The Street 
 
THE 
 
 HAND CAMERA 
 
 AND 
 
 HOW TO USE IT. 
 
 WALTER D. WELFORD, 
 
 Editor “ Photographic Review of Reviews” ; 
 
 Hon. See. Midland Camera Club, London and Provincial, and Wolverhamgtyg., 
 
 LONDON : 
 
 ILIFFE AND SON, 3, ST. BKIDE STKEET, E.C. 
 1892. 
 
ADVERTISEMENTS. 
 
 ROSS’ PORTABLE DIVIDED CAMERA. 
 
 3rd. 
 
 T HIS Camera is specially recommended for 
 
 both Stand and Hand Work. It is supported in a 
 simple manner on the chest by means of a strap passing 
 around the neck. It is also fitted with bush and thumb 
 screw for attaching; a tripod stat'd for either vertical ot 
 horizontal pictures. The illustration gives at a glance 
 general idea of its construction. 
 
 The following; important advantages are gained by 
 this arrangement 
 
 1st. Each Picture can be obtained with microscopic 
 sharpness. 
 
 2nd. The composition and lighting of instantaneoui 
 pictures can be studied. 
 
 In photographing Yachts and other large subject! 
 there is an absolute certainty of the whole of the 
 object being correctly centred, and containec 
 within the limits of the plate. 
 
 When used as an ordinary Camera on a Tripoc 
 Stand (or obtaining portraits of children anc 
 animals, the many out of focus failures (due tc 
 the subject moving during the comparative!; 
 long inierval that must elapse after focussinp 
 before the plate can be substituted for thi 
 screen) are by this system entirely avoided. 
 
 The price includes 3 double dark slides, an Eastmai 
 Roll Holder for 48 exposures, or a changing box for 11 
 plates in sheaths. 
 
 The lenses being accurately paired, and the form o 
 the Camera lending itself readily to the adaptation, it could 
 at a small extra charge, be made convertible for stereo 
 scopic photography. 
 
 4 th. 
 
 £16 16 
 18 18 
 22 IO 
 ?4 IO 
 26 IO 
 
 PRICES, WITH SPECIAL, BLIND SHUTTER. 
 
 I?oi/Pl?it» 6 . , , t Outside Size. Fitted with pair cf Ross’ Rapid Sym. Lenses. 
 
 • 3$ • :..;*€**)j4i •x'JJ - 4 x 3, 4 i inches focus i 
 
 ’ 4r*3k* :■■■• 5x4,6 „ 
 
 64 x 4 | ... 9J x If 5 t*?o 8 .*x;> .* 9 . 
 
 7^ x 5*. 10 x9 x I0 * -• 5.?» ; <j> ,* •;••• 
 
 Ayj)£L*ST<JN" f^PECIAL SHUTTER WITH iRlS *D»APHjtAGM, £3 3S. extra. 
 
 DoUSleI ‘Back? 4i** *3|, ; S X 4, 3^6; 6J x 4j, 37/6; 7i x 5, 40,-. 
 
 * piAPHRAGM.fJom.lb/- each. 
 
 10 * PErt -’cent. .ijj'sfctajNV FOR CASH. 
 
 Numerous Unsolicited Testimonials have Seen received from Purchasers. 
 
 ROSS’ SPECIAL LENSES FOR HAND CAMERAS. 
 
 Iri 
 
 
 working at F/8. 
 
 W01 king at t’/5 °57- 1 
 
 In Bronzed Mounts. 
 Can be supplied accurately 
 paired when required. 
 
 With 
 
 Ordinary 
 
 Diaphragms. 
 
 With Iris 
 Diaphra >ms. 
 
 With 
 
 Ordinary 
 
 Diaphragms. 
 
 With Iris 
 Diaphragms 
 
 3in. focus for 3 x 3 plates ... 
 4 *in. „ 4 ix 3 i „ 
 
 6tn. ,, 5x4 „ 
 
 £3 7 6 
 
 3 15 O 
 
 4 0 0 
 
 £3 17 6 
 4 5 0 
 4 IO O 
 
 £4 5 0 
 4 15 0 
 6 5 0 
 
 £4 15 O 
 
 5 5 0 
 
 6 15 O 
 
 ROSS & GO., Opticians, 112, New Bond Street, London, W 
 
 MANUFACTORY— CLAPHAM COMMON. 
 
CONTENTS. 
 
 PART I.— THE HAND CAMERA. 
 
 CHAPTER I.— INTRODUCTORY 9 
 
 CHAPTER II.- DETAILS OF CONSTRUCTION 16 
 
 CHAPTER III.— THE LENS AND SHUTTER 24 
 
 CHAPTER IV.— THE BOX CAMERA 40 
 
 CHAPTER V.— THE BAG CHANGER 5 o 
 
 CHAPTER VI.— THE AUTOMATIC CHANGER 56 
 
 CHAPTER VII.— THE AUTOMATIC CHANGER (Continued). ... 64. 
 
 CHAPTER VIII.— THE ROLLER FILM CAMERA 7 r 
 
 CHAPTER IX.-THE REFLECTOR 75 
 
 PART II.— USING THE HAND CAMERA. 
 
 CHAPTER I.-USING THE CAMERA 8j 
 
 CHAPTER II.- STREET SCENES 95 
 
 CHAPTER III. — THE FAIR, THE FETE, SPORTS, &c 106 
 
 CHAPTER IV.— ANIMALS 
 
 CHAPTER V.-LANDSCAPES, SEASCAPES and VARIOUS ... 124 
 
 CHAPTER VI.— PLATES and DEVELOPMENT 132 
 
 CHAPTER VII.— VARIOUS , 8 
 
 CHAPTER VIII.— CONCLUSION I5 6 
 
 THE ILLUSTRATIONS 
 
 S6-s:a 
 
ADVERTISEMENTS. 
 
 EASTMAN’S 
 
 KODAKS (8 Sizes). 
 
 KODAK PLATE ATTACHMENTS. 
 ROLL HOLDERS. 
 TRANSPARENT FILM. 
 PERMANENT BROMIDE PAPERS 
 
 A.B.C. 
 
 EXTRA RAPID BROMIDE PAPERS 
 
 A.B.C. 
 
 “ SOLIO” PAPER 
 
 (Celatino-chlorideJ. 
 
 White, Pink, Mauve. 
 
 ENLARGEMENTS. 
 
 All Sizes and Styles. 
 
 THE EASTMAN PHOTOGRAPHIC 
 MATERIALS COMPANY, Ltd., 
 
 115, OXFORD STREET, LONDON, W. 
 
 PARIS. 
 
 4, Place Vendome. 
 
 ROCHESTER, IM.Y., U.S.A. 
 
 The Eastman Kodak Co. 
 
 NICE. 
 
 Place Grimaldi. 
 
PREFACE. 
 
 T T is perhaps desirable I should state at the outset 
 that this book is practically a reprint of articles 
 upon the hand camera that appeared weekly in 
 Photography . They have been revised and re- 
 
 arranged ; they have, in fact, been brought up to 
 date, in book form. But so great is the future of the 
 hand camera, so important is the part it will play in 
 the photographic life — aye, and in our everyday life 
 too — of the future, that it is with considerable mis- 
 giving I cease revision. I feel myself that 
 
 “ The things we know to-day, 
 
 To-morrow we forget.” 
 
 And though the hand camera is already well advanced, 
 we have in nowise even approximated its ultimate 
 variety and usefulness. I do not deprecate what I 
 have written, but the future has possibilities — nay, 
 probabilities, big and ominous before it. 
 
 At the same time it is not given to everyone to 
 be a prophet, though as guides we may be able to 
 help our fellow-workers. It is in this spirit that 
 I submit my experiences and opinions, sincerely 
 trusting that they may be of some use and interest 
 to the many others who, like myself, believe the 
 hand camera to be something more than a toy. 
 
 Let the future judge whether I exaggerate its 
 importance. 
 
 Walter D. Welford. 
 
 Birmingham , August , 1892. 
 
ADVERTISEMENTS. 
 
 Send Postal Order for the Greatest Wonder of the Agi 
 
 TEN THOUSAND ALREADY SOLD. 
 
 THE “PRESTO” 
 
 DETECTIVE or HAND CAMERA 
 
 A. FRANKS, Sole Patentee and Manufacturer; 
 
 Complete with Chemicals and Plates, Double Dark Slide, Time and I 
 stantaneous Shutter of a most ingenious and simple construction. 
 
 NO COMPLICATIONS. A CHILD CAN USE IT 
 
 Size of Picture : QUARTER PLATE, 4 Jin. x 3jin. 
 
 The PRESTO ” CAMERA will produce every kind of Picture, Views Grout 
 and Moving Figures, any distance over three yards, the lens being achromatic ai 
 always in focus. The case is made of ebonised wood. 
 
 Do not think, because the price being only 10/6, that the “ PRESTO ” is a usele 
 Camera (as most cheap Cameras are'. Photographers have tested the "PRESTO 
 and pronounced it a most PRACTICAL AND SUCCESSFUL CAMERA. 
 
 EACH CAMERA GUARANTEED TO TAKE A PERFECT PICTURE. 
 
 . This Camera recommends itself to every one for its simplicity and portabilil 
 weighing only one pound, and it will take quarter-plate, carte-de-visite, and lante 
 slides, and will cover each plate to the extreme edge. 
 
 A. FRANKS’S COMPLETE PRINTING ACCESSORIE 
 
 FOR THE PATENT “PRESTO” CAMERA, 
 
 Comprising Ruby Lamp, with Night Light ; Bottle of Gold Toning Solution ■ J-pla 
 Printing Frame; Packet Ready Sensitised Paper; 28 pieces J-plate; Two Vulcani 
 Dishes; One Porcelain Dish; 50 J-plate Mounts; Box of Hyposulphite of Soda, f< 
 Fixing. 
 
 PRICE, COMPLETE - - 7/- 
 
 >-*-< 
 
 A. FRANKS, 95, Deanscate, Manchestei 
 
 ILLUSTRATED CATALOGUE POST FREE. 
 
PART I,— THE HAND CAMERA. 
 
 CIIAPTEK I. 
 
 Introductory. 
 
 Choosing: a. 
 Hand Camera. 
 
 WING to the varieties of make and principle upon the 
 market, it must certainly be a somewhat difficult 
 operation to make the choice of a hand camera. The 
 description afforded by the manufacturer, or the actual in- 
 spection of two or three instruments in a shop, is not of 
 much value. Nay, I’ll go further, and say 
 that practical trial, if only a brief one, 
 is of but little use. Certainly, if the in- 
 tending purchaser can obtain a few really 
 practical trials, he will stand a good chance of obtaining one 
 that will meet his requirements — for the time being. Aye, 
 there’s the rub. He will hear of another one, he will see it, 
 perchance, advertised and testimonialised, until the demons 
 (Discontent and Change) chuckle as they smilingly say, “I 
 told you so ; we’ve got him.” Then, probably, without knowing 
 half as much of the new as of the old love, the advertisement 
 promptly appears : 
 
 “ For sale, a great bargain, the Lickemallout hand camera, condition 
 equal to new ; price £3 10s.; owner going abroad. — Apply, &c." 
 
 Though what “ going abroad ” has got to do with it is hard 
 to tell. Because I know if I was going abroad, even to the 
 Isle of Man, I should want a hand camera before even the 
 proverbial tooth-brush and one clean collar. However, he 
 sells his old friend and buys the new, yet, strange to say, is 
 disappointed. There is probably some unforeseen feature 
 that he does not like, and one which, had he known of its 
 existence, he would not have changed for. Married life brings 
 
10 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 its cares and troubles, so, too, do certain forms or patterns of 
 cameras, which, whilst of no account to some, are specially 
 interesting to others. It is in this way -that I shall deal 
 generally with the cameras themselves. 
 
 Which is the best hand camera? is a question con- 
 stantly asked. My usual reply is, that though I have often 
 seen it advertised, it has not yet passed 
 Which is the through my hands for practical trial. And 
 Best? until I have used and tested the “best,” I 
 
 really cannot say. Anyway, the question is 
 a stupid one, as unless the querist gives some idea of what 
 he wants, how can anyone recommend any particular pattern 
 Ah, but a reader will say, “ Suppose I give you carte blanche 
 in your choice.” Well, that would aid but little, for if I said 
 the so-and-so is a good one, the reply is at once, “ But that has 
 a fixed focus lens, and I don’t want that.” And upon 
 mentioning others, there would in each case be some point 
 disliked. Why, in all conscience — if they’ve got any — why 
 cannot amateurs fight these detail matters out for themselves. 
 
 On the other hand, there is the reader who knows, or thinks 
 he knows, a thing or two. His thunderbolt is something like 
 the following : — 
 
 A. — The Miraculous. 
 
 B. — The Veracious 
 
 C. — Smith’s 
 
 D. — The Vexatious. 
 
 E. — Jones’s 
 
 E. — Brown’s (No 2). 
 
 He asks, “ Which of the above do you recommend for (1) 
 good shutter ; (2) certainty in action ; (3) simplicity ; (4) neat- 
 ness in size and light weight ; (5) multiplicity in power, 
 and in addition I want an automatic changer — I have a 
 great fancy for Jones’s can you recommend that?” Now, 
 considering that Jones’s is not an automatic changer at all, 
 nor, indeed, are any of the others, that at least four of those 
 mentioned would not fulfil condition 4 at all, that no one of 
 them would answer more than three points, all of which the 
 enquirer could see by a glance at the list or advertisement, 
 and — well, what are you to do? If I could write “ J.P.” 
 
INTRODUCTORY. 
 
 11 
 
 after my name I know pretty clearly what I would do if I had 
 half a chance. And there would be no lunacy enquiry either. 
 
 There is no “ best ” hand camera, and never will be. My- 
 ideal camera would be one on the reflector principle, giving a 
 full-size image on a focussing screen, allowing the use of at 
 least three lenses of different focus, roll-holder or automatic 
 plate-changer at will by merely turning a milled head, power 
 of altering form of shutter, alteration of diaphragm by 
 breathing on the glass, varying exposure by saying “jump” 
 altering the rapidity of the plate by “ the patent spring x,” 
 and a few other trivial details to which our patentees, no 
 doubt, are at the present time directing their attention. In 
 fact, it should only be necessary to insert tbe plate3 in the 
 dark room, and by one movement obtain finished, mounted 
 and framed prints, with the exhibition medals attached 
 thereto. It may be months, it may be years, before all this is 
 accomplished, but it is bound to come -that is, if we are to 
 satisfy some men. 
 
 It will be my endeavour to point out the features, good and 
 bad, of the various principles employed in cameras now on the 
 market. In this way the reader will be able readily to form 
 some opinion of his own generally, which ho may afterwards 
 find embodied in a certain make, or nearly so. By the bad 
 features, I mean disadvantages or peculiarities, not fatal 
 defects. Indeed, some of these very things may be held in 
 high esteem by others. The reader can weigh up the prot and 
 cons for himself. So much for the apparatus itself, and now 
 a few words upon other points. 
 
 The actual use of a hand camera is not by a long way such 
 an easy matter as most people think. I, of course, refer to 
 those who do all their own work, not the button-pressers and 
 the shoot-off-at-everything young man. It 
 Use of a Hand must be patent to all who have given the 
 
 Camera. matter a thought, that the majority of results 
 obtained are quite disproportionate in quality 
 to those obtained in an ordinary camera. That is, the hand 
 
12 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 camera man in no wise approaches his confrere , allowing the 
 two to start together as novices from the scratch mark, the 
 one a beginner in photography altogether, and the other, 
 though an old hand, taking up the hand camera for the first 
 time. Now, by the number of patents and paterns in the 
 market, and the activity shown recently in this direction, we 
 are naturally led to conclude that hand cameras are selling in 
 great quantities, and that there must be an enormous number 
 in this country in the hands of amateurs. I won’t say in use, 
 for reasons to which we shall arrive directly. At the same 
 time, this number is no doubt over-estimated, for I do not 
 think so many are sold as is generally supposed. But, apart 
 from this question altogether, it is impossible to get away 
 from the fact that a great number have been sold these last 
 two years. Well, where are the results? How many good 
 hand-camera workers are there ? Not very many. This fact 
 was brought before my notice a short time ago in a way that 
 emphasised the point. Talking to one of our best workers, I 
 said something about almost everybody possessing a hand 
 camera now. “Possibly,” he replied, “but how many of 
 them turn out anything worth looking at ?” It was not egotism 
 at all — that I felt at the time — but a plain fact which set my 
 thoughts in a new direction. I feel constrained to agree with 
 him after having studied the matter a little. To put it plainly, 
 the purchaser of a hand camera does not, as a rule, succeed in 
 pleasing either himself or anyone else. He fails oftener than 
 he cares to. 
 
 There are several explanations of this, and the first is 
 generally a want of perseverance. A few failures at first 
 daunt not a few of our workers, who tty back to their O piate 
 or ^-plate and tripod, with many sighs of relief and numerous 
 expressions more or less forcible. They make no study of 
 their apparatus, but consider that, as they succeed well enough 
 in the ordinary way, all that is necessary is to buy a hand 
 camera and fire off the shutter. These are the men who rail 
 at the “snap-shot man.” They never consider that special 
 
Lancers in Trafalgar 'Square. 
 

INTRODUCTORY 
 
 15 
 
 qualifications are necessary, and these more of a mental than 
 ia physical nature. The man who plans out the composition 
 and lighting of his picture beforehand, focusses for half-an- 
 hour, trying various apertures, calculates the length of 
 exposure by apparatus and a table, and who will wait any 
 length of time to secure what he wants, is the very opposite 
 of what a hand-camera man should be. The latter must be 
 of quick perception, prompt decision, and instant action. At 
 the same time he must be coolness itself, so that, however 
 rapidly he may work, his mind is free to remember the 
 various mechanical movements, and to keep them in working 
 order. He must be able to decide quickly what to take, and 
 then as quickly take it. In some men the faculty of quick 
 perception of pictorial effect is wanting, and probably the 
 same slowness will show itself even if they do decide to 
 expose a plate upon the subject before them, because before 
 they are ready it is gone. But I shall deal with this subject 
 more fully later on. 
 
 A further cause of failure, altogether away from what I 
 have said as to some not being cut out for the work, is to be 
 found in the fact that the exposures are at all times rapid, 
 and the development needs study. There are other minor 
 causes, but in the end it all comes to this, that to succeed 
 with a hand camera, special attention must be paid to it. If 
 considered a plaything, or an occasional toy just to pop out 
 with, the results will be spasmodic to a degree, and 
 disappointing. 
 
CHAPTER II. 
 
 General Details of Construction. 
 
 /(®) HAND camera may be defined as one constructed and 
 rTL arranged to make exposures in the hands. This does 
 not quite cover all the ground, but it is explicit enough 
 for practical purposes. Any ordinary camera, of course, can 
 he used without such a support as a stand, or anything con- 
 veniently at hand ; and before what we now 
 
 Definition. know as hand cameras became so popular, a 
 
 good deal of instantaneous work was accom- 
 plished in this way. At the same time there must be 
 distinctive terms in the world of apparatus, and — for my own 
 convenience if you like— nothing but what is intended, as 
 evidenced by construction or design, for special use in the 
 hands without other supporting aid, will be considered as fall- 
 ing within the limits of the definition. 
 
 The term “ Detective ” is constantly used, not only by the 
 public, but by our manufacturers. It is much to be regretted. 
 The public are not to blame, for they know nothing about the 
 matter. Indeed, had they been called 
 
 The T e rm “Police cameras, ”or “Body-snatchers, ’’the 
 
 Detective. J ’ 
 
 term would doubtless have become just as 
 
 popular and as widely used. When attempts were first 
 made to conceal the nature of the instrument by covering up 
 as much of the mechanism as possible in a box or case, the 
 designation “ detective ” insidiously gained ground. Photo- 
 graphers, it is true, do not so term it, at least only the raw 
 novices have a tendency that way. But the public do, and 
 probably will continue to do so for many years. Abuses die 
 hard, we know, and it is an abuse of a very useful tool. My 
 
GENERAL DETAILS OF CONSTRUCTION. 
 
 17 
 
 readers, however, may ask, “ What’s in a name ? ” Well, in 
 this case, it conveys a distinctly wrong impression of what a 
 hand camera is expected to be made for. The annoying part 
 of it, too, is that the direction implied by the title is just the 
 one photographers decry, viz., the seizing of incidents and 
 scenes in which friends or others are portrayed awkwardly, or 
 of positions that are very liable to lead to unpleasantness. 
 All sensibly-minded men must agree that considerable annoy- 
 ance may be caused by the indiscrimination of some weak 
 mortal, whose whole ambition is to secure shots “ for a lark” 
 afterwards. And though at first sight there may appear very 
 little in this matter worthy of attention in a photographic 
 book, yet if the matter be studied a little it will easily be seen 
 that the recoil will affect the man who uses his camera legiti- 
 mately, equally with he who is the cause of the mischief by 
 abusing the power he possesses. It is not long ago since 
 the columns of the Glasgow TIerald were filled with letters 
 from the public objecting to the use of the hand camera. If 
 this is any sort of index to public feeling upon the subject, it 
 will become a factor in the future that the user of a hand 
 camera will have to meet. 
 
 It is in this way that the word “ detective ” will prove its 
 unsuitability and stupidity. It infers a purpose to which the 
 public object, and will thus cause all hand cameras and all 
 users of them to be placed in the same category, that of 
 nuisances. I have already met with this difficulty in walking 
 with or meeting friends. As soon as they see or learn what I 
 have with me, they expect to be taken, “when they don’t 
 know,” and are restless and nervous in consequence. On the 
 contrary, the term hand camera would convey no such idea of 
 purpose. And, after all, what does the whole matter come 
 to ? Just this, that even if the term is not objectionable, it 
 is one that cannot be worked. To define a “ detective ” 
 camera, I should say it was one designed by means of the con- 
 cealment of its working parts, that the public should not 
 know it was a camera at all. How many of the patterns really 
 
 B 
 
18 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 The Box 
 Pattern. 
 
 succeed in this ? And where are we to draw the line, because 
 a “ detective” to one man would not be so to another, who 
 perchance knew a little about photography, whilst a photo- 
 grapher is always alive to the presence of a camera. So that 
 whilst they are all hand cameras, they can only lay claim to 
 the title “ detective ” just so far as they carry out the idea of 
 concealment. And, as I have before said, there are so many 
 degrees of knowledge of photo work by outsiders, that — well, 
 crush out the word “detective” altogether, it is neither useful, 
 ornamental, nor politic. 
 
 The earliest used, and simplest form, is that in which an 
 ordinary camera is placed in a box, and by means of a register- 
 ing focussing scale, a finder, view meter or 
 spirit level, an aperture in front for the lens,, 
 and other varieties of convenience, it makes 
 a most efficient apparatus. Indeed, many of the best patterns 
 in use at the present day are upon this principle. In some, 
 the body of the camera is the case itself, which economises 
 space and weight. A good instance of this is given by 
 one which, for full-size quarter-plates, measures outside only 
 8| x 4§ X 6, and weighs, without slides, If lbs., or, with 
 six double slides, 31b. 6oz. It is fair, however, to say that in 
 this make extreme portability has evidently been sought after, 
 as the slides themselves are of a specially light and thin 
 pattern, and when not in use are carried inside the body. 
 Still, with the exception of bag-changers, there is no form for 
 plates which can be so kept down in size and weight. Yet at 
 the same time that is not always studied, because in some 
 patterns provision is made for the use of long-focus lenses by 
 the usual double extension bellows, and places are provided 
 at the sides and in the lid for the dark slides ; so that in the 
 end the apparatus becomes fairly bulky. 
 
 Taking the method of changing the exposed plate or film 
 as a basis for classification — and it is really 
 The Bag- g re atest point of difference, because 
 
 lenses and shutters, which are the only two- 
 
 Changer. 
 
Booking tor the Excursion. 
 
GENERAL DETAILS OF CONSTRUCTION. 
 
 21 
 
 other features of any consequence, vary much less in principle 
 or importance — the bag-changing system ranks next in order 
 of similarity, if not of introduction. I have not classed it 
 amongst the automatic methods, because I do not consider it 
 to be “ automatic. ” The plates, which are usually in sheaths, 
 are changed by the fingers grasping them through a light-tight 
 bag or cover, the exposed plate being changed from backjto 
 front, or vice versa , the usual spring pressing forward the 
 remaining plates. This system has many adherents, if it can 
 be judged from the number of patterns utilising the principle 
 in one form or another. 
 
 Then come the various movements adopted in what are 
 termed “ automatic changers.” These may be briefly described 
 as containing a reservoir or store of plates, 
 Automatic usually a dozen, which are brought into posi- 
 Changers. tion, or changed by the turning, the pulling, 
 or the pushing of some lever or screw. 
 Their name is legion. Much time has been expended, and 
 considerable ingenuity displayed, upon the various patents and 
 ideas. Certainly some of them appear to be “ love’s labour 
 lost,” and one is apt to think that the firm wanted some 
 patented speciality of their own to advertise and push ; other- 
 wise some of the rather elaborate movements would not have 
 seen the light. Of course, automatic changing hand cameras 
 must be more or less complicated when compared with those 
 using dark slides only. But complication is not a desirable 
 feature, and should, as far as possible, be avoided. 
 
 The paper or film in rolls has proved itself a useful ally in 
 the direction of hand-camera work. The roll-holder is smaller 
 than either three or four double slides, or the 
 Rollable Film reservoirs of the automatic changers, whilst 
 
 Patterns. at the same time it gives a power of 48, CO, 
 or 100 exposures. It is also of necessity 
 very much lighter to carry. With the film-holder, not only 
 is the appartus so much lighter in weight and neater in 
 dimensions than with those using plates, but an enormous gain 
 
22 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 ensues upon a prolonged journey in distant countries, or 
 even in our own if away from photographic centres. Twenty 
 supply rolls would not add much in weight to the tourist’s 
 loggage. Indeed, the consideration would be one rather of bulk, 
 though even that would be a mere trifle. With the roll-holder 
 filled for 60 exposures and 20 extra rolls to u=e as required, a 
 total of 1,260 exposures would be at disposal, for good or evil. 
 Therefore, in this particular direction, the camera with a roll- 
 holder possesses very great advantages, and has no equal. 
 
 A form of camera, which, however, does not permit of clas- 
 sification in the same way as the others, is the one upon the 
 reflecting principle. It is so distinctly different from those 
 using either dark slides or bags, and also 
 The Reflector, from the automatic changers, that I feel 
 compelled to place it in a division by itself. 
 Although I have taken the method of changing the plate or 
 film as the basis of classification, it must be departed from in 
 this case. I am quite aware that patterns are made with dark 
 slides, or changing bags, having also at the same time fittings 
 for roll-holder. These are awkward to deal with, but it will 
 be no injustice to the camera or myself to omit extra fittings 
 in classifying them. The “ reflector” is made both with dark 
 slides or bag, and with an automatic changing method. The 
 main feature of the principle is the throwing upon a ground 
 glass screen of a full-sized image, capable of being focussed. 
 It is managed in two ways. The first is simple enough, con- 
 sisting, as it does, of two lenses, identical in focal length, and 
 racking out together by one movement. One shows the image 
 upon the screen, whilst the other is ready to grasp the scene 
 upon the plate. 
 
 But the use of two lenses entails expense and considerable 
 increase in bulk, when compared to the “ reflector, ” which 
 requires only one. This form has not as yet received the atten- 
 tion it deserves. Perhaps, however I am wrong in saying 
 this, because possibly considerable thought has been 
 
GENERAL DETAILS OF CONSTRUCTION. 
 
