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American Photographer — July 1912, part 2 Historical periodical
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HARBOR SCENES
WILLIAM S. DAVIS
one of an imaginative mind the commerceof a great seaport is a source of inspira-
tion, with its ever-shifting panorama, as stately ships come in or take their defarture
toward far distant shores,threading their way in and out among the numberless
smaller craft, which add to the picturesquenessof the busy scene and afford un-
rivaled opportunities for interesting marine compositions to painters and photog-
raphers alike.
Even thehaze which usually hangs over a great city often has its advantages to the artist,
who is more interested in broad massesof light and shadow than in minute details in distant
objects; and the combined effects of steam, smoke, and clouds are often magnificent, offering
numerous chances for striking atmospheric studies.
The ferries of many cities furnish a most convenient and economical means of watching
harbor shipping, whether of deep-seacraf.tor only apuffing tug with a string of heavilyladen
barges in tow, and also of securing views of the water front with vesselsin the slips. New york
City, for example, furnishes most interesting moti,fswhen seen from the water, whether on a
foggy day when the tall buildings seem to float upward in dim shapes like castles o' dreams,
or appear in the gathering gloom of late afternoon against a sky of luminous yellow haze.
Undoubtedly plenty of good material can be found in every other large port, whether on the
coast, great lakes, or some important river, while attractive views on shore among the wharves
are always to be had. It may be just a bit of rigging and a few spars of some sailing vessel,
or the dark hull of a freighter looming up alongsidea pier, with the stevedoresat work unloading
her, which will supply the desired material; but in any case it is best when dealing with such
subjects to include only enough to give a few large massesof varying tones in the composition,
as it is only too easy to fill the foreground with a confusing amount of detail.
A great number of good subjects, only of a somewhat different character, is met with around.
the harbors of small towns and fishing villages along the coast, where it is possible to obtain
attractive pictures on the beachesin addition to those about the wharves and small boat land-
ings. A ramshackle fish shanty, with a dory or two hauled ,tp nearby, will furnish enough
material for a good foreground, with a stretch of open harbor dotted with a few sails beyond
by way of contrastl or a sailboat high and dry on the shore may be a center of interest. In
some towns novel compositions can be found among the shipyards when vesselsare hauled ,tp
on the marine railways for repairs or new boats are upon the stocks.
So many ideas suggestthemselvesas f write that it is not worth while to try to name them
all; besides which the pleasure of picture making lies in discovering compositions for oneself,
and my pu{pose is simply to suggestthe possibilities of the subject to those who may not have
given it much thought.
Now for the technical details: For work afloat, where speedy manipulation is so often
essential on account of the constantly shifting elements which go to make up one's pictures,
a hand camera not exceeding4 x 5 in size will be found most convenient; but for photography
along shore, a long-bellows camera used on a tripod is generally preferable and sometimes abso-
lutely essential.
If one camera must be made to answer for all such work, some one of the many styles of
long-focus folding hand and tripod cameras should be chosen
When fitting a camera especially for marine work, a lens of long focus in proportion to the
size of plate used is most serviceable,since nearly all the subjects met with are usually some
distance off, and have to be taken that way or not at all. As it is not essentialfor the lens to
392View original page 2Page 3 · Read text
LAID UP \\ILLIANI S. I)AVIS
work at a very large aperture, a rapid rectilinear is good enough, and if it r,r'crellcccssary for me
to make a choice betrveen a lott'g-Joczsrapid rectilinear ancl a short-focws anastigmat, I rvould
take the former every time for use on marine subjects. A lcns of ten-inch focus is excellent
f.or a4 x 5 camera;but rvhere only one is included in thc outfit, it might be best to select a three-
focus convertible of about eight-inch focus for the combination. This r,r'ouldallorv tLrtopportunity
rvith a long-bellorvs extension of using cither thc rear or front elements separateiy, their foci
being about fourteen and eighteen inches respectivelv, and giving (inclusive of that procluced
by the lens complete) images approximately in the proportion of one, one ernd three cluarters,
and two and one quarter diameters from the same stanclpoint.
Aside from the benefit of obtaining in this manr-rcr larger images oI harl-ror shipping and
similar subjects rvhen working from shore, anothcr aclvantage of a long-focus iens, often over-
iooked, is the possibility of bringing out an interesting distance in morc harmonious size r,vith
near objects; for, although the image of anything in the foreground is easily regulated in size
by moving the camera a fen' feet, such slight changes cause practically no alteration of thc
distance.
As a case in point, I once found a pleasing subject of a sailboat hauled .,p on the beach
near a very long old lvharf which stretched away into the distance, and lr.ith the vessels along-
side added much to the interest of the composition; but one look at the image on the 4 x .5
focusing screen, as produced by a scven and one-half inch lens, was enough to show that the
group of vessels appeared disproportionately small by comparison with the boat in the foreground.
Upon removing the front lens, and using the thirtecn-inch back combination alone, the distance
393
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@
READY TO SAII, \\-ILLIAM S. DAVIS
calne uJ) in pleasing persltectir,.e, and then it rvas only necessary to step back a few paces to
reducc thc image of the boat to its former sizc.
I{any loggcd negatives lvill be prevented by using some kind of a lens shade to keep off
exccssive light, rvhich is plentiful on or near the u'ater. Care should also be taken, when lvith-
drarving or inserting the plateholder slide, to kcep the focusing cloth over thc back of the camera
or to ar.oicl direct sunlight.
The exposures nccded for shipping or open subjects along the water front are short as
compared u'ith those required for inland scenes,on account of the greater luminosity of the shad-
ou's brought about by relraction of light from the surface of the water; but whcn strong tonal
contrasts are Prescltt, as happens u.hen near objects in shadow appear against a distance of
ltrightly illuminatcd u.ater, any i,rnderexposure of the shadows must by all means be guarded
against, since forcing dcr.elopment to try to obtain detail in those parts u'oulcl simply result
in blocking up the lighter passages into an unprintable mass and make a bad matter worse.
It is a good ruie ahvays to employ bached or other variety of non-halation coior-sensitive
plates as an aid in taking cetre of cxcessive contrast u'hen present, and also to allow greater lati-
tude in tiniing the exposure for all subjects.
From a photographic point of vierv, probably the most satisfactory lighting, especially
for open harbor vie$,s, is met with on days rnhen the sky is fult of soft, vaporous clouds, which
394View original page 4Page 5 · Read text
F}HJ
ryW':&
XTANHATTAN FRO\'I A FERRY]]OA'I' \VILLIAM S. DAVIS
diffuse the sunshinc sufficienllr' to solten lvhat might otheru,ise I)rove excessively strong contrasts.
Under such conclitions, exposureson fairly ra"pid plates during the summer r-nonths,irctu'een
the hours <;f 8 a. lr. and 4 p. lr.',r,oulcl'.\'erirqelrom one fiftieth to one one hunclredth of a seccnd
u,ith stop ,i: 11 (L-. S. No. li) fcr shipping u-ithout dark <;bjects in thc imrnecliate Iorcground,
but nith the principal olrject near enough to fiil a fair irortion oI the compositicn rvith rriddle
tones. Such cxposures, I'r. the way, arc quitc rairid cnough to secure vesscls moving at a good
speed, evcn vu'henthe rien'is taken from anothcr bout in motion; but if the u.oriier is aboaird a
steamer, sone lrosition shciulti.ii possiblc, lle choscn that is not clircctlv over tlie rnachinery,
olr iLCCOunto[ thc r-ilrrations bcing lilieit'to cause a certliin amount <t[ "iuzzincss," even u'ith
a fast shuttcr.
When taking vicu's arouncl l-irarr-cs, lcngcr e-\l)osuresare usualll' ncccssarl', particuiarly
if buildings of sufficicnt height to cast strong sha.dor'r,si-rrcin thc r.icinity. Just hcxv much longer
can only be determincci l.rv triai cr the use oI a goorl exT)osuremcicr; br-rt as a rulc it u,or-rldbe
at lcast trvice that nccclcclon the rvater. anrl often rnore.
