SB aacs: M ^^K^BmSSSmSmmmmimm t in w 11 i^« I /* John A. Hoe '■ ^^W^^^vfi^.-^;;; D v^" 7 - Late i notical u* photo & ^ 0o v^ ELEMENTARY PHOTOGRAPHY. JOHN A. HODGES. Author oj "Practical Enlarging," " The Lantern-slide Manual,' etc. [Amateur Photographer's Library, No. 7.] FOURTH THOUSAND. LONDON : HAZELL, WATSON, & VINEY, Limited, 1, CREED LANE, LUDGATE HILL, E.C. 1894. Printed by Hazcll, Watson, & Viney, Ld., London and Aylesbury. PBEFACE Within the covers of Elementary Photography the author has endeavoured to explain, in the simplest possible language, the various processes connected with the production of a photograph, from the buying of the necessary apparatus to the mounting and finishing of the print. With history or with theory the book does not profess to deal. It is intended to be a plain, practical handbook, the instructions contained in which the youngest beginner may, without further assistance, readily comprehend. In the system of tuition which has been adopted it differs from the majority of its predecessors, inasmuch as alternative methods of working have been avoided, and one well-tried formula and mode of working only described. This has been done advisedly, and with the view of preventing that doubt and difficulty which often arises in the mind of a beginner when confronted with a choice of processes. Digitized by the Internet Archive in 2010 with funding from Research Library, The Getty Research Institute http://www.archive.org/details/elementaryphotogOOhodg CONTENTS. CHAPTEK I. Introduction — The Aim of the Writer — Primary Difficulties — Selection of Apparatus — Second-hand Goods — Complete Sets — The Camera — The Size of the Photograph — Pros and Cons — Sizes of Plates — The Half- Plate Recommended — Different Forms of Cameras Described — Good Advice — Probable Cost — Modern Improvements — The Reversing Back — The Swing Back — The Rising and Falling Front — Double Backs — Changing Boxes — The Tripod Stand ; Its Attributes ; Cost — Rigidity of Apparatus — Practical Tests . . .pp. 13 — 18 CHAPTER II. THE LENS. Preliminary Advice — A Good Lens Essential— Different Lenses Described — The Single Lens — The Rapid Rectilinear — The Wide-angle Rectilinear ; Its Special Feature — The Portrait Lens — Definition of Terms — Focus — " Stops " or Diaphragms — Waterhouse, Iris, and Revolving Diaphragms Described — The Use of " Stops " — Aperture of a Lens — Distortion — Angle of View ; Its Determination — Examples — Practical Advice on the Choice of a Lens — English Makes Preferred — Cheap Foreign Lenses — Cost— The Use of the "Wide- angle " Lens — The Care of the Lens — Practical Hints on the Preservation of Lenses pp. 19 — 25 CHAPTER III. ACCESSORY APPARATUS. Focussing Cloths ; Velveteen, Mackintosh, etc. — Camera Cases ; Necessary Caution — Non-Actinic Lamps — Dishes ; Good Advice — Plate Washing Tank — Another Method — Measures — Draining Rack— Printing Frames, etc. — The Chemicals Required — How to Preserve their Properties — Pyrogallic Acid — A Word on Poisons — A List of Chemical Substances Necessary— The Cost— The Use of the Brush . . pp. 26—30 6 Contents. CHAPTER IV. THE DARK-ROOM AND ITS FITTINGS. The Dark-room Described — Effect of White Light upon Sensitive Surfaces — How to Provide the Dark-room with Non- Actinic Light — Stopping up all Chinks admitting Light — How to Make a Developing Table and Sink— Laying on the Water— How to Make a Grid— The Operating Table— Shelves — The Importance of a "Tidy" Dark-room Enforced— Other Details— Ventilation, how to Ensure it, etc. . . pp. 31—36 CHAPTER V. HOW TO MAKE A PORTABLE DA.RK-ROOM OR DEVELOPING CABINET. A Substitute for the Dark-room — Commercial Developing Cabinets —A Portable Dark-room — How to Make a Developing Cabinet— The Materials Required— The Sink— The Bench or Table — The Shelves— A Rack for Dishes ; its Construction —The Grid— Water Supply— The Cistern— The Curtain; how to Fix — Ventilation — Concluding Hints, etc. . . pp. 37 — 45 CHAPTER VI. THE PREPARATION OF SOLUTIONS, ETC. The Importance of Cleanliness— How to Clean Apparatus — " Ready-made " Solutions — The Developer — How to Prepare the " Pyro." Solution — " The Accelerator " — Potash — Soda — Ammonia ; how to Make the Solution — " The Restrainer " ; how to Prepare — Hyposulphite of Soda ; its Properties — The Fixing Bath — How to make Stock Solution of Chloride of Gold — The Toning Bath, and How to Prepare It — Solutions Necessary fcr ''Bromide" Printing — The Ferrous-oxalate Developer, How to Make— The Clearing Bath for Negatives —The Intensifying Solution ; Care Needed in its Preparation and Use — The Hydroquinone Developer — Labels, How to Preserve— Distilled Water pp. 46—5] Contents. 7 CHAPTER VII. THE MANIPULATION OF THE CAMERA IN THE FIELD. Getting Eeady for Work — A Good Suggestion — Packing the Apparatus — A Word upon Dry Plates — Isochromatic Plates —The " Castle " Plates— Filling the Dark Slides— Procedure — Our Object Defined — The Subject ; Artistic Considerations Deferred — Setting up the Tripod — How to Focus — The Use of the Diaphragms ; a Good Rule for the Beginner — The Exposure of the Plate — Exposure Tables ; the Writer's Advice — Making a Record — How to Expose — Further Details pp. 52—57 CHAPTER VIII. THE DEVELOPMENT OF THE PLATE. A Definition of Development — Preparations — Mixing the Developer — A " Normal " Solution Defined — Getting Ready for Work — Procedure — The Avoidance of Dust — How to Apply the Developer to the Plate — Under-Exposure ; How to Treat —The* Appearance of the Image — How to Examine the Negative — Judging " Density " — Development Continued — A Second Examination — The Appearance of the Image — The Use of the Clearing Bath— Preparing the Fixing Bath- Precautions— Fixing the Negative— The Action of the Fixing Bath Described— Washing the Negative— Draining and Drying— How to Handle a Negative— " Frilling"— A Useful Suggestion — The Appearance of an Under-exposed Negative Described pp. 58—63 CHAPTER IX. THE DEVELOPMENT OF THE PLATE (continued). Second Lesson in Development — How to Proceed — The Developer — A Good Rule — The Behaviour of the Plate — How the Image should Appear— A Good Negative— Our Third Experi- ment — The Mode of Procedure — Over-exposure — How to Remedy — A Modified Developer — The Properties of the Various Constituents of the Developer — An Analysis of Results — Under, Over, and Correct Exposure Described — The Hydroquinone Developer — Its Advantages — Its Dis- advantages—" One-Solution " Developers Condemned— The Eikonogen Developer — Its Merits— A " Combined " Developer —How to Prepare It — An Eikonogen Formula — Concluding Advice ... .... pp. 64— CD 8 Contents. CHAPTER X. DEFECTS, FAILURES, AND THEIE REMEDIES. A Common Failing — Fog — General Fog — Chemical Fog — Light Fog — Stains — Frilling — Blisters — Spots — Developer Mark- ings — Mottling of the Film — Insufficient Density — Excessive Density — Halation — Insensitive Markings, etc. . pp. 70 — 75 CHAPTER XI. THE INTENSIFICATION, REDUCTION, AND VARNISHING OF THE NEGATIVE. Controlling Density — Difficulty of so Doing — How to Determine the Quality of a Negative — The Best Course — Intensification — Want of Permanence — Necessary Precautions — How to Proceed — Reduction — How to Effect It — Necessary Solutions — Trial Prints — How to Varnish a Negative . . pp. 76—81 CHAPTER XII. PRINTING UPON ALBUMENISED PAPER. Preliminary Considerations — A Good Negative Described — An Album, " Not for Exhibition " — Ready Sensitised Paper — How to Print — Precautions — When to Arrest the Process — " Slipshod " Work — Toning — Fixing — Washing— How to Wash the Prints Effectually without a " Washer" — How to Avoid Blisters — Drying the Prints . . . .pp. 82—88 CHAPTER XIII. PRINTING ON GELATINO-CHLORIDE PRINTING-OUT PAPER. The Process Described — Its Advantages— The Different Makes of Paper — How to Manipulate — Printing — Toning — The " Com- bined Bath " — Instability of Results— How to Prepare the Bath — Fixing— Surface— How to Make Enamel Prints — Squeegeeing — How to Dry the Prints— Matt-surfaced Prints — How to Obtain — Probable Permanence of the Prints — Severe Tests , . . pp. 89—93 Contents. 