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American Photographer 1913 Product booklet
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or wnetevefI a
to be taken, a
ANSCO LM
' the fellow with a slow lens, a ftlm
lacking in speedand who will not
take advantageof all the possibilities
of the Ansco \l/ay-the only way
in photography.
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A Picture Every Time
the Shutter Clicks
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Experiment with Argo
No. I - Make five exposures-correctly timedl-from
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WEEN CORRESPONDING WITE ADVERTISERS PLEASE MENTION AMERICAN PEOTOGRAPEYxView original page 8Page 12 · Read text
'r It is a photographic impossibility to
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WEEN CORRESPONDING WITE ADVERTISERS PLEASE MENTION AMERICAN PEOTOGRAPEY
www.orphancameras.comView original page 15Page 16 · Read text
TEARN A PAYING PROFESSION
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ANflBRIffi
INCORPORATING P
AuEnrcex Anrarrun PnorocnepHER, Esranr-rsneo r889 Ceuene auo Danr Roou, EstenlrsHro r898
Pnoro Bracorv, EsreslrsHro 1889 Ceunna Nores, Esrenr,rssrn t897
Ofi,ci.al Organ of the Photo-Pictoriali,sts of Bufalo and The Boston Ph,oto-Clan
Published monthly by the American Photographic Publishing Company, 221 Columbus Avenue, Boston, Mass.
SINGLE.COPIES 15 CENTS YEARLY SUBSCRIPTION $1.50 TO CANADA $1,85 TO FOREIGN COUNTRIES $2.25
Mexacnqc Eorron: FRANK R. FRAPRIE, S. M., F. R. P. S. Assocrarn Eonon: F. C. BEACH, Ps. B.
Manuscripts and photographs submitted for publication must be accompanied by sufficient stamps for their return if unacceptable.
Original manuscripts on photographic subjects are solicited, and if accepted will be paid for on publication. New ideas, practical hints,
and reports of club activities are desired. Matter intended for publication in any number should reach us not later than the Sth of the
previous month.
Subscribers who change their address must notify us, giving both old and new address, before the 15th of the month, to affect the
magazine for the month following. The Postoffice does not forward second-class matter, and the publishers are not responsible for
non-delivery of magazines if not notified of change of address.
Copyright, l9l2,by the American Photogruphi" Prrbli.hirrs Co-purry. Th" coqtents of this magazine are protected by copyright,
and all persons are forbidden to reprint any article, in whole or in part, without specific permission and full credit. Entered as secondibr cJassmatter, March 16, 1908, at the Postoffice at Boston, Mass.
WsorB No. 283 JANUARY, t9t3 Vor. VII., No. I
PRINCIPAL ILLUSTRATIONS
Window Portrait L. J. Buckley 1 The Roof H. Krebs 28
The South Wind . Wm. B. Dyer 3 The Weaver L. M. A. Roy 29
Oriental Dancer . Dr. Arnold Genthe ! fne Boat Ruilders ImogenCunni,ngham 31 Canal, Bruges Francesca Bostwi,ch
The Courtyard, New Orleans Chas. H. Barnard. I His Only Toy . A. F. Snyd,er 33 In the Ashpit . SarnAvery 35 Lower New York Karl Struss 1i Indian Summer . J. H. Berhemann 38 Becalmed Augustus Thibaudeau h
A Gentleman from South America, Milkweed . G. W. Johnson 39
Mrs..J. E. Bennett 15 Vacation Days . Leon L. Sumner 40
From a California Hilltop Alain Langdon Coburn 77 When the Day Is Done . Dr. H. W. Stevens 40
Still Life . Chas. B. Denny 19 Feline Meditation Clark,Rutter 4t
A Maid of Arcady Margrethe Mather 2I Ruth W. A. Pi.erpont 4I '42 In for Supplies E. G. Fountain 22 Trees in a Snowstorm . John Childs
Where the Dead Leaf Fell Ed.win Loker 23 A Beginner . A. Stahey 42
June Marie E. Jenk'i,ns Al,len 25 Just Woke Up . A. B. Austin 43
A Spring Afternoon . . R. S. Kauffman 26 Power's Run Max Raed,i,gerM
Arcadia W. A. Ward, 27 Southern Bridge E. WesleyLid,aher 45
ARTICLBS AND DEPARTMENTS &
The Recent Exhibition at the Montross Galleries ,New York . Ed.w.R. Dichson 2
Sulfinol E. J. Wall, F.R.P.S. 8
Enlarging with a Magic Lantern . A. E. Swoyer 12
Photography through a Microscope for Amateurs Dr. H. G. Webb 16
The Ninth American Salon R. L. Sleeth,Jr: 20
Gaslight Papers . Charl,esT. Mal,oney 24
A Convenient Portable Enlarger . E. C. Pierce 30
Making a Folding Pocket Lenshood : . Ri,chard,F. Snaith 36
Editorial Comment 37 Our London Letter . 5 4
Our Portfolio 39 Society News
The Round World Exchange CIub 46 Foreign Notes and News : ; ;