Very beaLrtiful clTcctsof thc utmost lcnal clelicacy are to l-leseen on loggv or mistv mornings
rvhc'n the sun is jLrst brealiing through the hazc, rvhich givcs such cmphasis to thc grarlations
of acrial perslrectivc in thc rcccciing plancs oI the subject. This quality of nrist can oftcn be
used adr.antageouslv to aclcl clistinctiotr to near cl;jects bv separuting them lrom u conlusing
bacligrouncl. Unlcss the sun is coml;lctcl.v shut in, it is not neccssary to give much i[ anr. nrore
exposure, as the tonal scale l;eing of sirorter rangc) thcrc is not so much clangcr of 1;roducing
a harsh rcsult as is the case in clclLr l'cather.
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***@#"
SOLITUD]I Tffi H. T. IIEISER
tgrophic .Sociel,y of Philadelphia
I havc, in trying to give an approxima.te idea of the exposures necessary under various
conciitions, mentioned rvhat would be about right for fairly rapid plates z.uithouta ray filter,
because it is not always practicable to use one on harbor scenes; but lvhen it is possible to give
the necessary increase of exposure which a filter calls for, it will often be found a great benefit
to cmploy one of medium depth. When, for instance, there are heavy shadorn'sor warm color
in ncarby objects against a delicate blue sky containing light clouds, it is possible r,vith a suit-
able screen on t.he lens to expose fully for the shaclorn'swithout losing the quality of the sky;
or again, rvhen it is imllortant to preserve the relative values of u'hite sails ancl clear blue sky
(as in " Ready to Sail "), it is much easier to obtain the desired differentiation between them when
a filter is used.
In the matter of development the main points to observe are: To use a clcar but moder-
ately soft-working developer of medium strength, ancl stop its action before the highlights of
the subject become opaque in the negative. I have no pet formula for the purpose, 6ut of late
have generally employed an edinol-hyclro solution of sufficient strength to produce a clear,
soft negative, inclining somewhat toward thinness, in about four minutes at a temperarure
of 60" Fahr.
If a plate proves to be overexposed it is best to keep on developing for the usual time and
then, after fixing, clear with a hypo and ferricyanide reducer, although if discovered promptly
the plate may be rinsed and then transferrecl to a cleveloper containing a good close of bromide.
396View original page 6Page 7 · Read text
t;*,ffi,
THE LONG RU\ \\'RE('K ROYAT, PHO'I'O. ('O}'lPANY
A TRIUI,{PH IN NtrWSPAPtrR PFIOTOGRAPHY
G. D. CRATN, JR.
RECtrNT article in Clollier's Weeltly by Will Irwin, who rvrote about the work of the
staff photographcrs of the daily newspapers and l)ress associations, gave the public
some idea of the difficulties and dangers which frequently surround the labors of
the commercial photographer, w.hose work must be done quickly, under disadvan-
tageous circumstances ancl, for thc most part, r,vithout any assistance whatever.
It is not only in Neu' York and Chicago, whcre the daily newspapers have
learned that illustrations are absolutely necessary to give life to their pages, that the field man
has found plentl,- ol' material to u'ork on. In many of the smaller cities there are commercial
photographer-s, a large part of rvhose u,ork is done for the press, ancl r,vho are constantly makirre
difficult exposures and putting out r,vith splendid skill prints rvhich are as goocl as though takeri
in a studio u-ith all the aids of graduated light and painted backgrounds.
A notable erploit in this {ield rvas recorded in January, when a hcad-on collision occurred
at Long Run, Kentuckv, eighteen miles northeast of Louisville. Two passenger trains, one the
"Legislators'Special," running from Louisville to Frankfort, the State capital, and the other an
unassigned Chesapeake and Ohio train, crashed into each other while rounding the Long Run
curve at top speed. The cngiile crews of both trains, four men in all, were killed and more than
thirty i)assengers\\'ere injured.
The rvrer:k occurrccl about sir o'ckrcli on the er-ening of January 16, an hour u,hen it is pitch
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dark in midwinter in Kentucky. Trvo hours later, after the railroad officials had informed the
newspapersof the real seriousnessof the affair, Louisville dailies at once decidedupon front-page
stories of the disaster,and at nine o'clock the photographerwas cailed from a party at his resi-
dence by the city editor of the Cour'i,er-Journal. He was commissionedto get a pictpre of the
wreck, notwithstanding the time and the conditions, for in the bright lexicons of the newspaper
man and the commercial photographer there is no such word as fail.
The photographer and his assistant secured the necessaryequipment from their shop, and
hurried tt'ia special electric car to the scene of the collision, arriving shortly before ten o'clock
in the midst of a driving wind, a ten-inch blanket of snow covering everything, and a temperature
well below zero. Even handling plates under such conditions bordered on the painful, not to
speak of making a satisfactoryexposurein the dead of night, and the cameramen saw that they
were in for trouble before they could secureeven approximately good results.
The front of the wreckageof the two locomotives, the logical feature of interest in the head-on 'collision,
extendedin a chaotic massfor a distanceof forty feet. The operator set up his camera
about twenty-five feet from the object, and prepared for the exposure. Ordinary flashlighting
in a driving wind which bore stinging particles of snow was out of the question. An electric
flash was attempted, but failed, the wind diffusing it to such an extent that a plate impression
was impossible. An original invention saved the day.
A blow-pipe flash of unusual capacity had.been prepared for just such an emergency. The
lamp is made of brass throughout, of sufficient size to hold four ouncesof powder. This amount
of fuel wili burn briiliantly for a minimum of thirty secondsif blown vigorously by the timer,
and can be made to flare for a full minute through ordinary pressure,according to the demand
of the occasion.
Through the medium of the special lamp two twenty-second exposureswere made on the
sameplate, a ten-secondinterval elapsingbetweenthem. Owing to the darkness,there was no
danger of the plates being injured in the interim. The second exposurewas mad.eto insure
thorough detail in the plate, for the photographersrealized that overexposurewas infinitely more
desirablethan undertiming in such an event. After the first plate had been exposed,a second
one was made, the exertion of ploughing through the snow with the blow-lamp so as to diffuse
light both to the right and left almost exhausting the camera men. At twelve fifty o'clock,
almost worn out in body, but reasonablyconfident of good results from their efforts, the two
photographers reached their shop and prepared to rush out a wet print of sufficient size in time
for the morning edition of the Cour'ier,which was being held up for the picture.
The development and printing of the wreck pictures were accomplishedin record time. A
special strength developer, made by u formula which has been worked out by the Louisville
experts, was used, and the hypo bath was of double strength, to insure rapid fixing. While the
clearerplate of the two was still wet it was immersedin a twenty per cent alum solution to harden
it, and from the 8 x 10 negative a 16 x 20 enlargement was immediately produced. The enlarge-
ment, made direct from the wet but hardened plate, was developedand printed through light
from a twenty-eight ampere Aristo incandescentlamp on a 16 x 20 sheet of Monox bromide
paper, the entire processof development, fixing, enlarging, redeveloping and fixing, and printing
consumingjust fifteen minutes.
A few minutes before the wet print was ready for delivery the Cour,i,er-Journalofficeswere
phoned to, and a photoengraver was assignedto wait for the picture, in order to prepare the cut.
This work was immediately rushed through, and the mail edition went to press at two o'clock,
about an hour later than usual, containing photographs which, through the expertnessand energy
of the Royal staff, were a complete " scoop" for the journal, which is directed by the editorial
genius of "Marse Henry" Watterson.
398 .View original page 8Page 9 · Read text
THE DROVI'R JAMES \\-YPriR
F'irst Prize, May ComPetition
The equipment used on the Long Run u.reck job consisted of a regular 8 x 10 Century
camera ; a;f : 5.(t lens of Gcterz manufacture and Standard Orthonon plates. Immediately follolving
the dclir.ery of thc nervspaper print, several others of permanent quality were got out and mailed
at trvo o'clock in the morning to several Eastern magazincs which are using the service of this
particular firm in illustrating evcnts of importance in the Blue Grass region.
