'C + + * r 2-.

i

S 5;

> j >->Ji 1 1 > :

//;

^ 9 j '_

1> ->

> #1

t ^

I

i

2:

■

THE

Photographic Journal

of

America

THOMAS COKE WATKINS, Editor

VOLUME LIV

PHILADELPHIA

Edward L. Wilson Company, Inc., Publishers

701 ARCH STREET 1917

INDEX

A

C. R., 148. Allan, Sidney, 10, 57, 103, 509 Among the Societies, 123, 168, 228, 532 "Anastigmat," The Choice of a Lens, 370 Architectural Photography, Notes on, 365 Artist out of the East, An, 1

BACKGROUNDS, On, 10 Brevities, 435, 488, 532 Building a Successful Studio Business, 8 Butler, Norman, 98

CARBON Printing, Modern Methods of, 422 Carbon Prints upon Celluloid by Single and

Double Transfer, 215 Carbon Process for the Finishing Artist, The,

217 C. H. C, 455

"Chemist," 61, 215, 253,461 Cherry, Arthur L., 217 Clark, Frank Scott, 504 Claudy, C. H., 15 Clothes in the Picture, The, 521 Coburn, Alvin Langdon, 153, 219, 298 Collins, Bertha L., 100 Color Prints on Opal, 154 Color Sensitizers, Two New, 419 Commercial Photography, 249 Commercial Photography, A few Important

Points on, 514 Composition, A Talk on, 501 Composition and Arrangement, 47 Coover, L. G., 143 Crain, Jr., G. D Correspondence: Worth While Letters on Live

Ideas, 167, 226, 267, 308, 346

DEISCH, Noel, B.A., 467 Delery, Henry C, 365 Demachy, Robert, 451 Dench, Ernest A., 107 Design and Commercial Use of Box Enlargers,

471 Developer for Producing Prints of Exceptional

Beauty, 461 Developer, Very Rapid, 9 Direct Positives on Bromide Paper, 55

EDITOR'S Table, 427, 477, 522 Elsden, A. Vincent, B.Sc, F.I.C., 208 Enlargements on Concave or Flat Glass Sur- faces, 253 Enlargements as a Source of Extra Profit, 143

FIELD Botany and the Camera, 255 Flashlight in Portraiture, The, 211 Focal Length and Pictorial Quality, 412 Focal Lengths and Lens Stops, Mistakes Regard- ing, 22

GETTING Your Studio Into the Movies, 107 Gilbert, F.B., 139 Greene, M. Louise, Photographer of Children, 100

HALF-TONE Reproduction, How to Make Photographs for, 151 Hammond, John Martin, 292 Hartmann, Sadakichi, 10, 57, 103, 509 Havelock, Bertram E., 471 Head Operator, 30, 75, 124, 171, 231, 269, 309,

348, 384, 436, 489 Hitchens, Alfred B., Ph.D., F.R.P.S., 139, 419 Huse, Kenneth, 405

TNDIVIDUALISM,, 409

JL Influence of Illumination in Determining the

Color-quality of Autochromes, The, 467 Intensifying with Uranium, 98 Iron-Silver Printing, Variations in, 292

LAMBERT, F. C, F.R.P.S., 22 Le Mee, M., 154 Light Effects, On, 103 Lighting, Artistic, 505 Long-focus Lens — And Why, A, 469

MASTERS in Portraiture: Jean Baptiste Grenze, 111 Joshua Reynolds, 65 Rembrant, 18 Methods, 25, 114 Miniatures, 289

IV/TcALLISTER, Margaret, 289

NIETZ, Adolph, 405 Night Photography, Simplified, 334 Notes and News, 26, 71, 119, 163, 223, 264, 303, 379, 484, 529

OIL Transfer Process, 451 Orthochromatic Photography, 298 Orthochromatic Plates and Light Filters, 367 Outside Trade, 15

PATENT News, 46, 92, 138, 184, 288, 326, 364, 402, 450, 500 Perspective for Photographic Artists, 463 Photographers' Creed, The, 426 Photography's Call to the Colors, 332 Pictorial Photography, The Future of, 153 Pittsburg Salon, The, March 1 to 31, 70 Pittsburg Salon, 1917, 185 Pohle, The Work of Frederick, 509 Porterfield, W. H., 1, 185 Portrait Photography as a Business, 403 Portraiture, 148

LIST OF ILLUSTRATORS

in

Producing Photographs in Black Sulphide of

Silver, 61 Professional Photographer and the Reflecting

Camera, The, 455 Professional Portraits of Children, 93 Putting Your Business Under Your Thumb — A

Simple System for Getting Facts, 327

R

AYMER, Felix, 505

Removal of Hvpo by Water, 208

Washing with

SCOTTEN, T. A., 249 Sepia Tones by Direct Development, The Productions of, 405 Service and the Commercial Photographer, 52 Show-cases, a Few Remarks on, 518 Shufeldt, R. W., M.D., 255 Smith, W. J., 514

Stanard, F., 521

Studio, The— Practical Papers on Studio Work

and Methods, 115, 159, 220, 259, 301, 340,

377, 429,479, 525 Studio Ethics, 504

TENNANT, John A., 93, 403 Tone and Values, On, 57 Trabold, Edward R., 334

V

IEWS and Reviews, 344, 431 Vortography, 219

WATER Thermostat for Maintaining Photo- graphic Developing Solutions at Con- stant Temperature, 139 \\ "hiring, Arthur, 463 Wilson, J. Clyde, 327

Workroom, The, 30, 75, 124, 171, 231, 269, 309 348, 384, 436, 489, 535

LIST OF ILLUSTRATORS

Bachrach Studios— March, June, October Beeson, C. E. — May Bonnar, David W. — May Boughton, Alice — April Brown, Margaret De M. — May

Chaffee, A. D. — May

Choate, Alice — May

Core, E. B. — March

Cowell, Francis W. — May

Craigie, R. — March

Crowther, C. — January, October

Doolittle, James N. — September Duhrkoop, R. — January, March Dunning, Edwin G. — May

Gatschene, O. M. — March Gillies, John Wallace — May Gottheil, A. — February Grainer, Franz — March Greene, M. Louise — March

Hals, Franz — January Henderson Studio, Henry — July Hollyer, F. — January

Kales, Arthur F.- Kuhn, H. — March

-May

Lifshey, S. H. — March

Lockwood, Milton — February, March

McEvoy, Ambrose — February Macnaughton, W. E. — September Mather, Margrethe — May Matthews Studio — September Michalek, L. — January Millais, Sir John — February Mix, E. L. — February

Nesson, H. Remick — May

Offner, A. — February

Perscheid, N. — February Phibbs, Harry C. — May Photographic Bureau N. Y. Edison Co. Pohle, Frederick— December Porterfield, W. H. — May

Rabe, W. H.— May Raeburn — January, March Raupp, Erwin — March Reece, Jane — April, September Rubens — January, February Ruegge — March Ruf, C— March

Schneider, E. — February Shields, Wm. Gordon — May Shufeldt, R. W., M.D. — June Stewart, Julius — February Strauss-Peyton Studios — August Struss, Karl — April

Terras, P. G. — February Trabold, Edward R. — August

Van Dyck — March Von Glehn — February

Watts — January Walters, Emile — February W'eimer, W. — February Weston, Edward Henry — May Whitman, Roger B. — November Wiehr, B. — March Wiltse, Mary W. — May

April

SAVE MONEY

Photographic Magazine Clubs

You can save money by ordering all the magazines you and your friends want, at our combination prices. A club consists of two or more magazines ordered at one time. Sub- scriptions ordered in a club may go to one address or different addresses, may begin at any time desired for any magazine, and may be either new or renewal, unless otherwise stated below. Canadian and foreign postage must be added. To find the price of a club, add the class numbers and multiply the sum by five; the result will be the price of the club in dollars and cents. For instance:

	The Photographic Journal <	»f America — Class Number 25
		25 >	:5 = $1.25
Class No.	Publisher's Price	Canadian Postage	Foreign Postage
35	Abel's Photographic Weekly (professional) . . $2 . 00	$0.50	$1.00
25	Amateur Photographer's Weekly 1 . 50	.50	1.00
25	American Photography 1.50	.35	.75
25	Bulletin of Photography (professional weekly) . . 1.50	.50	1.00
25	The Camera 1 . 50	.35	.75
17	Camera Craft 1 . 00	.25	.50
31	Photo Era 2.00	.35	.75
25	Photographic Journal of America . . . 1.50	.35	.75
45	Photographic Journal of America (2 years) . 3 . 00	.70	1.50
50	Photo-Miniature (a series of monographs) . . . 2 . 50	MAGAZIN
	BRITISH MAGAZINES	FRENCH	ES
Class 73	Xo. Amateur Photographer and Photo- graphic News (weekly)	Class No. Appearing irregularly or during the war	suspended
64	British Journal of Photography (weekly)	ITALIAN	MAGAZINES
12 53	Photographic Dealer (to trade only) Photography and Focus (weekly)	30 11 Corriere Fotografico 72 La Fotografia Artistica

We shall be glad to receive orders for any periodical published, as well as the photographic

magazines listed above, at the prices quoted by any subscription agency. Prices on

any list of magazines will be quoted on request.

THE PHOTOGRAPHIC JOURNAL OF AMERICA

701 ARCH STREET, PHILADELPHIA, PA.

New York Office: 122 East 25th Street

new series < WiL^KI^ PH0T0URAW1U] MAUAWKIIJ

5 CENTS A COPY

$1'50 A YEAR

THE PHOTOGRAPHIC JOURNAL OF AMERICA

r

VOLUME LIV

JANUARY, 1917

NUMBER 1

g gg w A /TO ^ ^ M /Ol ^ M ffl 3ft, lEBOggl

77i/5 Number Contains:

AN ARTIST OUT OF THE EAST

By W. H. Porterfield

ON BACKGROUNDS

By Sadakichi Hartmann

OUTSIDE TRADE

By C. H. Gaudy

BUILDING A SUCCESSFUL STUDIO BUSINESS

THE WORKROOM

rwfimii mail muu nam »m uuiu nam mini nam am aim, n m w in in1 n«l

EDWARD L' WILSON COMPANY- INC' 122 E ' TWENTY-FIFTH ST -NEW YORK

sol

THE OLDEST PHOTOGRAPHIC MAGAZINE IN AMERICA

The Double Cross

for the

Amateur Photographer and Cyko

A photographic dealer writes as follows:

"The finisher who does our work cannot any longer continue to use CYKO Paper on account of the in- crease in cost of chemicals and labor, and he intends to substitute a cheap brand of paper.

"Our finisher prefers to keep work- ing with ANSCO products to fulfill the promises made in his advertise- ments as regards quality."

The list price of CYKO is the same today as before the war, although raw materials have doubled in price.

Can you beat it?

Ansco Company

Binghamton, N. Y.

SELF-PORTRAIT By C. CROWTHER KOBE, JAPAN

PHOTOGRAPHIC JOURNAL- 'S^ AMERICA •

VOLUME LIV

JANUARY, 1917

NUMBER 1

JAN

AN ARTIST OUT OF THE EAS'

By W. H. PORTERFIELD

PERHAPS it was a year, perhaps two years, ago that a print bearing the name of C. Crowther, Kobe, Japan, found its way from the land of the Mikado to a busy city in the West- ern world, and served as an introduc- tion to the work of an artist who apparently was content when he pleased those clients who found their way to his little studio on the hill which over- looks the bay at Kobe.

As yet no salon juries have been asked to pass upon his pictures, and aside from the publicity which awaits the presentation of this article it is not said that he sought recognition in any way other than resulted in the approbation which came from discrimi- nating friends upon whom he was pleased to turn his camera.

Whether it was modesty or an independent disregard for the world's opinion may never be known. Be that as it may, the little print above men- tioned was his undoing, for soon after its arrival here a request went forward

for further samples, and as a result we are able to present to the readers of Photographic Journal of America a fairly comprehensive collection of prints which reveals unmistakable ability and a truly remarkable "up-to-dateness,"" notwithstanding the isolated location of the artist and consequent absence of pic- torially inclined associates that when present contribute so much to one's pro- gress, and from whom, as we all know, council and advice are invaluable.

If Crowther is without this advan- tage he has, as a partial recompense for the loss, a freedom from the influ- ences of conventionality and that stultifying conservatism which has caused many a genius to cap his lens forever, because he dared attempt an incursion into the realm which preju- dice and preconception have until very recently denied to the artist photog- rapher.

It is a privilege sometimes to have been a pioneer and to have enjoyed an unrestricted development, particularly

(1)

AN ARTIST OUT OF THE EAST

when one possesses well-defined ideas of what one desires to accomplish. This apparently was the condition under which Crowther took up photog- raphy in Japan, some twenty years ago, and to it in no small degree may his individuality be attributed.

Running through a portfolio of prints we are forced to the conclusion that he never indulged in the hard, sharp, highly polished, hand-laundered brand of portrait so commonly met with a few years ago, because he shows none in that style. Instead, we do find in his prints just that amount of diffusion which delights the eye, yet in rto instance destroys character or removes a single line from the face of the sitter.

In the portrait of Tagore, one immediately becomes acquainted with the great Hindu poet and philosopher, for so truly has the artist succeeded in his delineation of character that some- how this wonderful face inspires in one a deeper appreciation and a greater understanding of the beautiful and enchanting words in "Gatinjali," "The Crescent Moon," and "The Gardener," and we at once feel something of the benign influence of the man who in India is regarded as akin to the gods.

If one would challenge the versatility of the artist, surely the exquisite "Child Portrait" is sufficiently convincing to command the admiration of the most critical.

Beyond question, technically and pictorially, the mind is left to enjoy undisturbed the winsome sweetness of a lovely face with appealing eyes which look out over a wayward curl that so fortunately fell (?) into just the correct position to complete the fault- less lines of composition.

Passing from what might be termed the poetical aspect of Crowther's work,

we find him equally sensitive to the more vigorous phases of human nature, such as are evidenced in the character of strong men and active women.

One could imagine no greater error committed by a portraitist than an attempt to apply the same rule and methods to all "manner of men." This Crowther does not do, and his prints prove it. To fully realize this fact it is obvious that a careful study of his work is necessary, just as one would make himself familiar with any subject in order to fully appreciate the subtle- ties that distinguish the consistent and intelligent craftsman from one that produces quantity rather than quality and hits a high spot now and then only by accident.

It would hardly be possible for any magazine, however generous with space, to reproduce any one person's work in sufficient quantity to cover the entire field of their activity, yet it is hoped that the readers of Photographic Journal of America will find in the accompanying illustrations ample evi- dence to warrant the brief notice given here and to accord to a successful portraitist in a distant land a little of the recognition to which he is so justly entitled.

Under what difficulties, if any, Mr. Crowther works; the time at his dis- posal which may be devoted to photog- raphy (he is not a professional) ; what equipment he possesses, we are unable to say, and after all, what does it matter? It is the mentality of the man which interests and concerns us. By his work we shall know him, not by the value of his apparatus, and it is by studying the former and not the latter that we will profit in our acquaintance with this Englishman, who, if not the first, was surely one of the earliest devotees of pictorial portraiture in Japan.

SIR RABINDRANATH TAGORE

By C CROWTHER KOBE. JAPAN

SELF-PORTRAIT

By C. CROWTHER KOBE. JAPAN

By C. CROWTHER

KOBE. JAPAN

By C. CROWTHER

KOBE. JAPAN

LOOKING PLEASANT AT THE PHOTOGRAPHER"

THE YEARS THAT HAVE PASSED

'A MAN FROM HOME " BETWEEN PUFFS"

By C. CROWTHER

KOBE, JAPAN

BUILDING A SUCCESSFUL STUDIO BUSINESS

PROBABLY photography was never so prosperous as it is today — not even in the much-vaunted past, when single prints fetched several dol- lars. And yet, however much good times are in evidence, there are — must be — always some who feel the stringency of things. A photographic editor is ever receiving letters from readers who have not been able to find the key to success, and naturally they think there is a fault or a miss somewhere, and that it is not in themselves. To a certain extent they are — some of them — right. There may be local circumstances which tell against a man, just so surely as in other cases the conditions are favorable.

"There is nothing succeeds like suc- cess," but that is but added bitterness to the unsuccessful one. There are many men in small towns and villages who never get any money ahead, and who when hard times come find the hard times to be very real. Unfortunately (and it is a thing that an editor feels keenly when hopefully asked for advice) there is no easy way out of tight places. Energy is the only thing — or rather energy is the essential backing thing— which will work the miracle.

First, a word as to what is a "big" business. The word is one suggested by our correspondents rather than by our- selves, for it is a fact not always realized by them that the businesses they speak of so enviously are sometimes anything but big.

People are not unknown — even among those included in the magic words " Fifth Avenue photographers" — who employ as small a staff as many a struggling photographer whose assistants are limited to one or two members of his own family. The big business men are, many of them, never heard of outside their own cities. There are big busi- nesses not only in New York, but in Boston, Philadelphia, Chicago, Pitts- burgh, and other cities — businesses quite unknown, yet doing a turnover infinitely larger than that of many a well-known man. What is meant is what has been termed "individual" photographers: (8)

those who have made their business by a strong personality in the photographic end as much as in the business end. Now, to speak of the big business for a moment, we have said that many of the biggest are the least known. They usually owe their position to two things — capital and energy. In their own cities they are quietly and consistently pushing after business. Even if they never go for general publicity in news- paper columns they may, none the less, be working in those circles from which they can reasonably expect to draw custom.

But the general run of photographer does not taste the advantages of capital. And it is from this general run, which furnishes those who write inquiringly to an editor, that the successful men are drawn ; and it is this fact of having been "through the mill" that ever makes them ready to tell what they can toward helping others along; and it is because their example may be followed by those who are not blessed with capital that editors describe their work and their methods.

There is nothing occult or mysterious in a large city; some workers seem to think that the larger the city the more chance there must be to find an unoccu- pied niche. If there is any choice in such matters, probably it is against, rather than in favor of, the large city. It may at least be said that the proper place to commence the road to success is where a man now is. The successful man usually changes because he has outgrown a place, not because it has starved him out. He makes his success up to the limit of the place's possibilities before he reaches after the larger.

The difference is not so much between big and little business as between suc- cessful and unsuccessful ones. It is very difficult for the unsuccessful man to grasp this. He dreams that the other man has better lenses or more equipment, a capable operator or a new style of skylight. These imaginations are often wide of the mark, and the success is but the logical outcome of hard thought

BUILDING A SUCCESSFUL STUDIO BUSINESS

and hard work — backed by an aggressive business energy.

There is one hard fact which should be grasped by everyone who wants to get among the successful businesses, and that is that things were never as pros- perous as they are now, and may never, in our lifetime, be more prosperous. The deduction is that right now is the time to start ahead; there must be no waiting till harvest is over or until the winter season commences; there must be no waiting "for something to turn up."

How is the progress to be commenced? That depends on individual conditions; but one thing is a primary certainty, the work must be good — work that will appeal to people as being good, and draw repeat orders and new customers. The work must be put before the people. This means advertising in every way that seems to be suited to local condi- tions. Advertising, remember, is not merely a matter of spending money for printer's ink. Much advertising, both in newspapers and circulars, is so much money wasted, because the advertiser has not thought out the wording of his announcement. And sometimes an advertisement may be obtained with- out the cost of a penny if a man is wide-awake and alert. Good business management is a necessity — and many photographers are bad business men. All have felt, at some time or another, the shortcomings of assistants. But few realize that there may be similar — or other — shortcomings in themselves. There is a tremendous drain of waste

in many businesses — plates needlessly exposed, spoilt prints, overpersuasion when the drummer calls, leading to overstocking. When the work is right then prices should go to a self-respecting figure. And everything should be done to deserve success.

