Beattie and
Buckley Demonstrations
were developed with
CUMMINONE
Eastman Film, Hammer
and Cramer plates were
used in our published
tank formula and the
results were unanimous-
ly endorsed by the re-
spective Demonstrators
1 Ih. Cumminone No. 11=
88 gallons tank deoeloper=
$3.60
Cummings' Uboratories
415-17 Park Row Building
NEW YORK CITY
( Wm USE OM wU OM MAKE)
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Bulletin of Photography
The most successful plate
ever made
CRAMER
HISPEED
The
PERFECT
'ORTRAIT
LATE
with Speed
G. CRAMER
DRY PLATE COMPANY
CHICAGO SAINT UHJIS NEW YORK
From an examination of a great many
collections of architectural subjects, we
notice a want of precision which science
requires. Errors introduced sometimes
seemingly intentionally, in the belief that
the view is thereby improved — errors some-
times from gross ignorance — make the
reproduction worthless to the student of
architecture and ridiculous to a draftsman
who understands the rules of perspective.
Of course, the perspective of any lens
must be correct, but, then, it does not follow
that the particular rendering of the subject,
say by a short- focus lens, is to be used as
an argument that the picture is naturally
true.
The way in which a horizontal circle,
such as the upper edge of the capital of a
column, will seem to be distorted when seen
at the side of the view in a wide-angle
photograph puzzles the careless observer,
who, though he readily enough understands
that the circle seen foreshortened, becomes
an oval, yet it is incomprehensible to him
how^ it can become an ovoid, such as the
photograph presents. Yet this is correct,
for the circle, seen horizontally and at the
side, becomes subject to a double distortion,
the result of which is this particular ovoid.
It does not look natural, however, because
our vision is untrained to so observe per-
spective facts. We all see things as we
think or know they are, just as when we
were little children we insisted on putting
two eyes in a profile.
Therefore, in making subjects involving
perspective, we adopt the rectilinear perspec-
tive, as giving facts in a manner which can
be made to agree with actual vision, and are
at the same time scientifically correct.
To do this, it is necessary to use mathe-
matical exactitude in the operation of taking
the view.
We are all aware that, if the camera is
pitched forward a little, it produces an up-
ward divergence of parallel perpendicular
lines, while, if thrown back, it produces a
downward divergence or a pitching together
of the perpendiculars which is an absolute
Please Mention Bulletin of Photography When Writing Advertisers
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Bulletin of Photography 561
and self-evident falsehood, while, if one
side of the camera back, being perpendicular,
is swung back, it makes the lines on the side
furthest from the lens longer relatively than
on the nearer, which is another, though
less apparent, falsehood.
Let us take, for instance, a case where
the photographer is sighting a high tower
like one of the Italian campaniles which has
a slight taper upward.
It is essential, if we want to present the
subject as the architect designed it, to look
to our vision that this taper shall be cor-
rectly indicated; but, if the photographer
is careless or ignorant of what is effective,
he may make it without taper, in conformity
with his general practice, or with the taper
the other way — that is, exaggerate it. In
the taking of Greek architecture, the defect
is more observable, because a Greek temple
is architecturally the most scientifically con-
structed building, the systenj of curvatures
and inclinations being exceedingly compli-
cated. The columns have a taper and a
curve in the profile at the same time; they
do not stand perpendicularly, but with a
slight inclination inward, so that, if they
were prolonged sufficiently, they w^ould meet
at a point in the air at a certain height above
the center of the temple. Now, how very
few of the photographs of Grecian temples
show^ them in this way. The pictures in-
variably show that the photographer has
tilted his camera back so as to get the top
of the building in from a nearer point of
view.
The riiost important precaution to take,
then, in placing the camera is to have the
plate absolutely perpendicular, and the next
is that the sides of the plate shall be at
exactly the same distance from the lens; in
default of which, the lateral symmetry or
proportion is disturbed. A plumb-line is
indispensable for the former, and for the
latter a carefully graduated scale on each
side of the camera bed if it has a side swing.
The modern, up-to-date architectural
camera lends itself readily to the work, but
one cannot expect scientific results with an
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Bulletin of Photography
PICTORIAL
PHOTOGRAPHERS
ARE INVITED
to enter their photographs in competition for
the prizes to be awarded at
The 2nd Annual Exhibition
of Pictorial Photography
to be held in the FREDERICK & NELSON
AUDITORIUM from November 1st to 12th,
inclusive, of this year. Regulations govern-
ing this year's competition are substantially
the same as obtained in 1920. with the im-
portant difference, however, that this year
no distinction will be drawn between the
amateur and the professional.
Detailed particulars concerning the Exhibition
may be secured by addressing
Photographic Exhibit Bureau
FREDERICK & NELSON
— SEATTLE, WASHINGTON —
A RARE CHANCE TO
SECURE NUMBERS OF
"Camera Work''
C)NCBDBD to be the handtomett magazine ever pub-
liAed for loveri of photographic art. The magasinet
are made up of picturet (with a little dewiriptive text)
from photographs taken by those famous and original
in photography.
Many of the fine photogravures conUlned in Camtra
Work cannot be replaced, and all of them are worthy ol
fnimitj^ Many of the editions command three to four
times their original pubUcation price. We can supply
^iet of the following issues at $1.35 per copy, postpaid.
Volume No, DaU Fto<" ^
4 October. 1903 Frederick H. Evans
5 * * January. 1904 .... Robert Demachy
10 ". . . April. 1905 .... Gertrude Kasebier
11 July. 1905 David Octavius Hill
11 .... April. 1908 .... Eduard J. Stetehen
29 .... January, 1910 .... George H. Seeley
31 ... July. 1910 Frank Eugene
32 October. 1910 .... J. Craig Annan
36 " ! . October. 1911 .... Alfred SteigliU
37 ... January. 1912 David Octavius HUl
40 October. 1912 Baron A. de Meyer
41 . January. 1913 .... Julia Margaret Cameron
47 .... Called the Famous " 291" (no illustraUons).
Specials Nos. 2 and 3. suiUble for art students. wUl be
maSlS^at 90c. per copy. Cubistlc— not photographic.
Sg«i^} August. 1912.. {".^g^p^J^
FRANK V. CHAMBERS
636 Franklin Square Philadelphia
ordinary hand camera constructed solely for
convenience of travel. The swing back is
absolutely necessary, but a double swing is
an unnecessary refinement — indeed, had
better be dispensed with.
In selecting the view of an important
building, it is well to remember that the most
picturesque is not always the most inter-
esting or valuable to the student. The most
important view of a building is generally its
faqade, or principal front. This in a Greek-
temple gives an absolutely symmetrical view,
and the point of sight is easily found by the
range of the front and rear central pair of
columns.
In a Gothic cathedral, it is not so easy to
find; but, if you have scratched upon the
focusing screen a series of horizontal lines,
the parallelism of one of them with the
main horizontal line of the faqade will show
that you are opposite the center of the
faqade.
The flank, or long side, comes next, and
then the picturesque views, of which the
most interesting will generally be the one
which shows the front with a partial view
of the side. Focus on the most important
part of the subject, and then stop down.
Give full exposure, so as to secure detail in
the shadows.
A figure introduced into the view in such
a way as to give a comparative idea of the
size of the building is of great value.
Details of ornamentation with a long-
focus lens or a telephoto lens, when neces-
sary, are always valuable, especially in
(k)thic and Byzantine work, the capitals of
columns, single windows, doors, etc., and it
pays sometimes to get access to a house
opposite the church, so as to get the view
free of street obstructions.
The getting of interior views is a matter
sometimes of extreme difficulty. There is
not light enough generally to focus, often
not enough to see the subject with distinct-
ness.
Focusing scales on the camera are indis-
pensable from 30 to 150 feet for the horizon
or extreme distance, and on the top of the
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NEW BULLETIN (No. 137)
JUST OUT
CONTAINING BAROAINS IN CAMMAS, LKNSKS
AND KVKilYTHINO PHOTOOilAPHIC
WUIOUGHBY'S "» Sk^'T'ol]^
camera have a finder with a large lens,
which gives an image even in a weak light.
Have cork tips if you use a tripod.
There is one thing in architectural work
of vital importance: Never attempt to
block out the sky. It is preferable to put
up with a defective sky than to tamper by
even the best handwork with the delicate
outlines of the structure.
Black and White
In copying to get merely black and white
reproduction — that is, a facsimile, special
plates have been recommended. These
I)lates are of the slow variety of emulsion,
and are not always easily procured outside
large cities, not being much in general de-
mand. They do the work well when the
original is perfect in black and white, but
if there is any tinge of yellow, as frequently
occurs in old documents, it is impossible to
get clear images on the negative, and, of
course, the reproduction is faulty in black
and white. I have, therefore, always pre-
ferred a slow orthochromatic plate. When
such is not procurable I prepare my own
plate by Ives* method of orthochromatizing.
This is as follows :
One grain of erythrosine is dissolved in
4 ounces of 95 per cent, alcohol, and the
solution filtered. Bathe the plates in this
for 2 minutes, keeping the dish in motion
during the immersion. Then wash in dis-
tilled water and dry. (All this, of course,
is done in the dark-room, and then even to
very faint ruby light.)
The difficulty encountered is in the show-
ing of the grain of the i)aper. So it is
necessary to illuminate with a flat, full light.
The best way to get such illumination is to
expose out of doors, with the subject fast-
ened to an upright board. To get the illu-
HAL
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Mark outflts you are interested in and pin to your
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THE HALLDORSON CO.
1776 WILSON AVE. CHICAGO
REGISTERED
CTIl A — When you see this
name on a package of
developer, you know it stands
for the best that can be produced.
Made by the Society of Chemical In-
dustry in Basle, Switzerland ; makers
of standard chemicals since 1864.
Metagol, ''CIBA"
(If onomethyl paramido phenol Bulphate-
better than the best metol you ever used.)
Diamidophenol "CIBA"
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Glycin "CIBA"
Hydroquinone "CIBA**
Pyrogallic Acid ^'CIBA"
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At your dealers, or write us
FREE: New and complete book of developing formulas,
toners, intensifiers, reducers; lens table and many other
helps. A copy is yours for the asking.
CiBA Company, inc..
Cedar and Wasbbfton Sts. New York City
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Bulletin of Photography
STERUNG TANKS
Place your orders AT ONCE for Sterlinir Tanks and Waterjackets. The most
com^cf, greatest capacity, least costly outfit made. STERLING Tanks and
Waterjackets have been ^vinir tatUfaeUon for over 10 YEARS.
DEMAND STERLING. There is no substitute. Listen to STERLING. Your DEALER has them or can get them.
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STERLING TANKS AND WATERJACKETS.
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BEAVER FALLS, PA.
mination from the front surround the copy
with a lidless, bottomless box, the whiter
and more reflecting the faces of the box
the better.
Exposure is a matter of a little experi-
ment, using a plate in sections for varying
times. Start with 20 seconds. It is neces-
sary to give a full exposure, as nothing is
possible with short time. You will find the
time demanded is more than you estimated.
It is not necessary to stop down to the
smallest aperture, /16 will be found small
enough to cut out extraneous rays entering
the lens.
It is necessary to secure density of image
for such copies. I have always found that
the developer recommended by the late John
Carbutt, of dry-plate fame, superior to all
others for this specialty:
Sodium carbonate (cryst.) .... 2 oz.
Sodium sulphite 4 oz.
Potassium bromide 60 gr.
Water 60 oz.
To each ounce of this add 3 grains of
pyro.
The image is slow in making its appear-
ance, but attains great density with abso-
lutely clear lines.
Immediately after attaining the density
desired immerse the plate in citric acid, 30
grains; water, 16 ounces. Fix in hypo,
plain, or in an acid fixing-bath.
The most suitable medium for printing
is black platinum, but almost as pleasing re-
sults may be had with bromide paper de-
veloped with ferrous oxalate, with the iron
rather strong (1-4) and about 1 dram to
every ounce of the mixed developer of 10
per cent, solution of oxalic acid. Beautiful
velvety black images are thus secured.
*
Be Kind— Be Courteous
Be kind, if for no other purpose, as a business
asset, a selfish interest. Assume the virtue if you
have not one. Be courteous to all poor and rich,
and do not be a respecter of persons only. Be
courteous to your employes in your daily inter-
course, and the burden of your labors will be light-
ened by the kindly feelings on both sides. And
withal, be prompt. Prompt to meet your obliga-
tions squarely and to the minute. If circumstances
forbid the fulfilment, be prompt in presenting your
apologies.
Be prompt with your patrons. Do not promise
to have work done at a given time unless you feel
assured you can fulfil promptly. Nothing so dis-
gusts as a broken promise and a lame excuse.
1921 CONVENTION DATES
Plac»
Date
South-Eastern
Atlanta, Ga.
May 23-25
J. C. Deane, Rome, Ga.
P. A. of A. (International)
Buffalo, N. Y.
July 18-23
J. C. Abel, 421 Caxton Bldg.
Cleveland, Ohio.
Ohio-Mich.-Ind,
Winona Lake, Ind.
August 15-19
Fred. Bill, 746 Euclid Ave.
Cleveland, Ohio.
New England
Dates not yet settled.
A. K. Peterson, Pres.
Hartford, Conn.
North-Central
Minneapolis, Minn.
October 3-6
J. R. Snow, Pres.
Mankato, Minn.
Pacific North- West
Vancouver, B. C.
August 2-5
A.T. Bridgman, 413 Granville St.
Vancouver, B. C, Canada.
New York State
Postponed until 1922
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Adjusting the Light
Photographers ought to get more credit
for the excellent work they produce, when
we consider the very adverse conditions un-
der which sometimes they are compelled to
work. We have been surprised, at times,
at the beautiful character of the portraiture
after we have examined the seemingly in-
superable source of illumination under which
the pictures were made.
It would seem that any kind or any source
of light may be made available, provided
the artist knows what is good illumination
of the human face. Having this knowledge,
he is hardly ever handicapped.
It is from our observation of the meth-
ods which some of these experts in photog-
raphy employ to get the good effects that
we are able to give you a few hints in the
same line.
One thing we noticed in particular is that
they do not employ intense illumination.
The light is managed, or moulded, we might
say, to give the desired effect.
Screens, which may be moved and ad-
justed to increase or diminish illumination,
take the place of the sculptor's moulding
tool, and it is marvelous to see what can be
effected by simple interposition. By a sim-
ple system of semi-transparent or colored
muslin curtains, any part of the surface of
available light may be utilized with telling
effect. These curtains run along copper
wire, passing through rings upon each edge
of the muslin. The strips or widths of mus-
lin should overlap each other some three
or four inches, or enough to prevent any
open space between them. The wires are
strained sufficiently tight by using screw-
eyes. This plan is much to be preferred;
indeed, it is capable of being better man-
aged than where the curtains are arranged
on rollers at the top and l)ottom of the light,
for a good deal of the light is in this way
practically useless, besides bothering the
operator with the cords, that are liable to
get into a maze at the least provocation.
Prices
Reduced
on thm wU'known Unm of
BAUSCH&LOMB
Photographic Lenses
To meet the general demand for
lower prices, we have made an
average reduction of 10% in the
prices of practically all of our high-
grade anastigmats. While such reduc-
tion is scarcely warranted by any pre-
sent lowering of production costs, we
are willing to anticipate such a possi-
ble condition and to make it easier for
the photographer, desiring the best
possible equipment, to acquire one or
more of our lenses at once.
This reduction applies to all of our
famous TESSARS and PROTARS—
to Tessar Ic (F:4.5), the best possible
selection for the portrait photographer ;
Tessar lib (F:6.3), particularly adapt-
ed for group work; Protar Vila, truly
convertible lens for the commercial
photographer and for all-around pur-
poses; and the Protars IV and V,
standard wide angle lenses.
Write for our new price list — and a
copy of our complete catalog, if you
have not already received one.
Bausch^y Ipmb Optical ®.
636 SL Paul Street Rochester, N. Y.
N«w York Waahington Chicago Saa Fraacbco
Leading American Makers of Microscopes, Projection
Lanterns {Balopticons), Photographic and Ophthalmic
Lenses, Stereo- Prism Binocidars, Range Finders, Gun.
Sights, Searchlight Projectors and other High-Grade
Optical Products.
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Bulletin of Photography
Save 25% to 60%
ON SLIGHTLY USED
GRAFLEX, CIRKUT
AND VIEW CAMERAS
Our Bargain
Catalogue M
contains things
that the profes-
sional photog-
rapher needs.
Send at once for
your copy.
You will find the most up-to-the-minute Cameraa.
Lenses, and supplies of every description, both used
and new. listed therein at startling reduced prices.
Thousands have been pleased with our Bargains and
business methods. We can do the same for you. Every
item is guaranteed and a
lO-DAY FREE TRIAL
is granted, after which time, should the outfit prove
unsatisfactory, same can be returned and your money
will be refunded. Can anything be fairer or squarer ?
CENTRAL CAMERA CO.
124 M., So. Wabash Ave. - CHICAGO, ILL.
H^LipiperPyes
fflLL WIN WHERE OTHERS FAIL!
Purity of chemicals, fineness of silver
and the most modern methods of
manufacture, give them the lead
over all.
SPECIAL BRANDS FOR SPECIAL NEEDS
Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work, and Hammer's
Extra Fast Orthochromatic and D. C.
Orthochromatic Plates for color values.
Hammer Dry Plate Co.
OHIO AVENUE AND MIAMI STIIEET
ST. LOUIS. MO.
Study the Face
The study of human faces should become a
habit and a pleasure to the student in portraiture.
The measure of his success depends upon this self-
imposed training. The eye becomes quick to sec
and recognize the correct and the beautiful; the
camera, under intelligent guidance, is quick to
secure it. If any man fails to notice the lighting
and the shading of the faces he looks into day
by day, outside his studio as much as within its
walls, and note, mentally, their peculiarities; if
he fails to take the teachings, freely given by
accident or natural chance; if he does not carry in
his mind the remembrance of some fine head, well
posed and lighted, which may have been caught at
a glimpse or viewed at leisure; if he does not
carry that image round mentally with him till he
realizes it on the ground glass, he is in the wrong
business.
Announcement has just been made that the
dates for the Second Annual Exhibition of Pic-
torial Photography, to be held next fall in the
Frederick & Nelson Auditorium, Seattle, Wash.,
have been set for November 1st to 12th, inclusive.
This competitive exhibition was inaugurated last
fall, there being 1,100 entries, from more than
40 States, while Canada and several foreign coun-
tries were represented. Last year the competition
was limited to the work of amateurs, but this year
this restriction has been removed and invitation
extended to all pictorial photographers, whatever
their status and wherever located, to send in their
prints.
There are no separate classifications in this
competition, portraits, studies in still life, land-
scapes — all types — entering on an equal basis, the
only restriction being that hand-colored photo-
graphs are barred. The board of judges will be
selected from among the most prominent photog-
raphers and painters in the Northwest. The
prizes offered are: First prize, $100.00; second
prize, $75.00; third prize, $50.00; five prizes of
$10.00 each, and ten prizes of $5.00 each. The
exhibition will be held in the Auditorium of the
Frederick & Nelson store, a large hall especially
well adapted to this purpose.
Thousands of visitors inspected the exhibit last
year, it being free to the public. The first prize
was awarded to a photograph entered from Brook-
lyn, New York, but several entries from the West
ranked high among the prize-winners.
The object of the exhibition is to encourage
the cultivation of photographic art in the North-
west, both by offering artists of this section a
chance to show their work in competition and
giving thcni a chance to compare their owti pro-
ductions with the best of other sections of the
world.
"These face powders and things are not for
anybody except girls!" said the indignant youth.
"Oh, I don't know, we have one kind made for
Mennen women." — Retail Public Ledger.
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Eduard Blum
The Photo Art Shop
in the service of the profession
32 South Wabash Avenue
CHICAGO
THE ONLY STUDIO OF ITS KIND IN AMERICA
BE DIFFERENT FROM THE OTHER FELLOW
BE DIFFERENT FROM YESTERDAY
Dig!
When one task is finished, jump into another.
Don't hesitate. Don't falter. Don't waver. Don't
wait. Keep going.
Keep going. Doing something is always better
than doing nothing.
For activity breeds ambition, energy, progress,
power. And inactivity breeds idleness, laziness,
shiftlessness, sloth.
Don't dawdle in the hope that inspiration will
strike you. Inspiration is more likely to strike a
busy man than an idle one.
Save the half hours that are wasted in waiting.
That is the secret of system. Keep going.
Dig!
Success -nuggets do not lie scattered about the
surface-soil of the business gold mine. Work —
hard, relentless pick and shovel work — alone un-
earths life's greatest prizes.
Just as the diamond lies hidden in the moun-
tain cave — just as the pearl rests concealed on the
ocean's bottom — so success lies dormant and be-
yond reach of him who does not strive to secure it.
Opportunities, like precious jewels, are all about
us. But only effort — steady, ceaseless, whole-
souled cffort^an dig them out and secure their
value.
Quit scraping over the surface of your busi-
ness chances — quit remaining content with the
pay-dirt on the outer edges of your commercial
prospects. There is a nugget in every opportunity
— if you only delve deep enough to get it.
And don't merely dig without aim or method.
Just as the miner assays his claim before he
sinks his shaft, so should you probe each business
possibility before you begin to work it.
First locate your claim — your main chance.
Then prove it. Then plan your system to work
it. Then take off your coat and dig. — System.
Successful System
If we look at the examples upon the walls of
the convention galleries, where the exhibitors
have sought to make pictures and not mere photo-
graphic records, and we have opportimity to
ask these persons "how they do this" there would
be but one answer: "We adopt the newest and
best ideas that promise beneficial results, and which
are simple in construction, and keep on the lookout
for any others which may elevate us into the artis-
tic atmosphere of the profession, endeavoring to
assist Nature and not to distort.
Successful system may be summed up thus :
First, adopt those ideas which are simple, practical
and beneficial; second, have a system to regulate
the working of all things; third, aid Nature to
comeliness; add a charm to the charming; make
beauty more beautiful.
Boss — "What was your brother arrested for.
Mabel?"
Mabel (blushing) — "Why, I think they said it
was bootlimbing."
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Bulletin of Photography
A NEW BOO K
THE AIR BRUSH IN
PHOTOGRAPHY
The most comprehensive work ever written
on work with the Air Brush, especially as applied
to photography, working up enlargements, etc.
143 PAGES - 45 ILLUSTRATIONS
BOUND IN CLOTH
$3.50 post paid
Mr. Geo. F. Stine, the author, is known as
o le of the most expert workers with the Air
Brush in this country, and the series of 32 illus-
trated lessons, which forms a considerable portion
of the book, is the most detailed and carefully
worked out course of instruction that could be
imagined. With the help of this book any photog-
rapher can learn to use the Air Brush.
In addition to the comprehensive series of
lessons, there are seven chapters on coloring with
the Air Brush, a very valuable addition to the
book, and something not heretofore found in
print.
FRANK v. CHAMBERS
636 S. Franklin Sqoare Philaddplua
One of the best, as well as
one of the rarest books on
art and composition is —
"R urnefs
PT ssays on A ft
Single copies of the original editions
have been sold as high as $100.00.
It has been reprinted in a limited
edition of only 1000 copies. Will
you have one?
Send $2.00 and get a
copy at once.
PoBtage 15 centa extra.
FRANK V. CHAMBERS
636 Franklin Square, Philadelphia
Figure Study Portraits
Many photographers when attempting at home
portrait work in gardens, etc., are prone to make
the mistake of treating the sitter too much in the
way that may be adopted, quite successfully, in
the case of a studio portrait, and when this is
done the result is frequently un satis facto r>\ The
best plan in such circumstances is to treat the
picture more after the manner of a figure study.
For instance, in the case of a feminine sitter, a
much better picture will be secured if instead
of simply attempting to pose the lady, standing
figure studio fashion, the picture portrays her
gathering the flowers. In this way a far more
characteristic and appealing picture is secured,
though, of course, more after the manner of a
figure study than a studied portrait. Though
this line of treatment be followed, there is no
reason why the picture should not be an excellent
portrait as well. It would not do. of course, to
make a picture of simply the back of the sitter,
as is often done in figure work proper from
purely artistic aims, but the sitter may be por-
trayed, preferably side face, engaged and inter-
ested in some familiar occupation. The three-
quarter figure often gives a better effect in this
class of work than a full length, since the fea-
tures of the sitter are not so reduced in size. —
The British Journal of Photography.
The Best Pose
How very few people really know how to sit
for a photograph! Every face has its weak
points, and these, unfortunately, have a way of
cropping up in a picture and ruining the effect.
Of course, a photograph should be absolutely
lifelike, but at the same time one naturally pre-
fers to look one's best.
Scarcely one face in a hundred has features
perfect enough to promise a satisfactory photo-
graph in profile, for this pose brings any little
defect into the foreground.
For a full- face picture a sitter must possess
fine eyes, above all things. If they are good the
pose will be a success, even if the other features
are lacking in comeliness.
If one has any pronounced defects to hide, the
three-quarter face is really the happiest way to
be photographed. This position enhances the
charms of the beautiful and tones down the
irregularities of the plain face.
It is never well to be photographed in a hat
distinctly modem style, for in a year or so the
picture is ruined by the old-fashioned headgear.
But a picture hat — such as those worn by the
Gainsborough women — makes a most picturesque
setting for a beautiful face, and this, of course,
is never out of fashion.
We have just been notified that the South-
Eastern Convention at Atlanta. Ga., will be May
23d to 25th instead of May 16th to 19th as pre-
viously announced. This will give you a few
more days for making preparations to attend.
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Classified Advertisements
Classified Advertising Rates— For Sale. Rent, Exchange and
Miscellaneous advertisements. Minimum charge. $1.00 for
thirty words; additional words, 3 cents each.
Help Wanted — Two insertions of twenty-one words, minimum
charge. 50 cents; additional words, 2 cents each. Cash must
accompany order.
Situation Wanted — ^Twenty-one words, one time, free. Addi-
tional words. 2 cents each.
No display allowed— Cash most be $ent with order.
Display advertising rates sent upon request.
Copy must be plain and distinct.
To secure insertion, advertisements must be received by 9
A. M., Tuesdays, one week preceding date of publication.
DO YOU WANT A POSITION?
Read the ads, that follow
Wanted — A reliable lady assistant who is a good
retoucher, and who has had experience in general
studio work in towns under 15.000 inhabitants.
Modern new studio; good position is here for the
right person Address, Box 954, care of Bulletin
OF Photography.
Wanted— A good all-round man. Must be good
retoucher. A steady position to the right man,
with salary according to ability. W. R. Loar &
Son, Grafton, W. Va.
DO YOU WANT AN EMPLOYEE?
Read the ads. that folloiv
Position Wanted — Emulsion chemist, with many
years* experience in well-known factories of photo
papers in Europe, desires position in United States.