The rvork r,vasnot especially profitable from an immediatc standpoint, but it r,vascertainly
rvorth rvhile lvhcn one considers the advcrtisement rvhich it gave. The pictures $''ere sold the
next clay, and in fact all during the rveek, to sporting goods and photographic supply houses,
rvhich, in turn, distributed them to the public. Of course the original nervspapcr prints Lvere
paid for at regular rates.
The cornpany rvhich made tl-reillustrations is norv established in headquarters u'hich present
somc original fcaturcs of interest. On January 10 the old olljces of thc conccrn were gutted by
fire, and arrangcmcnts rvcrc immediately closed for the occupancy of a threc-story building,
which has been htted up in an cxccllent fashiorr. The building is one hundred and sixty feet
deep, containing commodious space for many differcnt photographic dcpartments, and possesses
the featurc of a forty-foot ground-glass skylight covering a concrete-hnished studio in the rear.
The copy rvork of the concern is chiefly hanclled with a 22 x 28 camera, of a type rvhich is
said to be absolutely unique in the United States, as there are only trvo instruments of this size
in use in America. The mammoth camera is of Gerrnan manufacture, cquipped rvith a slow-
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7;; ::;,t::.'
IN TIIE NIGIIT WATCIIES O. L- GRIFFITH
speed lens of a quality r,vhich sufficed to make the instrument itself cost $1480. The big camera
is rarely taken out of the shop for regular jobs, but it has occasionally been used in making the
picture of a sky-scraper or a panoramic view of a manufacturing plant, an express wagon being
chartered for its transportation from place to place.
An eighteen-inch pair of condensers, made to order in Chicago several years ago, serves to
expedite copying and enlarging work. With this equipment supplementary to the big camera,
a copy which it would ordinarily take thirty minutes to complete is finished in the minimum
time of five or ten seconds.
This company never enlarges from a print, but invariably uses the original negative. Han-
dling a wet plate in the process of enlargement is a matter of painstaking care lest the negative
become streaked; but reasonably efficient circumspection will suffice to turn out an enlargement
which is in every \n.ay more perfect and desirable than that obtained from a print, according to
the commercial photographers of the Blue Grass metropolis.
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l
M ENT Euro
NO NEED TO ADVERTISE
NCE upon a time, not many years ago, a certain member of a prominent manu-
facturing company in the photographic field severed his connections with his
associatesand started in businessfor himself. At first he made goods on a small
scale, doing rather a special business in lines which the larger makers could not
handle profitably. His acquaintance with the trade was thorough, and he was
well liked, so it was very easy for him to get business. The quality of his different
pioducts was also of the highest standard, and the trade sold them so easily and found the
repeat ord.erscoming in so rapidty that the manufacturer was obliged to build a factory and
increasehis force to meet the demand. Up to this time he had advertised in a small way, but
now he decided to save such a uselessexpense. We saw him in his home town soon after orders
had been given to discontinue his copy. He was busy as could be, he told us. The orders were
piling in; all the dealers were stocking his goods; the factory was working overtime. Under
these circumstances,there could be no need to advertise.
A year later, happening to be again in -, we met the contented and prosperous
manufacturer on the street. Fortune was still with him. Dealers and consumers who had
once put in or used his goods remained faithful and new ones kept coming. He was expecting
to seehis products on sale in practically every stock house in the country. He had a complete
Iist of live d.ealers;they were all his friends; he was busier than ever. What would be the use of
advertising?
This went on for a while; but we noticed that we were hearing less and less about his lines
of goods. Could it be-perish the thought!-that the dealers were no longer pushing or
selling them? Those from whom we inquired told us that the goods were all right and were
selling well. A few months afterwards, however, they disposedof their remaining stocksforwhat
they would bring. The manufacturer had failed. The other day, in going over our list of manu-
facturers, we gently lifted out and dropped into the waste-basket the card of the man who saw a
no need to advertise.
PARCELS POST
Evnnv photographer should lend the weight of his influence to the movement for a Parcels
Post by advising his senator and representativesof his feelingsin the matter. A general Parcels
Post will be of great assistanceto the photographic public, if adopted, rendering it possible for
them to deliver orders and get fresh supplies from dealer or manufacturer, irrespective of their
distance from a distributing center. No halfway measure should be satisfactory. A rural
Parcels Post is not what the public desires,and is simply a makeshift designedto still agitation
and.preserve the interests of the expresscompanies. Insist, in writing to your representatives,
that a weight timit of not less than eleven pounds and a rate of not more than eight cents a
pound should be fixed by law.
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A CORRECTION
Trrnoucn an unfortunate mistake we neglected to credit an honorable mention picture
to the right author. "The Old Mill," a reproduction of which will appear soon, is the work
of Ward E. Brvan, not of F. E. Bronson,as printed on page 342 in our June issue. Mr. Bqonson's
honorable mention picture was entitled "The Voice of the Lily." The hiatus eliminated the
name of Mr. Bryan and the title of Mr. Bronson's picture. Our apologiesare hereby made to
both gentlemen.
OUR COMPETITION
TnB awards in the May competition, which closedJune 7, are as follows: First prize, "The
Drover," by James Wyper. Data: 4 x 5 Graflex camera, fitted with Goerz Ce\or lens of 7-inch
focus; 1-25 second,at f:8 at 4 p. nr. in June on filmpack; bright sun: M.-Q.;Wellington Cream
Crayon bromide enlargement. Secondprize, "fn the Night Watches," by O.L. Griffith. Data:
8 x 10 view camera,with lO-inch Wollensak R.R. lens; 10 seconds,at 4 p.m. in Aprii, near north
window on Cramer Crown plate; metol-glycin; print on Professional Cyko Buff. Third prize,
"Almond Blossoms," by Edward H. Weston. Data: 6:%,x81,4,Seneca camera, fitted with
Wollensak Verito lens of lIll-inch focus; quick bulb exposure,with stop /: ll at 10 a.u. in
January; sunlight in southern California, on Seed Color Value plate; tank pyro-metol; print on
Artura Buff. Honorable mentions were awarded as follows: " Sand Castles,"James G. Wishart;
"River Mist," Julius Pavek; "His Nose Out of Joint," Stanley C. Arthur; "Portrait Studyr"
F. E. Crum; "The Old Tree," GeorgeS. Hawley; "Alice," Erwin Marty; "Faithful Sentinels,"
J. P. Hambly; "When Work is Done," Mrs. C. C. Washburn; "Florida," Beatrice B. Bell;
"No North, No South," John J. Reilly; "My Lamp," Rosalind Elkan; " Glasgowto New York,'"
Thomas Farmer; "Looking from an Airship," P. Benson Oakley; "To the Right," John E-
Prior;"Reflection," Taizo Kato; "ARayof Sunshine,"D.H.Brookins; "Summer," F. L. Evans-
LITERARY COMPETITION ON POSTCARDS
Wo judge from the number of questions we receive about methods of producing postcard
pictures that this topic is absorbing a large share of both amateur and professional energy just
now. We have accordingly decided to make the subject of our next literary competition the.
photographic postcard. We hope that many readers who have had the experiencewill not be,
discouraged from entering by any fancied lack of power of etpression. We want the facts;
if you have them, simply write them down as you would tell them to a fellow worker, and leave"
the final form to the Editor. The special points which should be brought out are the materials.
and methods which are best for rapid production of prints; for instance, the so-calledpostcard
studio and the way to run it profitably, and the production of view cards in quantities. Those
who have engagedin either branch of the businessshould be able to point out the short cuts"
the economiesof time, material, and labor, and the best ways to handle the work in orderto make
a profit. The usual prize of fifteen dollars is offered, and all other available articles will be paid-
for at space rates on publication. The closing date is October first.
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R[\TER MIST H onor able M ention, M ay Competition JLTLIUS PAVEK
4 x 5 Seneca camcra; instantaneous exposure ft !: 16 at 5 p. M. in April; Cramer plate; metol; print on Artura Iris.
nJur.rus P-rvlr<. "Xlountain Mist " This picture is one of the
most satisfactory representations of tlilight which has come to us
for some time. It givcs a vcry satisfactory renrlering of a sunset,
having excellent values in the shadows, r,vithout the absolute black-
ncss, so oftcn sccn in so called sunset anrl moonlight cffects This
sccne would not havc bccn nearly as sirtisfactory if given with more
exl)osure, as the detaiis in the foreground and middle distance would
have been confusing and irritating, rvhereils now you have attractive
masscs combined rvith pleasing quality in the lvlter. This picture
was a\vardcd honorablc mcntion this month.
