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SECTION.

PAGE

(i) Foreword by the Author's Nephew . . . . . , 5

(2) Indoor Photography . . . . . . . . . . . . . . 7

(3) Outdoor Photography .. .. .. .. .. .. .. 17

(4) The Patent " Hotel " or Keyhole Camera . . . . . . , . 26

(5) Moving Object Photography . . . . . . . . . . 30

(6) Exposure . . . . . . . . . . . . . . . . 33

(7) Development . . . . . , . . . . . . . . . . 39

(8) The Dark Room . . , . . . . . . . . . . . 44

(9) Toning, Fixing and Washing . . . . . . . . . . 47

'10) How to Tell Positives from Negatives . . . . . . . . 50

^11) Common Defects in Negatives .. .. .. .. .. 52

^12) Trick Photography and Montage . . . . . . . . . . 54

'13) Miscellaneous Trickery . . . . . . . . . , . . 59

^14) Colouring-Up and Lantern Slides . . . . . . . . , , 66

^15) Rude Postcards . . . . . . . . . . . . , . 73

'16) Guide to the Reproductive Processes . . . . . . . . 75

^17) Appendix " A " Examples of Coloured Continuous-Sequence

Photography . . . . . . . . . . 78

^18) Appendix " B " Art in Camera 91

^19) Appendix " C " The Power of Dotted-Lines 98

^20) Appendix " D " Unpleasant Example of Reproduction without

Registration . . . . . . . . . . 100

Printed and Published by Perry Colourprint Ltd., London, S.W. 1$.

f^^^e^ord ^ fAe Cle/^4erJ .A^A^^^

Obviously one's fellow men are not to be trusted ! The torrent of text books on
The Art of Photography that has appeared during the past fiftj^ years or
so bears eloquent, if dumb, witness to this unpleasant truism : for how, other-
wise, could so many have based, like crawHng parasites, their spurious writings
on ±e lovingly garnered information and painstakingly original research of my
Uncle Albert ? It is indeed ironic that the one work of his that was never
published should have been so brazenly pilfered — in embryo, as it were —
whilst, to the best of my knowledge, nobody has ever dared to quote as much as a
single phrase from any of his forty-seven volumes of published treatises on
subjects ranging from " The possibility of a study of Amoebae as an introduction
" to simple division in junior schools " to " Stamp collecting in North Borneo."

Uncle Albert collecting masses of data by comparing his own
density with that of a block of granite. The thoroughness with
which he entered into discouraging experimental work of this
kind, even at an advanced age, is truly indicative of that rugged
persistence which is the earmark of the sincere seeker after
knowledge.

Perhaps it is inevitable that one so sweepingly versatile as my Uncle Albert should
have been a little garrulous. Perhaps, too, the medicinal spirits that he had

^*'^'

recourse to as a stimulant after long hours in dark rooms served to loosen his
tongue as well as to " fix his collar down "... (ptm, collodion — Ed.) ... as he
was wont, jocosely, to remark.

However, it is not with the causes but with the effects of such indiscriminate con-
fidences that I am here concerned — effects, the very existence of which serve to
indict far more effectively than any reproofs of mine the vicious practice of literary
and scientific plagiarism.

I ask you, dear reader, to examine any six text books on photography, chosen at
random from the " P " section of your local Pubhc Library : What do you
find ? The most casual examination will suffice to prove that every writer says
precisely the same thing in precisely the same way. If you persevere and read
three or four pages of each book thoroughly you will find the same chemicals
mentioned, the same methods of handhng detailed and the same results arrived
at. Six times you will read that a good developer can be made from :

Saturated solution of ferrous sulphate . . . . . . . . 2 ozs.

Glacial acetic acid . . . . . . . . . . . . . , \ oz.

Alcohol .. .. ,. .. .. ., .. .. 1 oz.

Water . . . . . . . . . . . . . . . . i6 ozs.

and six times you will be told that :

3 AgN03 - 3 Fe So. = 3 Ag - Fe. (So^s - Fe, (No3)3
Millions of words and acres of paper wasted on unimaginative repetition — what
better proof than this could there be of the utter sterility of scientific cribbing?
No ! Uncle Albert's dependents may have been robbed of some of the posthu-
mous fruits of his scientific and artistic labours, but, in presenting his " Manual
of Practical Photography, etc.," to the public, I am happily conscious that not
only is a belated recognition being accorded to original research of a high order,
but a blow has been struck that will help, in some measure, to cleanse the Aegean
stables of photographic upstartism.

In conclusion I would Hke to stress that this work must, by its very nature, be
more of a spontaneous personal record than an exhaustive and ordered treatise.
As one contemporaty critic happUy puts it . . . "One of the many things that
Uncle Albert's Manual, etc.,' has in common with the ' Notebooks ' of
" Leonardo de Vinci is an eclectic discursiveness that takes merely technical
" difficulties in its stride."

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It is gratifying to remember that the modern (sic. 1890 — Ed.) Art of Indoor
Photography has its feet very firmly planted on the pictorial achievement of the
past. The very phrase " Necks please ! " — beloved of the busy commercial
photographer — is a quaint survival that can be traced right back to where the
Pre-Raphselites started from. An appreciation of this historic fact has prompted
the keen photographic Artist to affect the velvety looseness of dress and abundance
of hair that is to-day recognised as the distinctive uniform of pictorial genius.
However, the hair should not be worn so long that it hangs over the camera lens
as well as the collar : it has been found that only the very best photographers
have that innate flair for composition which enables them to work strands of
hair into the subjects in a natural sort of way

Apropos of Indoor Photography, and particularly Portraiture^ I cannot entirely
agree with W. J. Loftie who, in his book " A Plea for Art in the House," says :
..." Photography is of little use for portraiture. I mean that large pictures
" of landscapes in photography are much more common and more pleasing than
" large likenesses. The vulgar staring portraits produced by many photographers
" do not bear enlargement. . , ." To this type of irresponsible criticism one
can only respond that the vulgar staring is an attribute of the subject and not of
the photographer, who usually prefers peep discreetly from underneath a black
cloth. Photographers, like their brothers in Art. cannot always be choosers, and
one might with equal justification indict Rembrandt for picturing the vulgar staring
Syndics of the Cloth Guild. Anyway the point can be avoided by concentrating
on profiles and using a nice soft focus lens. Indeed, in this way it is possible to
satisfy both of Mr. Loftie's objections as I have myself by these methods produced
portraits which, from a short distance, are quite indistinguishable from landscapes
of the popular " Mist in the Highlands " genre. Double-subject photography
of this type — combining, as it does, the universal charm of landscape with the
strong personal appeal of portraiture — is worthy of the attention of all progressive
photographers.

AN OUTSTANDING EXAMPLE OF INDOOR EXPOSURE.

— In this informal get-together a new student is shown toasting
senior members of my '^ Anti-Under-Developtnent Class.^^
The appearance of spontanenspicuous
than the Lunch-Box Camera shown below.

An early Lunch-box Camera —
now superseded by the type
shown in Figs, i, 2, j and 4.

SPECIAL PATTERNS.

We quote from the " Hand-Camera Manual " : — " The reader should understand
that many of the wonderful inventions we read of in the non-photographic
press are rarely, if ever, to be found on sale. Such a one, for instance, as the
Soda Water Bottle, which snap-shotted a man in the act of drinking.
These inventions are creditable — to the journahst. But there are some really
pushed as downright useful things, which are the merest roys in reahty. In the
majority, to start with, the pictures are too small to be of any value. I have no
wish to offend, but I have certainly been surprised at the absolute rubbish
offered to the pubhc, not only by the outsider but by the photographic dealer.
The former I can understand, for he may not even know that it is desirable
that the camera should be light tight. His business is to sell the cameras. But
the photographic manufacturer or dealer, really must know sometimes that he
is putting forward to photographers mere toys. At the same time there are
novelties which are capable of first-class work, and with two of these I propose
to deal.

THE HAT CAMERA.

There have been so many humorous attempts at concealment of a camera that
to mention a ' hat ' camera would, at first sight imply something similar. But
this is not so, because a full size quarter-plate is used, and covered as well. The
apparatus is simple enough notwithstanding, and can be fitted to any stiff form
of hat — the round billycock, or the chimney pot of the Metropohs. Even the

Fig. I.

Here we have a model (in scale, in glass) of the
actual Felt-Hat Camera used by the author in his
younger days to take the series of Instantaneous
and Moving Object photographs used to illustrate
my article on that subject (see page 30). The
Operatic-Hat Camera is a variation of the above
type and is used, in conjunction with the Umbrella
Tripod, for general espionage and Night Club work.

" small hole necessary to permit the clear view of the lens can be so neatly cut, and
" the part fitted so in as to attract no attention. The camera consists of a bellows
" body, which lies flat in the ordinary way, but is extended by wires when required
" for use. Special firm dark slides, of course, are necessary, and in addition there
" is a focusing screen. The shutter is quickly got ready by placing, by a half-turn,
" the release spring into its receptacle in the front of the hat. The camera alone
" which is outUned in Fig. i, weighs by itself 2i ozs. only. The method of use
" is shown in Fig. 2.

Here we have a model (inaccurate, in wax), of the
author with his Felt-Hat Camera deceptively
poised in an attitude of old-world courtesy, whilst
the index finger of the right hand hovers expec-
tantly over the button. Further to conceal his
intentions his left eye is seen to be focused on a
point due west of where the camera is pointing —
and presumably his right eye is focused on a point
due east of same. It is doubtful whether the
subject had the slightest idea she was being
photographed.