9 CHAPTER XIV. BROMIDE PRINTING. The Advantages of the Process — The Negatives Required — Description of the Process — Working by Artificial Light — Artistic Recommendations — Colour — Surface — History — Commercial Papers — Printed Instructions — Advice — Ac- curacy of Exposure Essential — How to Obtain Uniformity of Results — Procedure — How to Ascertain Correct Ex- posure — A Suitable Non-Actinic Light — Development Described — Clearing — Fixing — Washing and Drying the Prints — Printing from Thin Negatives — Result of Error in Exposure — How to Correct Over-Exposure — Colour of Prints —Final Caution .pp. 94—98 CHAPTER XV. TRIMMING, MOUNTING, AND FINISHING THE PRINTS. The Necessity for Care in Finishing Prints — A Stumbling-block with Amateurs — Trimming and the Use of the Knife — Improving the Composition by Cutting Down — How to Ascertain whether a Print Requires such Treatment by the Use of Masks — Cutting Knives and Cutting Blocks — Necessary Apparatus — Cutting Glasses — Procedure — Moun- tants — How to Make Starch Paste — How to Apply it to the Print — How to Mount the Print — Mounting Albumenised Paper Prints — Mounting Bromide Prints — Difference of Treat- ment — How to Improve the Surface of Bromide Prints — The Selection of the Mount — Simplicity of Treatment Recom- mended — Vulgarity to be Avoided — Mounts of Good Quality Recommended — Mounting Prints in Optical Contact pp. 99 — 103 CHAPTER XVI. PHOTOGRAPHING ARCHITECTURE. The Utility of the Swing Back — When its Employment ia Required — The Legitimate Use of Wide-angle Lenses — Distortion — How to Remedy by the Employment of the Swing Back — Other Uses of the Same — Architectural Work — Its Suitability for Reproduction by Photography— Ex- terior Views — The Best Conditions of Lighting — The Photo- graphing of Interiors — The Lighting — Halation, How to Mitigate — Edwards' Isochromatic Plates — Backing — Selec- tion of the Point of View — Precautions — Sliding Leg Tripod Necessary — Focussing — Exposing — Development of the Plate — Special Treatment — Weak Solutions . . .pp. 104 — 108 10 Contents. CHAPTER XVII. PORTRAITURE. Amateur Portraiture — Practical and Technical Difficulties — The Studio — A Few Hints on Lighting the Sitter — Outdoor Portraiture — What to Avoid — Background, etc. — The Lens and Plate — Sitting-room Portraiture — Choice of the Room — Aspect — The Position of the Sitter in Relation to the Light — Screens and Diffusers — Suggestions on Posing — What to Avoid— Exposure — Development . . .pp.109 — 113 CHAPTER XVIH. ENLARGING BY DAYLIGHT. Choice of Method — Daylight Preferable — General Principles — Apparatus Required — How to Enlarge in an Ordinary Room — The Lens — Getting Ready for Work — Procedure — How to Determine the Correct Exposure — Development — The Best Negatives for Enlarging — The Use of a Reflector, etc. pp. 114 — 118 CHAPTER XIX. MAKING LANTERN SLIDES. A Retrospect — Commercial Lantern Plates — Quality — Alternative Methods — Contact Printing — Chloride Plates — Procedure — Exposure by Magnesium — Development with Ferrous Oxalate — Cleanliness — The Attributes of a Good Slide— Fixing— A Fresh Fixing Bath Essential — Drying — Mounting — Binding and Finishing— Concluding Words , , .pp. 119 — 123 CHAPTER XX. SHUTTER EXPOSURES. Popular Ideas — Time Exposures Preferable to Shutter Exposures — Necessary Conditions — Shutters— Advantages of the " Blind " Type— The Lens— Apertures— The Plate— Subjects — Necessary Precautions — Actual Work— Sunlight versus Diffused Light — View Finders — Development — The Writer's Plan Described — Plain Pyro. Preferable — The Preliminary Bath — Procedure — Errors to Avoid — The " Tentative " Plan — How to Prevent Staining the Film — Detective Cameras —Advice pp. 124—128 Contents. 11 CHAPTER XXI. COPYING. The Advantages of Photography as a Means of Reproduction — Three Essentials — Lighting — The Plate — The Development — How to Make a Copying Apparatus — The Lens — Focussing — Copying Same Size — Enlarging — Reducing — Lighting — The Use of a Reflector — Copying by Artificial Light — Ex- posure — The Plate — Quick Plates — Photo-Mechanical Plates — Hydroquinone Development Recommended — Copying Silver Prints — Unmounted Prints — Copying Coloured Prints — Paintings, etc pp. 129—133 CHAPTER XXII. ISC-CHROMATIC OR COLOUR-SENSITIVE PHOTOGRAPHY. Isochromatic Plates — Their Advantages — How Prepared — Dip- ping Process — Emulsion Process — Tailfer's Patent — Edwards' Isochromatic Plates— Further Improvements Desirable — Special Advantages — Necessity for Manipulating in Ruby Light — Further Precautions — Development — The Use of "Screens" — A Useful Experiment — Photographing Skies — Length of Exposure with Screens . . . .pp. 134 — 138 CHAPTER XXIII. FLASH-LIGHT PHOTOGRAPHY. Probable Origin of the Flash-lamp — Capabilities — Flash-lamps in General — England's Lamp — How to Connect Several Lamps and Fire them Simultaneously — Arrangement of the Lamps— Home Portraiture — Focussing, an Alternative Method — Gun-cotton and Magnesium — Drawbacks — Neces- sary Precautions — Flash-Mixtures, Dangerous Nature of — Taking Dark Interiors — A Difficult Subject, How Taken — Development pp. 139 — 144 CHAPTER XXIV. SOME ELEMENTARY OBSERVATIONS UPON THE ARTISTIC TREATMENT OP THE SUBJECT. The Aim of the Writer — The Advantages of an Artistic Training — The Necessity for Study — Books to be Read — Some Leading Ideas — The Principal Object — Adjustment of Focus — How to Proceed — The Proper Use of Stops — Groups and Figure Subjects — The Pyramid — The Position of the Principal Object — Photographing Streets — Repetition of Lines — Balance — Light and Shade — The Shortcomings of Photography — Choice of Subject — Simplicity — Subjects to Avoid — Motive — The Position of the Horizon , pp. 145 — 150 12 Contents. CHAPTER XXV. PLATES, PAPERS, ETC., AND THEIR PREPARATION. Technical Knowledge Desirable — " Photography with Emulsions" — Dry Plates — How Prepared — The Emulsion — Sensitiveness — Digestion — Washing — Coating the Plates — The Operation Described — Drying and Packing — Deleterious Influences — A Word for the Plate-makers — Bromide Paper, How Made — Silver Paper — Albumenisiug — Sensitising — Preservatives — How to Keep Albumenised Paper — Celluloid Films — Draw- backs and Advantages ... . pp. 151 — 154 CHAPTER XXVI. Conclusion . , . pp. 155 — 157 ELEMENTARY PHOTOGRAPHY, CHAPTER I. Introduction — The Aim of the Writer — Primary Difficulties — Selec- tion of Apparatus — Second-haud Goods — Complete Sets — The Camera — The Size of the Photograph — Pros and Cons — Sizes of Plates — The Half-Plate Recommended — Different Forms of Cameras Described — Good Advice — Probable Cost — Modern Improvements — The Reversing Back — The Swing Back — The Rising and Falling Front— Double Backs — Changing Boxes — The Tripod Stand ; its Attributes ; Cost — Rigidity of Apparatus — Practical Tests. Most treatises on photography commence by giving a more or less exhaustive account of the history of the art ; but, believing that the average reader in nine cases out of ten deliberately skips that portion of the work, I propose to depart from the course which precedent has laid down, and, by omitting all historical references, to that extent be original. My aim will be to provide the amateur who is about to take up the practice of photography for the first time with such information as will enable him to take a successful photograph. I shall endeavour, as far as possible, to avoid the use of technical language; but when it becomes necessary to do so I shall make a point of explaining the meaning of the terms employed. Writing for the class to which I have alluded, I shall assume an entire ignorance on the part of my readers of all matters pertaining to photography. With theory I shall not attempt to deal — its consideration does not come within the scope of this book. The first difficulty with which the beginner will be 14 Amateur Photographers Library, No. 7. confronted will be the selection of the necessary apparatus. Text-books frequently tell him to be guided by the advice of a friend, but as in the majority of cases he probably will have no friend possessing the requisite knowledge to whom he can appeal, the advice has little practical value. Where, however, competent assistance can be obtained it should certainly be accepted. The purchase of second-hand apparatus should be avoided by the tyro, for although at times undoubted bargains may be picked up by those whose practical knowledge enables them to form a correct estimate of the value of the articles offered for sale, the novice lacking that knowledge may find himself burdened with apparatus, which will not only be useless to