Photography reference
The Camera Illustrated magazine — part 1 Product booklet
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- The Camera Illustrated magazine — part 1
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www.orphancameras.com
a'RADE
Actien.0esellschaftfiir Anilin-Fabrikation,BerlinS.0.-
Photographlc Department
Hanufacturers of)x(tr
Patent
Developer
( AMID$tL
AIIIIX]Ir ir eupplied in the form of fiue sparkling little cryrtels,
(
AUIDOIT is a qulck and powerful developer bringing .out all dotdtr rnd
grving good density. The chief cherecteristic ef thls developer ta
itr power in cqnjunctiou with Sodiut" Sulphite wlthout th€)x(
addttion of other alkalies.
The bad effeqts of a strong alkali, such ss Pstaseium Cafbou-"
ete or Caustic Potash, whether it bc, qn thc operators! hendg or on
the delicate sensitive materiat, ir therefore ."oid*d.
arf,rTloIr ranks iu a premier positi,on for dgvetoplng Bromldc paptr, grving
excellent gradatlons and, th€ d€ap blus blffk dgpqqit co mue!.
sought after, without stain.
l o L 4 o a I oa, 16 sz" re* $0.76 2.76 6.?5 10.00
FOR USE AIVIIDOL,READY
IITCABTBIDGESAIID GLASSTUBES
Per box of ten, giviug each z,@ ccm. solution, $r.So
To Tourlsts aud others thesc certridgec forn e $inptc End il R lf r lJr reteble method of making up a develolrcr reedy for immed,iate
use, each cimply requiring dissolution in sryen oun€€c of 'watof.
Notc the quantlty of eolution rnado whon sornpadng pf,lcef.
Pamphlgt On DgVelOpefS (second,Edition,reoo)contrintng
in twenty peges detaited dcscriptiou end inctmctione for 66-ftap 66
appllcatlon-through all derlers or throtrgh th€ following importae :
8..&. ff. T. alrrHolYY ls co.
l2t sad f24 Ftfth AyG.r t7th and l0tb Ftr., FIErH YOIK
il A ITITLNCI(ROIIT CEEIIICAIr TIO.BKB
ST" LOUIS. llo., rud gO tVlltlltn $ttoctr itErU Y(n*
t rnd 5 We.t [tflaotoooth StrGct, NBW YORX
IIIIITED gTATEg PHOTOGRAPHIC SUPPITY CO.
t7 Eost Nlnth Strcctr t{BW YORK
wE(wView original page 3Page 4 · Read text
A Short Story
Does it interest you ? $
't
thotographie Supplies
..7 r, .a{rl!
.f .r--'i'g*i
I'a ';|l. a
9mporter, flianufaeturer, Tilholesale and fuetail 9ealer, 1296 Sreh Street
. T a n .l l t h , 1 9 0 1 .
Frank V. Chamtrers,
Ph lladelphla rPa.
Dear S1r:-
We take plessure tn saylng 1n repll'to 1'orrr lnqulry of Jan.lOth
that we have fotrnd.'The Cemerar to be the best Photographlc id'rerti.Blng
Medlurn ln the rnarket and as we are large arlvertlseral *t thlnk that oui
oplnlon ln a natter of thls klnct 1s woithy of sorne respect. Ourln! the
last few months re have lncerted sdvertlsernents ln at least twent!-five
Photographlc l{agazlneg seattered t[rorrghout, the IJnlr,ed States and we be-
lleve lt vould rould not be mlsrepresentlng factg to say.that we lrave
recelved roore repliea_through nThu Canerqr, than All of the other maga-
zlnes put together. r3he Carnera" certalnly reaches the people we are gunnlng for'.
Yours trtil;'t ,--7
l. P. BuchananU
v
Advertisers ca,n profit by it, anA we
hope our readers will
In writing advertisers, kindly mention "The Camera."
' l n
w r i t i n g advertisers, kindly mention "The Camera.t'
In writing advertisers, kindly mention "The Camera."
ln writing advertisers, kindly mention ttThe Camera."
ln writing advertisers, kindly mention ttThe Camera.tt
In writing advertisers, kindly mention "The Camera."
ln writing advertisers; kindly mention ('The Camera."
F
k
..,..,tt.r'. . -.,,.at:1"1View original page 4Page 5 · Read text
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THE C"IIMER.'T
Made in Five Grades-
GLOSSY-A. Thin
B. Thick
MATT-C. Thin Smooth Roto$raph D. Thick Smooth
E. Thin Rougih
NOTE-Prices the same Pa.per W Hd for all grades
f-l orocRApH PAeER is a regular Bromide of Silver paper, exposed usually
by artifrcial light and developed in the dark-room the same as a dty K
t \ plate or film. It possessesgreat latitude of exposure, so that the
waste is scarcely a factor, has no tendency towards staining and yields
results that can scarcely be distinguishedfrom a real platinum print.
The following unsolicitedtestimonials attest its merits and the originals
.will be cheerfully shown to those desirous of seeing them :
"Bromide paper received, and will say it is the finest I ever used. "
"I made some prints and can say, as you claim it to be, the best I ,frs to ever used, bar none."
Quality "The beautiful black and. white tone, something the photographic
of the profession is in want of. "
detail in deep shadows than - paper from same negative. " Paper "More
"A very rapid printer and does not turn yellow by over-develop-
ing, which is greatly in its favor."
"I shall use it on all my better grade of work. It is so much easier
to hand.le, besides I can do my printing after night where there
. is no one to bother me."
"It"' is astonishing what latittrde in developing the paper has." 1:;:;'il:i*-'il:'Lti'i'*i1;rlff ;.*:",:f"'?:Tl x. Ray IDork il:::tj:';i;""iu'J;,ff3;"#;ru;:':;1T,T,'ii,:?:nT":1
your paper, rather than by using plates."