Hrnslrnr A. Sn-qnp. " l'he \Ialley." The light rvas unfavorable
at the time lvhen you took this picture, the pines on one side being
in deep shadorv, rvhile the trecs on the other, just lcaved out, look
,.ls if they were coverecl rvith snorv. Considerably more time should
ihave been given to soften thcse contrasts and to bring out the values
of the sky and distance.
GBNr Bovns.-"In the Park." In orrler to conccntrate the in-
tcrest in this print, wc rvould suggest trimming an inch from the
top, making a horizontal panel. In our own practice we rvould then
trim closely on both sides of the figure to climinate the unnecessary
detail of the empty bench, making a panel scarccly more than an
inch and a hall by three.
EowrN L. Jecx.-"A Study in Nature." Your pl-rotograph oI
the cecropia moth resting on the sprouting ferns is an intercsting
conceit, though apparently an artificial arrangement shorving a
dead moth. The values are fairly lvell rendcrcr'l.
Jav F. Nreonnr.axnan.-"The Littlc \fusician " The principal
criticism."ve have of this child study is that the little girl's attention
is not clirected to her music, but to one siclc. In such poses you
should insist on the actor carrying out his or her part properly, with-
out paying attention to the rvork of the cztmera.
*J. BoNaNxo.-"\[y Dolly." You succccderl in making a very
interesting picture of the little girl and her dolly. The pose is nat-
urirl and convincing, and the baby's zrttention is riveted upon the NtY DOLLY
doll, as it should be. \\re rvould suggcst that trimming off a querter of 6llx8rrlz711-in. focus;Carlton2 sec.viewat camcra,/:6 5
of an inch from the right and a little from the top l'ould somervhat 3 p. u. near small west rvindorv;
improvc the Irrangcmt nt. Non-Curling print.
404View original page 14Page 15 · Read text
AN INTERIOR FRANK S. HUBBARD
4 x 5 Senecacamcra, lvith triple convertiblc lcns of 6-in focus; 6 min. at /: 16 in bright light
on Cramer Crown plate, at 1r'.1r. in June; M.-Q.;print on Normal Studio Cyko.
*Ir. S. Hussen-o.-"An Interior." A trifle more exposure would F. E. L,r,runn.-"Ronrlrr." It seems to us that the lorver part of
have given you a little more harmonious negative and allowed you the cheek of this subject is rathcr too dark, which mly have been due
to print out your shador,v details a little more fully. Otherwise you to the natural condition of the skin, as the lighting seems to be fairly
have produced a pleasing interior, though perhaps the furniture is strong on this sidc. We hardly see the point in cutting the bottom
a trifle crowded. of the print just rvhere you have. Either a half inch less or else the
H. Laucrrr,rN.-"Snowballs." This photograph of flowers is not rvhole leg should have been shorvn.
at all satisfactory. In the first place you have crowded far too many JonN S. Forr<-"River Sccne." We see no merit whatever in
blossoms into your vase, and secondly you have not focused sharply, thc print rvhich you have sent us. Thc exposure was far too short,
an indispensable requisite in the photographing of flowers. The so that the whole forcgrounrl is one mass of sbarlow without detail
exposure was hardly sufficient to give shadow detail. oI any kind, while the sky in the background is pure lvhite paper,
EtNrs:r $gspB11.-"fhe Plum Trees." The photographing of as is its reflection in the wirter. Such extrcme contrasts as this do
trees in blossom against the sky is a rather difficult subject., and while not exist in nature, ancl thcrc is no rea.son Ior their being shown in a
your exposure seems to have been right, the space in the orchard photograph, when full exposure is all that is necessary to avoid
was so crowded that it was hard for you to gct a suitable vie.,vpoint. them.
The ideal condition for a photograph of this kind is the edge of the B. A. Ponr,run.-"My Pet." We cannot understand why you
orchard or a few trees in an open space. Consirlering the limitations took this photograph from such a high viervpoint, as the perspective
of the place, you have done very weII. of the carpet running up to the very evident backgrounrl is disturb-
FnqNr G. Mevnn.-"Brookside Lake." Your lanclscape is taken ing. The camera also should have been so placed that thp right edge
from a very satislactory viervpoint, and with its beautiful green tone of the backgrounrl would not be evidcnt. If the lens had been about
well reproduces the natural efiect \\re see no way in which you could on a levcl with the arm of the chair, thc rcsult would have been far
improve this at the spot. more interesting.
LewrN A. SreveNs.-"\\'ho's Afraid?" Your home group of the E. KrssrNcon.-"The Brook in Springtimc." Month after month
mother, the baby, and thc clog is very interesting. We rvoulci sugge-st $,e repezrt the statcment that one shoukl never photograph a brook
trimming a half inch or more from the top to improve the proportions. or a road from the exact center, so as to ma.kc a composition in tlte
Hrtnnnt Por,s.-"Playmates." Unfortunately this print rvas form of an inverterl "V" running into the mir1t1le of a print; yet
badly broken in the mail, but enough remains to criticise. It is every month lvc get pictures of this kincl. f.'herc is no beauty in
rather interesting as a study of unconscious chiklren, but one would such a composition, save in very exceptionirl cirses. Here you have
hardly like to see all child photographs taken in such zr r,vay that a. numbcr of trees of equal importance, and no particular reason or
no trace of the face can be scen. object in taking the picture.
R. M. Goso.-"Study of a Branch." Your iclca of imitating the Fn,lncrs P\nq1s11.-rrl4other and Child." Srve for some slight
subjects of successful pictures as nearly as possible is ir goocl iclca to cvidcncc of motion in the baby's face, you havc obtainecl an interest-
follow to a limited degree, but you should feel that every picture that ing and satisfirctory picture. The details of the chair and the shadows
you make in this way is an improvement on the original, rather than are a trifle undercxposed, but under the circumstanccs this was
an imitation of it. In this case we do not think that you have chosen probably ncccssary.
a sufficiently graceful spray to make an improvement on the model F. C. McCr-.qrN.-((Cows in Pasturc." This is a satisfactory
you have taken. It does not fill the space pleasingly, and the masses record of fact, u'hich wcll serves its purpose. Your print, horvever,
at the left, where the branch enters the picture, are ungraceful In has abrasion marks, which can be wiped off with alcohol on a cloth.
addition, when photographing on such a small scalc as this, you Glossy paper is especially subject to these, and they should be
should take the picture in good focus, and then on enlargement you cleanetl off before the work is delivered, or avoided by the use of
will get pleasing softness. non-abrersion rleveloper
405
www.orphancameras.comView original page 15Page 17 · Read text
oLD \\'trLSlI \\'lNDll ILL \\\\ |lr,l'lr\-NrL t , l \ \ l l(l i 1I Iflu-\r'\sI ( ) I l \ s
l)/tx6li Conlc],- Long-Focus camcra. rvith rapirl orthog_raphic lc_ns.o[ 6li-in..iocus; 1-5 .sec..:rt/:8. at 11e u.
in -("i,te-bcr, o1 Cadctfc Rol'rLl SlLnrlard Extri Rapirl plate, in tlull light; hyrlrochinon; Azo E.