him, but which he may find a great difficulty in disposing of. Nor should I recommend the purchase of a complete set of apparatus, for, unless a high price be paid for it, in which case no economy will be effected, the quality of the articles supplied will probably not be so good as it might have been had the articles been purchased separately ; and it will, moreover, frequently be found necessary to considerably supplement the list of articles comprised in the " complete " set, before it can be made really ready for work. Naturally the first piece of apparatus which will claim our attention is the camera, which, it will probably be unnecessary to state, is the instrument to which the lens is attached, and by means of which the sensitive plate is exposed to the action of light. Now before we buy our camera we must decide what sized photographs we wish to produce, and in coming to a decision on this point there are two important factors to which we should give due considera- tion, namely, the amount of money which we wish to expend, and the extent of our powers of endurance, because the carrying of heavy apparatus in the field is more or less a tax upon one's strength, and if the weight of the " kit," as the complete impedimenta of the photographer is usually designated, be greater than we can carry without inducing a feeling of fatigue, a great part of the pleasure and profit which Ave should otherwise derive from our hobby would be lost. I can speak with some authority upon this point, for during the sixteen years that I have practised photography Elementary Photogrcqyhy. 15 1 have worked with cameras of all sizes, from 12 by 10 downwards, and the experience so gained leads me to the conclusion that if comfort and convenience are to be studied, the size known as half -plate should not be exceeded. The sensitive plates, and the cameras in which they are used, it may be here convenient to state, are made in certain standard sizes according to the following list : — *3| by 3^, or lantern plate, so called because it is of the same dimen- sions as an ordinary lantern slide; 4| by 3|, also called " quarter-plate ; " *5 by 4, *6J by Z\ (used for producing stereoscopic pictures) ; 6| by 4f (called also " half -plate ") ; *7± by 4|, 7| by 5, *8 by 5; 8| by 6| ("whole-plate"); *9 by 7, 10 by 8, 12 by 10, 15 by 12, 18 by 16. I have mentioned weight as being one of the matters which should be considered in deciding upon the size of the camera ; but the question of cost also largely bears upon the subject, for the intending purchaser should bear in mind that, though the difference in the initial cost between a small camera and a large one may not be very great, the expense will not end there, for the large camera will necessitate the use of large plates, more chemicals, and, in fact, a greater all-round expenditure. The popular sizes are the quarter-plate, the half-plate, and the whole-plate, and of these I strongly recommend the reader to purchase the half -plate, and I do so for the following reasons. In the first place the size is well proportioned, and it makes a pleasing picture, sufficiently large, when suitably mounted, to look well framed and hung upon a wall ; its weight, with the necessary accessory apparatus, is such that it may be carried without discomfort by persons of ordinary physique, while the cost of the plates and materials necessary for the production of the finished pictures will be but moderate. The quarter-plate is rather too small, and when proficiency is attained its possessor would probably sigh for something larger The whole-plate, on the other hand, will probably prove too heavy for most people to carry about with comfort, and the necessary plates and materials will cost more than double the amount necessary to work a half-plate. * Those sizes marked with an asterisk should be avoided, as, not being generally used, a difficulty is sometimes experienced in obtain- ing the plates. 16 Amateur Photographer '$ Library, No. 7. The would-be purchaser, upon entering the showroom of a dealer in photographic materials, will probably experience some embarrassment in endeavouring to make a selection from the numerous cameras which will be placed before him. But a closer examination will reveal the fact that, broadly speaking, all the apparently different cameras are really constructed upon one or other of two principles, of which figs. 1 and 2 may be taken as types. In fig. 1, the more modern type, the pinion, by which the focussing of the picture is effected, is in front, the bellows being conical. Lightness and compactness are the advantages of this form of camera. The other, and older, type of camera is shown in fig. 2, and it will be seen that, in this case, the focussing Fig 1. is effected from the rear by attaching the pinion to the back frame which holds the focussing screen. This form of camera is rather more bulky and slightly heavier than the one last mentioned, but for practical work is to be preferred. I would here most strongly advise the reader to expend a reasonable sum in the purchase of his camera, and not to yield, from mistaken motives of economy, to the temptation of buying an instrument which may prove both cheap and nasty. A good, serviceable, half -plate camera, with three double backs, will be found to cost from about £i 10s. to £6, according to the degree of finish bestowed upon the instrument. Most modern cameras are provided with certain adjust- ments, some of which may be regarded as essential to Elementary Photography. 17 successful working. The first of these is what is called " the reversing back " ; this addition allows the position of the ground-glass to be reversed, and, without disturbing the camera, enables the user to take either an upright or a horizontal picture. Another very essential feature in a perfect camera is what is' known as a swing back ; this is an adjustment which enables the ground-glass to be brought parallel with a building when the tilting of the camera is unavoidable. The use of this adjunct will be fully explained hereafter. The third important movement is the rising and falling front. It consists in providing the front of the camera Fig. 2. which carries the lens with an up and down motion, and its use enables the position of the picture on the focussing- screen to be varied. These three special movements, reversing back, swing back, and rising and falling front, are here enumerated in order that the reader, when pur- chasing, may stipulate for their inclusion in the camera which he selects. With the camera will be provided a certain number of thin wooden cases, usually three, for holding the sensitive plates ; these are technically known as double backs, or dark-slides, each being capable of holding two plates. An alternative method of carrying and expos- ing the plates is by the use of what is known as a changing box; but I only mention the device here to warn the reader 2 18 Amateur Photographer's Library, No. 7. against adopting it, as in the hands of a novice it would most probably fail. The next piece of apparatus to which we may turn our attention is the tripod stand upon which the camera is supported. There is an immense variety of tripod stands in the market, but a great many are of no practical use. The two points to be looked for in selecting a tripod are that its height should be capable of adjustment, and that when fully extended it should be rigid and free from tremor. The form of tripod which I advise the reader to purchase is that known as the sliding-leg pattern ; it is a stock pattern, and can be obtained at most dealers for about 12s. Qd. The head should be sufficiently large to present a firm base upon which to rest the camera. Eigidity is one of the most essential features of the camera and stand, and with a view of determining whether the apparatus selected fulfils this condition, the would-be purchaser should insist upon the tripod selected being set up to its full height, and the camera screwed into position upon it. It is useless to place a rigid camera on a shaky stand, and equally so to put a rickety camera on a firm tripod. In each case the stability of one piece of apparatus is negatived by the defect in the other. Taking the apparatus hi its proper order the lens would be the next part of the outfit to receive consideration ; but as its selection is an important matter, and one that requires to be dealt