Photocross - LifeStyle

The Postcard Lantern As An Aid To Copying And Enlarging.

noreply@blogger.com (SLAiPS d(-_-)b) — Thu, 18 Sep 2008 05:37:00 +0000

A postcard lantern or its equivalent, for a simple substitute is quite easily devised, will often prove of use to the photographer for special work. It may be of great assistance, for example, when one desires to make a copy or an enlarged negative from a print, while at the same time introducing modifications, or blocking out unwanted portions.
Direct enlarging with a postcard lantern is not new, having in fact been suggested by A. E. Swoyer, in the "American Annual of Photography" for 1914. That writer, however, regarded the projected image as an end, whereas in the present article it is simply a means to an end or intermediate stage, while the method adopted is entirely distinct.
It will be seen, by reference to fig. 1, that the postcard lantern consists of a body, A, in the front of which is fitted the objective, B, while at the back is a hinged door, C, with grooves to hold the print, or sometimes a sliding carrier. A good source of illumination is two 30 c. p. or SO c. p. metal filament bulbs, D and E. The inside of the body U whitened, and it will be noted that the ides nearest the lamps are at such an angle as to reflect the light on the print. Two small interposed screens, or some similar arrangement, prevent direct rays reaching the lens. Cowled chimneys are usually fitted over the lamps, and due provision made for ventilation.

The most important item is the lens, which should be of fairly large aperture, owing to the loss of light by reflection, and should have a flat field. Cheap postcard lanterns often have objectives with so round a field that the holder has to be curved to get uniform definition. Such a lens is, of course, quite unsuitable for copying or enlarging. Many of these objectives are not even achromatic, and, on the whole, a proper photographic lens is Bach to be preferred, even to the best of them. The lens must be capable of covering a plate at least as large as the print to be projected and the lantern should have sufficient focal adjustment or extension to render a fairly small picture possible when required.
There will be needed, in addition to the lantern, an easel of the type shown in fig. 2. This consists of a frame, A, containing a

wheat of plain glaze, B, and supported in a vertical position by a firm base and struts. To the frame A, is hinged a smaller frame, C, which, when closed and secured by a turn button, presses on the glass.
The print to be copied is inserted at the back of the lantern, and focused sharply to the desired size, on a sheet of tracing paper stretched taut between the two frames on the easel; or, if preferred, a piece of finely ground glass may be placed in the frame, A, instead of a plain piece, and the tracing paper dispensed with. If the second coarse is adopted, the ground aids) of the glass should be at the back of the easel.
The worker, standing or sitting behind the easel, now has it is power to modify the projected image considerably, by of pencil or stomp work on the ground glass or tracing and even the brash may be employed advantageously in cases. Since the image is a positive, there is no difficulty in exactly how the final result will appear. Cars, of course, have to be taken that the work matches the colour of the image.
The next step is to make a negative from the modified image, by setting up a camera, F (fig. 1), behind, and central to the easel, O, without moving or interfering with the lantern. Thus, the copy negative will contain all the introduced work as well as the essential characteristics of the original, and the result if all is well done, will be a considerable improvement. The negative may obviously be any required size, though preferably it should be smaller than the projected image, as this reduces the likelihood of grain showing.
It will be seen that this method affords a handy way of inserting a black background, by painting round the projected image with any suitable opaque; or of introducing accessories on an originally plain tight background; copying joined up prints an I combinations; adding skies to landscapes; and many other purposes.
One may also make enlarged modified negatives direct from prints, by working-op the projected image, as before described and then, having find covered the objective, placing a large plate in the frame behind the grand glass or tracing paper, the exposure being then given by uncovering the objective for an estimated time. In this case, the postcard lantern must evidently be light-trapped properly, which is not so necessary for copying with a camera; while a little extra space mast be left in the rebate of the easel frame to allow the insertion of the plate. Enlarging in this way softens the definition a little, and thus lends itself to artistic elects. There may also be an alight grain, bat with proper cars this should not be objectionable. Backed plates should invariably be used.
Since metal-filament lamps do not give out much heat, it in traits feasible, with an intelligent study of size and ventilation, to hint a simple wooden, lantern of the kind under discussion; or, with but a little adaptation, one or other of the various contrivances for ^Urging by reflected light without a condenser may be pressed into service.
To anticipate difficulties which may, perhaps, perplex some who are unfamiliar with postcard lanterns, it should be stated that the projected image is always laterally reversed. Viewed from the rear of the easel, however, there is no inversion, when explains why copying is done from the back, that also I fortunately the most convenient position.
A. LOCKETT.

News and notes: LANCASHIRE SOCIETY OF MASTER PHOTOGRAPHERS. PHOTO-MICROGRAPHIC SOCIETY, PHOTOC.RAPH-C FIAME TESTS, DEATH OF MADAME LALLIE CHARLES.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 16 Sep 2008 06:31:00 +0000

LANCASHIRE SOCIETY OF MASTER PHOTOGRAPHERS.

In connection with the exhibition by members to be held at the Art Gallery, Black pool, on May 27, 1919, the committee desire that specimens submitted should be sent uncounted and not framed. The response from members is very satisfactory, but there is ample room for several more photographs. Entries will be in time if received by the hon. secretary up to Monday, April 28.

PHOTO-MICROGRAPHIC SOCIETY.

The next ordinary meeting will be held on Wednesday, April 23, at 7 p.m., at King's College Bacteriological Laboratories, 62, Chandos Street, W.C., when F. Martin Duncan, F.R.M.S., F.R.P.S., will lecture on "The Preservation and Preparation of Microscopic Objects for Photomicrography." Visitors are invited and cards of invitation may be obtained on application to the Hon. Sec., J. G. Bradbury, 1, Hogarth Hill, Finchley Road, Hendon, and N. W. A.

PHOTOGRAPHER FLAME TESTS.

Describing the research now being undertaken by Professor H. B. Dixon in petrol substitutes, the "Times" mentions that an exceedingly interesting and ingenious device used by him is a camera of recording the "spread of the flame" in an explosion. It will take a hundred yards of film photograph a second, and as the film moves at right-angles to the motion of the flame and the lens reduces the image to one-twelfth of the original, it follows that the camera provides a means of analyzing a flame traveling at velocities up to 3,000 yards a second. This is an apparatus which Professor Dixon had perfected before undertaking the present investigations.

DEATH OF MADAME LALLIE CHARLES.

The death is announced of Madame Lallie Charles, for many years a well-known society photographer, having her studio and residence in the exclusive Mayfair thoroughfare of Curzon Street. There she conducted a business without any of the outdoor advertisement, in the shape of showcase or window, which evens the photographers of Bond Street, cannot bring them to forgo. Her customers were almost without exception women, and we believe her connection included not only a goodly proportion of London Society, but people of wealth and standing in South America. Some few years ago Madame Charles was the unsuccessful defendant in the lawsuit arising from the building of her Curzon Street studio, as the result of which, and also, so it is stated, of the war upon her business, she became financially embarrassed.

THE LATE ALFRED COREY.

We are extremely sorry to have news from New York of the death of Mr. Alfred S. Corey, technical editor of the "Motion Picture News." Mr. Corey was an enthusiastic student of progress in the fields of optics, colour photography and colour cinematography, and during the last few years we have owed to him the opportunity of publishing descriptions of technical advances, particularly in colour cinematography, in the United States which had come under his personal notice. His interest in the technical side of optics and photography was shown by the very valuable resumes of the literature of these subjects which he offered to readers of his paper. It was technical information of a kind which, we may guess, found exceedingly few readers in the American cinematograph industry. Mr. Corey was a large buyer of books from England, and we are asked to remind any booksellers or publishers before whom this notice may come that his affairs are in the hands of Mr. Allison, of Allison and Haddaway, 235, Fifth Avenue, New York, who is taking steps to discharge any of his liabilities.

MEETINGS OF SOCIETIES FOB NEXT WEEK.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 16 Sep 2008 06:20:00 +0000

CROYDON CAMERA CLUB.

Novelist and home-made apparatus were to the fore last week and despite a gloomy forecast by the secretary, the evening proved complete success. The most welcome novelty, possibly indirectly due to the splendid action of the Liverpool duckers consisted of the contents of a bottle labelled "whisky." which, divided amongst thirty to forty members, was sufficient to alleviate the feeling of resentment born of recent privations.
Mr. F. Ackroyd showed a Bunsen burner converted into gas fire-lighter. This is connected to the gas supply with a length of the familiar lexis’s metallic tubing with rubber connectors. Rubber gradually perishes on exposure to light and air and if the connectors are covered with adhesive black compounded tape (as used for insulating electrical joins) their life will be greatly prolonged. The same idea had occurred to other member, and they congratulated Mr. Ackroyd on his cleverness. Mr. Harpur pointed out that this flexible tubing frequently leaks, which can be prevented by winding round the tape throughout its length without any material lens in flexibility. "Hunt's tape" was alluded to as bring excellent. Mr. Ackroyd next (bowed a beer-warmer, which be said served the purpose of making tea in office hours. This was believed, as be is the antithesis of the beer warmer type. He remarked that the utensil bad a large hole in the bottom, yet had never leaked. Several references being made to "George Washing ton." are explained that as the bole in the metal gradually formed it lied up with a calcareous deposit. He then passed round the beer warmer, and those who bandied it noticed with considerable dissatisfaction a loose carbonaceous deposit on its outer wall. At this point Dr. Knott mistaking the office boy for a towel, a disturbance arose.
The Rev. Le Warne was the next star turn, and it can be said with esurience if be is as successful in converting erring humanity to better things as he is in converting apparatus to weird uses he must be a sky pilot of pristine quality. A handy retouching desk was shown improvised oat of studio dark-slide, and, like an ex-sinner, capable of backsliding at abort notice. The President. Mr. J. Keane then demonstrated the "Flying Corps" developing tank, a well designed and solidly contracted apparatus. It permits of the insertion of a thermometer into the developer without admission of light, a really valuable feature. Dr. F. Knott produced several unbreakable glass measures, which were severely tested by members and came through unscathed. Being composed of glass under tension when they do go only fine dust remains. To those whose halite is engendering feeling of uncertainty regarding the position and number of external objects, they should powerfully appeal.
Mr. V. Jobbing showed a home-made camera "with all projections flush with the front," a feature believed to be unique; also a folding walking-stick tripod. This and the camera illustrated skill in design and craftsmanship of the highest order. The shutter lad its release placed in front and therefore was actuated by pressure towards the body, an ideal way for minimizing any tendency to shake at the moment of exposure. Many others materially contributed to the interest of the evening.

EDINBURGH SOCIETY OF PROFESSIONAL PHOTOGRAPHERS.

The seventh meeting of the session took place on Monday, April 7, Mr. Young in the chair. A letter was read from Mr. Massie, hon. secretary of the Edinburgh Photographic Society, intimating that the proposed to invite the 1990 Scottish Salon to Edinburgh had been discarded owing to the unsettled conditions. He thanked the society for the interest which the members had taken in the matter.
Mr. Young then read a letter from Mr. Sutherland, secretary of the Edinburgh College of Art. Intimating that the society’s request for this formation of a retouching class had now been granted, on condition that Mr. Young should undertake the tuition personally. This Mr. Young intimated his willingness to do. The class would start in the autumn, and would be held twice weekly, from seven to nine in this evening. Mr. Campbell Harper expressed the society's indebtedness to the president for the manner in which he had pulled this matter through.
Mr. Young then brought up the question of the apprentice. He said that it was now time for the society to formulate a scheme of some definite nature. Letter after letter was being published in the "British Journal" on this question, and, in fact, since he had mentioned the theme in his October address, hardly a week had passed without some contribution of this nature. The P. P.A. merely groped around the subject. The first thing which the photographer could do for his assistant Mr. Young continued, was to see that he received a proper training, and the beginning of that was an apprenticeship. We lived in different times, and the old conditions no longer held good; and we must have some definite schema of modified apprenticeship. In two years' time, he pointed out, every assistant under eighteen yean of age would be compelled to attend classes during business hours, and the newly- arranged retouching class would then become a day class. He added that he would be glad to hear the views of the members on the object, and suggested that a committee be appointed to formulate a scheme.
Mr. Johnston pointed out that the public opinion of photography as a profession was anything but a high one, and hence the difficulty of obtaining boys suitable for apprentices Mr. Young thought that classes of various kinds would greatly help to alter this situation. Mr. Rush brook felt that this was a matter for all the photographers in Britain. It was pointed out, however, that the onus of making a start would devolve on some small body, and, a lead once given, the idea would spread. The great difficulty which all photographers experienced in giving an apprentice a good know-ledge of all the branches was discussed, and it was honed that by the growth in the number of technical sissies the master photographer would be relieved of much personal tuition. A committee, consisting of Messrs. Rush brook, Campbell Harper, and Johnston, was then appointed to consider the whole question and to make a report.
Mr. Johnston then made his report on behalf of the Exhibition Committee. He gave facts and figures regarding the New Gallery, Shandwirk Place. Three weeks would be necessary for the exhibition for the purposes of hanging, and the other two for the exhibition. The probable coat for this, including advertising, would be about 60. It was felt that it would be more dignified if the exhibition were not a competitive one, but a competitive class for assistants might be arranged. Mr. Young said that he was anxious to see this exhibition representative of all classes of photography. It was decided to bring the matter up for further discussion.
A scheme of co-operative advertising was then placed before the members, and the details explained. Some nine firms have so far expressed their willingness to enter into this scheme, which promises to be of great benefit to the profession in Edinburgh.

SOOTH LONDON PHOTOGRAPHIC SOCIETY.

At the annual general meeting on Monday, April 7, good progress was reported. The president, Mr. W. F. Slater, F.R.P.S., who has worked o hard for the benefit of the society for the past two years, it well-known figure in photographic circles, and it is with some considerable regret that the rules of the society only permit his occupying that position for the above-mentioned period. As demonstrator and lecturer his services have been much appreciated, and the members present expressed their appreciation. The secretary reported a very successful year's working, with an increase of 33 per cent, in membership. The hon. treasurer reported that the year's working showed a profit, which is gratifying, as the year had been commenced with a balance-sheet showing a slight loss.
The following officers were elected.-President, W. B. Ash mole; hon. secretary, Ernest W. Brooks; hon. treasurer, W. F. Slater, F.R.P.S., F.R.G.S.; hon. curator and librarian, L. J. Blake; hon. portfolio secretary, E. C. Perry; hon. excursion secretary, J. Pick-well; hon. lanterns, C. H. Manger; committee Messrs. Gideon Clark, H. Creighton Beckett. E. R. Bull, C. H. Oak den, Horace Wright. H. Richards, W. H. Howard, W. McEwen, E. W. Taylor, W. E. White, Arnold J. Burt, and E. Gorfin. The new syllabus is now ready, new members are required, and professional workers are invited to join, as this society already includes a good few members of the trade. A copy of the Handbook will be sent free upon application to E. W. Brooks, 4, Ferndale Road, S.W.4. The next meeting at the Central Library is fixed for 7.30 p.m., Wednesday, April 23, when Messrs. Kerotype, Limited, are giving a demonstration of their Kerotype paper.

COMPLETE SPECIFICATIONS ACCEPTED, LANTERN-SLIDES,CINEMA-FILMS, LANTERN SLIDES, FILM SPOOLS, X-RAY PAPE II.

noreply@blogger.com (SLAiPS d(-_-)b) — Sun, 14 Sep 2008 14:08:00 +0000

COMPLETE SPECIFICATIONS ACCEPTED

These specifications are obtainable, price 6d each t post free, from the Patent Office, 25, Southampton Buildings, Chancery Lane, London, W. C.
The dale in brackets is that of application in this country; or abroad, in the case of patents granted under the International Contention.

LANTERN-SLIDES.

No. 123,892 (May 6, 1918). The invention consists in a lantern-slide, used for announcements, mounted so that it can be raised or lowered vertically in the cinematograph lantern stage. It is raised by a spring drum and lowered by pulling it down by hand. Robert George Elder, of 16, War ten Terrace, Heaton, Newcastle-on-Tyne.

CINEMA-FILMS.

No. 123,842 (March 12, 1918). The invention consists in a film having
words, or the letters thereof, progressively impressed near to the mouths of figures as a means of indicating a supposed dialogue. The words may be impressed photographically or from metal type. Samuel Albert Flower, 17, Newnham Road, Wood Green, London, N.

LANTERN SLIDES.

No. 113,156 (February 20, 1917). Two rectangular pieces of glass are selected of exactly the same size. On to one of the pieces of glass are placed three or more single pictures cut from waste cinematograph film. The film pictures, which are placed longitudinally on the glass and a little distance apart, are secured to the glass by narrow strips of black adhesive paper passed across their ends. The second piece of glass is then placed on the top of the pictures and the frame is bound securely together by strips of black gummed paper or tape, or other adhesive material, placed round the four edges.
The advantage claimed for the invention is that the slide thus formed is greatly superior to the present one, as the pictures used will be cuttings from the best quality films, showing excellent photography. Frederick Winton Perkins, 12, Norton Road, Letch worth Hertz.

FILM SPOOLS.