 23 
 
 bestowed upon it. But considering the skilful mechanism and 
 clever ideas brought forward in the various automatic changing 
 methods, there appears to me an evidence of want of applica- 
 tion. There are no very great difficulties to overcome, and if 
 our inventive geniuses would go at it in earnest they would 
 produce something good, I am sure. The principle is simple 
 enough. A mirror inside the camera is required, the same as 
 in those of the “ twin lens ” pattern, with some arrangement 
 to get it out of the way, and to cover the focussing screen 
 before admitting light to the plate. The difficulty is to obtain 
 something to reflect the image that is light enough to admit 
 of quick movement, without jar or risk of breakage. The 
 simplest one I have seen was shown me by an amateur. In 
 this tbe mirror was simply hinged at the top, so that in its 
 normal position it covered the ground glass. Attached to the 
 end of it nearest the lens was a blind on a roller, with an 
 aperture to pass over the lens. In use the mirror was drawn 
 down and caught, elastic bands being used of sufficient strength 
 to pull it sharply back to the top again. As the mirror went 
 up it took the blind with it, the aperture in its passage un- 
 covering the lens for a brief period. The chief drawback was 
 that the exposures were comparatively slow, as if the strength 
 of the elastic was increased to give a fairly rapid shot, move- 
 ment was almost sure to ensue, except perhaps in very ex- 
 perienced hands. However, the advantages of seeing the 
 exact picture upon a ground glass, and being able to focus it 
 quickly, are certainly great, and herein the “reflector” 
 possesses a marked speciality. 
 
CHAPTER III. 
 
 The Lens and Shutter. 
 
 ^JJ^HE lens fitted or adopted to the hand camera probably 
 takes next place, though as far as the results go it 
 ought to rank as the principle thing. However, as 
 there is but very slight variation in the lens used, I deal 
 with it as secondary. Two varieties are used chiefly, 
 the single achromatic view and the double 
 Single versus combination, known, perhaps, better as 
 Double Lenses, the rapid rectilinear. It is not necessary to 
 describe these, because they are no different 
 to the ordinary series. Of course, I am not attempting to 
 write a photographic primer. I should not care to meet 
 anyone who learnt his knowledge of photography by the use 
 of a hand camera, fanatic though I am called. These chapters 
 are written for photographers, who, whilst they may be 
 novices at hand-camera work, are certainly no novices in the 
 art generally. 
 
 Considering that all the exposures are more or less rapid. 
 
 a great question with the lens is its speed — that is to say, 
 the minimum duration of exposure absolutely necessary. In 
 this respect the double combination pos- 
 Speed of Lens, sesses an advantage — it will work at a 
 larger aperture, and consequently requires 
 less time for the exposure. A doublet will give fair results 
 at about f/8, whereas a single combination requires f/11 at 
 least. In this connection it may be noted that the desired 
 subject has very much to do with the matter. For marine 
 

 On the Cumberland Fells. 
 
THE LENS AND SHUTTER. 
 
 27 
 
 studies and well-lighted landscapes, the single combination 
 will not only be quite quick enough, but will give, probably, 
 truer renderings of nature. It gives a much flatter field, and 
 therefore the alteration of perspective and angle, which the 
 stopping down of a doublet to obtain the same degree of 
 sharpness generally leads to, is avoided. I have noticed, too, 
 and no doubt many others have also noticed, the peculiar 
 charm of distance and atmosphere that a single combination 
 lens will produce in a snap shot. By stopping down the 
 doublet to even f/16, the same degree of general sharpness is 
 not obtained ; whilst, if the aperture be increased, the dis- 
 tance may be more correctly rendered, yet it is too painfully 
 fuzzy. I am no “ naturalist.” I should not care for my 
 wife to be sharp, whilst I and all others in the distance were 
 out of focus. At the same time, truth — or, at least, as near 
 as one can get to it — should reign supreme, and certainly in 
 this respect the single combination is ahead of the doublet. 
 
 A curious thought in my head appears to be naturally 
 born out by the foregoing remarks upon the single achromatic 
 view lens and its powers. It is this. Whenever I read a very 
 sentimental or pathetic summing up of a 
 The Doublet. judge upon one side— say the plaintiff — I 
 expect a hard, legal, but dead certain, sort of 
 reference to the defendant, with the result, too, that the latter 
 gains the day. 
 
 It appears as though I have done very much the same thing. 
 Because now, when it comes to hard matter of fact, stern truth, 
 and all that sort of thing, it is easy to place the double 
 combination so much ahead that the other stands but a poor 
 chance. As I have said before, the “ subject ” governs the 
 matter to a great extent, and I lay it down as a principle that 
 the hand camera is expected to be ready and capable of securing 
 any scene that presents itself — unexpectedly or otherwise. If 
 not, where does its advantage shine forth ? And at this point 
 let me say that I consider the hand camera entirely an adjunct 
 to, not a substitute for, the ordinary camera. We hand-camera 
 
28 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 maniacs— we snap shot men, as we are so often sneeringly 
 dabbed — only look upon the hand camera as a convenience, a 
 means to secure negatives that would be difficult or more 
 trouble to obtain otherwise. It therefore follows that the 
 rendering of landscape or seascape, which may be better 
 done in the ordinary camera, is not the sole purpose of the 
 hand camera. Certainly not. We seek to illustrate life, in- 
 cident, and character, as well as ordinary representations of 
 nature, as we find it — or as we alter it pictorially. In this as- 
 pect the doublet possesses an immense advantage, giving good 
 dense negatives where the the single combinations would fail ; 
 giving, in fact, natural pictures where the single would only 
 render supernatural — i. e., ghosts of images. A doublet will 
 give a fair landscape, and an excellent street scene, whilst the 
 single combination would only prove useful in the former. 
 Therein lies the superiority of the doublet. It is a much more 
 “ all-round” tool, and yet possesses additional qualification in 
 one direction, which is more than every “ all-round ” tool 
 possesses. 
 
 Then as to architecture and the correct rendering of per- 
 pendicular lines, a doublet is an absolute necessity for this. 
 And though we do seek to illustrate character and life, if per- 
 chance a noted temperance orator was por- 
 Straight Lines, trayea outside a public house, it is hardly to 
 our purpose that the building should be drunk. 
 Rather the temperance orator, my readers think — but I say 
 nothing about that. It is, nevertheless, true that for any view 
 containing buildings — ancient or modern — the doublet is the 
 only lens that can be used with any satisfaction. The follow- 
 ing basis is, therefore, arrived at, viz , that if one lens is to 
 be used in the hand camera it should be a doublet. And this 
 for two main reasons— first, that it will obtain pictures that, 
 owing to the want of light or shortness of exposure, the single 
 combination will not ; and second, that it will render straight 
 lines more correctly and with less distortion. This is the 
 summing up. 
 
THE LENS AND SHUTTER. 
 
 29 
 
 The focal length of the lens is a subject that has in the 
 past, and even yet occasionally appears to trouble the minds 
 of hand-camera men. We are treated to articles upon long 
 versus short focus lenses, quite regardless of 
 Focal Length the fact that both possess advantages and 
 of Lens. disadvantages. It is the same as with other 
 features cf the hand camera, a matter entirely 
 of purpose. For scenery, mountains, and objects at a great 
 distance, no doubt the longer focus lens is more suitable. On 
 the other hand, for near objects, such as street scenes and 
 everyday work, a shorter focal length is more adaptable to the 
 arising circumstances. I say arising, meaning by that a focal 
 length that is either more suited, or more readily adaptable, 
 to the scenes that so quickly occur, but as quickly vanish. 
 Absolute sharpness all over may or may not be desirable, that 
 is a point I do not wish to discuss, at all events not just here. 
 But a degree of sharpness is a necessity in hand camera-work. 
 The fine effect of a print 10 x 8 or 15 x 12 by judicious focus- 
 sing is not obtainable upon a J-plate or 5 x 4. That is, the 
 same result may be easily obtained, as far as the different 
 focal planes are concerned, but the effect to the eye in a J-plate 
 print is vastly different to that of the larger sizes. The same 
 freedom in focussing is not permissible in a J-plate print as 
 in, say, a 10 x 8. This is altogether apart from the question 
 of what a hand camera is supposed to do, because some con- 
 sider it merely a pictorial record producer, in which sharpness 
 is the first consideration, whilst others consider it a means 
 to obtain studies for artists. I am not dealing with the art 
 side of the hand camera. My readers will please wait for the 
 howl from our photographers with art tendencies at such a 
 remark. As a friend said the other day, “ What on earth do 
 you hand-camera men mean by dreaming that a hand camera 
 can ever produce anything worth looking at, except as a hand- 
 camera picture ? ” We therefore arrive at this, that our 
 results must be fairly sharp to be satisfactory, and it is here 
 that the long-focus lens fails. A rapid exposure is a necessity, 
 
30 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 and to obtain definition in the foreground and the distance 
 with long-focus lenses means reducing the aperture, and con- 
 sequently the speed at which we may work. 
 
 A term that has crept much into vogue of late is that of 
 “ fixed focus.” By this is meant a lens that, at a certain 
 distance, renders everything sharp and in one plane. Theoreti- 
 cally, if it is worth while discussing the term 
 Fixed Focus, from this point, it is absurd. If the lens is 
 what is called “ fixed focus ” at 10ft., then at 
 8ft. focussing will be necessary, and so on. But taking the term 
 in a practical sense, it means a lens of short focus, say 10 to 15ft., 
 beyond which distances, of course, everything else is in focus 
 as well. Every lens has a fixed focus point; even a 7in. 
 working at f/8 would produce the same result at a little over 
 50ft., whilst if stopped down to f/16 the distance would be 
 decreased to nearly one-half of that. The term, therefore, 
 must he held to apply to lenses of short focus. Whilst upon 
 this subject, the following table, which I take from Messrs. 
 Taylor, Taylor and Hobson’s catalogue, may be found 
 useful : — 
 
 
 
 Fixed Focus 
 
 Fixed Focus 
 
 Equiv. Focus. 
 
 Covering. 
 
 at f/5.6. 
 
 at f/8. 
 
 3in. 
 
 2Jsq. 
 
 lift. 
 
 7ft. 
 
 4in. 
 
 3£eq. 
 
 12ft. 
 
 9ft. 
 
 Sin. 
 
 ipl- 
 
 19ft. 
 
 13ft. 
 
 6in. 
 
 ipi- 
 
 
 19ft. 
 
 Longer focus lenses are not quoted, as it is practically impos- 
 sible to obtain sufficient depth of focus for the various purposes 
 to which a hand camera is applied, if lenses of greater focal 
 length are employed. 
 
 So far in favour of the short focal length of the lens, but 
 the principle must not be carried too far. There are disadvan- 
 tages to be considered and compromised with. If the lens is 
 too short focus, it requires the camera very close to the object 
 and therefore tends to dwarf the distance ; and unless we can 
 get at close quarters with the scene or object, the result is 
 
THE LENS AND SHUTTER. 
 
 31 
 
 unpleasantly small. From this point of view it would appear 
 merely a matter of getting near enough. But that, as anyone 
 knows who is familiar with the use of a camera, is not always 
 easy, or even possible. To mention only one instance, where 
 the photographer is upon a pier or headland with the intention 
 of securing passing steamers, yachts, or boats, he will find his 
 shots come out annoyingly small as regards the principal objects 
 sought for. And how often it happens, not only at the seaside 
 but in many other places, that the camera is perforce fixed at 
 one spot, regardless of the consequent size of the main thing 
 aimed at. But this is not the only disadvantage of using too 
 short a focal length, and the other is perhaps still more 
 serious. I refer to distortion. The shorter the focus of the 
 lens employed, the greater the risk of distortion of the 
 straight lines of the picture. And here we do not possess the 
 advantage of the man with an ordinary camera, because he can 
 — to a certain, if limited, extent — correct this by the use of 
 very small stops. We cannot do this on account of the rapid 
 exposure necessary, though, as that is no object with him, he 
 can readily insert f/44 or f/62 in the lens. We are compelled 
 to work at f/11 or f/16, and must therefore keep an eye upon 
 distortion in choosing the lens. 
 
 There are numerous so-called fixed focus cameras made, in 
 which the lens is not only as we have already described it, but 
 no provision is made whatever for any alteration of focus. 
 
 Like everything else in this life — at all 
 Fixed Focus events, this photographic life — -it is not an 
 versus unmixed blessing. The advantages may be 
 Lons Focus. set down as that of very great convenience 
 in use and consequent speed. By this I 
 mean the securing of scenes that might be lost if the focussing 
 of the lens has to be attended to, in addition to the various 
 other details of successfully using the apparatus, shutter to 
 set, plate to get ready for exposure, flap or cover of lens to 
 open, Ac., Ac., and a good deal of “ Ac. ” with some patterns. 
 But the fixed focus camera possesses one great disadvantage. 
 
32 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 and that is the smallness of the principal object. Suppose 
 that be a well-known beggar, or, in fact, a single figure of any 
 sort, with a fixed focus camera a much smaller result must be 
 pat up with. I will giv6 an exact instance of this to make the 
 point clear. Those of my street studies taken with a camera, 
 giving the power of focussing to, say, six feet distance, give 
 upon a J-plate the figure of a man the full extent of the plate. 
 In fact, many of them are large enough to cut off at the knees. 
 But with a lens and camera which is set to be used at about 
 twelve feet distance, it is impossible to get a figure — and the 
 whole length of the figure too— larger than two-thirds of the 
 plate, without rendering it out of focus. 
 
 So that with regard to a fixed focus lens as contrasted with 
 one of longer focal length with focussing arrangement in the 
 camera, it is only necessary to sum up the situation from the 
 foregoing remarks. But for general work the focal length 
 should run somewhere between five and six inches, which is 
 about a happy medium avoiding the extremes, and yet giving 
 fair results for all-round work. 
 
 The aperture at which the lens may be worked of course 
 depends upon the light and subject. At the seaside f/16 can 
 be readily used, but inland f/8 or f/11 is more likely to be 
 required by the exigencies of full exposure. 
 Lens Aperture. Lenses are fitted that work at f/5.6, and one 
 make I have used works at f/4 as the open 
 aperture. As a rule, however, f/11 is about the best all-round 
 stop. For views or scenes embracing any angle, or with 
 objects at different distances, f/11 is almost a necessity. But 
 for single figures, such as a beggar against a railing, or any 
 subject in which there is practically no distance, the back- 
 ground being close to the figure, f/8 may be used with success, 
 or even f/5.6. The advantage of these larger apertures lies 
 entirely with the increased speed thereby gained, many results 
 being obtained that with a smaller aperture would have been 
 out of the question. The main point about this, however, is 
 that this large aperture is not often demanded of the lens. At 
 
THE LENS AND SHUTTEB. 
 
 33 
 
 the same time, if we posses one that will work at f/5.6, it can 
 always be stopped down when required, whereas one with a 
 full aperture of f/8 cannot be increased in speed. 
 
 The Iris principle diaphragm has proved itself a real boon 
 as regards the hand camera, because by connecting a bar or 
 rod to the outer portion of the mechanism, the diaphragm can 
 be worked from the outside of the camera. In many cases, 
 however, the ordinary stops are used, inserted as required by 
 opening out the lens, generally in front of the camera, but 
 sometimes at the side, top or bottom. Another simple system 
 in vogue is a semi-circular piece of metal, provided with the 
 correct apertures, and moved between the combinations, or 
 across the front of the lens, by an attached lever. 
 
 After the lens the only other item of importance is the 
 shutter, but this, unlike the former, does not admit of such 
 general treatment, owing to the very great variety of patterns 
 employed. In fact, beyond saying that it 
 The Shutter, has to be kept fairly small, owing to the 
 limited space available, there is no other 
 general feature. Most of the well known patterns are utilised, 
 in some cases with modifications either to reduce them in 
 dimension or to allow of their being worked from the outside 
 of the case. In the direction of shutters, however, the hand 
 camera has probably produced a greater number of patterns 
 and modifications in twelve months than has been produced 
 for use in the ordinary camera in as many years. The reason 
 for this is twofold — first, the necessity for economy in the 
 total bulk of the shutter, if it is a self-contained and complete 
 one ; and, second, the wide range of convenience given by 
 having a fixed case to work upon instead of making the shutter 
 self-contained. Many of our well-known shutters, even for a 
 ^-plate lens, are somewhat bulky. This has led to cutting 
 down the dimensions to make them adaptable to the hand 
 camera, with a consequent gain in many cases to those who 
 use the same pattern in their ordinary cameras, of both size 
 and weight. But a still greater gain has resulted from the 
 
 C 
 
34 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 many ingenious movements devised where the various parts 
 of the shutter are attached to, or form part of, the case or 
 camera itself ; because, having a space of four or five square 
 inches, in which the designer may roam at his own sweet will, 
 placing one joint here, a spring there, and soon, a great oppor- 
 tunity is afforded him of obtaining something convenient, and 
 fuller scope is obtained for inventive genius. This is one 
 benefit that has accrued from the hand camera, because many of 
 these ideas have been embodied into our ordinary apparatus, and 
 whether a man be a confirmed anti-snapshottist or otherwise, he 
 is receiving indirectly, benefits from the introduction and success 
 of the apparatus he may pretend to despise. In perhaps the 
 majority of cases, at all events in the better-class cameras, it 
 is required of the shutter that it may be set and discharged 
 and the speed altered from the outside. In most automatic 
 changers, too, another feature has to be attended to, viz., a 
 means of covering the lens aperture whilst the shutter is being 
 set. Because in these there is always a plate ready for 
 exposure, to which, without some special means of covering, 
 the light would have ready access when the shutter is wound 
 up. This is accomplished in several ways. A plain shield, 
 possibly working inside the camera by a small lever on the top 
 or at the side, is sometimes’ used ; this, however, requires 
 special and individual movement before setting the shutter. 
 This is simple in working, but adds to the sum total of move- 
 ments requiring attention, and is one very likely to be over- 
 looked. A better form is that connected with the shutter itself, 
 which passes over the lens itself at the same time the exposing 
 shutter does, thus making one movement effect both purposes. 
 Such movements, however, are not necessary with the patterns 
 of automatic changers that are so designed that the plate is 
 taken from a reservoir for exposure and afterwards returned, 
 because in these only one plate at a time is in front of the lens, 
 and this is cleared away before re-setting the shutter for the 
 next exposure. 
 
 There is another point that is worth slight notice, and that 
 
Pity the Poor Blind.’ 
 
THE LENS AND SHTTTIEK. 
 
 37 
 
 is what is termed the “ everset ” variety. And although I 
 may bring down upon my head the wrath of those photo- 
 graphers who hate all improvements like 
 “Everset” poison, and who would sooner take ten 
 Shutters. minutes to arrange each feature, focus, 
 stop, setting and speed of shutter, &c., 
 rather than have any blessed new-fangled notions about 
 their apparatus, I confess to a preference for a shatter 
 that requires no attention beyond altering the speed for 
 special subjects. Why a man should desire to wind or screw 
 his shutter up in preference to a movement provided to do that 
 very work is beyond my comprehension. It cannot be that of 
 security, because I would sooner trust a methodical piece of 
 mechanism than my own unmethodical head or memory. Now 
 I am perfectly aware of an existing feeling, especially, perhaps, 
 amongst some of our older hands, that these ingenious move- 
 ments and conveniences are amateurish, or only for novices. 
 Possibly the ‘‘You press the button, and we do the rest " 
 principle has had to do with these, to me, antiquated notions. 
 Whenever I hear it, my thoughts always revert to the old 
 machinery versus labour struggles and arguments. And there 
 is more of this feeling abroad than most people are, perhaps, 
 prepared to credit or admit. I know my apparatus has often 
 been despised, and myself sneered at for using an automatic 
 changer, with an “ everset ” shutter. Perhaps they consider 
 it is nice to have all these little points to attend to. I don't see 
 it. There is sufficient left for me in the selection and compo- 
 sition of the subject, and the exposure necessary. Any other 
 matters I want either done for me by mechanism, or made as 
 convenient as possible. The “ everset ” movement is just one 
 of these. How often we lose a good subject by finding that the 
 shutter was not wound up after the exposure was deemed made. 
 Possibly this may be found out at once, with the result that 
 after a quiet little chat with oneself the plate is used again. 
 But if the plate has been changed, and cannot be got back, 
 
38 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 or, what is extremely likely, the fact of the shutter not going 
 off has passed unnoticed, then in the dark room, out of the 
 developing dish into a cold, hard world, goes one more unfor- 
 tunate— to be afterwards cut down to a lantern slide cover 
 glass. To what base uses may a plate descend ! 
 
 The revolving pattern of shutter is often used, as the 
 circular shape adapts itself to the square form of the case. 
 
 Then the blind has numerous adherents, 
 
 Shutter because it works with less noise than other 
 Movements, patterns, is very light, and adds but little to the 
 total weight. It is also very reliable. Some 
 work between the combinations, but the greater majority by far 
 work either in front or behind the lens. One objection to the 
 usual pattern of blind is that no provision is made for giving 
 increased exposure to the foreground. Now, in all hand- 
 camera work I deem that a very essential point, because 
 working so rapidly, as we always do, the most beautiful cloud 
 negatives are secured if only the shutter will permit of it. 
 On the other hand, the modification should not be carried too 
 far, or it may interfere with ordinary work. I have used one 
 that in plain landscape, with background of high trees, or 
 buildings, its effect was most annoyingly visible. Most 
 shutters that move across the lens, except the blind, can be 
 so arranged, the opening in the moving piece being cut 
 unequally— that is, larger for the foreground. Shutters which 
 have an up-and-down action are not adapted to gain this end. 
 One of the simplest shutters upon any hand camera at 
 present in the market is that which consists merely of a 
 section of a circle, on the side of which are two long rods. 
 As the one is pushed home, in its passage uncovering and re- 
 covering the lens aperture, the other takes its place, ready 
 for the next time of use. 
 
 The release of a shutter — not so much the actual method, 
 but its position — is a point worth attention. It is in firing 
 the shutter that we may move the camera, and therefore one 
 place or another must minimise the risk somewhat. Of course , 
 
THE LENS AND SHUTTER. 
 
 39 
 
 constant use of a particular pattern goes a long way to level 
 up matters, but if we find one particular place easier to work 
 we might as well have it, as start to practise 
 Shutter a new one. Let me sa y ° nce that I con- 
 Relcase. aider the proper place for a hand camera is 
 down at the side, with the arm round it. 
 Holding the camera against the body in front, or up to the neck, 
 not only attracts a great deal more attention from the public, 
 but it is not in nearly so firm a position for work. We certainly 
 should not try to attract the gaze of those around us, or one 
 great charm of hand-camera work will very quickly vanish 
 — absence of stiffness and consciousness of the presence of a 
 camera shown in the faces and attitudes. So that with the 
 camera in that position, the push or release should be on the 
 side away from the body, in order that it may have something 
 solid to withstand the pressure, slight as it is. 
 
 With blind shutters actuated by long strings the latter are 
 sometimes apt to catch. This is certainly a drawback, and 
 one has always to watch that the string is in a correct 
 position to run home freely. 
 
CHAPTER IV. 
 
 The Box Camera. 
 
 y^VOTHING could be simpler than the earlier forms of tli 
 L / hand camera. It consisted simply of an ordinary 
 camera placed in a box or case, the back or top of 
 which opened to permit access to the dark slide, and the front 
 to enable the shutter or lens to receive attention. Of coarse, 
 as time went on, modifications were made 
 Early Forms, to facilitate the working, some for con- 
 siderations of secrecy, but most generally 
 for convenience. Opening the whole back or lid of the 
 case was minimised by a small door, which enabled the 
 dark slide to be inserted and the shutter drawn. Then, 
 for focussing, a small flap or door was arranged, to save 
 opening out the entire back. The front next received 
 attention, with the same end in view ; the focussing rack was 
 made to work underneath or at the side of the case and 
 outside, and the finder came into use. Thus gradually the 
 box camera became as convenient as it was possible to 
 make it. 
 
 The next point was size and weight, a point that became of 
 increasing importance as the use of the hand camera spread. 
 The dark slide was made specially light, the camera itself 
 was reduced down to a mere shell, and finally the case proper 
 disappeared altogether, the camera itself being utilised for the 
 purpose. This necessitated a focussing motion to the lens, 
 which was accomplished in several ways. 
 
THE BOX CAMERA. 
 
 41 
 
 I do not wish to infer that having arrived at this advanced 
 stage all the earlier forms are now discarded, because it is not 
 so. Some advantages are lost with the improvements that 
 are worth consideration The first of these 
 Advantages is that of using longer focus lenses when 
 Lost. required for particular work. With the 
 
 camera practically unfettered in the box, 
 there is room for considerable extension to provide the neces- 
 sary length of bellows. If not in the box itself the camera 
 front can be racked out clear of the box. But this necessitates 
 a big opening, practically the whole front of the case, so that 
 the modifications referred to do away with this power. There 
 can be no doubt that now and then we should obtain better 
 results with a longer focus lens than we usually work. Take 
 the case of a pure landscape. A single combination will pro- 
 bably give a much more pleasing effect than the doublet, for 
 reasons I explained in the previous chapter. If distant 
 mountains are part of the subject desired, then the ordinary 
 short focus rectilinear can be replaced by a single combination, 
 or a longer focus rectilinear may be advantageously employed. 
 The ordinary rectilinear may be converted by removing the 
 front combination and stopping the lens down to f/11 or f/16. 
 But this would almost exactly double the focal length, and 
 the question is, will the camera rack out far enough ? If it 
 be what is now so well known as a “ double extension ” pattern, 
 it doubtless will. But unless the length, and consequent 
 bulk, of the box be increased to admit of extension at the 
 back, it is imperative that the front allows some part of the 
 camera to project. This power we lose when we study neat- 
 ness and secrecy to too great an extent. The front must open 
 right out, or the size of the case be increased at the back, to 
 accomplish this object. 
 
 In reducing the size and weight another point crops up, 
 connected this time with the dark slides. In some patterns 
 the extra slides are carried in the body of the camera, which, 
 whilst it certainly attains that object, adds to the trouble by 
 
42 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 making the removal of the slides before use a necessity. An 
 extra bag or somewhat capacious pockets are needed to 
 provide a receptacle for them during the 
 Size and time the camera is being used. Not that this 
 
 Weight. is in any way a very serious matter, but it is 
 
 a point worth notice. Where bulk is not 
 considered such a vital point, the slides are arranged for in the 
 lid of the case or round the camera body. And another plan is 
 to arrange them one behind the other at the back. This is 
 not so convenient, as when the ground glass is needed they 
 must all be removed just the same. In one camera I have, 
 too, if the object be close at hand, say six or ten feet off, it is 
 necessary to remove one slide, or even two, to allow the back 
 of the camera to rack out far enough. But I only include 
 this as a slight feature, because there may not be many which 
 need this to be done. 
 
 And now as to the features of a box camera or one with dark 
 slides, as compared to automatic changers. I must deal in a 
 very general way with all these principles, because there is 
 no one point equally applicable to all. I 
 Features. dare not lay down anything very definite, 
 except in a general way as pertaining to the 
 majority of patterns, because some one or other will turn up 
 in an upsetting and disorganising manner. For instance — 
 and I want to make the point clear — it is quite right to state 
 that automatic changers do not give the power of focussing 
 upon a ground glass screen. They do not so far as the great 
 majority are concerned, and the principle is to a great extent 
 opposed to it. But there may be one pattern, or more than 
 one, that gets over the difficulty, that bridges the gulf. I may 
 say that one advantage of dark slides against magazines is 
 that any particular plate may be exposed at will, whereas in 
 the magazine patterns one must take the plates, like the 
 Irishman did the weather when he lost his almanac, as they 
 come. But it must be held to apply generally, because there 
 are one or two automatic changers that permit of any plate 
 
THE BOX CAMERA. 
 
 43 
 
 being used. And so on all through, probably the only definite 
 and absolute rule is that if a flap covers the lens, the plate will 
 not be exposed until that flap is removed. Really now that I 
 am in this maze of principle, I am not so sure of that even. 
 This classification and principle will be the death of me. 
 