,r:il:'iSp".ia'tn"ti*il,,T.":'::nJi,""'""j':f;:",1""il:_31",ih"'H.,:ilf
proper amount, as per our revised price list of January 8th, is forwarded with the order.
s. - pt* "iTf,J': rffl ::r':'" ;'. Il *J,',i"-:-Tfl ; T, receipt of ro cents. to any address on forwarded , surface, will be
Neue PhotographischeGesellschaft,A. G.
OF BERLIN-STEGLITZ
B. RUSSEOOER,SellingAgent
7 West Fourteenth Street NEW YORK
ln writing advertisers, kindly mention "The Camera."View original page 5Page 6 · Read text
"l
II
{tI
MonthlyPhotographicCompetitions
SNOW PICTURES
CLOSING DATE2 MONDAYT APR,II-I zgth5 1901
First Prize-THE CAMEBASilver Medal
tt 't Bronze t' Second
Any contestant winning three distinct prizes in the competitions, will receive a
SPECIALMEDALOF HONOR
Competition ClosesLastMondayin Competition ClosesLastMondayin
I{0. l2-Snow Scenes April t{0.l7-Landscapes ; September
Ito. l3-Home Portraiture - May' llo. l8-Home(Further Portraitureparticulars later on')- 0ctober (Further particulars later on.)
il0. lzt-spring Flowers - fune ltlo.l9-Genre(Pictures Picturesthat tell a story.)- l{ovember
llo. l5-Street Scenes - July il0. 2g-photographof ygur
No. l6-Artistic FlowerGardens,Aug. own Dark Room, December F I I J L E S lg
Enter as many pictures as you wish, which must be mounted and delivered to us postage fully paid.
Place name and address only on back of mount. Title can be on front or back as desired. Postagerate is two ounces for one cent. Iq
Advise us, on a postal card only, full particulars of date, light, time of day, plate, lens, stop, ex- 1
posure given, developer aud method of printing.
Mark package Competition No. 'We
reserve the right to reproduce any print submitted (excepting portraits). dx No prints returned. After a sufficient number have accumulated, they will be distributed among
the hospitals in Philadelphia, pro rata. *q
J
PortraitureCompetition,No. 13
pon the best portraits made by our teaders, according to Prof. F'elix Raymer's instructions
r in the article on "Window Photography,"-Ilome Portraiture, which will appear
in the April issue of TsE Cenrrne.
First Prize-THE CAMERASilver Medal
It o' 'l Second Bronze
CompetitionCloseson il|onday,MAY 27th, l90l
RULES AND REMARKS
The competition is open to amateur photographers only, and the
portraits must be made according to the method suggested.
As many photographs can be entered as desired, as it is not so
much the value of the prize as it is to encourage you in your work
and give you an incentive to do something good.
No names or writing must accompany the portraits, excepting
that you mark a nom de plume on the back of print for identification.
Follow the entry by sending us, in a sealed envelope, your full name.
address and nom de plume. Mark envelope and package ..Por-
traiture Competition, No. r3." Have no other writing in the en-
velopes as they will not be opened until after the award is made.
No portrait will be published unless the owner gives consent,
which will be asked for if we conclude to exhibit them.
Inlthe envelope with your nom de plume, pleasestate what exposure, stop, lens, plate and paper used.
Inlno case must the negatives be re-touchetl. The awards will be made strictly upon the
unerit-s of the prints. All piints must be mounted, and on any paper you desire. I
All prints must be sent to Tlla Caunne, t6 South Fifth Street, Philadelphia, postage fully paid.View original page 6Page 7 · Read text
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T H E C N M E R N
We wilt send. you fu77 infotmatTon
if yoa wtite us
Dry Platesvs.Filrns
Glass supports the ernulsion in dry plates-celluloid in films.
Glass is cheaper and incomparably easier to handle. The real
difference is in the emulsion. The unmatchable quality
of the Seed plates is attested by the large majority of
" professional photographers who use them. To do the best
work with the greatest satisfaction and economy, follow
their example-buy a plate camera and use Seed plates.
M. A, SEED DRY PLATE CO,
ST. LOUlS,M0.-2005 LucasPlace
NEWYORK,1{.Y.-57 East ilinth Street
Inst antaneous Exposures
fHE CHE,{PEET,
MOST UNIFORM AND RELIZBLE PLZTE
ON THE MZ{RKET:
l-lammerExtraFastHate
CONCEDED BT ZLL fO BE THE
RIGHT SPEED.
( "Ifammer's Little Book," a short talk on negative-making, mailed free on application)"1!
tlammerDty PlateCompany
ST. LOIJIS, MO.
In writing advertisers, kindly mention "The Camera."
...,l.li,::View original page 7Page 9 · Read text
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T H E C . I I J Y I E R . E
p[Trs ArtDRI U0RnDISTttlffiilrnrsil
Cratner cfrFile Prints Plates...
and other matter there is nothing so simple, Will hereafter be PROTECTED with a
so inexpensive, so entirely satisfactory as LABEL on the bottom of each box of plates,
the FOX AUTOIIATIC FILINO BAND. It limiting the time within which the plates
is superior to rubberbands because it never should be used for best results.
rots nor wears out and adjusts itself com-
pactly to the size and shape of any pack- We consider this protection necessary to
age, holding securely and firmly under all guartl our patrons against plates which have
conditions. deteriorated by age.
This Filing Band is a handy device for We feel. that this long delayed action is in
amateur photographers, forit makes system the right direction. and will be appreciated
easy and provides a way for filing prints, by our friends and. the trade generally.
notes and clippings so that they are easy to
get at and yet are safely preserved from
disturbing influences. uscffi6llinckrodt'sSodiumSulphiteAnhydrous
Sample Dozen, 2O Cents Absolutely Pure for Photographic Purposes
tRvtNGP. FOX Sudbury 0.CramerDryPlateCompany
Buitding ST. LOUIS, MO.
BOSTON,MASS.
NEl{Y0RKI)EPOT,32EastTenthStreet
(0t0R llltyllol lourDll0l0[RlD]1?