Finest references. Please apply to Mr. O. A.
Larsen, 14 Norton Rd., Letch worth, England.
DO YOU WANT TO BUY, SELL OR
RENT A STUDIO?
Read the ads. that follow
Wanted to Buy — Good studio, preferably in Phila-
delphia or vicinity. Give full particulars in first
letter. Cash deal. Address — 955, care of Bulletin
of Photography.
MISCELLANEOUS
Read the ads. that follow
To the Kodak Finisher— After twenty years of
experience in establishing Kodak Finishing Plants,
I offer to those in need of an efficient system the
benefit of my experience. More rolls, more prints,
less labor. Write for particulars. Grace F. Parker,
founder of the "Parker" System, 540 Federal Street,
Camden, N.J.
For Sale — ''Cirkut" season is open — will sell
16-inch outfit, complete, at a sacrifice. Make
an offer. Write Box 956, care of Bulletin of
Photography.
Retouching acquired in 30 to 90 days by the
Clarke system of teaching. Only school of its
class in the country. Limited registration. Act
quickly. Clarke School of Retouching, 750 E. 47th
St., Chicago, 111.
Simple Methods for Flattening
Mounts
The warping of mounted prints, especially those
of large size, can be quickly and permanently
cured by the following procedure: After mount-
ing let the print dry naturally over night, which
will cause it to curve inward; hold it with the
print side upward a few inches over a gas or
spirit heater, moving it to and fro horizontally.
When the mount has become uniformly warm re-
move it from the heat and it can be bent in the
opi)osite direction without danger; hold it in this
position till it has become cold again. The heat
and the slight moisture still retained by the paste
softens the fibers, and the stretching while cooling
tends to keep the mount flat. It is a good plan
to keep the picture under pressure for a short
time. — Photo Industrie.
Reliable Photo Supply Houses
JOHN HAWORTH COMPANY
(Eaitman Kodak Co.)
1020 Chestnut Street, Philadelphia
THE H. LIEBER COMPANY
24 W. Washington St. - Indianapolis, Ind.
Western Photo & Supply Co.
Photographers* & Photo Engravers* Supplies
328 W. Madison St., Chicago
WILLOUGHBY "^new Vork''
Everything Used in Photography
SWEET, WALLACH & CO.
(Bastmaii Kodak Co.)
133 North Wabash Ave., Chicago, 111.
SUSSMAN PHOTO STOCK CO.
223-225 Park Avenue, Baltimore, Md.
Norman-Willets Photo Supply
— INCORPORATBD —
502-503 LE MO YNB BLDG. niM in k n n
180 N. WABASH AVE. i> M 1 i> A O U
ZIMMERMAN BROS.
(Eastman Kodak Co.)
3S0-384 Minnesota St., St. Paul, Minn.
HYATT'S SUPPLY CO.
417 North Broadway, St. Louis, Mo.
STANDARD PHOTO SUPPLY CO.
(Eastman Kodak Co.)
125 Baronne St., New Orleans, La.
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Bulletin of Photography
SEED
PLATES
The measure of a plate's quality is not
the length of the scale of tones it will
reproduce, but the correctness with which
it reproduces them.
Seed 30 Plates have a scale that permits
of perfect reproduction of the longest
range of tones that will be encountered
in a photographic subject.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 607
Make portrait enlargements
on the paper made for por-
trait enlarging — the paper
that puts contact quality in
projected prints:
EASTMAN
PORTRAIT
BROMIDE
Two stocks— D White, E BufF.
Two surfaces in each — Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers*,
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638 Bulletin of Photography
More than 80^c of the X-Ray workers of
America use Eastman Tested Chemicals
They must eliminate the element of
uncertainty from their work.
The surgeon's knife is guided by a
diagnosis of the X-Ray result.
Your results are not a matter of life or
death, but they are a matter of dollars
and cents.
Specify
EASTMAN
TESTED CHEMICALS
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealeri'.
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Bulletin of Photography 639
jiiiiiiiininiiiiDiiiiDiittiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^^
I
The No. 9
Century Studio Outfit
The use of long focus lenses is rapidly increasing
because they give better perspective and drawing. In
the making of large heads a long bellows extension
is necessary with these lenses.
The No. 9 Century Studio Outfit with its extra
long bellows extension provides a focal capacity of 36
inches, sufficient for practically any long focus por-
trait lens.
The adjustments of this Outfit are so smooth and
direct in action that the photographer's attention can
be concentrated on the delineation of his subject
See it at your Stock House
Eastman Kodak Company
Century Camera Department ROCHESTER, N. Y.
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The live quality of a
picture, so easily de-
stroyed by halation, is
preserved in the nega-
tive made on
Eastman
Portrait Film
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 671
ELON
The best developer for
photographic papers
We use it — we recommend it —
we make it— we know ifs right.
Elon now lists at
$9.00 per pound
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
AH Dealers'.
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A Britisher^ s Opinion
''Speaking as a technical worker, I do not
think there has been anything in my time
which has marked such a distinct advance in
the quality and usefulness of photographic
material as Eastman Portrait Film, When I
say Eastman Portrait Film, of course, I include
Commercial, Commercial Ortho and Process
Film,
''The one thing about Films which induced
me to use them instead of glass plates was the
very important fact that they enabled me to
make better negatives/'
Mr. S. GnmsAaw, Official Photographer
to Ford Motor Co. ^ Manchester^ England.
There's a Film for practically every commer-
cial need — Eastman Portrait, Commercial
Ortho, Commercial and Process.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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No. 721 w«i~«i.,, j™. 1, 1921 ^SZ^^'iU^
Veltex
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AND TEXTURE AND, LIKE VELTEX, IS REMARKABLY ADAPTED
FOR MAKING ORIGINAL AND EFFECTIVE PORTRAIT PRINTS.
VELTEX AND ENLARGING VELTEX, EACH IN ITS OWN WAY,
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OF THE PORTRAIT NEGATIVE
PRlCt: LIST IN DEFENDER IfL'l CATALOG NOVV^ READY
MANUFACTURED EXCLUSIVELY BY
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ROCHESTER. N. Y.
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CHICAGO: KANSAS CITY: MINNEAPOLIS:
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The Sensation
at
The ''Baby NaHonaV
At the ''Baby National held in Baltimore,
in April, Kalosat, the "Spectral Diffusion
Lens,'' made its sensational debut. The
manner in which it was accepted and the
spontaneous approval given it, certainly in-
sured its popularity.
We will show at Buffalo, July 18-23 at
Booth 44-
Write for our catalog **L" or enquire of your dealer
)
Pastel Study
10 P. M.; AO-WattLamp; /4.5; 2 second
By /I. H. Herz, Weggis, Switzerland
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Newark^ New Jersey
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Vol. XXVra, No. 721
Wednesday, June 1, 1921
How We Grow
Our photography did not, as is some-
times poetically but falsely asserted, spring
full-armed and [perfect from the brain of a
genius.
With all due appreciation of the wonder-
ful impulse, at the beginning of the last
century, which gave birth to the permanent
photographic picture, we dare not fail to
accord credit to the long line of indefatig-
able investigators whose plodding labor
made the grand discovery possible.
The dispute as to the priority of par-
ticular discoveries concerns us less, since we
hold that, at any time, and among any
civilized people, a man may appear who,
starting with very scanty preparation, is
driven by an irresistible impulse into the
path of scientific investigation, and by his
native genius, achieves the most astonishing
results.
Such phenomena seem to have been in-
timately associated with the history of pho-
tography all along: for if we inquire into
the reason for the remarkable progress our
art has made in a little over fifty years, we
shall discover that it may be traced to just
such an impulse, stimulated by the demands
of the times.
We see the perfect fruit but forget the
ceaseless efforts which, all unappreciated,
made the culmination possible.
Photography, at the first, was recognized
as the handmaid of science, but it is really
only on the discovery of the modern gela-
tine plate that its incalculable service began
to be realized.
There is no disputing the fact that the
great revival of astronomy, since 1880, is
due to the agency of the improved sensitive
plate.
This science has so develoj^d in unsus-
pected directions and its revelations are so
wonderful as almost to make the thought
depressing to humanity ; for the advent of
the dry plate made it possible to apply pho-
tography freely in all astronomical work
and it is indisputable that its service is re-
sponsible for the great astronomical ex-
pansion.
The gelatine plate made possible pro-
longed exposure to the hosts of heaven, thus
enabling the record of faintly luminous ce-
lestial objects, such as nebula and star-
spectra.
The serious practical proposal to "chart
the sky'* by means of photography, was at-
tempted only when the dry plate demon-
strated its capabilities.
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Work on the sun has been entirely rev-
olutionized by the gelatine plate. Astron-
omers can now study in detail and at con-
venience portions of the sun of which pre-
viously they could get bare indications only.
The various applications of the gelatine
bromide film in its modifications in other
directions — to patholog}'', surgery, medicine,
microscopic anatomy, in fact, all the phys-
ical and chemical investigations, are too
well known, to be more than, here, briefly
referred to.
In '^Radiography," alone, call just to
mind its incalculable service in alleviating
human suflfering.
Nor can we forget its contributions to
human happiness in the cheap means of
rational delight to the multitude, in the
marvelous cinematography.
It would be useless to dilate further on
the value of the gelatine plate as a factor
in the progress of the arts and sciences.
We shall touch but slightly here, upon its
special value to the professional photog-
rapher to show that the modern gelatine
film has been the prime mover in the phe-
nomenal advance of photography in art.
The photographer of the past laid greater
stress on technical performance than we at
present do.
He prided himself upon the ability to
produce good ''chemical effect," because the
media employed was somewhat refractory
and demand humoring, as it were, to do his
will and carry out his artistic intention.
But the gelatine plate became really a
willing and pliable handmaid, that made but
little, if any, hindrance to pictorial exploita-
tion. So that, now, the photographer can
relegate technical performance to less con-
sideration, being assured of the trustworthi-
ness of his medium. He has opportunity,
therefore, to add to his other qualities the
composition of the artist, and make his pro-
fession esthetic, rather mechanical.
The young man who enters the photo-
graphic profession now-a-days must learn
that he has to amalgamate artistic taste with'
technical ability and good business sense to
be successful. Any divorce of the art-phase
tends to lowering of his standard. So the
confession is inevitable — that art is the
most potent factor in the profession.
It is only by earnest and conscientious
study in that delightful realm — "the artis-
tic" — that the modern photographer can
hope to advance, but he should never forget
that this has been made possible only
through the perfection of the means which
standardized the mechanical appliance.
We must acknowledge that all this prog-
ress, this elevation of the status of photog-
raphy, is due singly and solely to the gela-
tine plate. Its marvelous qualities enable
the photographer to accomplish what, once
in the history of our art, was utterly impos-
sible, even though the process may have
been manipulated by a worker of supreme
artistic instinct.
What to Study
As for the artistic element in portrait
photography I cannot repeat often enough :
Stop imitating. Do something original.
Then there will still be time to discuss art.
Work out your own thoughts by yourself.
New ideas, true enough, are always antag-
onized at the beginning. But don't mind
that. If a thing is good it will survive.
But the Old Masters won't do it for you.
Of course, we can learn from them, as we
can profit by the study of almost everything.
We should not forget, however, that their
portraits reflected the conditions of their
time. Conditions have grown different, we
live in a different atmosphere than in me-
dieval Europe. Light conditions have
changed, we wear different clothes and hats,
and they need different treatment. We may
try to imitate the spirit of a thing, but not
the actual products of the time. They are
misleading to say the least.
By far more heartily do I recommend the
study of works of modem portrait painters,
as they necessarily deal with the men and
women and children of today. But even in
that case one can go too far. Composition
in color and composition in monochrome are
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two entirely different things. A good por-
trait engraving, etching, drawing, etc., can
teach you by far more than any painting.
A painting can teach you little more than
certain laws of posing, the position of the
head, the attitude of the figure and the
placing of the hands and the arrangements
of groups. It may also improve your feel-
ing for line. But the lighting will play you
false as it is generally thought out in color,
while a composition in monochrome lends
itself more readily to a study of middle
tints, of values and tones, of the balance of
dark and light planes, something you can
use to great advantage in your profession.
The idealized portrait, where the sitter is
absorbed in thought and has no connection
whatever with the world we live in, where
the expression conveys the impression of
absentmindedness — akin to the heroic re-
pose of Greek sculpture — the effect is never
as vivid, or really sensuously as enjoyable,
as where the portrait is almost on the de-
fensive attitude and shows as much vigil-
ance in gazing at you as it does dignity in
questioning your intrusion. Such pictures
always make one collect oneself to reply to
the question the portrait is about to ask:
**Well, what do you think of me?'* This
expression is quite different from that self-
conscious look which is called the * 'photo-
graphic face."
This intense personal character stamps
such portraits with a living and permanent
interest. Of ideal pictures you tire if you
have them constantly before you ; they are
soon dismissed after you have criticised
them, even if with enthusiasm. The ecstatic
state is tiresome when long continued or
frequent in occurrence. The portrait which
looks at you is, after all, the most human,
there seems to be some question pending
between you, and a fascinating power is
exercised over you, because of its individ-
uality which is always new.
S. A.
Photography During and After the War
PROF. O. MENTE. BERLIN
The unexpected has happened! Photog-
raphy during the war had a great develop-
ment, though for about a year it has suf-
fered abatement. The course of events
seems now intelligible, but no one could
foresee it, and no expert could have antici-
pated the results nor have provided against
them. Of course, here and there a portrait
photographer may have laid in a stock of
gold or platinum salts or of plates, recog-
nizing that an increase of price was due,
but how long could such a stock last ? The
good business that accrued to photograph-
ers during the war was due, on one hand,
to the disturbance in affairs (which was
associated with great activity of industry)
and, on the other hand, to the fact that
many of those who participated in the war
made the supreme sacrifice, and their rela-
tives utilized occasional photographs, and
even old portraits as materials for enlarge-
ments. The greatest run of business of the
photographer was certainly from that class
which before had either not patronized the
studio or, if necessity arose, had selected the
cheapest places. Almost all industries ex-
perienced, during the war, a great expan-
sion, and even unskilled working men and
women obtained wages that before that time
were not thought of. This excess of in-
come found outlet, naturally, in the luxury
field, to which, in a general sense, photo-
graphic portraiture may be assigned, hence
the photographer reaped a golden harvest.
The higher type of establishments se-
cured, as patrons, those who had become
rich in war-work, and also that class who,
by sinister methods, had acquired profit, a
procedure still in evidence, though truly not
to such extent as formerly.
It is somewhat astonishing that the pho-
tographic industry was able to secure the
supply of plates and papers that it needed.
When we consider the enormous amount of
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Bulletin of Photography
photo-material that the war itself required,
particularly in aviation work, we wonder
that the increased demand oti the part of
civilian photographers was met with rela-
tively little friction. Naturally, deliveries
were sometimes delayed, especially when
many wanted the same line of goods, but in
general all obtained suitable materials.
The course of business did not, however,
run perfectly smooth. Before long, the
government commandeered the gold and
platinum, which resulted in the more ex-
tended use of P. O. P. Although the ''ton-
ing: bath without gfold,*' which as well known
contains lead salts, gives, on general inspec-
tion, the same tints as the gold solution, its
durability is inferior. Though platinum
and related metals that were also withheld,
have no perfect substitute, yet those oper-
ators who served a. high-class custom, and
who ordinarily used mat albumen paper and
similar materials, were somewhat embar-
rassed, since, although development paper^
will give, with comparatively simple manip-
ulation, namely, by mere development, a
very similar tone to paper toned by the
combined gold and platinum bath, yet the
type of negative needed for such paper and,
lastly, the quality of the surface and the
gradation of tone with it are so different
from P. O. P., that, at first, considerable
difficulty arose. It is true that the modern
gaslight papers have been materially im-
proved, especially as concerns the softness
and tint of the silver image, but the char-
acteristic property of the P. O. P., namely,
its latitude, cannot be given to development
paper.
I understand under 'latitude" — or "auto-
matic adaptability" — the property of P. O.
P. is to meet the requirements of all nega-
tives. As is well known, the surface dark-
ens first under the more transparent parts,
the superficially altered layer protects the
silver salt beneath, and hence, the shadows
darken more slowly, while the high-lights
and half tones have time to become im-
pressed. The more "contrasty" the nega-
tive, the more this automatic equalization
comes into play, while with flat negatives
high-lights and shadows proceed in develop-
ment simultaneously.
At present photographers have become
better satisfied with the development papers,
making soft negatives, and thus securing
prints that are hardly inferior to those with
P. O. P., indeed, in the matter of durability,
apparently superior. The grain of the de-
velopment paper is coarser than that of the
other and resists atmospheric influences.
Together with the development of gaslight
papers in warm tones, especially dark
brown, usually obtained by the use of pyro-
catechin without addition of sulphite, direct
sulphur and selenium tonings have been em-
ployed, while indirect toning by bleaching
and then sulphurizing is especially used
with silver bromide papers.
Selenium toning yields easily a sbmewhat
reddish tone, for which reason it is now
customary to combine it with sulphur ton-
ing. Much use is being made of a bath of
liver of sulphur, which is rapid, convenient
and cheap. A three per cent, solution of
liver of sulphur with a little ammonia, the
solution being warmed to about 90 degrees
F., will tone all highly sensitive gaslight
papers to a rich brown.
Therefore, at present, sufficient methods
are available in positive printing, and the
carbon process and pigment printing with-
out transferring, under the titles *'Buehler
process" and "Hochheimer gum-printing
process" offer further opportunities for
special work.
Unfortunately, the enormous increase in
the price of dry plates has materially re-
stricted photographic work. Since the peace
treaty we have had little coal available for
the industries, and the glass works have
been largely shut down. Never during the
entire war [)eriod was seen so many un-
mended windows and store bulks as now.
and this lack of glass, with the wild rise in
price of that adapted for dry plates, has led
to most serious conditions. It is a fact tliat
a good supply of dry plates is in the market,
but at a cost of about twenty times that of
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From the Halldorson Demonstration at the Baltimore Convention
Portrait Filni
Cyko Print
Nrgative and Print Developed
with Cumroinone
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680 Bulletin of Photography
Prints made during the Background Demonstration by L. J. Buckley
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Bulletin of Photography
681
pre-war days, and as the circulating medium
has become scarce the luxury industries are
again affected. Efforts have been made to
escape from the glass famine by the intro-
duction of paper supports. Two of our
large manufacturing establishments, the
Mimosa, in Dresden, and the Farbenfab-
riken vorm. Bayer in Leverkusen, at Co-
logne, have placed on the market detachable
films on paper supports, and these are truly
very convenient and sensitive, with a fairly
wide range of color response. Portrait pho-
tography is being carried out with these,
which are sold at about half the price of the
glass plates, and w^hich, in the short time
that they have been manufactured, have
undergone such marked improvement in
quality as to be scarcely inferior in any re-
spect to the ordinary dry plate.
The future of photography is not so
much dependent on the manufacturers of
photographic supplies and accessories as
upon a general readjustment of prices in all
fields, from which one can hope a real re-
vival of the practice of the art. Perhaps
this much to be desired improvement is ap-
proaching; some evidences of it are now
perceptible, so that we can expect a better-
ment in every-day conditions, the founda-
tion of real improvement in the status of
photographic art.
Pictures from the Buckley
Demonstration
The pictures herewith were made in the
Continental Hotel Fountain Room before
Philadelphia photographers through the
kindness of John Haworth Company and
the Nela Specialties Division.
Buckley of Binghamton made the demon-
stration and was, as usual, full of pep and
new ideas. His circular latticed background
proved very popular as he demonstrated the
many effects and advantages of its use.
Pullman Posers
Who is it that searches earth's corners and nooks
To pick out the names of the sleepers de luxe?
You notice them here, and you notice them there.
From Frisco to Brooklyn, Spokane to Bellaire;
In search of the dining car through them you run,
But you find 'mongst their names — not a sensihle
one!
Emblazoned on portals in letters of* gold,
They suddenly stare at you, blatant and hold !
There's Alterton, Bradigan, Cleops, Diizelle ;
Elyria, Fugit, Gavenna, Haswell ;
Itonga, Jaribdus, Karmeno. Lusannc ;
Manasket, Narcisco, 01)ijah, Pedan ;
Quotonah, Ravannah, Sylenus, Tulonne ;
Usilicus, Vera, Wandee, Xenophon ;
^'olanda, Zarcpta, and some I forget,
But I never have found one named Morpheus
yet!
— Cartoons Magazine.
He described in detail the manner of
making the background, which is as follows:
A screen shade five feet wide and eight
feet long; cut a circle in the center twenty-
four inches in diameter ; twelve small pieces
of lattice one-quarter inch thick, thirty
inches long, and one inch wide. Tack the
pieces, across the circle, to the shade, four
inches apart ui> and down. Hang the shade
on a roller on a background, framing so
that it can be raised or lowered to suit the
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Bulletin of Photography
picture. Do not have any other background
on the frame. Then add a fevV' artificial
vines or flowers. You can also place a small
lace curtain draped back for a Japanese
window effect. Place a light back of the
circle and you will see some very interesting
effects. It is especially adapted to children,
girls and family groups.
The demonstration of draperies was per-
haps the most interesting of the evening.
The latest style of gowns was made with
the simplicity of turning: your hand and add-
injij a pin or two. Not only was he clever
in draping, but instructive in detail in this
work.
He proved himself a master of artificial
lighting, showing several effects of single
and double back-lighting. A record crowd
of two hundred and fifty attended the meet-
ing and much enthusiasm was shown
throughout the demonstration.
Salesmanship
C. H. CLAUDY
Did you ever go into a haberdasher's with
a dollar 'n a half tightly clutched in your
fist, prepared to shoot the whole of it for a
necktie, and come away with six shirts, a
dozen pairs of socks, a new belt, a pair of
garters, some collars and a box of hand-
kerchiefs? And when you came out of
your trance, did you ever wonder how it
hapi)ened, and where the hypnotism came
from which made you mortgage next
week's pay for a lot of things you didn't
know you needed?
Did you ever go into the tire shop to get
a patch put on the blow out and come away
with a brand new cord tire which cost twice
as much as you ever paid for a tire before?
And wonder how^ it was accomplished ?
Did you ever start to buy a modest two-
room cottage for 'steen hundred dollars and
finally move into a twelve-room house
which cost 'steen thousands? And wonder
what hit you to make you sign a bushel of
notes for the shack?
A\'hat haj)pened to you, in every case, was
running bang up against salesmanship.
Some one who knew more about wheedling
the elusive dollar out of your jeans than
you knew about keeping it there, had op-
erated on you. You found the operation
both painless and pleasant, and only when
you came out from under — when it was too
late — did you begin to have those unpleas-
ant afterthoughts which begin *T shouldn't
have si>ent all that — " and end "where is
the cash going to come from ?"
A great many times we go into stores to
buy something and but it — and nothing else.
When that happens it is usually because we
haven't met any one who knows anything
about salesmanship. People who merely
say "May I wait on you ?" and then give
you what you ask for and let you go after
you pay for what you have asked for, are no
salespeople. They are mere automatic
pieces of machinery.. And if people come
into your establishment and ask for a half
dozen small pictures and you give them
w^hat they ask for and nothing more, you —
or whoever does the attending to the wants
of the customer — are not salespeople. You
are merely order-takers.
jjut how do / know what else my cus-
tomer wants than what she asks for? It is
not an alibi — this thing you are now saying.
Vou don't know. You needn't care. If I
go into a store to buy one record for the
talking machine and come out with six, it
isn't because the saleslady knciv I wanted
the other five — it's because she imaijincd
that maybe if I was interested in one record
of six saxophones playing a fox trot I
might be interested in other numbers of
saxophones playing other things, or other
things playing other fox trots. She doesn't
knoii' that I am interested — she merely
takes a chance and tries to make me inter-
ested.
The newly-made mother, who brings
small son in for his first picture, probabl\
has a preconceived notion that she wants
him sitting in a wash bowl, or on grandpa's
knee, or waving his rattle or something.
Give her what she wants. But give her the
chance to want something else. Have a
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683
dozen different ways of picturing small son
all ready to show her. Give her a chance
to rave about some tinted picture of a baby.
Let her get the idea in her head that the
infant is far too pretty to be shown with
just one i)ose. Make her, in other words,
zcont some silk shirts besides the necktie.
If Miss Justcomingout arrives with her
new gown to be i)reserved for posterity,
don't let her off with just one picture.
That's what she came for, but — it's your
business, or your receptionist's business — to
make her want something else. If it's a full
length she wants, give it to her — but see
that she sees a lot of half lengths and bust
pictures. If it's a large head she wants, do
enough judicious admiration of the gown
to make a full length seem very desirable.
And make it, anyway, whether she will give
you the order or not. It costs you a plate
and a few* minutes — it may be worth a fifty-
dollar order.
Salesmanship is not order taking. Any
one can take orders. Salesmanship is mak-
ing the customer strongly want something
more than she originally wanted, want a
greater quantity than she thought she
wanted or want something better than she
thought she wanted.
Please note the word '^Want." Salesman-
ship does not consist in making a customer
take something larger, more expensive or
different from what she wants. Many peo-
I)le can be shamed into ordering fifty-dollar
pictures who want twenty-five-dollar pic-
tures. That's salesmanship inverted — a
process which repels the good customer and
keeps her away forevermore. The customer
must not be persuaded to buy, or ivheedled
to buy, or compelled to buy. She must be
made to zvant to buy. Only when this is
(lone can it be said to be real salesmanship.
To make a customer want to spend more
money than she intended, she must be made
to feel the desirability of the thing she is to
purchase. The only way the photographer
can do this is to have that thing on display,
have it desirable and have enough tact and
enthusiasm to instill that desire into the
heart of the prospect.
Every sitter for any one picture is a pos-
sible prospect for a larger order of greater
value. You have the prospect in your
hands, you have, the goods in your establish-
ment, she has the money — the connecting
thread is true salesmanship, which is noth-
ing more and nothing less than the creation
of a desire to possess.
If this one art is the only thing which
stands between your last year's profits and
profits this year twice as great, isn't it worth
some serious stu^y and attention?
Pictures in Everyday Life
One great blessing the Dutch School of
I*ainting ( despite its so-called vulgarity of
theme) conferred upon modern art was
the trumi>et call it sent forth to bring back
the painters of the seventeenth century
from their inane wanderings in the realm
of classic idealism.
Men of culture had become subject to
the dominancy of classic pedantry. They
had come to believe that Nature was too
crude for the purpose of art, human nature
too commonplace, to furnish themes for
their pictures.
The traditions of classic times were held
to be invariable.
Xature was subordinated to man, but
man was transformed into an etherealized
being and put in a paradise of dainty de-
vices.
The Dutch painters, gross as they are
sometimes, and sensual as they are often in
the scenes they dei)ict, awakened artists to
an appreciation of the beauty of the world
about them, and at the same time brought
them to a saving sense of the ridiculous con-
dition into which their art had degenerated.