"THE 'BINOCULAR'

" This is in the shape of a field-glass, one lens being used as a finder, and the other,
" of course, for the exposures. When charged with plates it only weighs 19 ozs,,
" and is arranged for twelve exposures upon plates measuring 2| x i| inches.

Fig. I

Fig. 2

•'t^t- ^Hi^

" Some idea of the arrangement and changing method may be gleaned from the
" above (Fig. 2) illustration. It is very neat, effective in use, and the results
" shown are good."

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Phis remarkable invention which has done so much to facilitate the gathering
of in camera evidence first came into the news of the world when the late Lord
Justice Bunkum naively enquired "... Why were the defendants enclosed in
" a bottle at the time ? " (laughter in court). The prosecuting counsel then
explained that the unusual shape was caused by the keyhole through which the
series of photographs had been taken. Before showing a selection of such photo-
graphs — extracted from the series that resulted in a conviction in the famous
Entwhistle v. Arsenal case — I propose to give a brief description of the ingenious
apparatus of which I happen to be the modest inventor.

A cardboard notice which reads " Quiet, Please " . . . " Men at Work "...
" Out of Order "... or, indeed, anything else you like, is securely attached
to the back of an ordinary Box-Type Camera. The camera is then loaded in
the normal way and attached to the door by means of two or three of my patent

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Gripwell Suction Pads (4 6 per box of twelve assorted sizes, obtainable from any
reputable ironmonger or chemist), so that the Lens Aperture coincided with the
keyhole. Next, the doorknob is quietly unscrewed and replaced with a gilded
india-rubber bulb (for working the camera shutter, presumably — Ed.\ Finally,
and unless an existing hole made by the hotel staff for private reconnaissance can
be located and utilised, a Viewing Hole must be bored through the door. This
need not be very obtrusive — \ inch diameter is usually quite sufficient — and we
suggest that the room number can often be used to provide local camouflage ;
e.g., if the number contains 6, 8, 9 or the hole should be bored thus. . . .

whilst if it does not contain any of the above figures the best position for the hole
can be determined by studying a Moorhen in its natuial surroundings, or a Purple
Patched Wood Louse hiding in a stamp album.

When fixed as described, the Keyhole Camera is ready for instant use ; in fact
immediate use is advisable since too much loitering about corridors is apt to look
suspicious. Simply peep through the Viewing Hole, wait for the dickey and
press what everyone else thinks is the door knob. The following series of Key-
hole Studies present many interesting features, some of which are touched on in
different sections of this book. Unfortunately, many features which it was
impossible to touch on anywhere else, but which were clearly prebcuted in tfie
original series, were missing from the collection when we got it back from the
mounters.

^yfif^m.

The first requisites for moving objects are
a green baize apron and a wide vocabulary :
from then in it is a question of you versus
the object. This series happen to be an
example of prolonged indoor work, but the
same general principles apply outdoors,
although the exposure will probably have
to to be cut down to conform to police
regulations.

A contemporary authority, who would deem
to be interested in rather faster subjects
than I am, has the following comments to
make : "... That wretched phrase
" ' Instantaneous ' gets in its fell work every-
" where, and I must warn the beginner
" against a very common failure, that of
" firing at objects which are in reahty moving
" at too great a speed.

" The following table will show at once
" what can be done and what should be left
" undone : —

" Man walking 5 miles per hour.

" Vessel travelUng at 20 knots per hour.
" Finish of Cycle Race 30 miles per hour,
" Express Train 50 miles per hour.

" To find the distance the object will move
" upon the plate is it only necessary to multi-
" ply the focus of the lens in inches by the
" distance moved by the object in the second,
" then divide the result by distance of the
" object (from the lens) in inches, and
" finally divide by the speed of the shutter.
" For example, I will take the finish of a
" cycle race under ordinary camera condi-
" tions. The lens of 5 i -inch focus, the
" shutter working at the i/30th of a second,

~"^**»^»rf*cf *»<«**

and the object lo feet away, the calculation would come out

" 52 44 "= 242 ~ 120 = 2 inches per second
Now as the shutter works at the i, 30th of a second, the movement upon the plate
would be a fraction over 3 30th or 1/ i6th of an inch. The resulting photograph
would be a curiosity.

In the above example the conditions are tliose of the majority of hand-cameras,
as although the shutters are often put down as working at the i/iooth of a second,
or at even greater speed, considerable discount must be allowed upon these
statements. The limit of movement upon the plate, if anything like a sharp
image is desired, is the i/iooth of an inch. So that by working backwards we
can find the shutter speed required or the distance from the object actually

33
" necessary. The speed would have to be increased to the i 200th of a second,
" or with the same shutter (working at i 30th) the camera would have to be
"2,106 feet 10 inches from the object, which is too far to walk.
" I trust tnese tables will prevent the beginner from wasting plates in the absurd
" fashion that I have seen done on many occasions. Of course the movement is
" calculated full broadside on, an object coming towards or receding from the
" camera is a much easier task."

''.^tM^'i

'fi^e

Brushing aside the rather prudish attitude that condemns exposure of any kind
we would say that the exposure should always be regulated to suit the subject —
and, of course, the lighter the subject the greater should be the exposure.
It is my experience that the subject has to be coaxed into the appropriate degree
of exposure ; and, as a general rule, it is desirable that the lighting should be
regulated so as to give the maximum encouragement.

Some subjects expose better with full lighting (e.g., limelight or footlights), and
others prefer subdued Ughting — preferably pink : whilst difficult cases refuse to
expose anything worth looking at unless the light is out. In such cases injra red
is not injra dig.

When gazing at a well exposed subject do not breathe too heavily on the view-
finder as the resultant haze tends to rob one of that savoirjaire which is so essential
an ingredient of indoor photography.

TIME EXPOSURE.

Once more according to Mr. Welford . . . : " It is rather awkward to refer to
" time exposures, that is, exposures needing a support for their accompUshment,
" because it is really not hand-camera work at all. But there are occasions when,
" for want of light caused eidier by the dullness or lateness of the day, or by the
" scene or object itself, prolonged exposures are necessary.

" With practice a full second is easily managed, especially if the body be utilised
" to the best advantage. One great point in this is to first steady the body, by

In this example of landscape with heavy foliage (half a second at f8) we see a pair of
conscientious students looking for a fixed support suitable for a really long exposure.
As no fence, gate, wall or rough erection of stone or wood was available they just had to
make do with a hedge.

35
" sitting down, or leaning against a support. Holding the breath during the
" exposure is recommended by some, but I have not found it of much assistance,
" as the strain of so doing is as bad as the breathing.

" For longer exposures I should strongly recommend a fixed support, and this is
" often obtainable by search (see illustration on page 34). The top of a fence,
" gate, or wall, rough erection of stone or wood, for instance.
" Tripods may, of course, be pressed into service, and indeed, there are several
" varieties upon the market made specially portable for this very purpose . . ,
" In buildings, chuches, etc., there are many opportunities afforded of local
" support, such as pews, two chairs placed back to back, etc."
With such a wealth of practical suggestions I can only agree.

OVER EXPOSURE.

With some subjects it is practically impossible to prevent over-exposure : I have
found that complete immersion in lukewarm hypo until the bubbles stop rising
is as good a cure as any. Over-exposure is, on the whole, more desirable than
under-exposure : unwanted detail can usually be ehminated by deft retouching.
We show, on page 39, a few specimens of rather obvious over-exposure.
PATCHY, OR PARTIAL EXPOSURE.

Where uninteresting portions of the subject appear to be over exposed, whilst
other more decorative zones are obscured, it is often a good idea to ask the sitter
to " watch for the dickey." However, it is not wise to keep encouraging the
subject to " watch for the Dickey " as, if it fails to appear, disappointment and
inertia often result. In obstinate cases a teaspoonful of Butyl Chloride in a cup
of steaming hot cocoa will usually do the trick.

UNDER EXPOSURE.

This is a common fault with beginners and it is up to the photographer to guide
the subject. Don't rush matters — a few well-chosen formulge and a tumblerful
of neat alcohol are usually all that is required. If the light is too strong, draw
the blinds : if the light is not strong enough, draw the bhnds and light the
lamp — remember, incandescent exposure of any kind is frowned on by the
authorities. It is advisable to remove the lens cap before letting the hair down.

DURATION OF EXPOSURES.

One of the easiest questions to ask and the most difficuh to answer, is " what
exposure is suitable ? " The whole matter is so governed by various factors that
it is next to impossible to give any direct answer.
The factors to be considered are the following : —

(i) The nature of the subject. (4) Speed.

(2) Strength of the light. (5) Development.

(3) Aperture.

The great difficulty is to bring home to beginners the considerable effect of
variation in any one of these points. As a rule they do not grasp the importance
of, say, (i), (2), and (3). Perhaps the following tables by Prof. Burton and
Dr. Scott will be of assistance in the matter : —

COMPARATIVE EXPOSURES— (BURTON).

/8 /I I /16

Sea and sky . . . . . . 1/40 1/20 1/16

Open landscape . . . . 1/12 1/6 1/3

Landscape with heavy foliage . . i i 2

It will be observed that each stop as it decreases the aperture doubles the exposure.