The Tyro's Troublp,s 46 Our Table 58
The Market-Placd.l' 52 Practical Hints : 6 2
Exposure-Tables for January 53
'Prhd, The Sparrell BoslonView original page 18Page 21 · Read text
EXHIBITION OF PHOTOGRAPHS AT THE MONTROSS ART
GALI,ERIES, NEW YORK
EDWARD R. DICKSON
F one were to accept the decision that photography is but a mechanical procdSs,its
adoption by artists as their medium of expressionnecessarilyrequires an explanation
far more insistent than the mere lament of the piqued that it is not art.
The amateur who is void of art feeling in his abundant exposuresunsuccessfully
strives for a degreeof self-expression. While his numerical efforts may necessarily
becomemechanical,these efforts are indicative of a consciousnessof the unattain-
able, a+d are therefore convincing points that those who have given photography artistic dis-
tinction are guided by a definite concentration of feeling and thought - a requisite essentially
more potent than the exerciseof mechanical activities incident to promiscuous snapshooting.
However this may be, photography doesnot stand at the door of art a suppliant for admis-
sion. In the dignity of consciousworth it will continue to yield its secretsto those who approach
it intelligently and sincerely and with a positive appreciation of its worthiness to expresstheir
personality.
The capacity to see and to feel beautiful things is an essential. The ability to harness the
fleeting light, to describeemotions too subtle for words, is the problem of the artist photographer
to-day, and when he attains such successeshe has gone beyond the ken of mere chemical asso-
ciations.
By reason of its chemical dependencyit is said that photography is a mechanical process.
and cannot therefore be art. Muy one ask if the action of chemicalsupon copper plate reduces.
etching to a mechanical process also? One would hardly think of disassociatingits chemical
obligations, despite the fact that a popular etcher, in the limitation of his knowledge of photog-
raphy undoubtedly, speaks of a picture as being "as uninteresting as a photograph."
Those who are striving to let photography serve as the inspiration of somephase of life and
the stamp of some form of beauty are blending scienceand art in a confluenceof these two great
potentialities. As Alvin Langdon Coburn aptly writes, "It is the marriage of Scienceand Art."
Obviously, therefore, the work of the artist photographer must be largely a work of loftier
insight, of exalted construction, of more profound and beautiful expressionthan the excursions
d'-rfthe novice in quest of holiday records.
Those who are clinging to the importance of distracting details in their compositions and
persisting that elimination of theserendersthem unbeautiful are not by any meansinsisting upon
beauty as a determining quality, but on beauty of a particular kind, and as soonastheirknowledge
ceasesto be parochial, and their concentration becomesdeveloped, we shall begin to feel that
beauty may be found where simplicity abounds.
The making of photographjc pictures into an absolute instrument of expressionis the aim
of the pictorialist. The importance of this, so far as one's artistic attitude is concerned,is not
simply a representation of a recognizedmodel, but the excellencewhich makes a form expressive
of beauty or power, of ingrained emotions.
The foundation of photography must unquestionably rest on selection. Subjects increase
in interest as they yield themselvesto the play of sunlight, as they fill the spaceon our ground
glass, and as they are reduced to a degreesufficient to enable us to find enjoyment in selection
made in a realizing senseof what we desire to express or to design in a prescribed area. The
pictorial worker feels undoubtedly the thrill of delight in composingand selectinghis work before
exposure. Indeed, the finished work hardly representsthe inner satisfaction the photographer
must feel during the processof choice and arrangement. It is here that he encountersthe beauti-
2
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ful significance of proper selection, fidetity to which renders the aftermath of negative tinkering
a remote and forgotten period. In other words, at the time of exposure,can one disregard unity
and hope to gather such unrelated fragments by more or less skilled darkroom manipulations?