"But," it may be said, "everybody cannot reach the top." That is true; but still there is always room a little ahead for the man who likes to climb up to it. We have too few leaders — the more the better, for themselves and for photography. And there is another aspect of the case which should not be lost sight of. The reward of the success- ful man is not solely a money one; there is a very real satisfaction in the mere producing of good work, and the more the work improves the greater is the craftsman's delight in it. And congenial work is a very pleasant thing. There may be such a thing as very much improved work and very little improved income. We meet many men, and have more correspondents, and among them we know not a few who are chafing against very circumscribed surroundings and looking in vain for the larger field. Still, even in these cases, the time has been well spent, and the photographer's pleasure in his work has been enhanced — chronic growling has been changed to divine discontent. But this is seldom finality; the discontent is a necessary stage in the step to a wider field; and sooner or later, in some of the cases, the opportunity will come — or be made — and there will, from time to time, be new names added to the "men that are."

Very Rapid Developer. Those who are fairly confident of the correctness of their exposures should give a trial to the one-minute development method of Joannovich. Two solutions are pre- pared as follows:

A

Water 50 ozs.

Sodium sulphite . ' . 5 ozs.

Metol joz.

Hvdroquinone ... \ oz.

B

Water 50 ozs.

Potassium carbonate . . 5 ozs.

Solution A is placed in a developing tank, and a rack of plates immersed in it for thirty seconds, motion being given the rack to avoid bubbles. The plates are then removed and immersed in a tank filled with solution B for thirty seconds, and are next rinsed in water and transferred to the fixing bath. A single plate should be experimented with first, as the method is a very drastic one.

ON BACKGROUNDS1

By SADAKICHI HARTMANN

(sidney allan)

SIR JOSHUA REYNOLDS is often quoted as having said that the back- ground is the most important and difficult part of a portrait. This is, no doubt, a slight exaggeration. The ren- dering of the face and figure is, after all, the principal thing.

But nobody will deny the difficulty of making a background simple and unob- trusive, and yet effective, so that it will form an harmonious part of the picture and show the head and figure in a way that one gets the impression as if they were surrounded by space and atmos- phere.

There are really only three kinds of backgrounds: First, the simple, plain background, which consists merely of a differentiation of values, a gradation from black to white. Second, the arti- ficially arranged or studio background, that deals with accessories and intro- duces lines and forms into the play of light and shade. And third, the home portraiture background, which tries to make the best of the momentary environment.

I shall deal largely with the first, because it reveals the fundamental principles that underlie the making of a background better than either of the other two. The same laws that apply to the plain background also apply, with few modifications, to the studio and home portraiture backgrounds.

At the very start I must confess that there are no distinct rules to go by. In the profile and three-quarter view I was able to assert that such and such a view was the most favorable one. It is im- possible to do this with backgrounds. They depend too much on the com- plexion of the face; on the color and form of the hair, headgear, and wearing apparel; on the particular silhouette the sitters make against the space behind them, and the general arrangement of

1 From "Composition in Portraiture." (10)

lines and light and shade of the com- position. It is a new problem in each instance.

There are, however, a few back- ground arrangements that are typical, as they have been in use ever since portraits were made. I have tried to reduce them to the eight forms shown in the diagrams. Of course, the light spot in Diagram 1 could just as well occur on the right side, and all the var- ious arrangements could be entirely reversed ; that is, for instance, in Dia- grams 3 and 4 the light part could be dark, and vice versa.

A background (excepting those of absolute monotone tints) always con- sists of two masses, one lighter than the other. The lighter one is gener- ally the smaller. The separation of the two masses is produced merely by a juxtaposition of tints; one feels that they are separated, but one cannot say where either ends; they glide into each other by the means of more or less subtle gradations. At times they may look like a mere jumble of black and white, all mixed up in their planes, but even then one should be able to trace vague shapes of light and darker masses. It is always the same struggle between light and darkness. The all-dark or all-light background (one single tone without differentiation) is the simplest type. A plaster cast looks well against a solid black ground, and a bronze bust against a monotone tint, but it will never do in portraiture. The Secession- ists and extreme tonalists have often fallen into that error. There must be somewhere some slight differentiation of values, some accidental light, some passing shimmer, some apparently meaningless spots or accents, or the surface will look dead and the figure as if pasted on the background (if the latter is light) or entirely lost in the background (if dark).

A narrow strip (Diagram 5), either

ON BACKGROUNDS

11

darker or lighter than the remainder of the ground, along the top or bottom of the picture (and for that matter ^.lso along either of the upright sides), is often used effectively. It looks rather bold, yet furnishes an accent and helps the background to recede in the picture and to suggest space behind the figure.

The most popular form of a back- ground is shown in Diagram 1. We all know it. I venture to say that 75 per cent, of all background arrangements are made on that principle, i. e., to show

the lighted part of the face against a middle tint plane and to surround the head with more or less darker planes. A variation of this principle is shown in the Mrs. Simpson, of Raeburn. The strongest highlights in the figure occur in this instance in the side that is ordinarily shown in shadow. The result is a stronger contrast against the dark planes of the background.

Diagrams 3 and 4 show backgrounds that were extensively used by the English portrait painters. They have been so much tried successfullv that

12

ON BACKGROUNDS

they cannot help being effective. In Diihrkoop's portrait we have the arrangement of Diagram 3, and in Watts' "Lady Gervagh" and Raeburn's "Colonel Scott" the reverse of the same. Any art magazine or illustrated history of art will prove the popularity of these two forms of background. Diagram 6 is particularly suitable for decorative work or when the head is small and you want a similar effect on both sides of the figure.

The arrangement in Diagram 2 is capable of the most artistic effects. It

was applied with preference by the Dutch portrait painters. The idea is that the light spot is a trifle larger than the head of the sitter. This will allow slight patches of light on both sides of the head. If you place the lighted part of the face against the darker part of the background, you have the famous Rembrandt effect. The Rubens self- portrait is composed on that principle. Of course, no picture reproduced here carries out exactly the shape and values of the black-and-white arrangements of my diagrams. I merely have endeav-

ON BACKGROUNDS

13

3URNE-JONES BY F. HOLLYER

LADY GARAGH BY WATTS

SELF-PORTRAIT BY RUBENS

MISS SIMPSON

BY RAEBURN

COLONEL SCOTT

BY RAEBURN

ored to come down to typical forms that are the basis of subtler and more elaborate arrangements. If half a dozen pages were put at my disposal for the reproduction of paintings, I could abso- lutely prove to you the correctness of my theories. As it is, I can merely make some suggestions and leave the remainder to your investigation. We ought never to forget that composition cannot be taught like a language. After all, we only know and appreciate such ideas and facts as we have gathered from our own observations and experi- ence.

In Diagrams 7 and 8 I show you two backgrounds that are frequently applied by modern portrait painters for standing

figures. Whistler, Chase, and many others seem to be particularly fond of the arrangement in Diagram 7. If the floor is lighter than the rest, the result is a distinct contrast between fore- ground and background. It helps to suggest actual space the picture gives in prospective depth, and the figure is enveloped, as it were, in vibrating air. Diagram 8 is simpler and shows merely that if the floor is as dark as the space behind the figure, a lighter spot must occur somewhere to break the monotony of the background compo- sition.

As for the background with acces- sories, it seems that the old masters carefully avoided them in their por-

14

ON BACKGROUNDS

PORTRAIT OF AN ADMIRAL BY FRANZ HALS

MY MOTHER BY L MICHALEK

traits whenever they could. A back- ground should be simple first of all. They were, however, fond of vertical lines, and frequently introduced an open window in one corner of the picture. This suggested an interior, and as the space occupied by the window and the landscape outside was invariably in a lighter key than the rest of the background, it helped the chiaroscural part of the composition. The Dutch masters, striving for more picturesqueness, did not hesitate to put the window right behind the head of the sitter, as in the "Portrait of an Admiral," by Franz Hals. But if you study it carefully you will realize that

PORTRAIT BY R. DUHRKOOP

DUSE AND MARION LENBACH BY FRANZ VON LENBACH

it merely is a version of the arrange- ment in Diagram 4. And in all the elaborate landscape and curtain and column arrangements of the English portraitists you will find the same. It can always be traced to the contrast of dark and light planes, and the juxta- position of black and white in spots and masses.

The old window idea, reduced to a vertical line division of dark and ligher planes, is cleverly used by modern por- traitists. A good example is Hollyer's portrait of Burne Jones.

The home portraiture background will always look a trifle amateurish unless superior knowledge of composi-

OUTSIDE TRADE

15

tion is applied. I fear the depiction of an interior like Michalek's "My Mother" is photographically an impos- sibility.

The plain background is always to be preferred. The sketchy background, as applied, for instance, by Lenbach (which still belongs to this category), opens up new possibilities. A few scratches and daubed-in accents are apparently all. And yet, as unim- portant as these technical details may seem at the first glance, they lend virility, variety, and comprehensiveness to the total effect. With their help an otherwise dead surface becomes ani- mated, the silent begins to speak, and the dull turns colorful.

But only a trained artist can do it, and it is largely a matter of tem- perament.

The trouble with the painted-in back- grounds that have lately become so fashionable in photography is that they are not made by trained artists. They are merely indifferent imitations of the backgrounds of well-known paintings, and often in no light relation whatever to the subject depicted.

It is probably hardly necessary for me to say that the silhouetted and air- brush backgrounds are no backgrounds at all, artistically speaking. They may have their commercial value, but no pictorial pretensions whatsoever. They are in as bad taste as the carved arm chair, potted palm, and papier mache column of former periods.

The simple, plain background will win out. It is the most normal and dignified of backgrounds. I still may add that the lighter a background is the more cheerful and pleasant it will look, while a dark background will suggest depth and be sure of a more serious and dignified effect. The vaguer the differentiation of values the more refined and elegant an impression the background will give; on the other hand, if you strive for brilliancy, the contrasts between dark and light must be more pronounced.

Yet remember that it will be a new problem with every sitter, with every pose, and for that reason, if for no other, it is well to speculate in a few of the most typical forms, as I have endeavored to do in this chapter.

OUTSIDE TRADE

By C. H. CLAUDY

IF you haven't any, there is only one place to put the blame.

There is always an outside trade for every business. If the man who runs the business doesn't get it, some other fellow will.

These things being so, isn't it up to you, who naturally want to make all the money you can, to go after a little out- side business?

Let it be understood right from the start that I am not attempting to tell you that you should try to cabbage the commercial trade from your commercial competitor, unless you are strong on that sort of work. But there is a great deal of trade belonging to you, and not

to him, which he gets because you don't know enough to make it known that you want it. A commercial photographer, whose business it is to make landscapes and buildings and machinery and pet dogs and newspaper pictures, and a few other varieties, is not going to turn down an opportunity to make a por- trait, but some such portraits, made under what are, at best, poor portrait conditions, are sights for the gods who oversee the mistakes of mankind.

If you know how to make a portrait under your light, you should know how to make one elsewhere. It isn't at all a safe gamble that you do, but if you know the principles, as well as the

16

OUTSIDE TRADE

practice of portrait lighting and making, you will succeed as well in the home as in the studio, albeit with more trouble.

Now, suppose you try advertising the fact that you make portraits at home. Try something like this:

Let the Studio Come to You

If you cannot come to 999 Main Street to be photographed, I will bring the studio to your home.

I can make you a "home portrait" or I can make you a portrait in your home that is in every way the same as my gallery work.

Smith, Photographer.

Put it in the paper. Put it in several times — the announcement, not the same wording — and see if you don't get plenty of replies. There are old people, and bedridden people, and sick people, and children and babies, and lazy people, and rich people, and people who want something new, and people who want to talk about something different! There are a lot of home portraitists traveling around the country and getting good prices for good work, and I don't see why they have to be out-of-town people to get the trade of your town !

Here is another card, just by way of suggestion:

Your Picture in Your Home

You cannot bring your home to my gallery, but I can bring the essentials of my gallery to your home. Your portrait in the surroundings your friends know is something they will cherish.

The price is not high — ask me.

Smith, Photographer.

Now agree with me, for the sake of argument, that you have orders for home work. How are you going to go about it? To transport your heavy screens and camera to a house is absurd. You have got to have some special rig to carry. Speaking from experience, I can assure you — and the best and biggest of home-portrait men will uphold the statement — you don't need half the things you will think you want.

You must have a camera and a lens. Make it a light view camera, your portrait lens and shutter.

You must have a background. You will have to have it because some people won't want a home background;

but, because you won't need it all the time, it is foolish to carry a lot, and heavy ones at that. Get a piece of dark red and light gray stuff, have them sewed back to back, put hooks on one edge, get some picture wire and two bradawls, and you are equipped. Roll it, don't fold it. You have thus two portable backgrounds, hooks to hang it upon, wire, and bradawls to stick in the top of door frames and window frames, where the hole won't show, and to which you attach the wire.

You will want a reflector. I suppose nothing less than a wire ring and stand will do you; but if you can manage with it — as many a man does — a col- lapsible frame of light wood and a small piece of sheeting, the whole to be supported on a chair, is all that you need.

Finally, a small hammer, some tiny tacks, and plenty of cheesecloth, and you are equipped to turn any room into a studio. If you cannot learn to so modify a window light with cheesecloth and reflector that you are enabled to make a first-class lighting, you had better keep out of the business; but just remember this, lots of men do it, and what others can do and have done you should be able to do also.

Because you will find people less critical of home work than gallery work is the poorest excuse in the world for doing work you would not let out of your gallery. The very amateurish amateur has set his ineradicable stamp on "home portraits," and your average customer will expect a soot and white- wash portrait, with ink for the shadow side, and be so pleasantly disappointed when she doesn't get it that she will overlook other shortcomings. But that is no excuse for making them, and you want to remember that there are others to see that picture, and critical others at that.

I should strongly advise your study of a book on composition. You have simply got to have some knowledge of line and composition and balance if you are going to make a success of making portraits with a background of reality, instead of the Stygian blackness or smoky cloudiness which your studio

OUTSIDE TRADE

17

background allows you to use to hide possible errors of composition. Your patron may not know a plane from a pipestem, or realize at all the difference between a well-balanced picture and one that is toppling over into an abyss — may not know that lines lead and carry, or that there is a way into and a way out of any picture which is properly made; but some one with critical judg- ment is going to know, even if they cannot put a name to it, when your picture is incorrect, and so you will suffer in the end.

You will find, of home portraits, the easiest to make are those which require but the head and shoulders. Unless you are a double-dyed-in-the-wool, a yard wide, and warranted fast-color home portraitist, you want to watch with an eagle eye, lest you attempt to make a head and shoulders with a " home " background. For that way lies the easy road to failure. It takes a pretty level head and a pretty good artist to put a large head and shoulders against anything but a plain and innoc- uous background, and unless you are sure of what you are doing, stick to plain ones. By plain backgrounds it is not meant that the surface of the cloth must show no design. One of the most effective and appealing pictures I ever remember seeing, made in a home, was of an angel-faced child, by Pierce, of Boston, in which an old shawl, with a subdued pattern, was used as a back- ground. But here, again, is a pitfall. Beware of it! A pattern in a back- ground must never intrude — it must tone in, be a part — not stand out and seem to be that plane of which the face and shoulders are a part.

The most effective home portraits are those pitched in a low key — this does not mean a small range of deep shadows, where the contrast is small. I cannot pretend to state why these pictures enjoy so much popularity, unless it is that one naturally expects the opposite from much suffering at the hands of the amateur beginner and his steep mountains of contrast.

In portraits in the home, with the home background, watch carefully for the obtrusive background. You are

not making a picture of a bookcase, or a desk, or a sideboard, or a chair, or a mantlepiece, or a fireplace. You are making a portrait of a person, and you are going to suggest their location and habitation — not shout it from the pict- ure. You will have to learn something of the use of stops in separating planes, and learn that there is a degree of indis- tinctness which is pleasing, and a further degree which is inadmissible, and govern your lens opening accordinglv.

I would warn you against the too conventional pose. Milady reading a magazine by a lamp, which you "artisti- cally" light up in the retoucher's room, may be a masterpiece, but it is much more apt to give a real artist a pain. Grandpa, dreaming over an open fire, made with a newspaper and frantic adjurations on your part to "sit very still — don't move — through in a min- ute," may please the brominic person, but will set you forever beyond the pale of the truly elect. I would suggest your standing in prayerful contemplation before — well, Whistler's "Portrait of His Mother," for an understanding of what simplicity may mean in a picture in the home.

Now there is the question of price. It seems to me that I should do one of two things, were I attempting to work up such a trade. I should either charge a high price for the single picture and a reasonable one for the dozen, or I should charge so high a price, single or by the dozen, that people would not want very many. Both courses have something to recommend them, and it largely depends on the kind of town and class of trade you have. On the whole, I incline to a reasonable charge by t he- dozen or half dozen, but a stiff price for the single picture. There is too little profit in the single picture, at anything less than a stiff price, to make it worth while. On the other hand, if people want a single unique picture, as they have been known to do, the stiff price goes without ques- tion.

But making a dozen at home at but a small increase over gallery charges gives you a beautiful chance to advertise that your price is not high — and, if you have

18

MASTERS IN PORTRAITURE

the time, or can hire a good man to do such work, you can well afford to make three or four "sittings" at home in a day — or in a week — at a price not greater than one-third more than your regular gallery price for the same size picture — always providing that your gallery does a reasonably high class of trade. If you are making cabinets at S10 the dozen, you can make them at home for $12.50— certainly for $15. If you can get $18 in the studio for an 8 x 10, you should be able to make it

$24 to $30 in the home. Many home portraitists would hoot at such prices — they get from $5 to $10 per single picture, and it is exactly in this terrific price that your opportunity lies. They could hardly do it for less, and live — doing that exclusively. With you it is, as it were, a side line, and gives you an opportunity for extra money which should be all to the good, even if done at a moderate profit — a profit you could not live upon were it your sole source of income.

MASTERS IN PORTRAITURE— REMBRANDT

OF all artists, Rembrandt van Rhyn is perhaps the one that is most dear to the Anglo-Saxon mind. Like Shakespeare's dramas, his paintings rep- resent to us one of the great art expres- sions of all times. It is difficult to classify him, he was so universal and proficient in all the various phases of his art. Although no idealist in his personal expression, he understood how to imbue every object with a deep spirituality, and it is this spirituality which appeals to art lovers even more strongly than his wizard-like technique and profound knowledge of life.

His portraits have the same char- acteristics as his larger compositions. He represents the soul-life of people. They become alive under the magical touch of his brush. Technically this was brought about by the wonderfully accurate reproduction of outward ap- pearances and his mastery of chiar- oscural problems. The expression of light and shade became to him the vehicle of both imagination and emo- tion. Deprive Fig. 4 (the portrait of his wife, Sasikia, as a young girl) of the peculiar light effect, much that can be admired will still remain; but the principal charm, the finest essence, the soul of the picture will be gone.