No. 113,919 (September 19, 1917). The invention has for its object certain improvements in roll films whereby films of one size may be employed in different-sized cameras. In roll-film cameras it is usual to provide markings upon the backing paper for the film, such markings being spaced apart a distance equal to the length of film necessary for each exposure in a camera of a particular size, and showing the number of exposures that have been made. As distinguished from the foregoing, in accordance with the invention the backing for the film is marked in such a manner that a single spool of film of any particular width can be used in any camera made to take films of that width. The divisions on the backing paper are units and sub-divisions of units of length, and enable the user to ascertain the actual length of film used instead of the number of exposures of a predetermined size. The divisions are consecutively numbered and are of known dimensions, 1 centimeter for example. The half centimeter, quarter centimeter, or even smaller dimensions may also be indicated, but not necessarily identified.
The user of such a roll of film would be provided with a table giving names of various cameras in which the spool could be used, and giving against each camera the numbers which should appear at the usual opening or window in the back of the camera, as the successive exposures are made, allowance being made so that there is a division between the exposed portions, and overlapping of the photographs is avoided. Herbert Nimmo. 44, Kirby Street, Hatton Garden, London, E.C.I.

X-RAY PAPE II

No. 11,933 (June 4, 1917). A sheet of paper or like flexible material previously sensitized in any known manner is coated with paint or washes of Venetian red, chrome yellow, or other suitable preparation which is impervious to light and is easily removable by washing or other similar process. The opaque coating forms protection to the sensitized surface and admits of the paper being handled openly, dispensing with the use of light-tight envelopes and the like, the treated paper being made up in single sheets or in books, packets or blocks containing the desired number of sheets.
For producing a print the prepared sheet or two or more superimposed sheets is supported behind the object to be radiographer, the print being thus taken directly on the paper or a like print on each of the superimposed papers or sheets, which is subsequently washed to remove the opaque coating and develop the print or prints.
By means of the invention, X-ray photographs can be produced with the utmost rapidity, whereby immediate inspection of the finished print is obtainable, this in many cases being of considerable value. George William Kilmer Crosland, New North Road, Huddersfield, and Thomas Pearson Kilmer Crosland, Fitzwilliam Street, Huddersfield.

Exhibitions:CARBON AND OZOBROME PRINTS, PHOTOGRAPHS BY THE ROYAL AIR FORCE.

noreply@blogger.com (SLAiPS d(-_-)b) — Sun, 14 Sep 2008 14:00:00 +0000

CARBON AND OZOBROME PRINTS.

An interesting demonstration of the qualities of carbon and Ozo-brome printing is now offered in the exhibition of photographs by these printing which is being held at the Camera Club, 17, John Street, Adelphi, London, W C. The prints are provided "by the Autotype Company, which now, as we gather from a circular, is the manufacturer and purveyor of materials for the Ozo-brome process. A very great range of photographic- effects shows the corresponding capacity of the carbon process to render in the fullest way the quality in negatives of most diverse subjects. Coming away from the rooms of the Camera Club, one mentally contrasts the beautifully romantic effects in a low key, such as many of these of Mr. Alex. Keighley, or to select an equally hue example, the "Stygian Shore" (No. 22) of Mr. Summons as we say, one contrasts these prints with the high-key studies of translucent ice which are shown by toe Australasian Antarctic expedition. Nothing, perhaps, could better exhibitions versatility of the carbon process, not only its capacity for tone rendering, but equally its choice of color appropriate to the subject. The exhibition contains some 4 portraiture by Craig Annan, Malcolm Abuthnot, and the Earl of Carparvon. The Ozo-brome process is represented by only a few examples, bat these show very charming landscape work by its inventor, Mr. Thomas Manly. The exhibition remains open from 11 a.m. to 5 p.m. until April 30, and on April 24 a demonstration of carbon printing will be given at 8 p.m. by Mr. A. C. Braham. Tickets of admission to this fixture may be obtained on application to the Secretary of the club, or to the Autotype Company. 74. New Oxford Street. London, W. C. I.

PHOTOGRAPHS BY THE ROYAL AIR FORCE.

An exhibition of photographs, presented under the title "War in the Air." by the Royal Air Force is now being held at the Grafton Galleries. New Bond Street, London, W. In interest and in the photographic quality of the coloured enlargements it is certainly the finest of the war photographs exhibitions which have been held. Who ever is responsible for "potting on" the exhibition it is evidently someone with a keen sense of the kind of subject which will interest the public. There must have been an immense amount of spade work done in making the selection from the enormous made of photography accumulated by the R.A.F. Here, however, we see for the fist time some of the achievements which have brought abort Great Britain's superiority in the air. Perhaps the chief of these, of which a number of photographs are to be found in different parts of the exhibition, is the now famous "hush" ship the "Furious." with its immense upper deck of size to receive a squadron of aero planes and still find roam for an airship or as. One of the photographs shows the operation of the tackle employed in raising a machine from it’s under deck hangar. There are some, striking pictures of the operations of the R.A.F. in Palestine in the shape of prints showing Turkish troops scattering in the hopeless attempt to escape the British airmen's bombs. Some photographs taken obliquely from the air of such well known places as Edinburgh and Trafalgar Square show the great usefulness of each photography for topographical purposes. A note in the catalogue mentions that the enlargements and their coloring again owe their quality to Means. Raines and Co., of Ealing. The exhibition remains open until the end of May, from 10 a.m. to 6 p.m. on week-days and 2.30 to 5JO on Sundays. The charge for admission is one shilling, the proceeds going to various charities connected with the
R.A.F.

News and Notes: Bromoil Portraits, Silveblixe sketch pohteaits, White-margin masks.

noreply@blogger.com (SLAiPS d(-_-)b) — Wed, 10 Sep 2008 01:58:00 +0000

Bromoil Portraits.

While the exhibitions testify to the beautiful quality attainable in portraits made in Bromoil, professional photographers, with one or two exceptions, have ignored the process altogether. The technical experience necessary is obviously one reason for this, and therefore we may refer to the work in this field done by Mr. F. T. L 7 usher, of Durham House, Cumberland Road, St. Albans, who is a maker of bromoil prints and enlargements from photographers' negatives. We recently had an opportunity of seeing the fine quality which characterizes Mr. Usher's bromoil, and has its origin in the fact that the work is done out of a strong liking for the technique of the process and a desire to realize its possibilities in yielding results of artistic excellence. By customers able to appreciate the distinctive merits of the oil-pigment prints a high price is willingly paid, and therefore photographers who are in the position of being asked for such work will be glad to make a note of the source from which it may be obtained.

SILVEBLIXE SKETCH POHTEAITS.

In referring the other week to the special service for photographers now being offered by Mr. D Charles, 363, Garrett Lame, Earls field, S.W.18, we mentioned a specialty to which we may now refer as the result of examining a considerable number of examples of his work in this branch which Mr. Charles has sent us. These are "silver line" portraits in the sketch style, and with the necessary freehand work introduced photographically from a pencil drawing. The reproduction of the pencil effect is very well done and the rig-netting of the subject itself equally good. We have our own opinion as to the artistic merit of mingling a photographic image with pencil work, but the demand for such sketch embellishments of vignettes portraits is widespread, and therefore photographers anxious to show their customers something distinctive will be glad to avail themselves of Mr. Charles's services. He is a specialist in blocking-out and vignette work and the prints before us show the very successful application of these methods to exceedingly diverse subjects.

WHITE-MARGIN MASKS.

The firm of Artiste, 5, Rue de Mont-faucon, Paris, VΙc., send us samples of the white-margin masks which they supply in a wide range of sizes for the making of prints in which an even white margin is desired. They are of two patterns, for plates and films respectively. The former consists of a strongly made cardboard frame having an aperture the size of the negative. Around the aperture is attached a mask of non-actinic paper which, when the negative is printed gives the required white margin. In the case of the masks for film negatives a hinged car board back is provided in order to facilitate the introduction of the film negative and the paper behind the mask. Those who have had much occasion to handle film negatives in making prints of this kind will appreciate this little device, which immensely simplifies the adjustment of the negative and paper. The whole mask, is of course, in tended to be placed in the printing frame or it may be used, as can that for glass negatives, on the feed of a box printer. The masks can also be obtained with oval apertures as well as with those of fancy outline. A good feature common to all of them is that they are made so as to utilize the maximum area of the negative. The sizes range from vest pocket to half-plate and the prices from 3d. to 7d. in the case of masks for glass negatives and from 6d. to Is. 3d. in the case of those for film. Other and larger sizes can be made on application.

Meetings of Societies, Commercial & Legal Intelligence.

noreply@blogger.com (SLAiPS d(-_-)b) — Wed, 10 Sep 2008 01:52:00 +0000

ROYAL PHOTOGRAPHIC SOCIETY.

The meeting of Tuesday evening last was one of members only, held for the purpose of discussing the formation of a scientific group within the Society. The discussion was one to which reference is advisedly postponed until the official report of the proceedings in the Society's Journal.

CROYDON CAMERA CLUB.

         Dr. F. Knott, an old member of the club, though far from a veteran in years gave a lecture, entitled "Visual Psychology” which escaped improvement by the secretary, probably owing to doubt as to its significance. Others shared thin, for some cans prepared to hear a dissertation on the mystic and occult; some conjectured a ceresin lovely maiden beloved by Cupid might receive attention; whilst the majority preferred to "wait and see," and, when last week they saw found seeing wee not necessarily believing. As a matter of fact, Mr. Faster Brigham was down for the date, hut remained up at Scarborough However, and he sent such a nice letter of apology, with to "unforeseen circumstance" and the "daffodil disease," all forgave his absence.
         Dr. Knott's paper consisted of two parts the psychology of form and that of colour. It took over an hour to deliver, read at express sped but with excellent articulation. The subject was treated in a yet in a war readily to be understood. The few extracts selected for report give no idea of its scope.
         Psychology he said is a large subject, and the visual branch by no means it’s smallest. It consists of her scientific study of the nature and course of experience. We know a thing, and sometimes we know that we know a thing, but more rarely do we know that we know that we know a thing (tie nothing could be plainer). Classification is important. There are many kinds of sensations, and we are equipped with receivers for all the chief kinds of physical energy, except electricity. Light is especially interesting to photographers as predominantly visual creatures. The eye may he considered as a little camera, with its lens, more or less perfect, capable of being focused and stopped down, with Use retina, acting as o focusing screen the image being upside down, which is reverted by the brain.
         The chief faults of the eye correspond with those from which lenses suffer spherical aberration and astigmatism being present, amongst others. Optical lenses are made of transparent glass, but the media of the human eyes ore slightly turbid, causing "irradiation," which has the same subjective effect on objects as actual turbidity has on objective things. The angle of view of the two eyes is enormous, no lam than 180 deg. in the horizontal meridian and 120 deg. in the vertical, the images received being minatory finished in the centre, and only roughly sketched at she borders.
         There is one spot of extreme sensitiveness in the retina, and another of absolute blindness at die attachment of the optic nerve; but, as in binocular vision the two blind spots never comedies, the defect is unnoticed; also, they almost invariably affect those parts of the field to which, at the moment, attention is not directed. The blind spot is so large that it might prevent our seeing eleven full moons placed in a row. (It transpired in the discussion that this phenomenon has no connection with the two moons seen side by side tinder certain conditions.)
         All are colour blind, the outermost retinal zone being absolutely blind to colour: then come intermediate zones with partial colour vision, and, finally, the innermost with complete colour perception. The lecturer then parsed on to an exhaustive consideration of (binocular vision, perspective, and the theory of colour and its relation to vision. He also showed a large number of highly interesting optical illusions dealing with form, magnitudes, and colour. Considerations of time and space preclude these being touched upon. It should, however, be mentioned that Mr. Sellors alleged that he saw quite correctly many things which correctly he should have seen incorrectly typical of the secretary's perversity.
         In the discussion a point raised 'by Mr. Reynolds resulted in a pretty flare-up between him and Mr. Purkis, the "office boy" -energetically tanning (.lie flames, only to find him enveloped. If any reader with a kind heart and sufficient knowledge can throw any light on the points in dispute, it may avert a repetition of the peculiar triangular duel described by Marryat. The facts are as follows: A cardboard disc, painted (blue and yellow, on being revolved, appeared white. An assumption was then made that the same colors be applied in minute dots in juxtaposition on a piece of white cardboard, when it was agreed that, viewed from a distance, a green emotion could be received. Therefore, why a white sensation in the first place and a green one in the second? About an hour after a hearty vote of thanks had been accorded the doctor for an evening of unusual interest the disputants separated. Mr. Purkis departed resolved to think the matter out; the office boy left with an equally form resolve in an opposite direction, and Mr. Reynolds and his gentle, compassionate smile melted into the night a smile, by the way, which simply touts for tremble.

SHEFFIELD AND DISTRICT PROFESSIONAL PHOTOGRAPHERS'.

Association. - The usual monthly meeting of the above Association was held in Stephen-son's Cafe, Sheffield, on April 2. There was a good attendance of members, and one new member was enrolled. The evening was occupied in a general discussion on the following subjects: Minimum prices for postcards, the assistant question, keeping a register of employees open to engagement, the training of disabled men as assistants, etc. The secretary was instructed to ascertain full particulars of the Government's proposition for the training of demobilized men .with a view to commencing art business as photographers. It was decided to make an effort to induce district photographers to become members of the Association. A very pleasant evening .was spent, and members seemed to take more interest in the future of the Association than has been apparent for some time. The subject for discussion at the next meeting is, "The Best Artificial Lighting for Studio Portraiture." The Association is open for was members. The hon. secretary's address is 137, Pinatone Street, Sheffield. Manufacturers are invited to demonstrate new goods, apparatus, or novelties at any of the Association's meetings.

A PHOTOGRAPHER'S AFFAIRS.

         At the London Bankruptcy Court on Friday last, before Mr. Registrar Franck, the public examination was appointed to be held of Harold Aylmer Jones, photographer 7 Gloucester Terrace, Kensington, W., formerly of 30, Hill Street. Richmond, who alleged his failure to have been caused through loss on the business at 7, Gloucester Terrace and loss of business through domestic differences with his wife, who had obtained judgment him for arrears of an allowance under an Order of the Court case being called on for hearing, Mr. F. T. Garton, who attended as Official Receiver, said the debtor had given the Court a good deal of trouble. He had written to say that he had filed the best statement of affairs it was possible for him to make out and he asked for an adjournment on the ground of ill-health, but he had not fortified his application with a medical certificate.
         The statement of affairs was very incomplete, and the debtor had only attended once upon the bankruptcy officials since he was previously before the Court; therefore, he asked that the examination might be adjourned sine die. When the debtor appeared at the Court on the last occasion he certainly looked unwell, but as he was not present on this occasion he thought the examination could be adjourned sine die.
         The Registrar granted the application upon the ground that debtor had not given a reasonable excuse for his absence.

The British Photographic Research Association.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 09 Sep 2008 08:56:00 +0000

         The following communication has been issued by the Council:-
          The urgent necessity for the future development of British industry on a more scientific basis than hitherto has been recognized by the Government, who have placed a million sterling at the disposal of the Department of Scientific and Industrial Research for the purpose of encouraging research and its application to the development of British industries. The Advisory Council for Industrial and Scientific Research, after consultation with manufacturers and scientists, recommended that grants should be expended on a co-operative basis in the form of liberal contributions by the department towards the funds raised voluntarily by associations of manufacturers, established for the purpose of research. By this method the systematic development of research and its application to industry is carried out under the direct control of the industries themselves, and the co-operation of the firms in one industry will enable research work to be undertaken which could not have been dealt with by an individual firm.
          The manufacturers of photographic materials and apparatus were the first to form an association to avail themselves of the scheme, and in May, 1918, the British Photographic Research Association was formally incorporated. Dr. R. E. Slade has been appointed director of research, and laboratories have been obtained for the time being at University College, London. These laboratories are under the control of the director of research and are distinct from the teaching laboratories.
          The Association will carry out research in photography, photochemistry and other related subjects, with a view to the' general increase of knowledge of these subjects, improving methods of manufacturing photographic materials and discovering new photographic processes.
          It is not the intention of the Association to attempt to standardize throughout the manufacturing methods of the photographic industry. Manufacturers will always insist on determining for themselves the lines on which their Business shall develop. It is the aim of the Association, by applying scientific methods, to obtain knowledge which will be of the widest application to the industry, which may be utilized by each manufacturer for the development of his own particular processes.
          Pure research into the scientific basis of photography, and into related subjects, such as colloidal chemistry and photo-chemistry, will be carried out for the increase of knowledge, without necessarily any immediate application of the results to manufacturing processes. These researches should open up new and important fields of applied research, and advantage will immediately be taken of any results of research which appear likely to lead to the progress of the photographic industry.
          Among pure researches which are contemplated are the following: Investigations into the fundamental properties of silver halides, and of the effects of various substances on these properties.
          Investigations into the physical and chemical properties of gelatine and other similar colloids.
          Investigations of a wide range of photo-chemical reactions.
          Investigations into colloidal chemistry.
          Investigations into the theory of processes of colour photography.
         Publication of the results of pure research will be made from time to time in accordance with the rules of the Association.
          Applied research will be undertaken to improve products now being manufactured, to improve methods of manufacture, and to introduce new photographic processes. These researches may be undertaken with a view to improving some process which is well known to require improvement or to overcome some difficulty which has arisen in manufacture, or they may be undertaken when some advance in pure science has been made which it seems possible to apply to photography.
          Among the subjects of applied research will be the following :
          Investigation of esensitizing and reducing agents on sensitive materials, with particular reference to insensitive spots in plates and papers, and impurities in the raw materials used.
          Studies of the properties of various samples of gelatine with a view to arriving at the causes of the effects they produce and ultimately to obtain a standardization and improvement of the product.