It is easy and simple and yields beautiful resultsPATENTS;l*$;1s;,*,-[*when done with Acme Colors. The Acme Colorg
F?. \A/. E}ISHOP aremar absolutelyor alter thepermanentoriginal finishand ofwillyournotpicture.in any way
\ A / A S H I N G T O N , D . C . andfHEsalable.PROI'ESSIONALThe imnrensewiII findquantitiesthat coloredof Indianphotospicturesare attractivecolored
with Acme Colors which have been sold prove it, They oniy need
to be shown to sell.
THE AIIIIITEUR, will find their use a never ending delight, as they
enable him to reproduce all the original beaut-iful color of his
picture without losing any of its detail. Their use is as much
pleasure as developing your negative.
IIUNOIS COLLEGEo' PHOTOGRAPHY
E F F I N G H A M , I L L I N O I 9 .
iilGHGRA0[8tfl06nApHyIAUGHI.600Dp05lTr0N5ttcuet0 fot
TEttS GORRECT
EXPOSURE
for any eamer*, nniler pR I C E
any condltion of out. a
dolr dayliEht, with- 25
out sensltheil paper. CENT3
G E O , M . M I L L E R & C O .
I { A R T F O R O , C O N N .
A G M E W A T E R C O L O R S A R ET H E B E S T
They contain no aniline, and unlike other so.called transparent
colors, they will not fade. By using Acme Solutiou perfect results
be obtained with them on Platinum and Aristo-Platino Papers. nnr rnr CAMEBAsays goesin photo- can\flf fOR, SALE BY IOUR DEALER. Booklet for the osllng. grapny. Whatphotographydoesgoesin
THE CAMEBA.Subscribe-youcan'tgowrong AC|I|EI{ATERC0L0RC0.,90WabashAve.,CH|CA00
In writing advertisers, kind ly mention "The Camera.ttView original page 9Page 11 · Read text
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I
LIl\o. o\]z
For the best original articles submitted. to us on or before
JUNEZgth,lg0l
we will award the following prizes :
lst Prize-0neBausch& LombHandCamera,
Tele-photoLens value99.00 t3 2d OneCarbuttDark-RoomLantern " 6.00
'' 3d ()neBradleylO-in.StudioCutter ', 9.00
33 , 4th OneGross4xi VeloxPaper 2.00
33 5th Oneyears'subscriptionto THECAMERA
A FE\l/ RUTES
All articles must be original and concerning photography only, told in a practical
manner, in not less than rooo word.s" They can be longer-but not shorter.
Articles embodying new ideas receive greatest consideration. If necessary to make
'lthings
clear," send. a drawing-never mind if it is crud.e. Give us the idea-we will have
it re-drawn. If you can send photos, please do so.
Write on one side of the paper only.
Never mind mistakes in spelling-we'll correct that.
Remember,we want the articlesto tell how to do
the things submitted-practicaland to the point
COM PETITION OP EN TO A L L
,.t,itr,. , ',;,. .. I ,'1, ; .. . .:.,,.tp{:r..iView original page 11Page 12 · Read text
T H E C . / T M E R " I T
C H EA P E O="T5"?;H;"=-M E T E RS
To enable you to prove it to your own satisfaction, ask your dealer to show you one
and compare it with otlrers ; or if he does not keep them in stock, sentl ds 35 cents and
we will send you one postpaid on ten tlays trial. Order any other meter yo-u like on
the same terms and if-ours is not the neatest, simplest, cheapest, most praCtical, most
accuraterorifyoudonotwishtokeepitforany-reasolr-whatever,returnitand.-wewill'l'he
send youi 35 cents back and all postage. A fairer offer was never made. only
re"ro., thaiwe can make it is that our Cheape Meter excels all others, and everybody
wants to keep it. It is beautifully printed in two colors on ivory celluloid. Drop us a card
for description and testimonials.
We also manufacture a folding dark-room and enlarging apparatus which excels all
others. All our literature for the asking. Aduantageous discounts to the trade.
TflE EXPODAK COMPANY, Came Builcling, Charlottesville, Va.
THE.hUTOPOZE."
That's My Namelll EN LARG I NG
Without a Camera is Easy if you use
MAGNO fi#l,"S*ri%"-
Easily {nlarges without any distortion to more
than double original area. Prlce, complete'25 Cts.
N E W A R K P H O T O S U P P L Y G O . What Am l? tov.oiL.{oa
tOl Washington Street, NEWARK' N. J. An
Button Corbccc,rd
Presser. cil'rn ot5 - t t t tKODAK INSURANCE 416 tolairS
your camera from all blundersome accidentsInsure
attaching legs a tripod stay. The ..Youdo COtEe tOrby to the tripod
."Tifi"",1tl.""TilMellen'sPocketTripodStay the Rest." vc\tt 3 €s.75 Cents is the regular price, but all who've used it lf You wlsh to
sav it's worth thrice. See them at Wanamaker'g. know more
catalogue free' ;y1 ELLEN MFG. Er, puB. Go. write
9 6 F T F T H A V E . , C H T C A G O FARIES MFC. - Decatur, lll
The Photo TickerANTITHIOITF,"'Xff[I,O*JI.JST OI.J-T
A labor saver, an unfailing preventative of faded
prints and negatives, and the principal factor of a ir yoo haven't received a copy, send at orice to
purely chemical processfor removing Hyposulphite
of Sodium from photographic prints and negatives. W . P . B U C H A N A N
Send26 Centsfor Sample. ParticularsFree. Dept.W 122!, Arch St., Philadelphia
EWATD NOVELTY WORKS, Fairchild, Wisconsin IT IS FREE
For Landscapes or Seascapes, Buildings or Machinery, Interiors or
It is a double=coated,OrthononorthochromaticExteriors, useplate;our non=halation. The only
one on the market.
Standard" DrSr Pla.te Co.