with at some length, I propose to devote a special chapter to it. CHAPTER II. THE LENS. Preliminary Advice — A Good Lens Essential — Different Lenses Described — The Single Lens — The Rapid Rectilinear — The Wide- angle Rectilinear ; its Special Feature — The Portrait Lens — Definition of Terms — Focus — "Stops" or Diaphragms —Water- house, Iris, and Revolving Diaphragms Described — The Use of ;< Stops " — Aperture of a Lens — Distortion — Angle of View ; its Determination — Examples — Practical Advice on the Choice of a Lens — English Makes Preferred — Cheap Foreign Lenses — Cost — The Use of the " Wide-angle " Lens — The Care of the Lens — Practical Hints on the Preservation of Lenses. The lens, without doubt, is the most important part of the photographer's equipment, and it is essential that he should provide himself with a good one. He may con- trive, with some per- sonal inconvenience, to turn out satisfactory- work with a faulty- camera, but with an indifferent lens he can never hope to produce good pictures. I do not intend to perplex the novice by attempting to lure him into the study of photo- graphic optics; yet it will be well for him to acquaint himself with the different forms of lenses in general use, and the special purposes for which they are constructed. I intend, therefore, to deal with the subject solely from a practical point of view, and to eschew theory entirely. Fig. 3. 20 Amateur Photographer's Library, No. 7. If certain expensive lenses of recent introduction are ex- cepted, there are only three varieties of lenses in ordinary use with which the beginner need trouble himself, unless, indeed, he should aspire to portraiture, when another form of lens must be added. These consist of the singlelandscapelens,the rapid rectilinear, the wide-angle rectilinear, and, if portraits are to be taken, the portrait lens. I will now briefly describe the special pro- perties of each. The form of the single landscape lens is shown in fig. 5, which is a sectional drawing. The advantages of this lens are its cheapness, and its suitability for general landscape work ; its disadvantages being its slowness compared with the rapid rectilinear, and the property it possesses of causing the straight lines in a building to appear in the photograph slightly curved. Although the be- ginner is frequently recom- mended to select this lens for his first experiments in photography, I think the next lens which I shall describe, namely, the rapid rectilinear, is more suitable. This lens, the sectional view of which is given in fig. 4, ~ g is in more general use pro- bably than any other. It is more rapid in action than the single lens, and can, therefore, be better used for taking Elementary Photography. 21 portraits and groups, as well as for instantaneous views. It is a non-distorting lens, and will not produce the cur- vature of straight lines which was referred to as being a fault inherent in the last-named lens. The third lens on our list — the wide-angle rectilinear — shown in fig. 6, is also a non-distorting lens, and its chief feature, as its name indicates, is the power which it possesses of including in the picture taken with it a very large angle of view. It is not so generally useful as the rapid rectilinear, both on this account and also because its rapidity is considerably less; but, where a second lens can be afforded, it is the one that should be chosen, as it is extremely useful for cer- tain classes of work, notably the photographing of architecture, both interior and exterior, when it is often desirable to include a large portion of the subject in the picture. The portrait lens (fig. 3), as its name implies, is intended for portrait work only. On account of its construction, it is suitable only for that special work, and should not be used for any other, and as it is an ex- pensive lens, when properly con- structed by a maker of repute, the tyro will do well not to be tempted to purchase one unless he intends to make portraiture a special study. Before we can intelligently further discuss the pros and cons of different forms of lenses, it will be necessary to define the meanings of certain technical terms to which it •will be impossible to avoid reference. The focus of a lens is the distance between the lens and the ground-glass when the image appears sharply defined thereon. The stops or diaphragms are the plates of metal with which most lenses are fitted, which, when inserted in the slot in the lens mount provided for the purpose, contract or Fig 22 Amateur Photographer 's Library, No. 7. reduce the aperture of the lens. It will be easily under- stood that the smaller the stop which is inserted, the slower will be the working capacity of the lens, and consequently the longer the exposure necessary. Instead of the per- forated plates of metal, or Waterhouse diaphragms, just described, the lens may be fitted with what is known as the Iris diaphragm (fig. 7), which consists of a series of thin metal plates overlapping each other, arranged concen- trically within the lens mount. By simply rotating a ring fixed to the outside of the lens mount, any sized opening may be obtained at will. This form of diaphragm possesses several advantages — being attached to, and forming part of the lens, it is not possible, as sometimes happens with loose stops, to either lose them or leave them at home. Most opticians now supply their lenses fitted with either form of diaphragm, and al- though the Iris diaphragm is rather more expensive than the Waterhouse dia- phragm, I strongly advise the tyro to choose the for- mer. There is yet another kind of diaphragm to which reference has not been made. It is called the " rotating " diaphragm, and consists simply of a circular- plate, in which different sized openings are cut. It is, like the Iris, permanently attached to the lens, and by simply causing it to revolve, any sized opening can be brought into the centre of the lens. It is generally only fitted to two classes of lenses, namely, the simple landscape lens and the wide-angle doublet. The object of using stops is to increase the defining power of the lens. If we examine the image thrown by the lens on the ground-glass, we shall find that, although some por- tions of the picture appear sharply defined, or, as a photo- grapher would say, " in good focus," the rest of the picture is more or less blurred. To remedy this, we insert a medium-sized stop, and we now see a great change in the Fig. 7. Elementary Photography. 23 appearance of the image, which, instead of being blurred and fuzzy, appears sharp and distinct. I shall have more to say upon this part of the subject when I assist the reader in taking his first negative. The aperture of a lens is the diameter of the stop used in relation to the focal length of the lens, and the size of the diaphragm is usually expressed by dividing the focal length of the lens by the diameter of the stops. For example, we will suppose a certain lens has a focus of 8 in., and we find, upon measurement, that the largest stop measures 1 in. in diameter. 8 ~- 1 = 8, therefore the aperture of the lens with that particular stop will be f/8, and so on. The stops of nearly all modern lenses are marked according to this system ; therefore, although it is necessary that the be- ginner should understand its meaning, he will not have the trouble of making the calculation for himself. Distortion is the defect in single lenses, and improperly constructed doublets, which causes straight lines in the object photographed to appear curved or distorted in the picture. By the term width of angle is meant the amount of the subject photographed which the lens will include upon the plate. The rapid rectilinear lens which we have advised the student to purchase is what may be called a medium angle lens, and the pictures produced by it, when it is used on plates of the size which I shall recommend, do not suffer from that appearance of exaggerated perspective which is sometimes seen in photographs taken with wide-angle lenses. The width of angle of any lens is determined by the length of its focus in relation to the length of the base line of the picture. For example, an angle of 28° is obtained on a plate one-half the focal length of the lens; an angle of 37° on a plate which is two-thirds the focal length of the lens ; an angle of 53° on a plate the same length as the focus of the lens ; and an