*\\'rr.t.t-rn R 'I'rrours.-"Ok1 \\'clsh \\'indmill." This is a vcr-v mcnt is rather intercstit.rg ltnrl thc scenc pleasing. 'fllc mlLrkcrl
interesting rccorrl LrLken uilh proper cxl)osttrc from a carclully unrlcrcrposttrc, horvcvcr, givcs you clcnsc l-rlack s]ritclon's ltntl snow
selectcrl point ol vicrv- \\-c rroulrl preicr to see thc rvintlmill not u'illrout vtluc, rvlrich is nol r truthful representation of conclitions
quite so ccntral in the print. If yor-L harl inclurlctl rL little rnore at cxisting rltLring tlrc time ol c\posurc.
the right hanrl, anrl cut olT sornc lrotn tlte lclt. the compo-*ition u'ottkl L rtrn rxt:tt I)rr(.;u. -" Rcllccl iorts " 'l'his print rvill I'rc grcatly
havc bccn ]rcttcr inrlrror-crl. as far as sirnlrlicilf is concol:llc(I. l.ry ctrLLing it in tlvo and
Hlsrttn N-r't'tr rs ' I'uin l:iirchcs '' 'l-his is a vcry itttcrcsting rliscarrlirrgthc right-ltanrl h,llf Yrttt lottltl thcu hlrve thc group lrI
LLnrlscapc composition, but rvoultl llLve bccn l-rctLcr lor a little mort: trces tl;ovc, thc rcllcctions lrclrit, litltl thc tlilriotrlLl Iinc o[ tllc bank 'l'hc 'l'hc uncltlrcxlloscrl tlLrlgle ttn thc forei{rotttr<l blt-* a trille oi nrnnir.rg actrss tt n 1ilr.:ltsitrgltrtglctime to give Lhe sk1'morc valuc. 'l'hc one- is lr very right- is no urllition to ln)or ;lrinl {tlr r:sliecilLlll out thc lricttlrr: hlLr-e l-ieert rvatchedunnecessirry dct:ril. u'hich shotLlrl 'j'his "tlis hlLs c(jrrcct- t)eli{lrt " I{ry I)r,r,ri:trr;n lrhotogntlth projects itrto thr: still has lrcclt cttL oii, Jruttl're sapling, l'hich lricttLri
'I'his rrrrangemenl of Lrecs Iclrning ot'cr t l.rrtuk, l'lticlt ntn: ttll to c\l)osLlrc arrl i:rtcrcstitrg itrrltltg(tlllollt srt tltltt u'e scc litLll: Lo criti-
tlrrm to iorm n "\." nhval-s loolis u- littlc unst:rlrltr cjsc lt is unirrtunltc thltt 1'ort hrtrl tlrt';r: rlciccts in tllt llegilLivc,
'l']tcrc is nltturall,r- u'hic); rcrlLtircrlto Lc rcLotLchctlo;t thc irrirrt; lrut u'c u'ortllI sLLggesL H rnt'lt f I r:ilrr;c.r ".\ Ilclic o[ thc Past "
a ccrtain loclLl intcrcst in cven LIrc rvrccli ol sucll iln cllorlrotl: tl'cc thlt instt:rrrloi ttsitig ttrrlitr:L11'l-rluclrl:Lckitlli, l'ott ctt-t1riL;.t'InllilLilli
ls this lruL iL is ccrtainll'not e thing oi I.icautl- --\ccc111.ingthc rlcsire or gril) ulittr colirr. ivhiclt ivill tn:Llic lt mttch neatcr joll.
of lrhotograirhing it, 1'ou have tnarlc lL goorl sclcclirltt of vicl'ir<iint ('l rtrt.i.s I I{r,;rrr. ('lttlpirrl Onc cltt'ttllltkc cn<lttglliltLcrcst-
anrl u'cll plrcerl it in the lricture slxrcc Yottr ncglrtive is a triilc lllLt, irrg liicUtrcs rtrtttltll tr carttlr trl rcnrlcr it t'rltircll'tllllltcLlssltry to
lLnrl *otrlrl Jre inrprovcrl lr1'lrrintinq on l lrtorc cottlrll.tl'p:l1rcr tllan u"llslc 1rl rte. on -srtch llrLiilciltl ;lrottps as Llris lI r'ort tl'tttsL]llLve l
the r-:rrictv uhich vou havc userl. ir01'llrlrlirrg n gull. l)r-rthinr out in the u'rtotlslrnrl liclrls. $hcre thcre
Asrt r I)rlt-t,l;Lt.t '',\ \\ intcr Altcrnooit f-oltr lrictrtrc is :ls u-oulri l-,r:sornc cxctlsc ior lris lrirning lLt sonlrltllitrg \-ou llu''st knoir'
{'xrrl lls 1'ou coulrl mlkc u'itlr thc linritlLliotr. rrf tl't oiltirL which }'(}Ll t iLrt 1ort tr ttulll ttot t:trgltgc itr lL l.rorirtg rnati:h rvithin lt'l'htf rttt tlr trvcr
ltLvc. :\t iull opeiring 1-ottr lctrs uill ttoL cttt- sll:lr1rl,r;lttlrl to gtL oi lr cortlrlt tti 1'our fricnrls l ho tvcre clrrrf itr'l gttus cltiLtlcts 'l'llc llr- oi lt rlis:lslrortscolIisiitn *'oLtlrl ltc too grelit ltl tttllcr ulrr,l;, ii lor-t srtisfaclory clctlril. l'ou mu:t stol) rlon'tt tt.t sirlt'ttl or lr.lss
rlngcmcnt is intercrling rrnrl tlte cxl)() '{urt is vcrl go'i,i rnu,it tirlic 1rii.:trtreso[ 1lt:clplc.lluL lhcn'r in ltrtttr,tl attitttrlc< lLntl
Ervlrr (i I'r;tti Your LrntrrtmcrllihotogrtLlih .lrol itrg lt l;aJr1- not in irnlrr,ssilrlc lrrsitio[. ltssuntr:il jusL for Lhc lrttrlrtxe tlI tltkirlg lL
hcltl b1' it-. motltcr, i; lrn interc.tittg ltntl lrlt'llsitlll rcclrrtl ttI llol-t.tc JrictLrrc. \-otrr ncgltLii'c is lrlrrl[.\' rcLicLLlrtLcrl'1rr'rlrlllrly tlttt to toir
lifc, anrl l otr Jltr.-e rlotre l otLr rt ork cr.trtttnell' ri'tJl. irlclLtrliil.{ the nrrrirt ti'lLLci'tlric(l in thc tlttr-elopirlgView original page 17Page 18 · Read text
*Steulnv Bauow.-"Twenty Belorv Zero." The satisfactory
photography of such a scene as this is rather difficult, but you have
made a very interesting record, ancl have preserved the values in
snow, frost-laden trees, and sky very rvcll, without giving marked
undcrexposure for the dark parts of the picture. The composition
would pcrhaps be improved lty cutting off the snow-covered tree
at thc right ancl a littlc from the forcground.
ConNorrus Korr.-"Through the Woods." This photograph
o{ a river sccne is interesting, though rathcr panoramic, ancl shorvs
satisfactory exposllre; an<I it lvoulrl be diffrcult to suggest irny means
of bettering thc composition rvith such a wiclc expanse of country as
this. Such pictures as a rule are not espccially interesting, bccause
of the diversity of subjects represented and the lact that there is no
principal object to holcl the eye.
Ernrr, L. Surlrv,rN.-"The Sunset." Your sharlorvs are far too
black to harmonize rvith the amount oI light represcnted in the sky
In other u,ords, your exposure should have becn much longer to
retain the natural values of the clouds and give a little feeling of
value in the shadows rather than this inky blackness.
C. H. Rosnnlcr.-"Grandfather." The lighting of this portrait
is unsatisfactory, being too strongly concentrated on thc right-hand
side. In addition, your subject is leaning backrvards too much, tbe
impression being as il he u.cre falling backward. If the head hacl
been tilted a littlc foru.ard, it rvould have been much better.
A. M. SumoN.-"A Cup of Tea." This is a very satisfactory
composition, though a little morc time would perhaps have given you
better values in thc flesh tones as rvell as the hair. The position of
the hand holding the teapot is, horvever, not satisfactory, the angles
being too rigid. If this arm had sloped a little more and the teapot
had been turned zrbout so that the arch of the handle showed. vou
would have escapcd so many pirrallel lines.
J. E. Nttw.-"Calcleno Falls." You have made an interesting
record of this scene, in u.hicl'r thc ',vaterfall occupics a position of
principal interest. Per}raps there is a trifle too much forcgrouncl,
but otherwise you secm to ha.ve made a fairly good cxposure.