It looks as if motive were only secondary
in these paintings by the Dutch. They
wanted to paint, but they ever determined to
be honest and painted what most appealed
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to them, just what they saw about them in
their everyday life, regardless whether its
tendency was to morality or otherwise.
But they happened to live in very event-
ful times, in an atmosphere of freedom of
thought, and they took a lively interest in
the stirring incidents, indeed often a pa-
thetic part.
They were not wanting in spirit or cour-
age, as history demonstrates, but they seem
not to have cared to depict scenes of hero-
ism and suffering.
They preferred to paint servant maids en-
gaged in menial work, or boors in the field,
or peasants carousing over their pots in
front of an inn, or cows in the pasture or
market women along the canals or humble
interiors — passing by subjects rich in pathos
which would arouse present-day painters to
a high state of feeling.
But they were eminently honest in all that
they did and painted everything conscien-
tiously and truthfully.
To them nothing was common or unclean.
Their aim we might account low, their
themes prosaic, but they were genuine.
It seems as if they reasoned that man
must be humbled because he had been un-
duly exalted. And photography might learn
from them.
The scenes and incidents of every-day
life ought surely to afford scope enough for
expression of pictorial motive.
Our domestic relations, if sincerely and
honestly expressed, will embody the true
feeling for art, better than all the themes
of melodramatic inflation.
Photography has suffered not a little
from the caustic pen of the critic for its
Icarian flights of symbolism by its grandiose
representation of distorted actuality.
It is folly to try to soar into the empyrean
while carrying along so much that is earthy.
It weighs the craft down, and it hangs
between heaven and the nether world in an
unpleasant condition, till rescued by kind
oblivion.
Seek simple themes and render them ac-
cordingly, emulate the Dutch painters.
You Can't Stand Still
If a man is not advancing you know what
he is doing. It is hardly possible to remain
at a standstill as to excellence or quality in
our productions. You have only to glance
at the walls of the convention exhibit to
prove the truth of this. You note the ad-
vance of many a one to a higher plane in his
work than he stood at the last convention.
You see some new artistic stars looming
above the horizon. Shedding their benign
influence and proving that it is possible to
grow by nurture in art. It is a dangerous
thing to be satisfied with what we do or
persuade ourselves that we are letting well
enough alone.
Good teaching is ready for the asking, full
and plenty, and in a way that is assimilable.
We may besides learn from the failing and
shortcomings of others and from those who
know less than ourselves. The good points
in another man's work is a challenge to us.
We can strive to equal or even surpass
it. While his bad points w^e may take warn-
ing by and avoid in our practice. Read
I)hotographic books and journals. Sub-
scribe for some good photographic maga-
zine. Exchange work with your competi-
tors — exchange ideas. Often you get the
best of the bargain.
If it chances that you become so well
satisfied with your own efforts that they
eclipse, in your own eyes, all the others, just
retire from the profession. There is a
fellow at your heels ready to pass. His light
is dimming yours.
Nou) and then it^s a
good plan to look back
and see the direction lue
are traveling.
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OUR LEGAL DEPARTMENT
CONDUCTED BY ELTON J. BUCKLEY. ESQ.
(Mr. Buckley is one of the leading members of the Philadelphia Bar, and an authority on legal matters.
If our subscribers have questions on legal points, and submit them to us, Mr. Buckley will answer them
free of charge, A stamped and addressed envelop)e must be enclosed for reply. Make your question brief
and write on one side of the paper only.)
If You Are a Partner, or Contemplate Becoming One,
Read This
One of the most curious, and in a sense
intricate, things known to the law is the
relation of partnership. Partnership law
holds all sorts of traps and pitfalls for
the unwary, and a very large percentage of
those who enter into it appear to be "un-
wary."
In a former article I have pointed out the
fact that one of the traps in partnership was
that the relation of partner, and liability as
a partner, can be created by actions alone and
really against the will and intent of the party
whom the law later says must be held respon-
sible.
A case has just been decided which shows
that the converse of that is also true, and
that a man who allows another to hold him-
self out as his partner may actually have to
give up an interest in the firm to that other
just because he allowed the claim of part-
nership to be made.
The case referred to arose in Pennsylvania
and is typical of many others which have
arisen all over the country. Levi M. Paul
and George ?Ieebner were partners in a retail
mercantile business under the firm name of
Heebner & Paul. Paul withdrew, took his
capital out, and started in business for him-
self under his own name. Later there was
some reason to believe that he might have to
stand good for some of the debts of Heebner
& Paul, and he conceived what he doubtless
believed was a very clever idea. He organ-
ized a "partnership" with himself, his son
Howard and his daughter Sarah, filing the
usual certificate giving himself one-fifth
interest and Howard and Sarah two-fifths
each. The fact was, as developed later, that
the whole thing was a fake, that Levi was
and continued to be the sole owner of the
business, and that the children were simply
put in **to make it hard," so to speak. In
fact, it was admitted when the thing got into
court, that the only reason for organizing the
partnership at all was "for the purpose of
protecting the property of Levi M. Paul
from possible liability for the debts of Heeb-
ner & Paul."
The "partners" had a falling out, and
Howard, in spite of all the above, demanded
his interest in the firm, and asked for an
accounting and dissolution of the partner-
ship. His father and sister came forward
and defended on the ground that Howard
had no interest in the firm, and that the
whole thing was done for the purpose I have
described above. The court turned the
thing inside out and found as a fact that
a partnership was not intended in good
faith to be formed between the parties,
and that plaintiff (Howard) was aware
he was without actual interest in the
business or its assets, and at no time
asserted an interest until August, 1917,
following a dispute which arose between
him and his father.
But in spite of all that, the court said,
''you must give him his tivo-fifths, because
you joined with him in a conspiracy to de-
fraud the creditors of Heebner & Paul, and
the law will not help you out of the en-
tanglement which you created in the course
of that fraudulent purpose."
I quote the followmg from the decision :
A voluntary conveyance made or
contract entered into for the purpose of
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Bulletin of Photography
defrauding creditors, though void as to
them, is binding upon the parties. This
rule is based upon the theory that, the
contract being for an illegal purpose,
the law will leave the parties where it
finds them, and as between themselves
they will not be permitted to set up their
fraudulent act to avoid their obliga-
tions under its terms. In applying this
rule, the test is, whether the plaintiff
required the aid of an illegal transaction
to establish his case, and if he cannot
prove his case without showing he has
broken the law or participated in a
fraudulent transaction, the court will
not assist him. The rule applied in this
case operates to prevent defendants
from setting up as a defense the fact
that the stipulation was filed of record
for an illegal purpose.
So Howard got nearly half of his father's
business, and doubtless had to be bought off
by the father, or continued to be a sharp
thorn in his flesh. Readers hereof will be
(piick to note that Howard, an admitted con-
spirator for a fraudulent purpose, got the
big end of the stick. In other words, while
the others were penalized for their share in
the fraud, he was rewarded. It seems that
way, but not by any design of the laws,
which pays no attention to parties, but to
principles. The first party who comes into
court and asks help that he may extricate
himself from the muss his fraud has gotten
him into, is always the one who loses, be-
cause the court will have nothing to do with
it. Naturally the other man benefits by that
attitude, because it leaves him with his ill-
gotten gains in his hand.
The case emphasizes again the extreme
care with which business men should go into
partnership, or into any relation which could
be construed into partnership, with all of its
attendant risks and liabilities.
f Copyright by Elton J. Buckley.)
"If the thoughtless could always see the mess
they make and the trouhle reciuired to repair their
thoughtlessness. T helieve they would he ashamed
of themselves." — .Idain SinitJi.
At the Buffalo Convention
Preparations for the comfort of those
who w^ill attend the coming International
Convention at Buffalo during the week of
July 18th to 23d are practically complete
and many things will be done for your wel-
fare that have never been attempted at pre-
vious conventions. As an example, on the
opening day a regular get-together luncheon
will be served, with business suspended dur-
ing that time, so that everybody may get
acquainted. We've seen the menu and you
couldn't get such service for less than about
65 cents — ^yet you'll only have to pay a dime
for it. And then there will be a carnival
idea with it. It promises to be a great in-
novation. The Woman's Auxiliary of the
P. A. of A. will look out for you and we
are printing a letter that they have just
sent out — but that tells the story itself,
so here it is :
"This year the Woman's Auxiliary of
the P. A. of A., is planning great things.
We have heen organized for only two
years, so have not had much opportunity to
be useful to the Board. But this year we
are to help entertain the ladies attending
the National Convention, so that no man
can go away and say truthfully that 'taking
the wife to the convention was an inter-
ference'; or, 'if I had not had the Mrs.
to look out for, I could have seen how to
develop that new paper all the boys are
using.' Xo, indeed ! This year friend wife
is to he very busy, as she is to meet the
dealers' and manufacturers' wives, and the
wives of all the photographers, and all the
ladies attending the convention ; in fact,
she is to act as hostess, as the Auxiliary is
to have headquarters right inside the hall —
a nice place to rest and visit. Each day,
ladies from diflferent sections are to act as
hostesses. Don't you like this idea?
"Then, we are to have a lovely 'tea gar-
den' — where tea is to he served every after-
noon, free. The ladies are also to have
charge of this — and act as hostesses, so
you see we need you.
"It is a little early to plan your vacation,
hut T know you have heen thinking about
it ; but wherever you have planned to go
this year, do go by way of Buffalo and
make it in time for the National Conven-
tion. July 18th to 23d.
"We will have reduced railroad fares to
Buffalo. Buy a one-way ticket and ask
the ticket agent for a certificate for the
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687
Eduard Blum
The Photo Art Shop
in the service of the profession
32 South Wabash Avenue
CHICAGO
THE ONLY STUDIO OF ITS KIND IN AMERICA
BE DIFFERENT FROM THE OTHER FELLOW
BE DIFFERENT FROM YESTERDAY
P. A. of A. ; then when you return home,
the certificate is honored hy the railroads
and you pay only half fare. It is impor-
tant that you ask for the certificate.
'The Board this year has promised the
members the best convention ever held, and
from plans already far advanced, I know
it will be. There are so many new things
a man cannot afford to miss. Just one of
the many things they are to see this year
is a simple process to save the silver from
discarded developer. Do you know that
each year your expenses to the convention
could be saved from what is dumped down
the sink?
"Have a talk with friend husband today,
and tell him what 1 have told you ; get
him initerested enough to send in his mem-
bership dues, if he has not already done so.
"If this part is settled, please drop me a
card, telling me you will be in Buffalo, so
that I may place you on a committee where
you can help us put the Woman's .Auxiliary
on record this year as a big success of thf.'
National Convention.
"Thank you for giving me so much of
your valuable time, and I do hope we shall
meet this year in Buffalo.
"Cordially yours.
"BERTHA F. TOWLE.S,
"Chairman."
Individuality
It is an absolute essential of a picture that
it shall incorporate in some way the indi-
viduality of the artist; and one of the chief
arguments on which those who are ignorant
of photography base their assumption that
it cannot be an art is that the photograph
cannot embody any of this individuality. Of
course, this is absurd, as photographs can.
and many do. No better i)roof of this can
be found than in the ease with which the
experienced frequenter at an exhibition can
recognize the work of the different leading
men. If they were not able in some way
to impart something of their ]:ersonality t(^
it, this would be impossible.
The ])hotographer who seeks to express
himself in his work finds op|X)rtunities of
doing so at almost every stage; but none of
them are greater than the very first — the
point of view. Here, at the outset, in select-
ing his subject and in composing it, is the
best o])ening for manifesting the individual
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Bulletin of Photography
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point of view. How much can be done at
this stage is often shown at the outings of
photographic societies, where a number of
members turn their cameras on the same
subject, but with vastly different resuhs.
The scene appeals to each in some distinct
and individual manner, and, consciously or
not, it is that appeal which he endeavors to
record.
One is tempted all the time to make a
picture on the lines of some other picture
which may be distinctly carried in mind, or
simply have left a faint but lasting impres-
sion, which influences us when we are ar-
ranging our subject, and leads us to see it,
not through our own eyes, but through those
of some prominent painter or photographer.
It is this which causes such waves of fashion
in subjects, which are very noticeable at
times. One year birch and bracken pictures
abound, another time ploughing subjects,
and again views seen through open doors.
These indicate some loss of individuality in
the photographers, although some individual-
ity may be manifested in the way the
subjects are treated.
Still, if we are to do the best of which
we are capable, we must endeavor to put our
own individuality into our work. There is
scope for it, even in the details of printing
and mounting, in the selection of mounting
papers, and in their adaptation to the print.
Framing, too. may show it ; and we may be
quite sure that by handing over a picture to
a frame-maker with just general instruc-
tions to **put it in a nice frame," we are sac-
rificing at least one opportunity for the
exercise of individualitv.
"The sum of human waste, the result of care-
lessness, if gathered together each year would
represent a fortune whose size would feed the
world for 100 years." — James J. Hill.
Where the Reflex Lights Tell
The small spots of high-light seen in
the eye in the portrait known technically as
"catch-lights" and scientifically as the reflex
lights have considerable influence upon the
expression of the countenance, much more
than is generally supj^sed.
In an excellent photographic portrait;
that is, one made by an artist who appreci-
ates the factor of expression as an an
asset, we never see these catch-lights out
of place.
But in indiff^erent work, not necessarily
bad photographic work, but such as rele-
gates the artistic phase to less consideration
than the technical, these lights too often
are incorrectly positioned.
The question, therefore, is pertinent, how
shall we place these reflexes and how shall
they be put to get the best effect?
The bright spot, or "catch-light," should
never be seen directly on the pupil of the
eye, but invariably upon the iris, just under
the top lid and on the side of the eye from
which the head is illuminated.
The cause of going wrong, in the disposi-
tion of these little spots, is due to the gen-
eral custom followed by most operators of
turning the head of the model too much in
the direction of the dominant light so a^-
to avoid shadow on the other side of the
face.
The correct way to position the lights ef-
fectively is to turn the head away from the
window until there is no *'catch-light"
visible in the eye farthest away from the
illumination, and then to proceed to slowly
turn the head back again toward the light
until a position is reached so that both eyes
from the selected point of view show equal,
or almost equal, reflexes.
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689
You will generally find that so illumi-
nated, the head is properly balanced as re-
gards light and shadow.
But adjustments may be made if neces-
sary, or contrasts regulated by judicious
use of the diffusion lens and reflector.
Reflex lights are often put in or cor-
rected by the artist retoucher, and in this
way the portrait is, of course, benefited, but
nothing equals the effect had by the direct
way of positioning these spots.
Ohio-Michigan-Indiana Photog-
raphers' Association
Information relative to the conduct of the
projected convention of the Ohio-Michigan-
Indiana Association, Winona Lake, Ind., in
August next, can be at present only ten-
tatively given as the program has not been
yet completed. A full sketch of the plan
of procedure is now in progress, and the
secretary, Fred R. Bill, promises a full re-
port at an early date.
This assemblage of the O.-^I.-I. is to be
called distinctively "The Opportunity Con-
vention" because its object is to feature
opporttmity as much as possible — an oppor-
tunity TO LEARN.
The projectors of this excellent and novel
scheme of conducting a convention design
to offer an exceptional chance or oppor-
tunity to the photographer who is anxious
to know what is wrong with his pictures and
how improvement may be eflfected in his
subsequent efforts, and this laudable ob-
ject is to be attained through the ''Click and
Clack Clubs/' who will discuss the merits
as well as the shortcomings of every pic-
ture sent in for display. The criticism will
be done by a group of fellow-workers, fif-
teen to twenty-five in number, whose in-
tent and purpose is solely to suggest how
improvement may be effected in the sub-
mitted work.
To increase the educational value of this
scheme it will be under the direction and
supervision of a competent leader, who will
summarize all the individual criticisms.
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Each will be entitled to his say **withoui
let or hindrance" — about the pictures of
all the other fellows in his group or club,
and then each of these clubs will pick out
from its assignment a one best picture, and
then these various bests will be collected as
a whole, either for general exhibition be-
fore the convention or with their makers
only, and receive a final criticism to select
the supreme best of all bests, to the author
of which will be awarded the C. and C.
Club Trophy as his, to be held by him for
one year, or reawarded if he should again
win.
. The inaugurators of this big idea hope
to make it a permanent feature if supported
in the enterprise by personal effort; that
is, by response to the call for pictures and
attendance at the convention and approval
of this stunt.
Now, this certainly is an idea which will
fructify, and one which ought to receive
unanimous acclaim.
No judges but the contributors them-
selves, each and every one having indi-
vidual rights of opinion, opportunity to say
just what he thinks and the trophy awarded
by the verdict of all — a truly American way
of self-administration, carrying out the
fundamental principles of true democracy,
liberty, fraternity and equality.
Origin of "Penny'' as Applied
to Nails
The origin of the terms "six-penny," "ten-
penny," etc., as applied to nails, though not com-
monly known, is involved in no mystery what-
ever.
Nails have been made a certain number of
pounds to the thousand for many years and are
still reckoned in that way in England, a ten-
penny being a thousand nails to ten pounds :
a six-penny one thousand nails to six pounds:
a twenty-penny weighing twenty pounds to
the thousand : and. in ordering, buyers call for
the three-pound, six-pound, or ten-pound variety,
etc., until by the Englishman's abbreviation of
"pun" for "pound," the abbreviation has been made
to stand for penny, instead of pound, as origi-
nally intended. — Hardware IVorld.
"Wasting 5 minutes to repair what 5 seconds ex-
tra care should have prevented, has kept many a
man poor." — Peter Cooper.
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Bulletin of Photography 691
An Eflfective Show-case
THE LATE H. ESSENHIGH CORKE. F. R. P. S.
I am not referring to a showcase such
as we i)hotographers use and know, but to
one that some photographers do. and many
could, make profitably. Nor do I in any
way claim originality for the idea, which
had never before occurred to me, but dur-
ing a recent holiday at the seaside I saw two
very attractive large window showcases or
frames, one in the centre of the window of
a large dairy shop and the other fixed to
an advertisement wall to advertise a local
laundry firm.
The dairy photograph was simply a pho-
tograph of a group of cows in a meadow,
just like many of us have made for similar
use. while the laundry one was of a large
drying ground, with the laundry girls hang-
ing out lines of washing to dry ; the laundry
buildings forming the background. This
again being quite an ordinary sort of
subject.
In both cases the picture and the pho-
tography were, in themselves, quite ordi-
nary and straightforward, but it was the
method of dodging that caused me. and, no
doubt, many other people who were not i)ho-
tographers, to pause in passing and look
again at it, when, on closer inspection, the
trick was, of course, apparent.
Each picture was really composed of two
separate photographs, one forming the
background, while the foreground was
formed by a separate photograph, cut out
carefully around the chief objects and stuck
on to the glass of the frame (which was a
fairly deep sunk pattern), so as to give a
distinctly showy and attractive a])]>earance
of deej) perspective to the whole effect.
The dairy picture consisted of a well-
selected view of some cows in a field, with
the farm in the distance, and on the c/lass
was another print of a grou]) of four or fixQ
cows, taken on a much larger scale and
evidently much nearer the camera.
These had evidently been photogra])hed
especially in such a place and ])osition that
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Bulletin of Photography
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they appeared against a distant and very
low horizon, which enabled the producer
not only to have the greater part of the
cows showing against a clear sky, so as to
make it easy to cut the sky away, but also
because the actual distance, which, of course,
showed in between the animals and in be-
tween their legs, etc., was by this means
made to blend more harmoniously into the
distant tones of the background picture.
Had it not been for this very evident care
and forethought on the part of the photog-
rapher, the eflfect of such a combination
might easily have been very crude and un-
satisfactory, so that it showed that careful
thought must be taken if this kind of picture
is going to be made.
In the case of the laundry advertisement,
the background picture showed the laundry
buildings, with several lines of washing
hanging out to dry, while the foreground
was composed of one line only of washing,
with three girls hanging it out to dry.
This was evidently a much more simple
and easier task for the photographer, as the
line formed by the rope and the top of the
clothes hanging upon it made a quite natu-
ral sort of dividing place, and, moreover,
one that was simple and easy to cut out, so
as not to show the division too clearly.
Both of these advertisement cases were
about 16 X 20 inches in size, and the prints
were evidently bromide enlargements.
The foreground print had been squee-
geed into contact with the glass of the frame
and, of course, looked quite glossy, but the
ordinary prints that formed the background
were upon a matte surfaced paper. Prob-
ably those that were squeegeed were orig-
inally on matte paper also, but the mere
fact of squeegeeing them would take away
the matte effect.
I could not help thinking, and I pass on
the thought, that the whole efiect would
have been better if the background prints
had been made upon glossy paper to match
the glossy effect of the squeegeed print on
the glass.
Besides some amount of careful thought
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KODAK FINISHERS!!!
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TEN BIG FEATURES:
1. — Automatic order-numborinpr device.
2. — Pressure platen with oscillating movement, and
special pressure lock insuring absolutely perfect
contact.
3.— InsUintly adjustable masks, with illuminated scale
of standard sizes of paper.
4. — ()uick action film clip.
5. — Automatic paper clip on platen, giving perfect
register and border.
6. — No trimming necessjiry.
7. — Economixes on paper.
8. — Practical ele<-tric switch inside Iwx, which operates
after contact is made between platen and paper,
and allows up to 400 watts of electric current.
Release lever for throwing off lights before raising
platen. No afterglow.
9. — Only one second exposure required for medium
dense Alms.
10.— Operation so simple it can be mastered in a few
"^'""*^«- Qrcuiar on r«aa«sf.
PRICE, f 88.00
CHARLES G. WILLOUGHBY, Inc.
no West 32d St. New York City
Dittrihuiort for New York State
in the planning of such pictures, there
should not be any great difficulty in mak-
ing them, and they certainly proved an at-
traction and fulfilled their purpose in draw-
ing people to look at them, so that there
should be a good sale for these if they were
properly introduced and well done.
The foreground print should be made en-
tire; that is, not cut out at all in the first
place, and of the right depth and scale (with,
of course, a scheme of lighting to match
the background print), and when finished
it should be placed in a weak solution of
gelatine and squeegeed on to the glass in ex-
actly the same way that those old "opalines"
used to be made.
Then, when thoroughly dry, the parts to
be cut away can be cut out with a sharp
knife from the back of the print, which
should be held up in some sort of frame
toward the light.
When this has been done, then the back-
ground print can be held in several different
positions, so as to select the best position to
trim it to so that it shows correctly, and the
job is done.
I am unable to give due credit to the man
or the firm who was cute enough to produce
the ones that I saw, for the very simple rea-
son that there was no signature or name on
either print, which can be accounted for by
the fact that it would be a rather difficult
matter to get a signature in the usual place
at the bottom of the print because of its
being squeegeed on the glass, so that unless
one cares to put a neat, small label on the
front of the frame, it is a little difficult to
get one's name to show, as probably the
customer would object to a label on the
frame.
This fact should be kept in mind when
the prints are being made, and, as they can
be made in bromide and in the enlarger, it
will be quite an easy matter to write one's
usual name or signature on a piece of trans-
parent celluloid and place this against the
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Bulletin of Photographs
1921 CONVENTION DATES
Place
P. A. of A. (International) Buffalo, N. Y.
Date
July 18-23
Ohio-Mich.-Ind.
New England
North-Central
Pacific North- West
New York State
Winona Lake, Ind.
Dates not yet settled.
Minneapolis, Minn.
Vancouver, B. C.
Postponed until 1922
J. C. Abel, 421 Caxton Bldg.
Cleveland, Ohio.
August 9-11 Fred. Bill, 746 Euclid Ave.
Cleveland, Ohio.
A. K. Peterson,. Pres.
Hartford, Conn.
October 3-6 J. R. Snow, Pres.
Mankato, Minn.
August 2-5 A.T. Bridgman, 413 Granville St.
Vancouver, B. C, Canada.
bromide paper during the exposure, so that
the name is made to print in small white
letters on the print itself.
This is a matter that should he seen to,
as the advertisement given to this kind of
picture, and the evident drawing power,
should lead to many inquiries for similar
work.
Knowledge For All
Every man engaged in the business of
photography owes to it, to himself and to
his neighbor, as well as to himself, to keep
the art to the highest phase of respecta-
bility.
Respectability is the corner-stone of all
substantial structures of a business char-
acter, and particularly of ours. Its hrst
element is knowledge. To possess a good
practical knowledge of one's business inspires
confidence in the patron, who expects to be
handled and managed intelligently.
Most people are quick to detect an in-
decision or hesitation on the part of the
man taking the picture, which surely im-
plies a lack of self-confidence, and reflects
upon his ability.
Knowledge is power and makes a man
master of the situation, and directness of
])urpose inspires respect.
Every intelligent and progressive photog-
rapher takes a photographic journal and
keeps in line with progress.
Yf)U must make mistakes before you make
masterpieces.
What's Doing in Photography
Charles L. Lovejoy, aged 81 years, died May 7th
at his home in Owego, X. Y., after a short illness.
He had been a resident of Owego since shortly
. after the Civil War and was held in highest
esteem. His widow survives him.
Arthur D. Wyatt, photographer of Brattlehoro.
Vt., died on May 12th in the Presbyterian Hos-
pital, New York, following a paralytic shock.
Mr. and Mrs. Wyatt went to New York five weeks
ago for a vacation. A few days later Mr. Wyatt
became ill with pneumonia and was taken to the
hospital. He was 62 years of age and is survived
by his widow.
Ben Eichelman, Kenosha, Wis., is now the ju-
nior member of the firm of Champlain & Eichel-
man. and is in charge of the new Champlain
Studio which has been opened at 48O Boylston
Street, Boston, Mass. Mr. Eichelman is in en-
tire charge of the posing and making of photo-
graphs in the studio and he is to put into prac-
tice there many of his ideals which were worked
out in Kenosha.
Reorganization of the Minneapolis Photo Club.
Minneapolis, Minn., with intentions of seeking
affiliation with the . Photographers' Association of
America, was begun at a meeting of Minneapolis
photographers in the Andrews Hotel on May 9th.
Completion of plans for reorganization and the
laying of plans for a membership drive will take
place at a meeting on May 23, members of the
Club announced. The Club will seek to join the
P. A. of A. at its annual convention in Buffalo.
July 18th to 23d.
.\nouncement was made on .Mav 13th that
deorge 11. Pittman & Bro.. dealers in wholesale
photographic supplies. Dallas. Texas, had pur-
chased the wholesale stock of C. Weichsel Coni-
panv, Dallas, consolidating the two into the larg-
est house of the kind outside of Chicago. Tho
Pittinan tirni has been in business here twenty-
one years, since George H. Pittman and Ed F.
IMttman purchased the stock of S. T. Blessing.