S]?ND FOR BOOKI.DT (DDPT. D)
Horne Office, LE'WIS:DON, I\,{8.
r{Ew' YORK CHICAGO I\AONiTFIEAI- PHII-ADEI-PHIA
ln writing advertiserg, kindly mention "The Camera."View original page 12Page 13 · Read text
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T H E C . * ] W E R " E
* SERIESIIAI.,IPLISCOPES
A new set of Supplemental Lenses which can be used with any Fold.ing Camera fitted
with either a Single Achromatic, Rapid Rectilinear, Symmetrical or Auastigmat 1ens. The
set is c<imposedof:
No. t. One Copyi"S E"l. to euable the anirateur 'to copy',end eularge
""dwithanySho@etr.
N o . z . o n e o r t h o c h r o m a t i c c o f s a m e p o w e r a s a b o v e ,
but of y.tto flowers, eic. ),
No. 3. One Wid.e Angle Lens, will change the ordinary Camera Lens into an up-to-date
Wide Angle of 9oo.
No. 4. One Portrait Lens, will throw the background out of focus and produce a large
head, with alt tfre other good working qualities of the Professional Portrait Objective. "
No. 5. One Violet Portrait Lens, has the same gualities of the regular Portrait Lens,
but will also increase the speed and do away with retouching.
'6.
No. One Tele-Photo Lens for Short Bellows Cameras, will increase the focal length
about3io"n--
No. 7. One Tele-Photo Lens for Long Bellows cameras, will increase the focal tengtn
of the combined Camera Objective about 8 inches. This lens is preferable to the single com-
bination of the Camera Objective for long focus work, as it must be used with both front
and back combinations and has thus more speecl.
No. 8. One Ray Screen, light color, for cloud and shade efiects.
' No. 9. One Ray Screen, medium color, for cloud and shade effects.
No. ro. Oo. Dopli""tqt fot tti"k such as photographing a person play-
ingcardswiffi
No. rr. One Ad.apter, which will hold. the lenses over the front hood of the Camera Lens.
The lenses cau be used either next to the diaphragrn or over the lens hood and some-
.thiug like 5o or more combinations may be obtained.
Price, 4xb p e r c o m p l e t e s e t . S 5 0 0
.. ..'. .. " 5x7 .. a a . a - a a a 6rlxg/2 00
" 8x10 10 00
U NEHRING
r6East42dStreet,NewYork
To protect our customers against inferior imitatious, we desire to call special attentiou
tothefactthatalllensesof thisset bearon their respectivemounts the word "Nehring,"
which is equal to "Sterling" on silver
In: writing ,advertisers,kindly mention "The Camora.tt
' . - ; t . -View original page 13Page 15 · Read text
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T H E C - / I M E R N
MascotteB askgrounds
= t z . E , 5 > < 6 F E E T
One Dollar
grounds are going around the World. They O N E D O L L A R THESE
I are being shipped into every State and Territory
in the United States-the far-off Philippines, Canada,
Nova Scotia, Jamaica,Argentine, England, Germany,
India, China and Australia
sell more Backgrounds than any other group \I/E
Y v of twenty-five stock dealersin the United States,
becauseour designsare right, our executionthe best, and
our artists have the kn ack of painting them cheaply-
but just right. Special prices to the Trade in dozens,
hundreds,thousands
next issueof the PH0T0 TICKEBwill have a four THE
I pug. ProfessionalBackgroundDesign Supplement.
Our latest efforts-neat, fresh, artistic. Send a stamp
and get a copy "right off the press." 6x8, 93.96; 8x8,
$S.zS; 8x ro, 96.6o; roxrz, #7.92, Extensions,3 cents
O N E D O L L A R per foot extra. Oil Extensions,4'/ cents per foot extra.
The GreatestBackgroundAccessoryon Earth
A practical stand, fitted with spring window
shade roller, suitablefor all 5 x 6 or smaller
.grounds,complete as shown in illustration.
this stand you can preserve your \Iv/lTHv v ground. After you are through making
your pictures,roll up the ground same as you
would a window shade.removetheroller,take
the cross-baroft, fold the stand and you can
carry the whole businessunder your arm. It
is the most practicalcarrierimaginable. If you
use one of these Mascotte Portable Carriers
you will have no more damagedgrounds.
Tl.D.DljfilAlllJli;L'",t220trhStrnt,Dhila.
In writing advertisers, kindly mention "The Camera.ttView original page 15Page 16 · Read text
A o l . U N P R T L , I 9 O ' N o . 4
THD
CAMERA
' . R . n N K O . C H , n M B E R S I
E d l ' t o r s J o r r v B , q R T L E T T I
Physicatty Perfect Negatiues. jII
f rancois I)oitier.
1 HAVE experienced quite a little difficulty in selecting a title for this
article, one that would give a comprehensive idea of the subject
upon which I propose to write. Consequently, I feel that some
explanation is necessary in order that I may not be accused of the
unpardonable sin, so frequently committed by many writers, of
deceiving my readers by the use of a misleading title. The am-
biguous nature of a large percentage of photographic articles has
impressed me very forcibly; how their authors would never tell
you what you thought they were going to ; how they would seem
to hold on to the knowledge which they possess with such a
selfish grip that they merely hover around the objective point without ever
reaching it.
''physically By a perfect negative" I mean to convey the idea of one that is
free from spots, pin-holes, scratches, etc., etc. ; that is not disfigured from any
cause other than errors in exposure, development, fixation, washing, etc. In
short, one that is as perfect when it reaches the printing-frame as a negative as
it was when it left the manufacturer's hands as a plat€. This result is attained
by careful handling through the various stages of photographic manipulation,
and the presence of the imperfections enumerated is, in most cases,purely and
simply the result of gross carelessness on the part of the operator, even
though he be not an expert in matters of exposure, composition and development.