J. N. Hrrluousn.-" May I Go? " This photograph of a little boy
clinging to his mother and pleading for permission to clo something
on lvhich his heart is set is a vcry pleasing and well-clone photograph
of home life. We should by all means, howcver, recommend you to
make a square print instead of the oval, as the straight lines of the
.well clochair not harmonize with the oval shape. THE SEAMSTRESS BEATRICE B. BELL *Br-a.rnrce B. Brlr,.-"The Scamstress." There is much human '4 x 5 Auto Graflex,_with lens; 1-5 sec. at Zeiss-Kodak J:6.3interest picture in girl this getting of a little ready to make room at 5 p. u. on N.-C. film; pyro; Velox.' dolls, -.[in
408View original page 18Page 19 · Read text
t:1J
':tT**w,-
:'
MOUNTAIN ROAD IN WIN'II'R J. G. KINNER
No. 3 Kodak, rvith Zeiss-Kodak lcns of 5 in. Iocus; 1-25 scc. at -fanuary, rvith intense
sunlight, on N.-C. film; pyro; print otr Soft Cyko.
clothes, ancl the absorbed air with rvhich she looks at her thread to
seelvhether she has got enough is very interesting. Perhaps a trifle
more exposure would have been better.
*J. G. KrxNlR.-"Nlountain Roacl in Winter." You have pro-
duced a thoroughly satisfactory piece of snow photography, both
in quality and arrangement. Perhaps you could dispensc with a
triflc from the foreground, lvhich would lorver the horizon a littlc
bit; but otherrvise it would be hard to improve this print.
'l'he interest in this subject is A. C. linrrz.-"A Shady Path."
concentratecl in the vista, and the picture is materially marred by thc
underexposured and densc branches at the top. Our arlvice is to trim
ofi about tt'o inches and a half from thc top and an inch ancl a
quarter from the bottom, and the remaining horizontal panel rvill
contain all there is of interest in thc print. If you must h:rve the
whole upright panel, make another exposurc, giving consiclcral-rly
morc time.
J. A. Dexov.+N "A Study in Brown." Yottr print is very
attractively presentcd rvith its doublc mount, and mllkcs a very
pleasing impression. To our minds, horvever, thc lighting is a trille
harsh, and is too much accentuated ulron the bust, rvhen it shoulrl be
'I'he
toned dolvn here anrl concentratecl morc upon thc face. line
lighting is attractivc, ancl if the face rccciverl the rvholc attention,
you rvould havc a very setisfactory piece oI portraiture.
Roennt E. Sror-r,-"The Summer llomc " This is a vcry plcas
ing record picture, shorving cxcellent technical rvork. As an archi-
tccturzrl photograph, horvever, our criticisrn s'oull bc that it <loes
not shorrr enough o[ the ]ruilcling. \\'intcr lvoull bc a much better
season of the year to photograph this structurc, on account oI the
dense trees surrounrling it.
*S. 1I. Gorrscno.-"'fhc l)rlnving-I{oom." This interior, taken
n'ith only the natural illumination of the room, is a very satisfactory
piece of l.ork, and we hardly scc hor.v you could impro"'c it in arrrrnge-
'l'hc values are rvell renclcrcd andmcnt. illuminrrtion. or otherrvise.
the perspcctive is very satisiactory. 1'he rendering of the lighted
lamp in the background is goocl, anrl this irllorrls a natutai center
THE DRAWING ROOM S. H. GOTTSCHOof intcrest, rvhich greatly helps the composition of the print.
Goerz Tenax camera, 10 x 15 cm., with Goerz Dagor lens;
(The PorlJolio was closcd June lst) 15 min. at/:8 by electric light on filmpack; pyro; Seltona print.
4c,9
www.orphancameras.comView original page 19Page 20 · Read text
Sterp Sncnetarres NBw Mer,reens
The following members have been appointed State secretaries ^4?4.. Y. E. Melott, Tipton, Okla. 4x5 and SxZ D.O.p.
for theil.respe,c-tiveStates, and for the prbsent. at least, will serve rortralts, town and tarm vlews.
also as album directors, to start circulating albums in theii respective 495. James .2ick, Box 367, Sudbury, Ontario, Canada. post-
States. card. D.O.P. Genre, engineering,snow scenes.
2.62: B. A. Mills, 14 Whitehall St., Atlanta, Ga. (also for S. C. ^ 496. . J. . E. Winter, College View, Neb. postcard. D.O.p.
and Fla.).'Charles General. Also State secretary for Nebraska. Will the other mem-
167. Mcleonhardt, 1023 North 8th St., Terre Haute, bers .in that,,State please communicate with l.lr. Wlntei aUout
Ind.. startlnq an alDum /
1i9. J_.W. Chqayick, Box 204, Middlesboro, Ky. a.9!. ^ lVay4e Holt, R. D. 4, Box 74, Anaheim, Cal. 4 x S. D.O.p. 321. B. Carroll Rounds, Box 131, Strons, Me. and P.O.P. General.
20. GeorgeW. Sothead.11 Elvir St., Lynn, Mass. .498. C. A. E. Long, Matinicus,Me. 21lxa1/,. D.O.P. Ma-
Charles_J. Shorver, 82 Harper Ave., E., Detroit, Mich. rrnes. 1l+.
300. Oscar C. Kuehn, 3405 Caioline St., St. Louis, Mo. 429. _ J. t_Lroskauer, 2{ W. 98th St., New york City. 2tlx arZ
139. H. L. Sadler, Box 724, Missoula. Mont. to 5 x 7. Will exchange D.O.P. speed and seneral ri'ith iovices.
337. !{. C. Swart, 2 Catherine St., Schenectady,N. Y. figure studiesin bromide and gum with advanced workers.
97_. Uo-yd Robinson, 68,1,East Burnside St.,-Portland, Ore. _ 5^0q Harold Foltz, 464 Rhodes Ave., Akron, Ohio. postcard. 348. Ralph B. Irwin, Culebra, Canal Zone,Panama. D.O.P. Landscaoes.
34. Burdette Harrison, 2t0 Lack St., Tarentum, Pa. * 5^01^.Gqo1x9!. Ciandler. 1054 Tilden Ave., Chicago, Ill. 4 x 5
17. C. B. Bolles, L. Box 351, Aberdden,S. D. D.O.P. and P.O.P. Postcards of seneral character.
179. Thomas H. Taylor, Brownwood, Tex. _ 5^0a B. H_artman,1757 West t+th St., Chicago, Ill. postcard.
327. G. H. Boyes, P. O. Box 337, Lancaster, Wis. D.O.P. Landscanes.
tl+. James M. Mitchell, 1033 Chambers St., Trenton, N. J. 503. Charles W. Chase, 32 Grant St., Somerville, Mass. 2rZx 233. George T. Spencer,642 7th Ave., Clinton, Ia. 3r4. General.
11q. B. R. 1Uiller, Box 36, Pueblo, Col. (Also for Kansas.) 504. Oscar W. Miller, 318 Third Ave., Peoria, Ill. Postcard. 418. F. L. Evans, 836 Beech St., N{anchester,N. H. D.O.P. General.
-- 29. Charles H, Partington, Gilmore Ave., and Madison Rd., CrreNcp oF ADDRESS
Cincinnati, Ohio.
35. W. W. Eurlson, Jr., Talcott Bldg., Rockford, Ill. __20.-Hazel St.,_GeorgeSalem,W._Sothead,Mass. Mr. 11SotheadElvir St.,is ieadvLynn,[o Mass.,start'anfromalbum10
496. J. E. Winter, College View, Neb. if Massachusetts members will send two prints and 25 cents in frrst
All readers of AnrnuceN Pnorocn,q.prry in any of the States letter.
mentioned who would like to contribute prlnts to ihese circulating 196. P. H. Irving, Vulcan, Alberta, Canada, from Box 1691,albums and receive them, are requestedio communicate with thi Calgary, Alta.