 The box pattern permits more readily of its use as an 
 ordinary camera apart from snap-shots. It is more possible 
 with it to see the picture upon a ground glass screen, to focus 
 accurately, to gauge the required aperture, to even use a swing 
 back ; in fact, to use the hand camera just as we would our | or 
 i plate apparatus. This, to some, is a secondary consideration 
 altogether, it is so to me. Because if I want to do all this, I 
 should not take my hand camera at all but should use J plate 
 or 10 x 8. At the same time it would not be just to close one’s 
 eyes to the fact that occasions arise for pictures that do need 
 all the conveniences of an ordinary camera, when the hand 
 camera alone is the only tool at hand. It is then a case of 
 doing the best possible with the latter. These occasions may 
 be few and far between, but they do arrive at times, though in 
 this respect a great deal of the urgency of the case is due to the 
 worker or his particular fancies in the direction or choice of 
 subjects. 
 
 The distinctive features, however, of the box pattern — that 
 is, one using dark slides, and, in fact, an ordinary camera 
 covered up, are chiefly that of more control over the plates, 
 and the better use of the camera for ordi- 
 Dark Slides, nary time exposure work. With dark 
 slides, of course, any one plate can be used. 
 This is useful at times when two rapidities are carried. I 
 don’t know how others feel about the matter, but for my own 
 part I much prefer to use a slow plate whenever it is possible, 
 and yet — bother these yets and buts — there are occasions 
 when a more rapid plate is certainly a boon. Dark slides 
 readily permit of using either at our own sweet will. There 
 is another point, too, and that is, one failure will not mar a 
 whole day’s work. If by any chance the dark slide be not 
 
44 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 properly handled, the plate falls into the camera, or thie slide 
 by sticking, or movement at the wrong time, fogs the plate, 
 only that particular one is affected. On the other hand, with 
 an automatic changer, if a plate sticks or goes wrong, 
 probably a rush to a dark room is necessary before we can go 
 on any further ; and as this is not always feasible, the dark 
 slide has decidedly the pull in this respect. But do automatic 
 changers go wrong, my readers ask ? Certainly they are 
 liable to, variance in the thickness of the glass plate, careless- 
 ness in filling up the reservoir, the insidious creeping in of 
 dust and dirt, the weakening of a spring or catch, the failure 
 of a movement, the curiosity of a non-photographer who 
 presses all our buttons at random— and in this case we 
 certainly do the rest as regards conversation when we find it 
 out — the variation of atmosphere with its effect upon wood, 
 the pulling of the wrong lever at the right time or the right 
 lever at the wrong time, an accidental knock or shake of the 
 camera, and — well, in truth, no end of mishaps which may 
 make a plate stick. And when it does we have got to settle the 
 hash of that one, because until that is done the others must, 
 perforce, remain idle. Here the dark slide scores one, 
 figuratively and numerically, because with it the spoilt plate 
 does not interfere with the others. Only one plate is spoilt, 
 whereas the automatic changer may spoil all that follow and 
 even all that have gone before. 
 
 And lastly, dark slides are convenient in another direction, 
 that of refilling. When we have a magazine or store of, say, a 
 dozen plates to deal with, there is a great temptation to cater 
 to the trade of the dry plate manufacturer, by using the last 
 one or two upon subjects we scarcely care for, in order to be 
 able to recharge the whole magazine. Certainly, with dark 
 slides the same tendency may apply, but if it does the tempta- 
 tion is not so strong. The magazine takes some little time to 
 open out, put in order, and recharge, and, as a rule, we do not 
 care to do it until all the plates are used. I grant that when a 
 complete dozen have to be changed, the sheath, or in fact almost 
 
On the Quay. Newcastle-on-Tyne. 
 
THE BOX CAMERA. 
 
 47 
 
 any automatic system, is decidedly quicker, but I now refer to 
 replacing a few only. Dark slides will be found much more 
 convenient in this direction. Many automatic changers re- 
 quire the full dozen plates to be in to work at their best, parti- 
 cularly those in which a springbehind keeps theplate in register. 
 So that if we remove one or two only to develop they must be 
 replaced. The double dark slide obviates this. And altogether 
 taking the entire opening out of the automatic camera into con- 
 sideration, the former is easier work unless the full stock of 
 plates have to be dealt with. 
 
 The disadvantages of the box pattern are not numerous, 
 consisting principally of two, viz., greater amount of work in 
 changing the plate, and in doing so revealing the nature of the 
 box or parcel. Whether the single or the 
 C isa.dva.nta.ges. double dark slides are employed after each 
 exposure, the one used has to be withdrawn 
 and another inserted, and this means, of course, also the slid- 
 ing in or out of the slide shutter. This certainly takes more time 
 than an automatic changer. In doing so, too, the interior is 
 more or less exposed, thus enabling the general public to grasp 
 its purpose readily. Even if the lid has not to be opened, the 
 movements of the dark slide take sufficient time to attract atten- 
 tion. A minor disadvantage is, generally speaking again, 
 that the box camera is bulkier to carry. True, as I have ex- 
 plained, some are very neat indeed, but they require an extra 
 bag or case for the dark slides, so it comes to pretty much the 
 same thing. Greater care, too, must be used to keep the curious 
 from meddling with the camera, because dark slides are so 
 easily opened compared with an automatic changer which they 
 do not understand. 
 
 For a long while it has been a perfect puzzle to me to find 
 amateurs, who are not content unless they have Boss or 
 Dallmeyer lenses for their ordinary camera 
 Cheapness. work, seriously discuss the pros and cons of 
 a 10s. 6d. camera. What in all conscience 
 do they imagine ? If the whole thing complete can be obtained 
 
48 
 
 THE HAND CAMERA, AND HOW TO USE XT. 
 
 for 10s. 6d., or even a guinea, what price the lens in it ? But 
 there is something deeper in the matter than appears at first 
 sight, for they evidently consider a hand camera as being so 
 essentially different that they may really discuss the possi- 
 bilities of taking a fair instantaneous shot with an apparatus 
 sold at 10s. 6d. What the lens is worth nobody knows. 
 Whereas, if they were going to use their ordinary camera, 
 they would deem any lens under £5 or £6 incompetent. It is 
 to me one of the profoundest curiosities of photography that 
 photographers should so far forget that a hand camera is 
 merely a camera adapted for use in the hand. It is the same 
 flesh and blood. There is the camera, the lens, the shutter, 
 the plate receptacle, and, in fact, the identically same thing 
 as we should use when occasion arises to turn our thoughts 
 with the ordinary camera toward instantaneous work. And 
 yet the expenditure of half-a-guinea or less is sufficient, they 
 think, for a hand camera. Poor hand camera, art thou so 
 despised ! 
 
 Now, I’m not tilting a lance against the cheap makes. 
 What I shoxild like to do would be to break the lance on the 
 heads of those who expect a 2s. 6d. lens to do in a hand camera 
 what they would hardly trust their £5 lens to accomplish 
 in their ordinary camera. Cheap hand cameras have 
 their uses— I cannot say advantages, because they have none 
 except as regards the purse or the pocket — for one thing, they 
 popularise photography. Many an outsider would never have 
 touched the thing at all, only that he thought it was so in- 
 expensive. And from this he is dragged gradually into better 
 things, he spends more money, he takes greater pains to 
 produce results worth looking at, results that may be judged 
 beyond the standpoint, “ Ah ! very good indeed for a 10s. 6d. 
 camera.” Before he reaches this point, however, he has, no 
 doubt, largely benefited the trade, the dry plate maker to wit. 
 If this be read “ sarkastic,” it is not my fault. No, what I 
 am driving at is not the outsider, but the full-blown amateur 
 who so incongruously wants a 10s. 6d. apparatus to accom- 
 
THE BOX CAMERA. 
 
 49 
 
 plish things that were he to use his £10 outfit for he would 
 deem his success a triumph. 
 
 Some of my readers may feel disposed to doubt my asser- 
 tion as to this curious conception of the hand camera by 
 amateurs unfamiliar with its use. I should have done so 
 myself a few years ago, but now - well, there, I’m used to it. 
 I have had too many proofs of it to doubt for one moment the 
 existence of these strange, wild, weird, weary, weak, warped, 
 waspish — and wasteful— opinions. When a friend — who a 
 short time ago bored you by discussing whether he should buy 
 a “ rectilinear ” by so-and-so, the price of which was £5 10s., 
 or a “ symmetrical ” by another so-and-so, at £5 7s. 9d., 
 whilst all the time you know your own lens only cost £3 — 
 seriously tells you that he is thinking of going in for the 
 “ Never-say-die ” hand camera at £1 12s. Gd., you are inclined 
 to doubt his sanity. But we're going to change all that, we 
 hand-camera men, because 
 
 “ Needs must when the devil drives.” 
 
 Please observe I mean nothing personal by this quotation. 
 
CHAPTER V. 
 
 The Bag Changes. 
 
 '^'HIS pattern is really a cross between the box camera an d the 
 (®) automatic changer, because whilst the plates are back to 
 back in a magazine ready for changing, they have yet to be 
 dealt with individually by the fingers. It 
 The Bag. i s f° r this reason that I do not class it with 
 the automatic changer, for in these latter a 
 spring, a lever, or some movement effects the change without 
 the fingers handling the plate at all. 
 
 Let me say at the outset that the bag, as a method of 
 changing the plates, is very widely used. It is evident, there- 
 fore, that it has some good points, but these will be entered 
 upon later. To describe the arrangement is a simple matter. 
 It consists of a plain box, which is usually formed by tbe case 
 itself, though sometimes it is separate and distinct, into 
 which the sheaths are placed facing the lens. A slight spring 
 at the back keeps the front sheath up to the register. Upon 
 the top is fitted a bag constructed of some opaque material, 
 which is at the same time flexible enough to permit a single 
 sheath being grasped by the fingers from the outside. Under- 
 neath the bag, but on top of the compartment, is usually 
 covered over except at the two ends, where are slits provided 
 of sufficient size to permit the passing of the plate. At the 
 bottom of the case is a lever, resting underneath the sheath, 
 which serves to raise it sufficiently high in the bag to permit 
 of a more convenient grasp by the fingers. And for the same 
 purpose the front slit is either wider than the back, or a half- 
 circle is cut out of the wood. 
 
THE BAG CHANGER. 
 
 53 
 
 In use, the lever is first raised, the sheath grasped and lifted 
 out by the fingers, outside the bag of course, and then replaced 
 in the case, but this time at the back of the others. In doing 
 this, the next plate has been pushed forward by the spring and 
 is ready for the next exposure. There is a point worth mention- 
 ing here, and it is that the full number of plates remaining in 
 the camera all the time, there is no unequal tension upon the 
 spring. The pressure remains the same from start to finish. 
 I mention this because in some cases, where the plates have to 
 pass to another chamber, the pressure varies at each change, 
 and occasionally the spring weakens towards the last plate to 
 such a degree, that it is really not so reliable as it ought to be. 
 
 The method is very easy to describe, but in actual 
 working is not quite so convenient as it might be 
 deemed. We, of course, want neatness, and that means 
 curtailing the size of the bag. Even if 
 Actual that object were not sought after, the bag 
 Working. would not be much easier to work, 
 however large. As it is, it is large enough 
 for the purpose, but no larger, and as the fingers have 
 to move the plate from one end to the other, it follows that 
 the sheath must have sufficient room in the bag to enable it to 
 pass clear above the others. But when in this position, the 
 bag is generally taur, and this requires a little practice to 
 work well, or, at all events, to do it quickly. The folds of the 
 cloth, too, when the plate is either half-way up or partly 
 down, are apt to get in the way. In some patterns, also, care 
 must be taken to push down the lever before removing the 
 plate entirely from the front, because either it will not after- 
 wards assume its proper position, or in pushing it home it is 
 liable to scratch the film of the new plate. 
 
 The bag system has some strong points. That is proved 
 by the number of hand cameras that adopt it. It is certainly 
 extremely simple, and there is very little that can be subject 
 to chance derangement. Another feature of importance is 
 that it takes such a very small amount of space, being less, 
 
54 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 in fact, than most automatic changers, and considerably less 
 than dark slides. The bag itself, being de- 
 Ad vantages, signed to fold neatly into a square, is of no 
 consequence as regards space, so that the case 
 need only be large enough to hold twelve sheaths, with about 
 a £ or § inch space on top for the bag. Finally, this system 
 affords an easy method of replenishing the stock of plates; all 
 that is needed being some arrangement in front to close in the 
 plates, and to keep them safe from light until opened for 
 development. The case is simply lifted out, and another one 
 inserted. It is quite true that other systems of magazines 
 could also be treated in the same way, but the bag gets ahead 
 on the questions of size and cost. Where the method of 
 changing is in any way elaborate, it usually means bulk, 
 and certainly to carry two or three extra magazines about 
 with one upon a day’s trip would entail too much 
 porterage to suit the majority of us. The expense, too, 
 would be great, as these ingenious movements cost money 
 in their manufacture, to say nothing of patent considerations. 
 Whereas for the bag pattern, even one of the best made, extra 
 supply boxes, I find, are listed at 35s. each. 
 
 Altogether, then, this method of changing the plate may 
 fairly be stated as one of the most simple, and least likely to 
 get out of order. And though I do not like a bag at all myself, 
 as I cannot stand the fumbling about of the fingers, it yet 
 stands in the front rank certainly for simplicity, and, to a great 
 extent, for neatness. 
 
 There is one point that should be studied by the purchaser, 
 and that is the shape of the bag, and the material of which it 
 is constructed. For in this lies, perhaps, the whole secret of 
 ease in changing. I am probably quite 
 Shape of the withiu the mark in stating that a great 
 Bag-. number of hand-camera workers have been 
 
 prejudiced against the bag purely and solely 
 by the bad construction of some of those issued. Any bit of 
 cloth, made up into the easiest shape at hand, or made 
 
THE BAG CHANGER. 
 
 55 
 
 without regard to shape at all so long as it forms a bag, will 
 not do at all. At least, it will not be nearly so convenient in 
 use as a properly-designed one would be. The actual shape 
 advisable is beyond description, but the material should 
 not be too soft and flexible, or it will hang round the plate too 
 much, and fall into troublesome folds. At the same time, of 
 course, it must not be too stiff . In fact, it wants to be just 
 exactly right, as do a great many other things. 
 
CHAPTER VI. 
 
 The Automatic Changer. 
 
 f F I assert that in the direction of changing methods for 
 the hand camera more ingenuity, skill, and mechanical 
 knowledge has been directed, more time spent in experi- 
 menting, more money spent in patents, than any other branch 
 of photographic apparatus during the last three or four years, 
 I do not think I shall be going too far. We 
 Ingenuity and have gained considerably and unquestion- 
 Skill. ably by the thought and enterprise extended 
 
 in this direction. Not only the hand-camera 
 worker, but, in many things, even the anti-snapshottiet must 
 allow improvement in the apparatus he uses, which should 
 rightly be credited to the thing he affects to despise. And the 
 matter is not yet done with, because the automatic changer 
 has come to stay in its general principle, but not to stay in its 
 particular details, and improvements are bound to go on. So 
 that, apart from its own usefulness and attractiveness, the 
 automatic changer will, practically, effect improvements in 
 other apparatus. 
 
 The advantages of this pattern hand camera are great, but 
 like everything else it has its drawbacks, and these points I 
 purpose now discussing, Having dealt with the bag changer, 
 however, which embodies the advantage of 
 Size or Bulk. carrying a store of plates, to say nothing of 
 patterns having six or more dark slides, 
 both effecting the same results as regards the number of 
 exposures at command, I need say nothing more upon this 
 
THE AUTOMATIC CHANGER. 
 
 57 
 
 point. Some automatic changers, however, possess a distinct 
 advantage over dark slides in at least three directions, viz. : - 
 Saving in total bulk and weight, greater safety for the plates, 
 and quicker changing. It is only, however, in the latter that 
 it may be said to in any way improve upon the bag-changer, 
 and even only in some patterns Dark slides must be more 
 or less bulky, and consequently heavier. If we consider that 
 the case in which the plates are stored is usually very little 
 larger in dimensions than twelve plates — even with sheaths 
 the increase of size necessitated is not great — the gain over six 
 dark slides, of however light and neat a pattern, must be 
 apparent. If the method of changing adopted be the simple 
 well, or a similar principle, the total size of the camera is no 
 larger than the usual box pattern. Where, however, double 
 reservoirs are needed, or where, by reason of the movements 
 required, space has to be provided, then the automatic changer 
 gains nothing in respect to bulk. Iudeed, in some patterns, it 
 is quite the other way. 
 
 Dark slides are not so safe as regards freedom from 
 the entrance of undesirable light. At least, I put it in this 
 way : In the automatic changer we have one box to deal with, 
 in which are our twelve plates, but each dark 
 
 Safety. slide is a separate box, and each requiring 
 care in use and storage. Another point is 
 that dark slides are so easily opened by the non-photographic 
 public, whereas the automatic changer is sometimes a puzzle 
 with its many levers and knobs. Of course, I know dark 
 slides can be locked away either in the camera case itself, or 
 in a separate one. But that is not what I mean. The auto- 
 matic changer generally must be locked, or, at all events, we 
 imagine so, whereas dark slides — well, why should we take 
 any more trouble with them than we do with those of our 
 J-plate or 12 x 10? It is like a lot of other things in this life, 
 that we are compelled to do, we do cheerfully, that which is 
 not obligatory is often neglected. Some patterns really re- 
 quire locking properly before they can be used, but it is not so 
 
.58 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 with dark slides, the plates being all apart from the camera in 
 their own compartments we imagine them safe. 
 
 As regards quick changing the dark slide, however, has no 
 chance, and even the bag-changer must fall into second place 
 beside some of the automatic changers. Take, for instance, 
 ihe double-grooved reservoir patterns. A 
 
 Quick turn of a milled head about |inch is all that 
 
 Changing. j s necessary. Or take the well systems, 
 where a movement quite as slight releases 
 the exposed plates into a receptacle beneath. What could be 
 more simple, what quicker to do ? But is quick changing a 
 vital point ? may well be asked. In certain cases it certainly 
 is, and anyway, if the quick changing does not necessitate any 
 sacrifice of other convenience, or of other feature, it might as 
 well be always at hand. Those who have used a camera — as 
 I have— on the tops of ’buses, steam trams, and in small boats, 
 where to stand up is somewhat peculiar ; above the head at 
 arm’s length in dense crowds ; on the top of a tent pole, where 
 one hand is required to “ hold on ” like grim death ; upon a 
 yacht in a stiff breeze, when somebody else has to hold the 
 manipulator ; from the seat of a bicycle ; and even when 
 swimming in the water ; I say, those who have used it under 
 these circumstances know full well the advantage of a quick 
 and easy changer. (The two terms are not exactly synony- 
 mous, though the difference is hardly worth pointing out.) It 
 is not only the power of being able to do it readily, tut that of 
 accomplishing it in very awkward positions, and when the 
 greater part of the attention is, perhaps, more directed 
 toward the risk of accident to oneself or the camera, than to 
 “ snap-shotting.” 
 
 Quick changing and simplicity of the method carries with 
 it another feature, one which, for lack of a better phrase, I 
 should term secrecy of changing. Neither 
 Secrecy. dark slides nor the bag can compete at all in 
 this direction, for they both need some 
 amount of opening out and display of action. The mere turn 
 
Taken from Top of an Omnibus. 
 
THE AUTOMATIC CHANGER. 
 
 61 
 
 of an outside button or lever does not attract any attention at 
 all. It is bad enough in many cases, such as in street scenes, 
 to be understood of the public when actually taking the 
 picture, so that drawing further attention to the fact that “ a 
 camera is about ” by means of the method of changing the 
 plate is surely not to be desired. If really truthful represent- 
 ations of street life, its incidents, its bustle, and its characters, 
 are required, the “standing to be photographed’ kind of 
 positions must be avoided. 
 
 Now, my readers must not imagine, because they have seen 
 it stated in Photography or elsewhere, that I used either a 
 certain pattern of camera or a certain make, 
 Disadvantages, that a distinct bias must perforce rest. It is 
 not so, and now I will endeavour to set forth 
 the disadvantages of the automatic changer, generally speak- 
 ing. Probably the first is that of a plate sticking, involving 
 the complete stoppage of any further work without recourse to 
 a dark room. I use the term “plate sticking’’ to apply to 
 anvthing happening to disarrange matters and prevent the 
 further use of the camera. The plate may slip or break for 
 that matter, but the result is the same. Now, there is nothing 
 more annoying than for this to happen, as it often does, miles 
 away from any dark room, or just as some particular event is 
 coming off in which the user has great interest, or for which 
 the special journey was made. The dark slide certainly gets 
 ahead upon this point ; one plate may be blundered over, but 
 the spoiling of one does not involve a complete collapse. The 
 slide merely has to be reversed, or a fresh one inserted. This 
 is decidedly a point worth study and comparison, because, 
 trusting, as automatic principles do, to a mechanical move- 
 ment covered up in a box, to effect a change that with the 
 dark slide is done by the fingers, the liability to disarrange- 
 ment must ever be present to a more or less great extent. 
 Springs go wrong, they weaken and break, leather bands 
 stretch, rubber wears loose or it hardens, the rack throws the 
 groove registering out of truth, and many other nasty little 
 
62 
 
 THE HAND CAMERA, AND HOW TO USE XT. 
 
 things are likely to happen. True, the same things go wrong 
 with an ordinary camera, but the difference with an automatic 
 changer is that they cannot be got at without opening the 
 camera, and in some cases not even then unless it be taken to 
 pieces — I can still go on-bometimes not even then unless sent 
 to the maker. 
 
 Another disadvantage is the necessitated use of the plates 
 in strict sequence. This, however, is met in a few patterns, 
 but in the majority as the plates are put in the reservoir so 
 must they be used. I have myself found this 
 The Speed of a drawback. There are many occasions upon 
 Plates. which, perhaps, the use of either a slower 
 or a faster plate would be apt to give us a 
 better result. But it cannot be done, unless it is possible to 
 presage the exact order of taking and subjects chosen In 
 that case the plates could be arranged specially in the reservoir. 
 I have, however, never been so situated myself, and doubt its 
 feasibility very much, except on very rare occasions. It may 
 be said that altering the stop would answer the purpose, but 
 if that be done the picture itself is altered. Of course, those 
 who lay down the law that the Ultima Thule of hand-camera 
 work is absolute (and as I have termed it painful) sharpness, 
 then the stop would perhaps answer the end. But I very 
 much object to being so dictated to, and deny that the sole 
 aim of the snap-shottist is to produce complete and infallible 
 sharpness. I want to do with my hand camera as nearly as 
 I can everything that is possible with an ordinary camera ; 
 and therefore I don’t want mountains that are at least five 
 miles away as the crow flies, to look as if they are at the 
 bottom of my back garden Nor do I want a vessel lying at 
 anchor in a river to appear as if stuck by a dab of paste to 
 the trees on the other bank. My point is briefly this— where 
 sharpness destroys distance, and thereby destroys beauty and 
 truth, it is wroog, absolutely wrong. If the sharpness does 
 not do this, all well and good, I agree to it. But that absolute 
 sharpness is the only thing a hand-camera man ought to aim 
 
THE AUTOMATIC CHANGER. 
 
 (58 
 
 for is arrant nonsense. If he loves the apparatus he uses, he 
 will not be misled by any such parrot cry. 
 
 And finally, a minor drawback. In automatic changers 
 there is usually a plate, ready for exposure or already used, in 
 position in front of the lens, which any movement of the 
 shutter or lens must affect. Any accidental 
 Meddlers. opening of the aperture, or, what is worse, 
 the wilful opening by an outsider, has a 
 disastrous effect. Dark slides are safer in this respect, 
 because, when the shutter is closed or when the slide is 
 removed from the camera altogether, the meddling fiend can 
 do what he (it’s hardly gallant to say “or she”) chooses. The 
 plates are safe whatever happens to the camera or its working 
 parts. 
 
CHAPTER VII. 
 
 The Automatic Changer — Continued. 
 
 ^nHERE is only one other minor point of disadvantage, 
 \ 3 ) which is that with many automatic chaDgers focussing 
 direct upon a ground glass screen is not 
 System of possible, owing to the construction of the 
 Changing. changing method employed. 
 
 The particular methods or systems of 
 ■changing must next receive attention. These may be placed 
 in three distinct classes as follows : — 
 
 Grooved reservoirs, travelling or otherwise. 
 
 Lever movements. 
 
 The well, or plain reservoir. 
 
 These are sufficiently distinctive to admit of classification, 
 in spite of the differences in actual detail. Probably, of these 
 the simple well is the least likely to derange- 
 The Well. ment, and next comes the grooved reservoir. 
 
 The lever movements in that respect certainly 
 are the most likely to go wrong. Also, as regards bulk and 
 space, the well keeps ahead. But both the well and lever 
 movements necessitate the use of each plate in exact order. 
 Whereas some patterns of the grooved reservoirs admit of the 
 ■use of any plate, and in others it can be managed by a little 
 dodging, such as a shake or reversing the box. 
 
THE AUTOMATIC CHANGER. 
 
 65 
 
 It may be interesting to my readers and patentees generally 
 to know that, as far back as 1867, a camera was patented, in 
 America at all events, if not in England as 
 Grooved well, which, though not a hand camera at 
 
 Reservoirs. all, contained the germ of all the grooved 
 
 reservoir patterns. Indeed, I can go further 
 than this, and assert that one of the patterns upon the market 
 at the present time is an exact facsimile, as regards principle, 
 with but slight alteration in detail. Possibly, even the one of 
 1^67 was not the first, but 24 years is quite far enough back to 
 go in such a recent thing as photography. The camera was a 
 plain box, carried by means of cord or rope. At one end the 
 lens was placed, and at the other a pair of stereoscopic lenses, 
 through which the object was seen and focussed upon the 
 ground glass, which was placed about the middle of the box. 
 Upon the top of the main box was a smaller one, containing 
 the plates in grooves, practically a travelling store box. In the 
 top of the main box a slit admitted the plate into the exposing 
 chamber. When not required, this slit was covered by the 
 focussing screen, and the latter also served to keep the plate 
 in register when in position by being pushed home. The 
 plates were kept tight in the reservoir by small springs 
 inside, pressed by screws from the outside, one for each plate. 
 This was rather an elaborate arrangement, which we nowadays 
 avoid by closing the box with a lid. However, as I have before 
 stated, here was the grooved reservoir idea exactly, and as so 
 many of our present-day photographers, especially in the 
 amateur ranks, do not date their knowledge of matters photo- 
 graphic back more than five or ten years, this may be news to 
 them. In 1867 a camera was made, and used, with a travelling 
 grooved reservoir, which dropped the plate into position, and 
 upon reversing the camera it fell back into its groove again. 
 Focussing upon a ground glass screen was provided for as 
 well. 
 
 In modern reservoirs the plates are sometimes in sheaths, 
 which are a great help to the correct working of the instrument. 
 
 E 
 
66 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 Plates have often sharp or rough edges, to say nothing of 
 faulty cuttings, of which we constantly soe 
 Sheaths. samples in the makes turned out. Whether 
 the grooving is of metal or wood, such 
 plates have a tendency to catch or stick — of course, worse in 
 the latter. The plates also may be too small, as happened 
 to a batch of two dozen I took out last week. Things went 
 wrong, the air seemed heavy, the world dark and dismal,, 
 and I came back cross with everybody and everything. Why? 
 Well, my very first plate stuck. Upon going into the dark 
 room, however, the reason was soon apparent, the plates were 
 rather small, and they had in five or six cases slipped out of 
 the grooves. Now with sheaths, differences in dimension are 
 met by the protecting edge, and bad cutting or rough edge i& 
 not so bad, as it is the outside of the sheath that runs dowm 
 the groove. On the other hand, there is the extra labour 
 involved by the insertion of the plates into the sheaths, and 
 extra thick glass sometimes causes annoyance. But this is in 
 the getting out, not the getting in, or exposure of the plate. I 
 have spent much time in getting plates out at times, and when 
 a knife has to be requisitioned, breakage or a deep scratch 
 has disposed of “one more unfortunate.” Occasionally I 
 have made sure the plate was worth the trouble by developing 
 first, inserting sheath and all in the tray, and judging at the 
 earlier stages if the result was likely to be of any use. If it 
 was, then I took my chance of density by long soaking. If 
 the glass is too thin, also, a grinding action goes on inside the 
 sheath, causing pinholes galore in the negative. Altogether, 
 the sheath question may be summed up as six to one and half 
 a dozen to the other ; there is very little to choose. Sheaths, 
 however, add to the weight, and that is, perhaps, the most 
 reliable point of comparison. 
 