Lithographic Transfers From Bromide Prints.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 09 Sep 2008 08:49:00 +0000

The Bromoil process has for several years had an important application in the lithographic trades as a means of readily making enlarged or reduced productions of line or "stipple" copies. The method also lends itself to the production of coarse-grained halftone lithographs. In this process a negative is made from the original line or tone drawing, or from an existing reproduction.
From this a bromide print is made of the size required, which is subsequently treated by a modified Bromoil process so as to become transformed into a lithographic transfer.
Details are given below of a method which has been produced after numerous experiments. These were undertaken by the writer with a view to obtain general reliability and ease in results.

Character of the Negative.

The negative may be made either on a dry plate or by the wet collodion process. It must be quite sharp. Line negatives should be made with a fairly large stop, or there will be a slight diffusion of detail in the finer lines. This is due to the fact that the anastigmats lenses generally in use are designed primarily to work at large apertures. F /16 to //22 are about the correct stop to use.
Half-tone negatives must have the dot formation well joined in the high-lights. The particular screen to use for half-tone work must be calculated. For example, if the print from the negative is to be enlarged two diameters and 75 lines per inch grain is required; the negative must be made with a 150-line screen.

Making the Print.

The ordinary copying camera may be used for making the print, the negative being rigged up a foot or so in front of the copy board, which is covered with white paper, so as to reflect light through the negative. A better way, when work is to be done in quantities, is to use an enlarging lantern. Whichever method is adopted, care must be taken to focus quite sharp, and again to use a fairly large stop.
The most suitable developer is the regular smidol or diamido-phenol formula, using plenty of bromide. The fixing bath must consist of plain hypo and water, and nothing more. Exposure should be just long enough to produce a full strength deposit in the finest lines. Development should be full. After fixing the print it should be washed for not less than ten minutes, and then dried.

Making the Transfer.

The print, when dry, is ready for bleaching. This should be done by means of the following bath :

A. Copper bichloride .............. 60 grs. 5 gms

Ammonium chloride ......... 240 grs. 20 gms

Hydrochloric acid, about ... 20 drops 2c.c.s

Water………………………l0 ozs 400 c.c.s.

B. Sodium bichromate…….12 grs. 1 gms

Water………………………2½ ozs. 100c.c.s

         For use take 2 ozs.(50 c.c.s.) A., ¼ ozs. (6c.c.s) B., and 4 ozs. (100 c.c.s.) water.
         The print should be fully bleached in about two minutes. Occasionally a strong print will fail to beach right out. The partly bleached portions will, however, take the ink quite well. After bleaching the print is washed for not less than 4 minutes in running water.
         While the print is washing the inking slab should be get ready. Take a little re-transfer ink on the end of a palette knife and rub it cut on an old litho stone, or other suitable slab, thinning it down with xylel or benzole. Turpentine is unsuitable for this process.
          The washed print is now blotted off, and laid on a sheet of zinc or glass. Take a fairly tough letterpress roller, or better a rubber-covered roller, and distribute the ink all over the inking slab, diluting with xylol until the roller has a tendency to skid over the surface of the slab. Now roll up the print with the roller in this condition. At first the print assumes a uniform grey tinge, and then as the xylol evaporates the stiffening ink leaves the whites and adheres more and more to the bleached parts. In a few seconds the maximum effect is reached and the rolling stopped.
         The print should at this stage appear full of detail and of a grayish-black colour. There may be a very thin film of ink left upon the whites. In order to remove this, take a piece of thoroughly wet cotton wool and rub lightly over the print until clean. The transfer is then ready for the lithographer.

Weak Prints.

         Sometimes a print is too weak in character for the bleaching solution to act with full effect. In this case it will be found that fine details do not ink up. Such a print may be saved by a re-development operation, as follows: Clean all ink from the surface with a piece of cotton wool moistened with xylol, and then put it in an ordinary smidol developer, such as was used to make the print originally. It quickly blackens, and should be washed for four or five minutes, when it may be re-bleached in the Bromoil bleacher. No fixing is necessary before re-bleaching. The print will be found to have received an extra dose of hardening action, and will usually ink up well.
          Inking up of the transfer by means of the Bromoil brush is favored by some workers. It is useful at times for the purpose of bringing out portions of a print which may lack detail. In order to use a Bromoil brush some re-transfer ink must be mixed with a mere trace of boiled linseed oil and the tip of the brush charged with this, no xylol being used. The charged brush is dabbed upon the required parts of the print until sufficient ink has been taken up, and the inevitable dirtiness of the whites removed with wet cotton wool. The print can 'be persuaded to take up more and more ink by adding a greater proportion of boiled oil. As a rule, however, attempts at faking of print* are not to be recommended.'

General Considerations.

         Almost any grade of bromide paper can be used for bromoil transfers. The most suitable is a matt smooth paper, which is coated on a substantial base. It is well to be sure that the emulsion has a fine grain. Glossy paper gives bright-looking prints, which, however, the lithographer finds difficulty in transferring to stone or plate, owing to the extremely high relief.
          Transfers may be re-inked and re-used a number of times, the limit being governed by the toughness of the paper base.
          Some grades of paper have a tendency for the gelatine coating to strip off during inking. This tendency may be minimized by using the bleacher given above. Lack of strength hitherto has been apparently, due to the softening of the baryts base on which the emulsion has been coated. By substituting ammonium chloride for the more usual sodium salt this defect is overcome. The object of hydrochloric acid in this formula is to enable ordinary tap water to be used. The acid neutralizes any hardness in the water. Sodium bichromate was found to be the most reliable chromic salt to use.

Stretching of Transfers.

         Sometimes it is important that the impression must be of exact size. In such cases the bromoil transfer process hitherto has been hardly feasible, owing to the tendency for the paper base to stretch unevenly. A bromide paper, known as Kerotype, has recently been placed on the market, which to a large extent overcomes this defect. It is a stripping paper i.e., the prints are first made on a bromide emulsion which has been coated on an impermeable base. These prints are then soaked in a mixture of spirit and water, and the emulsion is transferred by means of a gelatine solution to a suitable support, such as celluloid.

JAMES GRAHAM.

Practicus In The Studio: Portable Studios.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 09 Sep 2008 08:44:00 +0000

Рarticles of this series, in which the aim of the writer is to communicate items of a long experience in studio portraiture, have appeared weekly since the beginning of the present year. It is not thought possible to continue the series to the length of that by the same writer which ran through the "British Journal" some years ago, but if any reader among the younger generation of photographers, and particularly those engaged as assistants, has a particular subject which might be dealt with, his or her suggestion will be welcomed. The subjects of the previous articles of the series have been as follows:

PORTABLE STUDIOS.

         The term "portable" has a wide range of meaning when applied to a photographic studio. It may mean a caravan on wheels, a wooden building which can easily be taken to pieces and erected elsewhere, a specially designed tent, or even a temporary shelter for the sitter and background, the camera and operator being in the open.
         Studios in the first category that is to say, of the caravan type are now not as common as they used to be in the early collodion days, when many villages, and even small towns, had no photographer domiciled in them. There are, I believe, some which travel along with roundabouts, wild beasts, and fat ladies from fair to fair throughout the country, but I have not seen one for a good many years. Some of them were quite elaborate affairs, fitted up not only for glass positive and ferrotype work, but for printing on albumenized paper, the work often comparing favorably with that issued by many fixed studios. It may puzzle those who have never seen one to imagine how sufficient space was obtained, but this was easily done by adopting a telescopic form of construction, an inner body sliding out and being supported upon trestles.
         The form which will probably be of most interest to the majority of my readers is not a studio that is here to-day and gene to-morrow, 'but one which is intended to remain in one place for months, if not for years, but which can, if needed, be removed and re-erected at small cost, and by unskilled labour. Such studios are usually made entirely of wood and glass, and their portability is due to the fact that there is no general framework, but that the whole is built up in panels, which are fastened together with ordinary iron bolts and nuts. I will endeavor to give some idea of their construction, which is quite simple and well within the powers of the village carpenter, or even of an amateur who has some idea of wood working. The first thing to be decided upon is the size and, this being done, a drawing should be made and the size of the panels settled. It is necessary to be very careful in constructing these that they should be exactly the size that they are supposed to be, or there will be a lot of unnecessary work when it comes to fitting together. The design is usually the ridge-roof one, somewhat after the pattern of Noah's ark without the barge. For a studio 20 x 12 by 8 ft. (to the eaves) and 11 ft. to the ridge the following divisions will be convenient: - Each end is in two sections 6 ft. wide, one side being 8 ft. long and the other 11 ft. long. The two pairs of panels are exactly alike, exactly that one will probably hare the door frame fitted into it. It must not be forgotten to the frames on the proper sides when nailing on the boarding, or they will hare to be remade. I mention this because I have known three right-hand sections and one left-hand made, instead of two of each. The sides are made in four sections, each 5 ft. wide and 8. ft. high,. Six of these are entirely covered with wood, and two have a crow-bar, say, 4 ft. up. Below this, wood is nailed on; above are sash-bars for the side- light. The roof calls also for sax wooden panels and two which are frames only, fitted with sash-ban for the top light. These are all 5 ft. wide an I about 7 ft. long, so as to give a slight overhang at the eaves. The edges which met at the ridge should be beveled so as to give a good bearing. For a studio of this size the frames of the panels should be made of 4 x 3 deal and the boarding should be good yellow I matching. The frames may be mortised if the extra labour is not objected to, but "haired" joints answer quite wall, as the boarding has to do its part in keeping the panels square; good cut nails should be used for fastening. The side and end panels should each have a crossbar half-way up, as not only does this stiffen the construction, but it keeps the boarding from warping. In all the panels the framing comes inside the studio, and the panels are fastened together by drilling holes in which the bolts fit well, and without shake in the frames, so that, when laid side by side, they are drawn closely together. In the end sections the bolts run through the boarding as well as the frame, and are tightened up in the sane way as the side joints. It is perhaps hardly necessary to say that the woodwork should all be erected before the glass is put in the sashes, and that, in raw of removal, the glass should be taken out before anything else is done.
         Having made all our panels, we can assemble them. First the two ends are pat together, and then the sides joined up to their full length. The bark should next be joined to the ends, then the front fixed in, and finally Ike roof sections put up in pairs and screwed through on to the tops of the frames. Although not always done, it is a good plan to put one or more tie rods across at the level of the eaves to prevent any outward thrust. These should be ¾ in. to 1 in. in diameter, threaded at the ends with a good large nut put on both sides of the top of the side frames through which the rod goes.
         The flooring is made in panels the width of the studio, and drops upon the lower part of the frame. There should be same arrangement of joists or brick piers to prevent vibration and sagging.
The roof will require a waterproof covering. This may corrugate or the asphalt roofing material known as Ruberoid or if obtainable, Uralits which is fireproof may be used. This is a sort of asbestos and platter composition, and would keep (fee studio cooler than iron. It has the merits of not rusting and requiring no paint.
         A building erected in the above way will not keep in condition long if placed directly upon the ground; therefore, some foundation which will keep the lower part dry moat be provided. For a reason to be presently given this should be of a temporary character, and on which we found very successful was a row of loose bricks all round, the exact sue of the studio with two rows at equal distances running from end to end inside. Upon these bricks rested low long deal. 20 ft long and 3x9 section; the sides of die studio stood upon this, awl there was sufficient apace between the bricks for sir to circulate freely below A studio so erected was taken down, after nine years, and was found to be quite sound, as were also the long timbers.
         If one is building upon another person's land it is necessary to be very careful to do nothing that will give the landlord a claim to the building. If a studio or greenhouse is erected upon a brick foundation which forms an integral part of it, the whole at once comes under the control of the landlord, and the tenant cannot legally remove it. It has been held in the case of a lean-to greenhouse that the driving of iron hold- fasts into the wall of a dwelling-house to secure part of the framework removed the structure from the category of “tenant's fixtures," and made it a part of the freehold.
         The foregoing description is necessarily of a sketchy nature, but I shall be pleased to fill in any details in the "Answers to Correspondents" column in case of need.
         Tent studios are not much in favour in this country as there is no possibility of using glass as part of the covering, and there is no waterproof material which will retain its whiteness for any appreciable period. Celluloid is, of course, out of the question, on account of its cost and inflammability. The most elaborate tent studio I have seen was one sold by the Stereoscopic Company a quarter of a century ago. It consisted of a wooden skeleton of the ordinary ridge-roof form. The parts usually solid in a permanent studio were covered with tightly stretched sail canvas; the top and side lights were without any permanent covering, and were fitted with dark and light roller blinds of the usual type. This wan necessarily a rather costly affair and a much simpler arrangement could be constructed with an ordinary small marquee as a basis. If an opening were cut in a suitable position and a light wooden frame, or frames, fitted with wires and festoon blinds put in, quite a useful studio could be made. Some years ago a woven wire roofing the meshes being filled with a transparent varnish, was placed upon the market; it was tried for studio lighting, but being rather yellow, caused the exposures to be too long. Now that plates are three times as fast it might be worth trying it again, if it is still made. I have often thought that a serviceable studio might be made upon what is known as the turned principle that is to say a comparatively short square compartment for the sitter and background and a small tunnel or passage without light for the camera and operator, idea could be worked out in the form of a tent, and would have the great advantage of being economical of material and presenting the minimum area to wind pressure It would not be difficult to arrange such a studio so that an ordinary- shower need not interrupt work.
         So-called "lawn" studios are merely devices for balding a background and curtains for cutting off the worst of the top and side light. Houghton's used to list a very neat arrangement of this type. It is, however, very easy to improvise something of the sort with four tent-poles and cords, a background and some lengths of light and dark materials for curtains. All that has to be done is to fix the four poles at the corners of an 8 ft., or smaller, square, to run a cord round the tops, steady the whole with the ordinary ropes and pegs, and hang the background on whichever side suits the light. The lengths of material are hung over the top cord to serve as studio curtains. One friend of mine had four clothes post sockets fixed in his garden at the proper distances for a studio of this sort, and could drop the posts in rig up the curtains, and get to work in less than ten minutes.

PRACTUCUS.

The Trade In German Cameras.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 09 Sep 2008 08:19:00 +0000

         Since the appearance of our note in the "British Journal" of March 28 last this unpleasant subject of the trade which is now going on in German cameras has cropped up in one way or another somewhat freely in the daily Press. For example, we have noticed two German cameras advertised for sale in the "Personal" column of the "Times" Both, were described as new, and in one case the complete set, comprising a focal-plane camera of a type little sold in this country before the war, a well-known objective, and three double dark-slides, was offered at 24. Curiously enough, a correspondent drew our attention to a new German camera at thing same price being displayed in a London dealer’s shop window. It is therefore evident that the trade is still going on and is passing, not merely through the channels of the lay Press, but also of the dealer’s establishments.
         A paragraph in the "Daily News" takes us to the source of this illicit trade. The writer quotes from a circular which, he states, is being distributed in the streets of Cologne. On the outside page is printed in big type, "Now's your chance. You will never get a good German camera as cheap again." On the inside pages of the circular are stated the name and address of the firm of dealers and the names of the photographic makers the four best known in Germany whose goods are obtain able. A characteristic touch is provided by the announcement in the largest type, "English spoken."
         But the most remarkable contribution to this matter which we have met in the lay Press is contained in the London letter of the "Westminster Gazette" of April 2. The writer makes the most extraordinary deductions from, the fact that a camera can now be bought in Cologne for about 6, which in pre-war times would have cost 13. According to him, the subsequent appearance of these cheaply bought cameras on the English market seriously disturbs the second-hand dealers here from the fear of the value of German-made lenses and cameras held by them being depreciated. If the writer had taken the trouble to find out he would have discovered that the volume of trade which has arisen since the armistice is altogether too insignificant to have the result he suggests. Certainly the dealers are disturbed-disturbed by the fact that the necessity of taking steps to put a stop to this trading with the energy should be imposed upon them as a consequence of official apathy in taking the matter in hand. The Photographic Dealers' Association in a letter addressed to the ''Westminster Gazette" by the President, Mr. James A. Sinclair, and appearing in the issue of the 10th inst., points out that in most instances dealers are refusing to deal in apparatus which has been made since the war commenced, and which) is now reaching this country through the purchases of soldiers in the army of occupation, although the purchase and re-sale of these new cameras would be very profitable to them. But the writer in the "Westminster" is apparently obsessed with the ideas that by some means or other photographic dealers have during the war maintained the prices of second-hand German-made cameras at a highly profitable level, and is thus led to impute their desire to exclude the new instruments merely to motives of self interest It would be interesting to "know along what line of reasoning the writer eliminates the public from this conclusion. Let the dealer price his second-hand German cameras as high as he liken, or, for that matter, as low as he liken, they would stay on his shelves unless the public bought them. In matters of tariff reform writers in the "Westminster" are eager to lay emphasis on the laws of supply and demand on which obviously the sale of the goods in question solely depends. When war broke out there must have been very considerable stocks of German cameras distributed throughout the second-hand trade. Clearly no stigma could attach to dealing in them, and if as we have said; the public has been willing to pay highly for them the dealers have been entitled to profit. The writer in the "Westminster Gazette" now suggests that dealers "should have done with this trade" in order that they may avoid suspicion of selling new German cameras now coming into the country. Surely a drastic enough remedy for a state of things which ha been none of the speaking of dealers in this country.
         The only remedy for the present difficult v is that the bringing of these goods into the count should be prohibited. The leading dealers have no doubt set their faces against trading in the goods, but unless all are solidly in this policy there will obviously be the inducement: to every one of them to take part in it from the knowledge that if he does not purchase the goods some- body else will. Moreover, there are the channels of the auction room and advertisement in the lay Press. We believe that representations have been made to the Ministers concerned, but very little may be expected from those quarters. It may, therefore, be hoped that the whole influence of the Photographic Dealers' Association will be thrown on the side of reducing the market for these cameras. Probably the most effective means of this kind would be the publication of a list of dealers refusing to purchase any cameras which they have reasonable ground for assuming to be of recent importation. A restriction of market would have its reacting effect upon prices, and would thus apply the most effective discouragement to the bringing of these goods to London for sale.
         In conclusion, while we are upon the subject, we should not refrain from reference to a message by Renter's Special Service from Cologne which appeared in the ''Daily Telegraph" of March 31 last. Dealing with the wider opening of the door to trade between Germany and the occupied zone, and discussing also the resumption of trading relations between Germany and Great Britain as a means of Germany paying her share of war expenses, the writer singles out "camera parts, lenses, etc.," as goods which England "is ready enough to receive." It would be interesting to know what grounds Reuter's correspondent has for making a statement which every evidence goes to show is the very antithesis of the facts.