State secretariesand to join "The Round World Exchange Club." 321. B. Carroll Rounds, Haines Landing, Me., from Strong,
Secretaries are desired for other States not listed. and tiose who Me.
are interested are asked to communicate with the director on this 351. W. H. Stannard,1304 L St., N. W., Washington, D. C.,
subject. is away for the summer, and cannot answer letters unti'i Seotember.
Tbe TYRO'S TROLIBLES
A DEPARTMEI{T F'OR TFIE AB SOLUTE }{OVICE
@onlucte!bf Dr. t@a[colmDesnJ@fller
Under this heading toill appear a series of articles designed, to help lhe beginner wilh a f,lm carnera. Practical lessons will be
giagn qr the causes of failure, and. hout to aroid them, and. questions wi.ll be ansztered.Jor lhe benef,t of all, Address communications
lo "The Tyro's Trouhles," care of AMERICAN PEOTOGRAPEY,
CORRECTION.-In the June issue, page 352, in through May and June, on account of the maximum
paragraph ltead.ed, Slo.ps," the last sentence should, intensity's " coinciding with the summer solstice, June '(read, A good. value 211." 22, when the sun reaches for f : 14 is the limit of its northern travel.
Vaclrrow Prcrunrs.-Fortunately for the beginner, Users of the cheap single-lens outfit, with its single
most of his work is done in the summer months, when instantaneous speed of about 1-25, can get full exposure
the light is strongest, so with a little care it is possible at f : 14 on average landscapes in bright sunlight be-
to obtain excellent results with even the cheapest Buster tween 10 l. u. and 2 p. M. At 9 A. M. and 3 p. u.
Brown or Brownie. The light values will remain un- underexposure will hardly be noticeable, though from
changed through July and August, just as they did six to eight in the morning and from four to six in the
4roView original page 20Page 21 · Read text
€vening, the required full exposure having risen to 1-12 shade,T; stop f:11,2; intense sunlight,0; June, 12 trl',
with this stop, the films will show that they need more 0;Wellington film, th;thesum,9f, indicates rf second. I
time. Those who have purchased more expensive We place the camera on the piazza rail at a distance of
{ cameras, with lenses working at f : tt or /: 8, will find six feet, set the shutter to bulb, press the lever and
i that by opening up the lens aperture as the light count " one," releasing it at once. After p chat, we
weakens they can get well-timed snaps as long as the continue our walk, and see a bit of open fiel&with trees
{ sun is high and the light not very yellow. But even which looks attractive; so we return the indicator to the /: 14 lens will work wonders if the beginner will "I" and make a snap. Then we decide that we could
consult the tables faithfully and use a tripod and get a more interesting picture if we went within fifteenI
suitable bulb and time exposures. feet of the main group of tree trunks. On going close,
has now landscape average our former we find that snap- rHE BecrNNBn.-Indiscriminate TuB BaNB oFr is in shadow foreground the because class 5, bulb become ping call for a tripod and when conditions the
€xposure is what causes the film makers to grow rich, and near the lens. The tables tell us we need 1-10
for no one likes to be downed, and the average pur- instead of the 1-40 they prescribed for the same subject
chaser of an outfi.t keeps on trying to do the impossible. from fifty feet; but we are going to take a chance; so
For example, the other day I saw a canoeing party we give the snap. The next subject to take our fancy
land and go under the deep shade of a group of trees, is a little child watching the chickens in a hen yard.
where the camera wielder proceeded to pose the girls The shadow under the apple tree is a bit heavy, but
in a row against a fence and ran off a roll of six expo- it is not very near, probably at least fifteen feet from
sures in no time. After he had left, I tested the light the lens; so again we snap, trusting to luck that the
in that spot with the Watkins meter and found that film will permit half the normal exposure without
an exposure of 1-.5atf :8 was needed. This the amateur showing too much underexposure. After a few minutes
could have given in the form of a bulb exposure ol tf another friend invites us to sit on her piazza (you see
second atf : l4if he had taken along a tripod. Doubtless w'e are popular with the ladies), and while we are there
he told the finisher that the films were no good or spoiled we notice rather an attractive littie house directly
in development, never dreaming that he could have opposite. The sunlight is full on the front, and at fifty
taken more pains with exposure. Doubtless, too, he feet it surely counts as an average landscape; so we
would have requested me most politely to mind my know our l-25 atl: 11 is ample exposure.
own business had I ventured to offer him my tripod On another day we are in the city and take the camera
and a hint about the right time. Underexposure, then, along. The broad open stretch of an avenue seems a
is something the novice can avoid if he will use a tripod good illustration of a street scene which comes in the
^class and time as the tables suggest. average landscape as distinguished from the
Vanrous Sunlocrs.-Everything in sunlight at a picture used last month on page 354. On another street
reasonable distance from the lens and without near, we see a pair of horses standing near the curb. We go
dark shadows is a proper subject for a snapshot if there up until they pretty nearly fiIl the finder and snap,
is no rapid motion. Thus the beginner may commence knowing that they wiil be exposed enough because
firing on open, well-lighted streets in the village, con- they are right in the full blaze of.light, with no building
tinue in the fields or on the lawn of the hotel or cottage, near. Then we take another snap broadside on from
and along the bank of the river or the shore of the sea. a little greater distance. Continuing our walk, we
A quick glance to see that the sun is illuminating the meet a young man and choose him as victim for a
foreground and that the subjects (whether human or snapshot in sunlight at a distance of four feet. To
inanimate) are correctly placed and in focus is enough finish the roll, we take the camera to the seashore and
to settle the possibility of a successful snap. Probably make an exposure at 5 p. tr. The calculation is as
the best results will be had by using one speed of the follows: Sea view, 1; stop f :tl, 2; bright light, rl; 5
shutter, the one nearest the time prescribed by the p.lr., 1; Vulcan film, rl; sum 5, exposure 1-50. But
tables, and changing the stop to suit the subject. Let us we have no shutter speed of 1-50, only the 1-25; so
assume that we are actually taking pictures with a No. 1 we stop down to/: L6, at which opening 1-25 is correct.
Folding Buster Brown, and see how this can be done. Nothing else attracts us at the shore, so one exposure
Perhaps we may have some illustrations next month, remains. This we use up on the following Sunday on a
but I could not get prints ready in time for this issue. panoramic landscape from the top of a high hill under
This particular camera is fitted with a single meniscus these conditions: Distant landscape, I; stop f:22
3 r. rt., (U. cast View original page 21Page 22 · Read text
not need a fast shutter speed; but if you attempt to press the release. Of course these directions may not
take electric cars, wagons, and so on in street work, you exactly fit your particular instrument, but with them
will have to watch for the moment when the movement as guides you can readily work out a metlrod which
is least or you will get a blur. When the moving object helps you.
is fifty feet away and coming directly towards the FocusrNc.-With the larger cameras, the bnes pro-
camera or at an angle of 20" or less, your 1-25 will give vided with the efficient rapid rectilinear lenses working
good results. Mr. Ericksen's article in the June number at f:8 and shutters of several speeds, the results are
gives all the important details. As a rule, the tyro subject to another element - that of sharp focus. The
can make excellent street pictures by waiting until no scale is generally marked in feet from six or eight to one
pedestrians are in the near foreground. Sometimes on hundred. When using the largest stop,/:8 or/: 11, as
a windy day the trees blow so rapidly that a faster the case may be, it will generally be found that twenty-
speed than 1-25 is necessary. five is the best average setting for ordinary work, be-
Frxoo-Focus Pnonr.aus.-The camera with its lens cause everything will be sharp from fifteen to sixty-
permanently set at an average focus - the so-called five feet. Distances less than twenty-five feet need
fixed-focus camera - has one limitation, the near focal to be pretty closely estimated, and the pointer must
point. My snap of the young man at four feet was be set accurately on the proper mark. In every instance
purposely made to illustrate this point. As we shall make sure that the front is locked firmly and cannot
see next month, the image was out of focus because the slip.