For years the art world has made use of the term Rembrandt lighting. I think it is largely a misapplication. Rembrandt was so versatile in his

light and shade improvisations that it would be difficult to express it by one pattern. Rembrandt lighting was considered a system of lighting in which the lighted side of the face was opposed to a dark background, and the shadow side opposed to a light back- ground. Now, study the twelve accom- panying pictures, twelve masterpieces of portraiture; you will not find a single one where this scheme is exactly carried out. There is a frequent juxtaposition of light and dark, but it is generally a lighted cheek against a profusion of dark hair. Fig. 1, perhaps, comes the nearest to it. There we see a streak of vivid light along the upper arm on the shadow side of the picture; but the other side of the background is almost equally bright. In Figs. 2. 5, 6, and 10, we have a similar scheme. He apparently had a special preference for lighting up the opaque- ness of the shadow side with a glimmer of light; but we do not notice it in Figs. 4, 9, and 11. In Figs. 6 and 12 the lighting comes more from the front, but the treatment of the background is very much the same as in Fig. 7.

We notice, however, that the painter was very fond of contrast, and strong contrasts are naturally best produced by a juxtaposition of light and dark, and he used this device most effectively in the majority of his portraits. 1 will even give in that it became a mannerism with him; but he invariably

MASTERS IN PORTRAITURE

19

I. PORTRAIT OF HIMSELF 2. SASIKIA

3- PORTRAIT OF A MAN 4. REMBRANDT'S WIFE

followed the whims of the moment, the dictation of his eye, which by long experience knew where an accidental touch or shimmer would add to the picturesqueness of the composition. It never became with him a stereotype system that had to be carried out at every instant. And that is where his imitators fail, and we surely pay no tribute to the painter's genius if we consider every crude adaptation of his style a work of artistic merit.

It seems to me that his light -and- shade composition was guided largely by the costume of his time. Men wore wide-brimmed hats, very much like ladies do nowadays, and so he used them to best advantage (vide Figs. 1,

5, and 7) by having the brim shade the forehead and eyes, showing the latter through translucent darkness in sub- dued brilliancy. With him light had to illumine every nook and corner. He wanted no complete darkness, no opaque- ness— everything had to vibrate with air and reflected light.

The costume itself was picturesque at that period. Men still wore armor, chains, and embroidered knee-breeches. No painter has ever made use of acces- sories in such a beautiful and convincing; manner. Everything that was unneces- sary he eliminated — drowned it, as it were, in transparent shadows and one- dominating tonality — but any object that was beautiful in itself, as a chain,

20

MASTERS IN PORTRAITURE

5. PORTRAIT OF HIMSELF

6. PORTRAIT OF A MAN

7. PORTRAIT OF HIMSELF

8. JOHN SOBIESKI

a ribbon, or a piece of gold or silver lace, he would depict in vague outlines, pre- serving the form by dozens of high- lights and thereby producing quaint designs that would embellish the large dark planes that we invariably find in his bust portraits.

Fig. 4 looks as if it were painted in candlelight or the light of a lantern. The source of light was very near the face, or the dividing line of light and dark could not be so sharp on the lower part of the bust. But the effect is startling — poetically beautiful at the same time — and that is no doubt what

the painter wanted. As I have said at the very start, light was to him the great spiritualizer. It brought out unforeseen beauties. The face became animated as with an inner light.

Some of the light schemes are more ordinary, Figs. 2, 3, 10, and 12, for instance; but the division of light and dark planes is always masterly. Rem- brandt did not model his faces by subtle va'ues, but by strong contrasts. Why did he depict the "Man with the Copper-colored Nose" (Fig. 9) in an even light? Because the man is old; his face shows too many wrinkles;

MASTERS IN PORTRAITURE

21

MAN WITH COPPER-COLORED NOSE PORTRAIT OF AN OLD WOMAN

PORTRAIT OF A RABBI PORTRAIT OF A LADY

there would be too profuse a differen- tiation of small light and dark planes in any other light. The very contrast he made use of consisted of the juxta- position of the white beard and the uniform middle tint of the upper part of the face. This is a wonderful lesson, and nearly everyone of his pictures can teach us an equally valuable one.

In Fig. 1 1 we notice that as soon as there are other objects of interest besides the face (as the hands, turban, and various ornaments in this picture), the lighting of the face becomes less strong — the face must produce its effect as a large plane and not by a variety of minor contrasts. In Fig. 10, hands,

cap, and collar are all light, so he used more forceful drawing, but did not accentuate the high-lights and shadows. If he had done so, the face would have lost in importance.

Also much information can be gained by studying the arrangement of the general outline against the background. Figs. 1 and 3 are rather indifferent. A three-quarter view in an oval never looks as well as a symmetrical front view; but Figs. 6, 7, and 8 are excellent in that respect. Notice how the feathers and brim of the hat have been utilized in Fig. 7, and the contour of the hair in Fig. 6. In Fig. 5 the division of space is unsatisfactory. There is a confusion

22 MISTAKES REGARDING FOCAL LENGTHS AND LENS STOPS

of lines, and the face is too low in the picture. In Fig. 8 the outline is less clear than in Fig. 6 or 7. There is a reason for it. The costume of King Sobieski is so gorgeous, and there are so many objects of interest, that a clear contour would make us feel them too much; there would be too many lines, and the face would no longer be of sufficient importance to control and balance the other objects.

In Figs. 2 and 4 we have the sup- pressed outline. It is partly lost in the background. Rembrandt seemed to favor this arrangement in his rep- resentations of women. It lends more

mystery to their form and permits of a subtler concentration of light. The illumination of Fig. 2 as well as Fig. 4 would be impossible to Fig. 12. Either the outline had to be blurred into the background or the background made considerably lighter in parts.

Thus, every one of Rembrandt's portraits offers opportunity for specu- lation. "How would it be if this were different?" or, "Why did he treat it in this way and not otherwise?" could be asked in every instance. And by trying to answer these questions we become acquainted with the intricate mechanism of composition.

MISTAKES REGARDING FOCAL LENGTHS AND

LENS STOPS

By F. C. LAMBERT, F.R.P.S.

FOR many years past it has been my pleasant and interesting duty to deal with a very large number of queries from beginners and others. Two of the topics which turn up with almost mechanical regularity are how to measure the focal length of a lens and how to measure the // values of stops.

For very rough-and-ready purposes it suffices to focus the lens on any distant object, measure the distance from the ground glass or image plane to the stop, and call this the focal length. Also, if this rough-and-ready focal length be divided into portions, each precisely equal to the diameter of a stop, we get the // value of that stop by taking the number of times the stop diameter divides into the focal length.

Once again be it said there are rough- and-ready methods often ' ' near enough , ' ' but they are not correct at all and may be considerably "out."

Only a few days ago a querist wrote: "I have just bought for £10 a lens by A. B., stated to be 8 inches focus and working at f/6.5 ; but on focusing for a distant object I find the image-to-stop distance is nearer 9 than 8 inches,

and dividing this distance by the diameter of the largest stop it comes nearer 8 than 6, etc." I have no doubt whatever that this lens issued by a firm of front-rank repute was all that it was said to be, and that the faults imagined were due to defective pro- cedure on the part of my querist.

Accuracy is very generally thought to be the same thing as immense trouble and skill. For a very high degree of accuracy often great care is required, but for a practical degree of accuracy this is by no means always the case, as I shall proceed to show in the case of measuring focal lengths and stops.

Let us divide our work into two steps: First as regards focal length, second as regards stops.

We need one or two very simple, easily made bits of apparatus. First of all we take a strip of paper or card, 1 inch wide and, say, 12 inches long, and mark it off accurately into inches and tenths. (See Fig. 1.) Also, we want a flat, wide cork, e. g.\ out of a pyro bottle. Next a long French or wire nail. The nail is thrust through the cork exactly at its centre and

MISTAKES REGARDING FOCAL LENGTHS AND LENS STOPS 23

pushed home so that the nail and cork will stand firmly on their heads. (See Fig. 2.)

Now we take an empty plate box and, holding this with the long side edgeways flat on the table, we fix a post-card to its vertical edge by a couple of touches of any adhesive, e. g., gum, seccolene, office paste, or sealing wax. .

In Fig. 1 we have the card scale, cork and nail lens rest, the lens, and the post-card focusing screen.

We now open a window giving on some distant view or object. Then going to that side or end of the room opposite the open window we put a small table.

Then placing our post-card focusing screen facing the window and view beyond (Fig. 2), we then put one end of the inch scale touching the post- card, rest the cork and nail on the card scale, and rest the lens on the nail point at such a position as gives us a sharp picture (image) on the post-card.

Having got good definition with the lens held horizontally between thumb and fingers (Fig. 2), we give the lens a slight twist to the right or to the left, keeping it horizontal all the time, closely watch- ing the image on the card screen. If the image moves when the lens is rotated sideways on the nail-point sup- port, then the nail is not supporting the lens at the right place. Note this: If the image moves the same way that the lens end next the image moves, the nail is too far away from the image. If the image moves in the opposite way to the swing of the lens, the nail is too near the image.

Having found that point of support of the lens which enables the lens to be rotated sideways without producing a change of the position of the image, we then measure the distance between the point of the nail and the post-card, or image plane. This we easily do with the aid of the card scale, and so we get the true focal length of the lens.

It will thus be apparent that while measuring the focal length from the position of the stop is often "near enough," it is not sufficiently accurate for all purposes. (At times, though somewhat rarely, the stop happens to coincide with the posterior nodal plane or Gauss plane.)

If the lens be reversed and the above process repeated we shall then find its anterior nodal or Gauss plane. The two nodal planes may be but seldom are coincident. They are usually an ap- preciable distance apart. Having found the posterior nodal plane it will be useful to mark the lens tube so that this plane may be easily found for other measurements, of which more anon.

Measuring the fj Value of a Stop

The true // value of a stop is found by dividing the focal length by the diameter of the cylinder or pencil of light entering the lens.

In the case of a single lens with a stop in front of the lens, then the diameter of the stop measures its entrant pencil or cylinder or beam of light. Hut where the stop is behind the lens, then the diameter of the stop is smaller than

24 MISTAKES REGARDING FOCAL LENGTHS AND LENS STOPS

the entrant cylinder. Hence, in this case, if we take the diameter of the stop and divide this into the focal length we should get a stop number too large. By way of example, suppose the focal length to be 6 inches, and the diameter of the stop to be j inch. Then 6 divided by | is/ 8. But let us suppose that this stop (behind the lens) admits a cylinder of light of 1 inch diameter, then the true value of that stop would be f/6.

to something more than an inch on the outside face of the lens. For it is this apparent lens-face-value of the stop that we want to get at. In Fig. 5 the proportion of the lens-face-value to the actual size of the coin is about as 4 is to 3.

Fig. 3 will give the drift of the idea as to how the lens L acts as a condenser of the parallel beam bounded by ^4^4 and BB, so that it passes through the stop CO

Now let us return to our homely experiments. We take an unmounted biconcave lens and support its edges on a couple of equal-sized corks about \\ inches long, and then under the lens on the table supporting the corks we place a foot-rule and look straight down on the arrangement and see some- thing like Fig. 4.

We at once see that the lens magnifies the width of the foot-rule and also the apparent size of an inch. To make matters clearer I have indicated by short lines where the inch marks come along the rules.

We now replace the foot-rule by one with ivory edge marked in \ inches, and under the lens we place a halfpenny and two other halfpennies beyond the lens for comparison. Remembering that this coin is just an inch in diameter, we note that its width agrees with four of the quarter-inch marks on the ivory edge. Thus we see that an inch stop behind the lens is equivalent

Now we find eye about from lens so does the

that as we

side to side

margin of the

move the along the coin shift

METHODS

25

about. But to get the true value we have to view the margins along lines parallel to the axis of the lens. This is easily done with the aid of a bit of card on which we have ruled a number of fine black ink lines just j{J inch apart. This card is then bent in such a way that the bending fold or crease is per- pendicular to the ruled lines.

In Fig. 6, to the extreme left, I show such a card ruled and creased so as to bring the two parts at about a right angle with each other. In the same illustration a second similar card is laid across the hood of a lens whose stops are to be measured. The crease should coincide in position with the diameter of the stops and lens hood.

On looking down along the lines nearly vertical to the planes of the lens we can arrange matters so that one line agrees

precisely with one end of the apparent diameter of the stop and then count the lines to the opposite margin and estimate to a half or quarter tenth, if need be, the width of the stop diameter.

FIG. 7

In the figure the apparent lens face diameter of the stop is six-tenths of an inch. Suppose the focal length of the lens to be 6.8 inches; dividing 6.8 by .6 we get 11.33 or the true // value of the stop. In reading the width of a stop the eye must look straight along a line point- ing to the edge of the stop, or midway or quarter way, as the case may be.

METHODS

Intensifying Bromide Prints. A good method of intensifying bromide prints was recorded some time back in the circular published by the Manchester Amateur Photographic Society. It is well worth repeating in these dull days of bromide work, for although it rarely repays one to fiddle with a spoilt small print, an enlargement is certainly worth an attempt to save it. Ten grains each of copper sulphate and potassium bro- mide are dissolved in each ounce of

water for the bleaching solution, and the print, after treatment with this bath, is well washed for five minutes and then redeveloped. If it be flat from too long exposure, a mixture of 50 drops of rodinal in 3 ounces of water is recom- mended for the redevelopment; while if it be flat from underdevelopment, 50 drops of a 10 per cent, solution of silver nitrate in 3 ounces of water is used. The print is well washed before finally being dried.

^asS\

NOTES

AND

NEWS

Greeting

We wish all our readers a happier and more prosperous New Year. Have your studio look prosperous, think and talk prosperity, and keep your eyes wide open on what the successful men are doing, and you will advance.

We desire to make the Journal of still greater practical value to every reader — to have a maga- zine every photographer will be proud of. While it is most gratifying to us to see the in- creasing recognition and influence the Journal is gaining, we mean during the coming year to make a better magazine, and we ask your cooperation. Let us hear from you if we can be of any service, and our entire staff of experts and all our facilities will be at your disposal. We want the Photographic Journal of America to be a live, up-to-date, practical medium for the uplift and benefit of every photographer in the land.

Mr. Herford T. Cowling Returns from Tour

Mr. Herford T. Cowling, chief photog- rapher of the U. S. Reclamation Service, Inte- rior Department, has returned from a photo- graphic tour of the West, where he was engaged in making moving pictures during the last six months. Mr. Cowling traveled about 37,000 miles and exposed over 50,000 feet of motion- picture film as well as a large number of still-life pictures.

The films taken were for the most part scenic, and were made to be used by the U. S. Forest Service in showing recreational uses of our national forests and to induce the public to make greater use of our national forests as public playgrounds. Mr. Cowling spent a good por- tion of his time among the more primitive of our Southwest Indians living at the pueblos and picturing their domestic life. Films showing the harvest dances were made at several pueblos, and in some cases were the first time ever photo- graphed with a moving-picture camera. The spectacular sun dance of the Taos Pueblo Indians on St. Geronimo Feast Day, September 29, was among the latter.

Many hundred feet of film were made descrip- tive of modern methods of irrigation on the (26)

U. S. Reclamation Service projects, as well as the result of irrigation on the arid lands.

To secure some of the most thrilling of these films Mr. Cowling took many chances and occupied extremely dangerous positions. In one case he was lowered by a rope into the crevice of a mammoth glacier 300 feet deep. One of the most interesting films will show log- ging in the giant forests of Oregon and California, where the huge logs are skidded down the side of a mountain on chutes into the lakes at an enor- mous speed, while the most artistic films were made on the wonderful Columbia Highway of Oregon and at Lake Chelan in the heart of the Cascade Mountains, the most beautiful lake in this country.

These films will be used by Mr. C. J. Blanch- ard, statistician of the Interior Department, in his annual lectures throughout the East.

Photographer Cowling has made five such trips for the Department, securing educational films which are circulated through the schools and universities of the country by the Recla- mation Service. Some of these films will be exhibited by Mr. Cowling this winter before the Federal Photographic Society, of which he is the president, when he will address the Society on the cinematographic art.

Mr. Cowling is now in the Washington Labora- tory assembling these subjects.

A Correction

An inaccuracy occurred in the specifications of the Ansco V-P No. 0 in Ansco Company's advertisement of this model in the December number. This camera is furnished with Actus shutter and Modico Anastigmat lens, F/7.5, at $15, and with Extraspeed Bionic shutter and Ansco Anastigmat lens, F/6.3, at $25.

Annual Exhibition of the Union Camera Club

The Annual Exhibition of the B. Y. M. C. Union Camera Club, 48 Boylston Street, Boston, opened Wednesday evening, December 6, to the public and continued through Thursday and Friday evenings, December 7 and 8, from 6 to 9.30 o'clock, and Saturday, December 9, from 2 to 9 o'clock.

NOTES AND NEWS

27

The collection of photographs was well worth a visit, and the prizes in many cases were taken by some of the newer members.

The awards:

Landscape: First prize, Arthur Hammond; second prize, T. Willis Cary.

Portrait: First prize, Arthur Hammond; second prize, Louis Astrella.

Marine: First prize, F. W. Hill; second prize, C. E. Dodge.

Genre: First prize, Chester Grille; second prize, Louis Astrella.

General: First prize, G. H. Seelig; second prize, Charles C. Wells.

The judges were: Frederick W. Horsman, Frederick W. Allen, and Florence Maynard.

The B. Y. M. C. Union Camera Club was organized in 1908 and has a membership of 75, mostly amateur photographers. The club quar- ters are well equipped with dark-rooms for developing, opportunities for printing, enlarging, and indoor photography. A social room and locker accommodation for members are also provided. _____

C. P. Goerz American Optical Company Increases Wages

The C. P. Goerz American Optical Company has just announced to their office and factory staff a general increase in salaries and wages to' take effect about December 15, 1916.

The reason given is the ever-increasing cost of living which the management feels should be compensated for as far as the rather adverse conditions under which the Goerz Company has to work on account of the war abroad will allow by a suitable increase in the earnings of their loyal employees. The proposed increase will add more than 10 per cent, to the present pay-roll of the Company.

The Sury Powder Process : A Pigmenting Process

Suitable for Either Monochrome or

Color Effects

The paper is sensitized with ammonium bichromate and alcohol, 90°, or methylated spirit, two parts of the latter to three parts of the stock solution of the former. A 3 per cent, solution of ammonium bichromate strengthens the contrasts; a 4 or 5 per cent, is the normal solution, and a 6 or 8 per cent, diminishes the contrasts; 8 per cent, is the maximum to be used, and only when the negatives are over dense and the temperature of the room is under 55° F. The bath should be made at the moment it is needed, as it will not keep. A quarter of an ounce is sufficient for half-plate size. The edges of the paper are turned up by about a quarter of an inch on the four sides so as to form a sort of dish, and into this is poured the sensitizing solution. The paper is held by the two opposite corners, and the solution kept moving over it gently for two minutes, so that the whole surface is thoroughly moistened. The remaining liquid is then poured back into the glass and the paper hung up to dry. The process of drying takes place in a dark or almost dark room, and should not exceed one hour. If necessary, some slight artificial heat or ventilation may be made use of.

Artificial light has no influence on the sensitized paper, except the electric arc or the mercury vapor lamp, by either of which exposures can be quickly made. When dry the paper is very sensitive to daylight, and care must be exercised in handling it.