angle of 74° on a plate which is one and a-half times the focus of the lens ■ — and so on. I have already intimated that it is most important that the lens selected should be a good one, and I strongly advise the reader not to attempt to economise by buying a cheap and possibly inferior instrument. His safest plan will be 24 Amateur Photographer's Library, No. 7. to deal direct with an English lens maker, not a dealer, of whom there are several from which to choose. He should also be informed that there are vast numbers of foreign lenses imported into this country by photographic dealers, who engrave their names upon the mounts, and the novice may easily but erroneously infer that the instruments are manufactured by the firms whose names they bear. Now I do not wish for a moment to disparage instruments of this class ; many of them are most excellent, but, on the other hand, some are utterly worthless. I have frequently met with cheap foreign lenses which, for practical purposes, were equal to the best of English manufacture ; but there is always the chance of getting a bad one, whereas if an English maker of repute be dealt with, he will take care, for the sake of his own reputation, that he does not issue an inferior instrument. As a rough guide on the question of cost, I find that the average price, less cash discount, of a half -plate rapid rectilinear, with Iris diaphragm, charged by either Beck, Crouch, Swift, Taylor & Hobson, or "VVray, is about £3 10s. With such a lens the beginner may rest content until he has acquired some proficiency, for with it he can take either landscapes, buildings, or even his " sister, cousin, or aunt " ; though, if he be wise, he will not attempt either of the latter until he can with some degree of certainty produce presentable reproductions of the two first-named classes of subject. He will then probably begin to find that there are certain occasions when his rapid lens does not give him a sufficient amount of the subject on the plate ; as, for instance, when circumstances compel him to approach very near to a building. For this purpose, and for photographing interiors, it is often necessary to use a short-focus, or wide-angle, lens, and in buying such an instrument all the foregoing observations made in reference to the rapid lens apply with equal force. Therefore, if a second lens can be afforded, it should be, for use on a half- plate, one of the wide-angle type of about 5 in. focus. Being in possession of a good lens, the amateur should take proper precautions to preserve it from injury. Every lens as sent out by the maker is provided with a leather cap with which to make the exposure ; this, however, in the case of a doublet, only serves as a protection for one of the Elementary Photography. 25 glasses, and to preserve both from injury a little wash- leather bag, made double and padded with cotton wadding, should be made to contain each lens. The glass of which the lens is constructed is very highly polished, and although it is necessary, for the success of the photograph, to keep the surfaces free from dust, yet great care must be taken not to use any material which would cause scratches. If the lens is fitted with the Iris diaphragm it will seldom be necessary to unscrew the glasses to clean their inner sur- faces, as dust will not easily find an entry through that form of diaphragm ; and when it becomes necessary to clean the outer surfaces, a piece of the finest chamois leather should be cautiously applied, taking care to apply it very lightly and with as little rubbing as possible. CHAPTER 111. ACCESSORY APPARATUS. Focussing Cloths ; Velveteen, Mackintosh, etc. — Camera Cases ; Necessary Caution — Non-actinic Lamps — Dishes ; Good Advice — Plate Washing Tank — Another Method — Measures — Draining Eack — Printing Frames, etc. — The Chemicals Required — How to Preserve their Properties — Pyrogallic Acid — A Word on Poisons — A List of Chemical Substances Necessary — The Cost — The Use of the Brush. Assuming that the advice given in the previous chapters has been acted upon, and that camera, lens, and tripod stand have been selected, we may now turn our attention to the various minor apparatus which it will be necessary to purchase before we shall be ready for work. A focussing cloth will be required. Velveteen makes a good one, or black twill may be used, but in the latter case the material must be used double, in order to get sufficient opacity. Waterproof cloth or thin mackintosh is sometimes recommended ; but I cannot advise its use, for in hot weather the heat is unbearable, and the perspiration from the body condenses on the ground-glass and interferes with focussing. Whatever the material, the focussing cloth should be of good size, say, 3 ft. 6 in. by 3 ft. A case of some kind, to contain the camera and slides and other apparatus necessary for use in the field, must be obtained. These are generally made of leather, waterproof cloth, or canvas. The latter are far to be preferred in that they are very much the lighter. A leather case is, of course, more dui-able, and affords greater protection to the apparatus ; but, on the other hand, it will very often weigh as much as the camera itself, and will, consequently, add very much to the fatigue of carrying the apparatus. A light collapsible Elementary Photography. 27 case of either waterproof cloth or canvas should therefore be chosen, care being taken to have it fitted with a reliable lock. Make it an invariable rule never to leave the case unlocked, for it should not be forgotten that servants and children, and sometimes more responsible individuals, are frequently of an inquisitive turn of mind ; but if the above precaution be taken much disappointment and annoyance will be avoided. A non-actinic lantern will be required, patterns of which are shown in figs. 8 and 9. It is immaterial which is selected. Do not, however, choose too small a one, or the combustion will be imperfect. For travelling purposes one of the folding Fig. 8. Fig. 9. Fig. 10. pattern lamps will be the most convenient, in which coloured fabric takes the place of ruby glass. These are triangular in shape, and pack quite flat (fig. 10). The various manipulations, which the sensitive plates and papers used by the photographer undergo before they become finished pictures, are usually carried out in shallow dishes, or trays, which are constructed of various materials. It will be necessary, therefore, to purchase several of these of different sizes. Each dish should be reserved for one particular purpose. One of the so-called secrets of success in photo- graphy is the observance of strict cleanliness in all the operations, and the avoidance of the least mixing or con- 28 Amateur Photographer's Library, No. 7. tamination of one chemical with another ; the slightest trace of a foreign substance in some of the solutions will he fatal to good results. We shall require one black half -plate ebonite tray for developing our negatives, and one white one of the same size to be only used for a process, hereafter to be described, called intensification. A deep white porcelain dish, 8 by 5, will also be wanted to contain the fixing bath. I recommend different materials and colours, as the beginner will then get accustomed to using a particular dish for a particular purpose, and will be less likely to make mistakes. He will also require, for the various operations connected with printing from the negatives, four 10 by 8 deep porcelain dishes. Purchase at the same time a bottle of "artist's black," and with a small brush write on the outside edges of each dish one of these inscriptions ; this will aid in keeping each dish to its proper use: — (1) Toning dish, (2) Washing dish, (3) Fixing dish, (4) Fixing dish for bromides. A zinc plate washing tank, with grooves to hold the plates vertically, and a syphon to carry off the contaminated water from below the plates, is a very great convenience, if not a necessity ; the price will be about six shillings. A cheaper but less satisfactory method of washing negatives is to place them face upwards, in a large porcelain dish, changing the water at frequent intervals. Some graduated measures for making up solutions and holding developers must be procured. One of 8 oz., two of 4 oz., and one of 1 dram capacity should be chosen. A wooden plate-draining rack (fig. 11), for stacking the plates upon after they have been washed, and while they are dry- ing, will be required. j^To. 11. Some printing frames, of half -plate size, for holding the negative and paper during printing, must also be obtained. The pine frames are the neatest, and cost about Is. each. Three will be sufficient at first. A pah* of scales and weights with glass pans, and a set of grain and drachm weights, will nearly complete the list of requisites. Elementary Photography. 