EX CATHEDRA: Organic Intensifiers; The Donalty of Negative; Glass for the Studio; Defects in Sketch.

noreply@blogger.com (SLAiPS d(-_-)b) — Tue, 09 Sep 2008 08:12:00 +0000

Organic Intensifiers.

Many as are the processes which have been evolved by the ingenuity of the chemical experimenter, it cannot be said that we yet have a perfect process of intensification, speedy in use, performed in one operation, and thus capable of being stopped at the required stage and permanent in the results Hitherto, with one exception, all intensifies have been based upon the use of mineral or inorganic compounds, such as the metallic salts which exert an oxidizing action upon the silver deposit, and thus, in one way or another, allow of an increase of density. The exception to which we refer the single example of an organic intensifier is that invented some eight or nine years ago by MM. Lumiere, in which the oxidizing agent is a quinone compound. The departure thus made into the infinitely wide field of organic chemistry is one which has not been followed, although there is every probability that among the many compounds and series of compounds of carbon which exist there are some in which the two properties of oxidizing the silver image and of adding density when so doing are united. Now that the demands of photography, in the matter of developers, are becoming familiar to makers of organic products and intermediates in this country it may happen that the sister process of intensification may come in for a share of attention, even though the commercial rewards may be small in comparison with those yielded by a developer.

The Donalty of Negative Fog.

The old idea that a negative must have a certain amount of clear glass is held by few printers now, but it is an undoubted fact that with a negative that is at all inclined to be on the thin side a very slight amount of fog reduces the printing value in a marked degree. It also gives a false impression of the real contrast present and prevents proper judgment of exposure when bromide or other development papers are used. It is an instructive experiment to reduce with ferricyanide and hypo one half of a foggy negative until the shadows are fairly clear, when it will usually be found that although the image, plus fog, appears fairly vigorous, yet, minus fog, it is really quite weak. It is therefore evident, when a negative cloud over in development more than it should do, that the development should be prolonged until considerable density is obtained; then when the fog is removed what is practically a normal negative will be left. If any one suffers from this class of negative, it is advisable that all precautions should be taken to avoid all possible causes of veiling. A very common one is diffused light in the camera; this may be through insufficient shading of the lens, to a dusty or cloudy condition of the glasses, or even to reflection from imperfect blacking of the bellows or woodwork. It is curious fact that in the wet collodion era, when there was much lees liability to fogging, photographers was very careful as to shading the lens with long hoods, cones, or canopies, while now we may find people using rapid anastigmats with half-inch hoods or none at all, and this with ultra-rapid plates. The point should receive especial attention at the hands of those who go in for «fancy’ lighting, with the lens pointing more or less directly to the light. With dirty lenses the remedy is obvious: a little alcohol and a soft rag are all that is needed, although a coating of dead black or even black velvet inside the lens tube, is a valuable addition, while treatment with a really dead blacking such as nitrogen on the bellows and framework should complete the cure. If the fogging occurs in the camera the edges of the plate where protected by the rebate should be clear, otherwise the cause must be sought in the dark-room. Coloured fabrics fade and some red glasses permit a considerable proportion of blue light to pass through. It is worth taking a little trouble in tracing the cause of fog in order to secure clean, easily printed negatives.

Glass for the Studio.

A correspondent recently asked whether the use of rolled or ground glass for glazing the studio would obviate the necessity for white blinds or curtains in addition to dark ones. In our opinion, in an at all well-lighted position it would not do so, as although either kind would prevent the direct glare which sometimes comes through clear glass, there would, be no effective control of the light. There is, however, much to be said in favour of what is generally called "rolled plate" for both roof and sidelights. For one thing, it effectually excludes all view from the outside, even when using artificial light, while another advantage is that the light is more evenly distributed about the studio, with the result that the shadows are less intense, and the exposures shortened in spite of a certain proportion of the light being absorbed. If the glass is neglected dust and dirt will accumulate in the ribs and cause considerable waste of light, but an occasional wash with soap and water, applied with a soft brush, will remedy this. Of ground glass we cannot speak so well. It certainly diffuses the light and is, therefore, useful where there are outside obstructions, for it is well known that a side light of ground glass will give better illumination if there is a wall near than clear glass On the other hand, it rapidly gets yellow in a smoky atmosphere, and it is then more difficult to clean than the rolled plate. Moreover, as it diffuses the light more than rolled or clear glass, it is more difficult to get decided effects in lighting with it.

Defects in Sketch Portraits.

Few photographers pay sufficient attention to the lighting of the sitter when producing negatives for sketch portraiture and many examples that we have seen in professional show-cases point to negligence in this respect The charm of a good sketch portrait, in our opinion, lies in its fine tonal quality and delicacy, while if an over-harsh or too unequal lighting is arranged a very inferior effect is obtained. One of the best sketch portraits that we have seen was made with a decidedly flat lighting, but one that, at the same time, by the aid of first-class photography, was a delightful result of tonal quality and colour suggestiveness. While on the subject a word may be added with reference to the sitter’s costume. In the case of feminine sitters the sketch portrait should always be in a high key and if possible the receptionist should advise light clothing free from any trace of dark. We recently saw a bust sketch portrait of a feminine sitter in a high key that was absolutely ruined from the artistic point of view by the inclusion of a dark tie. The removal of this should have been: tactfully suggested by the photographer. Many child -portrait sketch effects in a high key are considerably reduced in artistic value through a dark-coloured hair ribbon, and: we have before us a delightful full-length sketch portrait of a youthful sitter in a light dress completely spoilt by reason of the fact that the sitter is wearing dark socks, or, perhaps, those of a colour that photographed too dark, if a non-earthy plate was employed. The above are some points that have a real bearing upon success and' should be noted by all sketch portrait workers.

Practicus In The Studio: Home Portraiture.

noreply@blogger.com (SLAiPS d(-_-)b) — Mon, 08 Sep 2008 09:44:00 +0000

Work which conies frequently to some photographers and only at long intervals to others are that of taking portraits at the sitter's own homo. Some firms specialize in it to the extent of sending operators long distances, poaching upon the territory of the local man. There is no more remunerative class of work than this if properly managed, and if the prints are of good quality, yet many photographers fight shy of it, and these, it is to be feared, are generally those who bungle the job. With regard to terms, these are largely governed by local conditions and the prices obtained at any particular studio, so that I will do no more than suggest that no additional fee be charged for "going out." One does not make a charge for going out. to take a house, a horse, or a dog, and there its therefore no justification for making a charge if the model happens to 'be a human being. I recommend, however, that an order for a decent amount be secured, say, at least for a dozen of the highest class of cabinets, as a condition of the special visit. The fact that no additional charge is made will often induce a delicate or infirm person to be taken at once, instead of postponing the matter on account of the weather or other cause, with the possible result of the order being lost through death or the action of a more enterprising artist. It is an excellent thing, from point of view, to secure the entree to as many good possible, for, with a little tact, it is easy to obtain views of the home interior and exterior, and often horses, dogs, and other domestic pets.
To make home portraiture easy and successful the outfit should be carefully chosen. The old way was to pat the studio remora and stand in a cab and to trust to finding a dark-room in which to fill in the plates. This is not a fancy picture Years ago I did it many times for a first-class firm, and I believe many do it still The latest idea is to use a reflex camera which has its advantages but, on the whole, I prefer a stand camera, which is not only more- adaptable as regards rise, swings, and the use of different lenses, but impresses the sitters with the idea that the work is being done properly and that they are not being "mapped" with a port able camera, tike Cousin Jim uses. Personally, I prefer a parallel -bellows camera for whole-plates, fitted with a 12-inch / 5 6 lens. I also carry a Dallmeyer 2B portrait lens, which is useful for children or in very badly lighted rooms. The shutters Packard Ideal or a Gaerry doable flap is fined inside the camera. Usually six slides are carried, filled with such sued plates at the order calls for. It is, how- a good plan to have a couple of whole-plates in one of the slides, in case there is not sufficient room to get in the desired amount of too figure, although the order may be for cabinets only. The 2B, however, will give a three-quarter figure in a small room. The stand is an ordinary three-fold tripod, but rather heavy and provided with the folding wooden base so often described. This latter is a very useful addition, as not only are the feelings of the housewife relieved when she was that it is not proposed to stick spikes into her rugs and pets but it permits of the camera being moved by sliding, instead of lifting, that saving much time and labour.
Sometimes it is desirable to carry a small background, beet a double-sided one of light and very dark grey, about 5 ft by 4 ft upon two light rollers; it does not weigh much and is easily carried. A piece of calico to serve as a reflector is also useful, but if more impediments are not objected to, one of the Kodak portable reflectors may be substituted with advantage.
Now we come to the moat important part of the business the placing and lighting of the sitter. In rooms which are lighted by only one window the choice of position is limited, unless the window is unusually large and high. With small windows it is necessary to place the titter close to the windows to ensure the light falling at the proper angle, which should be as nearly as possible the orthodox forty-five degrees. It is surprising now nearly studio lighting may be approximated to it this be done. One important preliminary is to cover the lower part of the light with opaque material, and if the out side light to vary strong, the upper part should be covered with a translucent fabric, nainsook for choice. Bolter muslin is sometimes used, bat it to too open in texture for direct sun-light. In practice I find it convenient to sew the two pieces a stuff together, the upper half being a piece of nainsook about 4 ft wide and 5 ft. to 6 ft. long, and the lower black or dark green sateen, the same width, and about 4 ft long ; this allows for windows which go down to the floor. This curtain is sassily fixed in position with three or four push pins, any surplus length at the top being closely folded or rolled and pinned through. In a dull light the white half may be folded down behind the dark part and the clear glass used.
As the conditions do not vary greatly in this class of work, the inexperienced photographer will do well to make a few exposures in an ordinary room at home and note upon the prints the positions in which the camera and sitter were placed the different effete; some will probably be good and more probably some will be bad, and. by selecting the more successful ones, he will find oat the best way of working. For ordinary three-quarter lighting the sitter most be placed about 2 ft. back from the edge of the window and about 3 ft. into the room. This distance will vary with the height of the window; if the room be very lofty; the sitter may come further in and still be well lighted. Only in very lofty rooms should fall lengths be attempted, otherwise the angle at which the light strikes the head is too small and the shadows of the features are flattened and the eyes filled with light. In some large houses, where the windows are 12 to 14 ft. in height, studio effects are easily got. For plain lighting the camera should be kept as near to the window side of the room as possible, but for other effects it may be placed in many other positions. The so-called Rembrandt lighting is easily got in an ordinary room, more easily than in most studios. In this style the wall at one-aide of the (window carries the background. Here the dark grey pound will be very useful; the sitter looks straight across the light, which should give a broad line of light down the profile. By turning the head, a little light may be allowed to fall on the cheek-bone, but this is a matter of taste. The shadow aide of the face which is turned to the lens should be lighted up by the reflector, which must be near the camera; in fact, it is sometimes an advantage to cut a hole in the reflector for the lens to look through.
There are great possibilities in the use of an ordinary looking-glass, especially in small rooms, and when photographing invalids in bad, as by its aid the sitter may turn his face towards the window and still present the- lighted side of it to the camera. In the very difficult case of a sitter in bed in a small room, the mirror may be so placed as to enable the photographer to work through the doorway. It should be remembered, as far as the working distance is concerned, that this is made up of the distance from sitter to mirror, plus the distance from lens to mirror, so that in a room where it to only possible to get 3 ft. between lens and sitter by the use of the mirror, the working distance may be doable or more. It must not be forgotten that negatives so taken are laterally inverted that is to say, that if printed in the ordinary way the hair will be parted on the wrong aide; in fart, the image will be as seen in the mirror. To overcome this the prints may be made in single transfer carbon in Kodak transfer type bromide paper, or they may be printed in the enlarger with the glass side to the lens, or if portrait films be used, simply by printing from the back Some objections to the use of the mirror may be raised upon the ground that there is the possibility of getting doable outline of the image, and this, of course would occur if the mirror and lens axis were at an angle of say, 45 deg. with each other; but when the lens and mirror are at right angles to each other there to no danger of this defect appearing.
The scope of home portraiture may be greatly extended by the use of artificial light, and I look forward to the time when the nitrogen filled or half-watt lamps will hare entirely displaced the ordinary vacuum ( f) type. We shall then be able to work where we like in the room and get fireside and card table groups as easily as in the studio. Meanwhile we must rely upon magnesium, either in the form of the flash, or, as 1 prefer to use it for this class of work, in ribbon. Two feet of ribbon cut into four lengths and twisted into a torch give a light equal to an arc-lamp, and, if burned behind a diffuser leave nothing to be desired in the way of lighting. There is no explosion, as with the mixed powders; no snowstorm, as when the pure metal powder is used; the flame is small, and there is no risk to draperies, the only precaution necessary being the provision of an old tea, tray or mat to catch any burning ash which may drop from the torch. I always carry a roll of magnesium ribbon in my camera case with a bit of sandpaper to brighten it with and a wooden clip to hold it while burning. Do not try to light oxidised ribbon; it is a slow job; brighten it with the sandpaper and then it light- quickly and burns evenly.

PRACTICUS.

Training The Retoucher

noreply@blogger.com (SLAiPS d(-_-)b) — Mon, 08 Sep 2008 09:31:00 +0000

The incompetence of a large proportion of retouches is a, fact which many photographers know too well. Thin deplorable state of things is chiefly doe, I consider, to the sloppy methods of instructing that are in vogue in the profession. Much valuable tins U waited in having to inspect the work of such assistants before it goes to the next department, whereas it ought to be expected of them to be competent enough to pass it along through all departments until final inspection. I advocate the giving of an abort allotted time and direct personal attention for a few days as a bogs tune-saver in the long run, and as an aid to high quality.
The majority of assistants do not know what retouching exactly should be. Generally speaking their knowledge does not go beyond the idea that they must aim at a decent stipple. What should be done, or -what to do for the greatest improved effect with the least possible amount of labour, and how it affects the next department ('i.e., the enlarging and "finishing" artist) they lack knowledge of. In some cases masters lack knowledge of art principles and their application. Retouching taught without these, in my opinion, is absolutely valueless. Supposing the method usually adopted in training pupil for retouching was applied in the darkroom or printing-room, disaster would sooner or later happen to a batch of work or soon tell its tale by the work not proving permanent. Naturally the first thing one does in these rooms is to explain the reasons for doing certain things.
Some sort of guidance in theory ought to be in vogue among all photographers who have the profession at heart beyond that of the mere making of money. The pupil wants a thorough knowledge of what is required in the branch he is being instructed in. One would not look at the end of a pencil to draw a straight line; otherwise there would be no means to the end in getting that line straight. The mind judges where that line should be to be straight and the brain directs the hand accordingly. It cannot be said that the hand directs the pencil to make the line straight; if the pencil is held correctly the mind draws the straight line. I take this principle as illustrative of my method of instruction for retouching. A negative cannot be retouched unless the whole affect required is in one's mind. How to hold the pencil is half the battle. I have noticed that retouches who hold their pencils at right angles to the negatives and the forefinger tightly in the shape of triangle are usually bad workers and their stipple is wormlike and has no symmetry. This is caused by their being unable in this manner to work the fingers freely, the guidance having to be done by the arm and wrist, making the arm an eccentric.
The correct style, and one which saves hours of labour for the finishing artist, is to hold the pencil very loosely between the thumb and first two fingers, and almost perpendicular, thug using; the side of the pencil point and obtaining any desired angle of movement above the wrist by the fingers (the little finger resting on the negative). Never mind how you get a stipple so long as you work to follow the lines of the muscles of face and texture of the skin of the sitter, not to smother the negative. Many so-called expert retouches (stipples) place a beautiful sheen of lead all over the face, whether it is old man, lady, or child; in reality, a lead wash, such as a painter employs as a ground-tint. It is an absolute waste of time, and the effect mechanical, causing many a master to employ two retouches where one would suffice, and giving an effect which is artistically and commercially valueless. Aim at altering defects only and improving the artistic value by the following course: Select your pupil and give half an hour's persona' instruction each day for a week, first getting the pupil to master the taking away of complexion blotches and spots. Aim at nothing else until the pupil can do these to match the surrounding ground without overlapping.
The next step is to instruct where the muscles are exaggerated by the necessary side-lighting of the studio. With a satisfactory stroke there should be no so-called stipple. Then get your pupil to look at the whole of the face and imagine the negative as a line drawing in the positive sense, considering exactly what lines would be drawn to represent the character of the person (dismiss the half-tones for the moment). Get the pupil into the habit of bearing in mind the curve of the main lines that represent the character, such as the shape of the nose, main lines of lips and eyes. Any small complementary shadows there are to these do not need retouching. The next to consider is the relation of the strong highlights to the imaginary line drawing, and in doing this treat all the half-tone lights as that of a thin wash of paint an artist would put over his drawing. They need no altering; only blending into the main lines (i.e., massed shadows). The direct alteration of any half-tone or massed shadow representing the line of the facial muscle is fatal in retouching. These are the chief points to consider for artistic retouching. Any other work such as squaring noses and altering nose shadows are not necessary, if the face is properly lighted. All that is needed is the minimum work and the maximum result, which is only obtained by keeping the whole face in mind all the time. Try this method on your next pupil as against the old style of practice-practice without aim and you will be surprised at the result and time saved.