For printing, a special screen is placed between the negative and the paper. This screen gives both softness and transparency to the proofs. If the negative possesses few contrasts, its use can be dispensed with. A thin negative is most suitable. It is advisable to use a frame provided with strong springs. The deep shadows of the picture are sometimes slightly visible when the printing is finished, but it is safer to use an actinometer to ensure correct exposure.

Development should be carried out within two or three hours of exposure. The print is placed face downward in a dish of cold water for a quarter of an hour, changing the wrater five or six times. Then it is removed to warm water of 96° to 98° F. for two minutes, the dish being rocked now and again to ensure equal action. Mr. Sury's latest experiments show that two minutes at 96° to 98°, or one minute at 98° to 100° F., will be correct. The print is removed to a sheet of glass or a board and the surface gently wiped wdth a flat camel-hair brush saturated with warm water of about 95°. The brush should be kept fully charged with water. The print should be wiped alternately from top to bottom,, from the left to the right, and also diagonally, the brush being held at an angle of about 50 degrees with the surface of the paper. The image will gradually appear, and develop- ment should be completed in about two to five minutes.

Sury papers are at present manufactured in two colors, namely, blue, suitable for all ordinary work, and bistre, which is particularly recom- mended for portrait work. The pigment used for the preparation of the bistre paper is a per- manent one, but the blue color must be dis- charged either partially or completely by placing in 2 parts of hydrochloric acid to the 100 of water. The desired depth being obtained, the prints should be rinsed in cold water and hung up to dry.

For pigmenting, the dry print is pinned on to a board and the dry Sury pigment lightly applied wdth a camel-hair brush. It is then found that the print possesses the property of taking the pigment in direct proportion to the values of the shadows and halftones. This pigmenting can be done in a straightforward manner or the worker can modify the reproductions in accord- ance with his artistic tastes and ideas. To judge the progress of pigmenting, lightly blow the superfluous color from the print, and, in case it is desired to lighten any portion, apply a little powdered pumice with one of the brushes. High lights may be put in by touching with a piece of eraser sharpened to a point. The eraser must be kept clean by rubbing it on a piece of coarse sandpaper. Should it be desired to tint the white parts, a little of the polish can be taken off them by rubbing with pumice powder. By this rubbing the whole surface of the proof before powdering, the effects obtained are particularly soft and recommended to artists. Pigmenting

28

NOTES AND NEWS

may be carried out in monochrome or colors — a full range of pigments being supplied for the purpose. Fixing is not absolutely essential but is recommended. The print, still attached to its board, is placed upright and sprayed with a special fixative, using the evaporizer about 18 to 24 inches from the print. — The Photo- graphic Journal.

"What Lens Shall I Buy?"

The booklet What Lens Shall I Buy, published by the Bausch & Lomb Optical Company, Rochester, N. Y., answers a question which is in the minds of many photographers. If you would like to know the best lens to use lor various kinds of subjects you simply look in

	;| '/
• j	What Lens
r ■	Shall I ^.^ |j |
1	to ^) i
if -
1 ;	:• I
s. .	^ »„- " '-~JJ

the alphabetical list of subjects for the required information. The booklet also contains a table showing lenses recommended for various popular cameras. This information is of value to a prospective purchaser, and a copy of the booklet should be in the hands of every photographer. Address Bausch & Lomb Optical Company, 633 St. Paul Street, Rochester, N. Y.

A New Size of Camera

The 8 x 10 size of plate or picture has the same proportion as the 4 x 5, a proportion that is being supplanted in favor by the postcard size in the latter case, and in the former will no doubt find a strong competitor in the new 7x11 size issued by the Eastman Kodak Company. This is perhaps the most pleasing proportion that could be given the view photographer, as it is a little shorter form of the parallelogram than the popular postcard size and a little longer than the 5 x 7; it is, in fact, practically midway between the two. For group work the new size is just right, while for view and landscape work the unnecessary sky space that is nearly always in evidence in the 8 x 10 print is transferred to

the ends, where more room is generally wanted. Best of all, the new form is much better suited to upright subjects, such as tall buildings and the like. In addition, the picture looks larger and the particular proportion will almost invariably show either much more of the subject matter, or larger images of the objects photo- graphed, than will the 8 x 10 size.

The American Annual of Photography, 1917

This popular annual has come to hand and is full of practical articles for every camera user. There are papers in "Mastering the Anastigmat Lens," "Night Photography," "The Photo- graphic Portraiture of Men," "A Convenient Dark-room," "Color Toning Bromides," "Gallery Lighting," and a number of other practical subjects full of meaty suggestions. The many illustrations also are of a wide range and high standard and add to the value of the text. Price, paper, $1.00; Cloth, $1.50. Copies can be supplied through this office.

30 x 40 inch Trays for the Dark-room

We have long wanted a couple of 30 x 40 trays for the dark-room, but have hesitated in getting them, as the trays commonly for sale are too bulky to handle nicely, and we have been trying to scheme some way to make them light and serviceable, as I now have them. I have succeeded in getting the weight down to about 10 pounds which makes a tray that is easily handled, and I thought perhaps you would like to know how we made them.

In the first place I had two wooden trays made up of just as thin material as seemed possible, which was \ inch spruce sides and \ inch elm bottom, with four ribs running lengthwise of the bottom. The corners were all dovetailed and made as tight and strong as possible; then they were given two coats of P. & B. acid- and alkali-proof paint, and while the paint was still tacky we lined it with some thin asphaltum roofing-paper, folding in the ends a good deal like we used to line trays with oilcloth for toning baths, with the edges turned over the top edges of the tray and tacked down with copper tacks. Then the paper was pressed down with a hot flatiron, which pressed it firmly into place and cemented it like a rock. The paper lining was given two coats of the same paint.

These trays are extremely light, fiat, and as strong and rigid as if they were made of heavy material, and look as if they would last for a hundred years. — Phil B. Keeler in Portrait.

Market for Prints

"The Independent," 119 West 40th Street, New York, N. Y., is now using striking land- scape photographs and other views suitable for its covers. News photographs, pictures of scientific and civic innovations, etc., also are desired. Prints 5x7 inches, or larger, are preferred.

Trimming Device

Something that might be of interest is a unique trimming arrangement which will save

NOTES AND NEWS

29

at least a third of a person's time in trimming prints with a white border.

Any kind of a box is used and one end taken out, then a sheet of glass is placed diagonally inside to allow trimmings to slide out into the waste-basket, as shown in (.4) the accompany-

ing rough sketch. Then an ordinary electric wall socket is placed on the bottom of the box so the light will be directly under the cutting edge of the trimmer and is attached by an ordi- nary extension cord so the apparatus can be put out of the way when not in use — and can be set on a chair or wherever convenient to use. The light shines through the paper and the exact width of the margin can be seen in an instant. It will save the operator much time over any other method of getting even margins. — Portrait.

Dianol Developer

A new developer which needs only the addi- tion of sulphite and water, and can be used for plates, films, or papers. It bears the additional recommendation of being sold by R. J. Fitz- simons, 75 Fifth Ave., New York City, who is widely known as the American agent for Lumiere plates and autochromes, and the Richard vera- scopes. Readers who want further information are referred to Mr. Fitzsimons, who will gladly take the matter up with them.

Mrs. Henrietta Hudson's Advent in Direct Color Photography

Mrs. Henrietta Hudson is a new name added to the list of those who are accomplishing great things with the camera. Her recent debut in New York was as sudden as it was successful. Before October last no one had ever heard of her; during November many were curious to know who she was and where she came from; before the end of the month she was elected a member of the American Institute of Graphic Arts of New York and almost simultaneously a member of the Royal Photographic Society of London. So, like the announcement of the daguerreotype, she "arrived" at once.

It was the exhibition of photography under the auspices of the American Institute of Graphic Arts that put Mrs. Hudson in the photographic "Who's Who." This exhibition proved to be one of the most comprehensive ever held, direct color photography being shown at its best. When early in October the doors of the exhibition were opened to the public it was found that among the photographs in color the one that attracted most attention was that of a fragile soap bubble in all its iridescent beauty, and it bore the label: "Henrietta Hudson." Here was an unknown who had accomplished a new feat in direct color photography with an autochrome plate. Interest was thus drawn to her other exhibits and they demonstrated that she was an artist with exceptional color sense.

Mrs. Hudson was then chosen a member of the American Institute of Graphic Arts and invited to address them. This she did at their first meeting in December. In a modest way she told them how she took up photography as an amateur only two years ago, and began at once with autochromes, though entirely ignorant of photographic procedure. Her description of the development of the first autochrome in com- plete darkness in the cellar of her country home, and how she screamed with delight when she found she had recorded color, was an intensely dramatic recital which, unfortunately, lack of space prevents describing here.

She told how she began then the study of photography and its chemistry seriously. Those whom she consulted in the matter tried in every way to dissuade her from wasting effort on color photography. It was impractical from every view-point; only a few colors could be recorded; it could not be used for lantern slides, and only those with unlimited means could stand the expense of experimenting with it. Mrs. Hudson proved to be a woman of resolute purpose; she had faith in the plates and confidence in herself; she experimented and experimented; she showed that the color scale was equal to that of a painter's palette and that it was admirably adapted for lantern slides.

When Burton Holmes projected her slides for the first time, during one of his lectures, the audience showed by their applause how they appreciated her accomplishment, and Mr. Holmes had to admit that his opinion, that auto- chromes were impossible for lantern-slide pur- poses, had been reversed. The marvel of it all is that Mrs. Hudson has taken up direct color photography at a time of life when other women are seeking leisure and contrary to all predictions she is making a success of it. Further, she does all the work herself and in the confines of her apartment on Riverside Drive, New York. Being a woman of determination and ceaseless energy, combined with an early art training and cultivated taste, she promises to be a most valuable addition to the ranks of workers in direct color photography. — Stephen H. Horgan.

Professional Photographers' Society of New York

Active preparations are being made for the coming Thirtieth Annual Convention of the Professional Photographers' Society of New York, to be held February 26, 27 and 28, 1917, at Hotel McAlpin, New York City. Note this.

THE WORKROOM

By tSe JdeaTT Operator

Repairing Foregrounds

A Focussing Screen

Dodges of an Old Stager

Identifying Prints and Toning Processes

Securing Registration In Double Printing

The Paramidophenol Developer

Copying

Steaming Bromide Prints

An Effective Substitute for Farmer's Reducer

Postcard Printing and Developing

A Pliable Background

A Cheap Lantern Screen

Glass-stoppered Bottles — A Useful Tip

Altering Density and Tones in Bromide Prints

Snow Photography

A Bromoil Transfer Process of Three-color

Printing Know Your Fixing Bath Three Types of Lenses

The Sharpness of Negatives for Enlarging Some Useful Varnishes Toning Bromide Prints Blue

To Render Plated Camera Fittings Tarnish-proof Waterproof Cement for Glass A Quick Way of Washing Small Roll-film

Negatives Clean Dishes Eyes Waste Magnifiers

Repairing Foregrounds

A tremendous amount of time and labor is often wasted by assistants having to spot out ugly patches and creases in the foregrounds of prints where a badly worn background has been used. A few creases made by careless rolling up is often the cause of a serious falling away of the whole of the foreground. Of course, it always gets a tremendous amount of wear by reason of the continuous trampling which it receives, and as soon as it shows light streaks and patches the time is not far distant when the whole coating of pigment will fall away, leaving the canvas to wear into holes. But at this stage it should not be left and considered to be "going home," as an effective repair is by no means a difficult operation, even to the renewal of the whole of the foreground. A description of the method of procedure for repairing the whole will cover the same ground as for repairing in parts.

Take the background off the stretcher, and, after transferring the bottom roller to the top, roll the background up, leaving out flat on the floor, face down, the part to be repaired. When the extent of the renewal has been decided upon the foreground is tacked down to the floor, putting in the tacks in a straight line.

While the canvas is kept taut another row of tacks is placed about 18 inches below the first row. The canvas between the two rows of tacks should not be stretched out of its ordinary dimensions, or kinks will be formed when the tacks are taken out and the foreground again falls into its original position.

The required amount of unbleached calico of the right dimensions (obtained at any large drapery house in the standard sizes) is now attached to the old material by means of rubber solution. This first sticking is done with solu- tion, because it dries quickly and also because the foreground underneath is not damped in any wav, thereby preventing any cockles or kinks (30) "

when the background is newly hung, and the draw is exercised by the weight of the new canvas. A line of about 2 or 3 inches in depth of solution should be smeared close up to the first row of tacks, also a similar line on the edge of the new canvas, and the two should not be placed together until they are quite "tacky."

A, back foreground; B, glue; C, new canvas; D, first row of tacks; E, second row of tacks.

This first bringing together of the new and old materials is the most important part of the whole proceeding. Assistance should be at hand to hold the new canvas squarely over the old, or the two may not eventually hang squarely unless properly brought together in the first place. The remainder of the sticking down is done with glue (about the consistency of cream) laid on the back of the foreground lying on the floor, and applied with a fairly large brush, not attempting to cover more than the space which is stretched between the two rows of tacks.

It is wise at this stage to get assistance in holding the new canvas out tight while the two are being brought together flatly by pressing and by patting with the palms of the hands, and seeing that they come together smoothly without any creases or air blobs, which is quite an easy

THE WORKROOM

31

matter if some one holds out the new canvas tightly at each end.

As soon as this first portion has been glued together the row of tacks at B should be taken out and put in again, this time tacking the two materials together. Another strip is stretched, tacked down, and glued, repeating the process until the whole of the new canvas is attached to the old.

If the foreground is being repaired only in parts it is preferable to use rubber solution, doing each part separately.

If possible, the whole should now be left in its flat position until dry, but if it must be moved it is best to wait until some of the moisture has evaporated and the ground then tightly rolled up with newspaper over the painted surface, to prevent any possible injury from the damp glue. It is then left for a day or so to dry. If there happens to be any creases or wrinkles when dry they can easily be removed from the face with a hot iron.

The foreground may now want repainting completely, or it may only want touching where it has worn. The repairs that have been described would remedy any creases or cracks and give extra support to any weak and worn parts; but it often happens that when a back- ground has reached the cracking stage the dis- temper generally peels off, leaving nasty patches. These may be patched up or the whole fore- ground may be repainted, which need not be a very skilful performance, as foregrounds, whether indoor or outdoor, are generally plain. The only skill required is the matching of the old color, and even this is not absolutely necessary; as long as the right tone is reached it will probably photograph the same in tone if not actually the same in tint. If the whole is to be repainted it would be best to stretch the part to be done on the background stretcher.

There are many different compositions with which to repaint, but none better and cheaper can be used than ordinary distemper well sized. The ordinary whitewash so often recommended is wretched stuff to handle, and it is difficult to gauge the necessary amount of size needed. An already sized distemper recommended is "Filocol," 1 lb. of which will cover about six or eight square feet: all that is needed to bring it to a proper consistency is a little water. It should not be made too thin or it may stir up too much of the old underlying color. It is perhaps too white for a light background, so a little vegetable black should be added to bring to a cool gray. Before applying to the back- ground a trial should be made on a piece of card, dried to see that it matches fairly the old tone, and rubbed with the palm of the hand to see that it sets; if not, put in more size (Cannon's con- centrated size), which has been first dissolved in hot water.

For a dark background the color should be composed of vegetable or lamp back rubbed together with a little burnt umber or burnt sienna, according to the old color, on a piece of glass with a table knife, adding the size gradually.

A mixture of white and black, considerably more black than white, sufficient in tone and quantity, should be made in a pail or pot and

"laid on" the background as flat as possible with a whitewash brush. If the background is not a plain one another lighter tone should be mixed and introduced here and there into the darker one, using the brush in downward dabs, with broad horizontal sweeps here and there to give variety and a feeling, when lying in its original position on the floor, of even ground. But this variety should be hardly preceptible, remembering the important fact that the color dries up consider- ably lighter. — British Journal of Photography.

A Focussing Screen

Color in the object is, I find (writes Arthur Wall, in Photography and Focus), apt to be very misleading, and anything which helps to get rid of it, so that we can see the picture very much as it will appear in the finished print, is helpful. One of the best ways of doing this that I know is to use a ground glass focussing screen of blue tint. I suppose blue glass could be bought and given a ground surface; but a simpler method of bringing about the same result is to use a film of dyed gelatin. An unexposed plate is fixed right out and washed, or else an old nega- tive has its picture bleached out in the ferri- cyanide and hypo reducer. The clear film of gelatin so obtained should be stained an intense blue with the aid of a penny packet of dye, and then after a brief washing, which will reduce the depth of the color a little, the plate is dried and is bound up with its dye film in contact with the smooth side of the ground glass. For landscape and flower work especially I find this most useful.

Dodges of an Old Stager

Here are a few inventions and dodges, mothered by necessity, which may be of use to my brother photographers.

For Use in Photographing in Towns

Everyone who can discards the tripod in photography in towns — the time taken in its erection, the notice it attracts in a street, and the obstruction it causes being sufficient for its con- demnation. It is astonishing how soon one be- comes used to dispensing with it, until perhaps the only disadvantage left is the difficulty of keep- ing the camera square and the consequential "drunken" architecture which results. Now, to cope with this the ordinary spirit level is useless. To get the additional height required in working in narrow streets it is necessary to hold the camera as high as possible. In this position nothing less than an enormous level on the base of the camera would be workable, and even then it would be a weighty nuisance. The following simple and economical home-made substitute will be found entirely effective. A slight variation is necessary, according as the camera happens to be a square-backed one or of the rounded folding pocket type.

Let us take the square-backed camera first. Open ready for an exposure. The back will then consist of a changing-box or dark slide. Draw a straight line with a sharp bradawl down the centre of the back, from top to bottom. Rub

32

THE WORKROOM

Fid 2. THE

Silk is indicated 61 dotted line

Chinese white into this, or paint it in with a fine brush. This line forms a guide. Take a piece of thin sheet brass, just thick enough to be stiff, size \ inch by | inch. File a notch in the centre of one of the short edges. Bore three small holes, large enough to take a pin, as indi- cated in Fig. 1. The idea is to pin the brass on to the top of the back of the camera (or whatever forms the back when it is ready for action), so that a plumb-line attached to the middle pin and hung through the notch just touches the white line all along its length. The plumb-line is made of silk; the weight is a small ball of lead paper. Fig. 1 shows the line fixed ready for action. When the camera is held up, the slightest deviation forward, backward, or sideways is reflected in the movements of the plumb-line. It requires but a slight alteration in the shape of the piece of brass to suit every form of camera-back. If the silk be looped over the pin instead of tied to it, the line can be removed and stowed away when not in use.

Where the camera is of the rounded folding- pocket type, the plumb-line is fixed to the catch which most of these cameras possess, and which is used for opening the back. The piece of brass is now bent at a right angle at one-third of its length. The longer end is passed through the catch, which may be wedged up with a screwdriver for that purpose. A hole must be drilled near the edge of the shorter end, through which the silk is passed and secured with a knot. The nearness of the hole to the edge of the brass depends on the position of the catch itself. It must be so placed that the plumb-line just clears the back of the camera (see Fig. 2). When the camera is being carried about, the brass arm is pulled out of the catch and the silk is wound around it.