lens on the No. 1 F. B. B. will not focus anything Hor-WoaruBn Tnounr,Bs.-After the films are
nearer than six feet without using a portrait attach- exposed, the tyro is often so eager to see the results
ment. Look out to keep at least as far away as the that he develops under improper conditions. A hot,
catalog says your lens is focused for. muggy day is far from suitable. It is safer to wait
TnB Horcnr oF TEE Caunne.-When taking single until evening than to risk ruining the negatives by
figures or groups it is necessary to hold the camera frilling and softening of the gelatine. Usually a cool
about opposite the middle of the subject. With the spot can be found in the cellar and a small lump of ice
ordinary finder this position will be found to be about will bring a whole pailful of water to 65o. If ice is not
at the waist level. If a child is to be taken, get down available and development must be done at once,
on one knee and steady the camera on the knee. The probably the safest plan is to use plain hypo as a freez-
only difficulty likely to be met is this: For more distant ing agent, filling the tank and clamping on the cover,
views the picture will include too much foreground if and then setting it in a pail and dissolving hypo in the
the camera is held at waist level. In this case it is water around it. Another good plan is to harden the
necessary to use a direct vision finder, so that the film with formaline before development. The tank may
camera can be held at the height of the eyes, or to be filled with the solution, composed of commercial
raise the front, if the instrument has the rising and formaline, 2 ounces; water, 40 ounces, and the film
falling front. Never point the camera up or down if soaked for a few minutes. Remove the film, apron
there are vertical lines in the picture. and all, in a dim light, empty and rinse out the tank,
Hor.orxc rHE CAMFRa.-Many people find it very put in the developer as near 65o as possible, and replace
difficult to hold the camera stead ly and release the the film.
shutter without moving the camera. The following Change of temperature is the commonest cause of
hints may prove useful: For most subjects hold the frilling. ft is necessary to have the rinsing water and
camera against the chest, as high as consistent with the hlpo the same temperature as the developer.
seeing the image in the finder, using the left hand to I had far rather develop with all solutions at 70o than
press it lightly upwards and backwards and the right have the developer at 60o, the water at 85", the hypo
to steady and direct it. If it is a folding camera with at 40o, and the final wash-water at 85o again, for until
bed, the fingers of the right hand may be under the the gelatine is well hardened in the acid hypo, every
bed, while the thumb is poised over the release. Do change tends to cause frilling from expansion and con-
not use the rubber bulb while holding the camera in traction of the wet gelatine. Therefore, if you can get
the hand; it is all right for tripod use, but almost sure a cool cellar, prepare beforehand as much water as you
to shake the camera if the hand which squeezes it can in jugs or bottles, dissolve the acid hypo, and let
touches the instrument. A good position for lower them all come to the temperature of the cellar.
subjects is with the camera held in the hollow of the The use of iodide is said to permit using tank devel-
waist on the left side by means of the left hand, the oper over 70o without fogging. Directions are given
right hand being used as before only for pointing and in the literature of thu G. Cramer Dryplate Co. I
releasing. The legs should be close together, with the have not tried the formula, but have heard good reports
feet at right angles, the weight thrown on one leg. of it.
Hold the head as high as can be and yet see the image Drying must be performed as quickly as possible.
clearly, take a deep breath, hold it for a moment, and Be sure to remove all the moisture vou can with the
4 1 2View original page 22Page 23 · Read text
special velvet rubber film squeegees; but do not use near the camera to infinity. This is often a drawback,
force or you will tear the wet surface. Then hang the if pictorial quality is sought; but for general record work
fiIm in a current of air. An electric fan is a boon, but such negatives would make excellent enlargements.
I have saved many a film and plate from showing drying The longer lens would give much better sephration of
marks by using an ordinary palm-leaf fan. planes. The trouble with lenses of short focup is that
Printing on D.O.P. in very hot weather should be the operator goes too close to the principal object in
undertaken only if there is ice available, for the paper order to get it as large as possible. Often a small part
stains quickly if the developer is over 70o. M.-Q. is of the negative is all that is needed; and of course you
the worst offender. Edinot-hydro or, better, Duratol- can get your actual picture on a larger surface with the
hydro will be found more suitable for summer use. longer lens, and thus not have to enlarge so many
{ Self-toning and printing-out papers are convenient diameters, with the danger of getting the print granular.
and easy to work, particularly as the time of printing (2) Depth of field is found by multiplying the focal
is very short during the summer months' Iength in inches by the radius of the stop used andI dividing this quantity by the radius of the cone of
CORRESPONDENCE confusion allowable. You will probably find of more
Te,Nr DevBr.opneNT oF Pr,,q.rns.-M. J. B., Conway, practical use the table of hyperfocal distances in the
N.H., writes that he has been having trouble with tank Burroughs Wellcome diary. The formula used for cal-
development of plates, one end of the negative not being culation is: " Multiply the square of the focal length by fully developed, though plates done in trays were all one hundred and divide by the / number of the stop right. Ans.-Thenegative sent arrived in many pieces, multiplied by twelve." (3) No orthochromatic or even
but an inspection of the fragments showed that about panchromatic plate is sensitive to colors in the same
three quarters of an inch of the negative was not im- degree as human vision is; that is, the colors which
mersed. in the developing solution. This may have affect the plate most strongly and print light are rela-
been due to insufficient solution in the tank or to the tively dark to the eye. A yellow filter dims down the
plate's slipping out of position when the tank was blue and the violet, and gives the lessactinic yet brilliant
reversed. This strip was immersed part of the time, as colors time to act. Now if a given plate is excessively
a faint image is to be seen on the end of the plate. Use sensitive to ultra-violet, violet, and blue, it will require
more solution and overhaul the rack to make sure that a deeper screen than another plate which is less sensitive
the plates cannot slide out of place. to this end of the spectrum. The fiIter which corrects
Ilpnnrrcr PnrNrs.-A. K., Westfield, N. Y., sends the second plate wiII not do perfectly for the first with-
some excellent prints for criticism, stating that she is out adjustment; that is, using more dye or some other
not getting good enough whites. The chemicals and dye to cut out more blue. A deep screen of Filter Yel-
formulas advised by the makers of the paper were used. low K will overcorrect ortho. and iso. plates, and be
Ans._Yott have sent in some perfect prints, and we correct for "spectrum" plates. The adjustment of
do not see how better could be made on Azo Hard E. filters is a matter of careful laboratory research, con-
We suppose that the customers wish more contrasty trolled by spectrum photography. R. James Wallace
prints of the soot and whitewash orderl but as the white of the Cramer Company has produced several adjusted
margins are perfectly clean, the delicate tones in the filters, which are very satisfactory and can be obtained
whites of the negative are very pleasing. You had commercially for certain brands of plates.
better write to the makers of the paper and ask how to
modify their formula to produce more contrast, if your FonualrNB ron PapBn; Fonuosur,pmrn'-8. F. J.,
customers cannot be educated to accept perfect work. Matteawan, N. Y., asks: (1) How shall I use formaline
Nrcenr,ns FoR ENr,lncrncl Dnrrn or FlEr,o, for paper? I have to print at night in a factory, where
Ao;usuNc e Rev Frr-rBn.-A.M. 8., Weedon, Quebec, the temperature is always over 85", and cannot use
asks: (1) Which gives the better enlargement, a negative ice. (2) I have some formosulphite, which is supposed
made with a lens of short focal length or one from a to take the place of sulphite and carbonate in the
lens of greater length? (2) What is the formula for developer and harden the film; but I made a total failure
computing depth of field for any stop? (3) What is of it. Please tell me how to use it. Ans'-(l) Dilute
meant by adjusting ray filters to the plate, and how is one part of the commercial liquid called formaline,
it done? Ans.-(l) We suppose you refer to the ques- which consists of a forty per cent solution of formalde-
tion of perspective or correct drawing. Take a three- hyde gas, with twenty parts of water. Develop, rinse
inch and a nine-inch lens. At a given distance the in clear water, and immerse in the formaline for a few
image of a man in the foreground would be three times minutes before fixing. If softening or staining occurs,
as large with the latter as with the former, and the try the formaline bath before developing, but rinse well.
distance would also be in better proportion, more as This latter scheme works well on plates. (2) Probably
the eye sees it. The picture madeView original page 23Related documents and language editions
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