The Weichsel house has been here twenty-eight
\cars. The combined house does business in
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Texas, Arkansas, Oklahoma, Louisiana and Xew
Mexico.
Ed F. Pittman is the active head of the busi-
ness. S. S. Griffith, formerly manager for
Weichsel, is now with the consolidated house.
A campaij^n to bring every commercial pho-
tojjrapher of Spokane, Wash., into the Spokane
Photographers' Association was launched at a
meeting of the camera men on May 16th. Five
new members were signed up, which increases
the membership to 80 per cent, of its possible
strength.
The campaign followed a conference of the
I hotographers with Thomas Gagnon, of Tacoma,
who visited Spokane in the interest of the Pho-
tographers' Association of the Pacific Xorth-
wcst, of which he is president. He was enter-
tained at a dinner at the Davenport Hotel.
The Spokane photographers will endeavor to
engage a special car for the annual convention
of the Xorthwestcrn Association in Vancouver,
B. C, August 2d, 3d. 4th and 5th. The Spokane
n'eml)ership now includes J. L. Phelps, W. T.
Tolman, Charles A. Libby, W. W. Phillips. F. J.
Uke, F. H. Ingalls, M. B. Martin. C F. Solder-
berg, George F. Romaine, O. L. P. Angvire, J. F.
Campion. R. D. Lockwood, Robert Smith, Jr..
and William Card, of Cheney.
War Amongst Photographers
Suits for damages for libel aggregating $20.-
000 were filed in the Superior Court by J. C.
Dtane, photographer, of Rome, Ga., against
Thurston Hatcher, Atlanta photographer, and the
Southern Photo Material Company, of Atlanta.
Each defendant was sued in a separate petition
for $10,000.
The plaintiff alleges that on February 2, 1921,
there appeared in Photo Lore, a journal published
by the Southern Photo Materials Company,
in Atlanta, a statement to which his name was
signed, setting out that "owing to a disagreement
l;etween him and Thurston Hatcher over the il-
legal election of Mr. liurgert, of Florida, as vice-
president, petitioner thereby tendered his resig-
nation as secretary of the Southeastern Photog-
raphers* .Association": and followed with a state-
ment signed by Thurston Hatcher, setting out,
.':mong other things, that J. A. Murdock, of At-
lanta, Ga., "a live wire," had been appointed to
succeed Mr. Deane as secretary. Mr. Oeane al-
leges that he had signed a resignation, but had
recalled it, and that Photo Lore had no right to
print it. and the publication of the article and
.Mr. Hatcher's announcement bad caused him to
be held up to ridicule through the Southeast.
SEND FOR OUR
NEW BULLETIN (No. 137)
JUST OUT
CONTAININO BARGAINS IN CAMKRAS. LKNSKS
AND KVKRYTHINO PHOTOGRAPHIC
WILLOUGHBY'S "» S'^^^d?^^
A RARE CHANCE TO
SECURE NUMBERS OF
"Camera Work"
C)NCBDBD to be theiiandtomett magarine ever pub-
lished for loven of photographic art. The magasiiiet
are made up of pictures (with a little descriptive text)
from photographs taken by those famous and original
in photography.
Many of the Ane photogravures contained in C^mw
Work cannot be replaced, and all of them are worthy of
framing. Many of the editions command three to four
times their original publication price. We can supply
copies of the following issues at $1.35 per copy, postpaid.
Volunu No. DaU . Platts by
4 .... October. 1903 .... Frederick H. Evans
5 . . . . January, 1904 Robert Demachy
10 April. 1905 Gertrude Kasebier
U .... July. 1^5 .... David OcUvius Hill
22 .... April. 1908 .... Eduard J. Steichen
29 .... January. 1910 George H. Seeley
31 .... July. • 1910 Frank Eugene
32 October. 1910 J. Craig Annan
36 ... . October. 191 1 .... Alfred Steiglits
37 January. 1912 David Octavius Hill
40 October. 1912 .... Baron A. de Meyer
41 January. 1913 Julia Margaret Cameron
47 Called the Famous " 291 " (no illustrations).
Specials Nos. 2 and 3. suiUble for art students, will be
mailed at 90c. per copy. Cubistic — not photographic.
"?S^}j-«
1913
/ Cesanne. Van Gogh.
- ' t Picasso. Picabia
FRANK V. CHAMBERS
636 Franklin Square Philaddphia
One of the best, as well as
one of the rarest hooks on
art and a}mposiHon is —
"R urnet's
pP ssays on /\ rt
Single copies of the original editions
have been sold as high as $100.00.
It has been reprinted in a limited
edition of only 1000 copies. WiU
you have one?
Send $2.00 and get a
copy at once.
Pottage 15 centi extra.
FRANK V. CHAMBERS
636 Franklin Square, Philadelphia
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Bulletin of Photography
"A Manual fuU of good wholesome material
and a valnahle reference hook for every mem-
heroftheprofettion, hig or little."
How to Make a Studio Pay
BY FRANK FARRINCTON
CONTENTS
The Man and the Location
Buying and Arranging the Stock
System in the Studio
The Treatment of Customers
How to Know the Profits
Credit and Collections
Developing the Side Lines
Advertising You Can Do
Business-Getting Schemes
Qotfa Boond, Price, $1.50, Net, Postpaid
FRANK V. CHAMBERS
PUBLISHER
636 S. FRANKUN SQUARE, PHILADELPHIA
A NEW EDITION
WALL'S
Dictionary of Photography
— lOth Edition-
Ready for delivery
TOO Pages :: 2000 References
Revised and re-written with full
explanatory text.
$5 per copy — post free.
FRANK V. CHAMBERS
Tradk Aoknt
636 South Franklin Square
Philadelphia
Avoidable Troubles
In photography, as in most other ordinary oc-
cupations of life, the greater proportion of our
troubles is either of our own making or at least
due to a want of care and foresight. When we
see the condition into which many photographers
allow their apparatus to get, we cannot help
feeling that they liave better luck than they de-
serve. The camera is the photographer's best
friend, but, unfortunately, it is not always treated
with due respect and consideration. American
business men are fond of displaying a card which
in bold type bids you to "Do it Now," and the
wise photographer obeys the mandate, and ad-
justs, repairs, and refits his camera as soon as
occasion for doing so arises. Many plates are
lost both in the studio and the field through worn-
out or missing screws, swing backs which will not
clamp, racks which allow the pull of the bellows
to shift the back, badly fitting reversing frames,
and leaky slides, singly or in combination, may
cause the loss of a valuable negative, which would
have been easily obtained if the camera had been
kept in perfect working order. How often does
one see a lens properly hooded or shaded either
for indoor or outdoor use? And how often does
one sec flatness and fog on negatives which can
be definitely attributed to this cause. A formula
which can be relied upon to produce poor nega-
tives is to use an imperfectly cleaned lens minus
a shade and to give a short exposure because the
plates *'fog so easily if the exposure is a bit full !"
Forty years ago, when plates were slow and lenses
liad small apertures, every care was taken to
prevent any extraneous light from reaching the
lens or plate; now, with ultra rapid plates and
lenses of high intensity, no such precautions are
thought of. Why not?
Another avoidable trouble . is the flatness caused
by too high a temperature during development.
Many photographers spoil their negatives by
altering their formula as soon as warm weather
starts causing a noticeable difference in quality.
This is the wrong way to set to work; use the
normal developer and cool to the normal tem-
perature with ice.
Carelessness in weighing and measuring chem-
icals, or, worse still, guessing at quantities, is a
fruitful source of trouble, needing only to be
mentioned to be avoided. Not long ago we saw
an operator dipping out sulphite with a card-
board box which he believed to hold 4 ounces;
on a doubt being expressed, he weighed a box- full
and was surprised to find that he had just double
that quantity.
"Matter in the wrong place," otherwise dirt, is
at the bottom of many mysterious worries, and
we would commend to the present generation of
photographers the warning common enough years
ago, "Always consider tliat the dust of a dark
room is hypo." Many spots and streaks will be
avoided if this caution is borne in mind, for not
only is there hypo in the dust, but possibly ferri-
cyanide, persulphate and half a dozen other re-
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Bulletin of Photography
697
THE BO OK YO U NEED
The Commercial Photographer
By L. G. ROSE
148 Paget 85 lUustraHoM
Price, in cloth, $4.00 per copy ; postage 15 cents extra
INCLUDING PRICES CHARGED IN TWO LARGE CITiES
A work by a thoroug;hly competent and widely experienced commercial
photographer of the highest reputation.
Every branch of the subject treated with a view for presentation of
the essentials. The various appliances discussed, best methods of ex-
posure, illumination and graphic presentation to ensure a successful outcome.
It is a book essentially for the commercial man and meets every requirement. Profusely
illustrated with examples of work of varied kind.
The book will be found of pertinent interest not only to the trade photographer but also
to the specialist. The application of photography is considered in its bearings upon the com-
mercial man, the architect, the tradesman, the physician, the lawyer and the scientist, by one who
has had very extensive experience in the different kinds of work required.
The present edition is limited and we have a firm conviction when the value of the work
becomes apparent, that it will be speedily exhausted.
We therefore advise you to secure copy, and not lose the opportunity or suffer from the
necessity of waiting for a second edition of the work.
At Your Dealer'9 or Direct from the PuhUther
FRANK V. CHAMBERS, •«• ^^':3gSiif**"*~
agents. A practice which was almost universal
a few years back seems to be falling into disuse;
this is the "swabbing" of negatives with a pad
of cottonwool or piece of soft wash leather under
the tap after washing and before placing in the
drying rack. Some water leaves quite a per-
ceptible precipitate upon the film either during
washing or more often in developing. This cannot
be removed by any amount of spraying, but gentle
rubbing fetches it away at once. Much annoyance
may be saved by preventing the movements of
prints in the frames by providing a soft yet firm
felt pad for each of the latter, at the same time
better contacts being secured.
All this seems very trivial and perfectly ob-
vious to the old hands; but there are now many
hundreds of workers in photography who have
picked up their knowledge under conditions which
are far from perfect, and it is upon them we
wish to impress a few of the trifles which help
to make up perfection. — The British Journal of
Photography.
*
That kodak department clerk never did get it
through his head how that cavalry man objected
to his prints unmounted when most of the pic-
tures were of himself on horseback.
*
"He told me his was the leading store in the
town !"
"He was right as far as he went. But I
guess he didn't tell you which way the stores in
his town were headed."
Jack Is Dull No Longer!
Time was when all work and no play made the
life of the average American business man com-
paratively a humdrum one.
No longer does the executive toil early and late
six days in the week and on the seventh take a
package of left-over jobs home with him. For
he has discovered that more work can be done,
more results accomplished, if one or two or even
more of the week's seven days are occupied in
building physical and mental vigor against the
concentrated demands of the other five days.
There are so many things to do with a holiday
or half holiday that were unknown in the days
of our fathers. Excellent highways make it easy
to get out into the cool, green country. Count-
less golf courses and hundreds of thousands of
golfers indicate that the Scotch national pastime
is in a fair way to become America's national
pastime also. And soon the time will come when
every tired business man has his own little air
bus in which he may take the family, or some-
one's family, for a spin of an afternoon or
evening.
It still may be said truly of this country that
we have no leisure class, though some large em-
ployers of labor might contradict this statement
in sarcastic vein. Rut we are moving rapidly
toward a saner era of suitably combined work
and play which will keep Jack from being dull
without making him a mere shirk.
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698 ~ Bulletin of Photography
More than 80^/c of the X-Ray workers of
America use Eastman Tested Chemicals
They must eliminate the element of
uncertainty from their work.
The surgeon's knife is guided by a
diagnosis of the X-Ray result.
Your results are not a matter of life or
death, but they are a matter of dollars
and cents.
Specify
EASTMAN
TESTED CHEMICALS
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography
699
Classified Adverttoing Rates— For Sale, Rent, Exchange and
Miaccllancous advertisements. Minimum charge. fl.OO lor
thirty words; additional words, 3 cents each.
Help Wanted— Two insertions of twenty-one words, minimum
charge. 50 cents; additional words, 2 cents each- Cash must
accom pany order.
Situation Wanted— Twenty-one words, one time, free. Addi-
tional words. 2 cents each.
No display allowed — Ca»h mutt he sent with order.
Display advertising rates sent upon request.
Copy must be plain and distinct.
To secure insertion, advertisements must be received by 9
A. M., Tuesdays, one week preceding date of publication.
DO YOU WANT A POSITION?
Read the ads, that follow
Wanted - First-class Retoucher. One who has a
knowledge of Printing. Carl K. Frey, 247
Genesee St., Utica, N. Y.
Wanted— Expert fast retoucher to take charge of
a high-class portrait finishing room. Prefer a man
whose past experience will enable him to use execu-
tive ability in employing retouchers. Address,
Morrall Studios, 154 East Ave., Rochester, N. Y.
Oper.\tor Wanted in studio doing high-grade
work; prominent city in Middle Atlantic States.
Excellent salary and permanent position to man
with ability. State particulars and qualifications.
Address, Box 959 care of Bulletin of Photog-
raphy. _
Help Wanted — Amateur finisher, either lady or
gentleman; wonderful climate; ocean bathing the
year around; delightful American colony; chance to
learn Spanish, and live with employer. Hayman,
Mayaguez, Porto Rico.
DO YOU WANT AN EMPLOYEE?
Read the ads, that follow
Position Wanted — Operator, manager, thorough
in every department, especially retouching.
Anderson, 179 Henrietta St., Rochester. N. Y.
Position Wanted — By lady well experienced in
all branches of photography, including operat-
ing, retouching and coloring in oil or water colors.
Would like to connect with well-equipped studio,
preferably in the East. Address, Box 957 care of
Bulletin of Photography.
MISCELLANEOUS
Read the ads. that follow
For Sale— Press Graflex 5x7. magazine, $150;
63^x8>^ Goerz Dagor Lens /6.8, focus 9K-in,
$50; 5x8 Bausch & Lomb Tessar Lens Ic /4.5,
focus 8>^-in. $50. Private party. 929 North
Franklin Street, Philadelphia.
Retouching acquired in 30 to 90 days by the
Clarke system of teaching. Only school of its
class in the country. Limited registration. Act
quickly. Clarke School of Retouching, 750 E. 47th
St., Chicago, 111.
Mount Salesman
Experienced to sell to Photo Supply
Houses and to call on photographers.
Half of the time required on road-
balance at factory.
State age, experience and salary
expected. All correspondence will be
treated confidentially.
Addre$$—Box 958, care of
BULLETIN OF PHOTOGRAPHY
Jack: "Which do you consider the best years,
of a woman's life?"
Mac: "Oh, the first five years she's eighteen,
I should S3iy V— Cartoons Magazine.
Reliable Photo Supply Houses
JOHN HAWORTH COMPANY
(Eaftman Kodak Co.)
1«20 COiestnut Street, Philadelphia
THE H. LIEBER COMPANY
24 W. Washingtoii St. - Indianapolis, Ind.
Western Photo & Supply Co.
Photographers' & Photo En^avers' Supplies
328 W. Madison St., Chicago
WILLOUGHBY "^^ryORK*
ETerything Used i n Photography
SWEET, WALLACH & CO.
(Baatman Kodak Co.)
133 No rth Wabash Ave., Chicago, 111.
SUSSMAN PHOTO STOCK CO.
223-225 Park Avenue, Baltimore, Md.
Norman-Willets Photo Supply
— INCORPORATBD
St2.St3 LE MO YNE BLDG. r- H f r A ro
18t N. WABASH AVE. i> H I i> A U U
ZIMMERMAN BROS.
(Eaatman Kodak Co.)
380-384 Minnesota St., St. Paul, Minn.
HYATT'S SUPPLY CO.
417 North Broadway, St. Louis, Mo.
STANDARD PHOTO SUPPLY CO.
(Eastman Kodak Co.)
125 Baronne St., New Orleans, La.
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734 Bulletin of Photography
Make portrait enlargements
on the paper made for por-
trait enlarging — the paper
that puts contact quality in
projected prints:
EASTMAN
PORTRAIT
BROMIDE
Two stocks— D White, E BufF.
Two surfaces in each — Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER. N. Y.
All Dealers',
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Bulletin of Photography 735
If you want Artura tone
and Artura quality, you
must use
HRTOR
The paper without a
disappointment
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers',
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A Britisher'^ 5 Opinion
*' Speaking as a technical worker, I do not
think there has been anything in my time
which has marked such a distinct advance in
the quality and usefulness of photographic
material as Eastman Portrait Film. When I
say Eastman Portrait Film, of course, I include
Commercial, Commercial Ortho and Process
Film.
'* The one thing about Films which induced
me to use them instead of glass plates was the
very important fact that they enabled me to
make better negatives."
Mr. S. GrimshaWy Official Photographer
to Forti Motor Co. y Manchester^ England.
There's a Film for practically every commer-
cial need — Eastman Portrait, Commercial
Ortho, Commercial and Process.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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If you want Artura tone
and Artura quality, you
must use
RTOR
The paper without a
disappointment
EASTMAN KODAK COMPANY
ROCHESTER. N. Y.
All Dealers' .
1
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Relieve the
Pressure
TO get the most out of the photofinishing
harvest season— delegate your routine
tasks to capable, speedy PA'JiO equip-
ment Save your own valuable time and that
of your assistants— reduce your costs and
handle more business.
The PA^O Electric Driven Washer takes
full charge of your photo washing.
An electric motor maintains correct drum
speed always, independent of changing water pressures. FVints are separated
automatically— but the most delicate work comes thru unharmed.
A foot lever lifts the drum nearly out of the water for removal of prints.
The open door forms the draining tray for wet prints.
Three batches of prints per hour are washed under average conditions.
The PA:KO Washer leaves its operator free three-fourths of the time for
other work. It requires no attention other than loading and unloading.
The RAKQ Washer is a year 'round cost saver and money maker— but it
pays for itself quickest when work is heavy.
The price of $150.00 is guaranteed for the year 1921.
Relieve the pressure— turn out quality prints in
spite of the busy season's rush. Ask your dealer for
full information on the PAJ^O Electric Driven Washer
— or inquire direct.
PMO Corporation
Minneapolis, Minnesota
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BULLETIN-OF
PHOTOGRAPHY
39
[tradk mark rbgistsred]
IN WHICH IS INCORPORATKD "tHE PHOTOGRAPHER" AND THK "ST. LOUIS AND CANADIAN PHOTOGRAPHER"
THE WEEKLY BUSINESS PAPER FOR BUSINESS PHOTOGRAPHERS
636 Franklin Square (cor. 7th and Race Sis.) Philadelphia
FRANK V. CHAMBERS, Editor and Publisher JOHN BARTLETT, AsMcute Editor
A. A. SCHENCK, Businns Manager
Yearly subscn'ption, in advance, postage paid. United States, Mexico. Cuba. Philippines and Porto Rico, $2.00.
Canada. $2.50. Countries in the Postal Union. S3.00. Single copies, 5 cents.
Remittances may be made at our risk by money order, check, draft or registered letter.
Items of interest upon photographic subjects will be gladly received.
Subscriptions received by all photographic and news dealers in the United States and Europe.
Vol. XXVra, No. 723
Wednesday, June IS, 1921
Price 5 Cents
$2.00 per Year, Post Free
Ethical Duty of the Photographer
Undoubtedly man, early in his existence,
must have made inquiry as to the cause of
natural phenomena but, naturally, referred
happenings to supernatural agency and re-
mained satisfied.
Experimental science really did not begin
until about the tenth century A. D.. and not
then from a desire to study nature, but to
find out the philosopher's stone. But the
alchemists stimulated the minds of a few
geniuses, like Bacon and Alburtus Magnus,
who sought to find the reason for the oc-
currence of phenomena.
The marvelous Greek mind, to be sure,
by a sort of scientific intuition evolved
theories of the nature of things, which mod-
ern science still holds to be a possible solu-
tion, but, as a rule, they discouraged experi-
mental investigation, which was left to the
philosophers of the sixteenth century to in-
augurate, and whose beginnings have re-
sulted in the marvelous discoveries of the
present.
We photographers, in the course of our
work, employ many diflferent chemical
bodies and call forth performances which
must, at times, evoke inquiry why things act
in a certain way, as if they were subject to
some unseen agency, directing them to a
fore-ordained end. That is to say, they are
invariable in action, and, so much so, that
when the performance goes contrary to one's
anticipation, we look for some irregularity
which has invaded orderly conduct of the
agents employed and the patient investigator
of the cause of some persistent behavior is
often rewarded by a discovery of some valu-
able adjunct to his force, for investigation.
In the course of our work, we make use
of many chemical bodies, and often subject
them to untried conditions. We succeed, in
a mechanical way, independent of special
chemical or physical information and there
rest. But while it may be our privilege to
l)e placed in a position, with the possibility
of finding out something new, it is selfish to
]ye contented with the present gain and not
he willing to try to investigate the rationale
of things, so as to benefit others, by reducing
operations to general principles instead of
on mere empirical formulae.
It is a growing conviction whether all
chemical changes may not be due to actual
physical operations, that the special phenom-
ena of photographic activity is only a dis-
turbance of equilibrium.
Theory, of course, but we do know that
under the mere direct influence of heat, sul-
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Bulletin of Photography
phur and phosphorous are transformed
physically; their molecular structure being
so altered as to give them entirely different
physical properties.
Crystaline, selenium under ordinary cir-
cumstances, is not a good conductor of elec-
tricity but becomes so when light falls upon
it. And there are numerous other examples.
Chlorine and hydrogen gasses may sport
around unassociated in a receiver, but let a
ray of light strike them and they rush to
embrace.
This looks as if light was the agent in
combination, but it is really a decomposing
influence, for the chlorine, which was once
thought to be elemental and indestructible,
is broken up and thus put in shape to com-
bine. Many unexpected things take place
from the experimenter refusing to implicitly
rely upon the performance of things to be
invariably identical.
Tempered scepticism is essential to prog-
ress and in the code of science the investi-
gator is not damned for doubting.
The time is past when he was thought im-
pious or presumptuous to inquire into ulti-
mate cause. Rational progress has made it
man's ethical duty to seek and to find, and
he is accounted an unprofitable servant when
he shirks his responsibility by burying his
talent.
The Rainbow Chaser
C. H. CLAUDY
There is no better business than the pho-
tographic business. There is no finer pro-
fession than the profession of making por-
traits. There is no better game than your
game.
If you don't find it so, it's because you
are not playing the game as well as it can
l>e played. If you are not playing the game
as well as it can be played, the chances are
that one of the reasons is because you spend
so much time chasing the tail end of a
rainbow.
There are so many rainbows. There is
a chap up the street whose sign reads
**Stocks and Bonds," but it ought to be
"High Grade Rainbows For Sale." There
is an oval piece of earth somewhere in your
vicinity which is called a race track, but its
real name is "Rainbow Track." There is
a round green table in a club in your city,
which half a dozen fellows in shirt sleeves
and tobacco smoke call a poker table, but
it's really a "Rainbow Table." There are
nice-looking mer^ who come into your es-
tablishment to sell you shares in a new
patent, an oil well, a radium mine or a sub-
marine flying machine. They call them-
selves advance agents of prosperity', but
their other name is "Purveyor of Rainbows
to the Innocent." There are salesmen for
concerns manufacturing new photographic
"specialties," who want to load you up with
ten thousand mounts or nineteen thousand
folders or forty cases of patent double-tone
plates or something. They call themselves
traveling men, but unless they are selling
regular goods to a regular portrait artist,
they are really advance agents of the pot
of gold supposed to lie beneath the arched
end of the colored bow of promise, which
we all see in the financial sky when we stop
looking for real dollars right under our
noses.
Why chase rainbows?
Li Hung Chang refused to go to, or bet
upon, a horse race, because he said it had
been demonstrated that one horse could run
faster than another. So it has. We have
possibility of finding the caudal appendage
to a Robert-tailed blush on the face of four
cards, but we do not recall as many times
when we succeeded as when we shoved over
a stack and saw it disappear in the other
fellow's pile. As between trying to knock
out Dempsey with one hand tied behind us.
and trying to show Wall Street what it
doesn't know about stocks, we'll take our
chances on the Big Fellow.
Why are you not as wise as these?
You are. Man, did you never chase a
rainbow? Did you never follow anything
else but the little tin god Success in your
business ? Then you are one of the photog-
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741
raphers who are lolling back in a five-
thousand-dollar limousine, reading over
your income tax report l)efore drawing
your five-figure check, on your way between
your city and your country home.
Any one can do anything he wants in the
way of success. All he has to do is want
hard enough. Any one can make a success
out of racing or the stock market or playing
poker if he wants that more than anything
else, just as any one can make himself into
a great success as a portrait photographer if
he wants to badly enough to do the neces-
sary hard work. But the man never lived
who could make a great success of rainbow
chasing and legitimate business at the same
time.
Nay, gentle reader, this is not a moral
lecture. There is nothing wrong with the
bang-tails, nor the elusive pasteboards, nor
the playthings of bulls and bears. There
is nothing wrong with a golf ball nor a
canoe nor a dancing floor nor an automo-
bile. But the portrait photographer, who
spends most of his time figuring how he
can reduce his average from 102 to 87, or
how he can get off fifteen days in every
month of summer to go canoeing with a
girl, or how he can close early and open
late trying to rival Terpsichore, or how he
can swipe time from business to take a
week-end motor trip every week that begins
Thursday and ends Tuesday, isn't going to
make any remarkable success out of por-
traiture.
And the principle is the same whether
the rainbow he chases is pleasure via sport
or cash via chance. Either way it's a rain-
bow, and neither way is a good way to
make the customer think you are "it" when
it comes to making pictures.
All work and no play makes the photog-
rapher a poor fish. But too much play
makes him a mud-turtle.
The only free thing in the world is air.
For everything else we have. to pay. We
have to pay for success. Ready-made suc-
cesses are never real successes, any more
than finding a million dollars in the street
can produce the same kind of joy as making
a thousand by work. The price any one
has to pay for success is only loving his
job and putting it first. If he does that, he
can't help succeeding. If he doesn't suc-
ceed, either he doesn't put his job first or
doesn't love it well enough to know it. Any
failure in the world can be put down to one
of these two reasons. Chasing rainbows is
a result of not loving the job enough to
put it first or not loving it well enough to
know it.
Buying too much, charging too little, un-
der advertising to save money, over adver-
tising to make too greedy a profit, trying to
be too many jumps ahead and so producing
outre styles, insisting on being so conserva-
tive as to be l)ehind the style, failure to
spend enough on equipment, spending too
much on equipment — these are all examples
of chasing rainbows, just like trying to pick
the winner in the Futurity, bluffing the chap
who holds four aces, or beating the stock
market out a fortune with a shoe string and
a ten-point margin.
It can't be done. The heartbroken
kiddie, who tramps all day after the end
of the beautiful rainbow, only to be brought
home by a friendly policeman at night, is
but a prototype. The main diff'erence be-
tween the baby and the man grown up is
that the grown-up man usually has to sub-
stitute "Receiver" for "Policeman" and the
"Poor House" for "Home."