Developing Cartridge Films

Xon-curling films are recognizable by their ability to curl at all available opportunities, at least until they are in the hypo. This tendency makes their development in an ordinary china or celluloid dish very awkward unless they be developed in the strip. Many photographers, however, are still strongly in favor of a method of development which enables each separate picture to be under complete control. This can be managed if a wooden dish be used. It should be sufficiently large to take two strips of two negatives, side by side. To keep these short strips flat, each is pinned by the four corners to the bottom of the dish. Don't use the glass- headed pins. When wet they are most difficult to handle, and scratched films result. The flat,

plaster-headed pins are the most convenient. Have a dozen of these pins, and run them into the top edge of the dish, so that they are avail- able. While the pinning down of the films is being done the dish should be half full of water, and this should be poured off and the developer substituted when the pinning is completed.

When a negative shows signs of being suffi- ciently developed, cut it off, removing two of the pins so as to release it. The spare end of the film from which it is separated should be then pinned down. Small narrow strips of lead are useful for keeping the ends of a curly bit of film flat in the hypo. For drying the negatives, stretch a piece of cord along the edge of a shelf; support it with a nail every yard or so. Hang the negatives from this with hooks made of bent pins at regular spaces.

Developing Cut Films

Here, again, some of us prefer to have each film under individual attention. Select four dishes which will so fit one into the other that the bottom of one is always at least one-eighth of an inch from the bottom of the one below it. The lighter the dishes the better. Each dish has its supply of developer and contains one negative. They are then fitted one into the other, making a solid whole which can be easily rocked. From time to time the dishes should be taken apart, so that the negatives can be examined. If required, a cover can be made to make the top dish light-tight. The negatives in the other three dishes are practically, if not entirely, in darkness, except when under exami- nation.

For washing cut films the ordinary rack in a washing trough is useless, as the films are not stiff enough to keep apart. The best form of washer to use is a print washer which has a circulating system, having for that purpose a row of holes along the top edge to let the water out. Bend a piece of stoutish galvanized wire as in Fig. 3. From A to B should be a shade less than the width of interior of the washer at the top. The length from C to D should be about f inch longer. The "kink" should only be about \ inch deep. Pass this wire rod through the centre hole at the top of one side of the washer right through, and then through the corresponding hole on the other side, so that it stretches right across (see Fig. 4). To attach the films to this rod, hooks are necessary. To make these bend pins into a Z-shape, with rounded instead of sharp angles. The arms should be longer, in each case, than the middle piece of the Z. Take one of these bent pins, hold

THE WORKROOM

33

one of its arms between finger and thumb of one hand, and the other arm similarly with the other hand, and twist one arm at right angles to the other. You now have a Z of which one of the arms is at right angle to its fellow. Put the point of the pin through the corner of the negative, hang the other arm over the bar, and there you have your film suspended from the bar. Fill the washer with water, and you then note the meaning of the kink, for, were it not for it, the top corner of the film would be just above the water line. You can hang a couple of dozen or more negatives from such a bar, and they don't scratch each other, and, being well above the bottom of the washer, the}* get a thorough wash- ing. For drying the cut films, lift them one by one off the bar without unhooking them from the pins, and suspend them by the pins from a cord stretched along the edge of a shelf or across the room.

Packing Exposed Films and Plates

Xo tourist should travel without half a dozen stout, light-tight bags, to hold either his exposed cut films without any other packing, or to con- tain his exposed plates in their original box without any other covering. The relief of being able to slip plates or films into security without having to unfold and untie wrappings is very great. The bags should be made of two thick- nesses of tough brown paper, the kind that will not crack when it has been doubled backward and forward a dozen or so times. To hold half plates the bag should be large enough to take a half

FifrS

plate box comfortably in width, and should be 6 to 8 inches longer. Where the paper is folded should be the mouth of the bag. Use plenty of paper, and fold as in Fig. 5, fastening with glue. To make the bottom of the bag secure, glue each thickness of the paper to its fellow to a depth of about 1 inch. The end can then either be turned up or not. When films or plates have been placed in the bag, double over — two or three times — the spare length of the bag, thus making the mouth of the bag light-tight. A rubber band will keep the whole closed. — Amateur Photographer.

Identifying Prints and Toning Processes

A point of some considerable importance, particularly to portrait photographers, is the ability to tell what printing or toning process has been used for the production of a particular effect. That such is the case is evident from

the queries addressed from time to time to the editors asking what paper or method can be used in order to produce prints in imitation of a specimen, which, presumably, is the work of a competitor. Anyone fairly conversant with photographic printing processes is, of course, able to tell roughly what method has been used in the making of a given print. We all know the distinguishing marks of a carbon, a platinum, a bromide, or a P. O. P. print, yet in these days of intense competition between manufacturers there is so much ingenuity applied to the pro- duction of papers which imitate the results by other processes that I think many of us would be stumped if asked to swear positively that a print of unknown origin was by such-and-such a process. In saying this, I mean to suggest that it is a very difficult matter oftentimes to identify the printing process only by the appear- ance of the print. The reader has only to glance through the price lists of photographic printing papers in order to see the efforts which are made to produce prints on development papers which shall rival in their quality those by the carbon, platinum, or collodio-chloride process. Many of these papers do, indeed, afford a very close match with the prints by the processes which they impersonate, and if one relies only on the appearance of the prints, it would not be possible always to say with certainty what particular method has been used. But however much the final results may resemble each other, the chemical processes are in most cases essentially different. The image of which the photographic picture consists is of a different chemical compo- sition, and it does not call for very much skill to apply chemical tests which will distinguish fairly sharply between the different processes.

Platinum and Bromide

One of the simplest applications of this chemical method is in telling a bromide print from one on platinum paper. The bromide image consists of silver, like that of a negative, and the application of any bleaching solution such as is used for the intensification of the negative will turn the bromide print white, or to a pale color, while it is without effect upon a platinum print. Solution of bichloride of mer- cury- is as good as anything else for this purpose, and is usually at hand in the photographer's dark-room. There is no need, of course, to treat the whole print: a tiny spot of the mercury solution may be applied with a fine camel-hair brush, and will show by its non-action, or by the production of a white spot, whether the print is platinum or bromide. In the cases of the ordinary platinum papers (not those of the semi-glossy kind) the surface of the paper itself is some indication, though not an infallible one, owing to the success with which the natural surface of platinum paper is imitated in many brands of bromide. Often, also, in these descrip- tions of bromide paper, it is not the easiest matter to recognize the gelatin surface of the emulsion by the familiar plan of wetting a corner of the print, applying the finger, and noting whether the gelatin surface sticks to it. This test is rendered somewhat obscure, not onlv by the

34

THE WORKROOM

grained surface of the bromide paper, but by the fact of its bearing an emulsion which has been specially hardened. A less indefinite test is to wet a corner of the print thoroughly with a little weak acid solution such as is used for clearing platinum prints, and then to rub it lightly with a fragment of rag stretched over the finger. The image on an ordinary platinum print is often partially rubbed away by this treatment, whereas it takes a good deal of rub- bing to make any difference to the silver deposit on a bromide print. As I say, it is by no means a clear sort of test, but, nevertheless, supplies some indication of the nature of the print.

Sepia Platinum and Sepia Bromide

When it comes to distinguishing between a print on sepia-platinum paper and one on bromide paper which has been sulphide toned, the characteristic color of the sepia-platinum print is a fairly safe guide — at any rate, so far as platinotype septia paper is concerned. The color of such a print is remarkably uniform, whereas results by sulphide toning vary very considerably as regards color. A chemical test can also be applied, although not so rapidly or with such unmistakable results as in distinguish- ing between a bromide and a black platinum. A sulphide-toned print is slowly bleached, to a greater or less degree (but never completely), in a solution made by dissolving about £ ounce copper bromide and about 2 ounces of sodium bromide in 10 ounces of water. The sepia plati- num print will not be in the least affected by a solution of this kind, nor, in fact, by any solu- tion, such as potassium cyanide, which exerts a reducing action upon other prints.

Print-out Prints and Toned Bromides

But perhaps the most frequent cases in which doubt arises are those where it is wished to discover whether a print is a toned bromide or is produced upon a print-out paper. In the case of ordinary P. O. P., toned with gold, there is never likely to be any doubt. The purplish tone is characteristic. In the case of collodio- chloride paper, the range of tones from warm black to red chalk is much wider, but here the collodion surface is readily distinguished from one of gelatin by touch when in the moist state or by noticing the way in which the print curls when immersed in water. In cases where a warm-toned print is suspected to be on a self- toning paper, it is most likely that the surface is also one of collodion, collodion self-toning papers being largely in the majority as compared with gelatin.

These differences afford a useful indication of the particular paper. They can, however, be supplemented by a chemical test which, while not completely satisfactory, is of some service in diagnosing a case. Practically any print on a print-out paper, whether self-toning or collodio- chloride, is reduced in depth to some extent by a solution containing both ammonium sulpho- cyanide and potassium ferricyanide. This mix- ture, Haddon's reducer, exerts a steady reducing action on a printed-out image, even when it has been toned with gold, and, to some extent, when

toned with platinum. Whether the action is exerted on the gold (or platinum) component of the image I am not competent to say. I should imagine it is not; but, at any rate, there is always a proportion of the image formed by warm- colored silver compounds, upon which latter, I believe, the reducer principally acts. If any- thing in the nature of a formula is wanted, it may be given as follows: 10 per cent, ammonium sulphocyanide solution, 5 ounces; 10 per cent, potass, ferricyanide solution, \ ounce; water, 10 ounces. A sepia-toned bromide, by which I mean a bromide or gaslight print toned by the sulphide process, will not be affected by this solution.

Other Toning Processes

Of other methods of toning which are in use, it is not possible to speak with the same degree of definiteness. I know of no test which can be used to identify prints produced by first toning with sulphide and then with a gold-ton- ing bath. However, the characteristic crimson shade of prints made in this way is a fairly safe guide. Prints which have been toned with uranium can, of course, be identified at once by applying a drop of ammonia or soda carbonate solution, which instantly turns the warm uranium tone to black. In the case of prints which have been copper-toned, I am again uncertain of any reasonably reliable means of identification. Without having tried it, I may, perhaps, pass on the recommendation to paint a small patch on the print with a solution consisting of about 5 per cent, hydrochloric acid, in which has been dissolved a little perchloride of iron. This mixture is stated to yield a blue color upon a print which has been toned in the copper ferri- cyanide bath. — British Journal of Photography.

Securing Registration in Double Printing

So much importance is attached, and rightly attached, to the prevention of any movement between the paper and the negative in the print- ing frame when opening the frame to see how the printing is progressing, that it will no doubt come as a surprise to many to learn that by a very simple device it is possible to take the nega- tive right off the paper and put it back again without the slightest fear of imperfect registra- tion. Yet such is the case; and those who have occasion to use negatives of comparatively large size, such as whole-plate or over, may find it to their advantage to make use of such an appliance.

It can be made to serve several purposes. When a negative has to be printed with great nicety it is a help sometimes to be able to see the whole of the picture at once instead of only the half which the ordinary form of printing frame permits. With printing-out processes, and, to some extent, with platinum, the effect of different shading devices for modifying the print can be seen, and so continued further or discontinued as necessity may require. When introducing diffusion by interposing bolting silk, matt celluloid, etc., it is helpful to be able to print the picture partly with, and partly without, such aids, and this with the ordinary form of printing frame is out of the question.

THE WORKROOM

35

Working whole-plate size and printing in platinum the following method has been found very simple and quite successful. \o regular printing frame is required at all. The "frame" consists of a small drawing-board, about 12 x 9 inches, selected because its framed construction was a guarantee against warping. It was covered with a piece of sheet rubber 9x7 inches, cemented down; but this the writer is inclined to think is not at alf a necessity. On top of this is a piece of thin clear celluloid, which is 10 x 8 inches, as it happened to be in stock. One end of it is fastened to the face of the board, beyond the rubber, with drawing pins. Three fine needles are inserted through the rubber into the board, their tops being broken off, so that they project not more than an eighth of an inch, and small holes are cut in the celluloid so that it passed freely over the projecting needles. A piece of thick plate glass, 9x7 inches, completes the apparatus.

The needles are inserted in such a position that when a whole-plate lies centrally on the rubber two of them touch one of its long edges at about an inch from each end, while the third needle touches the centre of one of its shorter edges. It is obvious that a negative in such a position can be removed and replaced just as often as may be required, with the certainty that if it is pushed up against the three needles it will go into exactly the same place again.

In the diagram, commencing with the lowest element, is shown the drawing-board; next comes the sheet rubber, which is optional and therefore indicated with a dotted line; then the celluloid fastened with drawing pins marked Pl- under this the paper is placed for printing; upon the celluloid lies the negative, drawn with a thick line; and upon this (not shown) is the sheet of plate glass. The position of the three needles is shown by the dots lettered N.

To use the frame the celluloid is raised, a piece of platinum paper is put down on the rubber with its edges against the needles, the celluloid is brought down again, and its free end is fastened to the drawing-board with drawing-pins, or preferably, a bull-dog clip, so that it holds the paper flat and in place. The negative is laid on the celluloid and pushed up to the needles as described. For convenience they should project so far as still to be slightly above the level of the negative, but not above the level of a piece of

plain glass which is laid on the negative. On top of all is put the plate glass, and the whole is put out to print.

If we wish to introduce matt celluloid, bolting silk, or ground-glass at any subsequent stage in the printing all we have to do is to lift off the glasses and the negative, put in whatever diffus- ing material we are going to employ, and then replace them. The paper does not shift, being underneath the transparent celluloid, which is not thick enough to have any injurious effect upon the definition. It is advisable to carry the whole arrangement indoors to observe the progress of printing. — Photography.

The Paramidophenol Developer

Although the paramidophenol developer is perhaps as largely used as any other it is but little known under this name, and the properties of the developing substance itself are likewise as little familiar to the photographer The use of the substances as a developer originated with Andresen about the year 1888, since which time the developer has attained wide popularity in its commercial forms of a highly concentrated single solution, suitable for both plates and papers, and requiring only to be diluted for use. Rodinal, which was the first commercial form of paramidophenol, has subsequently had other competitors, and though, so far as I am aware, the base of these other single-solution developers has not been, in the case of any one of them, mentioned as paramidophenol, it may be taken that it is this substance which is used.

For paramidophenol is marked among the other developers by very distinctive properties. The developing substance itself is soluble in water only to a very slight extent. For practical purposes of making a stock solution it is as good as insoluble. But it forms two kinds of compounds, both of which are soluble to a very considerable extent. Paramidophenol is, in fact, a curiously balanced substance which can act in a weak way both as a base and an acid. As a base it combines with strong acids, such as hydrochloric or sulphuric, forming, in the case of the former, the paramidophenol hydrochloride, which is the commercial substance used as the starting-point in making the developer and dis- solves in water to the extent of about 1 part in 10 parts of water. But paramidophenol behaves also as a weak acid, and with strong alkalies, such as caustic soda, forms compounds which we may call, for example, sodium paramidopheno- late. It is this sort of compound which is formed when a solution of caustic soda is added to a solution of the paramidophenol hydrochloride. The first addition of caustic alkali throws down the paramidophenol itself as an insoluble deposit, but this latter redissolves, as more alkali is added, and by using a suitable method of prepa- ration a very concentrated solution can be made in this way, and one of very active develop- ing powers. If the reader with some knowledge of chemical matters will consider for a moment he will see that by preparing a developer directly by addition of caustic soda to the solution of the hydrochloride there is left in the resulting developer something which is not wanted there,

36

THE WORKROOM

namely, the chloride of sodium (common salt), which is formed by the interaction of the sodium of the caustic soda and the chlorine in the hydro- chloride. While a developer can be prepared in this way, the better plan is to obtain the paramidophenol base by itself and to dissolve that by aid of caustic soda and with addition of some sulphite compound sufficient for the preservation of the solution.

Making a Concentrated Single- solution Developer

Some year or two ago M. J. Desalme, in a paper before the French Photographic Society, gave working instructions for the making of a developer in this latter way, and I cannot do better than give his directions in English weights and measures. We first dissolve 1\ ounces of paramidophenol hydrochloride in 60 to 70 ounces of hot water. This solution ought to be quite colorless. If, from the presence of tarry im- purity in the hydrochloride it is not colorless, the solution can be boiled for a few minutes with 1 ounce of animal black (bone black), which has previously been washed with acid. The hot black mixture is then filtered.

The next part of the process is to throw down the paramidophenol base, which is done by adding a solution of 1 ounce soda sulphite and Z\ ounces soda carbonate dissolved in 20 ounces of warm water. This precipitates a bulky mass of paramidophenol. The mixture is allowed to cool and then filtered with a linen bag, from which as much water as possible is allowed to drain. The bulk of the paste thus formed should be not more than 30 ounces.

This paste has now to be dissolved to form the stock concentrated developer. It is placed in a large wide-mouthed bottle marked to a total bulk of 50 ounces. Ten ounces of soda bisul- phite lye of the full commercial strength, 35° Beaume, is well mixed with the paste, and then strong solution of caustic soda is added little by little. The caustic soda solution is made by dissolving 5 ounces of caustic soda in the mini- mum of water and making the total bulk to 10 ounces. As this solution is added and the mixture well stirred the paste gradually dis- solves. About 8 ounces of the caustic soda solution is required. Toward the end of the process the caustic soda should be added in quite small doses, about 30 minims at a time, and, finally, the solution should be quite clear. A very little of the bisulphite is then added to give a very slight permanent precipitate — a pre- cipitate, that is, which remains on thoroughly stirring up the mixture for, say, half a minute. Water is now added to make a total bulk of 50 ounces, and the solution is ready for placing in small bottles full to the neck, in which it keeps excellently. To form the working developer, it is mixed with from twenty to forty times its bulk of water.

oper) is about the best, but many workers prefer to use a 1 to 10 developer on account of the shorter time in which ample density is obtained. The developer is not one which gives density quickly; on the other hand, it is not one which readily fogs the emulsion. With many plates it is not necessary to add bromide, while in dealing with overexposure the paramidophenol developer calls for a much larger addition of bromide than other developing agents, such as pyro or hydroquinone. Perhaps the best way of using the solution for overexposures is that recommended by the makers of Rodinal, namely, to start development with a solution containing 5 minims of the stock developer and 5 minims of 10 per cent, potass, bromide solution in 3 ounces of water, afterward adding a further 5 minims of stock developer. Where considerable bulk of working developer is to be made up, but not to be used at the time, it is well to remember that it can be kept by using, instead of water, a 5 per cent, solution of soda sulphite for diluting the stock solution.

The developer is, as I have said, one yielding excellent results with plates, papers, and lantern- plates, and the only material for which, I think, it is not a good developer is roll film. My own experience may be different from that of others, but I have found it difficult to obtain anything but weak and flat negatives on roll film, for which undoubtedly the best developer is pyro soda.

I should say a word, too, on the use which can be made of the paramidophenol stock solu- tion as an addition to other developers which are working sluggishly, as the result of partial exhaustion or of underexposure of the plate. A little added to the pyro-soda or metol-hydro- quinone developers will often make a surprising difference in the developing power, and in the same category of working expedients comes the suggestion to add (but very cautiously) a little caustic soda to the working developer in cases where its action appears to flag. This last, however, is a somewhat risky method, since excess of caustic alkali above the quantity required to form the phenolate compound is liable to fog the emulsion, but it is one which may be tried when the only other alternative is to discard the plate. And, lastly, perhaps I may give a test which can be applied to a concentrated developing solution in order to see whether it consists of paramidophenol or of other developing preparations, particularly metol and hydroquinone in combination. Add a little hydrochloric or acetic acid — the strong acid mixed with, say, twice its bulk of water. In the case of paramidophenol the effect is to neutralize the caustic alkali combined with it and to throw down the base itself as a white deposit. Addition of further acid clears the solution again, the acetate or hydrochloride of the base being formed. — British Journal of Photography.