Winter will soon be over, and the advent of Spring will serve to infuse new
life into all camera owners. The opportunity for photographically reproduc-
ing nature in her brightest garb will again be presented. But what is more
annoying and disappointing than to find that, despite the care exercised in
selecting a suitable subject, in adjusting the shutter speed with mathematical
precision and in compounding and proportioning the developer with the
utmost accuracy, the work has been spoiled by the appearance of these
defects. Ilence, I think this article a timely one, in as much as it will enable
you to reap the full reward which your earnest efforts have entitled you to.View original page 16Page 17 · Read text
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t22 T H E C & T W E R A
When taking a box of dry plates, of reputable make, from the store of your
d.ealer, you can feel satisfied that such care has been taken in their manu-
facture as to warrant you in assuming that they are in first-class condition,
each one capable of yielding a perfect negative. From the time the plates
come into your possession, the responsibility of making them give such a result
rests with you. The manufacturer has done his part, and the degree of their
perfection when they reach the printing-frame as negatives is dependent upon
the care and skill you have exercised in handling them. Now, I propose to
tell you how to perpetuate, ab it were, the care that has been bestowed upon
them in their preparation for the market.
Storing.-Presuming that you have gotten your plates home safely, the first
question that arises is where to keep them so as to avoid deterioration. We11,
don,t store them in your dark-room because it is liable to be damp, and damp-
. ness is fatal to dry plates. As gelatine plates absorb moisture, they should be
kept in a dry room of uniform temperature with the boxes standing on edge.
Personally, I always take the extra precaution of permitting no direct light to
fall on the box, although the tripling-covering would seem to render this
unnecessary, as it is impervious to light. Still, one cannot be too careful. r
Loading.-If you have followed the ad.vice ofiered in the. last paragraph, thq
probabilities are that the plates are still in A-r condition. So we will transfer
ih"ot to the dark-room and see how to handle them there without fear of spoil:
ing them or impairing their photographic value.
First, clean your plateholders thoroughly and carefully. When I say
' ' , ,thoroughly I mean it in the fullest sense of the words. Don't and carefully,
take any old piece of cloth, clean or dirty, and skim over the outside rapidly
just to satisfy your conscience that you have not entirely neglected this
important part of your work; but remove the slides and run a camel's hair
brush, or a piece of clean material that does not shed lint, around. the inside of the
hold,ers,thus d.isplacingany particlesof dustthatmay havelodged there. Thengo
over the outsid.e of the holders, and finally wipe both sides of the slides. After
dustingyour hold.ersin the half-hearted, slip-shod way first mentioned, you would
probably satisfy your consciencethat you had done "something I " now, you can
h"n" the greater satisfaction of knowing that the work has been done well. I
probably spend. fifteen minutes in dusting half a dozen plate-holders, and I
should consider double that length of time profitably spent.
you will probably find the plates wrapped in black paper in packages of six.
Great care should be exercised in removing this inside covering, as careless-
ness might either result in undue friction by the rubbing of the plates together,
or scratches on the emulsion caused by the finger-nails. With a slow, light
stroke, go over the plate with a camel's hair brush to remove auy particles of
foreign matter that might have adhered to it. Immediate electrification of the
nm wru take place if the brushing is done hurriedly, and when in this condi-
tion it will attract to itself more dust than you remove. Place the plate in the
holder, push the slide home slowly, and if you have followed these d.irections
closely,1he chances are that your plate is still in as good coud.ition as when it
left the manufacturer's hands. For each of my plate-holders I have made a
bag of focusing cloth material. This fits snugly and enables me to leave the
...;iciir:;iView original page 17Page 18 · Read text
THE C,fiTVIER& r23
holder in the strongest sunlight without danger of getting the plates light-
struck, and is a precaution taken lest by any possible chance the holders are
not perfectly light tight. light has great penetrating powers, and I like to
have that feeling of absolute safety which tends to make one more energetic in
the prosecution of his work. Even with all this, take this advice, don't let
direct sunlight fall on your holders at any time.
Always grasp the plate by its edges, the narrow width if a 5 x7 or larger,
being careful to avoid marring the emulsion side either by contact with the
fingers or finger-nails, bearing in mind that the blemishes you would thus cause
will be visible after the plate is developed.
Use the extreme care I have advocated.in loading your plates, re-wrap in the
opaque paper such of them as you have not immediate use for, close the box,
blow out the 1amp, and the prospects of securing a good picture, as far as the
handling of the plate is concerned, are still very bright.
But that is not all. There is yet time to ofiset by carelessness the precau-
tionary measures you have adopted.
Erposing.-The next manipulation of the plate comes after you have
focused your camera on the view selected and set your shutter at the speed
determined upon.
In removing the slide be careful not to withdraw it from the holder too sud-
denly or too fast, as particles of dust in the cameta may be set in motion
which, by settling on the plate, would form black specks and disfigure the
picture. Bear this same fact in mind. when replacing the slide after making the
exposure, besides being sure that it is pushed fully home before removing the
holder from the camera; otherwise, it will furnish an excellent opportunity for
the light to enter through the aperture thus left.
There is an important point which I must not forget to mention before pass-
ing on to the unloading process. Some manufacturers of plate-holders equip
them with vulcanite of rubber slides. These are readily charged with
electricity, their too rapid withdrawal from the holder being sufficient to
electrify them. They then act like a magnet, attracting dust to themselves,
which in turn settles upon the sensitive p1ate. I am thoroughly convinced that
this fact accounts for the presence of many pin-holes. If you are troubled
with imperfections of this nature in your finished negative and at the same
time are using due precaution as to cleanliness, etc., etc., it is more than likely
that your slides are responsible for them, provided, of course, you are using
those made of this material. The remedy is obvious.
Talking about vulcanite of rubber slides, I might add that I have known
them to fog the plate by being withdrawn too rapidly by the induction of an
electric spark. My advice in a nutshell is, don't use slides made of aulcanite
of rubber.
Unloading.-We will continue to follow the plate and see what care is
essential on its ceasing to be such and budding into a negative. We find
ourselves in the dark-room again. For the third time let me caution you
about withdrawing the slide slowly. In taking the plate from the holder or
from the developing or fixing solutions to watch its progress, or in fact at auy
time you may have occasion to handle it, either in its present condition or after ar
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T H E C " I T J U I E R N
washing and drying, always grasp it by its edges so as to prevent injury to the
delicate film by the fingers or anything else. Another thing, when putting
your negatives on the drying rack, be sure that they fit snugly in the grooves
provided for the purpose; otherwise, they are liable to tilt sideways and thus
be injured by contact with each other.