Anyway, all rainbows are lots prettier to
look at than to locate.
The seedy-looking individual's shirt was far
from spotless and his ccat and vest were covered
with grime and grease, but in his buttonhole he
sported a red, red rose.
"Where do you suppose I got this?" he asked
an acquaintance.
**I don't know," admitted the other. "Maybe
it grew there." — The American Legion IVeekly.
An amateur play was being staged and Smith
had the traditional single line : "My lord, the
carriage waits without."
He had been carefully drilled and thought he
was letter perfect until, just before going on. he
was seized with an attack of stage fright. Da.sh-
ing onto the stage, he bellowed :
"My God! The taxi's outside!" — The Ameri-
can Legion Weekly.
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Bulletin of Photography
Something About Background Relation
The best advice to the portrait photog-
rapher, who is desirous of keeping his sub-
ject in proper relation with its background
setting, is to refer him to the painter of por-
traits; because, if we examine the paintings
by the masters of portraiture and analyze
the work, as to the significance of the back-
ground, we note that the great factor of
harmony of relation is in the perfection with
which the background is adapted to the cir-
cumstances imposed by the motive expressed
in figure.
The figure certainly demands the first con-
sideration, but it is patent to every artistic
photo portraitist that, in a good many photo-
graphs, the background has primarily en-
gaged the attention. It has evidently been
selected for its intrinsic value without refer-
ence to its congruity with the portrait study.
Not that the portrait has not had due
consideration, but Ijecause the background
has had injudicious consideration, and, fine
as it is as a thing in itself, it serves only to
nullify the virtues of the subject by present-
ing two things simultaneous as worthy our
admiration.
Now the painter is not up against the
same temptation besetting the photographer,
because, as a rule, the portraitist with the
brush is not skilled in all phases of art. He
is particularly skilled in his own special
province, while the successful camera por-
traitist can call upon the scenic artist to sup-
ply him with most delectable background
settings, and all kinds are at ready disposal.
A comparison of the different presenta-
tions in background used by painters will
reveal the fact that a background is first of
all conceived, either as a mere surrounding
to the figure, whose limit is the borders of
the canvas, and. therefore, rather quiet and
wholly unobtrusive, or as an accessory to
the portrait, to emphasize some feature of
value in it.
With bust portraits, it is inadmissible to
make the background in any degree promi-
nent. That is because the artist is under
constraint with such a limited presentation
of the human figure and dares not introduce
anything in the background which may in
any way look out of place with a mere head.
Because of this restriction, he is not forced
to have his ground monotonously uniform
throughout. The good portraitist knows
that suggestion of atmosphere about the
mere head presentation will not only not l^e
out of relation, but may l)e made to play an
eflPective role in increasing the interest in the
head as shown. The background may be
made atmospheric by giving it soft gradation
from high to low tone.
With half-length pictures, the admission
of some little variety in the background may
be safely indulged in, at times even desirable.
A landscape oflFers, for instance, peculiar
charms and often admirably sets off the
figure, but care must be taken to preserve
the proper relation. It is just here that the
most egregious mistakes are made by some
of our best photo-portraitists.
Where scenic backgrounds are employed,
the greatest care is necessary to study the
perspective.
Most of such grounds give too extensive
prospect and the artistic sense is deluded by
the initial beauty of the scene, to the forget-
ting of the imposed conditions under which
the studio picture must be taken.
We look, for instance, at a very pretty
scene, a well studied piece of composition
with a pleasing foreground, and call it into
immediate service to introduce a figure in it
from life, without any consideration that the
size of the figure is wholly out of proportion
with it. The introduced subject suggests
Gulliver in Lilliput. The motive of the fig-
ure, besides, is lost in the superabundance
of the approximate detail which challenges
our attention. The lines in the perspective
take the eye away from the chief object of
the picture, perhaps away up some charming
lane.
If we should make our figure of a size to
fit in with such a landscape and to have it in
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"Ewintf Hawkins" George M. Kessfere
Syracuse. N. Y.
VeUex Print
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From the Towles' Demonstration at the Baltimore Convention
Hammer Plate
Cyko Print
Negative and Print Developed
with Cumminone
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proper perspective, it would have to be so
diminutive as not to be accounted a portrait,
but only something accessory to the scene.
Murillo has a picture which is called "The
Flower Girl." There are numerous chromos
and engravings of it, and the photographer
could study from it how to introduce an in-
teresting background, and, at the same time,
increase the interest of his picture. There
is a wall shown in the background, and a
quite well defined one, too, for you see it is
a stone wall and it gives evidence of solidity,
it will allow the girl to lean on it, if she
should so desire — however, she is not lean-
ing on it. It will not topple over like a
studio accessory, but note how quietly it per-
forms its part, how it retreats, exposing the
lovely posed hand, leading the eye into the
distance down toward the horizon, right in
the direction of the girl's head.
The girl gives us the suggestion of mus-
cular resistance. She is actually sitting. You
see all in perfect harmony. Each part plays
its proper part to unity of expression. There
is atmosphere alx)ut the figure. It comes
forward without projecting too much, and
just recedes to the right degree. All accom-
plished by the skillful way in which the
lights and darks of the picture in figure and
in background are arranged and harmonized.
Costs and Bad Practices
When I entered the commerical photo-
graphic business 18 years ago, the rule of
the game was, find out the price your com-
petitor is charging on a certain customer's
work, then cut the price enough to get the
work yourself. Under this practice enough
time was spent and enough money lost to
the craft, to pay able accountants a good fee
for putting all the photographers in the
country on a sound cost-working basis.
From this bad practice and the absence of
any attempt to learn what it costs to make
and sell, has grown all the ills the craft is
heir to at the present moment.
Moreover, the photographer has lost the
respect that other manufacturers have and
deserve. Other businesses treat the average
photographer as a loose, unbusinesslike in-
dividual, who can l)e bluflPed and bantered
to do his work at any })rice he wishes to
name. This is because no photographer
knew what it cost him to produce, and he
knew his competitor did not know and was
ready to believe anything his prospect told
him of the other fellow. In fact, he en-
joyed to hear his prospect browbeat his
fellow-craftsman and felt so flattered that
he usually lost his bearing completely.
Since the day the Kodak and roll film
started, we have had a tremendous propa-
ganda against us. Xot in the Kodak and
its use as such, but in the abuses that fol-
lowed its appearance.
Drug stores and other houses, catering to
amateurs, put out a sign to the public,
"Films developed free," thus advertising
photography, in the eye of the public, as a
cheap thing. Small prints were made far
below a profit to the maker and below what
the i)ublic was willing to pay and was pay-
ing for other forms of amusements.
Everyone who has tried to discover the
logic of this, has come to the conclusion that
no business is gained by it, no more films
were brought in for development and no
increase was noted in the number of prints
ordered from the films developed "free."
If there had l)een an increase in the num-
ber of prints ordered or an increase in the
money sj^ent for these photographs, there
might 1)e a vestige of argument to prove it
justifiable foolishness and nothing more.
But it had a far more reaching bad effect
on all photographs. It shaped the public's
thinking and made photographs discard for
the waste basket and the gutter.
Then what happened? — the most natural
thing in the world — the photographs had
been brought down to a penny proposition
for the sake of the amateur; then some
long-headed idiot with a short-sighted brain
devised the penny photograph. Who made
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Bulletin of Photography
money out of the penny picture? Three
people, that is all. The man who made and
sold the outfit, the man who made the ma-
terial, and an insignificant small part of the
public, hut never the photographer.
Every photographer who adopted it ran
an eleemosynary institution until he ran out
of funds, then had to work night and day
on legitimate work to catch up, but he
hasn't caught up with his self-respect yet.
Now, gentlemen, we have this bread-and-
butter game of ours brought down to a
penny basis, both in the amateur and pro-
fessional field.
Then what happened? Every occasion
that arose where the photographer was con-
fronted with an unusual opportunity to cash
in on some exceptional demand, a group al-
ways came forward with an idea that spoiled
the chances of any one to make good.
They not only killed the immediate op-
portunity, but forced photography still
lower down the scale that measures success.
I was in hope that this practice had died
with the turmoil that came with the war,
but it did not ; it is still with us. To prove
this, I will cite two instances that have hap-
pened recently:
The city council in Chicago saw what a
terrible plight our photographers were in
from the penny picture abuse, so out of
the charitable feeling in their hearts, they
enacted a law compelling every person own-
ing an automobile and each member of his
family driving it. to have his picture taken
and register a print with the police depart-
ment and carry another in. his pocket for
identification in case he got into the wrong
car and attempted to drive home with it.
What a beneficent thing this was for the
Chicago photographers — two hundred thou-
sand automobile owners — a total of three
hundred thousand drivers, all prosperous
and free spenders.
But again what happened?
Some legitimate profit-loving and profit-
seeking portrait men tried to realize on this
ordinance, but the same old propaganda was
with us and the golden opportunity went
glimmering by, without a murmur and with-
out a fight, the men who should have been
up and pronounced against the propaganda
that again came forth to cheapen the pho-
tograph in the eye of the public.
Business was bad at this time, so they
tried to make legitimate business out of the
situation by making the price only nominal,
instead of a price that would insure a fair
profit — expecting to make real legitimate
portraits of the sitter when he came in for
the necessary ones. Can you imagine any
one having legitimate photographs made
under a compulsory proposition?
The police department charged $1.00 a
piece for registering the photographs but
I have heard of but a few photographers
who charged a dollar for the photographs
that were registered.
The business man complained that it cost
him several dollars in time to go to the pho-
tographer to have the picture taken. But
I have never heard of a photographer who
complained that it cost him anything to
make them.
If it cost the average business man two
dollar? ($2.00) in time to have the picture
made as he would like to have you think
it did, it was surely up to the photographer
to put his time against that of the business
man and charge the same rate per minute,
plus material, labor, delivery charges and
a reasonable profit.
Does that sound like something for
nothing — does that sound like a penny busi-
ness or does it sound like a dollar business?
The police department realized it was a
dollar business and charged a dollar for
their small part of the work in registration
only. Then what happened? — the manu-
facturers had gotten busy and put the old
penny-making outfit on the market again,
the photographers who didn't have them
spent money to get them to make the auto-
mobile portraits, while others took down
their old ones, dusted them off and put them
to work; when it was all over they started
the penny pictures again. Think of it, gen-
tlemen, the penny in 1921 can't buy enough
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Bulletin of Photography
747
candy to reach a child's stomach after it
melts on his tongue, but it will buy a por-
trait worthy the taste of kings.
The pecuniary loss may not be great but
the propaganda that cheapens the photo-
graph in the eye of the public is far reach-
ing and has its undying effect. You can-
not now, and never will )je able to, build
a dollar business on a penny basis.
About this time one of our leading papers
was running a beauty contest in several of
the states adjacent Illinois. This ad was
inserted in a Sunday issue — another free
proposition which tells the public that pho-
tographs are cheap and the men who make
them are pikers.
They expect this to make legitimate busi-
ness.
I have no doubt the newspaper was the
prime mover in having these men take up
this proposition in the manner shown, but
it was a newspaper proposition in the begin-
ning, and because the contest was lagging,
they went to the photographer with their
own interests in mind tt'iV/r no mutual con-
sideration. The photographers should not
have accepted it in this form.
This is the kind of an ad with which they
should have met the situation.
While all this was going on in the por-
trait game, what hapi>ened in the commer-
cial game? Identically the same thing and
it could not help it because the effects of
the propaganda were felt throughout the
two crafts.
To illustrate the analogy:
From 1904 up to the time the war started,
some of our largest commercial houses
made 10x12 negatives of chinaware, lamps
and other merchandise without charge (ab-
solutely free) ; retouched and lettered the
negatives and made the prints at too low
a figure to return a decent profit on them,
let alone to make up for the loss on the
negatives.
Houses catering to motion picture stills
made 8x10 prints at 3>^ cents each.
Think of selling a manufactured article
to the fastest growing and one of the rich-
est industries in our land at a margin of
a fraction of a cent on the material with
nothing left for your lalx)r.
Think of making photographs of a fifty-
thousand-dollar-a-year movie star at a price
so low that you yourself cannot think in
sums with more than two figures.
A farmer owning a prize brindle cow
would be afraid to insult the titled beast
with so cheap a portrait.
You may argue there is no analogy and
that the movie star is giving the portraits
away to admirers.
That is no rebuttal, l>ecause it is not up
to our profession to finance the advertising
of a movie actor.
Some of the stars used photogravures or
half-tone prints. Do you realize in this
case the printer makes a good profit on
this work at his prices? It would be better
for our craft if the printer had all of it,
when the price of the photo is too low. It
is better the printing craft should make
money than we should lose it.
In the color photograph field, the situa-
tion was even worse. 10x12 plain photo-
graphs mounted on muslin sold at 30 cents
each, the same photographs (colored) sold
for 40 cents.
The photographer was paying on a piece-
work basis an average of 10 cents each for
coloring the prints.
Some of the photographers also had color
workers in the studio who worked on a sal-
ary, doing the work too difficult for the out-
side artist for 10 cents and also doing the
real easy work on which it was figured the
outside artist was making too much if paid
10 cents each.
The photographers doing this work
argued that they made up for the money
they did not make on the 40-cent photo-
graph when colored outside, on the easy
work they did on the inside. I told them
at that time they were figuring wrong, that
the inside work would never make up the
difference, calling their attention to repairs
on outside work done poorly, spoiled prints,
photographs turned down by the customer.
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Bulletin of Photography
Then tliey came back with the reply that
color work brought plain business. This
was a fallacy actual cost figuring would
have disspelled if the effort had been put
forth on it.
You may want to ask why there was re-
pair work. That is a point I do not want
overlooked.
The girls doing this work at home were
underpaid, oftentimes the work they were
getting 10 cents a print to do, was so diffi-
cult they could not even make pin money,
so they slighted it. Then it had to be re-
paired by the inside workers or it never
would have been accepted.
In fact, the rate was so low, good
workers could not l^e gotten. Much work
was so poorly done the prints had to be
made over. Many jobs were delivered so
poorly executed that the customer got dis-
gusted and took all of his work away, both
plain and colored. So the colored work
actually lost plain work to the photographer
instead of bringing it. Another point that
must not be lost sight of — all the color ar-
tists had to be taught — it cost money to
teach them. This was never figured, either.
The selling price was 40 cents, with noth-
ing to bridge the gap between the cost of
the plain photo and the actual color cost.
Wasn't this a terrible business?
I know what you want to ask. Is this
going on now? To a certain extent — yes,
but this is the way this same cost sheet
looks in our plant today.
The reason I have mentioned these dis-
agreeable things is to fix in your minds the
outstanding thought, that in order to make
photography a business at a par with other
professions is the business world, we must
entirely stop all practices that degrade or
lower public opinion.
And in addition, we must never overlook
an opportunity to spread propaganda of our
own that will make for the betterment of
our craft.
And right here I wish to urge you, gen-
tlemen, of this great organization in the
Middle Atlantic States, to begin the work
of killing this detrimental propaganda of
the past and see to it with diligence that it
is minimized in the future.
Our Chicago organization is on its feet
and working. We are ready and anxious
to extend a helping hand and to co-operate
with you in any endeavor you may under-
take.
In closing, I want to thank you for the
opportunity you have given me to say these
few words today, and in view of the fact
of a growing number of local associations
organizing in the different cities, I see and
hope to realize the vision of all of us joining
hands in a friendly circle of good fellow-
ship, for the honest betterment of a pro-
fession which deserves a full measure of
prosperity and respect side by side with
every legitimate business in our country.
The above talk was given by H. M. Webster at the
Baltimore Convention.
The National Convention
We print the list of exhibitors at the con-
vention of the P. A. of A. as far as it has
been possible for us to obtain to date.
Information or particulars as to what is
to be done at the convention have not been
sent us and it is a difficult job to get infor-
mation from the secretary — not only the
secretary of the National, but those of the
various state societies. The photographic
press is only too willing to boost every-
thing photographic, but with the apathetic
condition of the secretaries or those dele-
gated to supply the news ( ?), who can only
frame a few paragraphs occasionally saying
**Pay your dues, pay your dues," etc., who
the dickens wants to pay dues for some-
thing that one does not know what the dues
are for or what is to be done? It is time
that the secretaries woke up, or else the
conventions should employ competent ones
who will be publicity agents in the true
sense of the word.
The National cannot help but be a suc-
cess—but that will l)e due to the manufac-
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Bulletin of Photography
749
^^^QZ£^
Floor Plan of the P. A. of A. Convention, Broadway Auditorium, Buffido. N. Y., July 18th to 23d
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750
Bulletin of Photography
Investigate This
f4,5 Lens
ASK anyone who has tried the
'^*' Graf Super-Anastigmat, /4.5,
about the results they get with U.
You will learn some interesting
things about new possibilities in
depth, sharpness, flatness of field
and covering power at full aperture.
Perfection in these respects has won
for our/4.5 the highest commenda-
tion from exacting photographers.
Get one on a ten-day trial basis.
If your dealer cannot supply you.
write to us.
GRAF OPTICAL COMPANY
606 Newi-rowi BMf . S«ath Kai, lad.
l'l'li""W':^"
One of the best, as well as
one of the rarest books on
art and composition is —
"R urnet's
PT ssays on /\ rt
Single copies of the original editions
have been sold as high as $100.00.
It has been reprinted in a limited
edition of only 1000 copies. WiU
you have one?
Send $2.00 and get a
copy at once.
Postage 15 cents extra.
FRANK V. CHAMBERS
636 Franklin Square, Philadelphia
turers and their traveling men who are
doing the boosting.
With the convention just one month
away, the tentative program should be an-
nounced. It is impossible to give it com-
pletely, we admit, but who is who and what
is to be done should be told. It's business
from the word "go."
To those who attend the National, we
say, buy everything you can at the conven-
tion. YouH see things you never thought
of, and buying at the convention, you en-
courage those who are the vital factors and
these are the manufacturers.
The list follows, giving their booth
numbers.
78
8a
23 to 28
18a
65
50
77
B
10
85,86
74
87
68
7
44 to 55
8,19
75
70
A
22,29
13,14
89
84
79
32 to 43
D
47, 52, 59
58
16
17
4,5
9
56a, 57
61,62
21,30
67
J. F. Adams. BuflFalo, N. Y.
Alexander Bros, Pittsburgh, Pa.
An SCO Co., Bingham ton, N. Y.
Atlantic Photo Supply Co., Baltimore,
Md.
N. B. Aukerman Co., Cleveland, O.
Barston Co., Cincinnati. O.
Bausch & Lomb Optical Co., Rochester,
N. Y.
Beattie's Hollywood Hi-Lite Co.. Holly-
wood, Calif.
W. S. Bell & Co.. Pittsburgh,Pa.
Eduard Blum, Chicago.
BuflFalo Photo Material Co., BuflFalo,
N. Y.
Buerger Flexite Co., New York.
Bulletin Machine Co.. BuflFalo. N. Y.
Butler-Sanker Co., Cleveland, O.
California Card Mfg. Co., San Fran-
ciso, Calif.
Central Dry Plate Co., St. Louis, Mo.
Chilcote Co.. Cleveland, O.
Ciba Co., New York.
Colegrove Bros., BuflFalo, N. Y.
A. M. Collins Mfg. Co., Philadelphia.
G. Cramer Dry Plate Co.. St. Louis, Mo.
Cummings Laboratories, New York.
Cutright-Sharps Co., Buckhannon, W. Va.
Defender Photo Supply Co., Rochester,
N. Y.
Eastman Kodak Co., Rochester, N. Y.
Engler Bros., BuflFalo, N. Y.
Fowler & Slater Co., Cleveland, O.
Furst Bros. & Co., Baltimore, Md.
C. P. Goerz American Opt. Co., New
York.
J. S. Graham Co., Rochester. N. Y.
Gross Photo Supply Co., Toledo, O.
Gundlach-Manhattan Opt. Co., Rochester,
N. Y.
Halldorson Co., Chicago.
Haloid Co.. Rochester, N. Y.
Hammer Dry Plate Co., St. Louis, Mo.
John Haworth Co., Philadelphia.
Please Mention Bulletin of Photography When Writing Advertisers.
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Bulletin of Photography
751
45 Hanovia Chemical & Mfg. Co., New-
ark, N. J.
64 Howell Photo Paper Co., San Fran-
ciso, Calif.
2 Johnson Ventlite Co., Chicago.
60 L. M. Johnson, Chicago.
C Kalamazoo Photo Supply Co., Kalamazoo,
Mich.
46 Fred M. Lawrence Co., Chicago.
6 J. L. Lewis, New York.
15 Kimball-Mathews Co., Columbus, O.
11 J. W. McCabe Co., New York.
12 Marks & Fuller, Rochester, N. Y.
12i John G. Marshall, Brooklyn, N. Y.
80,81 Medick-Barrows Co., Columbus. O.
18 Geo. Murphy, Inc., New York.
54 National Carbon Co., Cleveland, O.
90 National Engineering Co., Rapid City. S.
Dak.
71 Nela Specialties Division. Cleveland. O.
69 B. Oshrin & Bro., New York.
20,31 Pako Corporation, Minneapolis, Minn.
44a. 54a Presto Mfg. Co., Pittsburgh, Pa.
12 Prosch Mfg. Co., New York
66 Sagamore Chemical Co., New York.
53 Simplex Photo Specialty Co., New York.
83 Jas. H. Smith & Sons Co., Chicago.
2, 3a Sprague Hathaway Co., West Somerville,
Mass.
63 J. Sussman Photo Supply Co., Balti-
more. Md.
la, 1 Sweet Wallach & Co., Chicago.
48,49 Taprell Loomis & Co., Chicago.
56 J. H. Wagenhorst & Co.. Youngstown, O.
76 Waldo-Morgan & Co., New York.
51 W'arren Products Co., New York.
82 Wollensak Optical Co., Rochester, N. Y.
88 F. W. Wolf Co., Cleveland, O.
The Commercial Section
at Buffalo
The following are the classifications for
the general exhibit of the Commercial Sec-
tion at Buffalo:
Group A — Comprising all photographs
made ux the studio.
No. 1. Photographs of merchandise for
engraving.
No. 2. Photographs of merchandise for
salesmen's samples, black and white.
No. 3. Photographs in colors of mer-
chandise for salesmen's samples.
No. 4. Still-life illustrations
for
en-
gravers.
No. 5.
graving.
No. 6.
No. 7.
Illustrations with life for en-
Bromide enlargements.
Microscopic photographs.
THE
STANDARD
TRIPOD
Best Paris-made French
Instrument Finish
T/ie dainii€%\ tHpod in
Cameradom
PRICE $4.00
IN NEAT CASE
C.O.D. to any addreM in U. S.
The Shortest
The Longest
The Lightest
T
R
I
P
O
D
WkcB Extended (52V^m.)
Only 18
No Sprinf • No Locking Calclies Aatomalic in Action
Adapted for American or Foreinn Cameras
Framerican hdustrial Development Corp.
FUld Cla9»€» and Optical ApparatU9
21 Emit 40tli Street NEW YORK CITY
IKXORMTQgDAUTY
Special Test Package
10 Sheets 14x20
Including:
3 sheets Buff Silk
3 sheets Buff Platinum Matte
3 sheets White Matte
1 sheet White Semi-Matte
All Double Weight Direction* and Teet Stripe Included
Prepaid, $3.00
DEFENDER PHOTO SUPPLY CO.,
ROCHESTER, N. Y.
Inc.
Please Mention Bulletin of Photography When Writing Advertisers. *^^ ^
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Bulletin of Photography
The most successful plaie
ever made
CRAMER
HI-SPEED
The
lERFECr
'ORTRAIT
LATE
ivith Speed
G. CRAMER
DRY PLATE COMPANY
CHICAGO SAINT LOUIS NEW YORK
H
RSON
PRODUCTS
A FULL LINE OF FUSH AND ELECTRIC UMPS
FOR PHOTOGRAPHIC UGHTINC
O Studio Flash Lamp
O Home Portrait Flash Lamp
O Giant Portrait Flash Lamp
O Triangle Flash Lamp
O Studio Electric Lamp
O Home Portrait Electric L
O Flash Powder
Electric Spotlights
O Style 00
O Style A
O Style B
O Centrifugal Print Washers
HaMPartrail
FlaihLaap
Mark outflts you are interested in and pin to your
letter. We will send full inTomiation by return mail.
THE HALLDORSON CO.
1778 WILSON AVE. CHICAGO
No. 8. Technical and medical subjects
ill black and white.
No. 9. Technical and medical subjects
in colors.
Group B — Comprising all photographs
made outside the studio.
No. 1. Architecture, exterior.
No. 2. Architecture, interior.
No. 3. Landscapes.
No. 4. Industrial interiors icithout life
(illuminated in any manner).
No. 5. Industrial interiors Tcith life (il-
luminated in any manner).
No. 6. Machinery.
No. 7. Mptor industry (including auto-
mobiles, aeroplanes, motor boats and trac-
tors).
No. 8. Pictorial.
No. 9. Illustrations until lite.
No. 10. Illustrations unthoitt life.
No. 11. Banquets and gatherings by
flash-light.
No. 12. Photographs made from aero-
planes.
No. 13. Marine photographs (including
ships, shipping and water pictures).
No. 14. Panoramas.
Each entrant can enter one to three
photos in each class; mark each photo
plainly on the back as follows: If Class 1
in Group A, mark lA on the back of each
photograph. No name to appear on front
or back of ])hoto.
Be sure to read classifications plainly as
photographs entered in the wrong class will
not be hung.
Judges will be instructed to judge from
the standpoint of the purpose for which the
l>hotos were made. Each class will l)e hung
as a unit. ,^ ^^ ,.,
H. M. \\ EBSTER,
Chairman Exhibit Bureau.
All packages must be sent to Buffalo,
N. Y., prepaid, with return address plainly
written on outside of package.
Mark package Commercial Exhibit.
Please Mention Bulletin of Photography When Writing Advertisers.^^ j
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Bulletin of Photography
753
What To Do When Your Com-
petitor Defames You
I have received two letters during the
week on the same subject:
No. 1
Milwaukee, Wis.
Please let us have your opinion on
this, either direct or through the paper.
We have a very bitter competitor up
here who has some personal feeling
against one of the memljers of our firm,
and he loses no opportunity to say ugly
things about us and about our goods.
We also believe that he has instructed
his clerks and salesmen to do the same
things with customers of his house.
The latest story came up as follows:
We recently purchased a large lot of
from a jobber who was going
out of business, and got them at a very
low price. It was a big deal for us and
we have been pushing the goods hard
throughout the territory. The competi-
tor mentioned sells the same brand and
other similar brands, and we have sev-
eral instances in which he had his sales-
men tell the trade that our goods were
seconds and a fraud. We have lost
several sales that way, and are likely to
lose more, as he is doing this every-
where. He has also told the same story
to customers personally when they have
gone in his place. We have reached a
point where we think we ought to do
something and would like your advice.