29 I have, as yet, said nothing about chemicals, but I shall proceed to give a complete list of those that will be required. All chemical substances, when in the form of either crystals or powder, should be preserved from the effects of the atmosphere by being kept in either wide-mouthed glass bottles or jars. These can be purchased at very small cost, or even ordinary pickle jars, which have been thoroughly cleaned and dried, may be employed, provided they are fitted with a sound bung, which may be made to fit tighter, and at the same time will be more easily removable, if a circular piece of clean wash leather, slightly larger than the bung itself, be first of all wrapped round it. Some sub- stances, from their volatile or corrosive nature, require to be kept in stoppered bottles, and these will be denoted by an asterisk. It is, presumably, unnecessary to add that all chemicals and solutions should be stored out of the reach of children, and by preference kept under lock and key. The amateur who has no chemical knowledge should be informed that many of the substances which he will have occasion to employ are exceedingly active poisons, therefore the necessity for caution will be apparent. It is unnecessary to add that all bottles should be properly labelled — books of labels can be purchased for about Qd. The following chemicals will be required, — Pyrogallic acid (1 oz.), price about Is. Id. This substance is of a very poisonous nature, although the fact is not generally known among photographers. There are, however, few cases on record where it has been taken internally. Its effects on the human system are slow, and there are no certain antidotes. I only mention the matter here because pyro., as it is usually called, is so very generally and often care- lessly used in entire ignorance of its poisonous properties. Sulphite of soda (1 lb.), cost about Is. This chemical is added to the developer to prevent the pyrogallic acid from becoming discoloured, which it rapidly does without this addition. Bromide of potassium (2 oz.), about \.d. Hyposulphite of soda (6 lb.), Is. *Liquid ammonia (-880) (4 oz.), 4f?. This is exceed- 30 Amateur Photographer's Library, No. 7. ingly volatile, and must be kept in a stoppered bottle. Tbe fumes are very pungent and injurious to inhale; therefore, in opening the bottle care should be taken to hold it well away from the face. Oxalate of potash (1 lb.), \0d. Sulphate of iron (1 lb.), 3d. Acetate of soda (| lb.), id. Chloride of gold (Johnson's) (15 gr. tube), Is. dd. Alum (1 lb.), 2d. Citric acid (^ lb.), Qd. *Glacial acetic acid (2 oz.), Qd. Bichloride of mercury (1 oz.), Ad. *Perchloride of iron (1 oz.), Ad. *Sulphuric acid, 1 oz. Hydroquinone, 1 oz. The cost of the foregoing chemicals, with the necessary bottles to contain them, will be about ten shillings, and, although a smaller quantity might be sufficient for the beginner's immediate needs, yet it will be found more economical to purchase in quantity, the rate per ounce being, in most cases, considerably higher than that per pound. The chemicals should always be the best obtainable. Cheap chemicals are worse than useless, therefore always go to a respectable dealer for them. In addition to the apparatus already referred to, two camel's-hair brushes should be obtained, one a flat one about 1| in. broad, and the other an ordinary round mop, such as is used for water-colour painting. The former is to be kept for the special purpose of dusting each plate, both before it is placed in the dark slide, and afterwards when it is re- moved from the slide and placed in the developer. The smaller brush is to be used to remove any air bubbles from the plate, which sometimes form when it is in the developer. This must be washed after use, or the solution will quickly cause its destruction. CHAPTER IV. THE DARK-ROOM AND ITS FITTINGS. The Dark-room Described — Effect of White Light upon Sensitive Surfaces — How to Provide the Dark-room with Non-Actinic Light — Stopping up all Chinks admitting Light — How to Make a Developing Table and Sink — Laying on the Water — How to Make a Grid — Tbe Operating Table — Shelves — The Importance of a "Tidy" Dark-room Enforced— Other Details — Ventilation, How to Ensure it, etc. The apartment in which the photographer carries out his operations is usually, but erroneously, termed " the dark- room," for it is not in reality, or should not be, " dark," in the ordinary acceptation of the term, at all. It is not, of course, illuminated in the ordinary manner with daylight, the light with which it is provided being of an orange or ruby colour, which has no prejudicial effect upon the pre- pared sensitive dry-plates. My readers will, of course, understand that the packets of sensitive dry plates must only be opened in such a light as that to which I have just referred, and that the exposure of them for even a frac- tional part of a second to ordinary white hght will render them absolutely worthless for photographic purposes. It is highly desirable that the photographer should secure, for his own exclusive use, an apartment which he can con- vert into a dark-room ; but as this is not always possible, I shall, in the present chapter, describe the fitting up of an ordinary apartment as a dark-room, and in the succeeding chapter I shall also describe a method of constructing, from ordinary materials, a contrivance which will serve as an efficient substitute. Any small room, or even a large cup- board, may be converted into a dark-room, although in the latter case adequate provision must be made for proper ventilation. 32 Amateur Photographer's Library, No. 7. Let it be assumed that a room of the dimensions given in the drawing, namely, 12 ft. by 10 ft., has been secured, the first thing to do will be to devise some means of blocking out the white light and providing an abundant supply of orange, or non-actinic light, as it is called, in its place. We will further assume that there is only one window in the Fig. 12 (open). room to deal with. We therefore, with stout brown paper and some strong paste, proceed to block out all the upper panes, by pasting two thicknesses of brown paper over them. We then make a wooden frame large enough to just cover the lower sash frame, and upon this we stretch, with the assistance of some tin tacks and strong glue, two thicknesses of yellow fabric which is obtainable at any photographic warehouse. When this is quite Elementary Photography. 33 dry, one thickness of deep orange paper must be pasted over it. This screen, when placed in position, will allow an abundance of soft orange light to pass through, which will have no injurious effect upon the plates. In order to prevent any stray rays of white light peeping through between the screen and the sash, the back portion of the screen frame should have a broad strip of felt nailed all round it. Two turn-buttons, screwed to the window frame, will keep the frame in position. If direct sunlight falls upon the window, this light will not be safe, and to make it so a piece of ruby cloth, the full size of the screen frame, should be hung inside by means of small hooks ; it can then be easily removed when the sun ceases to shine upon the window. Having put the screen in position, and allowed the eyes to become accustomed to the subdued light, it will be necessary to look round the room with a view to the detection of stray beams of light coming from chinks and cracks in the door ; the brown paper and the paste will be of assistance in stopping up these. The developing table and sink must now be considered. Those of my readers to whom expense is not a matter of consideration may prefer to buy one of the very complete and handy developing stands shown in fig. 12, which may be obtained from any of the dealers; but to others who may wish to construct their own apparatus, when possible, the following suggestions may be useful : — Obtain some ordinary floor-boards, which are usually about 6 in. broad