 An advantage possessed by those forms of grooved reservoirs 
 in which the plate is returned to the same box, is that of beiDg 
 able to use a ground glass focussing screen, because when the 
 plate is safely back in its groove, and the opening or slit 
 
THE AUTOMATIC CHANGER. 
 
 67 
 
 covered, there is nothing to fear from the entrance of light, 
 however bright. This, however, generally 
 Focus Screen, means tilting or turning the camera right 
 over, so that if this be objected to, not so 
 much upon the question of the trouble as upon that of re- 
 membering to do it. the advantage gained is to some extent- 
 counterbalanced. But with a lever movement, or with the 
 well, focussing on a ground glass screen is not possible. 
 
 The power of using any desired plate is given by some of 
 the grooved reservoir patterns, and by power in this case I 
 mean those distinctly adapted to the object, not those that by 
 dodging can be made to accomplish the same end. 
 
 Need but little attention, as each differs from 
 The Lever the other so much that only when we come 
 Movements. to the detailed description of each can they 
 be properly dealt with. With the exception 
 of one pattern, however, there is less to do in changing with 
 a lever movement than with a grooved reservoir. The latter 
 need in most cases two or three movements, or they require 
 the camera altogether to be turned over, or round, or on one 
 side, or down the next street. The exception is that in which 
 one grooved box travels over another, so that the mere turning 
 of a milled head is all that is necessary. With lever move- 
 ments, too, some amount of decision in working is necessary, 
 as they almost all need a jerk, or at least one definite motion, 
 not one by degrees and easy stages. It is in this direction that 
 failures occur most generally. Another minor objection to 
 these levers is the way they bang the plates about, as a friend 
 remarked to me after I had changed one, “ How did you spoil 
 that one? ” I told him it was all right. “ Well why do you 
 jerk the life out of it then ? ” he asked innocently. 
 
 The principle of this is very simple. The plates are stored 
 one behind the other, usually in sheaths, 
 The Well. their correct position being kept by a spring 
 or springs at the back. As each plate is 
 pressed forward into correct register, the well possesses a 
 
G8 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 slight advantage over the grooved reservoir, because in the 
 latter there is generally some play allowed in the groove. 
 One or other form of catch is present, which holds the plate or 
 sheath firmly until it is required to change. All that is neces- 
 sary, then, is for that catch to release the exposed plate, when it 
 falls into the bottom of the camera — into a well, in fact, hence 
 the title of the division. This is accomplished in a great many 
 ways, but all attain the same end; the plate is kept in position 
 for exposure, and then allowed to fall into a reservoir. 
 
 The thing I don’t like about a well is the terrible jarring 
 the plates receive in falling, which is a splendid advertisement 
 for Pinholes and Co., nor do I much care for the loose way 
 in which the plates lie in the well. They shake 
 Shaking. about all the time the camera is being carried, 
 and they make me nervous. The old chest- 
 nut is — 
 
 “Before taken, to be well shaken.” 
 
 Well, we simply reverse that to, “ After taken, you can stake 
 your last Everclean collar they’ll be well shaken.” 
 
 The strongest feature about this system is certainly its 
 simplicity, because there is so little that has any chance of 
 going wrong. It is a most peculiar and fascinating thing 
 about hand cameras how easily they go 
 Simplicity. wrong. With one that I have personally 
 worked without a hitch for months, it will 
 just turn stupid when I commence to dilate upon its beauties 
 and simplicity to a friend. “ All you’ve got to do is to pull 
 this lever, press this button, and there you are, the plate is 
 changed,” I say. And my friend replies, “Very clever, very 
 ingenious, very simple, but the plate has not changed.” 
 
COULD GET AT 'EM," 
 
CHAPTER VIII. 
 
 The Roller Film Camera. 
 
 O^HIS is, f course, a variety of the automatic changer, but 
 is sufficiently different to be described alone. With the 
 majority of hand cameras, cut films can he used in place 
 of plates, especially when sheaths are used, as it is only 
 necessary to place at the back of the film a piece of wood or 
 cardboard to keep it tight and up to register. I have not 
 dealt with this matter before, because, practically, cut films 
 and plates are identical as regards nearly all patterns, whether 
 of the box, bag, or automatic changer. The continuous length 
 of sensitive film wound upon a roller is, however, a different 
 matter altogether. It is generally used in an ordinary roll 
 holder, with the box pattern of camera, that is, one using 
 dark slides. Even with these, the dimensions or construction 
 of the particular make may preclude its use, unless the camera 
 or case be specially designed. 
 
 Before entering upon cameras specially made for roller 
 films, a few remarks upon the film, its advantages and 
 features, must come first. Its strong point is decidedly that 
 of convenience in use and extreme port- 
 Rollable Films, ability. A roll of film for, say, forty 
 4J x 3J inch pictures is certainly a feather- 
 weight beside three dozen plates, to say nothing of the 
 reduction in space also gained. A piece of paper 3Jin. wide 
 and, say, about lift, long, it will be readily surmised, weighs 
 the merest trifle, and when rolled tightly occupies but very 
 
72 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 little space. And the convenience of it— well, there’s forty 
 exposures within your grasp without a change of any sort. 
 Supposing you are going abroad, especially if it be to a some- 
 what uncivilised spot — I don’t mean such places as Paris, 
 the Rhine, Switzerland, &c., where porters are plentiful — 
 just consider how readily material for 1,000 exposures could 
 b9 carried. They would occupy no space, and add but a 
 pound or two to the weight of the luggage. There is another 
 point, too, that of breakage, an item that one has to consider 
 when knocking about away from home. The film roll can be 
 dropped from the top of a mountain to the bottom, and it 
 would not be much the worse, but let a box of plates fall from 
 an ordinary table, and — I’ll draw a veil over the result. 
 
 In my original article in Photography I pointed out that 
 “ The old paper film, called the stripping film, possessed a 
 very peculiar advantage, viz , that the roll could be changed 
 in broad daylight. Don’t smile, it is quite 
 Daylight true. As the paper is tightly and sym- 
 Changing. metrically rolled over a spool, if it be 
 exposed to the light the action could only go 
 so far through, owing to the opacity of the paper. Of course, 
 now, with the transparent film, that advantage is almost 
 swept away, and it is rather to be regretted. I will depart 
 from what I said about describing ‘things that be’ for just 
 a moment, to point out that it could still be done, either by 
 the makers of the film or the purchaser. Two ways 
 suggest themselves — the first, to attach to the end of the 
 sensitive film sufficient thin opaque paper ; or, if that be 
 difficult, to expose, say, two lengths of the film to good light, 
 avoiding any image, either by pointing the camera to the 
 sky or exposing the film by itself, then developing a good, 
 dense, impenetrable nothing, which when dry will be rolled 
 over the ordinary film. There is no practical difficulty, though 
 it would be troublesome. Is the game worth the candle ? 
 Well, that is hard to say. If the candle does not cost too 
 much it csrtainly would, but otherwise we shall have to con- 
 
THE ROLLER FILM CAMERA. 
 
 73 
 
 sider it over. There are emergencies when one would gladly 
 sacrifice two or three exposures in order to obtain a fresh roll 
 of forty ready for use. I think, however, if one of the above 
 plans was adopted, the changing done in the shadiest place 
 available, and as quickly as possible, no sacrifice need be made 
 at all. However, I only throw this out as a suggestion.’' 
 This has now been done, thin black paper being used, and 
 quite a new series of rolls placed upon the market. 
 
 The roller film pattern must surely have some disadvantages, 
 or, considering what I have said about its 
 Disadvantages, good points, it would practically rule the 
 roast. There are several, but they are all 
 very minor ones indeed. 
 
 1st. Cost of the film. 
 
 2nd. Film perhaps not quite so reliable as plates. 
 
 3rd. Slightly more trouble in developing and drying. 
 
 4th. Seductiveness. 
 
 oth. Perjudice. 
 
 I do not think that notice need be taken of the chance of the 
 roll-holder getting out of order, because the risk is no greater 
 than with automatic changers. Nor is the result worse, 
 because in both cases a brief journey to a dark room is all that 
 is required. 
 
 1st. The film costs, roughly speaking, a fourth more than 
 the ordinary extra rapid plates. 
 
 2nd. There can be no doubt that, up to quite recently at 
 all events, unpleasant markings occurred. But the firm 
 say these are now entirely avoided, and certainly as the 
 experience in manufacture is gained by time, there is no 
 reason why the film should not be quite as free from 
 blemishes of any sort as are plates. 
 
 3rd. To any using films constantly, this objection would 
 not apply, but as I consider a hand camera an accessory 
 to one’s outfit merely, it would doubtless often happen 
 that films would be used in it, but plates in the ordinary 
 run. In this case the thinness of the film would prove 
 
74 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 a little more troublesome to work. I must add, however, 
 that the power of developing several films together in one 
 dish is a powerful aid in getting through a big batch. 
 
 4th. Seductiveness is rather a sarcastic point. I mean 
 that the power afforded of 60 or more exposures has a 
 great tendency to make us fire away unnecessarily often. 
 Now every reader will at once say, “It’s quite right, but 
 it doesn’t apply to me.” Oh yes, it does, my friend, for 
 the temptation is too great for ninety-nine out of every 
 hundred workers, and the hundredth man will require 
 considerable hunting out. 
 
 fith. “I don’t like your films; plates have been good enough 
 for me all these years, and I’ll stick to them.” That’s 
 the kind of prejudice I mean. Does it exist ? Ask a few 
 of your friends and see. 
 
CHAPTER IX. 
 
 The Reelector Principle. 
 
 S Y “ reflectors” I mean, of course, those which give not 
 only the full size image upon a ground glass, but the 
 exact focus as well. Practically it amounts to a full 
 size finder, working in conjunction and in exact register with 
 the lens. 
 
 Many of our workers express their unbelief in finders 
 altogether. I say “ express their unbelief ” with due intent 
 and purpose, for I have not yet found any- 
 A Full Size one sufficiently enamoured of this method of 
 Finder. working to strictly abide by it. But for the 
 present it is sufficient to say that there are 
 hand-camera men, who demonstrate either verbally or in the 
 photographic press their dislike and non-agreement with a 
 finder of any sort or nature whatever. The reflector camera 
 is exactly at the other end of the scale, and is the best 
 example of a diametrically opposed opinion. Does any hand 
 camera exist which, offering special features of its own, has 
 not its supporters ? Certainly not ; hand-camera manufac- 
 turers are not philanthropists, they are commercial men of 
 business, and only make cameras which sell. As they sell 
 there must be buyers, and, therefore, there must be plate 
 spoilers, as some of our sarcastic anti-snap-shottists would 
 term them, who are weak-minded enough to use to the 
 fullest the advantages conferred. Those who prefer working 
 without a finder of any sort are in a very miserable minority, 
 with but the most threadbare argument at command. They 
 remind me of the man who declines to use dry plates, 
 because they are bought ready prepared, or because the glass 
 was made by someone other than the user of it. 
 
 But I must leave these anti-finder men and deal with those 
 who prefer to use them— wicked though they be. And the 
 question comes naturally enough, “ What is a finder for ? ” 
 
76 
 
 the hasd CAMERA, AXD HOW TO USE XT. 
 
 If one is necessary at all, why not have it as pei'fect and com- 
 plete as possible? Exactly so. This brings the reflector 
 principle upon the scene. 
 
 Though there are two kinds, the feature of both is that 
 not only is the view seen exactly as it ought to appear on the 
 plate — I say “ought,” because we all know whatever the 
 camera used may be, that the scene on the 
 Two kinds of ground glass is not always reproduced on 
 Reflectors. the plate — but further, that the trouble of 
 judging distance is obviated. That is to 
 say, we can alter the focal distance between the plate and the 
 lens to suit the subject by actual vision, not by mere guess- 
 work. For any rapidly moving objects, especially those, 
 perhaps, whose motion is towards or away from the camera in 
 a straight line, the reflector possesses undoubted advantages. 
 And not only because our guessing powers may be at fault, 
 bixt there may not be the necessary time to accomplish the 
 requisite mechanical movement. With a reflector principle 
 we cxn not only watch the scene or object itself, but can 
 ensui’e correct focussing at any moment. By correct focus- 
 sing I do not intend to convey the idea of absolute or micro- 
 scopical sharpness, but rather that of the exact focus desired. 
 Upon the question of sharpness I shall have something to say 
 later on, but for the preseut I mean the obtaining of our 
 desires in that direction, the power of ensuring lxegatives that 
 meet with our own approval. The small finders that are so 
 universally fitted to the ordinary cameras merely serve to 
 indicate position ; they render no further help whatever. 
 
 Beflectors are of two kinds, but each possessing features of 
 attraction. The first and simplest is that of the twin lens 
 principle, in which two lenses of exactly the same focal length 
 are used. Oixe serves in the ordinary way for the plate, whilst 
 the other sheds its rays, the right way up by means of a mirror, 
 upon the screen. The other pattern is that in which only one 
 lens is used, which in turn serves both ends. This is accom- 
 plished by a rapid movement of the mirror just before exposure. 
 The advantage of the latter is first, that only one lens is 
 
THE REFLECTOR PRINCIPLE. 
 
 71 ) 
 
 required, with the consequent decrease in cost, and that the 
 image on the screen or finder more closely indicates the im- 
 pression up on the plate. Only one lens is in use, and whether 
 it possesses any peculiarities, or the aperture be altered, the 
 view upon the ground glass, upon which is staked everything, 
 remains the same. Not so, however, with the twin lenses, 
 because, as a rule, the finder lens i3 not arranged for dia- 
 phragms at all, so that, whilst it serves admirably as a finder 
 only, it is no use upon the question of focus. True, this is a 
 very simple matter to alter, but even then there would be the 
 idiosyncrasies of each lens to take into account. It is an ex- 
 tremely difficult matter to obtain a pair of lenses that are in 
 every respect identical. Those who have worked even with 
 the lenses of one maker, of the best repute though that maker 
 be, know how they vary in the different qualities or points. 
 But even granting that for practical purposes it can be done, 
 we have still the increased bulk and increased cost to meet. 
 
 On the other hand, where only one lens is used, the 
 mechanism is either rather complicated and liable to 
 derangement, or the question of speed of shutter ands afety 
 from light is one that must be considered. 
 Disadvantages. A proof of this is to be found in the fact 
 that so few reflectors upon this principle 
 are upon the market as yet, though I earnestly believe that 
 the future will show great improvement in this class of hand 
 camera. There is here a glorious opportunity for the inventive 
 mind that will certainly not be permitted to pass unheeded. 
 The difficulty so far is that either, as in the case of a shutter 
 next the plate, the exposure must, of necessity, be rather 
 rapid, and with very little control over variation, or when 
 directly behind the lens any attempt to secure speed means 
 risk of vibration. 
 
 There are two disadvantages that apply to both systems 
 equally. It is necessary that some hood or cover be provided 
 to screen the focussing screen as much as possible fiom the 
 light. This attracts the attention of the public to the camera 
 
80 
 
 THE HAND CA3IEKA, AND HOW TO USE IT. 
 
 immediately it is set ready for use. Earlier on I referred to 
 deep sunk finders, and the same thing applies here. However 
 good the hood may be, the strong light all round the camera 
 makes the image upon the ground glass difficult to see. In 
 the small finder, it is not quite so important, because it is only 
 used practically to centre the object, to get the view or scene 
 in the correct position upon the plate. But with tbe reflector 
 more is done than that — focussing, for instance. So that the 
 undesirable light, which is bad enough to interfere with seeing 
 the mere position of the object, is fifty times worse when it 
 comes to focussing. With the small finder we judge the dis 
 tance by experience, but with the reflector dependence is entirely 
 placed upon the image seen. I say it from personal experi- 
 ence, and without hesitation, that unless the worker can get 
 in the shade of a doorway, a tree, or the shadow cast by a 
 friend’s bodily presence, it is extremely difficult to see the 
 image thrown up by the mirror with any degree of brilliance. 
 And if this be the case, as it often is, with a lens working at 
 full aperture, how much worse it will be with the light reduced 
 by a stop. Therefore, one disadvantage of the single lens 
 pattern is that in stopping down to even f/11 or f/lG, the light 
 is so reduced that the image upon the screen is difficult to see. 
 The brighter the light, the more trouble to see the image, and 
 this is just when the aperture is capable of being reduced. 
 Altogether the question may be summed up briefly. Do we 
 want to see a full-size image and the exact focus upon the 
 finder? The answer is either, some of us do, or, there are 
 occasions or certain directions of work in which it is to all a 
 decided advantage. 
 
 At the same time, let due weight be given to the opinion of 
 the non-finder workers, which is, that the camera is an instru- 
 ment to carry out the artistic perception of the mind, not to 
 create ideas, a recorder, not an originator. The only point is 
 that the benefits conferred by a reflector principle camera can 
 be utilised to their fullest, without interfering with personal 
 choice or management of subject, if the user so will. It rests 
 -with him entirely. 
 
PART II. -USING THE HAND CAMERA. 
 
 CHAPTER I. 
 
 Using the Cameka. 
 
 ■rfST AVINGr in Part I. studied the various features of the 
 hand camera, and the varieties thereof, the different 
 ^ principles of construction, and the various forms 
 adopted, I now turn to the various considerations involved by 
 the actual use of one. The reader I now suppose to be in the 
 possession of one or other of those described, and to be desirous 
 of at once proceeding to work. 
 
 The very first thing to do is to carefully sit down and study 
 the apparatus and its mechanism. This may not perhaps be 
 so vital with the simple box form, though even with this 
 it is advisable to study the shutter, the setting and dis- 
 charging. But with automatic changers 
 Study the every care should be taken, not only to 
 Apparatus. practise the method of changing the plate, 
 but also to study the mechanism so as th 
 understand exactly how it is brought about. This serves the 
 double purpose of aiding correct manipulation and of putting 
 the user in a position either to avoid making mistakes, or, 
 having made one, will show him how to rectify it when away 
 from home, or in the broad daylight. I desire to make a 
 strong point of this previous study of the camera. It is not 
 sufficient to be shown by the vendor or a friend just what to 
 do. The user must know how it is done, what takes place 
 inside when a string is pulled or a lever moved. He should 
 
84 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 see if there is any chance of something going wrong — nay, even 
 further, should endeavour to make the instrument, by fair 
 usage, of course, go wrong. He will then learn what must 
 not be done, and this is quite as important as knowing 
 what to do. The weak points should be carefully studied and 
 investigated. If it be an automatic changer, perhaps pulling 
 or pushing the lever too hard or too gently will result in com- 
 plete or partial failure. Perchance some movement must be 
 made before another one will work correctly, and though the 
 purchaser may have been told this at the time of purchase, it 
 will not be so distinctly impres-ed upon his memory as by 
 actual finding out why it is so. The camera should be opened 
 out at home, and every movable part worked in turn, and 
 the action seen; if any distinct order of procedure, i.e., a 
 necessitated system, it should be not only gone through, but 
 the reason for it learnt. This can perhaps be best done by 
 finding out what occurs if it be incorrectly handled, and this 
 may also show what to do if such an accident does take place 
 at any time. If a would-be hand-camera worker expects to 
 succeed by merely following out printed or verbal routine 
 instructions, he will very quickly be surprised by a mishap. 
 Of course I refer now entirely to the man who enters upon the 
 work earnestly and with a thorough intention of doing good 
 work. To such as merely consider the hand-camera a toy or 
 a little bit of fun, something to use only occasionally, 
 perhaps as a change from or a relief to their whole plate 
 or 10 X 8, my remarks do not apply at all. They will never 
 accomplish much. 
 
 I consider a hand camera much more difficult to work than 
 the ordinary stand camera, that is, to obtain good results 
 technically. This fact will, I think, come home to many 
 hundreds who thought it so nice and easy 
 Perseverance, before purchase, but who now — well, when the 
 camera is brought forth with an inch or two 
 of dust upon the top, it is easy to guess where it has been for 
 a few months. An amateur, the other day, told me that he 
 
$&*##*»* 
 

USING THE CAMERA. 
 
 87 
 
 used three dozen plates in the one he bought, and did not get 
 a single fair result. There was nothing strange about that, 
 truly, but when he added that he had never touched the 
 blessed thing” since, that gave a clue to the failures at once. 
 Perseverance was lacking. Upon asking for the instrument I 
 found it an expensive one, and not only that, but as far as 
 could be judged from inspection, a good one. Borrowing half 
 a dozen plates, I went out alone, and at night showed him five 
 good (and one fair) negatives taken in “ the blessed thing that 
 had wasted three dozen plates.” Was it the user or the 
 camera ? Neither, exactly. He had not given it a fair trial, 
 that was all. But how many there are of these easily daunted 
 workers. 
 
 Possibly one explanation of failures is simply that too 
 much haste is shown to get to work. The plate is exposed in 
 a back-yard, or in a narrow street, with a shutter working too 
 rapidly for the light at command, and the development is 
 simply muddled. It would be very much better if the first use 
 of a hand camera was to be made at the seaside, say, in a 
 good actinic light. Because if the worker gets a few good 
 shots at the very outset he will go on through piles of failures 
 afterwards. Another explanation is often given, “the thing 
 stuck, and wouldn’t move.” And why ? Because the camera 
 was never even glanced at before setting forth, to put into 
 practice mechanism absolutely unknown to the person setting 
 it in motion. Therefore I urge the importance of a thorough 
 examination of, and practice with, the camera before any 
 attempt be made to actually use it to expose a plate. 
 
 If it were not for the fact that two methods of holding the 
 camera are persistently advertised, this question could be 
 treated differently. There are several ways advocated alto- 
 gether, but I shall only deal with the two 
 Position of recommended by the makers of cameras, 
 
 Camera. and Professor Burton’s article in Photo- 
 graphy of September 3rd, 1891, from which the 
 following i3 an extract : — 
 
88 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 ., . There is one kind of work in which we are inclined to 
 think a lower point of view than that of the eye when standing 
 is seldom admissible. We refer to street scenes. We do not 
 sit down in the street to look either up or down it — unless we 
 have trod on a piece of orange peel, and then we do not incline 
 uo be contemplative— and we may leave the view from the 
 area steps out of the question. Nor does a man carry his head 
 under his arm, or have his eyes in his stomach. On the other 
 hand, a high point of view is not by any means uncommon. 
 We constantly have it from the top of a vehicle, or out of a 
 window. The London street scenes, by Mr. W. Cobb, were all 
 taken from the top of an omnibus, or of a still higher vehicle 
 and we do not know that they have been excelled. 
 
 course, it is the hand camera that is the chief sinner in 
 this respect. It is not often that a tripod is erected in a street 
 but it will be found when it is that it is instinctively stretched 
 to its highest. On the other hand, the makers of hand 
 cameras constantly illustrate them as pressed against the 
 breast, or held under the arm during exposure, and such 
 positions are, we believe, generally adopted. One maker of 
 an excellent form of hand camera protests vigorously against 
 those positions, and advises that the camera be held under the 
 chin. This is certainly an improvement, but we think even 
 this point of view is too low. The camera should be held 
 rather above than below the level of the head.” 
 
 I quote the extract in full in order to give due prominence 
 to the opinion of an authority, especially as a letter appeared 
 the next week signed “B.,” which stated that— 
 
 “ Jt is interesting to observe how doctors (and professors) 
 differ even m connection with photography. Professor Burton 
 says of hand cameras : ‘ The camera should be held rather 
 above than below the level of the head.’ Professor Welford 
 (in the same issue of ‘ ours ’ in which the quotation just given 
 appears) says : ‘ Let me say at once that I consider the proper 
 place for a hand camera is down at the side, with the arm 
 round it.’ Both men are good enough for guides, so perhaps 
 it will be well to alternate the positions. This is a very 
 interesting question, and doubtless many readers will be 
 ready to say which is the most successful position in which 
 they can do their work.” 
 
 To deal first with friend Burton’s idea, he must mean by 
 street scenes complete views of streets, that is, those giving 
 the whole length of a street. He surely does not intend that 
 
USING THE CAMERA. 
 
 89 
 
 the camera should be so held when taking a figure, such as a 
 beggar, a group, incident, or crowd. Because, if so, I must 
 respectfully but distinctly disagree with him— in fact, so 
 absolutely that I will not at the moment consider his meaning 
 to be these latter scenes at all. 
 
 I admit that many of my best shots were taken from the 
 tops of omnibuses, and yet there is a fault with all of them, 
 due to the height from the ground of the camera. The figures 
 close to the camera are top-heavy, there is a 
 
 Top-heavy, dreadful air of taking the heads of people 
 from above them, just as a balloon photo- 
 graph would represent them. I take it that the view ought, 
 as far as possible, to represent the street as seen by the eye. 
 For two reasons this is not so when the camera is used at 
 such a height from the ground. 1st : Hand cameras necessi- 
 tate short focus lenses, or, at least, comparatively short focus 
 ones. Distortion in the opposite direction to that when taking 
 high buildings from the ground is painfully apparent. If the 
 lens grasped the scene just as the eye saw it, even from 
 the top of the omnibus, I would agree at once with the 
 correctness of the theory. But it does not. 2nd : I very much 
 question whether the ideas of a street in oar mind are such as 
 can be represented by one depicting it when taken from a con- 
 siderable height. And in this connection I ask anyone who 
 knows any particular street, by constant passing along it, 
 whether the impression in his mind if investigated would not 
 show that it is one seen from the ground when walking. 
 There is a curious “looking down" effect in street views taken 
 from a height that to me, at all events, invariably appears a 
 photographic necessity, not a pleasing or true result. But it 
 may be said that the short focus of the lens is quite as much 
 a drawback if the view be taken from the ground. That is 
 true, but I certainly consider the result gives a more correct 
 rendering of the view as our recollection preserves it. There 
 are, of course, exceptions to this. If we are in the habit of 
 seeing a certain street, or portion of one, from a certain 
 
90 
 
 THE HAND CAMEBA, AND HOW TO USE IT 
 
 ■window, one view should certainly be taken from that point. 
 But even then it would always be regarded as taken from the 
 window, not a representation of the street as seen generally by 
 most people. Or if some portion be elevated, so that every- 
 body must see it from the same point, it would make a 
 difference. I doubt, however, whether a view taken from an 
 omnibus, which is constantly changing its position, and which 
 only appeals to those who may perchance have noticed the 
 street from exactly the same position, or at the same moment, 
 from the top of a vehicle of some sort, is in any way satis- 
 factory to the general public. 
 
 To turn now to the practical side of the question, holding 
 the camera above the head is absolutely impossible in a street, 
 owing to the attention it would attract. And lastly, I do not 
 believe that in except one in ten shots the camera could be 
 held steady enough in such a position by one in a hundred 
 hand-camera workers. I should, therefore, deem such a posi- 
 tion utterly unsuitable for the majority of workers, at all 
 events, to say nothing about the results, even if secured. 
 