Restricted by his camera in portraying only that which is seen, the photographer's-task is
to face reality in its sternness,to harness the variant light in an effort to involve and suggest
temperament and artistic instinct, to use his medium in demonstration of what is fundamental
and formative in his nature.
The successof pictorial photography witl be measuredby the degreewhich finds it capable
of subjection to artistic expression. If it is to continue to receive recognition, it must be that of
personality, and the meansof its artistic power must be the vitality with which it expressesindi-
viduals. It is not necessaryto enter into the fullness of this realization by indefinite suggestions
or impressions. Nor can this vitality be sustained through representationof shadowsbyimpene-
trable darkness. The Stygian Epoch has happily passed,yielding itself to vibrant light, and
photography must retain its racial trait by the maintenance of a decisive though none too
insistentdelineation.
The contributors representedby one hundred and fifty prints at the Montross Art Galleries,
550 Fifth Avenue, New York, have shown that this force must be the characteristic beauty of
photography, and that its employment must be accompaniedby an appreciation of the sensitive-
ness of temperament, by fidelity in the preservation of light-values, by a knowledge of the prin-
ciples contributary to art, and belief in the adequacy of the camera to expressvarious indi-
vidualities.
These are the substanceswhich have given photography distinctive strength and furnished
an unmistakable indication of its development, and the exhibition at the Montross Art Galleries
is but indicative of an absorbing personal interest and sincerity on the part of the contributing
artists in America who have chosen photography as their medium of expression.
Paul L. Anderson shows his "Path, Sunlit Snow," inwhichone finds a remarkable degree
of successin the rendering of snow quality and excellent composition. He has treated this in so
poetic a manner as to call forth unstinted praise for such an accomplishment.
Chas. H. Barnard showsthree prints, excellently selected. His " Sunlit Wall" is very delight-
ful and "The Courtyard, New Orleans" is a purposeful choice and a manifest realization of the
faculty of expressionby meansof the camera.
Mrs. JeanneE. Bennett's " Gossamer" is very interestingly related in its space,and her "Gen-
tleman from South America" is extravagant in richnessand is composedwith true conception.
FrancescaBostwick exhibits five prints. IIer " Canal, Bruges" is a very successfuland per-
sonal interpretation, and one enjoys the dark note of the chain in repeating the sweep of the
bridge.
In Alvin Langdon Coburn's work one finds him representedin the enjoyment of big things,
in wonderful vistas of the strange and wild Southwest. His " California Hilltops," perhaps the
most forceful among those he exhibits, is a beautiful specimen of discriminating selection and
atmosphericattainment. " Giant Palms" is lofty and decorative,bold and beautiful, individually
treated. " The Pillar Cumulus" is a sweeping,surging cloud filling the frame admirably. " From
ttW'awona," ttThethe Canyon Rim," "In the High Sierras," Temple," and "The Mystic
Springs " are expressive of the depth and range and full import of the natural appearance of the
Southwest, which he has photographed with a full senseof personality so as to show the signifi-
cance of his work in the development of photography in America.
Dwight A. Davis shows his feeling for the decorative in his very pleasing "Quiet Pool."
Chas. B. Denny's "Still Life" has been composedwith a conscioussenseof the compass
of spaceand the use of shadowsin fiIling this. The print seemsto be huppy in tonal quality and
4
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ORIEY fA T, i)A NCE R
I)I{, AI{.\Oi,I) G]'NTHE
ll[ onlr t ss (] tl I cr t ExhihitionView original page 24Page 25 · Read text
photographic perfection. His "White House" is another expressionof his feeling for beautiful
arrangementand handling of values.
In Wm. B. Dwyer's collection one finds him disporting in characteristicpaths. His nudes
amply compose,and, while possessingvigor in their treatment, are hardly fundamental and
characteristic of photographic technique. In the frailty of its figure and the velocity of the
" South Wind, " however, we find a permanent impression, comprehensiveenough to reveal his
strong personality.