Developing with Paramidophenol

The use of the developer itself is so familiar and so simple that it is scarcely necessary to say very much about it. For average negative work a dilution with 20 parts of water (1 to 20 devel-

Copying

It seems to be generally taken for granted that anyone with a very elementary knowledge of photography can make a copy and that any old lens and camera will suffice so long as the

THE WORKROOM

37

focal length of the one is sufficiently short and the extension of the other sufficiently long; hence it is that nine out of every ten copies require only a very casual glance to stamp them as what they are. A really well and carefully executed copy should be indistinguishable from the original except on very careful examination • — that is, of course, providing the picture copied is in a good state of preservation, and in the event of such original being faded or otherwise defaced the copy should in every case be an improvement upon the original. I might perhaps go further than this and submit that even where the original is good the copy may, by careful treat- ment, be made to excel that original both technically and artistically. The main cause of failure to obtain good copies lies in the fact that the operator, as a rule, is prone to look upon the operation of copying as something beneath him — that he is expending labor capable of higher things on a trifle, or, to use an old simile, that he is using a sledgehammer to crush a fly.

Looked at in a sober light, it will be seen that the idea is a fallacy, and that the operator who uses his abilities to the utmost, who, in fact, extends himself with the aim in view to produce the very best result from what may be a very third-rate picture, will at least have the satis- faction of knowing that he has done his very best, and what is more, he will probably gain more credit than he would have obtained as the result of an original masterpiece.

Perhaps the most glaring fault in a great many copies is that they are not like the original — in other words, they are distorted; this is mainly due to the lack of precaution as to having the camera absolutely square with the picture being copied. If the outside lines of the picture are not perfectly square on the resulting nega- tive it must be clear that distortion of the features has taken place, and this is in most cases due to the use of an ordinary stand camera. If the camera is placed on a long board or ordinary kitchen table, and the board to which the picture to be copied is affixed, is fastened straightly at one end, the lens being directed to the exact centre of the picture, there need be little fear of distortion occurring, and certainly may be made doubly sure by placing a T-square against the copying board and the baseboard of the camera. Naturally, it is necessary to see that the swing back, if the camera in use possesses one, is in its correct position, that is, not swung either forward or to either side. All this seems a very simple matter, and yet it is often over- looked, as it is "only a copy." Then as to the lens: it may be admitted that a cheap lens will produce a fairly good copy, but it is advisable that even if cheap it should be good and free from aberration. Distortion may also occur when an unmounted print is being copied owing to its not being absolutely flat, and the better way of overcoming any tendency this way is either to mount the print or to place it in an ordinary pressure frame and copy through the glass, care being taken to avoid reflections. These same reflections are often a source of trouble where an enamelled print is in question, but with a little extra care they may be avoided,

either by alteration of the lighting on the picture or by screening off surrounding objects with dark material. When the original is at all faded or discolored it is always advisable to use a pan- chromatic plate, and the same remark naturally applies to all colored originals. Some operators when copying always stop their lens down to the utmost because, as they say, the picture is not likely to move, so the length of exposure does not matter, and they ensure absolute sharpness. In my idea this is a mistake. The largest possible aperture should be used consonant with the correct degree of sharpness, for directly you go beyond that you are merely sharpening the grain of the paper and thereby giving additional work to the retoucher; in fact, a much larger stop may be used in copying than in photograph- ing a solid object for the whole of the subject is in one plane and, given a decent lens, if one part is focussed sharply the whole picture must necessarily be the same.

The development of a copy should be care- fully watched, and directly all necessary detail is out and sufficient density obtained the devel- opment should be stopped at once, the main object being to obtain a soft and yet brilliant result. Too thin a negative may give a soft print with sufficient brilliance if gaslight paper be used for printing, but for P. O. P. the devel- opment requires to be carried farther, and for bromide farther still, for as a rule a copy nega- tive will be found to print through more easily than an original. It will be found that a fairly strongish developer, and one that is well restrained, will, as a rule, yield a better result than a normal, as used for original negatives.

Many photographers are of opinion that the negative of a copy should not be retouched, but personally I consider that it requires far more careful retouching than an original. By retouching I do not mean remodelling of the features, or the mystic touch which is apt to impart an appearance of more youthful days, for so far as the actual portrait is concerned no alteration should be made, but the coarseness due to the copying of the grain of the paper requires careful working, not only on the face but on every part of the negative. I have known retouchers and first-class men earning high wages spend two hours or more on a post- card negative copied for publication purposes, and the result has certainly justified the labor and expense entailed. The same amount of work on an ordinary copy, where perhaps only six or, at most, a dozen copies are required, as against thousands in the case I have quoted, might be deemed wasteful and unnecessary, but, as a rule, it will be found that an increased price can be easily obtained for such high-class work, and even if it were not so, the extra cost of labor will easily pay for itself in the shape of adver- tisement. In cases where the original pictures are very weak or flat, as also with line drawings in ink or pencil, it will be found that the use of a slow process plate will ensure better results than can be obtained in the ordinary way. Ultra rapid or even so-styled extra rapid plates should never be used for copying. — C. BRANGWIN Barnes in British Journal of Photography.

38

THE WORKROOM

Steaming Bromide Prints

The steaming of bromide prints puts prac- tically a new surface on the paper. Regular bromide workers make good use of this dodge to cover up traces of hand work. When a print has been worked up, by strengthening some parts with pencil and rubbing down other parts with typists' india rubber, the surface is anything but attractive. The way to produce a more pleasing effect is to let the steam from the domestic kettle play on the surface of the print. This partly melts the gelatin coating and allows the hand work to sink in. The steaming must be done carefully. On no account should the print be held nearer than 6 inches to the spout of the kettle, and it must be kept moving all the time so that the steam may act evenly all over the surface. If one steam is not sufficient, the print should be allowed to dry before the second attempt is made. It should be pointed out that, where prints are worked up with broad masses of water color, the steaming dodge is not so effec- tive.— Professional Photographer.

An Effective Substitute for Farmer's Reducer

The cost of potassium ferricyanide (red prus- siate), which forms one of the components of the well-known Farmer's reducer is exorbitant. A substitute may be had by using the ferric chloride, or perchloride of iron, which in com- bination with hypo makes a very energetic reducer, and used alone a controllable agent. The formula is, as follows:

Ferric chloride .... 60 grains

Citric acid 120 grains

Water 4 ounces

The plate is rocked in this solution and the reduction carefully noted, and when the proper degree is reached, immediately washed under the tap. If the negative requires considerable re- duction after treatment with the iron and citric acid, it shoud be placed for half a minute in a solution of hypo about 10 per cent, strength. Here the action goes on very rapidly, and care must be had not to let it go too far. This reducer may also be used for local reduction in the same way as the Farmer's reducer.

Postcard Printing and Developing

Look at it how we will, with favor or other- wise, there can be no doubt that the postcard portrait has come to stay. There must be very few firms who have not, to a greater or less extent, felt their influence, and they have come to be, in very many cases, a large portion of the daily output.

In my own case it has been a tale of steady progress, from an occasional dozen or so ten or twelve years ago to several hundred a week at the present time. Happily all the "better- class" work has not been pushed out, and it has been my endeavor so to arrange matters in the printing-room that a large number of cards may be dealt with without undue interfer- ence with the ordinary output of prints. A record of my method may be of service to others.

I have never worked a "strip" printer,, although I have no doubt it is a very useful adjunct to the ordinary printing apparatus, all my work is done with a "Cyko" printer, which is too well known to need description. One alter- ation was made upon finding that the ruby lamp supplied with the apparatus gave too small an amount of light for purposes of adjustment.

A 5 candle-power incandescent lamp was obtained, and, after fixing in its holder, was covered with a thickness of ruby paper, and enough light was obtained by this means to ensure ease of adjustment without it being strong enough to cause trouble by fog, etc. A plate- holder is used to carry the negative. This was made on the premises by cutting two pieces of cardboard — one with an opening just the size of the negative, and the other | inch smaller all round, and fastening the two together, taking care that the upper layer is not too thick for the thinnest negative likely to be used in it, or loss of definition would possibly result.

The masks are cut to allow a margin of ys inch round the card, and are cut with large enough borders to permit of fastening to the plate-holder just mentioned, thus avoiding any disfigurement of the negative by stamp paper or whatever may be used for fastening.

Raised guides are carefully fastened at the proper distances — one at bottom, and another at the side of mask — -so as to allow of proper adjustment being made in the shortest possible time.

Exposure varies, of course, with the density of the negative.

A 5 candle-power lamp is used for bromide cards, and the light is sometimes further reduced by placing tissue paper upon the piece of frosted glass, which forms a permanent part of the printer. Care is taken to adjust these things so that an exposure of from two to six seconds is required, as if the exposures are shorter than this there is some difficulty in correctly timing to ensure regularity in the whole of a dozen cards.

For development a 10 x 8 dish containing 30 ounces to 40 ounces of solution is used, amidol being found best for all kinds of papers and cards

Having everything in readiness, six cards are inserted at one end of the dish, and then moved singly to the other end. In the vacant end six more cards are placed, being moved one by one to the top of the others, and then the whole dozen is moved back singly, thus bringing those first inserted at the top. Then another six are inserted, and again they are all moved singly to the opposite end of the dish, and thus develop- ment proceeds until the whole batch of cards is disposed of.

The correct depth is judged as the cards lie in the dish, and they are taken out in sixes, just as they are put in; and, as long as the exposures have been made correctly, twenty-four to thirty cards can be kept going at the same time.

The developer is added to from time to time as is found necessary to keep it up to working strength.

After development the cards are, of course, rinsed in plain water and fixed as usual, this

THE WORKROOM

39

latter operation being attended to by an as- sistant.

Time of development is about 2| minutes, and this gives ample time for proper exercise of judgment as to depth.

I find no difficulty by this method in printing and developing a hundred cards in an hour, and there are no reprints.

Greater speed could no doubt be obtained by increasing exposure and shortening development, but obviously this could only be at the loss of brilliance and evenness.

The absolutely essential thing in this, as perhaps in all other branches of photography, is correct exposure. Having this, everthing else is easy. — British Journal of Photography.

A Pliable Background

I have always wanted (writes A. W. E. in Camera Craft) a lantern screen that could be rolled up out of the way when not in use, and one that would not easily crack if it became wrinkled a little in the process. Another lantern slide man gave me a formula which he had clipped from some journal, and I tried it with the best results. The mixture is com- pounded as follows:

Glycerin 1 pound

White glue 1 pound

French zinc oxide ... 2 pounds

Hot water 1 gallon

The glue, of course, should be dissolved by heat in a portion of the water and the glycerin well worked in. The mixture is applied while hot. The cloth should be tightly stretched on a frame during the process of painting and drying. And here is a hint as to the tacking on of the sheet. Do not try to start at one corner and follow along one edge in tacking to the frame. Place a tack or two at each corner, and then tack half way between on each edge. Then place a tack half way between each tack already in place. The result will be an even, tight sur- face, one impossible of attainment by tacking along one side at a time.

A Cheap Lantern Screen

A good, cheap lantern screen for a photog- rapher can be made from pieces of oil-painters' canvas, carefully joined, or any other close material. Bolton sheeting or even calico, however, can be used. The screen should then be sized with a 30 per cent, starch solution, and painted with the following:

Water -| gallon

Whiting 12 ounces

Glue size 4 ounces

Treacle 4 ounces

Glass-stoppered Bottles — A Useful Tip

Although numerous hints have been given from time to time for dealing with a stopper that has become tightly fixed in its bottle, the writer cannot remember seeing any suggestion as to how this vexatious occurrence can be

avoided. The immovable stopper is frequently the outcome of placing the stopper into the bottle when either, or possibly both, are wet with the photographic solution which the bottle contains. The result of this is that the stopper not only fits tightly (as, of course, it is designed to do), but also that when the liquid between neck and stopper dries out it leaves a small residue of crystals or other incrustation which practically "cements" the stopper into position. To obviate this, care should be taken in pouring solution into a bottle, to avoid making the neck of the bottle wet. This can be ensured by using a suitable funnel for the purpose. Then to make assurance doubly sure both stopper and neck should be rubbed with a dry, clean duster. This simple method of prevention is worth a dozen cures, many of which may be somewhat doubtful and not without danger to both the photographer and to the bottle — Amateur Photographer.

Altering Density and Tones in Bromide Prints

The tones and density of the image in a bromide print are as subject to modification as those of the image in a negative. That is to say, they may be modified by intensification or reduction quite apart from toning or altera- tion of the color. It is perhaps in the matter of intensification of the picture that the great- est scope is offered. Many a badly developed print or enlargement can be saved and a fine- toned picture produced if one of the following methods is adopted. The same or similar con- ditions are open to us when intensifying nega- tives, slides, etc., but the photographer does not always realize that a bromide print and negative differ chiefly as regards their support; the negative or lantern slide is a gelatin plus silver image on glass, the bromide print is the same thing on paper. Here then we note that in our intensifying or other methods of dealing with a paper print we must bear in mind that a formula or method which works quite satisfac- torily with a glass or celluloid basis may stain the paper.

Color Changes or Toning

In general it may be said that intensifying a bromide print also changes its color. Hence it is difficult to draw the dividing line between intensifying and toning actions. We therefore have to note that while we strengthen the image by adding new material we may so change (lighten) the color that we are thereby little if anything better off as regards contrast.

Grouping Methods

Although there have been published or advo- cated a considerable number of formulae for bromide print intensifying processes, yet when one comes to boil them down into simplified form there are really only a few in actual num- ber. These may most conveniently be grouped together, e. g., silver, chromium, mercury, and copper, with a few odd methods which may be described as "various."

40

THE WORKROOM

Silver Intensification

For silver intensification use the following: (a) Dissolve 10 grains of silver nitrate in distilled water 1 ounce; (b) distilled water 2 ounces, citric acid 6 grains. Bathe the print in 2 ounces (b) for a minute or so,1 return this to the graduate and add 3 grains of pyro and apply to the print for a minute. Again return to the graduate, and add 1 dram of (a) and apply to the print for a minute, then add another dram of (a), and so on.

It would appear that (1) the print must be made acid; (2) the silver (a) must be added a little at a time, until we have 1 ounce (a) in 2 ounces (b) ; (3) staining may come from the dis- colored pyro, therefore if the mixture becomes greatly discolored it should be thrown away and a fresh lot mixed; (4) if the silver be added too quickly it may be deposited on the paper, where there is no image to aid as a nucleus.

Chromium Bleachers

Here is a table which shows at a glance characteristic or typical formulae employing chromium in the bleaching bath. Note: the quantities are grains of solids and minims of liquids per 1 ounce of water.

(Water — 1 ounce)

Potass, bichromate 5-20 10 10 10 5 —

Chromic acid . . — — 5 — — 10

Calcium chromate . — — — — — —

Potass, bromide . — 5 — — — —

Potass, iodide . . — — — ■ — ■ 5 —

Hydrochloric acid . 1-20 — — — 10 10

Nitric acid . . . — ' 8 — 8 — —

Alum . . . . — — — — 15 —

If a minimum change of color is desired amidol or diamidophenol can be recommended, e. g.r water 1 ounce, soda sulphite 20 grains, amidol or diamido 2 to 3 grains. In general by dilut- ing the developer and allowing a proportionately longer time we get results that are slightly warmer in color.

Pyro-soda gives a warmish and sometimes greenish black.

Caustic alkali in the developer may cause frilling.

The whole process may be repeated, but it does not afford much further strength and is not unlikely to yield stain.

Stains

Stains may be due to greasy, hot fingers; imperfect fixing before bleaching; partial bleach- ing as when two or more prints overlap in the bleacher, etc.; and insufficient washing after bleaching.

Mercury Bleachers

The second group of bleaching baths contain a mercury salt in some form, as may be seen from the typical formulae here brought together for ready comparison.

(Water — 1 ounce) Mercury bichloride . 3

Potass, bromide Potass, ferricyanide Am. chloride Soda sulphite . Mercuric iodide

3 10 9 5-25

4 —

90

5

The print is thoroughly bleached in one or other of these baths. The lightest parts of the original print practically vanish, the darker parts turn a nondescript orange-gray. The print is washed under tbe tap till free from yellow stain. WTe may hasten the discharge of color by adding a little, say 5 grains per ounce, potass, metabisulphite to the wash water; or for the same purpose we may use: Water 20 ounces, soda sulphite \ ounce, sulphuric acid or hydrochloric acid 20 minims. There is no gain by prolonged immersion in the bleacher or when washing after bleaching. A pyro-devel- oped picture, will not weaken in the bleacher so much as images produced by most other devel- opers. On the other hand, a first image by pyro shows less stain when chromium bleached and then darkened by some other developer.

We may redarken our bleached print by various agents, e. g.: (1) Water 1 ounce, ammo- nium sulphide (liquid) 3 minims; this gives a fairly strong result of warm black color, but may stain the print. It should be used very dilute only. (2) Any of our ordinary alkaline developers. These need not contain any bro- mide and should not contain excess of soda sulphite. (3) Water 1 ounce, ammonia fort. .880 3 drops, Schlippe's salt (sodium sulph- antimoniate) 5 grains. This gives a red-brown image, but has a tendency to yellow stain the high lights. Wash in very dilute ammonia.

As before mentioned, the figures indicate the grains of solids per ounce of water.

Darkening Agents

We have quite a choice of darkening agents. The following notes apply in connection with those baths containing mercuric chloride, i. e., mercury bichloride, i. e., the first four columns. After bleaching wash the print in water slightly acidulated with hydrochloric acid, say 4 to 5 drops per ounce.

1. Strong liquid ammonia 5 to 6 drops per ounce water — warmish brown-blacks.

2. Soda sulphite 10 grains per ounce — gray- brown.

3. Potass, metabisulphite 10 grains per ounce — cold gray to violet gray.

4. Gold chloride 1 grain per ounce — blue- purple, blacks.

5. Am. sulphide 3 to 5 minims per ounce — warm-red, purple-blacks.

6. Hypo 5 to 10 grains per ounce — purple- browns.

The soda sulphite and mercuric iodide can hardly be called a bleaching bath, as it effects little color change as compared with the other bleachers. It might better be termed a "brown- ing bath." After washing, it should be followed by any alkaline developer — preferably one without sulphite.

THE WORKROOM

41

Copper Bleacher

Water 1 ounce

Copper sulphate 10 grains

Potass, bromide 10 grains

After bleaching wash in water acidulated with nitric acid, from 4 to 5 drops per ounce. The print may be darkened by any alkaline developer or by a 5 per cent, solution of silver nitrate in distilled water. — Amateur Photographer.

have more latitude, i. e., room for errors of judgment, in the matter of exposure with a plate of the rapid class than with the ultra-rapid speeds. — .4 mateur Photographer.