and | in. thick. Cut two pieces 3 ft. long, and two pieces 18 in. long ; nail these together so as to form a kind of bottomless tray. Nail this with long " cut nails " to the wall about 3 ft. from the ground just under the window, screwing to the front two additional pieces 3 ft. 6 in. long to form legs and give support. A thin nail driven slanting through the support, and into the floor, will make the framework quite firm. Now call in a plumber, and tell him to make you a stout zinc tray just large enough to fit in your wooden tray, to which it may be attached by turning over about an inch of the metal all round the top, and securing it with nails to the top of the frame. A hole should be cut in the centre of the zinc tray, and a piece of lead pipe attached to carry off the waste developer and 3 34 Amateur Photographer's Library, No. 7. washing water. This directs our attention to an important matter, and one in which the assistance of the plumber may be invaluable. A plentiful supply of water is almost a sine qud non in photographic operations, and, if it is within the bounds of possibility, water should be laid on to the dark-room from the house cistern, or, preferably, from the C^f] G lA \l « M Fig. 13. main. The tap should be fixed about 8 in. above the sink, and should not be too large, as a heavy stream of water is not needed. Fig. 13 gives a rough sketch of the details of construction. In order to avoid the necessity of standing dishes, etc., in the bottom of the sink, which soon will become dirty and contaminated with the constant stream of refuse chemicals, a grid will be necessary. To make it, cut Elementary Photography 35 some thin strips of wood about | in. less in width than the width of the sink, and nail these about \ in. apart to two pieces of wood 12 in. long by 5 in. deep ; the grid will then present the appearance shown in fig. 14. A large common deal dressing-table, which can be obtained second-hand for about 3s., should be placed against the wall level with the developing sink, and on the wall at the back a tier of shelves should be put up upon which to place the various chemicals which have already been purchased. The shelving may with advantage be continued right round the room, for although the necessity for it may not be apparent at first, the amateur photographer will be surprised to find how, after he has practised the art for a short period, the various paraphernalia incidental to its pursuit accumulate, and he Fig. 14. will then be glad to find that he has made some provision for its reception. A tidy and well-appointed dark-room is a great comfort to its owner, an untidy one an everlasting source of discomfort and ill-success. To the right of the window a broad, low shelf should be fixed, within easy reach of the hand when seated at the developing sink, upon which a measure, and the bottles containing the various developing solutions, can be placed. If it is impossible to bring a supply of water to the sink an effort should at any rate be made to connect the waste pipe with the nearest drain or gutter, otherwise it will be necessary to place a pail, or other receptacle, underneath the sink to catch the sloppings and waste water, and it will, moreover, require constant vigilance on the part of the operator to see that the pail does not overflow and allow 36 Amateur Photographers Library, No. 7. the contents to find their way to the ceiling of the apart- ment beneath. While it is necessary to stop up all chinks and crannies which admit promiscuous rays of light, it is also important to take precautions to ensure the efficient ventilation of the dark-room, for the reader will probably find, if he becomes at all enthusiastic, that a considerable portion of his leisure will be spent there. If a fireplace exist in the room, matters will be simplified, and little will remain to be done. With a centre bit about an inch in diameter bore out a row of holes about an inch apart in the bottom of the door near the floor, and just above these nail a piece of wood, the edge of which has been bevelled off, so that it may stand out at an angle, as shown in the sketch at fig. 15. This, in conjunction with the fire- • place, will ensure a current of air continually passing through the room. If the foregoing directions have been care- Fi& L "l5 f u lty carried out, the reader will be in possession of as comfortable and practical a dark-room as even the most experienced of photographers could desire, and his operations will be much facilitated. At the same time it must not be supposed that possession of a properly appointed dark-room is absolutely essential to success ; were it so, the very large army of amateur photographers would be sadly thinned. Many amateurs, under the exigencies of their surroundings, are compelled to either work under conditions which, to say the least, are adverse to success, or to give up the practice of their hobby. In the next chapter I propose to describe the construction of a portable dark-room, which may be made from very ordinary materials and at a nominal cost by any one able to use a hammer and a saw. CHAPTER V. HOW TO MAKE A PORTABLE DARK-ROOM OR DEVELOPING CABINET. A Substitute for the Dark-room — Commercial Developing Cabinets — A Portable Dark-room — How to make a Developing Cabinet — The Materials Required— The Sink— The Bench or Table -The Shelves — A Rack for Dishes ; its Construction — The Grid — Water Supply— The Cistern— The CurtaiD. How to Fix— Venti- lation — Concluding Hints, I propose in the present chapter, for the benefit of those who cannot obtain the exclu- sive use of a room for the purpose of fitting it up as a dark-room on the lines already laid down, to describe a modification of a very useful piece of apparatus which I made for myself some years ago as a temporary dark-room for de- veloping collodion negatives, which can be easily made by any one capable of using ordinary tools, or, failing such skill, by any carpenter 38 Amateur Photographer's Library, No. 7. from simple materials, and at very little cost. Of course* if the reader is prepared to incur the necessary expenditure he need not put himself to even this trouble, for he may purchase one of the many very complete portable dark-rooms which are now offered for sale by different dealers. Of these, that sold by Messrs. Hough- ton, and shown in fig. 16, may betaken as a type. They are all very similar in appearance and de- sign, although there may be some slight variations in detail. They consist usually of a table or bench for developing, part of which is occu- pied by a sink, the space underneath being usually fitted up as a rack for the reception of dishes, the upper portion of the back being =■ utilised as a support Jp for shelves upon f\ '■-' . : which the bottles containing the de- veloping solution and other accessory apparatus find a resting-place. A developing cabinet of this description is by no means an unsightly object, nor does it occupy much space ; it may therefore be placed in any ordinary apartment, such as a spare bedroom, without seriously disturbing existing arrangements. A still more recent addition to this class of apparatus is the extremely convenient portable dark-room of Messrs. Davenport, a Fk Elementary Photography. 