In Dr. Arnold Genthe's "Oriental Dancer" we are given, not arrestedmotion, but a trans-
lation of feeling into continuous movement. The figure still dances in endlessand imposing
modulations, and thereby becomes expressiveof the very essenceand spirit of dancing. His
"Fugi from Lake Hakone" is a decorativebit, convincing in its values and tones.
In " Setting the Table " Louise Halsey has made much out of a domestic sceneand her simple
motive has given the print force.
Gertrude Kasebier, in her deft handling of groups and figures, excites admiration, and her
collection adds to the power and wealth of photography. " ChAteau de la Marte " seemslike
a brief note of idealization in contradistinction to the well-defined though very enjoyable
" \\'harf Rats."
Wm. E. Macnaughtan enjoys in singular measurethe ability to describehis conception with
a glow and splendor. His landscapes,by far too delicate for adequate reproduction, are very
impressive, and his exquisite hand-coated platinum prints are illustrations of photographic
technique difficult to surpass.
William J. Mullins's little pictures were like violets lifting their headsin a great field and were
interestingly composedand presented
Eva Watson Schutze shows six prints, mainly groups, treatecl with much feeling and having
photographic qualities indeed. Her luminous essaysin sunshine are quite enjoyable.
George H. Seeley of Stockbridge shows eight prints, quite decorative in arrangement, and
being SUm, were markedly different in technique from those of any other exhibitor. With a
poetic touch in all he accomplishes,he furnishes us with excellent examplesof arrangement and
mysterious expression. His pictures, however, do not carry any suggestionsor revelation of
elements and qualities common to photographic prints. They are very strange indeed.
Karl Struss's"Columbia University, Night," an exquisiteplatinum print of pure quality,
showsa personal and unusual interpretation. With absolute sincerity and from a distinctly new
and strong viewpoint, he gives us "Lower New York" in the tumultous sweep and current of
modern life, and makes one see the majesty of the western metropolis in sunset garb.
The introduction of the figure, coursing the hill and balancing the tree, in his " Nova
Scotia Landscape," is a perception of the relationship which he feels between space-filling
and photography. His " Fifth Avenue " is dazzling in gaiety and resplendentin sunshine.
Augustus Thibaudeau's " Becalmed" is discriminatingly chosen and beautifully presented.
It stamps him as an artist possessinga deepeninginterest in the study of life. While his,,pine
Tree " may not be as tender in thought, his " Niagara Falls " and portraits are appropriate
assimilations of photography and art, and a persuasiveinfluence on the latter
ClarenceH. White contributed eight prints of delightful composition and refined treatment.
In contrast to the very large prints of Seeleyand Coburn, Mr. White's seemedrelatively small
but none the less enjoyable. His " Model " revealed itself in a simple motive, the delicacy and
beauty of which were quite gratifying, and well expresseshis attitude in photography. ,,At the
Window," masterly handied in the harmony of its parts, distinguisheshim among his contempo-
raries in the fullness with in'hich he garners a harvest of pulsing sunlight, his shadowsbeing par-
ticularly luminous. " The Bather " shows a remarkable distribution of tight on a nude figure.
6
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II onlrtts:; Otllei t IithibilittttView original page 26Page 27 · Read text
In gladsome settings, one enjoys "At Breakfast" and "The Mirror," in which he shows his
attitude towards the great light and his realization that this must be the shaping influence in
the progressof photography. Mr. White undoubtedly possessesa marked sensitivenessto deli-
cate and fleeting interpretations of sunlight. He has composedhis " Footbridge " with an-appre-
ciative sensefor the filling of space,while the portraits of "Mrs. Fox" and "An Artist" are un-
doubtedly charming interpretations of character. His activities in the conduct and support of
photographic exhibitions continue to add to their interest and success.
A-y Whittemore's " Convalescent" showed a beautiful treatment of an unusual study and
her successis an unfolding of what may be accomplishedirnder similar conditions.
Others who exhibited prints were: Albert Bolenbaugh, Katharine Stanbery Burgess,Victor
N. Camp, Sidney Carter, A. D. Chapman, Edward R. Dickson, SpencerKellogg, Ir., H. H.
Moore, W. H. Porterfield, Mury E. Robinson, A. Romano, Eleanor Pitman Smith, Emma
Spencer, Edith H. Tracy, Edith R. Wilson.