Snow Photography

The fundamental fact to remember is that when the ground, trees, etc., are covered with freshly fallen, i. e., clean snow, this white sheet is acting partly as a reflecting and partly as a light-scattering agent with regard to the light from the clouds, sun, and sky which falls on it. The consequence is that the same subject with and without snow — all other things being equal — requires a very different exposure. Roughly put, a cover of clean snow enables one to halve the exposure of the scene without the snow. But this must not be taken as a cast-iron rule, as there are various factors which may alter it considerably. The next point is that a snow- clad scene very often means one in which the foreground presents very strong light-and- shade contrasts. Thus there is much more contrast between a dark tree trunk and white snow than there is between the same tree trunk and, say, earth or grass. Nevertheless, the old rule of exposure for the nearest darks of pic- torial importance still holds good. But in such a case — i. e., where the high-lights (snow and ice) may be over-exposed — one's aim should be to give enough, but no more than just enough, exposure. With regard to development, the old rule of "Expose for the shadows and let the high-lights take care of themselves" will not do in present-day dry-plate photography. It requires amending to read, "Expose for the shadows of pictorial importance, but develop so as to preserve gradation in the high-lights. ' ' This means that we must not carry on develop- ment so far as to make the second and third lights as dense as the high-lights. You will find in practice that as soon as the highest light "shows through," i. e., is unmistakably visible as a dark patch on the back or glass side of the plate, it is time to think about stopping develop- ment. But this is not to be taken as a cast-iron rule, for with some plates the high-lights are much more visible at the back than in the case of other plates. But if the worker sticks to one brand of plates and once gets to know the appearance of correct development, this, among other signs, is a useful guide. If the factorial system is adopted it will be advisable to lower the factor, say, from 12 to 10, or in that pro- portion, when dealing with snow subjects. In general, it is better to under- than over-develop, as with over-development it is not possible to get back the lost gradations in the high-lights by reduction, while a slightly under-developed negative can easily be intensified to any required degree by choosing the right process. Xo special plates are required, but certainly it is very desirable to have them backed. In general, we

A Bromoil Transfer Process of Three-color Printing

After dabbling in color photography for upward of twenty years, I think I have hit upon a method which can give results at least as good as any practised at present, is simpler in working, and more certain in results. There is no kinkling of tissue as in the stripping film, no frilling as in ordinary carbon or Ozobrome methods, no heartbreaking with dyes as in pinatype, and no uncertainty such as the gummist always experiences. In addition, the process is inexpensive. Any kind of effect, any kind of texture and surface are at command, and the "control" is unlimited, so that the "personal" element can have full scope. In this and in several other respects it is an ideal process, and will, I venture to think, become popular with color enthusiasts among both amateurs and professionals.

It is because of the many defects in the differ- ent processes mentioned, in all of which I have worked, and — this may surprise some readers — have been able to sell quite a number of portraits to the general public, that I have sought to work out some more certain, ready and effective method. But even with the Raydex method — which is improved Ozobrome and excellent when every- thing goes right — there has recently been so much uncertainty in the working of the tissue, owing, I believe, to the difficulty in obtaining raw material of standard quality, that I decided to experiment in Bromoil transfer. I had long considered this practical, but was fully alive to the difficulties. The principal of these were the depth to which each color should be printed, and register of all three. Of course, the negatives must be correct to start with. I need scarcely say that in no color process is even moderate success possible unless the negatives have been correctly exposed, correctly developed and are in balance. It is easy to go wrong in any color- printing even when starting with correct nega- tives. But in the system here advocated a patient worker can be reasonably sure of obtain- ing the result aimed at. Briefly, this is assured by thin successive printings.

Beginning with the yellow — which must be fairly correct before the red is applied (as this color must be underneath) — thin printing of the red and blue alternately can be employed and the image built up until the full range of tones and any depth of color desired is obtained. This is the great and outstanding feature of the method. In addition, there is complete freedom from defects in other processes. There is no blistering, no frilling, no temporary supports; the color being transferred to the final support at once. At first I wrought with collotype colors thinned with Bromoil medium, but recently I wrote to Messrs. Sinclair Co., Limited, sending them three primary colors to match, which they did with great courtesy and despatch. The tubes they sent me work well.

42

THE WORKROOM

It may be in order to mention here that each printing must be thoroughly dry before the next is applied. From beginning to end this rule must be adhered to. It means time, and is a drawback to this beautiful process, but the patience required is fully compensated for when the last blue printing has been applied and the picture, bold, strong, and vigorous, or delicate and soft in detail, stands out a thing of beauty, which, we are told, is a joy forever.

The Bromide Print

The success of the process must obviously depend upon the quality of the bromide prints, and these, of course, must be made from nega- tives as carefully and correctly exposed and developed as for any other method of color printing. The prints must be vigorous and full of detail. Over-exposure must be avoided, and yet an exposure bordering on this is necessary. A weak amidol developer, well restrained, is probably the best. A suitable print, and one from which a perfect transfer can be obtained, will have been at least five minutes in the developing dish. This is a fairly good guide. If the print develops quickly and the high-lights begin to obscure earlier than this, it is over- exposed, and will give a flat transfer. The shadows must have time to darken thoroughly, and the old adage for plate-exposure of exposing for the shadows and allowing the high-lights to take care of themselves, can be applied here in reverse order— that is, an exposure must be given that will bring out all the detail in the high-lights. Should the print be hard, with high-lights lacking in detail, no amount of coaxing will induce it to take on pigment in these parts. A print that is perhaps a little too dense can be used. Careful treatment and "hopping" the high-lights will brighten it up, but when the high-lights are just white paper nothing can be done: a new set of prints must be made.

Register

To obtain exact register of the three transfers is not free from difficulty, and I must confess I have experienced much trouble in this direction. But difficulties were made to be overcome, and I have devised and now employ a method which is simple, easy, and effective. Before bleaching the prints — that is, after they have been fixed in plain hypo — the acid fixer comes after the bleaching — I take the print for the blue and one of the others — it is immaterial which comes first, as all three must be dealt with — and lay them dripping wet on a sheet of glass, keeping the blue print on top. The water between the prints causes them to slip backward and for- ward easily, and, held up to the light, the prints can be quickly brought into register. Then firmly hold the prints together, allow the water to drain away for a few moments, and then the prints, since they cling together, will not go out of register if carefully handled. Taking them off the glass, lay them on a smooth table. Next pierce a hole through the prints anywhere near each corner. A darning needle is just the thing. The third print is treated in the same manner, brought into register with the blue printer and

holes pierced near the corners to correspond with the others. Three holes can suffice, but I always make four. After the yellow print has been inked and put into position on the paper to receive the transfer, guide marks are made with a soft lead-pencil by drawing a line from the pierced holes to the edge of the paper. These can easily be removed, when printing is com- pleted, and thus leave a clean margin all round the finished print. In all subsequent printings it is only necessary to bring the holes in line with the pencil marks to ensure correct register.

On Canvas or Paper

One of the greatest recommendations of this process is the variety of final supports which can be used. Paper ranging from smooth, even glossy, surface, if desired, to the roughest hand- made, will readily suggest itself, the former for fine detail and the latter for broad effects; but canvas or painted wood panels can also be used. In both canvas and wood the surface must be painted white. The prepared canvas is retailed by the artists' colormen, and can be had in sheets. It is coated with a gray medium and one coat of flake white should be sufficient.

Paper Brushes, etc.

As in bromoil and in bromoil transfer, any good bromide paper is probably suitable. The only difference, as far as my experience goes, is that some brands bleach at a lower temperature than others. It need hardly be impressed upon a beginner that in this, as, in fact, any other photographic process, the best comes cheaper in the end.

Limitations

Although the results obtained are beautiful and, as can be easily understood, from an artistic view point offer possibilities entirely beyond the reach of any other three-color printing method, there is a limit past which no combination of colors laid one on top of the other can go. Until we can obtain inks as transparent as, say, the old stripping film, the shadows will always retain a more or less heavy appearance. In many subjects this is not a fault, but in others it is a drawback. The remedy would be to place the color side by side instead of one on top of the other. I have an idea, but cannot spare the time to experiment with it, that by using a screen such as employed in half-tone block-making, this might be possible. If enlarged bromide prints were used the screen could be held in contact with the paper during exposure. Placed at a different angle for each print, the lines would intersect, and the question here would be so to arrange the screen that the little dots of color in the finished print would lie side by side as the dyed starch grains do in an Auto- chrome. Instead of the screen being held at an angle the better plan would be to have three screens specially ruled so that, if held in the same position for all three prints, the desired result could be obtained by purely mechanical means. If this idea can be carried out — and it seems quite practical — it should furnish the ideal method of color photography. Bromide prints

THE WORKROOM

43

made in this way would be equally suitable for the Ozobrome or Raydex process and the results should be superior to any previous color process on paper. — Charles Donaldson in British Jour- nal of Photography.

Know Your Fixing Bath

One can't become too intimately acquainted with the peculiarities of the ordinary acid fixing bath, especially during the hot summer months. There is no better, cleaner-working fixing bath for developing-out papers, and there is no one photographic solution that is more abused. As a consequence, a large portion of the ills to which a photograph is heir may be traced to the fixing bath.

The acid fixing bath keeps the print hard and firm, stops development immediately, pre- vents developer stains and fixes the print if the bath is properly made and is in good condition.

One of the principal causes of trouble is the worn-out bath which remains clear, even after it has been used for as many prints as the hypo in the solution can be depended upon to fix thor- oughly. Sixty-four ounces of the regular Artura fixing bath should never be used for more than the equivalent of two gross of cabinet prints, which would be approximately six dozen 8 x 10 prints. This does not apply to Artura alone, but to all developing-out papers.

Nothing is more uncertain than an improperly fixed print. It attacks your reputation in an underhanded way — stabs it in the back, as it were — and you learn of the injury too late to use first-aid measures. The print may look all right when it leaves your hands, but after the customer has had it for some time it begins to look sick.

The highlights yellow first and if it has had very little fixing the entire print may discolor. Keep an account of the number of prints your bath has fixed, and make a fresh solution as soon as it nears the danger point, which should be while the bath is perfectly clear.

There are many other causes of trouble, the first of which may be in compounding the bath. The most approved method is to make a stock solution of hardener and make up a fresh fixing bath every day or for every batch of prints.

Stock Solution of Hardener Water ....... 80 oz.

E. K. Co. sulphite of soda 16 oz.

No. 8 acetic acid (28 % pure) 48 oz. Powdered alum . 16 oz.

Dissolve the chemicals in the order named.

We do not say "dissolve the chemicals in the order named" from force of habit, but with very good reason. If the alum is added to the sulphite before adding the acid, a precipitate of aluminum sulphite is formed which it is very difficult to again get into solution. Be sure the sulphite is thoroughly dissolved, then add the 28 per cent, acid and then the alum. Some photographers prefer to dissolve the sulphite in half the water and the alum in the other half, but in compound- ing, the acid must always be added to the sulphite before the alum.

To make the fixing bath, dissolve 16 ounces of hypo in 64 ounces of water, and when sure the

hypo is thoroughly dissolved, add 8 ounces of the above hardener. If the hypo is not thoroughly dissolved, the addition of the hardener is liable to make the bath milky. The bath should be clear, and if not, it is an indication that sulphur has been released, and with sulphur released the solution becomes a toning bath as well as a fixing bath.

The addition of any acid (with the exception of sulphurous) to plain hypo will release sulphur. Alum will do the same, but not in the presence of acetic acid and sulphite of soda. The alum is the hardening agent, the acetic acid is the clearing agent and arrestor of development, the sulphite of soda in combination with acetic acid is the preservative, so it is readily seen that the one- solution acid fixing bath answers a three-fold purpose.

Prints could be developed, rinsed in a short stop and clearing bath of acetic acid, fixed in plain hypo and hardened in an alum bath, but the acid fixing shortens the operation and does the same thing better.

The chemical action of sulphite of soda and acetic acid in preventing the formation of sulphur is due to the fact that any sulphur which is formed combines with the sulphite to form hypo. In fact, hypo is prepared commercially in this way by boiling together sulphite of soda and sulphur. If sulphur has already been precipitated in the fixing bath, further addition of sulphite of soda will not dissolve it (or re-form it into hypo) as a cold solution of sulphite of soda is only capable of dissolving sulphur which is about to be precipitated and which at this stage is in a very finely divided condition.

Practically all the trouble encountered with the acid fixing bath is due to the releasing of sulphur and its consequent action on the print that is being fixed.

Impure sulphite of soda, old sulphite or sulphite that has been exposed to the air will contain considerable sulphate, which has no action as a preservative. If such soda is used in making a bath and it becomes milky it is due to a lack of sufficient pure sulphite.

Sulphite of soda oxidizes even more readily in solution than in its dry form, so the hardener should be kept in a bottle tightly corked, and the prepared fixing bath should be poured into a bottle if it is to be used a second time. Oxidation will destroy a bath that has never been used if it is allowed to stand in an open tray for some time.

Heat will also cause sulphur to be released from the hypo, even though a bath has been properly prepared, so it is safest to make the fixing bath only for immediate use in hot weather.

It is as important to wash prints thoroughly after fixing as it is to fix them properly. Prints should be kept separated in the wash water to allow the fixing solution to be thoroughly eliminated from the emulsion. If prints lie matted together in warm water they may begin to tone in spots, or if they are removed from the water before the hypo has been entirely elimin- ated, any portion of the print containing hypo may turn brown after the prints have been laid out to dry.

Acetic acid Xo. 8 (28 per cent, pure) is specified

44

THE WORKROOM

in our formulas because it is the proper strength for the fixing bath, and may be procured at any photographic supply house. You may be depending upon your local source of supply for acids, in which case it is just as well to use glacial acetic 99 per cent, pure, provided it is properly diluted before it is added to your other chemicals. To make a 28 per cent, solution add 3 ounces of 99 per cent, acid to 8 ounces of water.

This dilution of the glacial acid is important, otherwise an excessive amount of sulphur dioxide gas would be given off from the sulphite, even though only an equivalent quantity of strong acid was employed.

Knowing the action of the acid fixing bath, and taking proper precautions to prevent sulphurization, will ensure permanent prints, even in the hottest weather. And with a stock solution of hardener it is certainly very easy to dissolve sixteen ounces of hypo in sixty-four ounces of water and add eight ounces of the hardener. There is really no excuse for fixing bath troubles, either in summer or winter, if we will familiarize ourselves with the above facts and keep the precautions constantly in mind. — Trade News.

Three Types of Lenses

The names of lenses are very numerous, but these names by no means represent different types. Broadly speaking, lenses may be divided into three classes — the portrait, rapid rectilinear, anastigmat classes — but, though this classifica- tion may seem quite familiar, it is not certain that the essential differences are generally understood. These differences mainly consist in varied degrees of correction, and the points of chief importance to the user are not the par- ticular aberrations that are corrected, but the varying behavior of the three classes at large and small apertures and over large and small fields. It must be recognized that photographic optics has not yet reached such a stage of perfection as to permit the production of a lens that will work equally well at large or small apertures over either large or small areas. In every case there is a certain amount of compromise, and the correction for a large aperture involves the sacrifice of some other quality, as does also the production of good definition over large fields.

Taking the portrait type of lens first, the early specimens were essentially lenses corrected for very large apertures but over very small fields. At full aperture they may produce the most exquisite definition over an area not much bigger than a postage stamp, but give very inferior results over a larger area. Obviously such lenses may be of extreme value for certain work, and astronomers in particular are always glad to come across a fine specimen of the early type of Petzval portrait lens that possesses these qualities, for the central definition excels any- thing that can be secured with modern photo- graphic lenses. This particular quality is, however, by no means necessary for portraiture; hence in modern types of portrait lenses some of the central definition has been sacrificed for the purpose of getting better definition over a larger

area. The alteration is one of degree only, and so the portrait lens is still essentially a lens that will work at a very large aperture, but will cover with good definition only a very small area or angle.

In the next type of lens, more or less accurately designated "rapid rectilinear," the most essen- tial difference is a reduction of aperture and the power of covering a bigger field. While a 6-inch portrait lens will sharply cover only the central part of a quarter-plate, the rapid rectilinear //8 should cover the whole sharply to the corners. This represents about the most that can be expected from rapid rectilinear lenses, and, while the lenses of the same or similar type have been issued with //6 apertures under various names, they will not cover such large plates. The best of these f/6 lenses form types inter- mediate between the rapid rectilinear and the portrait type, while the worst are simply rapid rectilinear lenses fitted with an aperture that is too large to permit of good definition anywhere.

Next is the anastigmat type. This is essen- tially a lens that at large aperture will cover a large area; but to attain this very useful quality again, sacrifices have to be made, the chief of which usually is the perfection of definition at small aperture. At first sight this seems a serious matter, but a little consideration will show that it is one of small moment so long as large aper- tures are in use. The small aperture forms only a small portion of the large one, and the imper- fectly corrected area of the lens in use with the small aperture plays a very small part in the formation of the image when the large aperture embracing the more perfectly corrected and much larger areas remote from the centre are used. There is also a certain amount of compromise as regards the definition in the area covered. Perfect definition cannot be secured over the whole area, and, as a rule, the best definition will lie at the centre and in a circular zone some- where between the centre and the margins of the disk covered. The chief virtue of the anastigmat lens is that it will cover a larger area than either the portrait or rapid rectilinear types at a large aperture. If a large aperture is not wanted, the rapid rectilinear will work almost as well, and, in fact, will fulfil most of the requirements of the average photographer. On the other hand, if a very narrow angle alone is to be covered, a portrait lens will work as well as an anastigmat, and probably at an even larger aperture. The anastigmat is the most universal of the three types, as it will do all that the other two will do, but for a great deal of ordinary work it is by no means essential. — C. W. Piper, in British Journal of Photography.

The Sharpness of Negatives for Enlarging

There is too wide-spread error that the want of sharpness in the photographic image from very rapid gelatino-bromide emulsions is caused by the grain of the plate. It is true that if it is a question of enlarging an image 150 times, special emulsions of collodion and albumin must be employed. With these the grain only becomes observable with a magnification of 200 diameters, and at such magnifications it is only with a

THE WORKROOM

45

highly corrected lens and most precise mounting of the apparatus that a sharp image can be secured. In the usual operations of photographic enlargement, however, a magnification of more than four diameters is seldom required.

In general terms, fast plates produce images with a grain less fine than slow plates. When the emulsion is prepared at as low a temperature as will insure the dissolution of the gelatin, it is quite transparent but very insensitive. As the emulsion is heated to increase its sensitiveness, it is seen to become more and more opaline, and a microscopic examination shows that the bromide of silver flocculates in grains of increasing volume. There is, however, no necessary relationship between the sensibility of the emulsion and the size of the grain, and the majority of manufac- turers have succeeded, by processes more or less secret, in preparing rapid emulsions with a relatively fine grain. For example, among the products of the Lumiere works, the "sigma" plate has three times the speed of the "blue label" plate, and yet the grain of the former is notably finer and more uniform than that of the latter. The "violet label" plate has seven times the sensitiveness of the blue label plate, never- theless its grain is comparable in fineness with the sigma plate. The grain of the sigma plate is minute enough to define details one-fortieth of a millimetre, and with an enlargement of four diameters the sharpness of the image will be the order of one-tenth of a millimetre (about 0.004 inch). In practice, a departure from precise definition from two to two and one-half times this value is admissible. It is therefore not in the grain of the emulsion that the cause of poor definition in enlarging must be sought, but in the defects of the optical system and its mounting and to the treatment of the plate in the develop- ing process. — E. Constet, in Revue Generate des Sciences.