GEO. F. BURRELL.

The Longevity Of Photographic Prints In Relation To Record And Survey Work.

noreply@blogger.com (SLAiPS d(-_-)b) — Mon, 08 Sep 2008 09:15:00 +0000

A recent dictum of the Camera Club indirectly revives the question of the permanence of different printing processes to be used as records by photographic survey and record societies. Perhaps the most widely understood meaning of the word "permanent," applied to everyday things, appertains to inalterability, but in photographic circles when questions arise as to tine relative permanence of different printing processes their respective "durability" is generally meant and as so understood. Degrees of (.inalterability is rather a contradiction in terms, whilst durability may widely vary. To put the matter bluntly, if any printing process will afford lasting results for, say, a dozen, or so years and upwards, it is generally considered to be permanent in the restricted sense alluded to. But the matter is on another footing when, photographs are to serve as records for posterity, for here it is not enough that they should last for fifty or even a hundred years, but a life is reasonably demanded limited only by the holding together of the picture supports. By general consensus of opinion, two commercial printing processes only, or variants of them, fulfill this condition. The life of silver prints at the best is one of conjecture, which the lapse of time only can settle, and many are known to be more or less evanescent. In the case of photographs utilized purely as records their useful existence is longer than for most other purposes: if discolored or partially faded, so long as all details are preserved, they serve their purpose. On the other hand, when once deterioration has begun it often proceeds apace.
Though all are agreed that complete fixation and thorough washing are essential elements in the stability of silver prints, yet it cannot be said that deterioration can only be ascribed to these operations being ecamped, and there may be operative causes which are quite unsuspected. Printers of the old albumenized paper have narrated how prints known to be hurriedly fixed and washed have sometimes long outlasted those which had received orthodox treatment. In past days albumenized prints appear to have been over-washed, as in addition to prolonged changes by hand they were frequently left to soak all night. Impure air, damp, impurities in the mount or mountant, or a mountant tending to turn acid or are all known factors tending to alteration and fading Even with one brand of paper puzzling differences he durability of prints arise, one worker recording rapid fading, or other troubles, whilst another experiences he opposite. Inquiries often fail to reveal any variation in procedure to account for such difference, which in some irrational way seems to be connected with the ''personal equation" which looms largely in other directions.
In daylight silver-printing processes the image may be to consist of something in the nature of a stain, whilst with bromide prints we have reduced silver in a fine state of division in gelatine, and the general opinion is that them are the most stable of all silver prints. The life of a dry-plate bears on the permanency of bromide prints, though we should expect the former to outlast the latter owing to the silver and gelatine being present in greater degree, and also to the fact that there is no paper to retain residual traces of hypo. Comparatively few old dry-plate negatives show unimpaired condition, but at Greenwich Royal Observatory there is no indication of fading in any dry-plate negatives of stars, although many date back more than twenty years. Doubtless scrupulous care was exercised in fixing and washing and none have been indemnified or even reduced.
Whilst nobody can place a limit on the life of a carefully made bromide print, which may last many a long year, yet the official pronouncement of the Camera Club that "a well-made, thoroughly fixed and washed bromide print is probably as permanent as a print in any other process" cannot be justified. The probabilities are against this conclusion, and at variance with the opinion of recognized authorities, and with the views of the great majority of photographers. In essence, the assertion is equivalent to saying that finely divided silver, vulnerable to many adverse influences, is as stable a substance as, say, lamp- black, or platinum black, both regarded as unalterable trader every atmospheric condition, and respectively employed in the carbon and platinum processes. Having regard to the support and to the fact that the platinum image is in actual contact with the fibred of the paper, mercenarily of the highest grade, a platinum print may present an advantage over % carbon when a long-distant future is concerned, but both can fairly be bracketed together as truly permanent photographic printing images. Neither, of course, exists commercially on the strength of feature, but on the distinctive qualities associated with them. The extraordinary resisting properties of platino- type prints were illustrated some yean ago, when a number remained at the bottom of the sea for some months in a sunken warship and were eventually salved none the worse for the adventure. Subsequently shown at the Brussels
Exhibition, they perished by fire. Although the image of a carbon print is not in contact with the fibred of the paper, the pigment it locked in insoluble gelatine, known to be most durable in Ha normal state, and presumably more so when tanned by the action of light. As to the danger of peeling, sometimes alleged to exist, all that can be is that this is of the rarest occurrence, and when it does take place may usually be traced to the under-soaking of the transfer paper, or over-hardening of the prints by chrome alum or similar chemical, or to undue baste in drying Preference, naturally, will be given to those tissues which contain carbon pigment, however durable other pigments utilized may be.
If the opinion of those responsible for the recent utterance of the Camera Club is based on the undoubted fact that many bromide prints made years ago show not the slightest signs of alteration, this proves that the prints are long-lived, but affords no information as to their ultimate life. We have in our possession a framed salver print (apparently albumen) of French origin purchased over sixty years ago, made long prior to the introduction of bromide papers, and only during the last few years has it shown signs of deterioration, though continuously exposed to daylight, and occasionally hung on walls none too dry. Possibly in another twenty years or less the picture may have disappeared.
Granted that carbons and platinotypes are the processes for record work, which nearly all secretaries of photographic record societies fully recognize, yet the unfortunate fact remains that if these were insisted upon few prints would be received, as the majority of amateurs print in neither process. So such societies are practically forced to accept silver prints, and with no guarantee even that they have been thoroughly fixed and washed. Possibly a dry silver print hermetically sealed and kept in the dark might last almost indefinitely, but this is outside the region of practicability. However stored for access, it is impossible to prevent a limited circulation of air and of any impurities in it over the prints owing to barometrical changes. Dry-mounting on pure paper, and a coat of good varnish applied to the surface, should materially help towards longevity. In the case of subjects obviously valuable as records, the loan of the negatives might be sought to enable permanent prints to be obtained, but unfortunately funds are often not available for the purpose. We feel sure carbon or platino type printing concerns would charge on the lowest possible basis, and on inquiry have received from two well-known firms an unofficial intimation to this effect.
There appears to be no specific authority conferred on any local authority to enable a small grant to be made for such a worthy object. But when the record society becomes part of the public free libraries (as in most cases should be the case for convenient reference) the general powers of expenditure are available. These are by no means great under the existing rate, which leaves but little margin for the purchase of necessary books, to say nothing of other desirable acquisitions. Many towns, however, have proposed an advance in the rate to 3d, and if than materializes prospects will be brighter for the societies associated with the libraries, if not for the ratepayer.
We wish all good-luck to the scheme of the Camera Club, and commend our observations to its attention, and in doing so a gentle reminder may be given to readers every where not to forget their local survey and record in the approaching season. Upon the executive, as a rule, falls the major part of the work, cheerfully undertaken and with no hope of being personally thanked by posterity, but we would urge a large measure of contribution by the general body of photographers.

A Bichromate-Mercury Iintersifier

noreply@blogger.com (SLAiPS d(-_-)b) — Mon, 08 Sep 2008 08:58:00 +0000

It was while working under active service conditions that the experiments leading to the discovery of a new method of intensifying negatives .was made. Some very brilliant results were required in the way of transparencies, and the only plates in tock of the size wanted were very stale, and though labelled "Process," would not give even ordinary printing density. So the only thing to do was to make the best possible, and then clear and intensify as much as possible. Lead was tried, but owing to the lack of proper washing accommodation, bad water, and also to the strong colour it gives to the very slightest trace of veil in the whites, it did not answer in this case. After trying every method that I could to persuade the "quarter-bloke" in charge of the stores to let me have the material without the usual circumlocution, and still not getting enough density, I began to experiment, and eventually found a method of greatly increasing the density without risk of stain provided that the negative was thoroughly fixed.
The procedure finally adopted was to bleach the negative in an acidified solution of potass bichromate (as for chromium intensification), and then, after washing for a short while, immersing in a mercury-iodide solution, and after a further wash to darken the bleached image in a sulphide bath; or else in a hydroquinone developer if there were any likelihood of subsequent reducing being called for.
I found that a lot of washing, after fixing the plate, between the various baths, was not essential to clean working, and the increase in density was far greater than I have been able to get with any other intensifier except lead. If the bichromate is not all out before the negative goes into the mercury bath, it comes out into that solution, but does not seem to affect its working.
Like the mercury-ammonia intensifier (which it easily beats for density-giving power) this new method can be worked with out accurately weighed and measured solutions, but in that case it requires rather a lot of bottles. Being minus reference books or any accurate measures at the time referred to, I got on quite well without, and did not find any appreciable difference resulting from varying strengths and proportions of ingredients of solutions. The way I arranged matters was, first of all, to keep a saturated solution of potass bichromate, of which a little was diluted for use as required, and a few drops of hydrochloric acid added. If this did not bleach it was poured into a jar, and a few more drops of acid poured in. This bleaching bath does not keep, so it was thrown away after use. The mercury-iodide bath, on the other hand, keeps well in the dark-room, and can be used over and over again. As I had no formula by me, I made a fairly strong solution of each of mercury bichloride and potass iodide. Then a little of the latter was put aside, and into the remainder I poured the mercury solution a little at a time, well stirring and shaking to dissolve the red precipitate that forms when these two chemicals are mixed. A point is reached when a little of the red powder fails to re-dissolve, and it was to get this into solution that the email quantity of the potass iodide liquor was kept aside. On adding this to the bulk the precipitate disappeared. This strong solution was kept for stock, and was used diluted, but both the stock and working solutions appeared to keep well. The sulphide solution was made as required from the crystal, but there is no reason why a stock solution should not also be employed for this. The used liquor should not be kept after the same day, as in the case of bromide toning. It seemed difficult to get the image thoroughly sulphide right through, so that if the density was too great some reduction was obtained by simply immersing the negative in a hypo bath. Another use al point with this intensifier, as in some others, is that if the plate before sulphiding is seen to be too dense or the lines are veiled, a dip in hypo solution will clear it. Of course, this means another good wash before sulphiding, and it should be pointed out that these extreme methods of working are seldom suitable for anything but line work, as the uneven nesses of the emulsion are usually very much accentuated by employing strong measures.

D. CHARLES.

EX CATHEDRA: Liver Toning; Rapid Plates and Donalty; Carbon Printing and Fumes; Simper Paratus; For Print-Out Papers.

noreply@blogger.com (SLAiPS d(-_-)b) — Mon, 08 Sep 2008 05:46:00 +0000

Liver Toning.

There seems to be in some quarters a difficulty in getting satisfactory tones on bromide prints with the ordinary sulphide toning process. Instead of obtaining good rich sepia tones a rusty colour is got, due sometimes to a want of density in the negatives, or to over-exposure followed by insufficient development, while in other cases no modification in working will give the desired colour. To those who find themselves troubled in this way we recommend a trial of liver of sulphur (potassa sulphurata) as a toning agent. This has the advantage of giving a variety of colour, ranging from a warm black to sepia, including some very fine purple browns. One of its good points is an absence of the slight reducing tendency of the ferri cyanide bleacher, and another is that even if the prints are inclined to be weak there is no liability to give a "ginger" colour. The process is a simple one; the toning bath consists only of sixty grains of "liver" to a pint of warm water, a few drops of ammonia being added when solution is complete. This should be raised to a temperature of about 100 deg. Fahr, and the print immersed until the desired colour is reached. A little allowance must be made for the further toning action, which goes on in the subsequent washing. Borne papers will stand the heat of the solution without requiring hardening, but if there is any tendency to melt the prints should receive a preliminary bath of formalin, a convenient strength being two ounces to the pint. As with the hypo-alum bath, all papers will not tone to sepia in the liver of sulphur solution, some is refusing to go beyond a purple black similar to P.O. P. A few trials with various papers will show the most suitable makes.

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Rapid Plates and Donalty.

It is commonly believed that it is difficult to obtain full density when using very
rapid plates and some operators prefer to use a slower grade in order to secure plucky negatives. The idea is fostered by the fact that the films of nearly all fast plates appear much more transparent before development than do those of slower ones, and this gives rise to the belief that such plates are thinly coated and lacking in silver. Such is certainly not the case; the fast plates having in some cases twice as much silver bromide spread over the square inch u the "ordinary" ones. We have used plates which were so transparent that ordinary printing could easily be read through the emulsion, but which gave almost perfect opacity when developed. The fact is that much longer development is necessary for a fast emulsion than for a slow one. If we take two plates of the san e make, one an ordinary and the other a "supersensitive" expose both correctly and develop in the same developer for the same length of lime, the difference will be most marked, but if the rapid plate be developed twice or even three times a long the densities will then be pretty even. Instead of prolonging the development the Mine effect may be produced by increasing the amount of alkali, or by raising the temperature of the developer. With regard to the former expedient, a little mishap which recently occurred to us will be instructive. By mistake carbonate of soda was used instead of sulphite in making a stock pyro solution, and by so doing the amount of alkali in the mixed developer was more than doubled. Upon developing for the usual time plates which normally gave thin delicate images became so dense that considerable reduction was necessary before the negatives were printable, a conclusive proof that a full quantity of silver was present.

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Carbon Printing and Fumes

In some unaccountable way the notion, has been created that carbon tissue is extremely sensitive to various fumes, and many have been deterred "from using this charming process because they thought that special precautions had to be taken to avoid "tinting," or what would be called "fog" in other processes. We have recently seen excellent carbon prints, which were produced day after day under conditions which are popularly believed to be impossible. They were made in a work-room in which an evil-smelling dry mounting press was used almost constantly; by the side of the sink a geyser was used to supply the hot water needed, and three feet away the sulphide of bromide prints was constantly done. The reason for the immunity from the ill effects of this combination was a simple one; only ready-sensitized tissue was used. In a dry state the fumes had practically no effect upon it, and the short time it was exposed while wet during the mounting did not allow any action either. The great stumbling-block in carbon work is the drying when home-sensitized tissue is used, and practically all risk of "tint" may be avoided by drying the tissue in an air-tight box or cupboard over chloride of calcium. By so doing, not only is the atmosphere excluded, but the drying is done in the same time whatever the hygroscopic conditions may be outside. Another advantage gained by this method of drying is that the tissue is of uniform sensitiveness, which is not the case when it is dried in the open.

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Simper Paratus

There is an old joke which is sometimes trotted out when anything uncommon presents itself "that you always see these things when you have not got your gun." If for gun we substitute camera we are recording the experience of nearly every photographer. Most of us can recall many occasions when we have seen effects of light and shade, or occurrences, which are not likely to be repeated, and have been compelled to leave them unrecorded because our camera was out of reach. We have known some photographers, mostly enthusiastic amateurs, who never went out without a camera, and at least one professional who did the same, told us that, on the whole, the practice had been a profitable one, besides being the means of securing many pictures of personal interest. This was in the days when the smallest camera was of the dimensions of a cigar box, and it required much more enthusiasm than in these times of pocket Kodak’s and "baby" plate cameras. Apart from the constant carrying of a camera, it is an excellent to keep a small instrument, say, half-plate or less, ready filled with plates or films which can be picked up and used without a moment's delay. In this respect the amateur with his film outfit is usually much better prepared than his professional brother, who often has to assemble his outfit before it is ready for use. Perhaps the most convenient apparatus is of the folding local plane or "press" type, in which plates can be kept for weeks without danger of deterioration. Such a camera is of great value for sports, pictures, street scenes, and the like, while used with discretion it is very handy for home portraiture. The great point is that it should be semper paratus, always prepared.

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For Print-Out Papers.

The consistent reader of the photographic papers is constantly coming upon hints so ancient that, like the anecdotes of Miss Volumnia Deadlock, they have become in the cycles of time new again. At least forty years ago photographers who had need to make a very dense part of a negative impress its detail fully on the print would use for the purpose the concentrated light of a burning-glass. This old expedient must have been disinterred scores of times or, quite possibly, has been invented by those who have heralded it as a new device. Its latest appearance as something original is in a recent issue of a New York photographic paper. None the less, it is a plan which may often be employed with advantage in the case of negatives of interior subjects in which most probably windows or other brightly lighted parts have become too dense in the developer. In place- of risking the negative by reducing or rubbing down the more opaque parts, an ordinary reading-glass of about three inches diameter may be held in front of the negative during printing and, while kept gently in motion, caused to concentrate its light upon the part which needs help. The American writer prefers to fit a disc of black card with a hole in it in the rim of the glass and so to obtain the utmost concentration of light.