 Th6 other methods of holding the camera are briefly 
 these: (1) Under the chin ; (2) against the chest; and (3) at 
 the side under the arm. Of these three, under the chin obtains 
 very much the same results as above the 
 Other Methods, head, but with the advantage of something to 
 keep the camera steady. Nevertheless, I must 
 confess my personal predilections for the other two methods, 
 either against the chest or under the arm ; though at the 
 same time a point that must not be overlooked is that different 
 patterns almost necessitate different methods of use. With 
 the majority, for instance, those with small finders, under the 
 arm is undoubtedly the best position. The discharge for the 
 shutter as well as the finder is completely in the front of the 
 camera, and therefore the rest of it can be kept well towards 
 the rear. This, together with the shield afforded by the arm 
 going right over it, keeps it well out of sight. And finally, 
 the rigidity gained by the pressure against the whole side of 
 
Dead Men tell no Tales.” 
 
USING THE CAMEBA. 
 
 the body can hardly be questioned. In this position, too, 
 some patterns can be used with one hand alone with perfect 
 ease. This, however, requires the discharger to be at the 
 side, away from the body, and to be a pretty easy movement. 
 Whilst the hand and arm generally support the camera, one 
 finger can be utilised without the slightest movement to effect 
 the discharge of the shutter. It is a decided advantage to 
 have one hand entirely free. For any kind of work, it helps 
 to avoid attention, as the free hand can be utilised in a variety 
 of ways to keep the public from suspicion. But it becomes of 
 enormous use when using the camera under difficult circum- 
 stances. I remember, very distinctly, one case when using a 
 pattern that needed both hands how it troubled me. It was 
 upon a small yacht, in a stiff breeze with a fair sea on. Of 
 course we were flying along with the keel nearly out of the 
 water, and the best position for me was, undoubtedly, ahead of 
 the mast. There I found a comfortable seat on the deck, with 
 my legs hanging over the side and the camera on my knees. 
 That is, it would have been comfortable, but for mental per- 
 turbation. I wanted one hand to hold a rope or rail by, but 
 having only two at my disposal, both claimed by the camera 
 whenever I wanted to use it, it was an extremely nervous time. 
 This caused the loss of several good pictures, because even a 
 hand camera is not sufficient to make one rashly risk a wetting 
 and a probable loss of the camera, to say nothing of the prize 
 pictures already secured — they are all prize pictures until we 
 develop — and therefore I not only had to wait for opportunities 
 of shots, but also for chances of using the camera. As these 
 two had to coincide very exactly, naturally with the perversity 
 of Nature, they would not. Now, if I could only have had one 
 hand at liberty, it would have made all the difference in the 
 world. The same remarks apply to a variety of occasions, 
 standing in a strong wind upon a narrow ledge ; at the top of 
 a scaffolding, or a flag pole; in fact, in numerous difficult 
 positions in which the enthusiastic and earnest worker must 
 get at times. 
 
94 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 With the reflector principle cameras, under the arm is not 
 quite so suitable, for in these the screen is usually right at the 
 back. Moreover, in these the image is focussed upon the 
 finder, and needs to be nearer the eyes. Against the chest is 
 therefore, in most cases, the better place. And to those 
 patterns used without a finder at all the same thing applies, as 
 the horizontal and vertical lines are more easily gauged in this 
 position. 
 
 It is quite true that no one particular method of holding 
 the camera can be laid down as the best, even if one stated 
 instrument be considered. The differences of subject and the 
 position of the user must, to a large extent, at all times govern 
 the matter. But I do lay it down emphatically that the 
 position the most comfortable, the least observed, and the 
 most steady, is under the arm. It would seem at first sight 
 somewhat absurd to say that the difficulty of hand camera 
 work is avoiding movement in use. Everybody appears to 
 know that, and to an extent consider it. But the fault lies in 
 the fact that insufficient attention is given to the matter. We 
 are apt to think that after a week or two’s use, that that has 
 been overcome, and needs no further consideration. But there 
 lies the error. The steady, immovable grasp of the camera 
 during exposure is not to be mastered so quickly. Much 
 depends upon the man, of course, but more depends upon 
 practice. And attention should never be removed from the 
 contingency for at least three or four years ; it should always 
 be guarded against. 
 
 Therefore, in considering the position in which to hold the 
 camera, the more support that can be got by the body, and the 
 more comfortable the method, the better. 
 
CHAPTER II. 
 
 Stbeet Scenes. 
 
 I N order to keep matters clear and explicit, let me say 
 that I now consider the worker to have mastered the 
 mechanism of his apparatus, and to have studied the 
 best position in which to hold it : both of these by previous 
 trial and practice. He is now desirous of really getting to 
 work, and about the first opportunity that will present itself 
 is a run through the streets of the town or village. 
 
 What a wealth of subject lies here, often touched, but, oh t 
 to what a slight degree. The varying incidents of everyday 
 life, the characters we know by sight, the beggars and cripples, 
 the pavement artist, the wandering accor- 
 Weaith of dian' player and singer of Moody and 
 Subject. Sankey’s hymns, the no-legged man who 
 suffered so severely in a colliery explosion, 
 with his picture and plan of the disaster, the discourses of 
 swe^t music by handle-turning, and the happy -faced children 
 dancing round, the newsvendor and penny trinket dealer, 
 the street fight, the drunken man, and the thousands of 
 things we all see and know so well in our daily life. The 
 painter oft depicts them, but he needs much study of sur- 
 rounding, much help of models and months of labour. The 
 hand-camera worker secures a pictorial note of the scene in 
 a moment. The ordinary camera man can by dint of careful 
 posing, a certain amount of cheek, and several little dips into 
 his pocket, get sometimes a really good street incident. But 
 
■96 THE HAND CAMERA, AND HOW TO USE IT. 
 
 the hand-camera worker troubles no one, he merely waits his 
 opportunity, and when it comes seizes it, then passes on 
 without anyone being any the wiser. There is enough work 
 in the streets to keep us all going — but, alas ! there are but 
 few making a distinct feature of it. And why ? Well, the 
 results are not picturesque. At an exhibition they look silly 
 beside fine yacht and cloud studies and pretty landscapes. 
 Even as lantern slides they are dwarfed into insignificance 
 upon the sheet by a fine sunset, or a pretty marine shot. 
 And yet, how much the future will owe to the hand-camera 
 man if his work will only show what our streets and our 
 people, our everyday life in fact, were like in the Victorian 
 age. 
 
 I might as well admit, because if I do not somebody is sure 
 to tackle me on the question, that street life is a mania of 
 mine. It always appears to me that the tendency of hand- 
 camera workers is to produce something that will compete 
 with the work of those who use the ordinary camera. They 
 want to show what they can do, even with a despised little 
 box. But what a mistake it is after all. Even supposing 
 now and then a J-plate landscape can be shown, taken in a 
 hand camera, that is superior to the others around it taken in 
 the ordinary way. What is gained by this? Absolutely 
 nothing. Messieurs Hand-camera Men, keep your thoughts to 
 your instrument, and what it can do easier or better than the 
 to X 8 that lies so snugly at home, not to what it can be made 
 to do at a pinch. These considerations naturally lead to the 
 question of photographic surveys. 
 
 If there is one thing more characteristic than another 
 of the photographic survey schemes, it is that of excessive 
 fuss, gigantic organisation, and very little work. Much ado 
 about nothing, in fact. But forgetting this 
 Photographic for the time being, why is not the hand 
 Surveys. camera more honoured ? Some surveys must 
 have all the prints one size, which effectually 
 -excludes the hand-camera print altogether. The effect is 
 
Milk and Banbury Cakes.' 
 
STEEET SCENES. 
 
 99 
 
 sublimely ridiculous. There are representations of trees, 
 rivers, streams, old mills, churches, &c , that may probably 
 be the same two centuries hence. Even if some of them, 
 vanish, small will be the loss, unless they are made noteworthy 
 by an event or the personality of some resident. Whereas 
 the habits, customs, manners, dress, and appearance of human 
 beings, the hand-barrows and carts, the various callings and 
 avocations of the street, our postmen and policemen, would 
 possess very much more interest to the future generation. 
 Views of busy streets, with the bustle and characteristics of 
 the present age, are much more likely to be of real use than 
 thatched cottages, ordinary buildings, pretty landscapes, and 
 stone monuments. Life and its attendant phases are more 
 ephemeral, and therefore more worthy of pictorial record for 
 future reference. 
 
 It is not with the intention of decrying the surveys that I 
 write, but to call attention to the fact that, in either shutting 
 out the hand camera altogether or in sneering at its work, 
 those interested in survey work are wilfully neglecting their 
 duty. By all means continue your artistic landscapes, your 
 sweet bits of woodland scenery, the brook, the dell, the glen, 
 the glade ; but remember, life will always command atten- 
 tion as well. Therefore, ye noble army of survey originators, 
 discoverers and organisers, give the hand camera not only its- 
 share of the work, but of the credit as well. Remember that 
 
 life is like the brook— 
 
 “ For men may come, and men may go, 
 
 But I roll on for ever.” 
 
 The maxim to be observed in all street work is secrecy.. 
 Every endeavour should be made to prevent those around the 
 worker becoming aware of the presence of a 
 Secrecy. photographic camera. And the necessity for 
 this does not arise from the inconvenience 
 of the moment, the remarks and curiosity of the street gavun r 
 which occasionally to a shy man are painful. It is because the 
 set attitudes of one or two, who have gleaned the impression 
 
100 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 that it is a “portrait machine” may utterly spoil a picture, 
 to say nothing of the way people will get right in front to see 
 the thing work. It is in this one respect that the hand camera 
 possesses such a marked advantage over the stand camera, 
 and it behoves us to utilise the gain to its fullest extent. When 
 we want to illustrate a scene of the streets it is absolutely 
 absurd to have even one figure posed photographically or 
 otherwise. Why, the man with a tripod can do that. There 
 is another consideration, too, apart from the attitude of one 
 or two figures which may be nearly accessory to the scene, and 
 in no wise the central object. The study that the worker 
 desires to get may be spoilt, either by the actual sight of the 
 camera, or by intuitive conception of what some other people 
 are staring at. Take, for example, a stall in a market, the 
 vendor and prospective customers bargaining over the goods 
 may form a characteristic and attractive group. But if even 
 one of them thinks you are going to photograph, he or she will 
 at once cease their conversation, alter their attitude, or, at the 
 "very least, attention will be diverted from the business in 
 hand to the mysterious camera. The day has gone by when 
 a well-concealed hand camera can be used with impunity. 
 Too much is now known of “detectives” altogether, and it is 
 only by quick use that shots can be secured without the know- 
 ledge of those figuring in the scene. 
 
 Quick use? Yes, that’s the whole secret. It should be 
 practised at home beforehand, rapid levelling of the camera, 
 quick perception of what is on the finder, and instant action. 
 
 Perhaps my own methods will illustrate the 
 Quick Work, matter best, but I trust that readers will not 
 think it egotistical to set them down. Pre- 
 suming, then, that there is, say, for example, a small crowd 
 round a fallen horse. I can scent the chance of a picture in it 
 a long way off, and as I walk set the shutter, alter the focal 
 distance, draw the slide, or do anything that is required with 
 the particular make of camera. Before reaching the place my 
 position is selected, and unless something happens in the 
 
STREET SCENES. 
 
 101 
 
 meanwhile, such as an alteration in the position of the grouping, 
 or somebody or some object getting in the way, I stop when I get 
 there, raise the camera quickly, and then fire. Immediately 
 it is taken, down drops the camera, and any movement 
 necessary to get ready for the next exposure, or to secure the 
 one already obtained, is either done as I pass on, or, if another 
 shot be required, is done by turning round, or doing it as 
 quietly and unostentatiously as possible. As my object is to 
 keep other people from noticing the camera, I do not notice it 
 myself, but endeavour to give the idea that something else is 
 engrossing my attention. Should anything intervene to pre- 
 vent the shot coming off, I never keep the camera in position, 
 but drop it down at arms’ length immediately, and watch for 
 an opportunity later on. 
 
 I have been much amused occasionally at hand-camera 
 workers, especially in the streets. You can tell a mile off that 
 there is a camera about, for the possessor shows it in every 
 movement. Long before there is a chance of a shot he opens 
 out the finders, perhaps stops dead to put things right. Next 
 he places the camera in position, and bides his time. Before 
 that picture is secured three-fourths of those around know all 
 about it, and his print will probably prove it. The camera 
 should never be glanced at, nor, in fact, thought of, until the 
 time arrives ; and even then the quicker it can be placed in 
 position and removed the better. Never mind if this has to be 
 done several times. I have many negatives that were only 
 taken after nearly twenty different raisings and lowerings. 
 But I got what I wanted, without attracting the attention of 
 those interested. 
 
 A friend once said to me in connection with this subject, 
 “ What does it matter letting the people know after you have 
 got your shot ?” My answer was “ What good will it do ? 
 these people will know you next time, some of them may even 
 turn up in your next shot ten minutes later.” No, either 
 in making an exposure or in getting ready for the next, attract 
 as ittle attention as possible. It cannot do good, it may do- 
 harm. 
 
102 
 
 THE HAND CAMEKA, AND HOW TO USE IT. 
 
 To some, probably, these remarks are unnecessary ; they 
 have quite seen the value of quick work long ago. Well, if 
 they act upon the idea, it is all right ; if not, they should give 
 attention to it at once. But there may be 
 Aptitude. others who think this sort of thing requires 
 a natural aptitude, possessed only here and 
 there. I am not prepared to argue this question, because it 
 goes beyond the realm of hand-camera work. But it is easy 
 to assert, and I do it confidently enough, that every worker 
 can improve himself by practice. The points are these — first, 
 rapid mechanical movement, and second, quick perception of 
 what is on the finder and the discharge of the shutter. It 
 seems a curious thing to say, yet it were easy of proof, 
 that considerable time takes place between making up 
 •one’s mind to do a certain thing and actually doing it. 
 Now I am not trying to be funny, though seeing perfectly a 
 few nice little jokes that might come in just here. But it is 
 absolutely true, that when we make up our minds to do 
 anything we do not do it— not at the same period of time. 
 There is a distinct interval of time between thought and deed. 
 “ How absurd,” my reader remarks — lam sure they will — “even 
 if there is such a thing, what fraction of a second is it ?” Just 
 so, but remember your shutter works probably at the ^yth, or 
 even faster, and yet it fails you occasionally by its slowness. 
 It is quite true that the faculty of quick perception and instant 
 action varies enormously in different human beings. The 
 fact must be admitted, but we need not go further than the 
 admission. Can it be altered ? is the question, and I assert 
 that it can, and base it upon my own experience and practice. 
 A hand camera worker can not only quicken his thoughts and 
 see things more quickly, but he can carry out his wishes in 
 a less space of time. But this can only be gained by practice. 
 I will detail a test that will in most cases prove my 
 argument. Use a reflector principle camera directed to a 
 rapidly-approaching object at a distance varying from, say, 
 20 yards to three yards. Try to focus it, and fire the shutter 
 
STREET SCENES. 
 
 103 
 
 to obtain a sharp image. The difficulty of so doing will be 
 painfully apparent at the first few attempts, but mark in 
 time how much easier it beoomes. 
 
 For street work, then, quick perception, the power of 
 instant action and secrecy of movement are extremely 
 desirable. All these things can be gained by practice alone. 
 
 There are many little tricks that I resort to to keep away 
 attention from the camera. Buttoning a top coat, loading up 
 and lighting a pipe or cigar, earnest attention at something 
 in a shop window, even if it be only a 
 Tricks. milliner’s, asking a question of the nearest 
 victim, looking at a letter or pocket-book, 
 examining my purse to see if I have got enough for some- 
 thing (I don't mind confessing that generally I haven’t), or 
 feeling for something in pockets as destitute of anything as 
 charitable institutions, &c., Ac. Of course these are only 
 necessary if it is imagined that the camera is detected. A 
 friend, too, is very useful, because he can be turned to with 
 the utmost unconcern, and questioned about, say, the weather. 
 By-the-bye, there is another valuable use of a friend, or rather 
 his shadow is the valuable portion of him. It shades the 
 finders, and is very comfortable at times. I need not say 
 that the bigger and fatter the friend is the better for this 
 purpose. There is only one thing about friends, which is, 
 that the worker is usually better without them. They stare 
 at or point to the subject, perchance ask, “ Are you going to 
 take that ? ” Then if they do not get in the way, they look at 
 the camera, or in some way attract attention. The ordinary 
 stand-camera man is the worst. 
 
 Turning again to the question of speed in manipulation, 
 there are many who would decry the hand camera on that 
 account alone. I have myself received 
 Speed in many good tall talkings to about it when 
 Manipulation, out with an experienced photographer for a 
 trip. I use the term experienced photo- 
 grapher as a distinctive one only to make a difference 
 
104 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 between him and the hand-camera worker, for assuredly he is 
 not an experienced hand-camera worker. He looks upon me 
 as a mere plate-waster, a sort of annual benefit to the plate 
 manufacturer, a dividend raiser, a maniac. Passing along a 
 street, whilst he is wondering whether that group on the left 
 is a good subjeot, and making up his mind whether he would 
 take it or not, I have taken two or three of it, and changed 
 the plates ready for another shot on the right. He gasps 
 merely, “ That I should come out with such a man.” 
 
 The point I wish to make is that, by practice both of 
 thought and mechanical movement, it is possible to work 
 extremely quick, and yet obtain the same quality of results as 
 a slower worker, with the advantage, of course, that scenes 
 lost by him for want of time are secured by his more rapid 
 brother worker. And in street work this is a desirable feature ; 
 especially is it so to a busy man, who is not able to roam the 
 streets every day of his life, and who must do the best he can 
 when opportunity occurs. 
 
 A very common mistake made by many workers is that 
 of regarding the desired object too fixedly and too long. It 
 should be avoided as far as possible, because it arouses 
 attention and interest. The aim of the 
 Avoid worker’s presence should not be discernible, 
 Attention. and one of the best methods to attain this is 
 to avoid looking at the subject any more 
 than is absolutely necessary. I don’t mean on the finder or 
 through the camera, but with the eyes. And if the worker is 
 walking down a street for a shot, he should endeavour to 
 appear to arrive naturally at the spot desired, rather than by 
 a sudden turn or twist. Because in all these things it must 
 not be overlooked that, however careful the worker may be, 
 however concealed his apparatus, the bare fact of stopping 
 for a moment with a box is quite bad enough. 
 
 To say anything about choice of subject is quite beyond the 
 space of these chapters. But the streets of any town afford 
 shots so numerous, so interesting to others, such examples of 
 
STREET SCENES. 
 
 105 
 
 our present life, that one might well despair, as I have often 
 done, of ever doing them justice. Pathos and humour, the 
 brightness and misery of life, are so irresistibly mingled in 
 the streets, that the portrayal of them even in a humble way 
 is a contribution to our knowledge, and an instructive lesson 
 to all. Let us profit thereby. 
 
CHAPTER III. 
 
 The Fair, the Fete, Sports, &c. 
 
 \UCH that I have written about street scenes applies 
 equally to work at the country fair. The worker 
 should remember that most of the people are there for 
 pleasure, and are extremely jovial and larkish. On the other 
 hand, the business element represented by stall-keepers, 
 shooting-gallery girls, “ koker nuts,” and the various “fat 
 woman,” and other shows, is just as volatile 
 Secrecy. in' the same direction, that of unlimited 
 chaff. Therefore, secrecy is of the very 
 greatest assistance, not only to prevent the annoying, though 
 good-humoured, chaff of the crowd, but for the same reason 
 as in street work, to secure more natural pictures. The fete 
 differs somewhat from the fair, as it is usually in a much 
 larger space, and although, of course, it is none the less a 
 holiday-making, yet there are attractions, such as a balloon 
 ascent, stage performances, tight-rope walking, dancing, sports, 
 &c., which give quite a different tone to the whole thing. The 
 concealment of the camera is, consequently, not so necessary. 
 
 The fair, whether it be large or small, affords magnificent 
 chances. Most of my work has been done at the very large 
 annual one at Coventry, but the same opportunities present 
 themselves all over the country. A little 
 The Fair. tact and a few coppers, together with quick- 
 ness both of conception and movement, 
 will secure many interesting souvenirs. Take the travelling 
 show with its huge pictorial embellishments, “ The Bounding 
 
‘The Fair. Country Visitors. 
 
THE FAIR, THE FETE, SPORTS, &C. 
 
 109 
 
 Brothers of the Desert there’s the show itself, and at “ rally ” 
 time all the characters are in the front. One shot I have is of 
 such a show ; two girls dancing and showman urging crowd to 
 “ come on, now’s yer time, just going to begin,” clown ringing 
 a bell, two children in tights looking on, and another man 
 beating the drum. Just opposite this show were some 
 steps up to a swing. Telling the attendant I was just 
 going up for a minute and investing one copper I got 
 above the crowd and secured two excellent shots. But, as 
 luck would have it, I got interested in the showman’s yarn, 
 forgot whether the last exposed plate had been changed, and 
 set to work to puzzle it out. This doubtless made me regard 
 the camera too much, for the clown tumbled to my object, 
 fetched every member of the company, and made them toe a 
 line, to have their “ fortigraphs took.” The most unmerciful 
 chaff that ensued from two clowns and the showman, together 
 with the attention of a large crowd, drawn directly to me, a 
 solitary object perched upon the steps, caused a hasty retreat 
 on my part with a rapidly rising colour. However, all the 
 plates turned out well, so I cared little — afterwards. 
 
 Cheek is remarkably useful, or perhaps a prettier word is 
 nerve. The more the hand-camera man possesses of this, 
 within certain limits, the better. It serves two purposes — 
 obtaining results that another worker would 
 Cheek. fear to attempt, and keeping cool and 
 collected in the midst of a fusilade of jokes 
 and remarks. I cannot claim much cheek myself, though 
 admitting that I am getting on. What some friends consider 
 my nerve is really speed in action. I venture a shot, not 
 because of cheek, but for the reason that I can manage it 
 quickly enough to avoid attention. In this way speed helps 
 in still another direction. 
 
 A good plan to follow is always to get behind or at the side 
 of a tent, cart, or show, and whilst there prepare the camera 
 ready to fire the shutter. Keep an eye on the subject by 
 occasional glances, and at the correct moment step forward 
 
110 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 and fire, dropping back immediately. Good shots occasionally 
 are to be obtained from the outside stage of a show. It is 
 necessary to wait until they really are going to begin, then 
 passing up the steps with the rest and paying the penny, and 
 quickly stepping to one side to clear those ascending, a capital 
 opportunity may present itself. Of course, the worker will 
 have seen the picture before ascending, so as to avoid delay 
 and disappointment. There is an enormous amout of work 
 to be done at a good-sized fair, though patience is a decided 
 requisite. The mass of people fluctuates very greatly, and the 
 worker must wait his opportunities. It is of but little use 
 getting there early before the many sightseers begin to arrive, 
 as the stalls, the shows, the swings, etc., will be found to be 
 too dead, all covered up perhaps, or without attendants. No, 
 undoubtedly the best time is about dinner time, or early in 
 the afternoon, when everything is in full swing. 
 
 A short-focus lens is preferable for this, as space is very 
 limited as a rule. Even where a space is sufficiently great to 
 admit of a clear view, the constant passage of people causes 
 tedious waiting, or prevents shots altogether. 
 
 The fete offers quite a different range of subjects. It 
 is usually held at some more or less pretty or celebrated spot ; 
 gay dresses and holiday attire reign supreme. Stalls and 
 shows there are, perchance, but only a few, 
 
 The Fete. and they are but minor attractions. I 
 cannot, of course, speak for all fetes, as they 
 no doubt differ considerably. I have been at a great many in 
 Essex— round Chelmsford, Colchester, Braintree, etc., includ- 
 ing the Dunmow Flitch event , and tney are much of the 
 same nature. The largest one, however, is undoubtedly the 
 Temperance F6te held it Newcastle-on-Tyne, upon a huge 
 space called the Town Moor. This affords innumerable 
 opportunities ; there are military sports, such as tent-pegging,, 
 etc., about twenty different other sports in connection with 
 various institutions and bodies, sports and games for girls and 
 children, etc. These are all going on at the same time, and 
 
THE FAIR, THE FETE, SPORTS, &C. 113 
 
 in addition there are a large number of shows, booths, and 
 stalls. This fete is really worth the attention of hand-camera 
 men. Midland readers have the opportunity given them 
 annually by the extensive three days’ fete at Dudley Castle, 
 near Birmingham, though the crowd is rather great. Last 
 year (accompanied by Mr. Sturmey) I got some good pictures, 
 but at considerable personal discomfort. A crowd of 25,000 
 people in the courtyard in a compact mass, watching the 
 performances on the stage, is no joke ; and the pressure, to 
 say the least of it, becomes monotonous. In several cases 
 here it was necessary to hold the camera at arm’s length 
 above the head. To give a slight idea of the crush at one 
 time, for half-an-hour I was absolutely unable to get the 
 camera raised at all, and when I did it had to remain 
 on my shoulder and bead as long afterwards, owing 
 to perfect inability to squeeze it by any means down 
 to my side again. The inflation of the balloon affords a 
 good subject, but it is best done when about half full. The 
 sand bags, the men at work, and the crowd round the ring, 
 make up a capital picture. Next, of course, is the ascent, and 
 to do this it is necesssary to note the direction of the wind, the 
 surrounding buildings, &c. Having done this, a suitable spot 
 is found, and the balloon waited for. OwiDg to the rush for 
 good positions, a spot must be found that is safe from invasion. 
 At Dudley Castle I managed this by climbing up the ruins of 
 the Keep to a spot where no one could come unless I removed 
 from it. At Cardiff I waited outside the enclosure, in the 
 proper direction of the wind. When the balloon was released 
 it just cleared the palisading, and the parachutist’s feet 
 touched my hat. All that was requisite was to wait till the 
 balloon was small enough upon the finder to get it all in. 
 
 Athletic sports, especially those of a country district, 
 afford very good work. Mere sprint or cycle 
 Athletic Sports, races are not of much use, but the water 
 jump or a hurdle race, three-legged and sack 
 races, give at times extremely humorous shots. The obstacle 
 
 H 
 
114 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 race is, perhaps, the best of all in this direction, though the 
 bell race, where each competitor is blindfolded, and en- 
 deavours to strike the bellman with a little bag of colour, is 
 also occasionally exciting for the hand-camera man as well. 
 
 May-day fetes with children in fancy costumes are a little 
 disappointing. As a rule the dresses are all white, and when 
 dancing round the pdle the area is too large to be covered by a 
 J-plate or 5x4. 
 
 Tennis is not very interesting, and hand-camera shutters 
 do not, as a rule, work rapidly enough. For in tennis the 
 movements are very short and quick. In 
 Tennis, Cricket, football and cricket, however, the movements 
 Football. are slower and more prolonged. The latter, 
 however, is not a good subject to tackle, as 
 the space from spectators to the pitch is too great to allow of 
 much being done. What might be termed “ park cricket,” 
 however, is different, for in parks various teams are all playing 
 at the same time in a somewhat confined space, and oppor- 
 tunities are afforded. Football, whether under Association or 
 Bugby rules, is better than cricket, because scrimmages, 
 lining out, and other phases of the game occur close to the 
 boundary line. The only thing is that everything depends 
 upon the chance direction of the play — in fact, where the ball 
 goes. But many good shots should be secured unless the 
 worker is very unfortunate as regards position. My work in 
 this direction has always been in big matches, where the 
 spectators line the rails all around ; but at small club events, the 
 worker could change about. One thing is to choose the 
 correct position for the light. If a big match, unless the field 
 is known, it is advisable to go early and find the best spot, 
 paying the extra for reserved enclosure or otherwise as may 
 be required. If the field lis known this is, of course, not 
 necessary. The ball itself should not be troubled about, 
 unless extremely near. I have one (Association) with the ball 
 in the air, but no one believes it. They say it is merely a 
 dodged negative. 
 
THE FAIR, THE FETE, SPORTS, &C. 
 
 115 
 
 Skating is somewhat precarious, owing to the want of light 
 at the time of year. But with the reflection from snow and 
 ice, if there is anything like a decent light, it is fairly easy. 
 