If you have taken all the precautions suggested and you have exercised the
careful attention to details which I have advocated, there is no reason why the
resultant negative, from a mechanical point of view, should not be free from
mar or blemish. As to whether it is perfect from the standpoint of lighting,
composition, exposure, development, fixatiou, proper washing and drying is
another question, one which it is not my intention to touch upon here.
Just a few words in conclusion. You may think that all the advice I have
given is old., that I have said nothing new. Wel1, I admit this; but when you
d.o not get the results that the following of this old advice would give you,
why should any objection be raised as to its age when you rrtave not benefitted
by it ? This remind.s me of a 1ittle story which, though old, is appropriate. It
was a'minister's first sermon in a church of which he had just accepted the
pastorate. At its conclusion, the discourse was rated excellent by his new
congregation, and, he was the recipient of congratulations on all sides. The
following Sunday he preached the same identical sermon. His flock evidently
stood.for it, as nothing special was said about the repetition. But when on the
next Sabbath day the cleric relieved himself of the same sermon for the third
time, one of the deacon's came up to up to him at the end of the service and
said : "Ilow's this brother; you have been here for three Sundays and
each time have given us the same o1d sermon ? " The minister replied : "That
may be true, but you are the same old sinners. "
To be serious again. If you are fortunate enough to get "Physically perfect
negatives," let me congratulate you on your care and ski1l ; but if not, and you
are sufficiently ambitious to desire to turn out work that is clean and perfect
from the stanclpoint under consideration, lel me ask you to start anew and
bestow upon your plates and negatives the careful method of handling which
I have outlined. I am a professional now, but during my career as an arnateur
I was just as painstaking in the directions indicated as I am now.
First become adept in securing "physica1ly" perfect negatives, and then
you will be better equipped to grapple with the more complex problem of
correct development, etc.
,*
Some of Mr. Eickemeyer's work in a recent popul ar magazlne was worth
more than the price of the magazine alone to study; yet I don't remember
that Mr. Eickemeyer had anything in the Philadelphia Salon. Perhaps, since
his work is not only thoroughly artistic but also good photographically, it
wouldn,t d,o. What a capital judge Mr. Eickemeyer would be at a Salon.
I really wonder what he would do when he came to pronounce judgment on
the wond.rous works of Keiley, White, Day and some few others. Eicke-
meyer, to my notion, is the representative man in American photography.
1us1 enough new sihool to be right, just enough o1d.to keep on an even keel,
and an artist to the finger tips.-E. W. N.View original page 19Page 20 · Read text
T H E C . N M E R " E t 2 5 '
' Papers for the Beginner.
,/Ipparatus.
N selecting apparatus, the beginner would not do well to emulate
Diogines, who threw away his earthen cup on seeing a man
drink from the hollow of his hand. A good workmad may do
creditable work with make-shift apparatus, but the novice must
gain experience by use of good instruments.
There are, however, many appliances fitted by ingenious work-
men to the camera, which add to its cost yet subserve general
utility. It is needless to say such accessories are by no means
essential. What is essential in a good practical working camera
is, first, a rising or sliding front board to which the lens is
attaihecl, anfl, second, a swing-back for securing vertical lines when archi-
tectural subjects are photographed.
First as to the "Rising Front. " When one wishes to take in more of the
upper portion of the picture, that is the sky part, or the spires or steeples of
buildings, the rising front, by elevating the lens above the center of the plate,
will enable him to include as much of the space as may be desired, or corre-
spondingly he may lower the front board below the center line if it is desirable
to take in more fore-ground in the picture. First-class cameras allow consid-
erable range in this particular.
But just here may be the place to observe that when much elevation or
depression of the sliding front is had recourse to, care should be taken to note
whether the lens employed is sufficient in covering capacity for that portion of
the plate drawn upon.
Poor lenses, or lenses whose power is strained, that is lenses designed for
smaller dimension plates than the camerato which they are attached, when
made to work on larger areas, show a falling off in definition where the outer
rays strike the margins of the plate in the strained quarter.
A good lens designed for a 4x5 plate, for instance, will cover a certain area
somewhat beyond these dimensions, but when employed, soy upon an g x ro
plate, the circle of good definition, that is area of distinctness of image on the , t {
ground glass, is so far encroached upon, that when the center of the plate is
shifted up or down, the lens cannot do the work demanded at the extreme jmargin. It is have well to a good lens of covering capacity so as not to
encounter this indistinctness of definition. l
But even supposing one has a lens of good covering capacity, and yet findsthat he has not sky enough on the ground glass to make an effective picture, !,'
or it may be that the top of some tall spire or tree is cut off, even u,hen the :d
front is pushed up to the highest point. What is to be done ? Naturally the
photographer will tilt his camera skyward, then upon looking at the image on
the ground-glass, he is perplexed to find the top of the building or spire inor-dinately narrowed. Perhaps he may not notice the efiect, unless the exag- ,1
geration is considerable, until he sees his print upon paper.
This apparent distortion is due to perspective; the lens is faithful to the
angle of vision; but our normal vision modifies the actual condition of things
by calling our knowledge and judgment to its aid.
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126 THE C"&fuIER"IT
The Greeks used. to purposely exaggerate the top dimensions of their tall
columns so that they did not look distorted to the eye.
If we shall look at our camera side-wise we shall see that when so pointed
upward the back is not parallel with the vertical line of the object. To make
the back and of course the sensitive plate parallel with the line of the object,
we must call into service the swing-back; one of the most important adjuncts
to the camera. It is a simple contrivance.