' Y. & R.
'T^HERE is only one Mononiethylpara-
^ midophenol Sulphate which is 100%
pure, that is
METAGOL, "CIBA"
Made by the Society of Chemical Industry
in Basle, Switzerland; makers of standard
chemicals since 1864.
At your deaUrg, or write us.
Leading photographic paper manufacturers
are recommending and three - fourths of
the moving picture industry are using
METAGOL "CIBA'^
— AND—
HYDROQUINONE, "CIBA^^
"THERE'S A REASON"
REGISTERED
CiBA Company, inc.,
Cedar and Waikkftoa Sit. New York City
T F you have any new photographic
-*■ ideas or methods that you believe
would interest readers of the Bulletin
of Photo9r^^>hy, send them in
Ideas and contributions will be
paid for.
(BULLETIN -GFll
PHOTO GRAPH yII
Philadelphia, Pa.
Please Mention Bulletin of Photography When Writing Advertisers.
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754 Bulletin of Photography
The Hetherington Competition
OPEN TO ALL PHOTOGRAPHERS
Some years ag^o Mr. Charles Hetherington was one of the leading: photogf-
raphers of this country and left the profession to take up painting^, and he has
become most successful in his art. Mr. Hetherington has never forgotten his
love for photography and photographers. He has authorized us to offer one
of his best paintings, handsomely framed, for the
Best Portrait of an Old Man or an Old Woman.
Mr. Hetherington's paintings are hung in six large clubs and in sixteen large
private collections in the U. S., and he says in his offer **I am doing this to
show *the boys' I have not forgotten them, and the picture will be the best I
can paint. There is nothing too good for those photogs who made many years
of my life happy."
The competition has no restrictions excepting that the prints must not be
smaller than 8 x 10. And you may enter as many prints as you like. The
painting will be shown at the National Convention in July, at Buffalo, and the
pictures judged and prize awarded at that time.
Entries must be sent only to Frank V. Chambers, 636 S. Franklin Square,
Philadelphia. The last day for receiving prints is Tuesday, July 12th (at noon), 1921.
A BIG OPPORTUNITY
to see the greatest exhibit of photographic material, photographs
by the greatest w-orkers in the world, the most complete artificially
lighted studio ever erected, and meet more celebrated photographers
than ever before assembled under one roof.
39th Annual (International) Convention
Photographers' Association of America
Buffalo, N. Y., July 18th to 23d
Special Convention Railroad Rates of Full Fare Going and Half Fare Return
on the Certificate Plan.
( New England and Pacific Coast paints excepted.)
ASK YOUR TICKET AGENT FOR PARTICULARS.
Dues to P. A. of A., including admittance to Convention and every feature,
$10.00 for employers and $3.00 for employees.
J. C. ABEL, General Secretary, 421 Caxton Bldg.. Cleveland, Ohio.
Please Mention Bulletin of Photography When Writing Advertisers.
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755
KODAK FINISHERS!!!
rOU CAN INCREASE PRODUCTION WITH A
SPEED PHOTO PRINTER
This improved model will pay for itself in 30 days.
TEN BIG FEATURES:
1. — Automatic order-numbering: device.
2. — Pressure platen with oscillating: movement, and
special pressure lock insuring: absolutely perfect
contact.
3. — Instantly adjustable masks, with illuminated scale
of standard sizes of paper.
4. — Quick action film clip.
S. — Automatic paper clip on platen, giving: perfect
regrister and border.
6. — No trimming necessary.
7. — Economizes on paper.
8. — Practical electric switch inside box. which operates
after contact is made between platen and paper,
and allows up to 400 watts of electric current.
Release lever for throwing off lights before raising
platen. No afterglow.
9. — Only one second exposure required for medium
dense Alms.
10. — Operation so simple it can be mastered in a few
™*""tes. Cireular on T€qu€»t.
PRICE, f 85.00
CHARLES G. WILLOUGHBY, Inc.
no West 32d St.
DUtrihutOTM for Ntw York Stat€
New York City
No. 2
Troy, N. Y.
For about ten months we have clone
a thing which has proven profitable,
viz., we have advertised Friday bar-
gains, using one article on that day at a
very low price. It has resulted in big
business and has hurt another competi-
tor about three doors away. Our place
is busy most of the day on Friday, while
he seems to )>e doing but little. He has
now l)egim to attack in print and by
word of mouth. In his last advertise-
ment it read, '*Do not be deceived by
fake one-day-only bargains, which are
only baits to get you to buy something
else on which you will be cheated by
inflated prices." We are the only con-
cern here using one-day bargains, so
he must have meant us. Customers
have also come to us and told us that
he told them the same thing by word
of mouth. Have we got to stand such
innuendos? It seems too bad that an
honest merchant has to stand such treat-
ment. E. R. & Bro.
These letters may not be so important in
themselves, but they are important as reveal-
ing one phase of the peculiar conditions
through which business is now passing.
When there was enough business for every-
body, competitors didn't have time to black-
guard each other. They could get business
without it. But now that there isn't enough
to go around, the meanness which is inherent
in a certain type of traders — the tendency to
strike below the belt — is coming to the sur-
face and will probably be somewhat notice-
able for a while.
The offense which has l>een committed
against both these correspondents is trade
libel, which means words directly tending to
the prejudice or injury of any one in his
])rofession. trade or business. The action-
able character is the fact that it injures the
subject of it in his business, more, perhaps.
Please Mention Bulletin of Photography When Writing Advertisers.
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Bulletin of Photography
1921 CONVENTION DATES
Place
Date
P. A. of A. (International)
Buffalo. N. Y.
July 18-23
J. C. Abel, 421 Caxton Bldg.
Cleveland, Ohio.
Ohio-Mich.-Ind.
Postponed until 1922
Fred. Bill. 746 Euclid Ave.
Cleveland, Ohio.
New England
Springfield, Mass.
Sept. 7-9
A. K. Peterson, Pres.
Hartford, Conn.
North-Central
Minneapolis, Minn.
October 3-6
J. R. Snow, Pres.
Mankato, Minn.
Pacific North- West
Vancouver, B. C.
August 2-5
A.T. Bridgman. 413 Granville St.
Vancouver, B. C, Canada.
than personally. This from a well-known
authority on the subject:
Language which imputes to one fraud
or want of integrity in his business is
actionable per se (that is, you can sue
even if the victim has not sustained any
actual damages. — E. J. B.), or, as the
rule has otherwise expressed, any
charge of dishonesty against an indi-
vidual, in connection with his business,
whereby his character in such business
may be injuriously affected, is action-
able. So a charge of adulteration of
goods, or selling a substitute, are cases
for damages, shoes as shoes of first qual-
ity, or selling counterfeit Harlem oil,
or using false weights or measures, or
to say that one is a rogue, swindler,
cheat, villain, rascal or scoundrel is ac-
tionable.
As a matter of fact, there are cases which
hold that words imputing to a business man
a lack of knowledge or skill in connection
with his business is libelous, and damages
can be obtained for their use, showing how
tenderly the law protects a man's business
reputation. Much more tenderly, in fact,
than some business men in question seem to
want it protected.
I have long l)een convinced that business
men were in the habit of speaking much too
loosely of each other and their goods and
methods. Only in my office the other day a
contracting painter said to a real estate man,
speaking of a competitive painter. "Take
it from me, his work is no good. He'll skin
every job he takes." When the real estate
man had gone, I said to the painter : "That
was a pretty raw thing you said about your
competitor. Do you really know that to be
a fact?" "Everybody says so," he replied.
"But could you prove it if you had to?" I
asked. "Why, his prices tell what kind of
work he does," was the answer. "And is
that all the evidence you have?" I persisted.
He admitted it was. Of course, it was no
evidence at all.
Now, suppose that real estate man had
gone straight to that slandered painter and
told him what had been said. A suit might
have resulted — if the slandered painter was
honest — to which the defendant would have
had no defense whatever. But would the
slandered painter have brought the suit, even
if he had been honest? I am not sure. Busi-
ness men don't seem to be so anxious to
protect their reputations against these loose
assaults as it would seem to me they ought
to be.
(Copyright by Elton J. Buckley.)
STERUNG TANKS
Place your orders AT ONCE for Sterling Tanks and Waterjackets. The most
compact, inreatest capacity. least costly outfit made. STEJRLING Tanks and
Waterjackets have been ^vinj; BatUfaciion for over 10 YEARS.
DEMAND STERLING. There is no substitute. Listen to STERLING. Your DEALER has them or can get them.
It's your privileife to demand STERLING TANKS and (rood judgement to accept nothing but
STERLING TANKS AND WATERJACKETS.
STERLING MFG. CO.
"PIONEER TANK MAKERS'*
BEAVER FALLS. PA.
Please Mention Bulletin of Photography When Writing Advertisers
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757
LENSES I WOLLENS AK I SHOTT E
Facts Worth Knowing
-About the VERITO
Three distinct qualities of diffusion,
each different, are available with
the Verito (1) used in the regular
way (2) with the lens elements in-
terchanged and (3) with the rear
combination alone.
Variable and Controllable softness,
as much or as little as you want, is
possible by varying the diaphragm
opening. Pleasing softness at F : 4,
actual sharpness at Fill.
The Verito is convertible. The rear
element may be used alone and has
a focal length about half again the
equivalent focus.
Extreme speed characterizes the
V^erito— the fastest soft-focus lens
in the world. Even when stopped
down to lessen diffusion— it is suf-
ficiently rapid.
The Verito is optically correct^ vir-
tually free from flare or halation
when properly used, and, unlike
other soft-focus lenses, has the
same visual and chemical foci.
Beautiful enlargements from sharp
negatives, with the same delightful
softness and atmospheric quality
as Verito contact prints, can be
made with this unusual lens.
The Verito reduces retouching at
least 60 per cent. Some photog-
raphers don't retouch V^erito nega-
tives at all, for while definition is
not destroyed, the harsh and wiry
lines are pleasingly subdued.
Better prices for your work may
be asked when the Verito is used.
Customers willingly pay 50 to 100
per cent, more for work so appar-
ently superior in artistic quality.
The Verito pays for itself many
times over, bringing better prices
and greatly reducing the constant
expense of retouching that takes
dollars from your pockets.
Free trial of this distinctive lens is
offered by all stock-houses. Or if
you want further information, let
us send— gratis— our beautiful new
booklet ** Studio Lenses".
LENSAK;OPn<
, ROCHESTER, >
«V.— . V.SJL.
Manufacturtn of thm Vtlottigmat and Vitax
Please Mention Bulletin of Photography When Writing Advertisers^^
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Bulletin of Photography
Eduard Blum
The Photo Art Shop
in the service of the profession
32 South Wabash Avenue
CHICAGO
THE ONLY STUDIO OF ITS KIND IN AMERICA
BE DIFFERENT FROM THE OTHER FELLOW
BE DIFFERENT FROM YESTERDAY
Relativity of Alkalies
In the composition of the developer we
have two agents, the reducing agent and the
accelerating agent. The prototype of the
reducer is represented in pyro or pyrogallic
acid, and the accelerator is one of the alka-
lies, sodium potassium or ammonium.
Associated with these two essentials, how-
ever, there is another substance whose pri-
mary object is a regulator. Ammonium is
but little employed in this country, although
it has decided merits on account of the dan-
ger of encountering fog during development.
From a comparison of the many formulae
recommended, the potassium carbonate is
most frequent in evidence, and in the form
of anhydrous salt.
Sodium carbonate and the caustic alkalies
are more in use in England and the Conti-
nent than they are here. The question as to
which alkali is really of more importance
than is generally admitted, inasmuch as the
action of the various alkalies is by no means
identical.
The givers out of formulae, by the use of
which they have achieved success, are not
always explicit in indicating whether the
alkali recommended is in the crystaline or
anhydrous state. This information is impor-
tant, since there is a great difference in the
values. Anhydrous carbonate of soda will
not for long retain its anhydrous condition
unless kept in a well-stoppered lx)ttle, while
the corresponding potassa salt is so hygro-
scopic that in a very short time it gets pasty
l)y absorbing water from the atmosphere.
The caustic alkalies, both of sodium and po-
tassium, are liable to change by absorption
of carbonic dioxide, being converted into
corresponding carbonates.
In examining the action of the various
alkalies with the reducing agents of the de-
veloper, we note a particularly marked dif-
ference. In the case of pyro. for instance,
we find that the difference in result is not
materially marked by the indifferent use of
potassium or sodium carbonates. The potas-
sium prolmbly is a little more energetic than
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Bulletin of Photography 759
the sodium, but if we employ a caustic alkali
it requires the greatest care to avoid fog.
On the other hand, hydroquinone works well
in conjunction with caustic alkalies, and be-
sides it makes also considerable difference
whether we use potassium or sodium with
the hydroquinone.
If we take equivalent quantities of sodium
and potassium carbonate and note their re-
spective action with hydroquinone, we shall
find that, with the use of potassium salt, the
development begins sooner than with the so-
dium salt, and in truth proceeds slower, so
that potassium is more frequently recom-
mended in formulae with hydroquinone.
Passing to amidol, we note how small a
quantity of alkali is required to set develop-
ment in action, and that the sodium sulphite
is sufficient without the addition of potas-
sium or sodium.
It is safe to bear in mind that if the pho-
tographer wishes to make use of dry sodium
carbonate, he should know that he has such
an article in his possession. He must have a
sample free from all water of crystalization.
And on the other hand, if he desires the
crystals, let him see that he has clean, hard,
clear-looking objects. Don*t accept powder
with little white masses. The crystals must
not be moist to the touch.
If you take anything between these two,
you will not l>e able to know what degree
of alkalinity you have in solution.
Either crystals or anhydrous salts may be
used with equally good results, but you must
know in comj^ounding your developer what
salt you are using.
We are advised that the Ohio-Michigan-
Indiana convention for 1921 will be postponed
and that no convention will be held until 1922.
"Here, boy," said the man to the boy who was
helping him drive a bunch of cattle, "hold this
bull a minute, will you?"
"No," answered the boy, "I don't mind bein' a
director in this company, but I'm darned if I want
to be a stockholder." — Cartootis Magazine.
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760 Bulletin of Photography
THE BO OK YO U NEED
The Commercial Photographer
By L. G. ROSE
148 Pag€9 85 lUuMtraUonM
Price, in cloth, $4.00 per copy ; postage 15 cents extra
INCLUDING PRICES CHARGED IN TWO LARGE CITIES
A work by a thoroup^hly competent and widely experienced commercial
photographer of the highest reputation.
Every branch of the subject treated with a view for presentation of
the essentials. The various appliances discussed, best methods of ex-
posure, illumination and graphic presentation to ensure a successful outcome.
It is a book essentially for the commercial man and meets every requirement. Profusely
illustrated with examples of work of varied kind.
The book will be found of pertinent interest not onl^ to the trade photographer but also
to the specialist. The application of photography is considered in its bearings upon the com-
mercial man, the architect, the tradesman, the physician, the lawyer and the scientist, by one who
has had very extensive experience in the different kinds of work required.
The present edition is limited and we have a firm conviction when the value of the work
becomes apparent, that it will be speedily exhausted.
We therefore advise you to secure copy, and not lose the opportunity or suffer from the
necessity of waiting for a second edition of the work.
At Your Dealer** or Direct from the PuhUther
FRANK V. CHAMBERS, ^^e S^^F«nkHn^Sauare
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C We've used these Binders in our own office for the past seven
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JUST OUT-
CONTAINING BAROAINS IN CAMKRAS. LKNSKS
AND KVKRYTHINO PHOTOGRAPHIC
WILLOUGHBY'S "" S'^^^T'olJ"""
What's Doing in Photography
The Studio of B. J. Anes was destroyed by fire
on May 16th.
WilHam H. Penrose has oi)€ned a photp shop
in Peekskill. N. Y.
George J. Early has opened a new studio in
North Cannington, Ontario.
Elmer A. Whitney, of I'reniont, will open a
new studio in Gihsonburg, Ohio.
Mr. and Mrs. J. O. Booen have purchased the
Anderson Studio. Miles City, Mont.
Miss Lucia Weeks, of Mansfield, Ohio, is open-
ing a new studio in Columbus, Ohio.
Wheeler & Fort, both ex-service men. have
opened a new studio in Victoria, B. C.
Owing to ill health, Lynn Reury. of Herkimer.
N. Y., has sold his studio to E. J. Hale.
E, E. Palmer has purchased the studio in Mesa,
.Arizona, formerly owned by W. P. Seyfred.
J. B. Loyd, formerly of Mt. Vernon. Ohio, has
purchased the B. Way Studio. Newark, Ohio.
J. E. Hill, formerly of Cambrai, Wyoming, has
purchased the Modem Photo Studio, Astoria, Ore.
The Shook Photo Studio, Liberty. Ind., has been
sold to Mr. and Mrs. W. DeLong, of Springboro,
Ohio.
George Rude has taken over the Swan River
Studio from N. E. Watson, of Swan River, Man..
Canada.
J. L. Blickenstaff. of North Manchester, Ind.,
has sold his studio outfit and will enter a different
line of business.
C. Howcroft, photographer of Utica, N. Y.. has
leased a studio in Clinton. N. Y., formerly
operated by George Gibbon.
Incorporated : Hathaway Dunn. Manhattan,
photographers* supplies, $10,000; A. W. and H. M.
Hathaway, C. E. Dunn ; attorney. G. L. Naught,
100 Broadway, New York City.
Moorefield Incorix)rated, Indianapolis. Ind.. cap-
ital, $100,000; $50,000 preferred; to oiKjrate a gen-
eral photographic studio; directors, R. C. Moore-
field, G. M. Lewis, Nelle C. Griffin.
Miami Studios. Inc.. capital $1,000,000. Manu-
facture of photographic films, etc. T. L. Croteau.
M. A. Bnice. C. H. Maxwell. Wilmington. Del.
(Corporation Trust Company of America), incor-
porators.
James Lett, aged 68, pioneer photographer of
Harrisburg, Pa., died on May 31st, after a linger-
ing illness at his home. He was in the photo-
graphic business for more than fifty years. Mr.
Lett is survived bv one sister.
HAVING TROUBLE WITH THE SHUTTER?
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1234 N. Clinton ATsnue.. Rochester. N. Y.
ENLARGEMENTS
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M. S. BRIDLE. IS!J?gS
1034 ARCH STREET. PHILADELPHIA
Every changing season demonstrates
anew the worth of
Hanjiper Plates
They develop and dry quickly with
firm, tough films, which reduce to a
minimum the danger of frilling. A
necessity in hot and humid climates.
SPECIAL BRANDS FOR SPECIAL NEEDS
llammer*8 Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work, and Hammer's
Extra Fast Orthochromatic and D. C.
Orthochromatic Plates for color values.
RES. TRADE MARK
Hammer Dry Plate Co.
OHIO AVKNUK AND MIAMI STRKKT
ST. LOUIS, MO.
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Bulletin of Photography
A NEW EDITION
WALL'S
Dictionary of Photography
— lOth Edition-
Ready for delivery
TOO Pages :: 2000 References
Revised and re-written with full
explanatory text.
$5 per copy — post free.
FRANK V. CHAMBERS
Tradk Aoknt
636 South Franklin SQuare
Philadelphia
"A Manual fuU of good wholetome material
and a valuable reference hook for every mem-
ber of the profettion, big or little,**
How to Make a Studio Pay
BY FRANK FARRINGTON
CONTENTS
The Man and the Location
Buying and Arranging the Stock
System in the Studio
The Treatment of Customers
How to Know the Profits
Credit and Collections
Developing the Side Lines
Advertising You Can Do
Business-Getting Schemes
Qoth Bonnd, Price, $1.50, Net, Postpaid
FRANK V. CHAMBERS
PUBLISHER
636 S. FRANKUN SQUARE, PHILADELPHIA
Burglars visited the Lenny photograph studio.
Rockford, 111., on the evening of May 21st, and
departed with forr camera lenses. Apparently
no effort had been made to look for other loot in
the studio other than to take the lenses, valued
at $400.
John Warren Finnell, photographer of Brad-
dock, Pa., died on May 21st at his home. Death
was due to pleuro-pneumonia, Mr. Finnell being
ill for several months. He was 58 years of age
and is survived by his widow and mother, who
is 90 years old.
The Harrisburg Section of the Professional
Photographers' Association held their annual meet-
ing May 25th in the studio of P. D. Ulrich. Leb-
anon, Pa. There were more than thirty photog-
raphers present, representing Harrisburg, Carlisle,
Lancaster, Reading and York. The chief demon-
strators were C. O, Towles. of Washington, D. C,
and Al. Newall. of the Eastman Kodak Company.
The mysterious explosion of a bottle of flash-
light powder, whch he was preparing to use for a
night picture on May 24th, burned E B. Cooper,
Denver, Colo., severely on the face and hands and
knocked him unconscious. The explosion set fire
to his clothing. Lester Langer. who was assisting
Cooper, quickly extinguished the flames. The ex-
plosion wrecked an arc light nine feet above the
head of the photographer.
A charter was granted yesterday to Mooreficld.
Inc.. Indianapolis, Ind., which takes over the busi-
ness of Robert C. Moorefield, with studios occu-
pying the entire ninth floor of the Kahn building.
The firm is incorporated at $100,000. Mr. Moore-
field is president. Garret M. Lewis vice-president
and Nell C. Griffin secretary-treasurer. Tho
studios will be entirely remodeled and new equip-
ment added. In time the corporation intends to
open studios in all of the larger cities within a
radius of 600 miles from Indianapolis, but have
all developing and printing done at the Indian-
apolis studios. Mr. Moorefield opened his studio
in the Kahn building four years ago, with two
rooms.
The Victoria and District Professional Pho-
tographers' Association w-as formed at a meet-
ing of members of the profession held on May
27th at the studio of Mr. A. L. Nengens. Officers
elected w-ere as follows :
President, Mr. Wilfred Gibson; Vice-President,
A. L. Neugens; Secretary-Treasurer, Miss Foxall.
Two visitors at the meeting were Mr. Mac-
kenzie and Mr. Calder, photographers of Van-
couver, who gave information about the big con-
vention which will be held in Vancouver the first
week in August, and which will bring together
photographers from all parts of the Pacific North-
west. • The Victoria members grew quite enthu-
siastic about the forthcoming event, and will un-
doubtedly contribute something of interest to the
exhibits, which will also include entries from the
different States in the United States, and from
Belgium. Australia and other outside countries.
The object of the local association is to benefit
the craft, and meetings will be held monthly for
the purpose of discussing the various matters of
interest to the members.
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763
Classified Advertisements
GlaMifled AdvertUin^ Rates— For Sale. Rent. ExchanKe and
Miscellaneous advertisements. Minimum charge. $1.00 for
thirty words; additional words. 3 cents each.
Help Wanted — Two insertions of twenty-one words, minimum
charge. 50 cents; additional words. 2 cents each. Cash must
accompany order.
Situation Wanted — Twenty-one words, one time, free .Addi-
tional words. 2 cents each.
No display allowed — Cauh mast b« §*nt with order.
Display advertising rates sent upon request.
Copy must be plain and distinct.
To secure insertion, advertisements must be received by 9
A. M., Tuesdays, one week preceding date of publication.
DO YOU WANT A POSITION?
Read the ads. that follow
Wanted — Traveling man, experienced in selling
Photographic Supplies. Apply — Zimnlerman
Bros., St. Paul. Minn.
Operator Wanted in studio doing high-grade
work; prominent city in Middle Atlantic States.
Excellent salary and permanent position to man
with ability. State particulars and qualifications.
Address, Box 959 care of Bulletin of Photog-
raphy.
DO YOU WANT AN EMPLOYEE?
Read the ads. that follow
Position Wanted— By lady well experienced in
all branches of photography, including operat-
ing, retouching and coloring in oil or water colors.
Would like to connect with well-equipped studio,
preferably in the East. Address, Box 957 care of
Bulletin of Photography.
DO YOU WANT TO BUY, SELL OR
RENT A STUDIO?
Read the ads. that follow
For Sale — Photo studio in heart of shopping dis-
trict; next door to big department store in Balti-
more. Md. For particulars, address. Photo Studio,
223 N. Eutaw St., Baltimore, Md.
For Sale — The leading studio in a thriving sea-
port city of 40,000 population; easy terms to a
first-class reliable photographer. Your opportunity
to get a good paying studio at a reasonable price.
Investigate. Address, Southland Studio, P. O. Box
928, Newport News. Va.
MISCELLANEOUS
Read the ads. that follow
For Sale— One Aristo Lamp in good condition,
$25.00; 5 new Graflex plate holders for $10.00;
One Paasche Air Brush, $20 00. Lindler Studio.
1306 Main St., Columbia, S. C.
Retouchers for the TRADE-y-Quick, consistent
service since 1905. Experienced retouchers,
lust shoot *em right along — don't be timid —
National Retouching Service, 4654 Cottage Grove
Ave., Chicago.
Wanted— 16-inch Cirkut for cash. Must be late
model and in good condition. Address 961, care
of Bulletin of Photography.
Mount Salesman
Experienced to sell to Photo Supply
Houses and to call on photographers.
Half of the time required on road —
balance at factory.
State age, experience and salary
expected. All correspondence will be
treated confidentially.
AddretM — Box 958, core of
BULLETIN OF PHOTOGRAPHY
Flatbush — "Do you think a man profits by his
mistakes?"
Bensonhurst — "Not if he marries the wrong
woman he doesn't." — Yonkers Statesman.
Reliable Photo Supply Houses
JOHN HAWORTH COMPANY
(Baatman Kodak Co.)
ItM Chestnut Street. Philadelphia
THE H. LIEBER COMPANY
24 W. Washington St. - Indianapolis. Ind.
Western Photo & Supply C!o.
Photographers* & Photo Engravers* Supplies
328 W. Madison St.. Chicago
WILLOUGHBY "llj^VoRK *
ETerythInt Used in Photography
SWEET, WALLACH & CO.
(Baitinaii Kodak Co.)
133 North Wabash Ave., Chicago, 111.
SUSSMAN PHOTO STOCK CO.
223-225 Park ATenue, Baltimore, Md.
Norman-Willets Photo Supply
— INCORPOMATID^
5t2-5t3 LB MO YNE BLDG. #n, u f r> a r^ n
18S N.WABASH AVB. CtllCAUU
ZIMMERMAN BROS.
(Baftman Kodak Co.)
38t-3S4 Minnesota St.. St. Paul. Minn.
HYATT'S SUPPLY CO.
417 North Broadway, St. Louis, Mo.
STANDARD PHOTO SUPPLY CO.
(Baitman Kodak Co.)