SULF'INOL
E. J. WALL, I. R; P. S.
the issue for July, 1912, on page 4I8, a brief note on the new developer sulfinol
was given, and possiblyft3,a fuller notice may be of interest. The graphic formula is: \2",U,0,H
Sulfinol is a very fine, light powder of a greenish-graycolor, interspersedwith white lumps. It
is almost insolublein water and alcohol,but readily solublein a solution of an alkali and in alkaline
sulphites. With an alkaline carbonate,it forms a light brownish-red solution, which darkens on
exposure to air; but the oxidation product is not very soluble and precipitates in the form of
fine acicular crystals; there is very little tendency, therefore, for an old developer to stain the
gelatine of the plate. A used developer was allowed to stand in a graduate for eight days and
again used for development and, although development was very slow, there was no staining
of the fi.lm.
The formula recommendedbv the makers is:
Sodium sulphite, anhydrous 20-35 grams
Sodium carbonate, anhydrous 20-30 grams
Sulfinol 10-15 srams
Distilled water 1,000 cubic centimeters
For my experiments I adopted the strongest developer
The first point to determine was what may be popularly explained as its efficiency, or, as
the practical man would say, its power as compared with other developers" to fetch as much
out of the plate"; and the results expressedin plate speedswere as follows:
Ferrous oxalate (standard) 72 H. & D.
Sulfinol 95 H. & D.
Metol-hydrochinon 100 H. & D.
The next point to determine was the influence of bromide in the developer, and the results
were:
Sulfinol, without bromide 3 4 H . & D .
Sulfinol,with 0.025le KBr 3 0 H . & D .
Sulfinol,with 0.05/6 KBr 22.6H. &D.
Sulfinol,with 0.10le KBr 11.7H. & D
8
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TITI' COUR'IYARD, NI'\V ORT,I'ANS CHARLES H. BARNARD M ontrossGtillt:ry ExJtibition,View original page 28
Page 29 · Read text
It is obvious from this that sulfinol, like hydrochinon, is very sensitive to the action of bromide.
It also resembleshydrochinon in possessinga very high temperature coefficient; that is to say,
the time which a developertakes to give a definite gamma, or degreeof contrast, with a difference
of temperature of 10o C (18' F). From investigations by Mees and Sheppard, the temperature
coefficientfor some developersis as follows: /
Ferrous oxalate . 1.7
Hydrochinon 2.8
Metol r.25
Rodinal 1.50
For sulfinol I found the coeffi.cientto be 3.2. This is a very seriousmatter, because,in practice,
it means that, to obtain the same density, the duration of development would have to be multi-
plied by 3.2 for a drop of 10o in temperature, which is by no means unusual here.
The sulfinol-carbonatedeveloper is, therefore, a slow-working, very clean developer, very
sensitive to the action of bromide or to variation in temperature.
Now, as hydrochinon with a caustic alkati has distinctly different characteristicsfrom those
of a carbonate solution, it naturally occurred to me to try the effect of replacing the carbonate
by caustic soda and using the above strength. 22.65 grams of NaOH were used. With this
strength, however, the rapidity of development and the fog produced were so great that for the
succeedingexperiments an equal quantity of water was added, so that the final composition of
the developerwas:
Sodium sulohite 17.5grams
Sodium hydrate . 11.325grams
7.5 grams
Distilled water 1,000 cubic centimeters
and the efficiency, as compared with the carbonate developer, expressedas above, was:
Sulfinol-carbonate 95 H. & D.
Sulfinol-caustic 120 H. & D.
As regardsthe influence of bromide, the following gives the action: ,
Sulfinol-caustic, without bromide 34 H. & D.
Sulfinol-caustic, with O.O25o/obromide . 32.9 H. & D.
Sulfinol-caustic, r,vith 0.0570 bromide . ; . 29'6 H. & D.
Sulfinol-caustic, with 0.l0Vo bromide . 28.6 H. & D.
It is obvious that bromide has by no means such a strong action as with the carbonate. The
temperaturecoefficientwas also found to be 2.7, as against 3.2 with carbonate.