Thus, an exposure of one second withfS would be two seconds with fii, and four

seconds with fi6. These are given for ordinary slow plates, and should be

decreased by one half at least for the more rapid brands.

Thus, for a well-hghted landscape i 24th of a second only (with an aperture of f8)

would be required. The table is calculated for bright lighting.

Another factor is the strength of the Hght. This is a most unreliable one to

judge until experience comes to the rescue. The difference in the actinic power

of the light, even in bright sunlight, between the morning and afternoon is great.

The photographs (page 38) give some idea of the power jul dramatic effects that
can be obtained by cleverly varying the exposure. The ivy leaves were put in freehand
when it was all over and had it not been for the cat in the tin hat taking up so much
room this caption could have been in its proper place under the picture — i?tstead of here.

COMPARATIVE LIGHT TABLES— (SCOTT).

Hour of Day.

May,

April,

March,

Feb.,

Jan.,

a.m.

p.m.

June.

July.

August.

Sept.

Oct.

Nov.

Dec

noon.

I A

T 1
A 2

It will be noticed that in any month the best time is between ten and two, when
the light is strongest and with least variation.

All the evening exposures present another difficulty, as with a yellow sunset the
necessary time would have to be increased. Possibly to a beginner the following
table will be of first utility, the plate being of the rapid variety and the Ught good.

Sea and sky
Street scenes (open)
Landscape (open)
Landscape (heavy foliage)
Interiors

Outdoor portraiture

i/ioo

1/50

1/20
1

Anything from 3 or 4 minutes
to several hours, according to
the amount of light.
Same as open landscape.

If this last table be worked in conjunction with the others, it will be fairly simple
to make comparative exposures, taking the light as : —

Bright sunshine . . . . i

Cloudy bright . . . . 2

Dull 3

Gloomy . . . . . . 4

As a rough guide, if the lens in the hand-camera has an aperture of f8, on a bright,

sunshiny day, with a rapid plate — a street scene about midday in June will require

i/50th of a second. The beginner can make all other calculations from this, as a

basis. But his own results will tell him more in this direction than I can.

f^i

This is rather a personal matter : every photographer is entitled to his own ideas,
and, generally speaking, it is only after a long experience of trial and error that
one learns to tell at a glance when the subject is properly developed for the
particular purpose in mind.

It is best to get this rather tedious business over during adolescence if possible,
thus leaving the adult years free for selective rather than promiscuous experimental
work. Fashion, of course, plays a paramount part, and a careful student of
developments cannot fail to observe that ever}^ type has its period of popularity.
It is customary to unload in the dark-room ; and one of the first things to remember
is that, however safe the dark-room Ught appears to be, there is nothing to be
gained by premature exposure. It is souna practice to work in the dark as long
as possible : always be ^^j^^^^^^^^^^^^^^^^^^^ ^^^ of red lights.

Here are some fine examples of the good results that can be obtained by a discreet
application of my " Land Development and Reclamation Scheme." There is not the
slightest doubt in my mind that proper exposure under sunny conditions can do a great
deal to eradicate troubles that are often quite wrongly attributed to faults in development.

DEVELOPERS.

The older types of developers such as Indian Clubs, Night Clubs, Dumb-bells
and the Sandow Course are gradually being superseded. New problems call for
new techniques and I am very pleased to be able to report that several much less
strenuous solutions have already been found.

THE SOLUTION.

It will be better for the beginner to buy his solution ready prepared. There are
various safe proprietary brands on the market, and the individual is well advised
to find one that suits him and to persevere with it. After mixing the solution
according to the directions on the packet the subject should be laid face upwards
in the bath and gently rocked backwards and forwards . . . backwards and
forwards . . . backwards and forwards.

FIXING AND WASHING.

When removed from the solution, a white or milky appearance will be more or
less visible — it is customary to describe this as the unacted-upon part of the silver
bromide. Anyway, whatever it is, it is the purpose of the fixing solution to
eliminate it. First wash thoroughly in water and then dip in h^^posulphate of soda
(hypo for short). Up to this stage all the work has been done either in the dark
or by the correct yellow or ruby light, but after fixing it is quite in order to pull
the blinds up, although washing should continue for quite a long time. Beware
of fog . . . too much soda in the bath or over-exposure are common causes.

OVER-DEVELOPMENT.

Very little can be done about really exuberant over-development, although, to
some extent, its worst effects can be modified by local reduction. The choice of
general reducing agents is varied ; Lord Byron (early photographer — Ed.) is said
to have favoured saturation with carbonic acid and water, whilst at least one well
known proprietary brand would seem primarily to be composed of a discreet
mixture of Magnesium and Sodium Sulphate. Constant friction with a rubber
roller or squeegee in the region of the affected part or parts has been known to
give quite good results and the heat generated is sometimes sufficient to boil a

kettle ... if you want to boil a kettle. As a general caution we would advise
enthusiasts against using any brand of local reducing agent that is known to
encourage worms as a by-product.

Pig- 3 a;v#

Fig. I

Fig. 2

Here you see alternative washing devices (i) The Rose Sprinkler, (2) The Washing
Trough, (j) The Steps, Pipe and Barrel method. Of the three we definitely prefer the
latter, since the same apparatus, can, in lieu of the Indian Rope Trick, be used to get
the subject into the appropriate condition (position ? — Ed.) for Megascopic exposures
(see illustration and details on page 61).

UNDER-DEVELOPMENT.

We will avoid entering the controversy regarding what constitutes proper develop-
ment — nowadays the standard on such matters would seem to be an arbitrary one,
fixed from year to year by R.A.'s and corset manufacturers : sufficient to say that

it was not always thus ! P. P. Rubens, a well known, if rather Flemish, photogra-
pher who flourished round about the reign of Charles I, was a staunch supporter
of Over-Development in subjects of all sexes. {See Pictures " Toilet of Venus"
and " Hercules "). Whilst his contemporary Theolocopuli Domenico (surnamed
El Greco) would seem to have favoured Under-Development to the point of
skinnyness. As far as is known, the connoisseurs of the time — who are briefly
referred to as " rakes and. libertines " in school history books — shared this^
eclecticism.

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One thing is certain — even experienced amateurs have difficulty in defining
precisely, (i) what causes Under-Development ; (2) what constitutes Under-
Development. Of the latter I can only say that I regard the whole thing as a
matter of taste and when in doubt I use drapery, or soft focus, or both. The
time may come when questions of this kind will be decided for us by an authori-
tative body of scholarly experts sitting in dignified solitude in some remote city,
such as Los Angeles . . . until that happy day it is chacun a son gout^ as they say
over the water.

As to what causes Under-Development, the answer is, simply . . . not enough
developing ; and the best remedy is, of course, more development. I always
warn pupils of mine against taking specious promises of the " You, too, can have
a body like mine " genre too literally ; in my opinion vigorous physical exercise
tends to produce knobs and bumps rather than flowing curves. It is my contention
that the finest form of all round physical culture takes the form shown in the
illustration on page 8, in which four old students of mine are initiating a new
recruit. As you can see for yourself, the beginner is the rather meagre miss with
her back to the camera ; the others have obviously been at it for years.
If, in spite of all this, outdoor exercise is still preferred, a leisurely and decollete
course of static-boating as practised by my second-year students on page 45
often has excellent results ; although the rapt expression on the face of the oars-
woman rowing rhythmically in half an inch of water with an oar sans blade is a
sad indictment of the mental condition to which persistent exercises of this kind
inevitably reduce one.

1^^ ^ay^ ^^/i^oom/

It is a good idea to arrange for the Dark Room to be situated in a fairly inaccessible
corner of the house : complete privacy is essential. The " Carlyle Cloak "
mentioned in the chapter on Outdoor Photography can be adapted for indoor
use, in conjunction with a tea chest and a kitchen table, as shown in Fig. i.
All bottles should be clearly labelled Poison and, unless discreet collection can be
arranged, when empty they should be broken up into small pieces and dropped
down the sink.

The Drying Cupboard should be large and roomy with plenty of space for
plates, bottles, light snacks and, if possible, a small settee of the portable-
collapsible type. Experienced photographers usually regard the Drying cupboard
as a second bastion of defence and equip it to withstand at least a month's siege.
There is no need to go into long details about Developing Trays— the writer
can only say that he personally, prefers ones with white transparent bottoms, since
their cleanliness can be more readily ascertained. Apart from usefulness in
disposing of the empties a sink is regarded as practically a sine qua non for washing

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Only by biting away the corner of the apparatus
(and the lobe of his right ear — Ed.) was I able to
get this interesting view of a fellow enthusiast at
work inside a domestic adaptation of the " Carlyle
Cloak."

unless the method suggested by Wratton and Wainewright for using alcohol be
employed. I have no sink. It has been found that a red or amber light is
conducive to the best results, and I thoroughly agree wi± Captain Abney,
R.E., F.R.S., etc., who, on page 14 of his book " Practical Working of the Gelatine
Emulsion Process" says : "... For our own part we prefer light to come from
" about the height of one's waist, since all operations can then be distinctly
"seen. . . ."

Another writer, Walter Welford, has some useful general hints in his little book
" The Hand Camera Manual " ; on page 87 he says : "... If the room be a
" small one it will be much better to have artificial light outside, as the close
" atmosphere of a small room is certainly not conducive to health. Roughly
" speaking the other requirements of a dark room are, a table, a receptacle for
" water and a jug. But if a sink be available so much the better, as the inconveni-
" ence of a pail will soon be discovered. Water direct from the tap is also a great
" convenience, as it is frequently required. A shelf for bottles, etc., should
" also be provided. ..."