39 drawing of which is shown in fig. 17. These are strongly but lightly made of wood, and only require screwing to- gether. They are very completely fitted with all necessary fittings, including sink, bench, waste pipe, etc., ample pro- vision being made for ventilation. When placed in the corner of an ordinary apartment the " Ever-ready " dark- room, as it is called, might easily be mistaken for an ordinary linen press or cabinet. I certainly think, if the reader is unable to secure the exclusive use of a room, that the possession of either one of the contrivances which have a Xjrf Fig. 16. been described, or of a home-made substitute built upon similar lines, may be regarded as essential to successful working. Not only will it allow the reader to work in comparative comfort, but, by preventing the slopping and dropping of the various solutions, and the consequent de- struction of furniture and carpets, it will save him from incurring the perhaps not unjust wrath of the " powers that be." - I will now, for the benefit of those who may prefer to construct their own apparatus, give a brief description of the home-made contrivance to which I have already referred. At the time when I made it, now some sixteen years ago, I 40 Amateur Photographer's Library, No. 7. contrived to do all my dark-room work within it, though the process I was then employing, namely, wet collodion, was a far more difficult one to work successfully under such conditions than that wiih which we are now dealing. I merely mention the fact in order to convince the reader of its practical utility and suitability for the purpose for which it is intended. As a basis for our operations we must procure from a dealer in second-hand furniture a common deal washstand of the pattern shown in fig. 18. Such an article should not cost more than 3s. or 4s. Its condition is immaterial so long as the woodwork remains sound. The ravages of soap and water we may easily hide with a little paint. Fig. 19. The first thing to be done is to convert the round hole in the middle, into which the wash-hand basin fits, into a square one, which may be easily accomplished by the aid of a keyhole saw. We will suppose the size cf the opening to be 15 in. square, and we have now to construct the sink; but unless the reader happens to be au fait in the use of a soldering iron, it will be necessary to invoke the aid of a plumber, for we require a zinc tray 15 in. square by 4 in. deep, in the centre of which a short piece of |-inch pipe should be soldered. This tray may then be fitted into the opening, and secured by means of sharp tacks. We now proceed to widen the top of the washstand, so as to give a little more table room on which to work. To do so we Elementary Photography. 41 screw two fillets of wood at each end, as shown at AA, in fig. 19, which represents the top of the washstand, letting them project about 8 in. A piece of board (EE, fig. 19) 8 in. wide and the exact width of the washstand, is then to m 3 Alum Solution .... 50 Ammonia 10 per cent. Solution . 49 Aperture of Lens . . . .23 Apparatus for Copying . . . 130 Aptus Finder .... 127 Architectural Work . . . 10D Atmosphere in Photographs . . 140 Back, Double 17 „ Keversing .... 17 ,, Swing 17 Backgrounds HI Backing Plates .... 76 Binding Lantern Slides . . . 122 Blind Shutter 125 Blisters 74, SO Blue Glass, Use of . . . . 149 Bromide, Development of . OS, 00 ,, Exposure of . . .07 „ Paper .... 05 ,, 10 per cent. Solution . 49 Camera Cases 25 Cameras 1* Celluloid Films . . .154 ,, ,, Carrier for . . 154 Changing Box . . 17 „ Dark Slides ... 54 Chemioal Fog 72 Chemicals 29 „ Storing .... 29 Cleaning Apparatus ... 48 „ Lenses .... 25 Clearing Bath . . . .73, 80. 00 Coating Plates . . . .152 Colour Sensitive Plates . . .134 ,, ,, ,, Advantages of 135 Composition .... 148, 149 Conclusion 155 Conical Bellows .... 16 Contact, Slides by . . . .120 Copying 129, 133 Correct Exposure, Indications of . 66 Cutting Board . . . .101 Knife 101 Dark Room 31 Davenport's Park Room . . 30 Daylight Enlarging . . .114 Definition 56 Density, Judging .... 61 Detective Camera .... 128 Developer, Eikouogen f>9 Ferrous Oxalate . . 98 r\r,v. Developer, Ilydioquinone . . C8 ,, Markings . . .75 ,, Fyro 48 Developing Stand .... 33 ,, ,, Home-made . 40 Development of Bromide Paper . 98 ,, ,, Lantern Slides l-l „ „ Negatives 60. 70, 113 ,, ,, Shutter Exposures 127 Diaphragms 21 ,, The use of . . . 107 Diffusing Screen .... 118 Distilled Water, Use of . . .52 Distortion by Single Lens . 20, 23 Draining Rack .... 28 Dry Plates M „ ,, Preparation of . . 151 Drying Negatives .... 28 ,, Silver Prints . . - 89 Dusting Brush .... 30 ElKONOGEN Developer ... 69 Emulsion, Gelatino-Bromide . 152 Enamelling Gelatino - Chloride Prints 03 Enlarging by Daylight . . 114, US Excessive Density . . . .75 Exposure for Bromide Paper . . 07 ,, „ Lantern Plates . . 121 „ „ Negatives . 58, 6S, 108, 113 „ of Plates ... 57, 5S Factors which determine Exposure 57 Ferrous Oxalate Developer . 50, 08 Films, Celluloid . . . .154 Finder 127 Fixing Lantern Slides . . .122 ,, Negatives .... 62 „ Prints . . . .88, 02. 99 Flash-lamps 140 ,, Light Photography . 139, 144 ,, Powders .... 14S Focus of Lens 21 Focussing 56 Cloth ... .13 Fog 68,72 ,, Chemical 73 ,, General 73 „ Green 73 ,, Light 73 Foreign Lenses .... 25 Frilling 63, 74 Front, Rising 17 . 06 . 00 . 50 . 64 . 37 35. 44 . 1!3 GELATIKO-Bromide Paper „ Chloride Paper Gold Toning Bath, To prepare Gradation .... Green Fog .... Grid Gun-cotton for Flash Light . Elementary Photography. 159 PAGE Halation .... 75, 108 Hints on Composition . . 145, 1 50 Horizon, Position of 149 Hydroquinone Developer 51, 09, 132 Hyposulphite of Soda ... 29 Illumination of Dark Room . 33 Insensitive Marks . . .76 Instantaneous Photography . 124, 128 Insufficient Density ... 75 Intensifying Negatives ... 79 „ Solution . . .51 Interiors 108 Introduction 13 Iris Diaphragm .... 22 Iron Sulphate 30 Isochromatic Plates . . 54, 134 Kershaw Shutter .... 125 Labelling Bottles .... 51 Lantern, Non-actinic ... 27 Slide Making . . 119, 121 Latent Image 00 Lenses, Choice of . . . 20, 24 Lighting the Sitter . . .111 List of Apparatus . . . .53 Literature, Photographic . . 155 Markings caused by Development 60,75 Masks, Lantern Slide . . . 122 Measures 2S Mercury Intensifier ... 78 Mount ants 101 Mounting Gelatino-Chloride Prints 93 ,, in Optical Contact. . 103 Prints . . . .102 Mounts, Selection of 102 Non-actinic Light .... 135 Normal Developer 00, 63, 66 Note Book for recording Exposure 58 Opaque Spots 74 Optical Contact . . . .103 Outdoor Photography ... 53 ,, Portraiture . . . Ill Over-Exposure .... 67 Oxalate, Potash . . .SO Paintings, Copying . . . 136 Photographic Literature . . 155 „ Societies . . . 157 Photo-Mechanical Plates . . 131 Plain Pyro. Developer . . . 127 Plates, Sizes of .... 15 Portable Dark Room, Davenport's . 39 ,, ,, „ Home-made. 40 „ ,, ,, Houghton's . 39 Portrait Lens 21 Portraiture .... 110, 113 Posing 112 Position of Horizon . . .150 Potassium Bromide ... 29 Preface 3 Preparation of Dry Platen . . 151 Preparing Solutions ... 47 PAGE Preserving Sensitised Paper . 154 Printing Frames 28 „ on Albumen Paper . 84 ,, ,, Bromide Paper . K, 99 ,, „ Gelatino-Chloride Pap sr 91 Prints, Copying 136 Pyro. Developer . . 48, 10 ,i, 113 Pyrogallic Acid 29 Rack for Dishes 43 Rapid Plates .... 126 Rapid Rectilinear Lens . . 20 Reducing Negatives 80 Register Marks 122 Repetition of Lines 14S Restrainer .... 49 Reversing Back 17 Revolving Diaphragm . 22 Rising Front .... 17 Scales 28 Scattered Lights 148 Screens for Isochromatic Work 136 Second-hand Apparatus . 14 Sets, Complete . . . . 14 Shelves 35 Shutter Exposures . 124 Silver Printing S3, S9 Single Lens .... 20 Sink, Dark Room . ;i. 11 Sitting-Room Portraiture 112 Spots 74 Square Bellows Camera . 10 Squeegeeing Gelatino - Chloride Prints 93 Staining of Film . . . . 73 Starch Paste .... 101 Stops, Uses of . 21 Subjects for Photography 149 Sulphite of Soda . . . . 29 Sulphocyanide Toning Bath . 91 Sunset Effects 137 Swing Back 17 ,, ,, Use of. 106 Technical Knowledge . 150 Toning Bath, To prepare 50 Toning Gelatino-Chloride Prints 92 Trimming Prints . . . . 101 Tripod Stand 18 UxDER-Exposure of Negatives 64 Use of Diaphragms 56 Varnishing Negatives . 81 Vault, Flashlight in a . 141 Ventilation of Dark Room 36 Washing Negatives 63 ,, Prints S3 ,, Tank . . . . 28 Waterhonse Diaphragm . 21 Weight of " Kit" . . . . 14 Wide-angle Lens 20 ,. „ Use of 106 Width of Ancle . . . . 23 Wine Vault, Flashlight Photo, of 141 Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury. LIST OF PHOTOGRAPHIC WORKS PUBLISHED BY HAZELL, WATSON, & VINEY, LD., 1, CREED LANE, LONDON, E.C. The Amateur Photographer. Weekly. Price 2d. Dictionary of Photography. Price 2s. 6d. Picture-Making by Photography. Price 2s. 6d. The Book of the Lantern. Price 3s. 6d. Evening Work for Amateur Photographers. Price 2s 6d. The Gelatino-Chloride of Silver Printing-Out Process. Price 2s. The Optical Lantern as an Aid in Teaching. Price 6d. One Hundred Photographic Formulae. Price 6d. Studies in Photography. Price 3s. Lantern-Slide Manual. Price 2s. Platinum Toning. Price Is. Competitive Papers on Photography. Price Is. Experimental Photography. Price Is. Short Chapters on Art Photography. Price Is. Development. Price Is. The Art of Retouching. Price Is. Elementary Photography. Price Is. Carbon Printing. Price Is. A Photographic Tourist's Equipment. Price 6d. Hazeil's Annual. A Cyclopaedic Record of Men and Topics of the Day. Price 3s. 6d. S (*-«~C- v'vol^ #4