Assistants' Notes: Dark-Room Clock

noreply@blogger.com (SLAiPS d(-_-)b) — Sun, 17 Aug 2008 18:40:00 +0000

How to Construct a Dark-Room Clock.

A clock to measure the seconds, the face and fingers of which be plainly seen in the dark room, is a most desirable and useful ring. But one specially made for the purpose at the present time is rather an expensive item. The following instruction will enable any photographer to adapt an ordinary clock at vary little cost. Any make or sue will do providing it has a good, bold, white dial and a minute finger, and is one without a which will go in any position like a watch. Unless it has a finger it will be of no use for our purpose. It does not how old the movement is or bow defective it’s time-keeping qualities; these are of no consequence. If we have not one in our one can be picked up very cheaply, often for a few at a clock repairer's or secondhand stores.
Having secured this, we can proceed with the work of converting into a dark-room clock.

Carefully take the movement out of the case, noticing particularly bow it m fixed in, and remove the fingers. Sometimes this latter has to be done before the movement will come out of the case. All screws, washers, fingers, ate, should be put into a purser or small tray so that they will not get lost, as they will be required later. We should now carefully look at the works and notice just those wheels and spindles which are required to keep the clock going and the minute finger moving. All the rest of the movements are not required by us, and are better taken out. The beet way to take these out without disturbing any other works is to cot through the spindles which carry the wheels with a three-cornered file anywhere where it is convenient. They can then easily be taken out. When all the unnecessary parts have been removed we shall have a clock which, when going, only takes round the minute band. The dial should now be pot back on the clock in such a manner that the centre of the dial where the hour hand was should be fixed over the minute finger movement. This may necessitate a little cutting of the dial, etc., or other parts, to allow it to fit in its right position, but can easily be accomplished. When this is fitted in position the long; finger is carefully soldered on to the minute finger and blacked, the minute finger placed in position, and the whole movement put back into the case. We have now a clock which takes just one minute for the finger to go completely round the dial, and each of the hours five seconds. The dial being of a large size and white, and the finger black, it is very easy to see and count the time in the dark room. Of course, the clock will go with once winding as long as ever it did.

The British Achievement In Aeroplane Cameras.

noreply@blogger.com (SLAiPS d(-_-)b) — Sun, 17 Aug 2008 18:32:00 +0000

The progress made during the war in the design and manufacture of cameras for photographing from aero planes has hitherto remained undisclosed except by the few and somewhat sensational statements which were published now and again in the lay Press, and which, it may be said, were usually wide of the mark. Misers, Brock and Holat, in the paper which we reprinted in our issue of February 21 last, made certain sweeping claims to priority which in the following issue provoked denial n the part f two correspondents, both exceptionally well-informed as to what has actually been done in the production of cameras for the British air forces. Since the appearance it paper we hare had an opportunity of inspecting at the Kid Brooke camp of the Royal Air Force cameras representing the whole range of instruments which have bean used daring the war from the earliest days until its termination. The paper by Major Charles W. Gamble at the Optical Society on March 13 last has also set forth in try great detail the steps by which aero plane photography has been raised to great stats of perfection. It is therefore well that tone account be given of what has been accomplished and of the stages through which the aerial camera has passed.
At the outbreak of war photographs bum aero planes or airships had been taken only in quite a casual and amateur way, and the military authorities were low to recognize the great service which aerial photographs would reader to the Intelligence Branch of the Army. Within a law months, however, the value of the aerial photographs received recognition, and cameras specially made for the purpose were first need early in 1915. The first or A model, long since abandoned, was of a quite primitive type, consisting of wooden square-section cone-shaped body, carrying a lens of eight or tea inches local length and fitted with a Mackenzie- Wisbart adapter for envelopes taking 5x4 plates- The camera had to be held in the hand and pointed vertically or obliquely downwards by the observer as he stood up in the aero plane. The Mackenzie-Wisbart system allowed of a considerable supply of plates being taken up, but the relative fragility of the envelopes in the circumstances of their being handled by a wearer of thick gloves, coupled with a want of sufficient precision in bringing the plate accurately into the local plane of an f/4.6 lens, caused this form f plate-holder to be abandoned.
Early in 1916 a modified pattern, the C model, of the first instrument was put in the hands of airmen. It differed chiefly from the previous model in the means adopted for holding and changing the plates. The camera was fitted with two magazines, one containing eighteen 6x4 plates, in metal heaths, which was placed immediately over the local plane, and the ether (empty) magazine below it and to one side, the camera, of course, pointing downwards. By means of a horizontally moving metal plate, the lowermost of the plates awaiting exposure was pushed to one side and was received in the lower magazine, the operation of thus changing the plate also reciting the local-plane shutter under cover of the moving metal plate. The principle of mechanically changing plates by discharging from a holder placed mouth downwards into one placed mouth upwards has been retained in later models in which the changing mechanism it self has been further improved.
The two foregoing cameras mere both of wood, the disadvantage of which, as pointed out by Major Gamble in his paper, was the liability to expand or contract under the very wide range of temperature and climatic conditions to which the cameras are exposed. Inasmuch as a very slight alteration of the distance between an f/4.5 lens and the sensitive surface may disturb the definition, recourse was had to cameras of all-metal construction or to one consisting of wood framework, constructed so as to obviate expansion and covered with metal mounted thereon so as to cause no stresses in the structure in the event of its expansion. The E camera of the R.F.C.; introduced in 1917 was an all-metal camera of this type, and was fitted with a changing mechanism similar to that of the C model, but with the difference that the plate was changed by pulling a cord, and, the occulting metal plats being thus dispensed with, the camera included a capping shutter to cover the aperture in the local-plane blind during re-setting. A further new device first introduced in this model was an adjustable lens cone by which lenses of from 8 to 10(1/2) inches focal length could be fitted and readily brought into use.
Up to this point all the cameras employing plates were operated, as regards changing the plate, entirely by hand, a system which had considerable disadvantages. Simple as an ordinary photographer would regard the operation of the changing mechanism, the fact that it had to be placed in the hands of men entirely unfamiliar with photographic apparatus called for a changing device which would be free from mishandling by the human operator. It need hardly be said that the airman has many other things to do besides taking photographs, and that he carries on his work always under the conditions of fire from enemy anti-aircraft batteries and of attack from enemy machines. Thus the next step and one which brought the aero plane plate camera almost to its most perfected form, was to provide a mechanical means of changing, operated by power other than that of the airman and brought automatically into operation immediately alter an exposure had been made. This was done in the L camera first used by the K-F.C. early in 1917. With it the operator had simply to use Bowden release in order to make an exposure: the rest- resetting the shutter and changing the plate was done mechanically and automatically. The ingenious device introduced for this purpose consisted of a small propeller mounted on the aero plane and connected to the camera by a flexible shaft. This provided sufficient power for the operation of the plate-changing mechanism, the changing gear coming into operation on the observer releasing the Bowden lever.
An improved model of this camera came into use in 1913 as the LB and has proved the most successful of aerial instruments. It differs from the type just mentioned in being fitted with a self-capping focal-plane shutter which can be entirely removed and replaced by another in case of derangement. Moreover it can be adjusted as regards slit-width by an external lever, and there is the further provision of operating the plate-changing by hand or power as necessary and of instantaneously altering it for use by one or the other means. A further improvement was the series of most rigidly made and finished lens cones, enabling lenses of 4, 6, 8, 10, and 20 inches focal length being used on the one camera.
The principle of a propeller drive for the mechanical changing of plates was also applied to a camera of much larger size, for 18 x 24 cm. plates, first used by the R.A.F. in 1918. The camera, which perhaps may be said not to have been quite fully perfected at the time of the Armistice, is fitted with lens cones allowing the use of objectives of from 7 to 20 inches focal length.
Other cameras of simpler type have been used both in the Royal Flying Corps and the Royal Naval Air Service for purposes more or less special to the requirements of these services. Certain of these are cameras fitted with a stout handle or grip, by which the instrument can be held and pointed obliquely in order to produce a type of photograph distinct from that obtained with a vertical direction of the lens axis. Thus in preparing for operations with tanks in France, photographs taken obliquely are necessary in order to yield an idea of the nature of the ground over which the attack is to be delivered; and similar oblique pictures are taken for many purposes of the Admiralty, for example, in order to obtain records of the correctness with which the masters of ships proceeding as a convoy are carrying out their instructions as to formation.
But perhaps the camera evolved for aero plane work which would provoke the greatest admiration of a connoisseur in mechanical devices is that known as the F, and first used by the Royal Flying Corps in 1916, after having passed through its trials at Farnborough during 1915. This is a camera taking a continuous series of 5 x 4 pictures on a roll of film sufficient for 120 exposures. The mechanism is operated by a propeller to that as the aero plane travels the photographs are automatically taken at intervals corresponding with a certain number of revolutions of the propeller. Simultaneously with the exposure of each section of film a tiny record is made on each (by means of a small supplementary lens) of the reading of the height of the machine and of its compass bearings so that each negative is provided with a record of the direction of flight over the territory which is being photographed.

Panoramic Photographs And Perspective.

noreply@blogger.com (SLAiPS d(-_-)b) — Sun, 17 Aug 2008 17:50:00 +0000

The notes on panoramic photographs in a recent number of the “B.J.” will no doubt have interested quite a fair proportion of readers; and in all probability many more will welcome some amplification of the subject. And as there appears to be very little literature on this fascinating phase of the photographer's art the following notes are penned with the hope they may at least help the novice, even if they fail in the more ambitions desire to stimulate the production of a scientific treatise on the principle invoked. The panoramic camera is a necessity: there can be no question of that, and although much good work can be done by joining up several ordinary photographs, there are cases where all the skill in the world will fall to make a presentable picture; and an example, of this failure occurs when we have a view including railway lines in the foreground. At each join the lines meet at an angle and as we are not accustomed to trams tracing pentagons and squares, we are offended by the view. In a panoramic picture of the same subject, the lines will appear as continuous curves; so we are not asked to imagine the impossible, and therefore the eye and sense are not offended. To the professional mind in doubt, the big group is the most important class of work to which this camera can be put and here it is clearly scores that no argument is needed. These groups of course, are arranged in an arc of a circle with the camera at the centre; and the general perspective of the recanting picture, may be likened to one taken with an ordinary camera and a very long focus lens whose axis is at right angles to the same group arranged in a straight line. Now whatever carping critics may say, the man at the end of a panoramic group will he far better pleased than if it had been a wide-angle group; for he is in the same perspective as the man in the middle and this will prove a blessing to the photographer who has to copy a single figure from a group for the purpose of enlargement, and alas! in very many cases, the only available source will be front one of those big military panoramic groups and whatever consolation father, mother or sister can get from the finished enlargement, it will be all the greater from the fact that their departed hero is delineated in tine which would not be the case in the figure were copies from near the end of a while-angle group.
The thing that is most objectionable about a panoramic view is when something that we know must necessarily be straight comes out in the photograph as a pronounced curve. There are two ways to avoid this: one is by the arrangement of the subject, as in the case of a group, or by the selection of the point of view. Now, in general a horizontal straight line, except when it radiates from the camera, appears in a panoramic photograph as a curve: and, conversely, there is a certain curve which, when in a horizontal piano with the camera at its origin, will always appear an a horizontal straight line; and if we know the nature of this curve, we shall be in a better position to order the arrangements for any particular photograph we wish to take.
Let us take a practical example:-Fig. 1 is a diagrammatic view of Ludendorff, on horseback, giving a farewell address to his troops; and perhaps adding a few words of advice and warning mi the disastrous consequences of a complication of Prussian microcephalism and Asiatic beriberi. In the ordinary panoramic parade photograph the men dwindle away towards each end of the picture, and form a strange curve that would remind a soldier more of some lamentable straggle with the theory of a trajectory than of invincible, Vandalia, martial glory and also it offends all our ideas of perspective. And besides, perhaps, Ludendorff would not like it; he might think yon were puking fan at him, and intended some sly allusion to "elastic fronts." The remedy is to get the valiant soldier to let you arrange the men; and to get this effect of straight lines vanishing to the horizon, as in Fig. 1. they will have to be arranged in the form shown in plan by

the heavy line in Fig. 2. If we are using a 12-in. lens; and decide to have the finished picture about 40 inches long, the group will have to be included in an angle of about 180 degrees; because12^=37¾ nearly, which will allow just a little margin each end. If we further decide that the nearest soldier shall be three inches high in the photograph, and the one at the remote end of the line one-quarter that being then, by the simplest arithmetic, the nearest man must be 24 feet from the camera, and the furthest one 86 feet; and, as the group is to include 180 degrees these two men and the camera will be all on the same straight line. This is shown t., scale in Fig. 2, where the position of the camera is given by o, and B and B’ are the places of the and men. The setting out of the rest of the curve is quite simple if we remember that the panoramic projection of the horizon is a straight line, and every length of a panoramic photograph represents an equal angle or number of degrees; that is to say, if three inches at the end of a Pangram represents 15 degrees, then also three inches from the middle will represent exactly the same angle, and if the line B O, joining the men's feet in Fig. 1, is to be straight, the vertical distance between it and H O must diminish by the same arithmetical amount for each equal length of the picture; and as the distances from the camera must be inversely as the height of the figures, we have the clue to every point of the curve. Now, let us calculate the distance of the curve from the origin o for every 30 degrees. As the total fall in height is to be 3-¾, and 30 is contained six times in 180, then

is the amount required; and in the table below the distances of the points are given in feet for every 30 degrees, while the heights of the image are given in eighths-of-an-inch, to avoid fractions and show better the regular decrease.

In regard to this table it may be observed that the product of the height and distance is a constant quantity. A group arranged in this way will, in the resulting Panorama, have the same general perspective as Fig. 1 though course each element of the picture will have the perspective peculiar to the lens with which it was taken.
Now if the lines AO and BO are continued they will meet outside the picture, at the vanishing point O n the horizon; and if we call the vertical distances between A and B h and the number of degree from H to O, which in this case will be 240 deg., then for every degree the height will decrease by; therefore at any angle ß. measuring from H. the bright of the figures will be: -

and the distance from the camera to the curve of this point will be: -

It will be been that is a constant quantity which we will call a; and a ß is a variable angle which we will call; then, substituting and patting r for the variable radius we have: -

and, clad in this classic garb, readers who have dwelt in the seventh heaven of mathematical bliss will recognize in old friend, the "reciprocal spiral." To show the nature of the complete curve it is continued in the diagram at each and by broken lines, and towards the origin it approximates more and more to a circle with every revolution it makes recording to the law –

where ra is the radius at the nth crossing of the initial line and by taking a and n of suitable dimensions we can get as near as we like to any tiled circle. By making is very small the whole curve approximates to the initial line; and if we take it small enough we have the special case of the radiating straight line. This from this spiral we can get in our photograph a right line at any degree, of obliquity and perhaps enough has been said to make clear the general law: -
The panoramic projection of a reciprocal spiral in a horizontal plane with the camera its origin is a straight line and only this carve or some special phase of it is so rendered.
But in all probability it would be as difficult to get a photographer to look at a formula of this kind as it would be get Ludendorff to let you arrange his men; so perhaps a better way would be to plot the curve to several valuations, then equal lengths; and this would give a rapid approximate way of finding what one wants.
Before leaving this subject there are several practical points consider. Where shall we put Ludendorff? In Fig. 1 it will be seen that the centre-line of the picture passes through the horse's head and therefore, he must be placed so that the mid-angular line in this case the 90 deg. line passes under the head of his charger. Another point to consider is what would happen if; instead of terminating the group at B and B we continued it along towards the originals far as the curve is

marked out in the diagram by the broken line, and also at the rather end along the straight for half a mile or so; and then starting the Circuit camera at the beginning of the group, let it run round for two and a half revolutions? Still keeping to the 12-in lens, we should want a 16-ft. film for the job; but to see the sort of thing we should get, draw a long rectangle in represent the picture (Fig. 40). The group will begin three tines over and end three times, and if we draw a straight line from the bottoms left-hand end of the rectangle to the horizon at the other end to show the line upon which the complete group is standing the diagram will be completed by a line of 240 deg. and one of 180 deg from the commencement of the picture and two lines of the same lengths at the end; and as these short

lines are necessarily repetitions of parts the long one, all live will consequently be parallel to each other.
The practical outcome of all this is what every user of a panoramic camera knows: avoid such a position that gives a straight line, which in perspective ought to be parallel with the ground line; if we can get to something like 45 deg. from this position the curvature will, as a rule, be quite
negligible; all radiating lines, and also parallels to these lines if a fair distance from the camera, will be straight in the resulting panorama because, like the circle, they are special phases of our spiral.
Knowledge of the rigid conditions for a straight line will do the operator no harm and even sometimes be helpful to the practical man.
When only a moderate angle is included in included in a panoramic view, it is not beyond realms of feasibility to bring the pictorial into ordinary perspective by spying: the only conditions necessary being to bend the negative into the same curve that it had during exposure; and then project the image by means of a lens at the centre of the curve on to a flat to a line passing through the centre of the curve and the middle of the negative. This is shown in Fit 3, where we may suppose the negative was taken with a lens at 12 inches focus, and is therefore bent into a circular arc of 12 inches radius, and is being copied with a lens of 6 inches focus, which will give us a copy corrected as regards perspective, and of the same size as if the negative had been taken in the ordinary way with a 12-in. wide angle lens. Of count, the corrected copy will be longer than the panoramic view. In regard to the optical system, it is not at all necessary to have an anastigmatic; some old-fashioned thing with a field as round as a football will do better; and perhaps a thin spectacle lens with a small stop right in contact with the glass best of all. Or, of course, the lens could be rotated during exposure; but then we should lose the advantage of roundness of field. Some years ago a lady took a picture of a castle in Scotland with an Al Vista camera, held so that the lens made a vertical sweep. The towers of the castle came out like barrels, but a correct bromide print was made in the way indicated above. A special optical system would have to be devised to cover anything more than a very moderate angle, and, in many cases, true perspective over a very wide angle would prove more objectionable than panoramic projection.
In the Cirkut camera we have great advantages: we can include any angle up to 360 degrees or more; we can focus; and we have usually three different foci to choose between; but, in the matter of range of time of exposure, it is the biggest sinner of all the panoramic cameras. The quickest exposure is literally too slow for a funeral, and the longest possible time you can give is too short for a dull subject on a dull day. In cameras of the Al Vista and Panorama class, we could tackle ordinary hand-camera subjects on a bright day; and for a still subject on a dull day we could fix the camera on a steady stand and increase the exposure to anything we liked by swinging the lens to and fro as many times as necessary. And on some patterns of the Al Vista a brake, in the form of an air vane, was fitted, which not only increased the exposure, but also amused the group while it was being photographed.
In the matter of fitting new lenses to panoramic cameras this, in general, is impractical, except in the case of the Cirkut camera, where a new lens will mean also a new set of pinions and the number of teeth to the pinions will be inversely as the foci of the lenses. There will be several points to attend to in making such a substitution, which are of more practical interest to the camera maker than the photographer.
In view of a recent patent for a camera in which the image is received on the inside of a cone, it may be as well to define panoramic projection as used in the above article as the projection by straight lines from points on the object through the centre of a vertical cylinder on to the cylindrical surface itself; the intersection of these lines with this surface forming the image, which is afterwards viewed when the cylindrical surface is spread out flat to form the panoramic picture.
C. J. STOKES.