This is, of course, a Developing Tray or Bath : for
those who like to splash about or play with cellu-
loid ducks the larger model shoivn on page 4J is
the only logical answer.

The details of the procedure must be determined, to a large extent, by the
individual photographer's preferences in the matter of toning bath and paper.
Chloride of gold, in conjunction with other chemicals, is the most generally used
toning agent, giving warm-black, red-brown and red tones ; whilst Platinimi
and Uranium are sometimes used to give sepia tones. Chloride of Lime should

A capacious bath is absolutely indispensable for photographic
work. Practically everything needs washing , fixing , or soaking
at some time or another and in an up-to-date bathroom like
this all these processes become a pleasure. The fact that I
happen not to like the wall-paper or the tattooing on the side
of the main bath is mere cesthetic whimsey and certainly does
not blind me to the many excellent and practical features of
the plumbing : in any case, much of the processing is done
either in the dark or by red lamp light.

not be used as a substitute for Chloride of Gold, as, in addition to being useless
for the purpose, it causes pimples and gradually dissolves the fingers. In my
opinion the best paper for the beginner is the Gelatino-Chloride variety, on
account of its easy manipulation and the range and tone of finish obtainable.
The other papers can easily be tackled later on. The amateur could not do better
than be guided by the detailed directions included with each packet of paper.
According to the Hand Camera Manual : "... There are two main principles
" adopted in which the operations differ. These are termed the Combined
" Bath and the Separate Baths, and briefly, the operations may be tlius
'' described : —

Combined Bath. Separate Baths.

Subject immersed without washing. Subject washed.

Toned and Fixed at the same Toned,

operation. Rinsed.

Washed after Fixing. Fixed.

Washed after Fixing.

" The Combined Bath is certainly less work, and it is adopted by many. It is,
" however, a little more tricky in its nature and is not so certain in result in a
" beginner's hands." As a matter of interest, I would like to point out that the
model shown in the illustration on page 47 is definitely not suitable for
Combined Bathing ; and I don't think a great deal of the paper, either, having
an old-fashioned preference for the grapes-crawling-up-a-trellis pattern. The
Hand Camera Manual goes on to say that the subject is Toned (or Toned and
Fixed) by immersion in the solution in the tray, which is kept in constant motion.
They ..." must not stick together in the tray but be constantly changing
" position by means of the fingers. They then receive a slight rinse in water
" and go into the Fixing Bath, where they remain for about 15 to 20 minutes.
" After thorough washing they are passed through a bath of Alum to harden
" the film, and lastly dried."

MOUNTING AND FINISHING.

For ordinary mounting the subjects are taken out of the water and placed on a
linen sheet, another sheet is placed on top and the hand rubbed firmly over the

Although I have consistently advised the use of large and roomy baths — particularly
for Combined Bath work, as detailed on page 48 — / cannot help remarking that this
young enthusiast has gone a bit too Jar. Fishing about in roods and fathoms of water
on the off-chance of finding a couple of half-plates is not my idea of photographic
efficiency ; and why the young lady should look so pleased with herself for having
found what looks suspiciously like a prawn, is really beyond my ken. A couple of
hours at fi6 is what she needs !

top sheet ; this removes surplus moisture. They are then gathered together
into a neat pile and laid face downwards on a sheet of clean paper. Then the
Mounting Medium is applied and the print is rubbed down on to the mount
with the hand, over a piece of blotting paper. If it is desired to dry mount they
must not be placed between blotting paper, but laid on a piece of glass, cloth
or paper, and left uncovered until dry. For the special surfaces a Squeegee is
required. This consists of an indiarubber roller mounted with a wooden handle.
A piece of vulcanite, enamelled iron (ferrotype) plate, or plate glass for the highly
glazed surface ; and a fine ground glass or matt surface celluloid film for the
matt or dead surface is also necessary. These must be carefully cleaned in warm
water, polished with a soft silk handkerchief or wash-leather, and when dry dusted
over with French Chalk (or Fuller's Earth — ? Ed.). When this is again dusted
off, the subject is placed film down whilst wet upon either surface, a piece of
blotting paper placed over it and the Squeegee applied vigorously. If left in a
warm dry place they will strip off in a few hours.

Generally speaking, negatives are darker than positives. But the whole subject
is fraught with difficulty ; it is safer to say that most negatives are a prelude to

Perhaps the most important difference
between a negative and a positive is
that a negative is denser in the parts
where a positive isn't. Here we see the
author using a negative to print down
mural on the walls of the Chapel-qf-
"ViiMsSife Ease at Stratford-le-Bow.

a positive, indeed, persistence will usually turn the most obdurate negative into
a positive, whilst some negatives seem automatically to turn positive during the
final stages.

When asked to give an opinion it is well to avoid being too definite . . . why
why give others the benefit of your hard earned experience. The picture on
page 59 is a case in point ; most critics said that the subject was obviously a
negative — whereas I was able to affirm from my own experience that she was
emphatically a positive. Some people spend a lifetime producing nothing but
negatives — this shows a deplorable lack of versatility.

It is sometimes possible to combine negatives and positives in the same picture.
The Beach Scene ( this page), is a case in point ; here we have three positives
(back row) one negative (front, left), and an indecisive (front, right).

This example of combined positive- and-negative print was taken under rather
trying circumstances and I regret to have to admit that the old school colours
on my boating hat were observed by one of the subjects (rear, left) before the full
exposure had been completed.

It is perhaps significant that Louis Jacques Mande Daguerre, the first successful
French exponent of Photography developed a positive process whilst his English
contemporary, William Henry Fox Talbot, was concentrating on negatives. Never
was the Gallic temperament better apostrophised.

Blisters — If bhsters make their appearance it is probable, if the substratum be
of albumen, that the solution is not sufficiently dilute. With some hinds of india-
rubber blisters always appear. The practice of tacking prints on the wall with a
coal hammer is another prolific cause of blisters.

Transparent markings — may be caused by handling the subject with warm
fingers before immersion in water previous to development. Handling with cold
fingers has its own problems.

A transparent edge — will be caused by allowing the whole length of the edge
of the subject to rest on blotting paper when drying in the drying-box. The only
consolation is that some subjects look better with transparent edges.
A LACK OF DENSITY — is caused by the collodion being tpo thin, requiring more
pyroxyline ; by an insufficient quantity of iodide ; by insufficient sensitizing in
the bath ; or by too weak an alkahne developer. Keeping the subject at school
until Matric has been passed can only be regarded as a secondary cause.
Lines — may be caused by a stoppage in the wave of developing solution, by
removing the subject in the drying-box previous to complete dessication, or by
an uneven flow of preservative over the film. It is therefore a fallacy to assume
that old-age and late nights are the only causes of this prevalent phenomenon.
Black spots — on the film may be due to the india-rubber substratum, and to
dust on the plate. They are sometimes due to indigestion^ in which case they do not
remain stationary, but move slowly in an oblique direction.

Transparent spots — may be met with when photographing near the sea. {See
lace insertions in bathing costume of subject standing by portable dark room, on
opp. page). They are probably due to the chloride of sodium which is held in

Practically all the defects listed in the accompanying article are apparent in this photo-
graph of models resting in and around my special " Beach Pattern " portable dark room
— but I still like it. Which only goes to show that great Art will always out, in spite of
or because of, common defects.

suspension in the air. They rarely occur if the subject has been thoroughly dried
finally by artificial heat a short time before exposure. Many students regard this
drying-out process as one of the best things about seaside photography .
Pinholes — may be caused by the solution of silver added to the developer
dissolving out iodide from the film. If the preservative be not well filtered such
defect may Hkewise occur. Blast pinholes ! If the preservative used for the
dry plate contains any substance only slightly soluble in the former, but more
readily in the latter, then the latter should be flowed over the subject and allowed
thoroughly to permeate the surface. A good washing under the tap afterwards is
then necessary. If the preservative contains nothing soluble by alcohol, water
should be appHed in the first instance. Quite a lot of defects can be traced to the
too exclusive application of alcohol, regardless of solubility.

Whether spirits of wine or water be the agent used for softening the film, great
care should be taken that there is no stoppage in the flow, otherwise markings in
the negative may become apparent. (A dipping bath or a flat dish is useful when
water is to be applied.) The preservative must in all cases be eliminated from the
film as far as possible before development commences.

This is a much abused science. Genuine experimental work should not be
confused with the spurious carte postale school which debases ingenuity by purely
objective repetition. Most of my own researches into this fascinating branch
of the photographic art have been essentially subjective ; indeed, practically all
my original discoveries have been the direct result of persistent attempts to
translate personal whims and fancies into photographic reahties.
Such an attitude is necessarily both a limitation and an inspiration. For instance,
although my Aunt Letitia (mentioned vaguely in another connection in this book)
has a face that in general mass has a striking resemblance to a Jersey cow, close
scrutiny reveals that she hasn't got quite as much hair in quite the same places
as the head of that noble and productive animal usually has.
A realisation of this fact — bordering, I might say, on morbid fascination — prompted

55
me to experiment and out of experiment was born this composite photograph
in which, you will readily observe, the little differences between the two have been
eliminated.