Some Useful Varnishes

Matt varnish: (1) Gum sandarac 1| drams, gum mastic 20 grains, ether 2 ounces, benzol 6 to 10 drams. (2) Gum sandarac 1 dram, gum dammar 1 dram, ether 2 ounces, benzol 6 to 10 drams. The less benzol the finer the "grain" of the varnish.

Cold varnish for negatives: (1) Celluloid cut up into small chips 10 grains, amyl acetate 1 ounce. (2) Dissolve 1 ounce borax in 1 pint of boiling water, add 4 ounces powdered shellac and simmer gently for half an hour. Strain while hot through fine muslin into a bottle. Let it stand for a week, and decant off clear part for use.

Negative varnish for hot application: (1) Best hard white carriage varnish 3 ounces, methylated spirit 5 ounces. (2) Sandarac 1 ounce, Venice turpentine 2 drams, oil of turpentine \ ounce, alcohol or methylated spirit 10 ounces.

Black varnish: Shellac 1 dram, methylated spirit 1 ounce, lampblack q. s. to creamy con- sistency.

Dead black varnish: Gold size and lampblack to consistency of soft cheese. Then add about eight times the volume of turpentine.

Retouching varnish: 10 to 20 grains of red rosin, turpentine 1 ounce.

Encaustic varnish for polishing prints: White wax 30 grains, benzol 30 minims, oil of spike 30 minims. Mix by aid of gentle heat, and apply with piece of white flannel. — Amateur Photographer.

Toning Bromide Prints Blue This may be done by various formulae, but in all cases it is essential for a good bright result that the bromide print be fully developed, thoroughly fixed, and well washed.

Blue Toning Baths: (1) (A) Water 2 ounces, potass, ferricyanide 8 grains. (B) Water 2 ounces, ammonio-citrate of iron 4 grains. Mix A and B, and add 10 drops of nitric acid. (2) (A) Water 2 ounces, uranium nitrate 6 grains, acetic acid 60 minims. (B) Water 2 ounces, potass, ferrocyanide 4 grains, ammonio-citrate of iron 6 grains. Mix A and B. (3) (A) Water 2 ounces, potass, citrate 4 grains, potass, ferri- cyanide 4 grains. (B) Water 2 ounces, ammo- nio-iron alum 10 grains, hydrochloric acid 2 minims. Mix A and B.

To Render Plated Camera Fittings Tarnish- proof

Photographers who are particular concern- ing the appearance as well as the efficiency of their apparatus can ensure that all plated parts of cameras and attendant accessories are rend- ered tarnish-proof by employing the very simple but effective method here described. The parts to be treated should be slightly warmed and then coated, by means of a fine soft brush, with a solution composed of collodion thinned with alcohol. This coating dries immediately, leav- ing a thin transparent film on the metal; this film, although invisible, gives complete protec- tion against atmospheric influences. Should it be necessary at any time, the coating can easily be removed by gently rubbing with a soft cloth dipped in hot water. The idea can be applied equally well to sterling silver ware, and might be found useful to photographers, who, being the fortunate possessors of silver plaques or medals, wish to display them to the best advantage without the trouble of frequently cleaning them with plate powder or liquid polish. — Amateur Photographer.

Waterproof Cement for Glass Dissolve 50 grains of gelatin in about 1 ounce of water and then add 10 or more grains of acid chromate of potassium. If this solution, freshly made, is applied to the two edges of a break, the pieces bound together for a few hours, meanwhile being placed where the sunlight can act upon it, a perfect mend will result. The fracture will be hardly noticeable, and even hot water will have no effect upon the cement. — E. T. R. in Camera Craft.

A Quick Way of Washing Small Roll-film Negatives The other day the writer was desirous of washing a strip of roll-film negatives taken with

46

THE WORKROOM

a small pocket camera as quickly as possible, and the following idea was hit upon: the strip of film was taken from the fixing bath, and held film side up, one end of the strip in the right and the other in the left hand, under the tap so that one end was considerably lower than the other. A rapid stream of water from the tap was then allowed to flow down the entire length of the film, starting at the top immedi- ately under the tap. The film was held so that it was hollow in the centre, thus allowing a better passage for the water. After five minutes' fast washing as described above, the drainings of the film were allowed to drip into a solution of permanganate, and indicated that no hypo was present. The above method is of especial value at the present time when most of us are busy, and shortens considerably the uninteresting business of washing. — Amateur Photographer.

Clean Dishes

Clean dishes are essential for good work. Dirty dishes, graduates, etc., are the chief factors in most spots, stains, etc., both on plates and paper. Make a mop by tying a piece of loofah to a piece of firewood. With this clean the dish with strong cheap hydrochloric acid, sold cheaply as spirits of salt. Rinse out with water, and give a final polish inside and out with another piece of loofah and a rub of sapolio. — Amateur Photographer.

Eyes

If your sitter's eyes are rather small, then it will be advisable to select some poses in which the eyes may be turned slightly upward. If, on the contrary, the eyes are large and staring, as though they had been pushed forward, then a downward look will be more becoming. If, again, the eyes are deep set, as it is called — i. e., giving one the idea that they had sunk some- what into the sockets — then the pose should be pretty near about full face, and the eyes turned, not directly toward the lens, but to some object near the camera. — Amateur Photographer.

Waste

More terrible than waste of money is waste of power. Carelessly we sacrifice our health, our very lives. Sickness is a result of waste of our power of resistance, an evidence that we have failed to heed the laws of health.

Fight the waste of time! Some of us have more money to waste than others, some have more health to spend, but we all have twenty- four hours a day which no one can take from us. No one? No one but waste! With the whole golden twenty-four hours at our com- mand we fritter away minutes making up our minds, we lose hours in thoughtless conver- sation, we waste incalculable time looking back when we should look forward.

Last of all is the most criminal form of waste — the waste of opportunity. When a chance comes to do even some trifle that will

help us on our way up, we refuse to exert the extra ounce of energy necessary to grasp our chances. When the opportunity knocks at the door, we tell her, "I'm too busy to see you, come back later." It's waste of oppor- tunity that is holding you down!

Whatever form waste takes, fight it. Pro- tect your money, your power, your time, your opportunity from waste! When you have learned to conquer waste you have learned the lesson of success. — Service.

Magnifiers

Magnifiers should be used as near to the camera lens as is practicable.

With a fixed focus camera the lens of which is set at infinity, the focus of a supplementary lens to bring any near object into focus will be the distance of the object. Thus to photograph a still life group three feet from the camera will require as magnifier a positive lens of 36 in. focus.

Magnifiers used on a fixed focus camera do not alter the f numbers of the stops.

Under this heading it is proposed to include each month a list of all the U. S. Patents; and brief abstracts of the more important, and to include alsa such foreign patents as present special features.

Copies of any patent can be obtained from the Commissioner of Patents, Washington, D. C. Price, five cents each.

M. P. and Phonograph Records. K. Madaler.

1204091. Etching Plates. J. J. C. Smith. 1203802. M. P. Color Filter. Zollinger and Mischorisniky

1203681. Projector. F. A. Hardyman. 1204272. Camera. H. J. Gaisman. 1203603. Enlarger. G. R. Watson. 1204098. Printing Frame. E. C. Scudder. 1203917. Roll Holder. J. S. Greene. 1204011. Slide Carrier. W. C. Tohnson. 1203744. Shutter. W. N. Bartlett. 1205079. Shutter Release. F. W. Smising. 1204509. Film Cleaner. Singleton and White. 1205039. M. P. Projector. M. C. Hopkins. 1204771. M. P. Screen. A. T. Jocobsson. 1204775. Projector and Screen. A. D. Brixey. 1204001. M. " P. Projector. F. Norte. 1204585. Shutter Release. F. L. Scott. 1205486. Renovating M. P. Film. A. P. H. Trivelli.

1205822. M. P. Synchronizer. J. W. Billing. 1205427. M. P. Film Cleaning. 1. Tessier. 1205583. M. P. Film. J. A. MacBride. 1205367. M. P. Machine. W. H. H. Knight. 1205548. M. P. Printer. J. Tessier. 1205582.

NEW SERIES < WILSON'S PHOTOGRAPHIC MAGAZINE

THE PHOTOGRAPHIC JOURNAL OF AMERICA

THE OLDEST PHOTOGRAPHIC MAGAZINE IN A MER IC A

The Double Cross

for the

Amateur Photographer and Cyko

A photographic dealer writes as follows:

'The finisher who does our work cannot any longer continue to use CYKO Paper on account of the in- crease in cost of chemicals and labor, and he intends to substitute a cheap brand of paper.

"Our finisher prefers to keep work- ing with ANSCO products to fulfill the promises made in his advertise- ments as regards quality."

The list price of CYKO is the same today as before the war, although raw materials have doubled in price.

Can you beat it?

Ansco Company

Binghamton, N. Y.

By E. L. MIX

NEW YORK

PRESIDENT PROFESSIONAL PHOTOGRAPHERS SOCIETY OF NEW YORK

PHOTOGRAPHIC < JOURNAL- 'S^ AMERICA '

VOLUME LIV

FEBRUARY, 1917

NUMBER 2

COMPOSITION AND ARRANGEMENT

THERE is one subject which will al- ways furnish an interesting line of thought for either the professional or amateur photographer. It is a sub- ject that may be treated by many writers, each giving his views with clear- ness and succinctness; it may be studied by the majority of readers of photo- graphic literature, but from the examples of work seen every day, it is still neces- sary to urge photographers on to greater efforts in regard to composition and arrangement.

It is a mistake to think that out of the ordinary everyday family who come to the studio to be photographed an ideal picture can be made, or that twenty or thirty persons who have associated with each other for a short time, such as we find in schools and clubs, can be made to furnish material for or enter into the spirit of an ideal artistic composition such as the photographer may have in his mind; nor is it within the bounds of possibility for any artist to make a prize picture from such a combination of per- sons. The subjects for a group which has for its object the illustration of some

story, poem, or whatever other romantic idea the photographer may have, must enter into the spirit of his theme, they must be trained not only in expressing the attitudes which are necessary to explain the story, but they must also give expression in their countenances to whatever thoughts the story may sug- gest. What would be the effect of a picture where the attitude denotes life,, action, energy, everything that goes to illustrate a story of active and daring adventure, if the face could not express the feelings which we imagine should be felt by a person in such a position? It would, most undoubtedly, be flat, unin- teresting and absurd. I have seen in many photographs evidence of this want of feeling and harmony of expression; while the attitude told you a story, the face belied it.

If we look at the works of celebrated artists we will see that the face and atti- tude express the same idea. Love, hate, fury, despair, fear, horror, illuminate, sadden, or distort the countenance and help with clearness and force to bring the story of the picture vividly before

(47)

48

COMPOSITION AND ARRANGEMENT

!Y E. L. MIX, NEW YORK

our minds, while the attitude speaks, as it were, and gives greater effect to the whole. Take, for instance, one of Meissonier's paintings, ''The Sign Painter," in the Metropolitan Art Mu- seum. A reviewer says: "The scene is altogether a transcript from a past gen- eration. If we remark the expression of these men (the cavalier and sign painter), we see characteristics which reflect their inner and true personality. What amiable self-complacency is be- trayed in the satisfied air with which the sign artist awaits the cavalier's verdict upon his work, and how consummate is the cool criticism on the part of the latter. We should not know where to look for a counterfeit presentment of man that approaches to nature herself than this unimpassioned inspector of the tavern sign. He is real to the very creases in his boots and the buttons on his coat." Can the glowing description of the poet or the realistic language of the tragedian clothe a scene with more ex-

plicit meaning than the pencil of the draughtsman, the brush of the painter, or the camera of the photographer? A mere description can never equal or appeal to us as strongly as when we see it before us in a picture. The painter has a greater advantage over the photographer in being able to dispense with any ob- jectionable detail that might destroy the beauty of his subject. As a celebrated writer observes: "The details of the prose of nature he omits and only gives us the spirit and splendor. In a landscape he will give us the suggestion of a fairer creation than we know. He knows that the landscape has beauty for his eye be- cause it expresses a thought which is to him good, and this because the same power wrhich sees through his eyes are seen in that spectacle; and he will come to value the expression of nature, not nature itself, and so exalt in his copy the features that please him. In a portrait he will inscribe the character and not the features, and must esteem the man who

By E. L. MIX

NEW YORK

50

COMPOSITION AND ARRANGEMENT

tY E. L- MIX. NEW YORK

sits to him as himself only an imperfect picture or likeness of the aspiring original within."

The photographer must be satisfied with nature as he finds it; wrhether it is frowning or smiling, he must be content. Therefore if the subject is not in entire harmony with his ideas, if he does not enter into the spirit and give his thoughts entirely toward carrying out whatever story the picture is intended to illustrate, the result will be a failure. I would, then, say to the photographer, be satis- fied with representing the character of your group and refrain when you have but indifferent material from trying to adorn a moral or point a tale. It is also well to remember that a long course of study is as necessary for the photog- rapher as it is for members of any other profession. The greatest painters, poets, and writers study the works and profit by the experience of men who lived in by-gone years. They would not, or could not, reach the highest point of

perfection if they had not done so. The works of men who lived away back in the ages which we call barbarous are eagerly devoured, and the creations of their hands and brains are studied by the great men of this and other genera- tions, and why? Simply to gather ma- terial for the foundation of works which they expect to create. There are rules and reasons for everything, and unless men train themselves to go strictly ac- cording to the rules that govern their work and find out the reasons why such rules are applied to it, they cannot ac- complish much, they will be toilers in the dark, stumbling and groping to the end.

At the present time, when the works of the greatest artists are faithfully re- produced and explained, it is easy for every photographer to study them and gain very great benefits from doing so.

The paintings and illustrations of an- cient and modern times are collected and put in convenient shape by the pub-

By E. L. MIX

NEW YORK

52

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

!Y E. L. MIX, NEW YORK

Ushers of photographic works, together sary for the photographer to know,

with criticisms and explanations by cele- Study the works of others, master their

brated art writers; these will be found details, then give life to your own

to contain many things which are neces- thoughts.

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

By G. D. CRAIN, Jr.

PHOTOGRAPHY is an art, and therefore one is safe in assuming that the photographer of ability must be an artist.

On the other hand, the commercial photographer is dealing with commercial conditions and commercial men, and in order to make good in that field he must adapt himself and his methods to its peculiar and severe requirements. The business man of today is forced by his customers to give service in all that the word implies, and when he goes into the market to buy anything, whether it is a carload of lumber or half a dozen 7 x 10 photographs, he like- wise is looking for top-notch service;

and in many cases quality of the work, not backed up in this way, will not win the appreciation and the price com- manded by reasonably good work and service that is beyond criticism.

Now, before going any further, it may be well to stop and consider some of the things suggested by service in connection with commercial photog- raphy. What is meant by service, and what must the photographer who is anxious to provide it do, in order to feel that he has done everything that in reason should be asked of him?

First and foremost, service in busi- ness demands promptness.

The business man who is buying

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

53

photographs, and is promised them for a certain hour of a certain day, expects to have the photographs at that time or know the reason why. The photog- rapher may have a beautiful set of excuses — his customer would probably refer to them as "alibies" — but they will not pass muster, because the buyer is not interested in. "reasons why," but in getting the work — in getting service.

!Y E. L. MIX. NEW YORK

The work must be done according to instructions. Once having told the camera man what to photograph and how, the customer expects that the pic- tures will indicate that these instruc- tions have been carried out to the letter. If the photographer has departed from them, even with some show of reason, he is going to have a hard time making good on the matter of service, because the first thing the customer will have looked at is the details which he expected to be developed by reason of his special instructions along this line.

Now, it should be remembered that the average business man is not an expert on photography. That is what makes the situation all the more diffi- cult for the picture man. The concern which is dealing with amateur photog- raphers, handling their developing and printing, has the advantage of being able to meet its customers on its own ground and to explain all of the conditions in technical terms. The photographer who is doing portrait work is in a distinctly art field, where the requirements for the best results, from an artistic standpoint, are given precedence over everything else.

But in commercial photography everything that is demanded is results. Excuses are not legal tender, and failure to carry out instructions is an unpardonable sin.

The element of time is all-important. Much commercial work is done with a certain time limit in view. This applies, of course, to news pictures more definitely than anything else, but it usually figures in a great many other cases. The customer wants to get pictures of his new line of samples made in time to catch a certain impor- tant customer at a certain city where his salesman is working; the lawyer is anxious to have a picture made for use in a case, work in which is being held up awaiting its development; the trade journal is holding an edition for a picture with which to illustrate one of its leading articles, and so on. If you ever realized the value of time, it is when you are making a commercial picture which is to play its part, possi- bly, in swinging a deal or deciding a case involving thousands of times the value of the plate.

The photographer may explain that there are conditions over which he has no control; that the weather is going to determine his ability to expose his plates under favorable conditions, and that other elements may develop to delay the completion of the work. That being the case, then, he should either have a definite understanding on this score with his customer or he should make a special effort to oxer- come unfavorable conditions.

54

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

It is, of course, true that equipment is being devised constantly with the object of enabling the photographer to disregard natural conditions to a larger extent than formerly, and the commer- cial worker, most of all, needs these aids, because, as suggested, his custo- mers are less likely to regard as valid excuses for failure to produce the work on time, based on weather con- ditions.

The point to be borne in mind, how- ever, is that if promises are made, those promises should be carried out if it is humanly possible. It is far better not to make a promise, and then to deliver the picture at the time desired, than to agree to get the pictures out at a certain time, only to fall down. In one case the customer will be delighted at the appearance of the finished work ahead of the time expected ; in the other, he will be disgusted at the failure of the photographer to make good. It goes without saying that the first photog- rapher will establish a reputation for service and the other will lose it.

If there is any doubt about the ability of the concern to deliver photo- graphs at the desired time a qualifying clause should be used, so as to protect the photographer. "We will do the best we can, but we cannot promise them at that time," would save the face of many a worker who, because of some untoward weather or other condi- tion, finds that he must delay delivery of photographs. He wanted to please his customer, and so he promised; result, his own discredit and the dis- pleasure of the buyer.

Another important point is that if the photographer, after agreeing to get the work out at a certain time, finds that he is not going to be able to do so, he should by all means notify the customer and ask for an extension of time.

You have no idea how much better that is, from the stand-point of the photographer, than to wait until the customer, who possibly has been going ahead, counting on the delivery of the work at the agreed hour, calls up only to learn that the pictures have not been finished.

If the photographer, anticipating his inability to complete the work, tele- phones the buyer and explains the conditions, asking for an extension of time, he will get it willingly nine times out of ten and the customer will be impressed with the business-like char- acter of the concern with which he is doing business. Likewise, he will make his own plans accordingly, and his inconvenience, due to the non-delivery of the work, will be minimized. It is the disregard of the photographer for the interests of others, shown by a failure to notify when work is delayed, that "puts him in bad" with customers and makes them register mental vows never to do business with them again.

There is a certain commercial photog- rapher who is conceded by many to be an exceptionally good man, technic- ally speaking. But he is all technic. He regards the conditions of his work and the work itself as much more impor- tant than the practical use to which it is put. In other words, the artistic demands of the photograph are para- mount with him, and unless he feels that the picture is going to be perfect he will not attempt to produce it. Now, this is all very fine from one stand-point, but from the stand-point of bread