To make use of it so as to get the lines vertical when the camera is tilted
upward, all one has to do is to push it inward at the top until the desired-effect
is obtained and then clamp it. The swing should be made to move in both ';directions, that is, backward as well as forward. 'objects
The swing-back is not only essential to the proper representations.of
having vertical lines as in buildings, but also for photographing any view which
requires tilting of the camera out of the horizontal position. For instance, a
view of a high mountain like El-Capitan, would have the appearance of
receding if the caruera were tilted up. Such a view would detract much from
the truth and grandeur of the picture.
When the camera is directed downward to obtain a view, there is always
danger of exaggeration of perspective. In such cases the swing must be
pulled back from the vertical instead of forward. A swing front is a feature in
some makes of cameras, but as it is but limited in use, we need not dwell upon
the application just now. But it should be remembered that it can never take
the place of a swing-back.
In another place we shall say something about discrimination in the use of
the swing-back, and the compromise which has to be made between the abso-
lutely true vertical and the demands of artistic visual perspective.
In studio cameras, that is cameras for portraiture, there is a contrivance at
the back for lateral change of position of ground-glass and plate-carrier called
the side-swing. It enables the operator to push in or draw out to the right or
left side whenever necessary. But elsewhere we shall enter into particulars
about the use of this accessory.
In connection with the subject we would say that the shape of the bellows
of the camera is often accountable for the cutting off of a portion from the
view. Such is the case especially when the bellow's body is conical, that is
diminished from the back forward.
The lens-board when raised or lowered below the central liue causesthe folds
of the forward part of the bellows to abstract an inch or more from the top or
bottom of the plate, thus annoyingly cutting off portions of the sky, or may
be the feet of the sitter. These conical bellows fold up easy into a srnall com-
pass, thus adding much to the neat and compact appearance of the camera;
but these virtues are counterbalanced by the advantages of the square bellows.
Sometimes an extension front is placed upon a camera where the length of .
bellows is not sufficient to accommodate for the length of focus of lens, and it
should be borne in mind that such extensions if conical act in the same way as
a conical bellows. Another point to consider in choice of camera is possession
of means for front or back focus.
For the sake of obtaining compactness the great majority of cameras are
made to focus from the, front. That is in order to get a sharp image of the
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T H E C N M E R . E r27
required dimensions upon the ground-glass; one is obliged, while his head is
under the cloth, to reach forward. and adjust the focus by moving the bellows
forward instead of the more simple and convenient plan of moving backwards
or forwards the ground-glass screen.
The back-focus contrivance to be sure adds something to the weight and
bulk of the camera, but it is more convenient to work and almost essential
when the camera is used in making copies to a certain dimension. ft requires
a good deat of tedious manipulation when working with a front-focussing
camera, when called upon to copy to a desired scale, necessitating the move-
ment of the whole camera and frequent readjustment of fine focus. But this
is not the place to touch upon the topic of copying, which will be fully
treated elsewhere
Auother feature not to be overlooked in the selection of a camera is the
adaptability for the uses of lenses of long and short focus. A considerable
lbngth of bellows is important, but it should be so constructed that when occa-
sion demands the folding of it together to a smaller compass, as when a wide
angle short focus lens is employed, it may be easily moved to and. fro. fn
adjusting the focus, the baseboard to which the bellows is attached being of
considerable length, to accommodate the length of draw, should be so con-
structed. as to slide inwards from the front or hinge down to prevent the pro-
jecting portions from being taken in by the lens of short focus, and forming a
blurred or out of focus impression in the picture and cutting off the view.
There is a style of camera especially adapted for lenses of varying foci, and
which is at the same time light and compact.
In some varieties the long baseboard is hinged. so as to fall down in front, or
is fastened by a screw, so that it may be entirely removed, but such devices are
not as good as the sliding arrangement here figured.
In the old-fashioned cameras it was necessary to remove the focussing screen
and. replace the slide-holder containing the plate to be exposed, but this incon-
venience is done away with in the improved cameras where the focussing screen
is made an initial part of the camera and the plate-holder is introduced in front
of it, by the turning of a lever controlled by springs.
A vertical or horizontal view can also be made in the best cameras without
removing the camera from the tripod, simply by reversing the focussing screen
and the slides may be drawn from either side or from top or bottom.
It is well to have a number of extra front boards for the placing of different
kinds of lenses, or the same front with metallic adapter for screwing into a gen-
eral flange or adjuster.
There is a speciaTizationamongst cameras; someare more peculiarly adapted
than others to particular kinds of work, and one should not expect to secure
in a single camera all the excellencies combined. It is economy to employ
special apparatus for special work, and not expect to photograph microbes and
to copy oil paintings with the same instrument with which you take portraits
or views. The same remark applies to lenses, but more about this presently.
(To be continued.)
, .:1,L ss,*ffrView original page 22Page 24 · Read text
T H E C & M E R . / T rtg
The Ether Saturator.
Robert Ifuntphrey.
sp of the drawbacks to the use of the stereopticon, if the lime-
light is needed, is the necessity of sendin g away for gas cylinders
every time the lantern is used. When this means sending from
roo to 5oo miles-as is often the case-one is apt to wish to be
independent of the gas and express companies and still have the
limelight.
This wish can be realized if one has an Ether Saturator, and an
apparatus for making oxygen.
rt is proposed to give now the data for a thoroughly safe and
efficient saturator; the oxygen apparatus will be described later
if desired
Get two pieces of brass tube, each 9 inches long, z inches in external
diameter andtla thick. Ifave each end threaded and a brass cap screwed.on.
Bore a hole in the center of each cap and tap with /a gas-tap. (When I say
% io this paper r always mean % s^s). Get two elbows and. a /a anion, and
connect one end of each tube with short nipples ; in the other ends insert pillar
cocks-the kind which has the male thread on each end. See diagram A.
One of these pillar cocks should be turned so as to shape it to receive rubber
tubing, on the end of the other should be screwed a ,fi union. Of this I will
speak later.