" Giving Nature a Helping Hand " is one of the most fascinat-
ing/unctions of photo-montage work. Aunt Letitia, who had a
predilection for wearing odd blue stockings and rapping my
knuckles when young, was the unwitting inspiration for one of
my finest efforts in this direction. For those who think this kind
of thing is easy I have only one answer — you're quite right, it is !

To call the photograph " realistic " would be wrong, since it
undoubtedly flatters Auntie ; but it is my sincere beUef (a belief supported by
the opinions of many disinterested observers) that the visual impact of my photo-
graphic reconstruction closely approximates the effect of my Aunt Letitia enpersonne
on persons (pun — ? Ed.). Again I would stress that scientific curiosity and not
a desire for mere reahsm was the prime factor in all my experiments. On yet
another occasion I remember being goaded into transposing a portrait (head and
no shoulders) of my cousin Joe from its legitimate, if rather uninspiring, position
in the family group reproduced on page 51 on to the torso of the " Idle Apprentice "
in one of his moist Hogarthian moments. This experiment was the occasion of
considerable resentment — Cousin Joe having practically no scientific curiosity —
and the negative was unfortunately broken : the reproduction on the next page
was made from the print that caused all the trouble.

To transport my cousin Joe into the midst of the gay little
scene above — so redolent of happy holidays at seaside boarding
houses — was a technical achievement of no mean order. I have
not the slightest doubt that photo-montage will eventually oust
all the cruder forms of blackmail.

The technical procedure adopted in the two cases already cited is now too well
known to need elucidation, but the next example is rather more compUcated.

FAMILY PORTRAIT — In addition to being an outstanding example of classical com-
position (based on the famous picture " Mountain Goats at Herne Bay," by Edwin
Landseer) this photograph is also interesting as an experiment in remote control.
The camera shutter was operated by an arrangement of wires, mirrors and gum arabic,
a procedure of which Cousin Joe (rear, centre) strongly disapproved.

Briefly, the problem was this : how to concoct suitable photographic evidence for
an old school friend who was seeking a divorce. The whole experiment was

rather delicate since the two parties most concerned — i.e., his wife and the intended
co-respondent — ^had never been seen in each other's company ; and, indeed, had
not, as far as was known, ever met.

On the face of it this set-up would seem to present insuperable difficulties, but
after studying the problem from all angles I evolved a plan which, with all due
modesty, appears in retrospect to have had the unmistakable hallmark of photo-
graphic genius. The stark simphcity of it was perhaps its most outstanding
merit. I disguised myself as an itinerant exchanger of aspidestras for old trousers
and armed with an amazing specimen of that domestic favourite and a convincing
Une of sales talk I called at Mr. X's bachelor apartment : as was to be expected,
he came to the door in his trousers, upon which I comphmented him heartily —
meanwhile concealing the aspidestra under a voluminous black cloak.
Struck, no doubt, by my enthusiastic admiration of his nether garment he shyly
invited me to tea ; upon which I threw open my cloak, revealing both my aspidestra
and the fact that / had no trousers on. And then, with what I have been told is
my most engaging smUe, I offered him my aspidestra in exchange for his trousers :
shivering to emphasise my necessity. Diffident at first, he gradually warmed to
the idea and when I showed him what a touch of furniture polish did to the leaves
he finally succumbed and took his trousers off. This was the moment I had been
waiting for, and pressing the bulb of my camera (which, I forgot to mention, I had
concealed in a large orange I was sucking), I secured a perfect photograph of
Mr. X in delicto aspidestrum, and walked quietly away.

I hesitate to bore the reader with even more technical details of how an appropriate
picture of Mrs. Y was secured (for details see chapter on " The Keyhole Camera ") —
suffice it to say that, ultimately, the case was successfully concluded in camera.
As a matter of interest I am pleased to be able to report that the ex-Mrs. Y. was
so impressed with my series of composite photographs, a mild example of which
is shown on page 59, that she made exhaustive independent enquiries which soon
blossomed into true love, and they married and lived ever after. •

This is the composite '' Keyhole ''^photograph referred to in my
brief technical sutnmary of the ' X and Y ' case. You will notice
the slight obliquity — introduced to give a realistic air of any-
thing-can-happen-now.

^y^idne/i^neeaJ ^^^n.

Some photographers, not content with exercising straightforward personal
ingenuity, make a practice of employing all sorts of dubious technical gadgets,
such as : Rumford's Photometer, Theodolites, Anamorphosis, Megascopes,
Algebra, The Law of Diminishing Returns and Artificial Discrimination. Although
some of the phenomena mentioned here are not essential to the beginner I thought

it would be a good idea, in order that the reader may be aware of the kind of thing
that is going on behind his (or her — Ed.) back, to include a few details of some
of these pretentious devices.

RUMFORD'S PHOTOMETER.
Amongst other things, this in-
strument is sometimes used to
prove that, when light is thrown
on a dull subject (as in this
book) the angle of ignorance is
always equal to the angle of
reflection. To use it purely as
an anagram machine — as above
— is hardly cricket.

Firstly, we have Rumford's Photometer which is, as you can see, a complicated
piece of paraphanalia based on the simple fact that if shadows thrown on the same
screen by an opaque body illuminated by two different lights have the same
intensity, the illuminating powers of the two lights are equal, if they are at the
same distance from the screen, or are in inverse ratio of the squares of these
distances, if they are at unequal distances. Next we come to the Theodolite,
the principle of which is made only too clear in the accompanying illustration.

STARGAZER'S THEODOLITE

This attractive little set up has
all the naive charm of the Wims-
hurst machine, without any of
the shocking implications. It is
fortunate that the principles it
is supposed to demonstrate are
so unimportant that the lecturer
can soon get down to the more
serious business of projecting
double-headed rabbits on the
screen — using only two fingers
and a thumb.

Anamorphosis is, as one would expect, the opposite to what happens to Butterflies
when they emerge from the chrysaHs.

The Megascope consists of a dark chamber used for the purpose of reproducing
an object on a large scale. It would seem that models for this type of work are
drawn almost exclusively from the Fakir class, since, in order to reach the posing-
platform, a working knowledge of the Indian Rope-Trick is patently required.

THE MEGASCOPE. -This instrument has the happy knack of turning a subject
upside down without disturbing the drapery. For those who hate the usual tomboy
tricks of the studio and prefer to work quietly in the dark, what could be nicer ?

UNUSUAL-VIEWPOINT PHOTOGRAPHY.

It is refreshing, after all the foregoing examples of misapplied ingenuity, to get
right back to a few modestly practical ideas of my own ; ideas, I may say, in which
the brain, rather than complicated paraphanalia, is the motor force. As a demon-
stration of the way in which quite simple means can be utilized to attain worthy
ends I refer the reader to the illustration on page 62, which shows a lively scene
at a The Dansant taken through the glass bottom of a pewter pot : if I remember
rightly the pot contained about half a litre of old-and-bock at the time.

Photograph of a The Dansant
taken through the bottom of a
pewter tankard.

INSTANTANEOUS PHOTO-
GRAPHY. An exciting climax
caught by the camera at Mask
. . . (pardon !) a well-known il-
lusionists.

63
INSTANTANEOUS PHOTOGRAPHY.

This branch of photographic endeavour calls for nimble fingers and a watchful
eye : with these attributes, a hand-camera, and the co-operation of the manage-
ment almost anyone can take pictures which recall with dramatic intensity those
never-to-be-forgotten moments of vaudeville, burlesque, symphony concerts and
real Hfe. I can honestly say that my shot of " Sawing the Lady in Half " has
done as much as anything else to put this exhilarating pastime on the map. {See
chapter " Moving Objects").

TRANSPOSITION.

This aberration has not, as is commonly supposed, anything to do with Buddhism ;
but on the now established principle that " Boy Bites Dog " is news, whereas
" Dog Bites Boy " is not, one is surely entitled to take a few pictorial liberties. It
is partly because Transposed-Subject photography is to some extent indicative
of the new spirit of healthy scepticism, that is sweeping through the darkrooms of
to-day, and pardy because it isn't, that I propose to deal with it at some length.
Who has not, in moments of searing vision, ennui, or pique, itched to upset — even
if only pictorially— some of the humdrum, estabhshed situations of History,
Science, Art, Entymology and Domestic Relations ? For instance, one cannot
fail to get a httle blase about " Pharaoh's Daughter Finding Moses in the
Bulrushes " . . .so why not reverse the situation and introduce new trains
of thought by portraying " Moses Finding Pharaoh's Daughter " in similarly
wild surroundings, as I have done in my photopicture on page 65.
Naturally, one sometimes makes mistakes ! . . . and although at first I considered
" Two Bicycle Maids " {see photograph on page 64) to be ethically superior to a
" Bicycle Made for Two," I was quick to agree with critics who pointed out that
a young woman brazen enough to smoke — even on a bicycle and in the comparative
seclusion of a wood — was more likely to be a hussey than a maid. However, the
truly enthusiastic photographer soon learns to take bloomers of this sort in his
stride.

TRANSPOSITION .—Yet another vivid example of this fascinating art. My " Two
Bicycle Maids " has a purer, sweeter significance than " A Bicycle Made for Two "
could ever have. ;^El^^A§fiflPS£I^^K^«^'ll^^^lli?^''''^'^^K'Vv ^ 'f

TRANSPOSITION.— Here we have a clever variation of a hackneyed theme. My
photopicture " Moses Finding Pharaoh's Daughter in the Bulrushes " is such an obvious
improvement on the original that it would be pointless to dwell on it . . . or would it ?