 In dealing with the foregoing sports, &c., I have considered 
 the ordinary worker only. Of course, with special facilities, 
 or with matches specially arranged, almost anything could be 
 done. At cricket, for instance, the position with the umpire 
 at (short) square leg would be a good one. Admission into the 
 ring at athletic sports should be easily obtainable, otherwise 
 but few chances would occur. 
 
 In conclusion, a quick and simple changer is very desirable 
 for all the work dealt with in this chapter, and a shutter 
 working at about g^th will be fast enough for the most 
 likely shots. 
 
CHAPTER IY. 
 
 Animals. 
 
 
 HEN I say that the hand camera is not such a boon in 
 photographing animals, at all events domestic ones, 
 as some might imagine, my readers will misunder- 
 stand me. Of course, following animals about in a big field, 
 or upon an extensive common, is no joke when a tripod has to 
 
 be lugged about in addition to a camera. 
 
 Too all-fired But that is not what I mean. It is in the 
 Lazy. direction of attracting attention that the 
 
 hand camera fails. Pictures of animals lying 
 down, or with their backs turned, are extremely tiresome to 
 look at, and yet how many we see. The difficulty is to make 
 the animals as much interested in the photograph as the man 
 using the camera. This can be readily tested by a trip to the 
 nearest field containing cows, horses, or sheep. If the worker 
 approaches too near they will probably walk on quietly ; if he 
 dodges to the left they turn to the right, if he gets right round 
 to the other side they face completely the other way. The 
 fact of the matter is, they treat the hand camera with utter 
 contempt — they are not interested enough to look at it, not 
 concerned enough about their safety to face the foe, and too 
 all-fired lazy about the whole thing anyway. On the other 
 hand, if they really do get excited about the matter, good-bye 
 to a good shot. What is needed is a mutually sympathetic 
 interest in the affair, on the part of the worker, to attract the 
 animal’s attention to secure a pleasing picture, and on the 
 part of the animal to know what that two-legged animal is 
 doing with the black box. 
 
Curiosity. 
 
ANIMALS. 
 
 119 
 
 Sheep make pretty studies, but are difficult. They ate shy, 
 and upon anything like a near approach turn completely 
 round and flee. If a view of hind quarters and tails be satis- 
 factory, that is an easy matter, but that is 
 Sheep. not all we want. Sheep are strangely con- 
 tradictory, while they simply fly at the 
 sight of a dog, they merely trot off when the man appears. 
 They have another weakness, too, which serves the hand- 
 camera worker in good stead, that of turning round to face 
 the dog and actually moving towards him for a time, then, 
 frightened again, turn tail and resume the flight. Here comes 
 in the contradictory nature, they don’t do that with a man, but 
 merely resume their grazing, and move on as he approaches 
 closer. A dog under considerable control is therefore a valuable 
 auxiliary. Because when the sheep turn to face him, then is 
 the ohance. Another thing about these animals is the sud- 
 denness of fear. It appears almost as if they are either 
 unobservant or it takes considerable time to comprehend. I 
 have constantly had to wait for sheep finding me out. By 
 quiet, stealthy movement it is possible to get quite close ; the 
 animals pay no attention whatever for a time, but suddenly it 
 dawns upon them that they had better make a move. In this 
 respect sheep are more amenable to our work than most other 
 animals, because they generally have a good look first, and the 
 peculiarity may be turned to good account in this way. Get 
 as near as possible without attention, focus or determine the 
 distance, and get all ready to fire the shutter. By-and-bye 
 they discover the presence of an enemy, up go their heads, and 
 the hand-camera man who has been patiently waiting seizes 
 the opportunity. Sheep are contradictory to the last, for when 
 in a mass or quietly grazing, they are very uninteresting; they 
 form a splendid study as soon as the head is raised and looking 
 toward the camera with more or less interest depicted upon 
 their countenances. Sheep are stupid, it may be said. I agree 
 to a certain extent. But when they are really roused and 
 endeavouring in their woolly heads to make out what is the 
 
120 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 matter they form most interesting subjects. Now finally as to- 
 sheep. The old adage “ following like a flock of sheep ’’ is 
 perfectly and absolutely true. If one starts to run, or to go in 
 a certain direction, the others follow as “ night follows day.’* 
 If the hand-camera worker thinks that one or two will stay in 
 a suitable position, he will be wrong. When one moves they 
 all move, where one goes the others follow. And he must get 
 them before such an event occurs, because he may just as well 
 shut up his camera and go home if he does not. 
 
 Cattle and horses are somewhat different. In the first place 
 they are not so shy, and in the second “ they stand not upon 
 the order of their going, but go at once.” That is, if a cow or 
 horse objects to the presence of the man — or 
 
 Cattle and the camera — it gets straight up and moves 
 Horses. on. So that the opportunity afforded by 
 sheep is not available. On the other hand, a 
 dog is more useful. With sheep, the dog is apt to cause a wild 
 stampede, but with cows and horses he is almost necessary to 
 arouse a decent amount of life. I distinctly remember an 
 occasion last year, when I was after some calves. It was 
 impossible to do anything, until I went back to borrow a dog. 
 They merely passed on in the most unconcerned and irrita- 
 tingly cool manner. The dog, however, fetched them up to 
 the mark, and the result was some good negatives. 
 
 Of course the foregoing applies to the usual run of cows as 
 are found in the cultivated — civilised is a rather dangerous 
 word — parts of Great Britain. But there are cows which are 
 bulls — that is an Irish bull — and with these there is no diffi- 
 culty whatever about interest. Quite the other way, in fact. 
 The snap-shot man should get posted up on the subject, so 
 that before he gets over the fence he can tell whether it is a 
 cow or a bull. A little knowledge of this nature is not to be 
 despised, for it may save a most undignified rush for th& 
 nearest shelter, and it may economise in the direction of pro- 
 fane language* 
 
 Ducks and geese in company are not bad subjects, but they 
 
Pelicans in the Zoo Antwerp- 
 
ANIMALS. 
 
 123 
 
 are ungainly. The waddle is not pretty, and when resting or 
 etill they are little better. Geese, too, are strangely behaved, 
 and though it seems absurd to be frightened at the attack of a 
 flock, yet it is on the whole better to first get behind the fence 
 and argue out the matter later on. 
 
 Hens and chickens make good subjects, but they are very 
 quick in their movements, and need a rapid exposure. 
 
 Goats are very much like sheep, but— a big butt some- 
 times - are not so easy. The only thing about a goat is that 
 it is usually tied to a stick with a rope, and is therefore pretty 
 largely at the mercy of the photographer. When they are 
 not so tied, they need care in manipulation. I speak from 
 personal experience. 
 
 Dogs and cats I have not referred to, because, whilst they 
 are certainly “ animals we all are for that matter— they 
 are so tame or so domesticated, that there is no trouble in 
 securing good shots. Cats, however, run small, and need a 
 focussing camera to do them justice, one that can be used at 
 about six feet distance, or even less. But both dogs and cats 
 are worth attention, as their faces are most expressive, and 
 they can be made to point a moral, title a picture, or adorn a 
 tale. 
 
 With the wilder animals I have had no experience, except 
 at Zoological gardens, where the poor beasts are caged up and 
 afford an easy mark for the hand camera. True, some of our 
 pictorial advertisements depict a man with a hand camera 
 sitting astride a tree, with roaring, raging lions all round him 
 waiting to “ have their portraits took,” or to make a good 
 meal out of him. But I have not yet had the pleasure of 
 being out in the wilds of Africa with a “ Beat-em-all ” camera, 
 photographing lions, tigers, etc., as though it was the most 
 natural thing in the world. Such a time may come, but at 
 present I am content to visit the Zoo for shots of these 
 animals. 
 
CHAPTER V. 
 
 Landscapes, Seascapes, and Vabious. 
 
 i i /^TOODNESS, gracious! landscapes with a hand camera; 
 
 what a maniac you are,” said a friend to me the 
 other day. I really admit there was a maniac 
 somewhere_round the spot upon which we two were conversing. 
 But I very, much dislike personalities of any sort or kind, and 
 so I will only say, in good old schoolboy language, “ it wasn’t 
 me, sir.” 
 
 Landscapes in a hand camera ? Please, good sirs, why 
 not? If any of the exposure tables be consulted it will be 
 found that, for an open landscape, brightly lighted, with an 
 ordinary plate, working at an aperture of, 
 Exposure. say, f/8, the exposure is given at about 
 one-tenth of a second ; at f/11 it would 
 be about one-fifth. Surely this is as easy to accomplish in 
 the hand camera as in the ordinary. A shutter would be 
 needed in any case. Moreover, an exposure of ]tth second is 
 not the slowest obtainable in the hand. By care and practice 
 as slow as one second ought to be obtainable without move- 
 ment. I have heard of two, and even three seconds being 
 given, but I very much. doubt it, though there may be one or 
 two workers skilful enough for even this. 
 
 The movement of the body by breathing is a factor to be 
 contended with in any question of long exposure, when holding 
 
LA.NDSCA.PES, SEASCAPES, AND VARIOUS. 
 
 127 
 
 the camera against the body in any way. This can be obviated 
 in a measure by holding the breath during 
 Movement of the exposure. For rapid work this is a. 
 the Body. capital means of aiding steadiness, and one 
 that is constantly adopted. But in an 
 exposure of, say, two, or even one, seconds, the strain imposed 
 by so doing is quite as likely to lead to movement as the 
 normal breathing. 
 
 For slow work one of the best methods is to kneel on one 
 knee, using the other as a support for the camera. Care must 
 be taken to secure as comfortable a position as possible, so 
 that no movement is caused by any strain in that direction. 
 A tree, a fence, a seat, or, in fact, any support to the body, is a 
 great assistance, and should always be taken advantage of. I 
 have many negatives of streams, brooks, glades, and woodland- 
 scenery which were taken in this way, some of them receiving 
 quite three seconds’ exposure. The results are indistinguish- 
 able from those taken in an ordinary camera, and when 
 viewed by those who think every hand camera shot must be 
 taken in at least the or T$u th of a second are deemed 
 marvellous. 
 
 In the foregoing I have not referred to using a stand at all,, 
 because that converts the apparatus at once into an ordinary 
 camera. But with the many convenient and portable walking 
 stick and other stands on the market, this is a very easy 
 matter. There is one feature that in using a 
 a Stand. light tripod is worth attention, viz., the re- 
 lease of the shutter. Any push method is 
 rather at a disadvantage, as movement of the camera nearly 
 always follows. A pull by means of a string is better. But 
 both depend a great deal upon the power required, for upon a 
 tripod the camera loses the advantage of the body support to 
 counteract the push. The lighter the “feather” of the trigger 
 the better, and those patterns which do not require the shutter 
 to be held open, but can be released during exposure, are most 
 convenient. 
 
128 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 At the seaside there is no trouble as to exposure at all. 
 The light at the coast is at all times about one-third more 
 actinic than inland. Nor is there any difficulty about subject. 
 
 First the beach, with the children playing, 
 The Seaside, paddling, or building sand castles, the nigger 
 and other entertainers, the loving couples, 
 boats putting off for a sail, white-winged yachts flying about, 
 arrival and departure of the excursion steamer, and innumer- 
 able subjects. In fact, the trouble at the coast is not what to 
 take, but which. There is but little to say on the subject, 
 however, except that neither sea-water nor sand are good for 
 the camera, and care should be taken to avoid their entrance. 
 Water is pretty easily guarded against, but sand will be found 
 a most insidious foe. 
 
 Sunsets are, as a rule, most effective studies, and, of 
 course, the West Coast should be sought for these. Plain 
 masses of clouds and water are improved bv a boat or other 
 object as a relief, or central object. And in taking children 
 paddling, we should not be afraid to use the camera against 
 the light. Some most charming pictures are to be thus gained. 
 
 Wave catching is interesting, not to say, exciting, at times. 
 Jonas Chuzzlewit’s motto was, 
 
 “ Do men, or they’ll do you.” 
 
 Waves. And with waves it is oftentimes a question 
 whether the worker catches the wave on his 
 plate, or the wave catches him. This interesting feature, 
 however, is largely governed by the light and by the formation 
 of the pier, rocks, or beach. On the East Coast, for example, 
 the light is principally from the sea, so that it is necessary to 
 get well out, and occasionally by doing so we get well in also. 
 But, however the matter may be regarded, it is undoubtedly 
 easier to obtain waves pictures with a camera held in the hand 
 than it is when using a tripod. When the flight for life — or 
 rather the flight for dryness — comes, the tripod and its burden 
 is a serious point of impedimenta. We therefore generally 
 take that fact into consideration when after waves, and venture 
 
“Bother this Paddling .’ 1 
 
landscapes, seascapes, and various. 
 
 131 
 
 nearer with a hand camera than we otherwise should do and 
 probably get better results in consequence. 
 
 This needs but little attention, because what has been said 
 as regards the exposure for landscapes applies equally well. 
 On the question of size, however, I might point out that fixed 
 focus lenses are at a disadvantage in taking 
 Portraiture. portraits pure and simple. This can be 
 grasped very quickly. If everything is in 
 focus at 15 or 20 feet the lens must be of short focal length, and 
 the size of the figure is consequently small. For portraiture, 
 a camera arranged to focus sharply at eight feet, or even less, 
 is desirable -that is, if we desire to get a figure the full size 
 of the plate. 
 
CHAPTER VI. 
 
 Plates and Development. 
 
 © NE of the very first questions asked by the novice is, 
 “What plates do you use?” He appears to imagine 
 that something working faster than greased lightning 
 is necessary. At all events, the most rapid brand possible to 
 obtain in this country should be sought. 
 Speed of Plate. Now, at the very outset, this is a mistake. 
 
 It is not advisable, it is not necessary. It is 
 not advisable because when the novice fails he blames the 
 camera, and not the plate or exposure. “ These plates,” he 
 says, “ are So-and-so’s world-renowned one hundred and 
 twenty times ; they're all right. It’s the beastly lens that is at 
 fault, or the shutter, or the camera, or the ” — well, no, he does 
 not add the “ man,” My maxim has been for many years, not 
 only with the hand camera, but with the ordinary as well 
 — use the slowest plate possible. I am perfectly well aware, 
 for I have been told so over and over again, that I am wrong, 
 that it is better to use a fast plate and perchance over expose, 
 than a slow one, and have to force it. I can only say that 
 theoretically I have never studied the matter at all ; but 
 practically the experiences of five years’ work with the hand 
 camera has only served to confirm the impression of earlier 
 days, viz., to use always the slowest plate permissible. 
 
 The wherefore of this is a perfectly natural question, and 
 the answer is, that to obtain the necessary pluck and vigour — 
 in fact, to get a negative worth looking at all — is more difficult 
 
PLATES AND DEVELOPMENT. 
 
 133 
 
 with extra rapid plates than with slower ones. Any reader 
 can readily try this for himself. Many of our English brands 
 are issued in three rapidities, ordinary, rapid, and extra rapid, 
 or some corresponding terms. I will take the Ilford plate to 
 illustrate my remarks. Not that I desire to imply that it is 
 superior to all others, or is the only one, but because it is so 
 widely known in this country, at all events, that it forms the 
 easiest comparison. The reader need only try one of each 
 kind, the yellow, white, and red labels, expose them in strict 
 relation to their stated rapidities -and, for the sake of argu- 
 ment, I will assume that in each case his exposures are correctly 
 timed -and then develop. I fancy he will find that the 
 yellow develop easier, and more quickly, and give on the whole 
 more brilliant negitifes. Next will come the white label, 
 next the red. And, so far as I have tried, with every make in 
 the market the same rule holds good. 
 
 It must not be imagined that I advocate the exclusive use 
 of slow plates. I do not. There are occasions when rapid 
 plates are a necessity, and the fact should be recognised and 
 complied with. But the point is this, if we choose the day 
 and subject, there is no need for rapid plates ; if we wish to 
 secure some particular shots occurring on a fixed date and at a 
 fixed time, then it may occur that the exigencies of the actinic 
 power of the light require a more rapid plate than we usually 
 use. These occasions certainly do arise, but what I have 
 striven to make clear is that they are exceptional. 
 
 The general idea about a hand camera is that, in conse- 
 quence of the rapid shot and the enormous (sic) speed of the 
 shutter, the very fastest plate and the most energetic developer 
 must be used. It is this impression I 
 Fast Plates. am fighting against. As I pointed out in 
 the last chapter, it is only necessary to 
 consult an exposure table to prove that when working at such 
 large apertures as f/8 and f/11, we are apt in our usual life to 
 overlook the fact that the exact exposure is probably a large 
 fraction of a second. With the ordinary camera our powers 
 
134 
 
 THE HAND CAMEKA, AND HOW TO USE IT. 
 
 of speed are limited by the movement of the hand in taking 
 the cap off and putting it back again. And when it comes to 
 using a shutter we wander away into calculations of the one- 
 thousandth part of a second, whereas probably that shutter 
 cannot work faster than the one-fiftieth or one- hundredth at 
 the very outside, even if an oilcan be emptied over it before- 
 hand. The point I would fain make is that we are bad 
 arithmeticians when considering the hand camera. We do 
 not calculate, we jump. Accustomed to a slow plate in an 
 ordinary camera, using the lens at an aperture of f/8, say, as 
 soon as the hand camera is tackled, even with a leDs at the 
 same aperture, the speed of the shutter is so over-estimated, 
 or the fact that it is a hand camera is so dreadful, that the 
 twelve times table is used instead of the three in multipli- 
 cation. 
 
 It amounts in all to this, that in taking up a hand camera 
 the worker puts aside all exposure tables, all relative strengths 
 of light — in fact, everything he has learnt from the use of the 
 ordinary camera. He makes a clean, unassisted jump into 
 rapid work — and jumps too far. 
 
 I may say with confidence that the great bulk of my work 
 has been done with ordinary speed plates. 
 
 “ It is a good divine that follows his own instructions,” ? tis 
 said, but in urging the use of slow plates I can distinctly lay 
 claim to being “ a good divine.” Because for years, in spite of 
 numerous experiments, I cannot alter the opinion formed, 
 which is, use slow plates whenever possible. At the coast it is 
 rarely necessary to use rapid plates. In the narrow streets of 
 a town, however, it is sometimes advisable. I often think the 
 misconceptions upon these points arise from the fact that the 
 experienced hand-camera worker generally ventures out when 
 the conditions of light are favourable, whereas the beginner 
 wants to use his camera at any time and in any light. He fails, 
 and then the plates are termed vile, “ wanting in the common 
 decency of silver,” or as slow as a telegraph boy. If not the 
 plates, then it is the camera. It is badly designed, wretchedly 
 
When the Red Sun Sinks to Rest. 
 
PLATES AND DEVELOPMENT. 
 
 137 
 
 constructed, altogether a wrongly advertised article. And 
 another camera is forced into an early grave. 
 
 So much for plates, now for the development o£ them 
 Here I feel I shall be set down as a fraud. From questions 
 that have been asked me in the past, I am certain that some 
 special formula or method of procedure is 
 No welford expected at my hands. I have none. Not 
 Developer. only is there no Welford hand camera, but 
 there is no Welford developer that snap- 
 shoots can order by the “ gallon.” I feel utterly miserable 
 over the matter. My name will never appear as the founder 
 of a developer that removes all obstacles from the path of the 
 worker, is given away with each pound of hypo, or is 
 warranted to make the hair grow on the baldest spot, or, to 
 put it photographically, will produce detail in the darkest 
 shadow. I confess with the greatest humility that all the 
 formulae I can give are of the common or garden variety. It 
 is not my fault, it is fate. Kismet! I have tried every 
 developer under the sun— and in the dark room— without 
 avail. In fact, I am almost disposed to agree absolutely with 
 friend Pringle as to the merits of our old and well tried ally, 
 pyro. The only point is this, if we can get detail first and density 
 later by first soaking in the alkali, the formulae that give this 
 power are valuable. The difficulty, however, that creeps in is 
 that all plates are not suitable for one developing agent. This 
 may be a back-handed way of putting it, but what I mean is 
 that some developers are more adapted to certain plates than are 
 others. If, therefore, the accelerator varies in its suitability 
 to the various makes of plates, it appears not unreasonable to 
 expect that the method of procedure may vary too. Some 
 brands seem to revel in a previous soaking in potash or 
 washing soda, whilst others, again, are not so easy to work 
 that way. Now, if we take into consideration the fact that 
 ammonia does not lend itself at all well to this method, and 
 yet a plain pyro-ammon. formula used in the ordinary way 
 may suit the particular plate best, it is, on the whole, better 
 
138 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 t» relinquish the previous soaking method and develop in the 
 ordinary way. Ammonia has, in my hands, always been much 
 more fickle in its behaviour with the various brands of plates 
 than either soda or potash, though I cheerfully admit that 
 when working correctly no other agent is superior. 
 
 Turning now to the method of previous soaking in the 
 alkali, either soda or potash, my attention was drawn to the 
 point some four years ago in turning out a few of my earliest 
 dry-plate negatives. These were taken in 
 Washing: 1876 or 1877, and' developed by first soaking 
 
 Soda. i n a simple solution of washing soda, the 
 
 pyro being added dry to the dish. When I 
 think of the rough and ready method adopted, the soda 
 solution merely poured over the plate from the bottle, the pyro 
 afterwards being added to the dish, I feel somewhat horrified. 
 But yet in spite of the unpleasant yellow tone, the negatives 
 are simply crammed with detail. U pon experimenting, I found 
 that the dry plates of the present day for some reason or 
 other were not so amenable to the same treatment, although 
 the results were not at all bad. So I tried replaciug the soda 
 by potash, with considerable success, and can assert it to be, 
 with at least three brands of plates, the best developer. The 
 drawback is that the building up of the image is a slow one, 
 and the plate takes a deal of soaking in the mixed solutions 
 to get the proper degree of density. But if there is any one 
 point more certain than another about the development 
 of rapid exposures, it is that it takes time and patience. 
 The washing soda formula is often asked for, so I give details. 
 It is simply as follows Steal into the pantry when the other 
 members of th9 family are safely asleep or out, and “ borrow ” 
 a pound of common washing soda. Dissolve it in boiling 
 water, transfer it to a gallon bottle when cool, and fill up with 
 plain water. To develop, pour out as much as required to 
 well cover the plate, soak for about one minute, during which 
 the pyro is placed in the measure glass. At the expiration of 
 that time the soda solution is poured into the measure glass 
 
PLATES AND DEVELOPMENT. 
 
 139 
 
 to combine with the pyro, and the mixed solutions poured 
 over the plate. With some makes of plates the addition of a 
 little bromide of ammonium is almost a necessity. 
 
 The Beach potash-pyro formula was a great favourite for 
 many years amongst amateurs, though I fancy it is not so 
 much used now as formerly. All my earlier work was done 
 with it; but for some reason or other, either 
 Beach Potash, a slight change in the emulsions or a differ- 
 ence in quality of the potash itself, of late it 
 has not been so reliable, even with the same make of plates as 
 before. The formula is as follows : — 
 
 A.— Pyrogallic Acid. 
 
 Sulphite of soda 
 
 . . 4 ozs. 
 
 Warm distilled water 
 
 4 ozs. 
 
 Sulphurous acid water (strong) 
 
 • ■ 3* „ 
 
 Pyro 
 
 . . 1 „ 
 
 The sulphite of soda is dissolved in the warm water. This is 
 slightly troublesome, as four ounces of sulphite melted in four 
 ounces' of water is a very strong solution. It is a good plan to 
 put the sulphite and water in a large cup or jar, which in turn 
 is placed in a saucepan and held over a moderate fire. 
 Constant stirring will then rapidly cause complete saturation. 
 This solution must be allowed to cool down considerably ; in 
 fact, until quite cold. Then the sulphurous acid is added, and 
 out of doors, if you please, with your nose kept away from the 
 bottle. . Lastly, add the pyro, or, more conveniently, pour the 
 solution into the pyro bottle. 
 
 B.— Potash Solution. 
 
 Carbonate of potash . . • • . . 3 ozs. 
 
 Sulphite of soda 2 >» 
 
 Water . . . . • ■ • • • • • • ® >> 
 
 Taking half the quantity of water to each chemical, dissolve 
 separately, and combine into one solution later on. In use I 
 poured the potash solution (i dram of B to ozs. of water) 
 over the plate, and soaked it for a minute or two. Then the 
 pyro was added (1 dram of A), and the image quickly makes 
 
140 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 its appearauce. It will be observed that there is no restrainer. 
 In nine cases out of ten it is not necessary, but I have used 
 plates which absolutely required a few drops of a 10 per cent, 
 solution at all times. 
 
 In the way of pyro developers the three already given, viz., 
 ammonia, soda, and potash, are those I 
 Pyro have used the most. There are, however, 
 
 Developers. several others which may prove of service to 
 some readers — 
 
 Pyro Soda. 
 
 . — Pyrogallic acid 
 
 1 ozs. 
 
 Soda sulphite 
 
 6 „ 
 
 Sulphurous acid 
 
 •• 1*„ 
 
 Water . . 
 
 18 ,, 
 
 The order of mixing this is the same as the Beach formula, 
 but there is no difficulty in this casein dissolving the sulphite. 
 
 No 2. — Washing soda .. .. 6 ozs. 
 
 Water . . . . . . 18 ,, 
 
 Take one dram of each, and make up to 2 ozs. with water. 
 
 Pyro Soda. 
 
 No. 1. — Pyrogallic acid .. .. 40 grs. 
 
 Sulphite of soda . . 420 ,, 
 
 Water to . . . . . . 10 ozs. 
 
 No. 2.— Carbonate of soda (crystal) 320 grs. 
 
 Water to .. .. .. 10 ozs. 
 
 For use take one part of pyro to 1£ parts of soda. 
 
 To formulae there is no end. To start with, each make of 
 plates has its own special one, and as if we take pyro-ammon. 
 as a standard, the relative proportions alter very considerably, 
 it seems almost absurd to give any formulae at all in a general 
 way. I had good proof of this last year upon developing some 
 400 plates by three makers after a trip. The exposures were 
 nearly all the same, about of a second in a good light 
 and working nearly all through at f/11. All these plates were 
 of the same rapidity, or, at least, as near as plates can be made 
 
PLATES AND DEVELOPMENT. 
 
 141 
 
 to that end. A few failures set my thoughts in the direction 
 of investigation, and this' is what I found — 
 
 Plate A.— 1 part pyro, 1 part ammon., 1 part bromide. 
 
 „ B.— 1 „ „ 7 „ 1J „ 
 
 ,, C.-l .. 3 ,, ,, 1 ,, 
 
 Now the respective formula gave nothing like so great a 
 variance. I used the same solution throughout, in the propor- 
 tions as above, and the results were of uniform quality. 
 
 Plain pyro and ammonia is very much quicker in action, 
 but when used in the ordinary way is apt to give hard con- 
 trasts with a lack of detail. Increasing the quantity of 
 ammonia generally results in a flat image. 
 
 Pyro and I got over the trouble in this way, and as it 
 
 Ammonia. is a method constantly adopted when a 
 
 number of plates have to be developed at one 
 time, I will describe it fully. In a 15 x 12 dish I mix some 
 of the pyro solution with a lot of water. This I call the soak- 
 ing dish, and into it I pass each developing solution as soon as 
 done with. Using a whole plate tray, four plates are inserted, 
 and the developer rapidly poured over. This solution is a 
 plain pyro ammonia one, as follows : — 
 
 Pyro 10%. Ammon. 30%. 
 
 Pyrogallic acid . . 480 grs. Liq. ammon. 880 . . 3 ozs. 
 
 Am. brom 480 ,, Water to make up to 10 
 
 Citric acid . . . . 60 ,, 
 
 Water to make up to 10 ozs. 
 