125 Baronne St., New Orleans, La.
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826 Bulletin of Photography
More than 80^c of the X-Ray workers of
America use Eastman Tested Chemicals
They must eliminate the element of
uncertainty from their work.
The surgeon's knife is guided by a
diagnosis of the X-Ray result.
Your results are not a matter of life or
death, but they are a matter of dollars
and cents.
Specify
EASTMAN
TESTED CHEMICALS
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 765
Make portrait enlargements
on the paper made for por-
trait enlarging — the paper
that puts contact quality in
projected prints:
EASTMAN
PORTRAIT
BROMIDE
Two stocks— D White, E BufF.
Two surfaces in each — Rough
Matte and Rough Lustre. The
price is the same as for double
weight Artura Iris.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers*.
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A Britisher^ 5 Opinion
** Speaking as a technical worker, I do not
think there has been an3rthing in my time
which has marked such a distinct advance in
the quality and usefulness of photographic
material as Eastman Portrait Film. When I
say Eastman Portrait Film, of course, I include
Commercial, Commercial Ortho and Process
Film,
'' The one thing about Films which induced
me to use them instead of glass plates was the
very important fact that they enabled me to
make better negatives."
Mr. S. GrimshaWy Official Photographer
to Ford Motor Co. J Manchester^ England.
There's a Film for practically every commer-
cial need — Eastman Portrait, Commercial
Ortho, Commercial and Process.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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No. 725 Wedne«lay, June 29. 1921 Sl'oS'S', ?eS"p~tpaKl.
Entered at the Philadelphia Post Office as Second-Class Matter.
Veltex
FOR CONTACT PRINTS
T TENLARGING
Veltex
FOR ENLARGEMENTS
THIN, WHITE PARCHMENT-LIKE PAPER
WITH A LIVE MATT SURFACE.
VELTEX AND ENLARGING VELTEX ARE BOTH DISTINGUISHED
BY EASE OF MANIPULATION.
THE ORIGINAL AND EFFECTIVE PRINTS PRODUCED ARE VERY
OFTEN OBTAINED BY COMMONPLACE TREATMENT. VELTEX
ORIGINALITY OF SURFACE AND TEXTURE DOES THE REST.
PRICE LIST IN DEFEShER I0.:i CATALOG NOW READY
MANUFACTURED EXCLUSIVELY BY
Defender Photo Supply Co., inc
ROCHESTER, N. Y
BOSTON: NEW YORK: PHILADELPHIA:
44 Federal Street The Printing Crafts Building 1033 Chestnut Street
8th Ave., 33rd to 34th Sts
CHICAGO: KANSAS CITY: MINNEAPOLIS:
109 N. Wabash Avenue Grand Avenue at 21st Street 322 Fourth Street, S.
TORONTO. CANADA: 71 Adelaide Street. West
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128 ounces Water j/i ounce No. 101 2 ounces Carb. Soda
COSTS
$3.20 per pound 10 cents per gallon
CUMMINGS' LABORATORIES
415-417 Park Row Buildinf NEW YORK CITY
The Hetherington Competition
OPEN TO ALL PHOTOGRAPHERS
Some years ago Mr. Charles Hetheringfton was one of the leading photog-
raphers of this country and left the profession to take up painting, and he has
become most successful in his art. Mr. Hetherington has never forgotten his
love for photography and photographers. He has authorized us to offer one
of his best paintings, handsomely framed, for the
Best Portrait of an Old Man or an Old Woman.
Mr. Hetherington's paintings are hung in six large clubs and in sixteen large
private collections in the U. S., and he says in his offer ** I am doing this to
show 'the boys* I have not forgotten them, and the picture will be the best I
can paint. There is nothing too good for those photogs who made many years
of my life happy.'*
The competition has no restrictions excepting that the prints must not be
smaller than 8 x 10. And you may enter as many prints as you like. The
painting will be shown at the National Convention in July, at Buffalo, and the
pictures judged and prize awarded at that time.
Entries must be sent only to Frank V. Chambers, 636 S. Franklin Square,
Philadelphia. The last day for receiving prints is Tuesday, July 12th (at noon) , 1921.
SKND PICTURKS UNFRAMKD
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BULLETIN-OF
PHOTOGRAPHY
[traok mark rbgistsrbd)
IN WHICH IS INCORPORATKO "THK PHOTOORAPHKR" and TMK "ST. LOUIS AND CANADIAN PHOTOORAPHKR"
THE WEEKLY BUSINESS PAPER FOR BUSINESS PHOTOGRAPHERS
636 Franklin Squan {cor. 7th and Race Sts.) Philadmlphia
FRANK V. CHAMBERS, Editor and Publisher JOHN BARTLETT, AsMoate Editor
A. A. SCHENCK, Bustnes* Manager
Yesrly subscription, in advance, postage paid. United States. Mexico. Cuba, Philippines and Porto Rico, S2.00.
Canada. $2.50. Countries in the Postal Union, $3.00. Single copies. 5 cents.
Remittances may be made at our risk by money order, check, draft or registered letter.
Items of interest upon photographic subjects will be gladly received.
Subscriptions received by all photographic and newt dealers in the United States and Europe.
Vol. XXVffl, No- 725
Wednesday, June 29, 1921
Price 5 Cents
$2.00 per Year. Poet Free
Photography as a Means of Livelihood
An art like photography, whose genesis
dates back to little more than three quarters
of a century, and as a profession to a still
less period of continuance, occupies a rather
unique position in the category of trades
from which a livelihood may l)e derived.
From its nature it is affiliated intimately
with the fine arts, but, unlike the profession
of the painter, demands an education in-
volving the exercise of the purely mechan-
ical faculties, demanding exercise of skill,
only attainable by practice in manipulations
peculiar to special arts and sciences.
It is only in recent years that it has
differentiated to a distinct trade or profes-
sion to which apprentices are admitted for
instruction, and special schools established
for the systematic study of photography in
its various phases.
The time was, much to the reproach of
the standing of photography, when its
ranks were recruited from those who had
made failures in other occupations. Now
that is removed, and its dignity fully estab-
lished, it ranks among the refined profes-
sions and attracts men of ability and cul-
ture in its exploitation:.
As editors of photographic publications,
we are in frequent receipt of letters of in-
quiry desirous of our opinion as to the ad-
visability of engaging in the occupation as
a profession, as a prospective means of
successful livelihood.
The majority of the inquirers are those
who seem dissatisfied with the profession
they are pursuing, either from lack of in-
terest or from the paucity of the returns in
cash it affords.
Generally the information is vouchsafed
that they are not entirely ignorant of the
art, having hitherto pursued it as a means
of recreation and even acclaiming consid-
erable proficiency in it as amateurs, supple-
menting expressions of gratitude for the
information and advice expected. Natur-
ally such inquiries puts the editor in a
rather delicate position, l)ecause he feels
that he is constrained to treat the matter
dispassionately and, at the same time, not
depreciate the status of the profession or
discredit its value as a business asset; and.
besides, one hates to sui)merge a too en-
thusiastic but withal incompetent and unfit
aspirant.
We fully appreciate the responsibility
imposed as an adviser because encourage-
ment may cause the aspirant to give up a
living, and plunge him in disaster.
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Bulletin of Photography
It is a strange feature in psychology, that
a man who must be thoroughly informed
as to his individual knowledge of present
difficulties and financial anxieties, should
think that one entirely in ignorance thereof,
should be in a better position to advise than
himself.
It is not safe to conclude, because some
one else has left his occupation and seems
to be making successful issue of his ven-
ture, that amone may follow in his path
and likewise prosper. One had better re-
consider the case, and definitely determine
first whether it may not be more advan-
tageous to inject some of his present en-
thusiasm in the work he is now engaged in.
and thus stimulate the business to a better
outcome; that is, to combine the labor of
his hand and brain to improve conditions.
It is necessary to make a self analysis to
determine whether the want of success is
really referable to lack of adaptability on
his part to his choice or from deficiency in
general business ability. For if the failure,
in one direction, is to be traced to this last
cause, how can he expect even the prob-
ability of success in another profession?
Simplicity in Portrait Illumi-
nation
A scheme for illuminating the portrait
picture, which readily interprets itself on
inquiry, will command more appreciation
from people of artistic instinct than unusual
or startling eflFects of the lighting.
Where novelty of attraction is the motive,
such exhibitions may be admissible, but
should be but sparingly introduced for gen-
eral subjects.
Whenever introduced, however, the pho-
tographer must have full assurance of his
ability to take his place as an artist along-
side the distinguished ones of the profession,
they who have spent their eflPorts experi-
mentally in attaining the position in their art
which warrants their departure from usual
methods of portraiture.
The beginner in the art, and, we may say.
those of the profession who are after reputa-
tion in artistic work, will find it more profit-
aljle to confine attention to the simpler and
easier explained modes of illumination.
True, the public is often caught with the
novelty of fantastic concerts, far-fetched
and fanciful eflFects and contrasts of differ-
ent and conflicting lights.
It is sometimes the unenvied task of the
art critic of photographic portraiture to be
called upon to admire and praise portraits,
which, conscientiously, he would like to
damn with very loud disapproval, so mani-
fest in falsity and sensational expression in
the bold way the work counteracted the
usual eflFects of natural illumination, violat-
ing apparent truth, presenting a manifest
deception.
Be not afraid of simplicity of illumination.
Let the light invariably give the spectator a
rational explanation for its doings. Strive
not for the "light that never was on sea or
land." Leave such to the poet or superman
in the profession.
The achievement of peculiarities of light-
ing, we know, is a great temptation, but get
first supreme skill by working under simple
lights.
It is in accordance with the best taste to
present objects in simplicity of illumination,
and, on the other hand, any attempt at
bizarre methods opens the photographer to
the charge of affectation or desire to attract
merely by novelty and sensational features.
To get this simplicity, avoid having conflict-
ing lights in your studio. In the portrait the
suggestion must be given that the light is
dominant from one source only, and that
source must be from a position where the
spectator reasonably expects to find it, in
examination of the portrait.
Reginald had been hastily bidden to Harry's party
and his mother had lugged him forcibly into the
bathroom.
**Oh. mother," he cried, "do I have to have a
whole bath?"
"Certainly."
"Are you sure that isn't just your idea?" he in-
quired. *'I heard Harry's mother tell you over the
telephone that the party was very informal." — The
Avicrican Legion Weekly.
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Bulletin of Photography
805
Economics of Price Increase
C. H. CLAUDY
Yesterday I went to market to buy a pork
chop or two to tide the family over the Sab-
bath. I hoped that we might get by with
two pork chops, one for the wife, one for
the servant girl and gravy for the children
and myself.
While looking for some beans as a treat
for the children I happened to i)ass a market
gardener, selling the finest strawberries I
have ever seen. I stopped to look rather
than to buy, and noticed also the biggest egg-
plant I had even seen; it was as big as a
l)umpkin. Then I noticed that this man has
a fine auto truck instead of the usual market-
man's rattling, broken-down wagon.
Trying to solve this mystery, I priced the
l)erries and found they were just 50 per cent,
higher than other berries around him and
yet he seemed to be doing more business than
any man in his neighborhood.
"How can you get such prices?'* I asked.
*'Ry producing the best berries.'' he an-
swered simply.
Xo people in the world's history have had
more prosperity than this American public,
which we serve. No people have made as
much and spent as much as we have.
There is nothing too good for the average
American.
Xo matter whether you are butcher, baker
or candlestick maker, l)e you rich-man, poor-
man, l)eggar-man, thief, doctor, lawyer,
merchant or i)hotographer, if you will pro-
duce the best thing of its kind, there will be
plenty of people who will appreciate it and
pay for it.
The man who rises superior to his com-
petitors in quality also rises superior to them
in price.
Elbert Hubbard said, "H a man build a
l)etter mouse trap than his neighbor, the
public will wear a path to his door even
though he build his cabin in a wilderness."
The man who produces the l)est thing of
its kind in his city has risen superior to
questions of price.
Men have opened studios from Dan to
Beersheba, from A to Izzard and from Ko-
komo to Kalamazoo and cut the prices of
photographs, confidently expecting to do all
the business in the town. It has happened
in your town. But can you recall a single
instance where such a man lasted a year,
without changing his tactics?
There is no worth-while photographic
business in the country today which is l)eing
conducted on the cut-price basis.
Quality, then, in photography, the same as
in raising strawl)erries and egg|)lant, as the
basis of good business.
It is not enough to put high prices on your
pictures. It is not enough to make pictures
as good as the other fellow. It is not enough,
even, to do better work than the other fel-
low. We must do the best possible work.
Success in photography is a state of mind
as much as a state of fact. To make a qual-
ity place we must not only haz'e quality but
must think quality.
The way to better prices is to make up our
mind that every piece of material we use
shall be the l)est material, that every piece of
work done on a picture will be the best pos-
sible work ; then, having determined that we
will base our business on quality, let us set
our price at a point where we can do these
things and still make a profit.
Having gone thus far we must teach our-
selves to think in terms of quality rather
than in terms of price.
If we forget prices and think of quality,
we will forget to talk prices and will talk
quality.
If we think quality and talk quality, our
customers 7cill also think quality and talk
quality, and, like my friend who hatched out
the mastodonic egg])lant, we will lift our-
selves out of the question of price competi-
tion.
We must talk quality as our fetish, and
cling to it like a rummy on the trail of a
hoochlegger.
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People who buy only on price basis are
usually either very poor or are failures.
People who selt on a price basis are usu-
ally also poor people, failures in their partic-
ular line.
A transaction between two, then, usually
represents a failure trying to make a living
out of another failure.
It is much like handing a drowning man
a drink.
Without denying the essential need of
photographs, it is, nevertheless, true that
photographers deal in luxuries. People who
buy luxuries are at least people who are well-
to-do. Thus prosperous potential customers
of ours are people who can pay and who are
7cilling to pay but who must have one hun-
dred cents' worth of real quality portraiture
for their dollar.
The world has a bundle of money for the
man who can produce the goods, and noth-
ing but disappointments for the man who
expects to get something for nothing, or give
nothing for something. Lincoln was right.
No one can fool all the people all the time.
Stock in fake oil wells is sold on the idea
of something for nothing. The red flag of
financial failure will some day find a crevice
on the sidewalk of the man who thinks he
can get high prices for low quality.
Remember that the cheapest lawyer in
your town is the poorest lawyer. If he were
a good lawyer he would not have to be the
cheapest.
What is true of a lawyer is true of a pho-
tographer.
The public with which we deal is a sophis-
ticated public. This fundamental fact is as
well known to them at it is to us. They no
longer expect something for nothing. But
they do expect the best work for good prices.
If we give them that, they are satisfied.
This, then, is the conclusion.
Only the man zdio does his job better than
his neighbor can rise superior to price com-
petition.
Using Your Eyes
Habit is a very valuable part of our men-
tal make up; it enables work of any kind
to be repeated with the minimum of eflFort,
and makes constant reference to memory
unnecessary. But it is not an unmixed
blessing. For instance, when one has walked
into the same studio day after day for ten
years or so, it l)ecomes very difficult to see
the place as others, less well acquainted with
it, see it. For one fails to notice the "effect"
of a studio or reception room when it be-
comes too well known. This inability really
to "see" their own business premises is a
failing, by no means confined to the photo-
graphic profession, as visits to many retail
shops will show; but it is probably more
important in the case of a studio than in
any other. There is no easy standard of
comparison in the studio business, and you
are not likely to attract customers, however
good your work, unless your premises are
attractive.
To begin with, if your window or show-
case does not carry a good effect, you will
not get many customers inside at all. If
you get them inside and your reception room
is unattractive, the chances are they will not
order. And if dressing rooms and studio
are not "nice" you will not get many clients
returning for more. It would be altogether
useless to advise the average studio proprie-
tor to spend some hundreds of pounds on
redecoration ; that is too drastic, anyhow;
it is the way in which things are arranged
rather than their quality that makes for
"effect." In fact, it is far more likely a
business will benefit by the removal of some
of its present furniture and odd accessories
than by bringing in more. The great thing
is to see a place of business as if through
the eyes of a customer entering for the first
time. This is not so easy as it sounds, and
it may be that a few notes on some of the
more vital points will be of assistance. They
are the outcome of visits to some hundreds
of studios, ranging from the humble sticky-
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Bulletin of Photography 807
E. L. BUTLER
From the Towles' Demonstration at the Baltimore Convention
Hammer Plate
Cyko Print
Negative and Print Developed
with Cumminone
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808 Bulletin of Photography
Demonstration by L. L. Higgason at the Atlanta Convention
Hammer Plate
Verito Lens
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Bulletin of Photography
809
back den to the ^'fixG guinea a dozen" type
of business. "
It is very surprising to note in what a
large number of businesses the spotting and
finishing of prints is still carried out in the
reception room. This is bad from at least
two i)oints of view ; a number of odd prints
waiting to be finished or to be packed do
not add to the appearance of a room ; how-
ever carefully they are stacked they will
give an untidy impression; and, in the sec-
ond place, many sitters dislike the idea of
their photographs being exposed to the pub-
lic, especially in a half -finished state, cu
deshabille, as one might say. Then again,
negatives should never be brought into a
reception room; they often are, either for
sorting or for some other reason. It is a
mistake, not because it gives away "trade
secrets," but because any evidence of work,
except the finished product, looks untidy
and slovenly to an outside eye. The vast
majority of reception rooms are over-
crowded. Let the specimens from which
customers will choose be kept in a portfolio
or cabinet; a few really good pictures may
be displayed in frames, but let them be only
a few. Nothing looks less artistic than a
heterogeneous collection of prints covering
every available inch of wall and table space.
It is difficult to stop them accumulating; in
fact, the only permanently satisfactory way
is to make a rule that for every new print
shown an old one must be withdrawn.
With regard to the general arrangement
of the reception room, there are two main
points. It should l^e as unlike a retail shop
as possible; a few comfortable chairs for
the use of customers when waiting are, of
course, necessary, but a lot of small chairs
stuck all over the room do not look well and
are not nearly so restful for sitters as are
one or two comfortable armchairs or a
settee. If a dealer's business is run in con-
nection with a studio, the two branches
should be kept as separate as possible; the
shop and the reception room should, when-
ever possible, be quite distinct. The aim
should be to impress the customer that you
are not selling photographs as an iron-
monger sells tin-tacks, but that you are an
artist, taking every case separately and giv-
ing it individual attention.
The dressing room is an apartment not
usually so open to criticism as is the recep-
tion room, but in many cases it leaves some-
thing to be desired in the matter of "fresh-
ness." If a brush and comb are provided,
as they should be, they must be kept scrupu-
lously clean; cigarette ends or stray strands
of ladies' hair must not remain about; and
the window must l)e clean and the room
well dusted. All very obvious, of course,
but liable to be overlooked in a busy studio.
The arrangement of a studio depends so
much on the work done in it, that any dras-
tic alteration is inadvisable unless it is ob-
viously necessary; but there are a numljer
of things of minor importance in themselves
which add up to quite a respectable total in
the general effect. If newspapers or maga-
zines are provided for the amusement of
customers, see that they are kept up to date,
and are removed l)efore they get to the
dog's-ear stage; if some of the blinds are
out of use, do not neglect them, keep them
free from dust and cobwebs and neatly
folded or spread as the case may l)e. A
fault, both from the point of view of aj)-
pearance and of work, is too much furni-
ture. That old accessory and those old
backgrounds that you don't use now, but
keep in case you may need them — you never
will — get rid of them, sell them or use them
for firewood ; anything to get them out of
the way. They collect dust, and however
carefully they are stored, look untidy.
To turn from consideration of those parts
of premises likely to be seen by customers,
while thinking of rearrangement, it is just
as well to see if the workroom accommo-
dation is being used to the fullest advan-
tage. Here, utility will be more studied
than appearance, but the same remarks hold
good to a great extent, the less disused out-
of-date apparatus there to collect dust the
better. Plenty of light and fresh air should
be available in everv room. One often takes
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Bulletin of Photography
the term "dark-room'* too literally. The
more light you can get in it, of the right
sort, the better ; better for your eyes, better
for your work, and better for your break-
age bill for dishes and measures. It is
strange what a number of good workers still
use "ruby glass" as their dark-room light-
filter. One can have twice the light with
far less risk by using a scientifically con-
structed gelatine-film safe-lighr.
If there is a number of workrooms the
work should go from room to room with
as short journeys as possible; for instance,
the mounting room should, when possible,
be next door to the spotting room, and yet
one often finds them at opposite ends of a
building. It may seem a small matter, but
the time wasted must be considerable.
L^p-to-date apparatus is the best invest-
ment it is possible to make. Labor-saving
means money saving in the long run, even
if it is a one-man business. Every profes-
sional should make a practice of seeing the
latest in apparatus at least once a year.
There are many high-class firms doing a
good business and using apparatus that
should have been on the scrap heap years
ago; this means waste of labor in any case,
and usually it prevents a higher standard
of work being attained. It is not so much
in the way of cameras and lenses that firms
are behind the times, but in the less-consid-
ered items — trimming boards, mounting
machines, printing boxes, drying cupboards
and dozens of other things. — The British
Journal of Photography.
Photos by Mrs. Emma Hilton, who will be one of
the demonstrators In the Complete Studio at the
Buffalo Convention. July 18th to 23d.
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Bulletin of Photography
811
OUR LEGAL DEPARTMENT
CONDUCTED BY ELTON J. BUCKLEY. ESQ.
(Mr. Buckley is one of the leading members of the Philadelphia Bar, and an authority on legal matters.
If our subscribers have questions on legal points, and submit them to us, Mr. Buckley will answer them
free of charge, A stamped and addressed envelope must be enclosed for reply. Make your question brief
and write on one side of the paper only.)
What Kind of a Contract Exists When You Give
a Man a Job?
The question raised by the following letter
touches everybody who has employees:
Can one hold an employer liable for
wages in case of place of business being
destroyed by fire, thereby throwing me
out of employment? Such was a case
with me just recently. I have been
with the Farmers' Union Merchandise
Co., of Mt. Vernon, until December
13, 1920, when I accepted a position as
manager of ^Ir. Goldammer's new
merchandise store in Mitchell, S. D,
and went to work for him in good faith,
I am going to ask you for a little en-
lightenment on the following question :
resigning my position with the Farmers'
Union Merchandise Co.. and also pass-
ing up an opportunity to become man-
ager of the Farmers' Union Merchan-
dise Co., of Mt. Vernon, S. D., w^th
whom I had been. Now% it appears
that he would be liable .for my w^ages,
as I agreed to work for him for one
year at a certain salary per month, and
the fire putting him out of business was
no fault of mine, and also no fault of
his, of course. This agreement was not
in writing, but I have witnesses to that
effect. But through this fire I was put
out of employment and will be for
some time, as he cannot build for some
time. What is your candid opinion?
Would like your idea on same.
John T. Roescii.
The question is w'hat kind of a contract
exists when an employer gives somebody a
job. What is its duration, and what be-
comes of it when it is interrupted by some-
thing like a fire, which prevents service
from being rendered.
The w^hole thing depends on the original
hiring. If A & Co. say to B, "You come
here and work for us. We'll give you $200
a month," or 'Sve'll give you $2,400 a year,'*
or "we'll give you $50 a week," there is no
particular contract, except from week to
week or month to month, and the contract
can be ended at the will of either party. If
the oflfer is $50 a week, the contract is really
one for only a week, and so on from week
to week. If it is for $200 per month, it is
a contract for a month, and so on from
month to month.
Some people think that when a firm says
"we'll give you $2,400 a year," there is a
contract for one year, but that is not the case.
At least it is not necessarily the case. The
cases all hold that the figure merely repre-
sents the rate of wage or salary-. And so
an arrangement to pay so much per year,
payable so much a month, is merely a
monthly contract, and cannot be enforced
for any more.
The answer to this correspondent's ques-
tion is, therefore, this: that the employer
cannot be held responsible for wages after
the business burned, unless there was some-
thing more than the kind of contract I have
described. If that was all it was, it came
to an end when the fire made it impossible
to go on with it.
What kind of a contract would have made
the employer liable? A definite agreement,
which should always be in writing, between
the employer and the employee, that the hir-
ing shall be for the term of one year, or
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Bulletin of Photography
whatever it is meant to be. A contract like
that is never ended by any interruption Hke
a fire, and the employer is just as liable for
wages after the fire as before. For instance,
suppose a contract like that has been made,
and the employer dies. The contract goes
right on provided there is anything for the
employee to do. Suppose the employer be-
comes insolvent or insane: it makes no dif-
ference, the contract is still in force and the
employee can collect his wages just the
same. The only exception to this is certain
forms of bankruptcy. Where the employer
is a partnership and voluntarily dissolves,
the contract goes on unchanged. Nor does
the sale of the business end it. And in the
very case submitted by the correspondent,
where the place of business burns down and
there is no longer anything for the employee
to do, he can still draw his wages if he has
a definite contract hiring him for so long.
In all these cases the law says to the em-
ployer, "You are responsible for this man's
wages in spite of the fact that you no longer
need him, for you could have protected your-
self against such contingencies had you seen
fit to do so.'* I said such a contract should
be in writing, but a verbal contract is just
as enforceable, though harder to prove.
The average employer is reluctant to make
a definite contract with an employee, partly
because he may be bound for wages under
conditions such as I have described, and
partly because he wants to leave himself
free to fire the employee if he proves un-
satisfactory. There is something in the first
reason, but nothing at all in the second. You
can discharge an unsatisfactory employee
just as easily under a five-year contract as
you can under one for a month — provided
you have inserted a clause to the eflfect that
the service to be rendered by the employee
shall be satisfactory to the employer.
{Copyright by Elton J. Burkley.)
"Why did Tom quit the photographer's daughter
after all these months?"
"He says he's been calling four times a week,
and she hasn't gotten half through the picture
album yet."
Bumps
JEANNE SNAZEL
*'Bumps" — a lot like mumps, is it not?
Only the disease called ''Bumps" is really
a great deal worse than mumps, in that it
is not only serious, and infectious, but
sometimes incurable. It is a disease of the
head and the heart, and causes the brain
to expand or "swell." Unlike an epidemic,
it is more frequently found in small towns
than in large cities. It breaks out mostly
in the business world and we photographers
are especially susceptible to this horrible
disease.
No doubt all other professions and trades
suflfer from "Bumps," only, being a photog-
rapher myself, I have particularly observed
it amongst ourselves. We are so apt to
seclude ourselves, even to the extent of be-
coming "narrow minded."
For instance, we may own a ver>' fniQ
studio and have it equipped "anciently"
well, and be doing all the business we can
handle. How often when such is the case,
we just throw out our chest and say, "Tm
all right, Tm making money, and those
other fellows cannot show me anything that
I do not already know. I know my busi-
ness, for IVe been in the game since I was
young. I don't want any *new-fangled'
methods in my studio, for the old way is
good enough for me."