BOTTLING.

From ships-in-bottles to people-m-bou\ts is but a short step to the enterprising
photographer. From the first it is well to reahse that some subjects are bottled
more easily than others ; careful initial choice can obviate a lot of useless effort.
The following illustrations serve better than a spate of words to explain what I
mean. In the top piaure the subject is easily and comfortably accommodated
by quite an ordinary type of bottle and she looks relaxed and pleased with both
herself and her surroundings ; whereas, in the bottom right-hand picture, despite
a certain attitude of defiance and a rather unusually shaped bottle, the subject is
obviously ill at ease and bursting to escape from it all. The other little girl looks
happy enough, but the bottle she is in cost more money than, in my opinion, the
result was worth. In conclusion I would suggest that subjects for bottling should
be acquired nett (top), rather than gross (bottom, right).

m^-e^

There are some would-be purists who assert that the addition of colour to mono-
chrome prints is both unnecessary and inartistic. With this dictum no right-
thinking photographer can possibly agree : unnecessary, perhaps ! . . . inartistic,
NEVER ! What could be more attractive than a nicely coloured-up print of some
loved one ... or a happy family group ... or something ? Who, indeed,
has not been struck at some time or another with a feeling of acute frustration
when, in the course of a pleasant country ramble, armed only with a camera and
a stand, one is confronted with some colourful and picturesque scenes such as I
have recorded on pages 80 and 81.

No, I regret to have to say it, but the Anti-Colouring-Up Campaign that has
swept through the photographic fraternity like a blight is nothing more or less
than a vile attempt by vested interests — represented by a handful of unscrupulous
R.A.'s — to confine the monopoly of the manufacture of coloured pictures to a
small, privileged group. Photographers and the public generally would do well
to ignore such obviously biased and defamatory criticism as is so assiduously
fostered by this unprincipled and self-seeking minority.

Examples of " Bottling," the fascinating possibilities of which have recently set the
photographic world agog. For detailed comment the reader is referred to page 66 of
this book and the Ency. Britt.

I will say most definitely that anybody — yes, anybody — who is capable of using
his (or her—? Ed.) eyes and of making a few pencilled notes can decorate an
ordinary photograph so effectively that it is quite worthy to rank, in artistic value,
with the over-puffed productions of professional contemporary painters. The
procedure is roughly as follows : First choose a scene the composition of which
is completely in accord with one's finer feehngs and the teachings of Mr. Ruskin,
and proceed to photograph it in the usual manner. Then remove, develop and
fix the plate in a Portable Collapsible Bag Tent (U.C.E.) of the type shown
in the accompanying illustration.

The fact that the uninitiated never know, and find
it difficult to guess, what is going on inside the
Bag-Tent, has led — we are sorry to say — to its
widespread abuse. Dilletante photographers often
impose on the credulous public and make a positive,
if somewhat negative, nuisance of themselves by
producing nothing but white rabbits and yards of
coloured ribbon from its capacious depths.

This ingenuous adaptation of the Carlyle Cloak (for a description of which see
section on Outdoor Photography), is specifically designed to enable the operator,
whilst processing the plate, to peer from time to time at the scenery, etc., and
thus facilitate the memorising of the various colours. Incidentally, the hands
may be removed at will from the Bag Tent to enable brief notes regarding the
colour to be jotted down on the washable celluloid cuffs and dickey without which
the well-trained male photographer is seldom to be found. I will not presume
to make suggestions to the ladies regarding appropriate places where they could
jot down their notes.

A word of warning ! Never, when using the cuff-and-dickey method, use indehble
pencil or ink : if a permanent record is essential it is far more conducive to
domestic harmony if ±e notes are written hghtly in pencil and transcribed into
a suitable notebook on arrival at tlie studio. To give you the idea here is a facsimile
of the original colour notes for my Salon Diploma- Winner, entitled " Les Land
Girls " {see page 43).

As you will observe, certain irrelevant scientific data
appertaining to other studies happened to be already on the cuflfs, but I took the
precaution of crossing this out first, having been foxed on previous occasions by
cryptic phrases such as ... " Any to come 5/- each way rechning figure with
" red dress and red bonnet "... which misled me into losing ten shiUings on
a horse called Red Riding Hood.

By this time the plate is usually dry enough to be taken away and printed down
in the normal way. A matt surfaced paper is the best for colouring as this will
take almost any water, oil or spirit bound pigment without cockhng, peehng,
stretching, or shrinking excessively ; needless to say, a little of all these quahties
is a good thing, as they tend to impart that rugged hand-done appearance . so
beloved of the coimoisseur.

THE ODIFEROUS-OIL PROCESS.— ' Composition in Smells " is indeed an art in
itself. Only after years of almost suffocating experiment was J able to achieve the
mastery that was so apparent in my original photopainting entitled " Warm wether is
on the whey." Here the characteristic odours of cow, goat, chicken and ducks were
offset with just a touch of Jasmine, asafcetida and Icelandic Stoat to produce the
haunting blend that was noticed by practically everyone without a cold at the crowded
opening of last yearns Salon. Unfortunately, the peculiar smell of this monochrome
reproduction gives you no idea at all of the original.

f*^^^

'fd^'icjfi^attam

LANTERN SLIDES.— Success on this
bye-way of the photographic art comes
only after much experiment and prac-
tice. The two little ladies above would
seem to be doing well enough — but
wait until they get on the slope. The
younger lad on the left has come a
purler right at the start.

The type of colour used is a matter of individual preference — there are several
brands of ready prepared Photo Tinting Liquids on the market, and I expect
that most beginners will prefer to use one of these. For those who are a Uttle
more ambitious I would suggest the use of oil colours as these have more body and
can be made to stand up in ridges just like real oil paintings. Another httle
discovery of mine (which had not previously occurred, even to Mr. Rimmel) is
that if the pigments used are mixed with pleasantly odiferous media — such as
lavender oil, frankincense or myrrh — the pictures can be made to smell like
herbaceous borders, or an Old English Garden.

Critics have often remarked that my pictures smell, although, in their ignorance,
they never seem able to identify' any particular smell. Simply to say " Mr. So-
and-so's pictures smell " is not enough . . . more precise information is required :
to be told that the female figures in my photo-painting, entitled " Warm Wether
is on the Whey " smell of jasmine behind the ears and seaweed in the corsage
does help individuals who have not had an opportunity of appreciating the original
to get more pleasure out of a mere reproduction, which, even if it does smeU,
certainly does not smell in the same way. For examples of the purely visual
excellence that can be achieved by the oil-paint technique, the reader is referred
to the series of pictures starting on page 80, entitled " Hot Feat."
To quote again from Mr. Welford's interesting book — the Hand-Camera Manual
— " One of the most attractive uses to which hand-camera shots can be put, is
" that of making lantern slides. By this means we can interest our friends and
" show them the results of our last holiday trip. (All of them ? — Ed.)
" There are two distinct methods of production, one by reduction in the camera
" and the other by what is termed contact printing. As the former is used
" principally for the larger size negatives, I need only describe the latter. Special
" lantern plates are required. The negative is placed in an ordinary printing
" frame, and in the dark-room the lantern plate is put film to film with the negative
" and the back inserted. Exposure to artificial fight is then made and the plate
" developed and finished just the same as a negative.

" The result is, of course, a positive print on glass. When dry, a suitable mask
" is selected, a covering or protective piece of glass placed over it, and the two
" bound together by sfips of paper which are sold ready gummed for the purpose."

Never use oil colours for colouring-up lantern slides as the heat of the lamp
makes the paint run and the resultant enlarged image bears even less resemblance
than usual to the description given by the harassed lecturer. As a specimen of
what can be done we show the decorative effect achieved by two Httle ladies
setting out on their first unattended lantern shde ... in this example the features
are pleasant enough not to require a mask. For further examples see Appendix ''A."

^tf//e ^i^J^aydJ

Whether one uses the word rude in the archaic sense of primitive, simple, unsophisti-
cated, in natural state rugged, uimproved, uncivilised, uneducated, roughly
made, coarse, artless, or wanting subtlety — or whether one does not —
it is still an undisputed fact that as a means of producing Rude Postcards,
the art of photography is on the up. That being so I propose to give a few hints
to the beginner to enable him (or her — Ed.), to avoid the usual pitfalls.
Firstly, as in painting, it is not a good thing to model one's rudeness too much
on the French School . . . there is a dehcate je ne sais quoi about the Gallic
approach that drives the Sturdy British PubUc right into any odd corner when
confronted with a pictorial sample. This sort of solitary ecstasy is against all the
principles of ethics and mass production, and is of dubious educational value.
The same general criticism applies to the German, Flemish, Italian, Middle-
Eastern and Far-Eastern Schools.

No, the only legitimate approach to the problem is to delve right down into the
sub-conscious, if necessary until it hurts, until an idea is bom ; for in Rude
Postcards the idea is the thing, technique is an altogether secondary consideration.
Fortunately it is only necessary to do this once. Armed with the right kind of
idea the veriest tyro can produce dozens of saleable variations, which, in conjunc-
tion with interchangeable captions, can be magnified by permutation and
combination into thousands.