The sulfinol-caustic developer belongs, therefore, to the type of rapid developers, and it
gives rather more fog than a normal metol-hydrochinon. For this last reason,another trial was
made by reducing the caustic soda still further, and on the assumption that it would be suffi.cient
to use enough NaOH to neutralize the SO3H radical. Now, it is obvious from the molecular
weights that 80 of NaOH would be required to do this, therefore 9.375 grams would be correct
for 30 grams. Ten grams were taken, so that the final composition of the developer was:
Sodium sulphite t7.5 grams
Sodiumhydrate. Sgrams
Sulfinol 7.5 grams
Distilled water 1,000 cubic centimeters
The tests were carried out as before, and it was found that, although the temperature coeffi.cient
and the speedof the plate were the same,there was much lessfog, as shown in the accompanying
table: Time of appearance Fog I
Sulfinol-carbonate 25 seconds 0.07
Sulfinol-caustic (strong) 8 seconds 0.16
Sulfinol-caustic (weak) 12 seconds 0.086
The temperature of development was 65o F. and the duration such as to produce the same gamma
in each case.
The developer made with caustic soda oxidizes to a dirty purple-brown color, reminding one
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of old permanganateof potash solution, but it finally turns deep red, still without any staining
of the gelatine.
When used for bromide and development papers, the carbonate developer does not give a
black, but a distinct greenish sepia- and this even without any bromide. In this respect f
believe sulfinol is quite unique as a paper developer. With the caustic developer,warm blacks
are obtained according to the dilution of the d.eveloper,with a constant content of bromide.
The peculiar color of the silver image on paper is duplicated to some degreewith plates, for
the deposit is not biack, but a distinct brownish-black. This led me to examine this point more
closely, and some negative strips were bleached in ferricyanide and bromide, and fixed, when a
distinct and bright orange deposit was left behind. Now, LumiEre and Seyewetzhave proved
that a negative image doesnot consist of pure metallic silver, but is a solid solution or compound
of iodide of silver and metallic silver. Somestrips were, therefore, treated with a strong solution
of potassium cyanide for twenty-four hours but the colored residue did not dissolve,which rather
points to its being an oxidation product of the developer.
ENLARGING WITH A MAGIC LANTERN
A. E. SWOYER
SERS of the tiny cameraswith a high-grade lens equipment, such as the Goerz Vest
Pocket Tenax, the Number 0 Graphic, the Anastigmat Ensignette, the HalI Pocket
Camera, the Bloc-Notes or the Ernemann, can produce negativesof exquisite quality
and with detail sufficient to stand an enlargement of many diameters. This may
be readily understood when we consider the immense magnification of the tiny
motion-picture film when thrown upon a screenfor exhibition purposes;yet the lens
used for this work is no better than the oneswith which someof the instruments mentioned above
are fitted. In some cases,in fact, they are identical.
The necessityfor enlargement is plain, since a contact print from a negative of minute size
has about the same interest and pictorial value as a postage stamp. The question then remains,
"How is this to be accomplished?" It is true that the makers of these little cameras,in some
cases,supply a specially designedenlarger,but the good onesare expensiveand the cheapertypes
either admit of a very small magnification or are inefficient.
The ideal arrangement, of course, is one in which the fine lens with which the instrument
is equipped may be utilized in enlarging; equally, of course, the light must be a powerful one if
any considerabledegreeof magnification is to be attempted. Yet the commercial lanterns of the
condensertlpe are high-priced, while those not using condensinglenses do not give suffi.cient
illumination to meet the above conditions. The writer has found the solution in one of the small
magic lanterns which were formerly so common that few indeed are the homes which have none,
bundled away somewherein the attic. If you have none and cannot borrow, any toy shop will
supply you for a very few dollars.
A magic lantern of this type is supplied with a condensing lens - the principal item of cost
in a high-grade outfi.t - but as it is only required to cover the small dimensions of a lanternslide,
it may be of good quality and still not materially affect the price of the lantern. Otherwise a
magic lantern is simply a little brother to the standard types of enlargers. And that is exactly
the relationship which the small camera bears to the larger!
As might be suspectedfrom the foregoing, the magic lantern is perfectly suitable as a means
for enlarging from the small negatives,for if the condensersare large enough to cover the lantern-
plateahey will perform the same office for the negative; if the light is strong enough to throw a
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