Soft Effects In Enlarging.

noreply@blogger.com (SLAiPS d(-_-)b) — Wed, 13 Aug 2008 17:36:00 +0000

[The facility and economy making portrait prints by enlargement are advantages of a system which is growing in favour, and which has a further claim to the notice of photographers namely, the opportunity which it affords of producing a portrait of diffused definition from a negative of the ordinary character. This is a point which receives special emphasis in some notes on enlarging which we reprint below from "Camera Craft." Their author, Mr. J. Walter Doubleday, describes the particular form of device which he employs in breaking up to a pleasant degree the definition in the negative. EDS. B.J.]
Bromide enlarging is steadily growing in favour, even more rapidly than would be the case were only those workers taking it up who are changing from the formerly popular view camera sizes to the present more convenient small type of cameras. I know a number of professionals who are making all their portrait work through the enlarging lantern, not alone for the purpose of securing larger prints than the negatives they care to make, but for the control and speed that the process permits. They have, of course, some- what modified their apparatus, by eliminating such parts as serve mainly to give a large range as to size, and by adding other fitments that increase rapidity of production.
I have mentioned thin, not as an introduction to the subject of apparatus, which I shall avoid, but as a means of suggesting the recognized simplicity and advantage of making prints in this way. Enlarging apparatus is of such varied form' depending upon the light available, the requirements of the user, and to some extent the pane M well, that space does not permit me to do the subject justice if I am to record a few of the things I have learned about the actual production of bromide enlargements, things common to the work, irrespective of the form of apparatus used. Enlarging on bromide paper is quite simple, the apparatus required is not complicated, and the results have the highest endorsement of our best professionals and our leading exhibitors.
The negative best suited for enlarging is one that is soft, yet brilliant. But it must be brilliant. The kind of softness that "results from full development of an over-exposed plate or film, soft- ness combined with thickness, will not give a good enlargement. Slight fog or veiling of the image is also detrimental, and one must not assume that because such a negative will make a good contact print it should produce a good enlargement. This is a common mistake. The reason for the difference lies in the different action of the light. When the light is projected through such a negative in enlarging, there is a scattering of light from all portions is of the silver deposit, and when there is even a slight deposit where it should not be, as in the case of fog or thickness, poor results must follow. In contact printing there is not this scattering of light and not the same ill effect produced. One should strive for brilliancy with softness, and the use of a lens shade, particularly in the case of our rather short hooded and large aperture instigates, will do much in that direction. A safe dark-room light and a clean working developer will also heap.
The strength of the light used in making the enlargements also has much to do with the quality of the negative best suited to the n' requirements. Or rather, one can, by selecting a certain form of light, accommodate the process to negatives of quite different quality. The thin, fully exposed, yet under-developed negatives that some professionals affect, can be made to produce good enlargements only by using a rather weak tight, such as an oil burner or gas jet produces, strong, contrast} - negatives require a strong light; and negatives carrying much retouching are beat enlarged with well diffused daylight or a strong artificial light, like the arc, with ground glass between it and the condenser. The use of a soft-focus lens is also moat advisable in such cases.
The truth of the matter is, she best plan is to find oat, by experience, just what kind of negative is best suited to one's individual equipment, and then make negatives as near that standard as possible It is quite obvious that only a worker with an extensive output to produce could equip himself with sporrans employing varying strengths of light as suggested above. A compromise, to grades of paper offered; the range, since the introduction of the on-called chloride papers, with a speed some where between that of regular bromide and the gaslight papers, ranking this power of selection a valuable asset.
I suppose I should attempt to go into same detail on this latter point, bat while the mage is so wide, it is yet somewhat variable in different localities, and little would be achieved. At leant, little compared to what the individual worker can best find out for himself by a very few experiments based upon the quality of the negative in hand and the maker's description of the various papers available in his case.
The exposure is the most troublesome factor of the entire proems, but this has lost its terror to a great extent since the advent of developing papers. In the days of printing out papers, with their visible image to serve as a guide, the correct timing of a bromide enlargement screed to be much more of an achievement than was actually the ones The best plan, in my animation, is to take such negative, as made, and give it Bomber that expresses something in the form of a ratio, something that will give an easily handled factor from which to figure the exposure in enlarging to any size. This can be done by making n correctly timed contact print on developing paper and noting the time, the time serving as the factor number. It is, of course, quite necessary that these factor numbers most all be determined under exactly the same conditions. A standard brand of paper must be used, one having little or no variation in speed, and the light and distance used in malting the print mutt also be uniform.
If all one's negatives bear on their edge the number of second’s exposure required to produce a correctly timed print on, say. Regular Velox, exposed to a cluster of four thirty-two candlepower Mazda lamps at a distance of sixteen inches, little difficulty would be experienced in determining the correct exposure for any one of them for any size of enlargement, after a few experiments had been made. There would be a fixed relationship between these factor numbers and the number of seconds required for enlarging to different sixes, sad the relationship could be easily determined by an experiment or two. One might find that the exposure required for a two time allurement, or enlargement to a certain commonly used size, was one and one-half times the exposure number established by the making of the contact print on developing paper. He then has but to read off the umber on the margin of one of his negatives, multiply it by one and one-half, and he has the correct exposure for an enlargement of the designated size, providing that lens stop, strength of light, and grade of paper remain constant. If any of these are varied, proper allowance is easily matte. A larger for smaller stop decreases or increases exposure in the same ratio as in regular work; the difference in the speed of the papers used is determined by experiment, sod of coarse one's light is practicably constant except daylight is employed In this letter case an inclinometer can be used to determine the variation from the normal, if any. Practically all of the annuals carry a table giving the relative exposures for different degrees of enlargement, and 1 hardly need to occupy spare with a repetition of one of them here. Soft effects in enlargements are sometimes quite desirable, and we know of several forms that are making quite an enviable reputation on their bromide enlarging by using the legs pronounced effect secured with the soft-focus lens employed for all their work. But all obtainable sharpness is often desirable, and we must be prepared to secure this last before we can regulate the amount of diffusion to our liking. Some workers find it very difficult to secure a satisfactory degree of sharpness, even from a negative that is undeniably sharp, and we will therefore take up a few of the possible causes for their difficulty. First, there is often an unsuspected lack of accordance between the chemical and the visual image projected by some lights, particularly the enclosed are. Where this is the case, the variation must be determined by trial and allowance made for it in focusing. While the difference varies slightly with the size of enlargement, only the general difference need be considered and made up except where an unusually large stop is being employed. Where a condenser is used, failure to adjust the position of the light for different sires of enlargement will also cause lack of sharpness. The light should be so placed it is lathe focus of the condenser for revs of light from the caser; in other words, the cone of light, after passing through the is, should come to a point small enough to pass through the stop of the lens. The distance of the light back of the condenser for different positions of the lens which last means different size of enlargement, can be determined by focusing through a negative upon the easel for the desired size, then removing the negative and observing the distribution of the illumination as the position of the light is changed. Another frequently unsuspected causal of unhappiness is the use of the rising and falling, or the cross front, in bringing the image in the desired position on the easel. The centre of the lens, of the negative, the condensers and the light, should al be in a line and not oat of centre with each other. It is also obvious that the lens carrying front of the camera or enlarging lantern must be in a plane parallel with that of the other elements, or this cent ring of the lens cannot be achieved. Dirt on the lens or vibration of some part of the apparatus during exposure is detrimental, and the bromide paper should lie perfectly flat against so as to receive the image in the plane of critical sharpness.
Soft effects are, as I have said, frequently the most desirable, both for pictorial and other reasons. A hard, black mass with a harp outline, is much more objectionable than one with a softer edging, as any landscape worker can testify, if he has given the matter any thought. In portraiture, the breaking up of all suggestion of hard lines is almost sure to result in improvement. With the soft-focus lenses some moat planting results are secured, and it might be wail to point out that different makes of these lenses give somewhat different result*. The worker will, if buying a lens of this type, do well to try more than one and decide for himself which beet suite his requirements. Bolting silk, stretched on a frame and interposed about three or four inches in front of the paper on the easel daring all or a part of the exposure, is a quite common method of securing a breaking up of the image. The distance from the paper regulates the amount of breaking up achieved, and this distance again depends upon the distance of the paper from the lens. A more delicate softening is secured by using two thicknesses of chiffon to face a cap placed on the lens.
In my own practice the mount on the lens is fitted with a wire frame in which a movable slide is held close against the front hood, This slide is a piece of cigar-box wood about three times as long as it is wide, the width being sufficient to well cover the front of the lane. The centre of this slide is left solid, but a circular opening, large enough to permit free passage of light to the lane, is cut is each end. One of these openings is covered with two thicknesses of the chiffon material and the other with a piece of yellow glass, both let into the wood so as to be flush with the surface. With the centre of this elide in front of the lens, the cap is on; with the yellow screen in positioning, the paper on the easel is in safe light while being adjusted in position; and, with the chiffon section in front of the lens, my soft enlargements are exposed. One could make the slide longer and include an unscreened opening, but in practice I found that lifting the slide out of the wire frame was less liable to shake the lens than trying to move it along in the proper position.
Even more important control of the results ill enlarging can be secured by shading different portions of the image during exposure; or rattier, during a portion of the exposure. A piece of cardboard, an old mount, preferably of a dark colour and roughly torn to the desired outline, serves at the shading medium and is to be interposed between the lens and the easel, or at least, some little distance from the paper. This .should is kept in motion during the time it is being used, in order to further avoid a too sharp outline, the length of time it is interposed being proportioned to the entire exposure in accordance with the amount of holding back it is thought desirable. It is obvious that where the part to be held back comes fully within the boundaries of negative, this plan will not avail. One can then resort to a piece of the card torn roughly to the desired shape and fastened to the end of a piece of stout were; an ordinary lady's hatpin answering admirably. Another plat is to attach the .shading piece to the centre of a piece of glass and use this last as a support to enable it to be gently moved about so as to shade the part intended. Variations of these suggestions will suggest themselves to the worker and enable him quite rapidly to acquire the knack of exercising most beneficial control of nearly all his enlarging work. In fact, it will be found that practically every negative from which an enlargement is required is amenable to treatment of some kind along this line.
I might point out that availing one self of these possibilities makes it advisable to increase somewhat the exposure time, and this last is best done by some other means than decreasing the size of the stop. The most practical method is to introduce one or more sheets of ground glass in front of the light employed. Using a slower paper may not give one just the effect desired different speeds of paper printing differently, and decreasing the stop affects the illumination where a condenser is used and sometimes introduces granularity in other cases, even resulting in an enlarged image of the ground glass diffuser behind the negative being recorded upon the enlargement

J. WALTER DOUBLEDAY.

An Easy Method Of Silvering Mirrors.

noreply@blogger.com (SLAiPS d(-_-)b) — Wed, 13 Aug 2008 17:32:00 +0000

Morison silvering is an operation which is avoided by most photographers as a process in which the successes are few and for the favored. After several failures with the tartaric acid sugar reducing agent for silvering glass, the present writer cast about him for some simpler and more rough and ready method of preparing a reflector for his camera. It has long beam known that it is possible to produce silver minors by the use of formalin as a reducer. The method, however, has not come into practical use because the deposit of silver is usually so granular that it will rob of the glass upon the least touch. The following formula provides a means of silvering glass and ether substances with ease and rapidity, and the process is a fascinating one to watch.

STOCK SOLUTIONS.
Stock Silver.

Silver nitrate………………………45grs. 3gms
Distilled water…………………….10ozs. 300c.c.s

Stock Formalin.

Formalin (40 p.c. Formaldehyde)....1oz. 45gms.
Distilled water…………………….10ozs. 450c.c.s.
Methyl Violet dye…………………10grs. 1gm.
Thaw solutions improve on keeping.

The following quantities are sufficient for 20 square inches of glass allowing for waste silver being deposited on the dish and elsewhere.
Take 3 ozs. (90c.c.s.) of the stock silver solution and add 10 per cent, ammonia solution drop by drop (a fountain pen tiller is heady for this), shaking the mixture after each addition. The mixture first becomes turbid, and then gradually clears. When dear, atop adding ammonia. A slight excess of ammonia is not detrimental. In another receptacle poor out 3 drachmas (11 c.c.s.) of the stock formalin solution.

The Silvering Process.

Take the piece of glass it is intended to silver, and clean it well with whiting and water, or by any other method that may in favored, and rinse it under the tap, swabbing the surfaces with cotton wool. Now rub the wet face of the glass with another piece of cotton wool which has been soaked in the following priming solution:

Tin Protochloride (Stannous Chloride) 26 grs. 1gm.
Water ………………………………….10 ozs. 200 c.c.s.

         Ordinary tap water will do. This solution should be thrown away when done with.
Rinse the glass under the tap and wipe it with a piece of cotton woo) which has been dipped in distilled water.
         Place the glees face up in a developing dish which has previously been cleaned with nitric acid and rinsed with distilled water. The next operation is to add the formalin to the ammoniosilver mixture, and immediately pour into the dish, and to rock the dish well.
         The silver begins to deposit at once on the primed surface, the solution becoming darker after a short time, and then slowly clearing. After from one to two minutes the solution reaches its maximum clearness, the by-products of the reaction forming into little grannies. At this point ran tsp water into the dish and lift the mirror out and rinse it, finally swabbing with a soft piece of wet cotton wool.
         Allow the mirror to drain for a minute or two, and remove any drops of water from the surface by lightly touching them with a piece of blotting paper. After half an hour or so the mirror should be quite dry and ready for burnishing.

Finishing the Mirror.

         When dry, the mirror should have a brilliant surface, with a slight yellowish tarnish, which must be removed by polishing if the front of the mirror is to be used as a reflector.
         For polishing and burnishing the surface, take a piece of a couple of inches square, or, failing this, a piece of really soft cotton rag, and tie it round^ a plug of cotton wool, to as to form a medium soft pad. Keep this in an old plate-box with some rouge. The rouge may be bought at a chemist's, or in some households purloined from the feminine dressing-table. Jeweler’s rouge is sometimes too coarse. The wash-leather pad should be lightly charged with the rouge.
         Warm the mirror and the pad slightly so as to be sure that no moisture is present, and then lightly rub the surface with rapid small circular motion. The mirror will take a brilliant polish and is then ready for use.

General Consideration.

         Practically speaking, the hotter the glass 'before applying the silvering solution, the whiter and more granular the resulting mirror will be. Cold solutions produce quite a good deposit, which is dark in colour on the surface, but which takes a brilliant white polish. The best temperature is about 70 to 80 F. It is a good plan to have the glass a few degrees warmer than the solutions. This can be accomplished by immersing the glass in tepid distilled water for a few moments before silvering.
         Celluloid may be easily silvered by exactly following the procedure as for glass.
Mirrors may 'be silvered face down if desired. It is a question more of convenience than actual merit.
         Silver may be prevented from depositing on unwanted parts by painting those portions with Vaseline or celluloid varnish previous to priming with the tin solution.
         Spent solutions are hardly worth saving, even when there is a quantity. Most of the silver in the solution comes down as actual mirror surface.
Methyl violet dye has the property of keeping the surface of the mirror brilliant and unclouded. Its action is analogous to that of bromide in a developer. It may be omitted if not available.
         The priming bath gives a much more adherent coating. It also has the property of attracting most of the silver to the working surface, instead of too generously distributing it on the sides, and bottom of the dish. It is supposed that a silicate of tin is formed on the surface of the glass. This, however, cannot 'be the case with celluloid or other non-glass surfaces.
         The cost of silvering 20 square inches of glass, reckoning silver nitrate at 4s. per oz., is about 2d. As failures cost as much as successes, it is a good plan to practice on small pieces of glass before attempting a larger surface. One has, for example, to learn how to clean glass properly.
         Well boiled-water can in most districts be used instead of distilled water.
         As a protection against oxidation, the mirror may be varnished with celluloid varnish. The coating of varnish should not be too thin or it will dry with a smoky surface. No other varnish is suitable for the purpose, because silver reacts with most gums, etc. It is, however, easy to resilver a mirror when the surface is worn away by repeated republishing that in most oases it is hardly worth while to decrease the efficiency of the reflecting surface by varnishing it.
         Measures, beakers, and dishes should be cleaned after us& with strong nitric acid, or the remnants of silver will give trouble when the vessels are used for other purposes.