Take the simple idea expressed by the accompanying series : Whilst quietly
philosophising in the coal-hole a student has his (or her — Ed.) thoughts and vista
of the outside world rudely interrupted by a foreign body. Note that expression
rudely ; it is the operative sentiment and conditions the whole idea, although it
is the precise nature of the interrupting body that provides the delicate nuances
of the variations. Actually the body need not be foreign, although I have usually
found that the situation has an added piquancy if it is. Naturally, there are other
approaches to the problem, but I can only say that my best Rude-Postcard work
has been produced in strict accordance with the above method {Miss Kellard may
know others — Ed.)

^e^'f/s ^ Me &l^yo€/cee^^ ^^^yoeedded

Even the few knowledgeable writers on this subject have fallen into the rather
tedious habit of handing out a lot of prehminary guff about bees and pollen. One
could almost go so far as to say that many a growing lad (or lassie — Ed.) has had
his (or her — Ed.) enthusiasm nipped brusquely in the bud by such evasive tactics.
I propose to dispense with both bees and pollen — and, indeed, any other red
herrings — and get right down to bedrock.

THE PURPOSE OF MECHANICAL REPRODUCTION.

The primary aim is to speed up reproduction so that everybody who wants one
can have ope. It is erroneous to assume that a reproduction must of necessity
be a facsimile of something : modern photo-eugenical reproduction sets out to
improve upon the originals.

Print from the YELLOW plate.

Print from the RED plate.

Print from the BLUE plate.

The final print in full colour.

HOW IT IS DONE.

Thoroughly to analyse the various Reproductive Processes is beyond the scope
of a purely introductory article of this kind ; I will therefore concentrate on
broad principles rather than sordid detail.

Briefly, the procedure is as follows : either (i) the original is photographed down
on to a suitable printing surface and etched into rehef or intagho, or (2) the original
is photographed down on to a suitable printing surface and not etched into rehef
or intaglio.

For example, this book was produced by a special apphcation of the latter principle
called Photo-Lithography after a man named Alois Senefelder, who wrote down
his greasy washing hst on a piece of limestone. Apart from the faa that washing
Hsts are now usuaDy written on the backs of envelopes the process used to-day is
very similar.

THE REPRODUCTION OF COLOURED ORIGINALS.

Despite my remarks anent simihtude there is one branch of reproduction in which
a certain resemblance to the original is almost a social duty. I refer, of course, to
colour reproduction. If the originals are, for instance, a sort of yellowish-pink,
and the reproduction turns out to be a strong chocolate-brown, there is bound
to be a lot of local disillusionment and tittle-tattle. For the purpose of repro-
duction the primary colours are regarded as being Red, Yellow, Blue and Black —
not Red, White, and Blue, as is commonly supposed. (N.B. — Printers are the
only section of the community to call black a colour.) The colours are usually
printed one at a time and compound colours are made by putting the different
colours on top of, or very close to, each other — in the same manner as when
cheating at Patience.

One way in which this might happen is shown on page 76 (Figs, i, 2, 3, 4), whilst
the series of coloured Continuous Sequence Photographs entitled " Hot Feat "
{see Appendix " A ") is a good example of the heights to which Photo-Mechanical
Colour Reproduction can rise when in the hands of an expert.

^^ REGISTRATION

Although there is no actual Registrar of Inks and Colours (yet ! — Ed.), registra-
tion is essential. Reproduction without registration has been frowned on for
years in the Western World, although it is still encouraged by certain carefree
tribes in Bloomsbury and the Upper Congo. The illustration in Appendix " F "
is a disgusting example of reproduction practised without the slightest regard for
registration : one has only to compare it with the legitimate examples on page 80
to see where the difference lies.

In conclusion I would advise beginners to leave reproduction to iht experts, for,
unless one is constantly aware of a definite urge towards that sort of thing, one
soon finds that more time is being spent in worrying about details, errors of
omission and commission, and other irritating factors, than can be spared from
more exciting photographic pursuits.

'z-'^

EXAMPLES OF COLOURED CONTINUOUS SEQUENCE

PHOTOGRAPHY.

(l) A SET OF SIX HAND-COLOURED OIL PHOTO-PAINTINGS ENTITLED " HOT FeAT."

I regard this charmingly idyllic sequence as the Photographer's answer to the
spasmodic efforts of the new fangled Bioscopists. There is no flickering light or
jerking movements to worry the eyes and unduly excite the senses ; and each
incident can be carefully examined with the leisurely detachment of the student —
and in broad daylight, too. Lest it should be thought that the foregoing remarks
are prompted by a narrow professional partisanship I hasten to qualify my dislike
on ethical gfounds :

In my opinion the Bioscope, or Biograph as its sponsors grandiosely call it, clearly
represents a vicious attempt to prostitute Art by latently pandering to the low
human instinct for gregariousness, even to the extent of downright promiscuity

In " Hot Feat " the plot is simple and direct with no eternal triangles or vicious
circles of any kind. The moral is deftly pointed and the colour adds a convincing
realism that is vaguely reminiscent of Tintoretto at his best.
The reader will doubtless find it difficult to believe that the basic photographic
portions of these superb oil-photo-paintings were taken with an exposure of only
one twenty-fourth of a second and an aperture of f8.

(2) A SET OF THIRTY-TWO WATER-COLOURED-UP PHOTOGRAPHS ENTITLED " Don't
BE A FREUD ; HAVE A LOOK ALICE ! "

In this rather ambitious series of pre natal prints it was my intention to present
a vivid, visual record of what goes on in the mind of a young student before she
does her homework. I would like to take this opportunity of thanking the model —
Miss Ophelia Hare-Rhys — for her wholehearted co-operation ; a co-operation
without which my intentions could certainly not have been realised.
The outstanding success of this scientific analysis has been generously recognised
by most of the leading psychologists of the day, and I have been so inundated
with requests for sets of prints, from every conceivable seat of learning, that I am
seriously considering taking advertising space in some of the more abstruse
scientific journals. A hint that five shillingsworth of stamps should be enclosed
with every request, combined with a definite promise that plain envelopes only
will be used, will, I think ensure that applications are limited to bona fide students.

Special Notice.

For Lecturing and other educational purposes, both " Hot Feat " and " Don't be
a Freud ; have a look Alice ! " are obtainable in the form of lantern slides. When
ordering please state age next birthday.

(i) " Oh dear, how our
poor old feet do burn 1 "

(2) " Look Emma, there's
a spangle-bottomed
beaver hiding in the
bushes.

(3) ''Ah, that's better,
girls — come in before the
water boils.'*

jjl (4) "Such gaiety! The
others will never believe
us when we tell them."

(5) " Good gracious ! And
you called him a spangle-
bottomed beaver."

(6) " How I wish we'd
used Blanks Anti-Foot-
bum Ointment instead."

(i) " Oh dear, how I hate Algebra

(2) . . . and Geometry

(j) . . . and History

(4) . . . and Emancipation . . .

(j) ... and standing in horse buses ... (8) . . . and Economics

(9) . . . and Literature .

(lo) . . . and Latin roots

(ii) . . . and Gardening

(12) . . . and Cube roots

(i3) . • • and Aero-dynamics . . .

(14) . . . and Aspidistras

(15) . . . and Woollen underwear

(16) . . . and Eurythmics

(ij) ... and Woollen underwear

(i8) . . . and Malthus

(19) . . . and Entymology . . .

(20) . . . and Spelling

(23) - • . and Cooking

(24) . . . and Chemistry

(2S) • . . and Nature Study

(26) . . . and Boyle's Law

(27) ... and Geology .

(28J . . . and Ballistics

(29) • • • and the Binomial Theorem

(jo) . . . and Ballet

(jij . . . and Elastic-sided boots

(j2) . . . and Woollen underwear

y^/j^e^^f^ ^

ART IN CAMERA.

All art is relative, but relatives are seldom art. My Aunt Letitia is a case in
point : she has a face that terrifies children under twelve, and tradesmen. The
latter quality is useful, but you have to live with Aunt Letitia to get the benefit
of it : this is unfortunate. Indiarubber is the salvation of Amateur Art, but
rubbing-out should not be indulged in except under the direct supervision of an
Art master. If you can't get a thing where you want it first time, keep trying on
separate pieces of paper.

Great Moderns have been known to draw with burnt match-sticks on the table-
cloths in restaurants ; others, under the stress of conflicting emotion, draw on
walls in gouache, tempera, charcoal, silver point, pin point and pencil stub.
Waiters are unhappy people. To refer to " Hercules Leaning on Club " (see
picture on page 42) as " all knobs and bumps " is the height of ignorance — if,
after drawing it forty-seven times, you still lack a feeling for form it is because
{a) you are naturally plump, or ih) you had the foresight to bring a cushion.
Landseer, G. F. Watts, and a German painter whose name I can't remember, are
all great artists — cultured business men bought thousands of their works and
gave them to provincial galleries. " The Dobbses are the Medici of the nineteenth
century," writes a contemporary critic . . . but I think that Marx is right when
he says the Borgias are to blame. Art is a great leveller ; it brings the public down
to the level of its most successful exponents.

Drawing as a means of self-expression is better than fretwork, because it is more
difficult to put drawings round clocks. To half-close the eyes when looking at
a picture is to be a connoisseur — completely to close the eyes when looking at a
picture is rude. Any picture is pornographic that has hairs on . . . except
Landseer. Blotting paper, rolled up tightly into a pointed cylinder, tones up
flabby muscles and reduces observation to a formula.