Now the tubes need packing. Gef some cotton flannel-the Leavier the
better. Cut a strip somewhat longer than the length of the tube, and make of
it a ro11that will fill the tube nicely, then sew it so it will not unroll-it must
not fit too tight. Insert it in the tube and cut ofi the projecting ends with a
sharp knife. Now the tubes can be connected., and the ends where the cocks
are soldered securely together.II To return to the use of the union named above : The Ether Saturator has two
difficulties : If there is too little ether in it an excess of oxygen is apt to enter thet tubes and form an explosive mixture ; not powerful enough to damage the satu-
C y l r x o r q
..;,..View original page 24Page 25 · Read text
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r30 THE C&JWER,N
rator, or jet, but sufficiently so to blow off the rubber tubes and distress the
audience. If there should be an erccessof ether in the saturator it will con-
d.ensein the tubes of the jet and flow into the rubber tubes a1so. Then one of
two things happen ; either the light flickers and jumps, or the excess of ether
will burst through the orifice of the jet and make a blaze in and around the
lantern. To obviate this a condensing tube is attached. to the saturator by
means of the union named. above.
1
i Get an ordinary bicycle hand-pump; make a hole in the center of the screw
cap and solder in it a /a brass short nipple, then solder the cap on.
Next get a brass tee and attach to the nipple inserted in the cap of the hand-
pump. Screw in one of the remaining ends of the tee a piece of brass pipe
turned. suitably to receive a rubber tube, and to the other end. attach one end
of the union with a short nipple. See Diagram B.
With the aid of this attachment one can put plenty of ether in the saturator
without fear of excess, for if any should liquefy it will trickle into the con-
denser, and at the end of the exhibition the union can be disconnected and the
collected ether poured back into the saturator. -t
As to filling the saturator. Get a taper reamer and ream out the ends of the l
cocks in the saturator ; now get a small funnel and solder in the end of this a piece
of brass pipe which has been accurately fitted to the reamed-out holes.
Then open both cocks and you can fiIl with ease. IJse sulphuric ether of a.
good grade. After the packing has been once saturated, it will take from two
to four ounces per hour for a single lantern.
This saturator is intended for use insid.e the lantern ; some device for securing
it inplace must be devised, while the pillar supporting the jet will come up be-
tween the two gas tubes forming the saturator. The saturator is placed inside
the lantern because ether will not vaporize if the saturator is cold; the heat
from the jet being sufficient to make the ether vaporize freely.
To connect with the cylinder: A tee-piece must be connected with the cyl-
inder, either by means of a rubber tube, or, better, by being attached to the
coupling. Connect the right side of the tee with the oxygen side of the jet by
tuears of a rubber tube. Connect the other side with another rubber tube to
cock in the saturator ; while another short piece of tubing will connect the con-
densing tube with the hydrogen side of the jet. See Diagram C.
To start the lantern : You will need a stop cock on the oxygefl side of the
iet, or a needle valve between it and the cylinder; this must be closed till you
get the usual flame around the lime.
To get this: Open both cocks in tlze saturator,' then turn the gas on at the
cylinder, when the ether vapor will be forced through the jet by the pressure
of the oxygen and can be ignited. Get a good sized flame and warm the lime,
then open gradually the cock on the oxygen side of the jet, allowing pure
oxygen to combine with the ether flame until you get complete combustion.
Generally a little more pressure from the cylinder will be required at this stage.
By a litt1e experimenting the proper proportions can be ascertained and the
maximum light obtained.
The cost of making this saturator is small, especially if one has access to
tools, while it can be relied upon as a safe and efficient instrument.View original page 25Page 26 · Read text
T H E C N T W E R " ' T I3I
Theory a,nd, Practice. -
.Andreut Robinson.
AVE we not heard ; has it not been told, time out of mind, by the
professional photographer, pleading as a palliative for his igno-
rance: "Oh, I have no time for experimenting. A man of
business ought not to squander the precious hours apportioned
for gathering in the shekels in trying to find out something new
under the sun. Leave that to the amateur, and if he lights
happily on anything good, we can appropriate it and hold it in
fee simple. "
Why, there are even men in the profession who never take af;1, photographic magazine. They know the whole thing, or if the
persistent publisher gratuitously thrusts it upon them, condescend to read only
the advertisements, and send for free samples of commodities recommended.
But let .us pause. Professional photography is sometimes justified of its
ihildren and absolved of the crime of lookiog "askance and doubtingly" at
the advice so gratuitously offered in publications.
, To cite a personal instance. I have a friend-a reputable professional-who
was wont to spend his evenings in a convivial way at the club where the flow
of the ruddy cup stimulated the flow of ideas. His festive companions were
men of chemical-lore, and their advice to him, their photographic friend, was
poured forth in profuse strains of unpremeditated volubility.
Upon a time as our acquaintance was bewailing the persistency with which
the trace of silver salt keeps its grip on the paper before toning, he received
the last consolation that the effectual working of salvation for the prints on ' such kind of paper was to be found in sodium-chloride.
Discovering that this marvellous chemical was none other than the common
kitchen sa1t, which communicated the delectable flavor to his "kartofel sAlA.t," ,
he procured a couple of pounds and doused it into the wash water where about.i
one hundred beautiful prints were disporting themselves. The result-a ruddy',
hue diffusing itself over the fair prints-and the whole "batch'' was suffered
to run violently down a steep place into the sink and were 1ost.
Upon another occasion chloride of palladium was recommended as an inten=
sifier, whereupon an ounce of the salt was purchased (standing in business
being excellent and credit good) and put in eight ounces of water and flowed
over a frail looking negative without causing a moiety of change in its condi-
tion of weakness. The intensity did not come, but the bill did later. I can
assure you it was strong enough to gratify his expenditure of "commodity of
good names " (?) bestowed upon the party who vouchsafed the advice.
There came a repetition of such experiments, for the photographer had faith,
notwithstanding, in his learned associates. That gallery has disappeared from
among the studios of light ; its possessorhas faded from among the children of
the silver sunbeam. Such experiences might justify the contempt of the prac-
tical man for theories-but then the theorist might contend that the possession
of ordinary intelligence is presupposed.
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