Haven't you heard 'em talk like that some
times? I have and I know some of the
salesmen who have also.
Look here! Any man who really feels
like that is sick. Yes, downright seriously
sick. He "suflFers" but does not know it.
He wnll always suflfer thus, unless he finds
a care for his trouble, which of course is
"Bumps." He is actually hurting himself
in many ways in manifesting such senti-
ments.
No mortal man ever crammed so much
knowledge into his brain that there re-
mained no room for more. Supposing one
person has been in the photographic busi-
ness ever since the dav of its birth, he can-
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Bulletin of Photography
813
not know everything about it, and even it
he does know a heap, why should he remain
under quarantine with "Bumps," keeping all
that knowledge to himself 1* Why should
he not come out of his shell and share it
with the rest of us, like a real brother?
"Good begets good," and we cannot expect
to receive much good from others unless
we are willing to meet them half way.
There are many little pointers and prac-
tical helps stored away in each of our
brains. Some people's brains are almost
bursting, so full they are with the many
things that hundreds of us would be so
glad to know. If only we all were willing
to open the doors of our hearts and spread
the little knowledge seeds far and wide
amongst our struggling brothers and sisters
in the dear old profession, what a vast
amount of good we could do one to another.
What we need is more of the "give and
take" spirit. "As we sow, so shall we
reap."
Why should the young fellow with a few
short years' experience, after managing to
scrape up enough to get into business for
himself, immediately contract the "Bumps"
and think he knows all there is to know?
I once heard somewhere of a l)oy who went
to college to learn and he actually took two
years to find out his first lesson, which was
that he didn't know anything. How many
photographers there are who run up against
snags and difficult problems, even after hav-
ing l^een making good pictures for years.
I thought seven years ago that I was as
good a receptionist as ever existed, but I
sometimes go into other studios and get a
real useful tip from some receptionist with
far less experience than I. Then I wonder
just why I never knew that years ago, and
a feeling of wonder comes over me at my
own ignorance, when I supposed I kuezv my
business.
Now, what license have you old fellows.
who learned the business in the days of
yore when studios were galleries and ex-
posures meant saying the alphabet forward
and backward, or relating "Jack and the
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Please Mention Bulletin of Photography When Writing Advcr^ifcri
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Bulletin of Photography
A BIG OPPORTUNITY
to see the greatest exhibit of photographic material, photographs
by the greatest workers in the world, the most complete artificially
lighted studio ever erected, and meet more celebrated photographers
than ever before assembled under one roof.
39th Annual (International) Convention
Photographers' Association of America
Buffalo, N. Y., July 18th to 23d
Special Convention Railroad Rates of Full Fare Going and Half Fare Return
on the Certificate Plan.
( New England and Pacific Coast points excepted.)
ASK YOUR TICKET AGENT FOR PARTICULARS.
Dues to P. A. of A., including admittance to Convention and every feature,
$10.00 for employers and $3.00 for employees.
J. C. ABEL, General Secretary. 421 Caxton Bldg., Cleveland. Ohio.
bean pole" while squeezing the bulb, to
bulge out your chest because of what you
kuo'i^\^ What good is that old-fashioned
education to you NOW in the modern days
of magic, when most of the work is done
by merely "pushing the button?'* You'll
have to "give and take" a little more to be
able to compete with the lightning-bugs of
today.
BUMPS — oh, yes! The biggest majority
of us have it, more or less, and although it
gives us mighty big heads, it prevents us
from having big hearts. It warps our very
souls till we stop growing, and are utterly
incapable to either learn anything or teach
anything.
Here is a prescription guaranteed to per-
manently cure the disease called "Bumps."
First, examine yourself thoroughly, until
you see yourself as others see you, thus
you will discover whether or not you have
any alarming symptoms. If you find you
have, then follow these directions implicitly :
Mix one ounce of unselfishness, one
ounce of generosity, a few grains of broth-
erly love and a dram or two of real kind-
ness. Take this internally and wash it down
by a few more journals than you hitherto
have been reading, and a "real ginger" con-
vention or two will assist you to digest it.
Sometimes an ounce of prevention is
worth more than a pound of cure — whereas
I would implore any professional photog-
rapher who has no symptoms of "Bumps"
to make a special eflFort to attend the big
convention at Buffalo, this July, as a pre-
ventative.
Of course, you who are reading this piece
are )iot troubled with the dreadful disease
called "Bumps," else you would not be
spending your time so profitably as reading
journals. YOU will not need this prescrip-
tion, in which case it might be well to pass
it on to any photographer of your acquaint-
ance whose case can be diagnosed as
"Bumps."
Please Mention Bulletin of Photography When Writing Advertisers.
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Bulletin of Photography 815
THE
New York Studio Outfit No. 3
A DEPENDABLE
EQUIPMENT
It is built on the prin-
ciple that well-designed
and smooth-working appa-
ratus saves time, materials,
and labor, and gives the
greatest possible freedom
for the exercise of skill.
The details of this outfit
are clearly illustrated and
explained in a new folder
which every photographer
should read. A copy will
I For 8x10 and 5x7 negatives
be sent you on request. ^.^^ ^,^^^^^.^ ^^^ ,^^,^3
By reason of its conven-
ience and quick response to studio demands, the New York
Studio Outfit No. 3 is the logical choice of those who seek a
higher average of good negatives. Its superior points, its fine
appearance and mechanical correctness, will impress you on
even casual inspection. For permanent satisfaction, select the
New York Studio Outfit No. 3. Ask your stock house about it.
ANSCO COMPANY
Binghamton, N. Y.
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Bulletin of Photography
Eduard Blum
The Photo Art Shop
in the service of the profession
32 South Wabash Avenue
CHICAGO
THE ONLY STUDIO OF ITS KIND IN AMERICA
BE DIFFERENT FROM THE OTHER FELLOW
BE DIFFERENT FROM YESTERDAY
I Our Legal Department
Dear Sir:
Can I get private information in the fol-
lowing matter?
Two parties enter into partnership for
a term of five years, each investing an equal
amount of money; later, one of the parties
buys the house in which the business is
conducted. After the f\\e years are up the
man who has not lx)ught the house wishes
to dissolve the partnership. What is he
entitled to? Does he get the money origin-
ally invested, besides equal share of stock,
fixtures, etc? Also, if the business has been
built up and increased to a far greater value
during the fivt years, leaving the other
party, the purchaser, to a more prosperous
business, is not the retiring partner entitled
to a certain value for his efforts or services ?
Can one partner sell his share to another
party before the five years are up? Must
he have the consent of his partner? P.
Dear Sir:
Yours of the 7th inst. to the Bulletin
OF Photography has been referred to me
with the request that I answer it. One
member of a partnership cannot sell his
share to a third person before the partner-
ship period is up or at any time without the
consent of his fellow partner. Upon disso-
lution of the partnership, each partner
would be entitled to such a share of the
partnership assets as would represent the
original capital investment, plus any accre-
tions which had come by the development
of the business. This would include good
will, if good will is one of the assets, but
it would not include any allowance for sal-
ary, unless the partnership agreement con-
templated the drawing of salary, but the
salary instead of being drawn out had been
allowed to remain in the business. In that
event it would be part of the partner's cap-
ital investment.
E. J. B.
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Bulletin of Photography 817
Convention of the Professional
Photographers of New England
This wide-awake and progressive Asso-
ciation of Professional Photographers will
hold its twenty-third convention at Spring-
field, Mass., on September 7, 8, 9, in the
magnificent auditorium which has splendid
conveniences of space and light.
One of the features will be a studio, fully
equipped and operated by some of the
ablest men in the country, so that any man
or woman who attends the convention may
have a first-class made of themselves to
carry home : a thing not possible unless
they went to a great deal of trouble and ex-
pense. These sittings will be made by ap-
pointment, and will illustrate how great
men in professional portraiture proceed in
making their masterpieces.
There will be lectures and business talks
by competent specialists, and also the usual
amount of entertainment, consisting of
music, dancing and a clam bake. A very
cordial invitation is extended to the ladies,
for whose comfort and entertainment special
arrangements will be mac'/3. No effort will
be spared by the committee to make every
visitor feel at home, contented and happy.
Now is the time for those who are inter-
ested to make their plans and arrangements.
Springfield has been selected by the com-
mittee l^ecause it can easily be reached by
the photographers who live in various parts
of New England. Springfield is fortunate
in having splendid and well-managed hotels
with the modern conveniences and at mod-
erate prices. No city in this country pos-
sesses an auditorium the equal of the one
that has served for the past five years as a
meeting place of the New England photog-
raphers. Those who have been there are
always glad to go again. For those who
care to make brief and delightful motor
trips from Springfield, there are attractive
places within easy reach, north and south
along the Connecticut River, west to the
Rerkshires, and east to the Mount Holyoke
range.
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Bulletin of Photography
STERUNG TANKS
Place your onlers AT ONCE for Sterling Tanks and Waterjackets. The raost
compact, frreatcBt capacity, least costly outfit made. STEJRLING Tanks and
Waterjackets have been giving $ali$f action for over 10 YEARS.
DEMAND STERLING. There is no substitute. Listen to STERLING. Your DEALER has them or can get them.
It's your privilege to demand STERLING TANKS and good judgement to accept nothing but
STERLING TANKS AND WATERJACKETS.
STERUNG MFG. CO.
'^PIONEER TANK MAKERS"
BEAVER FALLS. PA.
SEJ^D FOR OUR
NEW BULLETIN (No. 137)
JUST OUT
CONTAININO BARGAINS IN CAMKRAS. LKNSKS
AND KVKRYTHINO PHOTOORAPHIC
110 W. 32nd STREET
NEW YORK
WILLOUGHBY'S
Every changing season demonstrates
anew the worth of
Han7n}er Plates
They develop and dry quickly with
firm, tough films, which reduce to a
minimum the danger of frilling. A
necessity in hot and humid climates.
SPECIAL BRANDS FOR SPECIAL NEEDS
Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work, and Hammer's
Extra Fast Orthochromatic and D. C.
Orthochromatic Plates for color values.
Hammer Dry Plate Co.
OHIO AVKNUK AND MIAMI STRKKT
ST. LOUIS. MO.
Good Outline in the Portrait
Less attention is given to the character
of the outHne presented in the portrait than
to the general effect of the light and shade;
but outline presentation cannot be slighted
with impunity, l^ecause in the finished print
it is so self-assertive a feature, and, when
not adequately considered, mars the care-
fully sought out scheme of illumination.
A pah iter invariably considers the
decorative effect of the picture, sees that the
forms which the lines or areas of light and
shade make, co-ordinate to produce an
agreeable arrangement. And so the photog-
rapher should regard the lines for what
they are capable of effecting.
The good portraitist, if he discover in the
survey of the face that something not pleas-
ing presents, will put that objectionable
feature in a lower key of light to make it
less obtrusive, and the same principle is
applicable to any unpleasant presentation of
outline.
The question often put by photographers
of limited experience is — what subjects are
best suited to "Rembrandt" or some other
variety of lighting?
The answer is, if the photographer is ac-
quainted with his light, he will have no diffi-
culty in deciding what subjects are suited
to it. All subjects are not adapted to such
a peculiar method of illumination; the ma-
jority had better be treated under the ordi-
nary broad plan of illumination, and with
less chance of misapplication.
But, as there seems a penchant for Rem-
brandt effect, it may be well to give a little
advice concerning it.
The danger encountered is from the
method itself. The light side of the face
being from the camera and coming against
a dark ground, which is usually the kind
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Bulletin of Photography
819
selected for this effect, brings the outline of
the face into such relief that, if it happens
to be an irregular form, it shows up obtru-
sively, and is the very feature to attract
most attention.
Now, this would not have happened with
a broader illumination, or, at least, not
showed up so outrageously. A light ground,
of course, might be used and the exhibition
not be so pronounced, but, if we use a white
ground, it brings the light side of the face
against the ground and merges the outline
into it and produces a sort of blur.
It is possible, at times, by taking the face
from different points of view, to make it
presentable in Rembrandt, even though it
be not particularly adapted to this method,
but it is better art to suit the face to the
illumination which shall do it most justice.
If the subject has hollow cheeks, move
the camera to a point where the end of the
nose just crosses the cheek, so breaking
the outline and, in a measure, filling up the
hollow.
The subject may have a hollow temple,
and the plan here is to move the camera
to a point where the ear just crosses the
outline and fills the temple.
But this is, after all, doctoring cases, and
the Rembrandt style is for good healthv
subjects with fair outline, which need no
treatment.
An angular face should lje lighted in a
rather low key of light and with broad
effect, so that the shadow side of the face
may be brought against the ground in a
softened key, avoiding sharp outline.
When you have a subject under the light,
study the effect best suited to it.
Try first the ordinary broad scheme of
lighting, then venture to compare this with
some of the special methods of illumina-
tion, with the model in the same pose. A
very common mistake is, that, after one gets
a lighting to his liking, and then essays to
try something else, he undertakes meddling
with the model, turning the head to one
side or the other, instead of manipulating;
his camera to get the side of the face
The most successful plate
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Mark outflts you are interested in nnd pin tu your
letter. We will send full information by return mail.
THE HALLDORSON CO.
1778 WILSON AVE. CHICAGO
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Bulletin of Photography
"A Manual fuU of good wholesome material
and a valuable reference hook for every mem-
ber of the prof eBsion, big or little,"
How to Make a Studio Pay
BY FRANK FARRINCTON
CONTENTS
The Man and the Location
Buying and Arranging the Stock
System in the Studio
The Treatment of Customers
How to Know the Profits
Credit and Collections
Developing the Side Lines
Advertising You Can Do
Business-Getting Schemes
a«th Bomd, Price, $1.50, Net, Postpaid
FRANK V. CHAMBERS
PUBLISHER
636 S. FRANKUN SQUARE, PHILADELPHIA
PHOTOCBJVPHIC
• JOUB.NAL-
•y AMERICA-
( Fonncrly Wilson's Photographic Magazine )
For the Advanced and
Scientific Photographer
The Standard Photographic
Magazine of America for
the past 58 years
$2.00 per year 20 cents a copy
No extra charge for Ca n adian postage
SAMPLE COPY FOR A DIME
FRANK V. CHAMBERS
PUBLISHER
636 S. FRANKUN SQUARE, PHILADELPHL\
wanted. Such a method practically clianges
the light by shifting the high-lights to differ-
ent positions and rearranging the shadows;
in fact, altering the general aspect and ex-
pression.
It is essential that the operator know what
effect he wants before starting to manipu-
late curtains, etc.
Learn first what the subject under treat-
ment is capable of and then apply your skill
in getting it under the conditions.
Economy Plus
Isadore K. Simpson was a man of con-
siderable importance.
That is to say, Isadore had convinced his
neighbors, his employes, the immediate com-
munity, that he was of considerable impor-
tance, but there were some doubts in the
minds of the banks and Isadore himself as
to whether or not this was strictly true.
Isadore had made considerable money dur-
ing the war and he had increased his busi-
ness and his personal expenses. He had a
new office building, numerous clerks, and a
new country place and a couple of chauffeurs
and all of the things that go with increased
prosperity.
Then the slump came.
Isadore had boasted so much of his suc-
cess and had posed so prominently before
his fellow-men that he felt ashamed to re-
trench when the sign posts of commerce
pointed that way. He felt as if he would
lose his reputation as a successful man if he
reduced his working force or modified his
lavish living expenses, so he kept on, hoping
against hope that things would come out all
right some how.
As a result Isadore is now in the hands of
a receiver and all the economies he might
have put into effect to save his fortune are
now in effect under orders of the receiver,
with his fortune gone and his control of his
own affairs taken from him.
This is not an exaggerated vision of things
as they might be, but Isadore is a reality
and the lesson which Isadore's experience
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Bulletin of Photography
821
KODAK FINISHERS!!!
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SPEED PHOTO PRINTER
Thia improved modml will pay for itamlf in 30 day:
TEN BIG FEATURES:
1. — Automatic ordcr-numberinfr device.
2. — Pressure platen with osciMatinir movement, and
special pressure lock in.surinir absolutely perfect
coiibict.
3. — Instantly adjustable masks, with illuminated scale
of standard sizes of paper.
4. — Quick action film clip.
5. — Automatic paper clip on platen, iriving perfect
regrister and border.
6. — No trimming nei^essary.
7. — Economizes on paper.
8. — Practical electric switch inside box. which operates
after contact is nuule between platen and paper.
and allows up to 400 watts of electric current.
Release lever for throwing off* lights before raisini?
platen. No afterirlow.
9. — Only one second exposure required for medium
dense Alms.
10.— Operation so simple it can be mastered in a few
rai""'^** Oreular on r€qu€$t.
PRICE. 988.00
CHARLES G. WILLOUGHBY, Inc.
no West 32d St. New York City
DUMbttton for Nmjo York Stat€
teaches is that ECONOMY is the password
of the day.
Whether we like it or not. the whole world
is in a state of economic competition. The
nation, business or individual which would
survive must make up its mind that the
competition from now on is more largely
economic than progressive.
It is no longer a question of how much
business can you do, but how little can you
do business for?
Of course, economy has always been the
measure of successful business, under nor-
mal conditions, but during the boom times
business has been careless in forgetting this
all-important factor.
They may talk improvement of business;
increase in export trade and all the other
remedies imaginable, but there is only one
really, truly remedy to the present conditions
and that is ECONOMY.
Some near-sighted folks may preach the
doctrine that spending makes for prosperity.
but waste and extravagance never made for
permanent prosperity at any time or at any
place.
We might as well accustom ourselves to
playing the game according to the rules.
And economy is the basic rule to all success
and we need the basic rule now more than
at any other time in the history of the
world's commerce.
Economy is a habit, difficult to acquire,
but the solution to the present situation is
difficult. Therefore don't get the false no-
tion that extravagance is going to help mat-
ters. Work, earn. save, is the order of the
day and only by following out this order will
things be speedily and permanently righted.
— Chas. E. Carpenter, in The Corn Ex-
change.
"I see." said one suburbanite to another, "that
they have taken the five-fifteen off this line. Do
you miss it much?"
"Not as- often as when it was on." — The Atucri-
can Legion Weekly.
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Bulletin of Photography
BIND THE BULLETIN OF PHOTOGRAPHY
THE only Magazine Binder ever invented that will quickly and
securely bind each issue as published and bind one magazine
or a complete file without in the slightest manner mutilating
same, such as punching a hole in the magazine, gluing, lacing, or
in some manner attaching something to it. No strings, clamps,
springs or locks used. Retains at all times the appearance of a
neat and substantially bound book and the magazines are just as
substantially bound as a regularly bound book no matter whether
there is only one magazine in the Binder or a complete file,
C Nothing complicated, nothing to get out of order. A child
can use it correctly. Every Binder is thoroughly examined be-
fore shipment and guaranteed to be as represented.
C The Binders hold 26 copies (6 months) of the Bulletin of
Photography and resemble the loose leaf ledger binders, only
each copy is held in place with a flat steel rod fitting on pins,
holding every copy in its proper place.
C We've used these Binders in our own office for the past seven
(7) years and say that they are the best that money can buy.
Will last for years.
Over 400 sold and
not a complaint
Price $2.00, postpaid
Monmy hack if you don't likm thmnu
FRANK V. CHAMBERS, 636 S. Franklin Square, PhUadelphia
Effect of Reflecting Screen on the
Eye of the Portrait
The reflecting screen is an indispensible ad-
junct in photographic portraiture, and its value
in lighting up the shadow side of the face has
been, time out of mind, dilated upon. But suffi-
cient stress is not always laid upon the danger
attending its employment.
When placed too close up, its tendency is to
produce false lights and destroy the richness of
the deep shadows.
It is better practice to work somewhat back
from the chief light, give longer exposure and do
away with reflectors, or introduce them only when
absolutely called for.
V'ery frequently enough reflection is had from
the surrounding walls, even though they may not
be light in color, and the grey background itself
may contribute what is needed.
But what we want to here call particular atten-
tion to, is the effect of reflectors upon the eyes,
which often escapes the notice of even experienced
operators.
Where the light used comes in from a single
source, properly manipulated, there is only one
strong light thrown upon the eye, and that a
mere speck.
But when there is much secondary light, so
situated that it is reflected into the eyes, there
is projected a second light area, larger than the
proper catch light, which gives an unnatural look
to the face.
The professional who finds himself guilty* of
doing this gets his retoucher to spot it out.
If a reflector is necessar>', see that the reflect-
ing surface is not too bright.
What's Doing in Photography
J. F. Hurtik has opened a new studio in Pine
Bluff, Ark.
W. L. Harris has opened a new studio in Walla
Walla, Wash.
Fred Mould, who has conducted a studio in
Baraboo, Wis., for several years, has purchased
a studio in Madison.
Warren M. Sargent, who for several years has
oi)erated a studio in Decatur, Ind., has sold out
to W. S. Porter. Mr. Sargent expects to locate
in Chicago.
F. M. Goss, formerly of the Goss Studio, New-
buryport, Mass., has purchased the studio of the
late Frank Brooks, Haverhill, Mass., and is re-
modeling and equipping it into one of the most
up-to-date studios in the city. It will be open
July 1st.
Thieves entered Collyer's Studio, Springfield*
Mass., on June 6th, and stole two camera lenses
valued at $300. They gained entrance by forcing
a transom in a rear door, and ransacked the place,
selecting only two lenses from half a dozen. The
appearance of the job indicates their familiarity
with photographic work and apparatus.
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Bulletin of Photography
823
Classified Advertisements
ClsMlfied AdTertUing Rates— For Sale. Rent. Exchange and
Miscellaneous advertisements. Minimum charge. $1.00 for
thirty words; additional words. 3 cents each.
Help Wanted — Two insertions of twenty-one words, minimum
charge. 50 cents; additional words. 2 cents each. Cash must
accompany order.
Situation Wanted — Twenty-one words, one time. free. Addi-
tional words. 2 cents each.
No display allowed — CoMh muti hm ttnt wUh ordt.
Display advertising rates sent upon request.
Copy must be plain and distinct.
To secure insertion, advertisements must be received by 9
A. M.. Tuesdays, one week preceding date of publication.
DO YOU WANT A POSITION?
Read the ads, that follow
Wanted — Lady retoucher wanted in first-class
studio; good salary; short hours and permanent
position. Address Buckley Studio, Press Bldg.,
Binghamton, N. Y.
Wanted — An experienced up-to-date Home Por-
trait operator of pleasing personality, who also
knows all parts of the business. State salary, ex-
perience, etc. Gay's Art Gallery, Fall River, Mass.
Help Wanted — Operator with ability wanted;
must be well experienced in posing and lighting.
State qualifications, name of last employer (con-
fidential) and salary expected. Address Box 962,
care of Bulletin of Photography.
Wanted — All-around man, or one who can print
and retouch. Give reference and state salary
desired. Address — Zuver Studio, 215 S. Main
Street, Butler, Pa.
Operator Wanted in studio doing high-grade
work; prominent city in Middle Atlantic States.
Excellent salary and permanent position to man
with ability. State particulars and qualifications.
Address, Box 959 care of Bulletin of Photog-
DO YOU WANT TO BUY, SELL OR
RENT A STUDIO?
Read the ads. that follow
For Sale at a Bargain— Studio, doing good com-
mercial and amateur finishing business. Reason
for sale, going into the oil game Terms, if desired.
Write— Box 937, Great Falls, Montana.
For Sale — First-class studio; skylight; Cooper
Hewitt light ; everything up-to-date, in best
location. A good proposition Owner interested
in manufacturing business. Call or write to —
S. Newman, 195 Thames Street, Newport, R. I.
MISCELLANEOUS
Read the ads. that follow
Retouchers for the TRADE-H^uick, consistent
service since 1905. Experienced retouchers.
Fust shoot 'em right along — don't be timid —
National Retouching Service, 4654 Cottage Grove
Ave., Chicago.
Wanted— 16-inch Cirkut for cash. Must be late
model and in good condition. Address 961, care
of Bulletin of Photography.
A short time ago a surgeon had three leg am-
putations in a week. The unusual number caused
talk in the surgeon's household, and his little
daughter Dorothy was greatly interested. A few
days after the last operation the surgeon's wife
and little Dorothy were rummaging in the attic.
In a trunk was found a Daguerreotype depicting
a girl about eight years of age. The portrait,
through a peculiarity of pose, showed only one
leg of the subject, the other being doubled up
under her.
"Whose picture is that, mamma?" asked
Dorothy.
"Mine. It was taken when I was a child not
much older than you are now."
"Did you know papa then?"
"No, dear. Why do you ask?"
"I thought maybe you did, 'cause you've only
got one leg." — The Delineator.
Reliable Photo Supply Houses
JOHN HAWORTH COMPANY
(Battmma Kodak Co.)
It20 Chestnut Street, Philadelphbi
THE H. LIEBER COMPANY
24 W. Washington St. - Indianapolis, Ind.
Western Photo & Supply Co.
Photographers* & Photo Engravers* Supplies
328 W. Madison St., Chicago
WILLOUGHBY ^^yf yoRK
Everything Used in Photography
SWEET, WALLACH & CO.
(BMtman Kodak Co.)
133 North Wabash Ave., Chicago, 111.
SUSSMAN PHOTO STOCK CO.
223-225 Park Avenue, Baltimore, Md.
Norman-Willets Photo Supply
— INCORPOR ATBI>—
SS2-SS3 LE MOYNB BLDG. ntitn kf^f\
18f N. WABASH AVE. i^HIi^AOU
ZIMMERMAN BROS.
(BMUnmn Kod&k Co.)
38d-3S4 Minnesota St., St. Paul, Minn.
HYATT'S SUPPLY CO.
417 North Broadway, St. Louis, Mo.
STANDARD PHOTO SUPPLY CO.
(BMtmaii Kodak Co.)
125 Baronne St., New Orleans, La.
Please Mention Bulletin of Photography When Writing Adv<0rjyft^^ by V^jQOQ IC
766
Bulletin of Photography
SEED
PLATES
The measure of a plate's quality is not
the length of the scale of tones it will
reproduce, but the correctness with which
it reproduces them.
Seed 30 Plates have a scale that permits
of perfect reproduction of the longest
range of tones that will be encountered
in a photographic subject.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 767
More than 80^o of the X-Ray workers of
America use Eastman Tested Chemicals
They must eliminate the element of
uncertainty from their work.
The surgeon's knife is guided by a
diagnosis of the X-Ray result.
Your results are not a matter of life or
death, but they are a matter of dollars
and cents.
Specify
EASTMAN
TESTED CHEMICALS
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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The live quality of a
picture, so easily de-
stroyed by halation, is
preserved in the nega-
tive made on
Eastman
Portrait Film
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers'.
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Bulletin of Photography 703
ELON
The best developer for
photographic papers
We use it — we recommend it —
we make it — we know ifs right.
Elon now lists at
$9.00 per pound
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
All Dealers',
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