To copy a photograph at all requires infinite patience ; to copy a photograph so
exactly that it is difficult, without a magnifying glass, to tell the copy from the

Following the lead of my brothers-in-art I was persuaded to call this Salon Exhibit
" No. i^." The critics simply loved it, and, exercising ineffable ingenuity, countered
by giving it Balham-wide publicity as ". . . That brilliant example of modern photo-
graphic art . . . dramatising, as it does, a whole vivid chapter of British History . . .
will, we are certain, go right down to posterity. . . . No. 196 or ' Canute had a word
for it, too ' is undoubtedly a mast^piece of the first magnitude.^*

original is Art. To have studied from the Life is to have lived dangerously ;
girls who sit astride are emancipated. Pimples are nature's revenge for being
emancipated. Emancipation and emaciation are not necessarily the same thing.
Popular Art is very shiny ; this is so that finger marks can be washed off. If
Art isn't shiny {a) it isn't art, or {h) it isn't popular. Photographs are not Art
unless they are out of focus. There are some ignorant people who can't tell
fig-leaves from acanthus leaves. Statues without fig-leaves tend to be porno-
graphic . . . except Landseer.

A feeling for drapery is invaluable in a sculptor, painter, or photographer. Etty
would have made more money if he'd had more of it. Parts of the human body
are beautiful, others are merely functional. Paris capitahzes a low liking for

detail. The Greeks had no sense of propriety, but to blame them for it would
be priggish because they had no penny post either.

To express an admiration for antiquity is normal ; to know anything about it
is to be boring. We live in an essentially moral age. Once the Church was Art's
greatest patron ; now soap is. Cleanliness and Godliness clasp hands across
the centuries ..." Bubbles " symboUzes The Church Triumphant.
All great Art can be useful . . . this is not a wilde statement, young men hke
Bernard Shaw think so, too. Kiphng was right when he said . . . :
" Creation's cry goes up on high

From age to cheated age :
' Send us the men who do the work

For which they draw the wage ' . . ."
Kipling is always right. To quote is a sign of erudition ; books of quotations are
very popular.

To know the name of a picture is more important than knowing what the artist
is after ; there is a deplorable tendency amongst some modern artists to give
their pictures irrelevant names, or, worse still, to give them numbers instead of
names. This shows a lack of inventiveness and puts yet another burden on the
art critic ; naming the picture is a good critic's first job. Many of them are
very good at it.

Uncle Albert's Patent Distorting Mirror (obtain-
able, price IS. gd., from all the leading Art Em-
poriums) is invaluable to those Pure-Art students
who do not possess the natural obliquity of vision
so necessary in successful modern practice.

Whistler is a great offender ; you don't know, without going to the trouble of
looking at it, whether " A Study in Grey and Silver " is a review of the House-
hold Troops in Hyde Park, or a portrait of his mother. This sort of thing should be
stopped in the interests of popular education. Pictures without names can never
be popular. A nice glossy picture with a richly descriptive title makes a good
supplement to any periodical. Blatent advertising is when you Can read the
name on the packet. This is carrying things too far — like putting bladders with
words in coming out of angels' mouths.

Patriotic pictures shine up well, but it is better to go back to Agincourt, or further.
Otherwise you end up with a canvas full of red coats and brown heathen and the
whole thing looks very uneven. Borrowed armour should never be dented, and
when painting " King Charles I Saying Farewell to His Children," don't forget
the lace collars and the highlights on the curls. Save your studies in case you
have the luck to get a commission for a " Blind Boy." Don't try to run before
you can walk, but remember, you'll never really get anywhere until you have
combined twelve square yards of canvas and a hundredweight of plaster-and-gilt
in one picture.

Businessmen like value for money. Love and painting don't mix. No true
artist ever loved anybody . , . except Landseer. La Vie de Boheme makes good
reading and opera but, unless you have the digestion of a Spanish fly and the
scrounging versatility of a Neapolitan urchin, leave it at that. When writing home
for mon'ey don't mention money or Art . . . talk about " Success being round the
corner," " Bottecelli's early struggles," and how you miss mother's cake and the
old faces. If this doesn't work enclose cuttings from financial papers and underline
rising markets in red ink — this shows potential business acumen of a high order.
If you can do a line about a once famous musical comedy star of thirty years back
dying in a garret . . . with glimpses of a faded beauty fit with a drink-dazed
smile . , . the lights . . . the music . . . the applause . . . and now this . . .
If you can do a line like this, do it ; it's a winner, only make it sordid, or the old
man may decide to come and attend to the matter himself ; conscience is a fickle
jade.
If all else fails buy a plaster skull, place it on a square of black velvet for emphasis.

Students and models relaxing at the Annual Photographic Soiree, recently held at the
Albert Hall. Highly technical meetings of this kind provide an invaluable link between
the photographer and the model — serving, in a large measure, to break down barriers
of reserve built up during working hours.

and concentrate on getting to look like it. Before coma sets in leave a brave note
blaming nobody but yourself, turn the gas on in the next room, and drop an
aspidestra on the concierge's head. Use French phrases in the note — it shows
you've got a Gallic soul. Remember, the average concierge takes fifteen minutes
to get up five flights of stairs ; if the aspidestra was a large one it may take him
a week. But this should only be used as a last resort and should not be necessary
if you move in the Right Circle.

Finding the Right Circle to move in is an artist's first duty. It took
Rossetti to turn Giotto's "O" into a circle. Never move in 'anything but a
Circle, it isn't fashionable and, besides' there's an unangular completeness about
a Circle ±at Polygons haven't got. Moving in Circles has all the fluid excitement
of Intelligent Discussion ; one knows that, sooner or later, and as inevitably as
possible, one will get back to the point from which one started.
The main thing is to have a few people in the Circle from whom one can pick up
a little money every time one passes. Opportunism is the soul of la vie artistique . . .
Montmartre puts a French polish on opportunism.

In Paris a little loose-living is expected, but don't overdo it. Some artists are
too loose even for Lautrec. Discretion may be the bitter part of squalor, but
without it one's squalor can easily make assommoir.

All the best puns are laboured. Work is man's most dignified pursuit next to
painting— Pord Madox Brown recognised this. My great aunt Ophelia made
seventeen hundred and eighty-three studies from a secondhand plaster cast of
Apollo strumming his lyre ; no one knows why she did this. She died a spinster,
although she lost caste through studying too long under an energetic, but not
very good, painter.

Never suck your brush when doing water-colours ; most water-colours are
poisonous. To tell whether a water-colour is poisonous, half close the eyes.
Never suck your brush when using oil-colours, it is difficult to get the paint off
the teeth. Aunt Ophelia always said that the reason why her teeth dropped out
when she was nineteen was because of a misunderstanding — her art master did
not say " arrange the colours on your palate before commencing to paint." Art
is a jealous mistress. To tell whether an oil painting is poisonous, half close

the eyes.

S^j^^nr/c^ (7

THE POWER OF DOTTED LINES.

Mighty Niagara has already been harnessed to industry . . . the Transatlantic
Cable has for years Hnked continents . . . and of these facts the Great British
Public would seem to be both cognisant and appreciative. Is it not then surprising
that a scientific discovery of mine — a discovery which will, I humbly prophesy,
upset, within a very short space of time, most of our existing notions of Mechanics,
Dynamics, Ballistics and Eurythmics — should remain practically unrecognised by
contemporary (and if I may say so, selj styled) leaders of scientific thought.
But perhaps I am not being deliberately cold-shouldered ; perhaps it is the sheer
magnitude of my discoveries that makes its realization, even by experts, difficult.
Who, indeed, would beHeve it possible that from the modest beginnings illus-
trated in Fig. I, when, grasping a single Dotted-Line in my teeth I bounced an
indiarubber ball on one end whilst hfting a sturdy letter A with the otlier, such
amazing feats as those pictured in Figs. 2, 3, 4 and 5 could have developed. I
suppose that, under the circumstances, even the Royal Society might be forgiven
for being a little incredulous.

As is not infrequently the case the true direction of my endeavours was determined
by chance rather than by rigid intention and it was not until I had broken three
sets of teeth that I discarded this method. Changing the fulcrum to the top of

Fig. I.

'*'\
-'<\.

Fig. 2.

my forehead it was not long before I was able to lift a steel-rule, two M's, two
arrows, a P and a Q ; using a radial arrangement of Dotted-Lines, as shown
in Fig. 2.

I next removed the fulcrum to the left eyeball, and using a heavily tasselled
smoking-cap as a counter balance I raised two cigarette cards horizontally in the
air with hardly any strain at all on the neck. This is shown in Fig. 3 (the angular
piece of tin merely serving to keep the sun out of my eyes).

Fired by the success of the preceding experiments I next used the right eyeball
to project a series of Dotted-Lines through a glass prism and thus cut a lighted
candle in half at three feet ; the energy released being sufficient'to ignite the lower

half almost immediately after decapitation. Notice the tensely suggestive attitude

of the left hand in Fig. 4.

Even after these impressive examples. Fig. 5 comes as rather a shock— here, with

the bridge of the nose as a fulcrum, we have no less than seven snooker balls,

two biUiard cues and a miscellaneous assortment of letters and figures supported

on as complicated a system of Dotted-Lines as one could wish for.

Who can resist a slight feeling of " Apres ca, le deluge " ?

Fig. 5-

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UNPLEASANT EXAMPLE OF REPRODUCTION WITHOUT
REGISTRATION.

(Removed by Order of the Trustees.)

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