 The proportions are 20m. of each to each ounce of water. 
 If this be too strong in ammonia, reduce to 15 or even 12 min. 
 The result is the very rapid appearance of the image ; it 
 flashes out almost at once. As soon as fully out, the plate is 
 removed to the soaking tray and left. If the development had 
 been continued in the first solution, the result would be flat, 
 but by removing them to the soaking tray pretty quickly, 
 proper density is gained. 
 
 There is another advantage in this method, it is the quickest 
 way of developing a big batch of, say, 200 plates. There is no 
 
142 
 
 THE HAND CAJ1EBA, AND HOW TO USE IT. 
 
 way and no solutions that will deal with a big number of plates 
 so quickly. True, the soaking is long, and perhaps several 
 trays are required in the end, but a compensating advantage 
 is given by the rapid appearance of the image, which enables 
 one to quickly remove a “ wrong-un ” from the dish. 
 
 The moral of this is doubtless the well-cried cry, “ Stick to 
 one plate.” But here the hand-camera man finds a difficulty. 
 He, as a rule, uses five or six times the number of plates that 
 an ordinary camerist (new American term) 
 Using one would upon a trip. Moreover, the hand 
 Plate. camera is so convenient to use that many 
 opportunities arise to expose plates totally 
 unprovided for. The stand-camera man starts out for certain 
 work, and does it. Anything that he may see on the route he 
 passes by, owing to the trouble and labour of unpacking and 
 repacking his apparatus, to say nothing of the case of an 
 incident or picture more or less fleeting in nature. Not so 
 with the hand-camera worker ; his apparatus is always ready, 
 and when the temptation comes he need be very strong to 
 resist it. Therefore comes it about that he almost invariably 
 uses more plates than intended, and a flight to the nearest 
 dealer’s is the next resort. Then comes the difficulty ; he may 
 be able to obtain his favourite brand of plates, but if the town 
 or place be a small one the chances are against him. 
 
 Personally, the actual make of plates I use troubles me 
 but little when travelling about. Of course like everyone else 
 I have predilections, but no desired shots have ever yet passed 
 scathless for want of any special plates. It therefore follows 
 that any one standard developer is a mistake, unless it be 
 capable of infinite modification, and the conclusion I have come 
 to in this matter is that a plain pyro and ammonia formula 
 gives better opportunities in this respect than any others. 
 
 Hydrokinone came into the field with banners flying, but 
 it has not come to stay — as a developer 
 Hydrokinone. for instantaneous work at all events. The 
 results are lovely as far as the appearance 
 of the negative is concerned, but though vigour and pluck are 
 
PLATES AND DEVELOPMENT. 
 
 143 
 
 easy, detail is wanting. About the best formula for hydro- 
 kinone is that known as Thomas’s, which is— 
 
 No. 1. — Hydrokinone . . . . 160 grains. 
 
 Sulphite of soda . . . . 2 ounces. 
 
 Citric acid 60 grains. 
 
 Bromide of potassium . . 40 „ 
 
 Water to .. .. .. 20 ounces. 
 
 No. 2. — Sodium hydrate . . . . 160 grains. 
 
 Water to .. .. .. 20 ounces. 
 
 If this be used in equal proportions full strength until detail 
 is well out, and the plate then immersed in another solution 
 diluted with five or six parts of water, and then soaked, good 
 results are obtained. It, however, requires careful watching 
 when using different makes of plates, as the action is very 
 rapid. A simpler formula is the following : — 
 
 No. i. — Hydrokinone . . . . 30 grains. 
 
 Potash, meta-bisulphite . . 40 ,, 
 
 Water . . . . . . 2 ounces. 
 
 No. 2. — Carbonate of potash . . 180 grains. 
 
 Water .. .. .. 20 ounces. 
 
 One dram of No. 1 is added to 2£ oz. of No. 2. For a good 
 one solution formula, and some amateurs like to have only 
 one bottle to bother with, I can recommend the following : — 
 
 Sulphite of potash . . . . 90 grains. 
 
 Carbonate of potash . . 8 ounces. 
 
 Bitartrate of potash . . 180 grains. 
 
 Water . . . . . . 32 ounces. 
 
 Hydrokinone . . . . 1 ounce. 
 
 The three potashes are dissolved in the water and then filtered, 
 the hydrokinone being added afterwards. 
 
 Eikonogen was the next comer, and the cry was “ Detail, 
 detail,” and it was prophesied to be a most vigorous reducer. 
 
 That is just where it fails. It certainly is 
 Eikonogen. powerful enough, but it is difficult to get 
 density with it ; in fact, altogether it is a 
 tricky agent to work with at any time, and very slow in action. 
 
THE HAND CAMERA, AND HOW TO USE IT. 
 
 14 l 
 
 True, I got in the winter of 1890 some very excellent frost and 
 snow studies by using it, but it was such painfully slow work 
 developing that it made the task quite a nuisance. I cannot 
 deem it either good or reliable enough for everyday work. 
 One formula is as follows : — > 
 
 No. 1. — Eikonogen . . . . 40 grammes. 
 
 Sulphite of sod.i .. .. 8 ,, 
 
 Water . . . . . . . . 500 ccm. 
 
 No. 2. — Carbonate of potassium . . 70 grammes. 
 
 Water . . . . . . . . 500 ccm. 
 
 In use equal parts are used. A good one solution formula is 
 the following : — 
 
 Eikonogen .. .. .. 120 grains 
 
 Sulphite of soda (crystals) . . 1£ ounces. 
 
 Hot water . . . . . . 8 ,, 
 
 After this is completely dissolved, 120 grains of carbonate of 
 potassium are added. In use it is diluted with an equal part 
 of water, and a few drops of a 10 per cent, solution of bromide 
 of potassium added. For great under-exposue the water and 
 bromide can be reduced. My experiences with eikonogen have 
 always pointed to the need of some other developer with which 
 to gain the required vigour, and the use of a hydrokinone 
 solution, fairly well restrained with bromide of potassium, 
 answers very well. 
 
 The combined eiko hydro solution was the outcome of a 
 similar experience in the trials of others. But I cannot say 
 that I find the slightest advantage in combining the two. 
 Still, as there are adherents to this method of development, 
 one formula I have found best is quoted. 
 
 No, 1. — Hydrokinone . . . . . . 20 grains. 
 
 Sulphite of soda . . 60 ,, 
 
 Water . . . . . . 3 oz. 
 
 No. 2. — Eikonogen .17 grains. 
 
 Sulphite of soda . . 66 ,, 
 
 Water . . . . . 3 oz. 
 
 No. 3. — Carbonate of sudn . . 125 grains. 
 
 Water . . . . 3 oz. 
 
PLATES AND DEVELOPMENT. 
 
 145 
 
 Equal parts of each are taken, restraint being promoted by 
 adding water to the mixed solution, and acceleration by 
 increasing No. 3. At the same time, No. 3 must be very care- 
 fully used, or fog ensues at once. 
 
 Para amidophenol, or as it is called for brevity’s sake, 
 rodinal, was introduced at the end of last year. It must be 
 admitted that it is capable of, perhaps, the greatest amount of 
 concentration of any developer now in use. 
 
 Para- This proves its vigour and power. In its 
 
 amidophenol. usual form it requires diluting with thirty 
 times its bulk of water, and therefore a very 
 small bottle is required of the actual chemical. It possesses two 
 other very marked advantages : It does not stain the fingers, 
 however long either the same solution may be hsed, or however 
 long the fingers may be of necessity constantly dipping into 
 the solutions, fresh or otherwise. The other advantage is 
 that it appears to weaken but very little by exposure to the 
 air, and a large number of plates may be developed in the 
 same solution. It promised so well for hand-camera shots 
 that I have given it considerable attention. I have tested it 
 in every way possible, varying exposures, plates, and method 
 of development, to an extent that has cost me a good deal for 
 plates. In fact, I have tested it enough to satisfy myself that 
 though it is more powerful than pyro, that it will bring up 
 images that owing to under-exposure pyro will not, it will, 
 nevertheless, never supersede good old pyro. My readers 
 must not consider me one of those old-fashioned workers 
 that, though willing to try new things, are yet so prejudiced in 
 favour of the old, that everything is done to prove the stand- 
 point “ I told you so,” or “ I knew it all along.” In the first 
 place, I am not old, and in the next I am always desirous of 
 obtaining some reagent to replace pyrogallic acid. But 
 rodinal will not do it. For certain work, perchance, there are 
 advantages to be gained, but, generally speaking, rodinal will 
 never replace pyro. 
 
 My first experiments augured well. As a dilution of 
 
 K 
 
14G 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 thirty parts of water was recommended, I tried eight, with 
 the result that the whole plate was covered with detail in a 
 fraction of a second— and covered with fog. Next came 
 twenty times, with the result of very rapid development of 
 what I thought was detail. It seemed a very easy matter 
 then to get density, but further dilution did not attain that 
 end. It merely slowed down the action. My next resort 
 was to a hydrokinone solution to give density, and it worked 
 magnificently. Development at a strength of twenty parts 
 of water to one of rodinal was wonderfully speedy, and a 
 soaking for two or three minutes in hydrokinone solution 
 gave all the density required. In fact, it seemed possible to 
 get density to command exactly as required. It appeared 
 as though the snap-shot man’s millennium had about arrived. 
 But this was with the negatives. When it came to the prints 
 it was pretty evident that the hydrokinone had merely 
 increased the density of the high lights, and leaving the 
 shadows quite as clear as they were before. No means that 
 I have been yet able to discover gets over the difficulty. Of 
 course, please understand that I am talking of rapid exposures 
 only. To sum up the situation briefly, rodinal is difficult to 
 work by itself, as the images are too flat, and if supplemented 
 by immersion in hydrokinone a sort of intensification action 
 takes place. The contrast is increased, but the detail is not 
 improved. 
 
 Can it be that the greeny-brown tone of pyro negatives helps 
 them ? Hydrokinone, eikonogen, and rodinal all give black or 
 grey tone negatives, beautiful to look at, yet disappointing to 
 print. Whichever chemical is used there is 
 Tone ofPyro too much clear glass. Pyro appears to cover 
 Negatives. up the clear shadows, to fog them in a 
 measure. The results, to my mind, are 
 exactly similar to those obtained upon gelatino-bromide plates, 
 as compared to the older wet-plate process. Quite recently I 
 saw the statement that the present everyday negative was in 
 nowise equal to that taken on a collodion film by the old 
 process. What is to be done with a man who writes that way ? 
 

 PLATES AND DEVELOPMENT. 147 
 
 I am quite satisfied that, up to the present, there is nothing 
 to touch pyrogallic acid for the development of hand-camera 
 shots ; it is an all-round useful agent, and a successful one. 
 At present there is nothing upon the market equal to it. 
 cannot theorise upon the matter, nor am I a “ photographic 
 expert.” All that is necessary is to go to the boxes of nega- 
 tives or the album of prints. Comparisons are odious — to 
 hydro, eiko, and rodinal. 
 
 Before concluding development altogether, I should like to 
 say a few words as to method of work. Of course, very much 
 depends upon the number of exposures the worker is in the 
 habit of making, whether two or three, a 
 Method. dozen, or fifty at a time. In any case, 
 nearly all of us are bound to have a big 
 batch at some time or other. But now, presuming that a 
 fair number has to be dealt with, it is certainly a mistake to 
 develop them singly. I do not mean only on the score of the 
 extra time taken, but also because my experience points to 
 more even results when developed together in one dish, 4, 6, 8, 
 or even 12 at once. Even with a dozen to do, I make three 
 fours of it. As most of the exposures are made under much 
 the same conditions, there is no need for elaborate pains in 
 development. All that is required is the correct solution for 
 one, and the others will be all right also. 
 
 And now a last word, whatever formula is used, strive for 
 quick appearance of the image and detail. Let density take 
 care of itself. That you can obtain by prolonged soaking, or 
 by after intensification. Let detail be the first aim. 
 
CHAPTER VII. 
 
 Various. 
 
 Y^VRINTING methods hardly need treatment in these 
 articles, as they should end with the production of the 
 ' negative. But a few remarks will not be out of place, 
 especially with one point in view. This is, that the processes 
 available for prints 8£ x 6£, or larger, are 
 
 Printing. not bound to be suitable for such small 
 prints as those obtained from hand-camera 
 negatives. Indeed, almost the reverse might be held to apply. 
 A hand-camera shot, as a rule, gives us a fairly wide expanse 
 of view, with a multitude of very small and fine details, so 
 that the effect of matt-surfacing and rough paper is generally 
 unsuitable. 
 
 If there is any one paper more suitable than another, it is 
 the gelatino-chloride kind. I do not like the highly-glazed 
 surface in large prints, but for the majority of hand-camera 
 shots it is undoubtedly the best thing possible to obtain. 
 Even if a matt surface is so much preferred that other con- 
 siderations are thrown aside, I think gelatino-chloride paper 
 squeegeed down to ground glass gives the best result. The 
 negatives as a rule “run thin,” and this paper suits thin 
 negatives, whilst for the best possible amount of detail the 
 glaze is unapproachable. Another point, too, is that, owing to 
 rapid exposures, the shadows are often heavy, and this defect 
 is undoubtedly mitigated by glazed prints. 
 
 Of course, I do not for a moment assert that no other 
 paper is of any use. That would be nonsense. Many of my 
 own negatives, for instance, give far better results in silver 
 
VARIOUS. 
 
 149 
 
 albumenised or platinotype papers, owing to density and 
 brilliance of the negative. Indeed, some are quite unprintable 
 upon any gelatino-chloride paper. But, as a general rule, a 
 safe one to go by, any brand of print-out emulsion papers 
 gives the best result. My personal leaning is to such a paper, 
 toned with platinum to a warm sepia tone, and finished with 
 a matt surface. For this purpose I use spoilt celluloid films, 
 finding them better than anything else for the purpose. 
 
 The usual plan up to the present has been to put six or more 
 prints upon one mount. This has the advantage of economy, but 
 not of artistic effect. Even allowing that they are all mounted 
 true and straight, which is very often not the 
 Mounting and case, the effect of the little dabs of prints in 
 Framing. a wilderness of mount is striking to the eye, 
 but not pleasing. There is also another 
 objection, which is that the eye cannot study one print with- 
 out unconsciously taking note of another at the same time. 
 This diverts the thoughts, and prevents the attention being 
 centred as it ought to be. I am therefore of opinion that for 
 the best effect each print should have a separate frame. 
 
 Possibly the first objection raised to this is the expense. 
 But this will not bear much investigation. Presuming there 
 are 12 prints — to take a sample case — a good quality frame 
 with a cut-out mount on the one side and 12 single frames on 
 the other. Let us take the large frame first. For 12 prints it 
 must be at least 24 x 18 (sight size), or the pictures will be 
 unduly crowded together. The cut-out mount is almost a 
 necessity if the thing is to look well. The following is a rough 
 idea of the cost, taking a fair average frame . — 
 
 FrWiie," \z.l ' 
 Cut-out mount, 
 
 mount 
 
 Is! (5d.* kfid’ir cuts ht *2d* S *4 
 
 8 4 
 
 The frameas, readers* »i&&tJotfnIe83,.pCit do$7ji.h,t*pi moderate 
 figure. It could doubtless be got for less, though not very 
 
150 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 much. And what it might cost, according to the moulding or 
 design, readers must surmise for themselves. 
 
 On the other side, let us take twelve single frames, and see 
 how they pan out. A very good frame can be obtained by the 
 gross, or even by the two or three dozen, at 9d. each, rebate 
 5x4 say, which would make the cost of a dozen 9s. So that 
 on this score there is not very much gain by putting twelve in 
 one frame. In case the statement as to 9d. each is doubted, 
 I hasten to say that the gross now under way (with which I 
 intend to startle the world) — this is put in parenthesis in case 
 it should not do any startling — will cost £4 10s. This is 7^d. 
 each. Of course, if elaborate frames of English gold are 
 required, the price will be nearer 5s. each. This is, I believe, 
 what Mr. Austin C. Edwards paid for his. But then he does 
 not — as yet — buy them by the gross. 
 
 The only other consideration that is worth any attention 
 is when the entrance fees for an exhibition are fixed per frame. 
 This would seem a case of 12s. versus Is. But I do not think 
 the exhibition authorities would draw such 
 Exhibitions, a hard and fast rule. If the twelve frames 
 were attached to a neat board, cloth covered, 
 it would doubtless be allowed to pass as one frame. At all 
 events, Mr. Edwards does this, though how he gets on, or 
 would get od, with the exhibition folks I am unable to say. 
 But I cheerfully admit that his frames, resplendent with 
 English gilt moulding as they may be, have made me very 
 much disgusted with my own muddled-up lot in one frame. 
 I mention Mr. Edwards because I consider him the pioneer 
 in this respect. 
 
 J7!? a l'«9P.3fl*th,d0 yOO'do.with all.tha prints ?’’• asli$d a 
 fnienfi CbaoSher day.,.foj\£jiiqh I jveptfed jh&i j&fcy/tfertf 411 oare- 
 ftrHy *placed *in 'alburfts.** ,I *Oh, buf consider Vhe lag’o'f it,” was 
 the rejoinder. The argument js^worth follow - 
 Albumsi'* Wliit flo*wA.“ pristeltlie'biitton ” of our 
 
 ****•• Thhnd camera* fep?* **Is*rt*to Aiow that we can 
 do it? Are we secret agents of the plate manufacturer ? or is it 
 
VARIOUS. 
 
 151 
 
 for fun ? Nothing of the kind. The plate is exposed in order 
 to obtain a picture that will interest not only ourselves, but 
 those around us ; that will not only be a pleasant souvenir of a 
 trip to the one who enjoyed it, but to show others the sights, 
 the views ; the life seen, appreciated, and recorded by our 
 negatives. But the negative is only one step, the print is the 
 goal. Therefore, “ What shall we do with our prints ? ” is now 
 the quesiion. The reply is, arrange them in albums, and the 
 more systematically the better. 
 
 Upon this point my own methods may be of interest, if not 
 of use. The first consideration was portability, so that three 
 or four might readily be carried in the pocket to entertain a 
 friend, or pass away a quiet half-hour. For this purpose none 
 of the special albums issued are so good as the sixpenny sketch 
 books (5s. per dozen), which may be obtained from any 
 artist depot. The leaves, which are intended for sketches 
 in black and white or water colour, are of thick drawing paper. 
 The backs are of white canvas, upon which the title or name 
 may readily be written in ordinary ink. These albums con- 
 tain prints from all the negatives that are worth keeping, and 
 form, in a way, a sort of negative register. A few of the 
 albums are here specified : — 
 
 1. — Street Scenes (No. 1). 
 
 2. — „ „ (No. 2). 
 
 3. — General Views (No. 1). 
 
 4. — Birmingham . 
 
 5. — Animals (No 1). 
 
 g J Newcastle Trip. 
 
 t Coventry Fair. 
 r. _ ( May Fete. 
 
 1 Haymaking. 
 
 8. — Plymouth and Falmouth, 
 
 9. — Athletic (No. 1). 
 
 10. — Cardiff Trip. 
 
 These I give as a sample only. 
 
 11. — Clouds, Sunsets, &c. 
 
 12. — Torquay, Marine. 
 
 13. — Torquay, Various. 
 
 14. — Frost and Snow. 
 
 ^ f Liverpool Trip. 
 
 1 Gloucester ,, 
 
 16. — Antwerp. 
 
 17. — Rotterdam. 
 
 18. — Animals (No. 2). 
 
 19. — Street Scenes (No. 3). 
 
 ( The F6te. 
 
 1 Ventnor Trip. 
 
 The canvas back allows of the 
 
 20 
 
 easy writing of these distinguishing titles and reference 
 
152 
 
 THE HAND CAMERA, AND HOW TO USE IT. 
 
 numbers, and each album contains a complete record of every 
 negative secured. 
 
 There are many albums issued, entitled “ snap shots,'* but 
 these cost at least, even by the dozen, 9d. each. It is, how- 
 ever, not so much on the score of expense that I prefer my 
 own selection, but that of portability, for one thing. And 
 here I should like to get in a grumble. Why are these albums 
 for hand-camera prints issued in such a square pattern? 
 Nine tenths of our shots are landscape way, and therefore the 
 albums ought to be arranged to suit. But of the many placed 
 upon the market, only one, so far as I have seen, recognises 
 the fact. This is the pattern issued by Messrs. Morley and 
 Cooper, of Islington. But my albums, even then, possess the 
 advantage of being less bulky. Cardboard leaves and complete 
 mounting are, to my mind, a mistake. First of all, the leaves 
 are nearly certain to buckle ; and next, the print is a fixture. 
 I attach mine by the four corners, using a gum brush, and 
 although the print adheres firmly enough for all ordinary 
 purposes, it can yet be stripped off, should occasion so arise. 
 
 So much for the convenient gathering together of prints in 
 a systematic way. Let me now add a good word for the 
 various album producers and designers, and it is this, that 
 whilst the sixpennyworth does very well for reference, or for 
 systematic registration, the neat albums sold for snap shots 
 are extremely tasteful for the exhibition of our best work, for 
 selections of the fittest. Prints nicely mounted in an album 
 consisting of India tint boards, with elegant exterior binding, 
 such as are offered at extremely moderate prices, are very 
 attractive to our friends. These I manage by making selec- 
 tions of the best. Whdst the canvas back is a sort of negative 
 register, a pictorial list of negatives obtained, the snap-shot 
 album is one I place in the hands of a non-photographer. It 
 is a selection of the best, the other is a print from every 
 negative — in fact, a kind of illustrated negative register. 
 
 The best plan is that of the old-fashioned grooved plate 
 boxes. The negatives are all small, J-plate or 5 x 4, so that 
 
VARIOUS. 
 
 153 
 
 what is almost impossible with oar ordinary negatives, 
 
 to their size, is an easy matter with those 
 Storage of taken in a hand camera. My large negatives 
 Negatives, &c. are kept in paper envelopes or bags, stacked 
 one against the other. This is the most con- 
 venient method, and I believe the one most usually adopted. 
 But with the small hand-camera negatives, grooved boxes 
 each holding 100, are much more convenient. For ' one , purpo e 
 or another, lantern slides, enlargements, gifts o 
 don’t do much of this now), illustrative objects Christmas 
 cards etc., my hand-camera negatives are in such consta 
 requisition that anything bat a most systematic method 
 storage would cause cuss words every day almost. 
 
 Several friends have told me that “ System will be the death 
 of you, ” or “ You are too confoundedly systematic. It may 
 be so, and undoubtedly I go to a considerable *“° unt 
 
 trouble. Bat this is well spent, as my 
 System. friends would find if they had to refer to 
 particular negatives or prints. To start 
 with the hand camera is conducive to system With the 
 ordinary camera, we take, as a rule, just what pleases us in 
 pleasing variety of subject. And, with the ™ ° 
 
 two holiday trips, we follow out no series. ^ 
 fact, form little groups, of sir to twelve of 
 
 With the earnest hand-camera worker, however, matters are 
 different. For instance, he in always adding to hr. stock of 
 
 street scenes, marine, animal, and other divisions. - 
 therefore some systematic way of dealing with the result, 
 is desirable. 
 
 Mv own method is as follows 
 
 l.-A negative register in which appears the date, the 
 
 place, the subject, and the register number. 
 
 ' 2 —Each negative numbered from the register on t le 
 top left hand corner. This is done before printing. 
 
 3 -As the prints are taken out of the frame the number 
 is written on the back in pencil (black lead only). 
 
154 
 
 the hand camera, and how to use it. 
 
 itself so irsLws^^e pXws " ^ °“ ^ 
 lantern • •, 1 mt ’ as it is so awkward when 
 
 Eesides ' the 
 
 JLJIHT regi !‘ or ' whioh out the various 
 
 Prom th?/,h / U “ ’ in ‘° ‘ he diffwmt divisions. 
 
 From th s the ordinary albums are complied, the number 
 
 T b0 r ° f ““ “ -dines" t 
 
 stick to the 01 a \ meet Wlth accidents t0 prints, some 
 stick to the glass when squeegeed down, others get stained 
 
 or dam aged * , ay nothing of over and under prfntlg U 
 
 the album be arranged first from the register, there is no 
 
 chance of upsetting the order by omission. The pa«e is 
 
 wbTlst the n r” a wn bl n nk ‘ g00d P ri “‘ ia obtained, 
 
 To filfthe voii °“° m ,e ' 1S neg ^ 
 
 5. The albums themselves are numbered, as will be seen 
 by a glance at the list already given. 
 
 6’— -In the negative register a column is left for the 
 
 "Xced. nmb6r0f th6albUm ^ Whi0h th6print 
 
 p J:~ Th ® g , r °T d ne S ative boxes are uniformly for 100 
 each, and a label is affixed outside. 
 
 201—300. 
 
 Street. 
 
 Torquay Trip. 
 The Fair. 
 Animals. 
 
 Inside the hd is pasted a list of the negatives and num- 
 
 nli ffr 8aVeS hUDting UP the re 8 ister ’ because 
 
 one constantly knows roughly about the place, and a glance 
 at the list inside gives the exact number. 
 
 Now all this may at first sight appear a good deal of work 
 nd I must admit it is. But just consider how convenient it 
 
VARIOUS. 
 
 155 
 
 is for reference. A busy man often wastes the little time he 
 has in ferreting out the negative, and when it is found it is too 
 late to print. I can find any negative in two minutes, or turn 
 up the album and print as quickly. In concluding the question 
 of system, let me add that in time the work becomes a plea- 
 sure if faithfully carried out. 
 
 In spite of the suitability of 1-plates and 5 x 4 plates for 
 contact printing, I prefer to make my slides in the camera, 
 so as to reduce the size a little or alter the proportions. The 
 results are certainly better than those made 
 Lantern Slides, by contact. I carry out the system of 
 divisions even to the slides, by means of 
 different coloured binding and masks, and by combinations of 
 colours. But I will not weary the reader any further upon 
 this question, except to say that the negative number is 
 always written on the mask. 
 
CHAPTER VIII. 
 
 Conclusion. 
 
 TN bringing these chapters to a close, I should like to 
 1 explain that I have not descended— ascended if you like— 
 to mere theorising, or to summarising the opinions of 
 others from periodicals or books. I have related my own 
 personal experiences and opinions, described my own methods 
 of work, and generally dealt with actual practice. This 
 naturally leads to the “great and only I am, ’’ but I 
 have carefully avoided throughout giving the idea of master- 
 ship and authority. What I know about hand cameras and 
 land camera work has been learnt by five years’ constant use 
 of various patterns. I have related these experiences, and 
 the personal opinions which come naturally to every man as 
 they are more likely to be of service to the ever-increasing 
 army of snap-shottists than yards of theory or tons of summary. 
 
 I see men posing as authorities and laying down the law as 
 to this or that feature being essential, such a camera the 
 best designed, and genearally dogmatising, who have only 
 used a hand camera a few times, or have never worked with 
 but one pattern. All I can say is that I must be somewhat 
 of a dunderhead not to have learnt the truth so quickly 
 as some of these authorities appear to have done. But 
 true it is, I have still much to learn, to study, and to practise 
 in the use of a hand camera. But that study will increase 
 my love for it, and will strengthen my defence against 
 the attacks of that Philistine, the anti-snap-shot man. My 
 last advice is earnestness. Take up the hand camera with 
 a determination to succeed, give it as much as— nay, more- 
 study than the 10 x 12 or 8 x 10. Do not use it as a mere 
 toy, a plaything for occasional fun. If you do, you deserve the 
 failure that is bound to follow. 
 
THE HAND CAMERA, AND HOW TO USE IT, 
 
 157 
 
 THE ILLUSTRATIONS. 
 
 THE STREET NEWSVENDOR •• •• Frontispiec. 
 
 A typical London street scene. The place selected is generally a 
 public-house at the corner of two roads ; in the present case it .s at 
 the corner of Oxford Street and Tottenham Court Road. The 
 contents bills are ranged all round on boards, and the newsvendor ^ 
 with his bag is talking to a customer. 
 