JAMES GRAHAM.

National Development.

noreply@blogger.com (SLAiPS d(-_-)b) — Wed, 13 Aug 2008 17:08:00 +0000

There are many ideas as to what is the correct way of developing a negative, and the exponents of each claim that theirs is the true and only way. There is no accepted standard for goodness in a negative, which is perhaps a good thing, for its absence allows of individuality in the finished result, although this must not be confused with "fluking," which is what happens when an operator aims at one effect and obtains quite another, which he is astute enough to put forward as a premeditated piece of work. The clever photographer is the man who starts with a definite idea for a picture and by skilled technique realizes it in a print. To do this one must have perfect control of exposure and development. The best lighted figure may be made either hard or flat by incorrect exposure, while a correctly exposed plate may be made to yield a thin soft image or a dense harsh one by injudicious development.
To ensure even quality it is very necessary to keep to one brand, and preferably one grade of plate. The best technician in the world could not produce a dozen negatives of even quality from twelve plates of different makes and rapid ties even if all had received an equivalent exposure. Plates vary greatly in the time taken for development and in the appearance of the image before fixing. A common way of judging the progress of development is to look for a trace of the image on the back of the plate. This can only be done if one brand of plate is in use, and then only to a limited extent, as this method is quite upset by variations in the thickness of the emulsion coating. While upon this subject it may be useful to correct an error sometimes made, which is, that when the image is clearly visible on the back of the film, the utmost density which the plate will give has been obtained. We had a case under our notice some few months ago where the operator proposed to change his plates, because, although he developed them right through to the back, the images were always thin. On our suggestion he allowed some plates to remain in the developer for three minutes longer than others, which he fixed at 3 usual times, and was convinced by the difference in density that his development had always been carried on for too short a time.
One of the old errors was that the best results could only be obtained by what was known as "tentative development." This meant starting the development with a minimum of alkali, which was gradually added as needed. There was some reason for this when ammonia was used as the alkali, as volatilization rapidly reduced activity of the solution, and fresh ammonia was needed to complete development. When the fixed alkalies in the form of the carbonate of soda and potash came into general use the “working up" by adding small quantities of alkali to the developer fell into disuse, although a few old-fashioned workers still practice it.
It is not our purpose to recommend any particular developing agent as superior to the others. Some developers have the reputation of giving thin images and others plucky ones, but this is largely a question of dilution and temperature. Next to exposure, this decides the possibilities of the negative, coney’s length of development with any given solution. With normal exposures short development gives a thin flat negative and development gives the maximum of density and contrast. Between these extremes the operator must choose for himself. All non-staining developers, such as am idol, hydroquinone, and many others yield a negative of which the printing quality is due to reduced silver only, but pyro behaves differently, the silver image being reinforced by the "pyro stain." It is generally acknowledged that a pyro-developed negative will usually give a more brilliant print than one of apparently similar density, but free from stain. This is due to the fact that the stain is deposited in proportion to the density of the image, and is not uniform all over the plate. If such a negative be dissolved away, by using Farmer's reducer, it will be that a thin brownish-yellow image remains.
One of the commonest errors in development is to over- develop under-exposed plates, and to under-develop over- exposed ones This is caused in the first place by the desired to force out all possible detail in the shadows, the result being that the high lights are made so dense that any shadow detail is lost in the necessary depth of printing. In the second case the over-exposed plate is under- developed because the whole surface of the film quickly blackens, and the operator fears that the detail will become buried. This is quite wrong; the proper course is to develop for the full normal time, and to dissolve away the fog with the ferri-cyanide reducer. It may be noted here that it is of little or no avail to add bromide to the developer after the image is well out; to be effective, bromide should be added to the developer before pouring on the plate.
The degree of dilution of the developer has an important effect upon the negative. A weak solution can be used until all the details of an under-exposed plate are brought out, without obtaining too much intensity in the high-lights. Concentrated solutions give the maximum of contrast, especially when a little bromide is used in addition.
Too prolonged development will give a general chemical fog, and an excess of alkali often added in cases of under- exposure has the same effect. A disagreeable colour, not quite a fog, is caused by putting plates developed with am idol or metol direct into the fixing bath without rinsing. With pyro the fixing bath rapidly becomes discolored, but with the non-stain developers a large quantity of solution can be carried over into the fixing bath without altering the colour very much.

Assistants Notes: Specialization and Efficiency.

noreply@blogger.com (SLAiPS d(-_-)b) — Wed, 13 Aug 2008 16:57:00 +0000

Notes by assistants suitable for this column trill be considered and paid for on the first of the month following publication.

Specialization and Efficiency.

The advice to specialize in one or perhaps two particular branches of work is frequently given to the photographer whether he is a master, assistant, or amateur. This advice is often rather vague, first as to the "why" and more so as to the “how” of the question.
I am writing more particularly for the benefit of the assistant, because one who has a business of his own has usually found out what particular lines pay him tat, and how to push the sale them Still, it is strange to notice the great number of photographers' note headings stating this, that, or the other to be a specialty (or "speciality," or " specialite "), but which can form only a very tiny portion of the business done. For instance, a order comes to quite a small studio for an oil-painting. The photographer puts the work out, takes the profit, and feels pleased with him at having launched out into a high-class and profitable branch so has all his stationery imprinted for ever after “Oil-paintings a specialty," in the probably vain hope of a succession of such orders. Another advertises "Wedding-groups" or ' Child portraits «as his specialty, not necessarily because weddings are frequent in the one man's neighborhood, or that the second is extraordinarily successful with children. If any definite reason for printing these phrases on note-paper can be given, it usually is only that "it sounds well."
Another sort of specialization was criticized in a letter recently by an "All-round Hand" on behalf of his class. He described a retouched whose work was so "effective" that the portrait looked very nice but not a bit like the subject, and a receptionist whose "specializing" in her own department was so water-tight that she failed to recognize what -was wrong with the portrait when complained of.
I do not call these things specialization at all. I don't know what to call them. We have specialists in the Army. In the infantry a soldier may be, for example, a Lewis-gunner, a sniper, or a mess-waiter, but he must be a good infantryman first. I think the same applies to a craftsman, each as a journeyman photographer.
When an assistant has had a few years' practice and can, say, correctly expose on a well-arranged group, develop plates evenly, make good bromide prints that will tone well, and make a fair show at one or two other departments he will realize that some jobs are better paid than others. That will be the first reason "why" he should specialize. Then he will find that one branch of work appeals more than others, not necessarily because it seems more lucrative or easier, nor because it is a clean-hand job, but because it is more interesting. In short, he likes that particular, work. If he does not like one branch better than another the assistant should go further a field for wider experience till he does find work he can like. One spends nearly all one's life in work, so why not expend a little effort in finding something to does that one can enjoy doing? That is the second "why" for specialization. After a bit one finds that one is able to do certain work better, and with less effort, than other kinds. Again, this is not necessarily because it is easy work, but one "picks it up" more easily, and one feels surer of one's self in doing it. In ninety-nine cases out of a hundred the kind of work that a man finds he can do beet is the same as the kind that he likes best. It's quite natural when you come to think about it, and it works both ways. Anyone likes doing what he can do well, and in doing it with interest is likely in time to do it as well as it can be done. When that stage is reached, surely he is in a position to demand a higher price for his work.
That is the right sort of specialization. It does not prevent a man being skilful in other branches. Barely is it possible for a worker to reach the highest grade of ability in any branch of photography without at least a working knowledge of other branches. Retouching is probably the line in which the worker usually knows least of other department? The aim of so many retouches is to produce a beautifully modeled "effect," and to make a face resemble one of those nicely rounded plaster casts that they practiced light and shade from at art school. They like to call forth the remark "How nicely retouched," forgetting that the greatest art is to conceal art, and that the best retouching is recognized by its apparent absence. A retouched should know how his (or more often her) work will print, not only in a P.O.P. proof, but in other processes and surfaces, and be able to modify it accordingly. No one can be considered efficient unless the effect of his work on subsequent stages is understood and intelligently handled.
And that brings me to the question of efficiency. When an assistant decides to specialize, obviously he reaches certain stage of efficiency before be can claim to be a specialist. There is an absolute teat by which he can know when be has reached that stage. His employer or manager will be in the habit of giving the assistant instructions as to what is required, and how to set about it. The assistant should aim to be able, in at least one branch of work, to look his chief in the eye and say "Leave that to air." That is the test of efficiency.
Now for how to set about it Assistants in photography are at a very great disadvantage, usually as regards so-called experiments and other credentials to improving their work. I have never yet met an employer who offered an assistant the use of his studio on an "off" afternoon to try his hand at posing and lighting, nor one whom one felt like asking for that favor, still less one who would apply a few plates and some developer for practical tests. There before, unless one assists in the studio itself it is not easy to get even a starting knowledge of this work except in at home portraiture. All the same, within limit this is a very good school, for when the student can make a good portrait in an ordinary room or garden he won't have much difficulty in doing better studio work. A pair of “smoked" spectacles are useful to see the light and shade affect by eliminating much of the colour in the subject, and much practice may be got without using plates.
Of course, books are necessary. A pile of old "B.J.’s." and Almanac provides a heat of needful knowledge. The great thing, though, is to learn to work systematically and to cultivate the power of observation, for is photography it is often apparently small things that make big differences. A splendid idea of what I mean by system can be get from the "Watkins’s Manual." which will soon teach the student whet be wants to know about exposure and development.
In printing it is a food ides to take one good negative, one flat one and another on the contra sty aide, and practice on these only can produce the best possible prints with ease and certainty. With a standard 1 developer, at normal temperature, try various lengths of exposure and varying length of developed. When the different art of remits obtained have been carefully observed, the next thing is to start over again with a weaker light, or at a greater distance from the light, which amounts to the pare the ranks with the first lot, noting been effected and where not. I am referring to bromide printing not necessary to spend a lot, even at war prices. Half-plate paper cot into four is quite large enough for practice work, hot rent thing is to take time to observe closely the differences between different prints, and to aid this it is eventual to mark on the tack of each strip the exposure and length of development, and other variable factors.
It is only by starting slowly and systematically on the lines suggested that a really good "grounding" can be obtained in any object, and it is only with good grounding that one can rapidly. Attempts to short circuit the process by prattling only on the more advanced stages leads to mediocrity. It is that half baked sort of ability that has brought the term "all round hand" into such disrepute. Every assistant should be an all-round hand, with one or two special abilities. A man of that kind is reedy to tackle any sort of job that comes along, whether it comes within his previous experience or not.
Assistants who reach that stages of ability have nothing to fear from the soap-shutter who thinks bow nice it mart be to be working continually at such an interesting bobby, and whose enthusiasm gives him or her enough ability to get a start (and a disillusionment) at a tow shillings a week. It is enthusiasm that is needed to get on and no one can enthuse over poor work. Any assistant who feels that the class of work he is employed in is not worth doing well is hereby advised to do it u well as he can all the same, whether the pay makes it worth while or not, and whether that particular employer appreciates the effort or not. It is always practice that makes perfect, if the practice has an object and some system behind it; and when such efforts have had the desired effect by improving ability, then is the time to get a better job.
D. CHARLES.

EX CATHEDRA: Enemy Cameras; Cycle Portraits; Gaslight Enlarging; Quality of V.P. Negative; Transferred Bromides.

noreply@blogger.com (SLAiPS d(-_-)b) — Mon, 11 Aug 2008 04:42:00 +0000

Enemy Cameras.

We are glad to see that our contemporary, "The Photographic Dealer," is actively interesting it self to put a stop to a species of trading with the enemy which, though small in amount, is nevertheless quite indefensible. It appears that in Cologne and other places in the occupied portion of Germany cameras of German make can be bought at not a very much higher price than that before the war, yet one which at the greatly depressed value of the German mark enables the buyer to dispose of the camera at a good profit on bringing it to London. It is stated that dealers in London are being asked to purchase these instruments. The Photographic Dealers' Association has taken the matter up, and it may be hoped that prompt measures will be taken to see that this illicit trading is speedily topped. There can be no objection to Arm y officers in the occupied country buying such photographic supplies as they want from the only available sources, namely, the German dealers, but the practice of snatching a paltry profit by bringing the cameras to London for sale is one which surely should be immediately prohibited by the authorities on their notice being drawn to it.

Cycle Portraits.

We were recently shown a most artistic portrait photograph of a feminine client of a professional friend. The lady was riding her bicycle along a delightful stretch of country road. The portrait was a really delightful piece of work, and showed to perfection the poise of the head, the easy carriage of the rider, together with the perfect grace with which some women have learnt to cycle. This is an idea that might be well worth following up, for if well done a portrait of this kind should be a good business bringer, and is far in advance of the portrait in which a stationary cycle "ridden" in the studio. The real thing offers no special difficulties in the way of making a satisfactory picture, nor need the operator think that a reflex is essential. A good hand-camera is desirable, but the picture to which we refer was made with an ordinary field camera. In this case the picture was focused on the ground glass, the cyclist being requested to stand on a certain spot marked with a couple of smallish stones. She then retired, and rode slowly towards the camera for the exposure to be made. It will be found best, if possible, to make the actual exposure while the cyclist is free-wheeling, in order to lessen movement as much as may be, and for this, in order to obtain the best effect, the pedals should be horizontal or at the "quarter to three," the correct free-wheeling position. Rapid exposures are not needed; a 25th of a second at f.8 on a bright day with fast plates will be found to give a good negative. There is no reason why this plan should not be applied to male customers as well, for many persons of both sexes lend themselves when cycling to most graceful and pleasing poses.

Gaslight Enlarging.

The trade enlarger, whose work lies not only in the enlarging of negatives of reasonably decent quality such as he obtains from professional photographers, but also those of the quite unskilled amateur, has reason to ignore the advice which is sometimes given, namely, that the speed of modern bromide paper renders the use of a very high-power source of light unnecessary. It is quite true that the practice of some enlargers of keeping an oil lamp for the enlargement of particularly weak negatives on to bromide paper is one which contributes to a greatly improved result; but, on the other hand, a great deal more can be done if a high-power light such as an arc is available, and the enlargement made on one of the extra-slow gaslight papers, such as Cyko or New Kodura. The degree of brilliancy which in this way is obtained in an enlargement from an utterly miserable negative requires to be seen to be believed, and we have known of enlargers denying the making of such results except by the production of a new negative. The amateur enlarger can obtain them with his customary apparatus if he is prepared to let exposures run to as long as half an hour, but for commercial work a light of the power of an arc or mercury vapour is, of course, a necessity.

Quality of V.P. Negative.

Now that there is an ever-increasing tendency on the part of Press, commercial and professional photographers and serious amateurs the use of vest-pocket cameras, many are finding that their technique is decidedly faulty. It is certainly easier for the less skilful to make technically perfect 12 by 10 negatives than to produce an equally good result from a vest-pocket size negative via enlarging. The ideal result depends mainly upon the worker knowing what kind of negative to aim for. The general tendency makes these negatives too dense, and if this is the case of course the enlarging process will be found to make harsh contrasts all the harsher, and to lose the fine tonal qualities of the negative. It would be a good plan for the photographer who contemplates using a miniature camera as a supplementary instrument to make half a dozen exposures by the aid of the meter taking care that these are on the full side and develop them so that each is a lightly further developed than the previous use. A bet of enlargements from the negatives will show exactly what is required. Great care is needed to prevent mechanical drainage such as acratches, etc., and we favour the tank and time method of dealing with the exposures made with vest-pocket cameras. Grain must also be avoided but with a suitable developer used fairly diluted this ought never to prove troublesome.

Transferred Bromides.

Now that bromide paper is the almost universal printing medium with many photographers more attention might with profit be given to the transfer variety which if carefully used may be the means of imparting an individual and artistic expression to photographer work. We can recall a case recently in a large exhibition where considerable attention was attracted by a picture upon one of these papers. The whole effect was most original and uncommon. The other day we noticed some cabinet-sized per traits upon quite large mounts in a certain photospheres show-case. Examination revealed the fact that they were originally made upon one of these papers and transferred to the mounting paper. A delicate tint was worked in round each print with water-colour, thus imparting a most delightful finish. This offers a considerable saving over the plan sometimes adopted of making the prints upon large sheets of paper and carefully masking off the picture, while the result is to all intents and purposes the same. That the picture is reversed by the transferring has never to our mind been a serious objection to the process, as the average sitter would quite fail to notice it, but if the operator's intention is to use the process in carrying out some definite scheme the plate may be put into the elide, glass side to the lens, and the slight difference allowed for when focusing. The back of the plate should be carefully cleaned, and the film protected from abrasion by the metal dividing plate of the slide. For this there is nothing better than a piece of card covered with black velvet cloth.