 LANCERS IN TRAFALGAR SQUARE 
 
 The advance guard of a troupe of Lancers just passing the 
 Monument. 
 
 BOOKING FOR THE EXCURSION.. •• •• " 
 
 An outside or extra “ excursion ” booking office at Snow Hill (G. W.) 
 Station, Birmingham. Passengers obtaining tickets for the regu ar 
 Saturday afternoon excursion to Bewdley, Arley, Bridgnorth, and 
 other pretty places on the river Severn. 
 
 ON THE CUMBERLAND FELLS 
 
 The river (North Tyne) from Temple Croft, Alston, looking towards 
 
 13 
 
 19 
 
 25 
 
 Haltwhist'.e. 
 
 “ PITY THE POO BLIND” 
 
 A Birmingham street beggar. It will be noticed that the hand is 
 held our for “ the usual collection. 1 ’ 
 
 ON THE QUAY. NEWCASTLE 
 
 Unloading sacks from a steam wherry. In the distance the Swing 
 and High-level Bridges. 
 
 A PENNYWORTH O' FORTUNE 
 
 Taken at Penarth, near Cardiff. A penny invested, the woman 
 knocks a bird down with a stick, who picks up a piece of pink paper 
 upon which is the following You will grow up to be a handsome 
 
 man the idol of the ladies. Ere long you will be loved by a charming 
 
 fair- haired lady with a large fortune, and will be married. You will 
 have four sons, one of whom will be an eminent lawyer.” And it 
 concluded with the following puzzle Find the donkey ? ” T e 
 puzzle was easy to answer. 
 
'1HE HAND CAMERA, AND HOW TO USE IT. 
 
 THE ILLUSTRATIONS (Continued). 
 
 tROM THE TOP OF AN OMNIBUS 
 
 In Broad Street, Birmingham, the.outgoing ’bus approaching. 
 
 “ 1 WISH I COULD GET AT ’EM ” 
 
 Mr. Pug, reflectively “ Rats I hope, mice I expect, rabbits by Jove ’’ 
 ONE WHO HAS THE SCRIPTURES “AT HER 
 FINGER ENDS 11 .. 
 
 A blind Scripture reader in St. Phillip’s Churchyard, Birmingham ’ 
 
 “SHALL I?” 
 
 A case of uncertainty at a public-house door. 
 
 “ DEAD men tell no TALES ” 
 
 On the Pier at Tynemouth, Northumberland. Doers’ dresses laid 
 
 out in the sun to dry. 
 
 MILK AND BANBURY CAKES 
 
 A scene at Hereford Railway Station. 
 
 THF FAIR. COUNTRY VISITORS.. 
 
 ^Im-r" eC0Untry ' determined t0 have a g00d aft ernoon's’ 
 frolic midst shows, swings, and ice cream. 
 
 BALLOON ASCENT WITH PARACHUTE 
 
 Taken in the Sophia Gardens, Cardiff. The whole arrangement for 
 this dangerous business is clearly shown in the picture 
 
 CURIOSITY 
 
 The mother off, up the hill, the two lambs, however', anxiouVto know 
 what is going on. 
 
 PELICANS 
 
 A shot in the Zoological Gardens, Antwerp. 
 
 NATTRASS GILL. 
 
 A sample of brook scenery, taken near Alston, Cumberland. 
 
 “ BOTHER THIS PADDLING ” 
 
 When “ COmes t0 P uttin S ° n and taking off the shoes and stocking 
 several times a day, mothers and aunts are apt to get cross. 
 
 “ WHEN THE RED SUN SINKS TO REST ” 
 
 A sunset study, taken at Largs on the West Coast of Scotland 
 
 Page 
 
 59 
 
 69 
 
 77 
 
 85 
 
 9i 
 
 97 
 
 107 
 
 117 
 
 121 
 
 !25 
 
 126 
 
 I 35 
 
grass 
 
 ADVERTISEMENTS. 
 
 JONATHAN FALLOWFIELD, 
 
 146, Charing Cross Road, LONDON. 
 
 CENTRAL 
 PHOTO STORES, 
 
 The THREE HAND CAMERAS WITHOUT 
 EQUALS are 
 
 THE “FACILE” 
 
 
ADVERTISEMENTS. 
 
 FALLOWFI ELD'S 
 
 PHOTOGRAPHIC ANNUAL, 1802-3 
 
 592 Pages. 806 Illustrations.! 
 
 1/- Post free, Cloth bound 1/9 
 
 (Foreign Postage Stamps accepted from Abroad.) 
 
 FALLOWFI ELD’S 
 
 PHOTOGRIPHjC REMEMBRAHCER. 
 
 i6 Sd'S traveller” 
 
 AND 
 
 ~^‘ C “ to 
 
 Is sent anywhere free on application, is now in 
 its fifth year, and has reached the three-hundredth 
 page. It was the pioneer of all Photo Gratis 
 Papers; and those who have full copies possess 
 the finest complete history of the progress of the 
 Art during five years. Every novelty is fully described 
 before it actually comes on the market. 
 
 Get it! Keep it!! Use it!!! 
 
ADVERTISEMENTS. 
 
 Quits Jf/stS. 
 
 FALLOWFIELD’S NEW 
 
 HAND CAMERA DEVELOPING SET 
 
 This Set has been specially designed with the view ot keeping ones Developing 
 Tacklle III together, and ready to be taken away at any moment. It is handsomely 
 Jot mp In mail cloth rigid case, lined green baize, fitted with lock and key, and 
 shoulider straps. 
 
 CONTENTS : 
 
 A 4 Trays for Developing, Fixing, Alum and Water, with titiesa^head^of 
 
 C B<ox to hold Lamp when closed and not in use. 
 
 D T'in to hold Alum. 
 
 E Hlyposulphite of Soda. 
 
 F 1 Solution of Hydrokinone Developer. 
 
 H 4t Dozen* l^lford Plates, and 2 oz. Graduated Measure- 
 
 All made so as to pack away complete, price £2 2s 
 
 This is really striking value , an, 
 
 4 a desiralle addition to the Towing Amateur's Kit. 
 
ADVERTISEMENTS. 
 
 Jonathan Fallowfield, 
 
 CENTRAL PHOTO STORES, 
 
 Has the most complete Stock of any Dealer in 
 the Kingdom. 
 
 -sc- DRY PLATES. 
 
 ALL MAKES. ALL SIZES. 
 
 CHEMICALS OF UNQUESTIONABLE PURITY. 
 
 SENSITISED, BROMIDE, EMULSION AND ALL PHOTO 
 PAPERS OF BEST QUALITY. 
 
 (sX MOUNTS. KS 
 
 Only best kinds and tasteful Designs kept. A Stock that defies competition. 
 
 SUNDRIES. -9© 
 
 ALL KINDS. ALL MAKES. 
 
 SEE THE “ANNUAL.” 
 
 It has fullest particulars of all the above, and will tell you more in 
 five minutes than Lectures or Essays will in a month. 
 
 146, Charing Cross Road, London, 146. 
 
advertisements. 
 
 CROU CH’S LENS ES. 
 
 CROUCH’S RAPID RECTILINEAR 
 LENSES, New Form. 
 
 LARGEST WORKING APERTURE, F/8. 
 
 CROUCH’S WIDE ANCLE 
 AND LANDSCAPE LENSES, 
 New Form. 
 
 LARGEST WORKING APERTURE, F/iI. 
 
 CROUCH’S SPECIAL HAND 
 CAMERA LENSES. 
 
 LARGEST WORKING APERTURE, F/ 5 
 6TTHESE Lenses are especially const r u C te d forj^and Cameras. 
 
 ^ aperture of the Lens F/ S “ d TTe g’reat plpularity they have 
 
 illumination and absolute ^ orkers is sufficient recommendation, 
 
 gained among experienced Hand Camera 
 
 Equivalent 
 
 Focus. 
 
 Effective 
 
 Aperture. 
 
 Price with 
 Rotating 
 or Waterhouse 
 Diaphragm. | 
 
 Price with Iris 
 D.aphragm. 
 
 Price with Iris 
 Diaphragm 
 and in 
 
 AluminiumFittings. 
 
 r.^' C | P nsP S aren owT made 'almost entirelyof the Abbe-SchottClasg. 
 
 CROUCH’S “ DRESSER ” HAND CAMERA, 
 
 With New Risingjront (Patent). This Catnera , de5 igned by 
 
 Mr. A. R. DRESSER, the 
 result of many years expe- 
 rience and work, can be used 
 for either plates or films, and 
 for either instantaneous or 
 time exposures. 
 
 it possesses the following 
 advantages:— 
 
 The Shutter works between 
 
 the lenses, and can be ad- 
 justed to gNe a speed of 
 
 from one-hundredth second 
 two or more seconds. 
 
 The lens is provided with 
 Iris Diaphragm. 
 
 It has a focussing arrange- 
 ment by which objects at the 
 nearest and furthest distance 
 can be accurately focussed 
 
 On Df,rCR0UCH r s e N.w 
 Rising Front (patent), amost 
 important addition, by which 
 _ th e right position of the 
 
 subject may be more readuT secured. It is provided with an accurately-adjusted finder. £g g Q 
 
 . th o double backs and covered in Morocco Leather, -plate, price • • 4 >in in n 
 
 :: |S S g 
 
 — .... . 
 
 NEW CATALOG* Una vj'-'ox — , 
 
 HENRY CROUCHl oVticaT Works- 66, ’barbican, LONDON, 
 
 EC 
 
ADVERTISEMENTS. 
 
 SHEWS ECLIPSE (PATENT) 
 
 Medal awarded, International Inventions Exhibition, 1885. 
 
 H ghcst Award for Hand Cameras, Paris Exhibition, 1889. 
 
 
 Complete 
 
 Extra. Backs 
 
 For Plates 
 
 witn 1 
 
 1 or 2 
 
 or Par er. 
 
 Doub'e Back. 
 
 each. 
 
 3i x 3i 
 
 £4 4 0 
 
 £0 12 6 
 
 4^x3! 
 
 4 9 0 
 
 0 12 6 
 
 5 x 4 
 
 5 0 0 
 
 0 13 6 
 
 6^x4! 
 
 6 0 0 
 
 0 17 9 
 
 7i x 5 
 
 6 15 0 
 
 0 18 6 
 
 THE ECLIPSE FOR PLATES 8 J x 6£. 
 
 Consisting of Eclipse Camera, partly brass bound, patent Lens and 
 instantaneous shutter, with patent focussing flange and rising front, 
 one double back, and focussing screen complete ... £11 n 0 
 
 EXTRA DOUBLE BACKS, each ’ ’ 1 0 0 
 
 BRASS BINDING, DOUBLE BACKS, each *" ’’’ 0 4 0 
 
 EASTMAN ROLL HOLDER, for carrying sufficient film for 48 trans- 
 parent film negatives, fitted to the Eclipse for 
 
 THE STEREOSCOPIC ECLIPSE. 
 
 Complete for Time or Hand expo- 
 se res, with detachable folding bottom 
 board and three doub e backs, Eclipse 
 Lenses and patent Aluminium Shut- 
 ter working behind the lenses, for 
 
 time or instantaneous work 
 
 SWING BACK fitted to the Eclipse 
 without increasing the size of the 
 Camera, extra, 4J x 3J, and 5x4 ... 11 
 
 Stereo, 6^x4! and 7J x 5 1 5 
 
 8J x 6J and 24 x 18 cent 1 10 
 
 See the Eclipse Pamphlet free on application to 
 
 J. F. SHEW & CO., 87 & 88, Newman St., LONDON, 
 
I bHMh 
 
 
 advertisement?, 
 
 SHEW’S GUINEA POCKET CAMERA (Patent). 
 
 FOR HAND OR TIME EXPOSURES. 
 
 Marvel of Portability and Cheapness combined with 
 thorough efficiency. 
 
 I A Folding Camera (easily carried in the pocket), 
 nstantly adjustable for use, instantaneous Lens of good 
 luality, specially manufactured with patent nstantaneous 
 
 shutter tor this camera, for taking Views, Groups, 
 
 Portraits, etc , etc.,* 4* x 3 1 inches, measuring only 
 x 4 x 2, and weighing only fourteen ounces, complete 
 
 with three str ong well-made double backs ... ±1 1 U 
 
 THE SHEWGRAPH (Patent). . nf 
 
 A Folding Pocket Camera similar in construction to our Guinea Camera, of 
 mahogany polished, with three double backs and screen, but no lens. 
 
 For plates, 4 * x si - .£12 0 | Formates, 5 x 4 ... £1 7 ° Q 
 
 Dr complete with Rapid Rect linear Lens and Shutter 
 
 Shew’s New Collapsible cSrfthic* fsfantly' spring into posit ^ on ^ or R us ?: 
 Forming a very Ugh, rigid Com,,, w.ighing^nl^.jen 
 
 linear lcds, *>iiu 
 
 behind the lens, three double backs and 
 focussing screen. 
 
 Complete for plates, 4 i x 3* £3 1 7 6 
 
 For plates, 5x4 412 6 
 
 Camera and three double- 
 backs without lens, 4J x 3^ 15 0 
 
 Ditto, ditto, 5x4 110 0 
 
 SHEWS REPEATOGRAPH 
 
 (Patent). 
 
 MAGAZINE HAND CAMERA. 
 
 The perfection of simplicity, no 
 bags, no heavy metal sheaths, one 
 movement only changes the plate and 
 sets the shutter. 
 
 Price £2 2 0 
 
 With Rectilinear Lens and Sunk 
 Finders, covered in leather. 
 
 Price £3 10 0 
 
 SHEW’S UNIVERSAL HAND CAMERA. 
 
 As shown at the Convention of 1891. To carry double backs, or roll holder '5 1 °ne fitting. 
 The Camera with one double back, 4J x 3 i 00 o 
 
 do. do. 5^x4^ 1 5 0 
 
 The]Camera fitted complete with Eclipse Lens and Instantaneous Shutter (patent), 
 three double backs, focussing screen and tinder, for plates 4J x 3J £6 10 o 
 
 Other sizes in proportion see special circular. 
 
 j,< F. SHEW & Co., 87 & 88, Newman St., Oxford St., LONDON, W. 
 
ADVERTISEMENTS, 
 
 The Roll-Holder Superseded. 
 
 “mwiER" *- 
 
 » — \\MID CMKM, 
 
 THE PERFECTION OF CONVENIENCE. 
 
 No double exposures. Only one movement. 
 Change of Plate sets Shutter. 
 
 Holds 12 Quarter-plates,’ or 24 cut films ; Mechanical 
 Indicating Counter; certain change. 
 
 NO MISS!! CAN’T STICK!!! 
 
 TWO LARGE FINDERS 
 
 QUARTER THE SIZE OF THE PLATE. 
 
 GREATLY IMPROVED FOR 1893. 
 
 Full descriptive pamphlet on application. 
 
 SHEATHS FOR HAND CAMERAS. 
 
 MADE OF THIN PEN STEEL OXIDISED. 
 
 No black pigment to wear off and cause pinholes. 
 
 J-plate, 4/- per dozen. 5 x 4 . 6 /- per dozen. 
 
 May be had for either Plates or Films same price. 
 
 A SPECIALITY,— Mahogany Dark Slides, best quality, hinged 
 shutters fitted to any camera. 
 
 T'Plate, 5 /- ; -J-plate, 9/3 ; a reduction for three. 
 
 ALL SIZES MADE. SAMPLE SUBMITTED ON RECEIPT OF VALUE & POSTACE. 
 
 TALBOT AND EAMER, 
 
 7, EXCHANGE STREET, BLACKBURN. 
 
advertisements. 
 
 The Roll-Holder 
 
 Superseded. 
 
 THE 
 
 HMD CMHERII. 
 
 TAKES 12 PLATES, OR 24 CUT FILMS. 
 
 Any Lens can be fitted. Purchasers’ own Lens can be 
 used without alteration to Camera. 
 
 Improved Changing, with Indicating Counter ; Two Sunk 
 Finders ; Thornton-Pickard Time and Instantaneous Shutter 
 behind Lens. Prices without Lens : — 
 
 opiate, £4 : 4 : O 5 x 4> ^5 : 5 : O 
 
 Full Particulars on Application. 
 
 Hand Cameras made to purchasers’ own designs. Cameras 
 altered, repaired, and improved by experienced workmen. 
 
 TALBOT AND EAMER, 
 
 7, EXCHANGE STREET, BLACKBURN. 
 
ADVERTISEMENTS. 
 
 BEFORE PURCHASING A HAND CAMERA, SEE THE 
 
 GOLD MEDAL HAND CAMERA. 
 
 Unhesitatingly admitted by the Trade, and the leading Authorities in 
 Hand Camera Work, as 
 
 The Most SIMPLE, Practical, & Most Efficient Camera in the Market. 
 
 PRICE, J-pl. with R.R. Lens, View Finder, etc., £4 10s. 
 
 5 x 4 ditto ditto ditto £5 10s. 
 
 Send for Testimonials and Particulars to 
 
 T. MILLER, 141, BROUGHTON ROAD, SALFORD. 
 
 Crown 8vo, 112pp. Illustrated. Sewed, Is. ; post free, Is. 2d. 
 
 PHOTOGRAPHY FOR ALL. 
 
 An elementary Text Book and Introduction to the Art of Taking Photographs. By 
 AmhX°s BuneX 1501 "’ " Eur °P ean Editor of “ The International Annual of 
 
 A really very useful elementary text book upon Photography .”— Amateur Photographer. 
 
 LONDON: ILIFFE & SON, 3, ST. BRIDE STREET, E.C. 
 
 PBICE 4s. 6d. ; POST FEEE 4s. lOd. 
 
 THE PROCESSES OF 
 
 PURE PHOTOGRAPHY 
 
 BY 
 
 W. K. BURTON, C.E., & ANDREW PRINGLE. 
 
 A Standard Work, Complete in itself, and freely Illustrated. 
 
 LONDON: ILIFFE & SON, 3, ST. BRIDE STREET, E.C. 
 
advertisements. 
 
 WORKS by CLEMENT J. LEAPER, F.C.S. 
 
 THE 
 
 FIRST PRINCIPL.ES 
 
 PHOTOGRAPHY, 
 
 AN ELEMENTARY TREATISE ON 
 
 The Scientific Principles upon which Practical 
 Photography Depends. 
 
 ILLUSTRATED. 
 
 PRICE: CLOTH BOUND, 5/-; POST FREE 5/41. 
 
 MATERIA PHOTOGRAPHICA 
 
 A Treatise on the Manufacture, Uses, and Properties of the substances 
 employed in Photography. 
 
 A HANDBOOK FOR SCHOOLS AND CLASSES AND FOR PRIVATE USE, 
 
 WITH NUMEROUS ILLUSTRATIONS. 
 
 PRICE: CLOTH BOUND, 5/-; POST FREE 5/3. 
 
 London : ILIFFE & SON, 3 St. Bride St., 
 
 ' E.C. 
 
ADVERTISEMENT 
 
 PRACTICAL ENLARGING 
 
 By JOHN A. HODGES. 
 
 Vice-president of the West London Photo Society. 
 
 ILLUSTRATED. 
 
 PRICE: Paper Cover, Is.; Cloth, 2s. 
 
 POSTAGE 2d. 
 
 LONDON: ILIFFE & SON, 3, 8T. BRIDE STREET, E.C. 
 
 AMUSEMENT POE ALL. 
 
 PHOTOGRAPHIC PASTIMES 
 
 A HANDBOOK FOR AMATEURS, 
 
 Containing particulars of many novel and interesting effects 
 to be obtained by the aid of the Camera. 
 
 front ‘ lein T, aS donke ys. or sitting knife and fork in hand with their own headin' 
 
 es^eedfn^l^^nferes^n^an^amusin^recreationJ’—r/ie^aD 1311 ** ^ wUI * - 
 
 PROFUSELY ILLUSTRATED. 
 
 PRICE Is.; POST FREE Xs. 3d. 
 
 LONDON : ILIFFE & SON, 3, ST. BRIDE STREET, E.C. 
 
ADVERTISE MENTS. 
 
 NEW AND ENLARGED EDITION. ^ 
 
 an introduction 
 
 TO THE 
 
 SCIENCE and PRACTICE 
 
 OF 
 
 PHOTOGRAPHY, 
 
 ;By Chapman Jones, f.i.c., f.c.s., 
 
 Senior Demonstrator of Practical Chemistry in the Royal College of Science, 
 
 London. 
 
 Crown 8vo, Price 3/6 ; Paper Covers, 2/6 ; Postage 4id. 
 
 London : 1LIFFE & SOU, 3, St. Bride Street, E.C. 
 
 INVALUABLE TO PHOTOGRAPHERS. 
 
 THE WAY-ABOUT SERIES. 
 
 NOW READY, No. 1. 
 
 THE WAY ABOUT SURREY. 
 
 WITH MAP AND NUMEROUS ILLUSTRATIONS. 
 
 IN PREPARATION. 
 
 No 2.— The Way About Kent. 
 
 No 3 -The Way About Warwickshire. 
 No. 4.— The Way About Derbyshire. 
 
 No. 5— The Way About Norfolk and 
 Suffolk. 
 
 No. 6.— The Way About Essex. 
 
 Price Is. each; post free Is. 2d. 
 
 A Cloth Edition, with Map printed on linen, is published at 2/6. 
 
 London : 1LIFFE & SON, 3, St. Bride Street, E.C. 
 
ADVERTISEMENTS. 
 
 The OLDEST Penny Photographic Paper in the World. 
 
 EVERY THURSDAY. ONE PENNY. 
 
 IS 
 
 ACCURATE, NEWSY, ENTERPRISING. 
 
 Editor— HENRY STURMEY. 
 
 EDITORIAL CONTRIBUTORS: 
 
 Capt. W. de W. ABNEY, C.B., F.R.S. ; CHAS. H. BOTHAMLEY, F.C.S., F.I.C. ; Prof. 
 W. K. BURTON, C.E.; GEORGE DAVISON; CHAPMAN JONES; ANDREW 
 PRINGLE; FRANK M. SUTCLIFFE. 
 
 THE SPECIAL FEATURES ARE Scientific and Technical Articles by well-known 
 writers; The Question Box, with a series of Prizes for the senders of replies; Prize 
 Competitions; Snap Shots; Items of Interest ; Interviews with Prominent Members 
 of the Trade ; and the Price— One Penny. 
 
 A SPECIMEN COPY WILL BE SENT GRATIS AND POST FREE. 
 
 WHAT THEY THINK OF IT. 
 
 'Photography is a positive success.” — Wilson's Phttographic Magazine. 
 
 A stirring, newsy journal, which bids fair to a successful career.”- — St. Louis Photo- 
 grapher. 
 
 ‘‘It is very interesting, and far ahead of the other photographic papers. ” — Gerald 
 Stoney, Gateshead. 
 
 “ I look upon Photography now as part of my weekly diet, as it suits my constitution.” 
 — Moore, Dartford. 
 
 “ When I have read the pages of one week’s issue I am anxious to see the next.” — 
 F. Lewis, Derby. 
 
 ‘‘Your new journal, like the ‘Pickwick’ pen, ‘comes as a boon and a blessing to 
 men.” -J. C. Christie, Old Cathcart. 
 
 “You may be sure I shall prize this my first silver medal, and I shall not want to 
 look pt it to remind me of Photography, as I always have this paper for dessert on Thurs- 
 days.” J W. Evans, Wolverhampton. 
 
 “ I think your paper a marvel of cheapness. I had great difficulty in getting it regu- 
 larly, or even at all, at first; hut since I have succeeded I think all my early trouble has 
 been liberally repaid.” — A. C. Anderson, Arbroath. 
 
 “I must say Photography is proving a decided success; it seems to be improving 
 every week. Since taking in your paper I have entirely given up a journal which is 
 published on the same subject, which, though more mature in years, still takes a leaf 
 from its infant friend.” — M. Tillicouthy. 
 
 LONDON: ILIFFE & SON, 3, ST. BRIDE STREET, E.C. 
 
 AND ALL BOOKSELLERS AND BOOKSTALLS. 
 
 Editorial and Advertisement Offices : 19, HERTFORD STREET, COVENTRY. 
 
ADVERTISEMENTS. 
 
 ILIFFE & SON’S 
 
 > hotographic p ublications. 
 
 EVERY THURSDAY. Price id. ; post free i^d. 
 
 8vo Price 2s. 6d., cloth 3s. 6d. ; postage 7%d. 
 
 ^rKSSTS ?L=^^oo«S di'agram^and' sleUel" ciotS 
 bound Price 7s. 6d. ; postage 6d. 
 
 - *fe“sSJ8S5. lajssaa^asaft ssraea 
 
 Idfnce New aTd Lv!s“d Edition. Sewed as. 6d„ cloth 3 s ; 6d. ; postage 4 *d. 
 Photogravure. By W. T. Wilkinson. A complete Text Book on the subject, with 
 illustrations. Price is. 6d. ; post free x* *L £ g A on the manufacture , 
 
 Mat uses' a^pfoTeni^'of ?he substances employed in photography. Crown bvo. 
 
 The First Principles of Photography. B Y V’ J' , f ’ e , s .ij 
 
 Photographica.” Crown 8vo., cloth. Price 5s, post 5 ' 44 ' , , 
 
 Ztt^TvXsZ cKtlluMraTed 0 Price as. S ; 
 
 Military Photography. By O. E. Wheeler, late Captain 1st Leicestershire Regiment. 
 Price is. 6d. ; post free is. 7fcd. . . . , . 
 
 !“■ r T” 
 
 . n w ^ Rv Walter D Welford, compiler of The 'Photographer s 
 
 H “f.d^bTH k ; n ^*‘ic”'p?p.rco..»». ; 
 
 Outline, of Organic Chemistry. By C. I. Leafer, F. . au or o lIt f p re p aratiollt 
 graphica,” etc. 
 
 LONDON: ILIFFE & SON, 3, ST. BRIDE STREET, E.C. 
 
ADVERTISEMENTS. 
 
 THE FOUR BEST 
 
 THE STEREOSCOPIC CO.’S NEW 
 
 “GRAPHIC” HAND CAMERA.! 
 
 The London Stereoscopic and Photographic Co., Ltd., 
 
 THE STEREOSCOPIC CO.’S 
 
 ARTIST” HAND CAMERA. 
 
 Can be used with Dry Plates. Can be used with Films 
 Is used in Hot Climates. Is used in Cold. Is used everywhere 
 Call ana see Specimens taken with it. 
 
 USED BY AMATEURS, 
 
 Because it is poi table, neat, self-contained and perfect 
 
 USED BY PROFESSIONALS, 
 
 Because it is the only practical Hand Camera ever made 
 
 USED AT HOME, 
 
 Because of its capacity for any 
 kind of work, either time ot 
 instantaneous. 
 
 USED ABROAD, 
 
 Because no other Hand Camera 
 can be found with such universal 
 advantages 
 
 It is made in three sizes, 
 I-plate, 3 1 x 4 J, £10 10s.; 
 5 x4m., £i' 2s.; i-plate, 
 
 6£x42in,. os. complete. 
 
 Photography says in issue of August The Company 
 
 have produced a hand camera pure an \ handsomely 
 
 finished and cleverly designed. . has been 
 
 spared to make the ‘Artst’ hand c thoroughly 
 
 useful one in every respect.” 
 
 Any plate can be used at will. Plates are locked in a separate chamber and cannot 
 be tampered with. Is fitted with a Rapid Rectilinear Lens with revolving diaphragms 
 Has an excellent finder, and a shutter capable of various speeds; can be fixed upon a 
 stand for time exposures. Weight, loaded with 12 plates, 4ibs. Price J-Dlate 7= 
 5x4, £10 10s ; A-plate, £12 12s.; i-plate, £18 18s. ’ //8 '’ 
 
 3-ai p 
 
 P o c 
 ou jo ° 
 
 3' ’3 § 
 
 era. a - 21