^le(^tiot^ • of ^•fo(^! 1 1 y by j pndoD PROPERTY OF BEISTJ. A. CROWN, Brattleboro, Vt. Private Library. 623 If I am toilling to lend, you ought to be ■willing to use -with care and return promptly. THE PHOTOGRAPHIC STUDIO THE PHOTOGRAPHIC STUDIO A GUIDE TO ITS CONSTRUCTION, DESIGN, AND THE SELECTION OF A LOCALITY BY THOMAS BOLAS, F.C.S. F.I.C. MARION AND CO. 22 AND 23 SOHO SQUARE, LONDON, W. 1895 CONTENTS CHAPTER I Historical and Introductory The function of the studio and its necessity to the portrait photo- grapher — The studio of the Daguerreotype period — Monck- hoven's first form of tunnel studio — The form now prevailing — Mr. Robinson's presage as to the studio of the future Page 1 CHAPTER n The NoRTH-AsrECT or Open-Area Studio That form most used — Description of a representative studio of the time — The ideally favourable position — Its near realisation within reasonable hope of those taking a suburban house and garden— May be hope of an ideally good position whatever the direction of the road— The best aspect of the ' ' north " front ; advantage of a slight turn towards the east— Various angles of light obstruction — Large and moderate sized studios — Details of Mr. Debenham's studio— Mr. Fry's studio and Rembrandt window 8 PHOTOGKAPHIC STUDIO CHAPTER III The North-Aspect Studio as adapted to the Needs OF THE City Photographer All ideal studio, when money is no object — The recommendations of the Philadelphia Committee .... Page 28 CHAPTER IV Various Modifications of the North-Aspect or Open- Area Studio The width of the top light — The problem of screening ofl sunshine — Herr Luckhardt's screen — The sloping front — Occasional equi- valence of two lights and one — The form of the inner roof — M. Liebert's studio — Rejlander's studio — What authorities say- as to the length of the studio — Working under difficulties — The revolving studio 34 CHAPTER V The Tunnel Studio Not quite a form of the past — Work of Mr. T. R. AVilliams — Colonel Waterhouse's tunnel studio for copying — Discussion of advantages claimed for the tunnel form — Not desirable as a single studio for all round work 49 CONTENTS vii CHAPTER YI The South-Light Studio How Mr. Blanchard worked with a south light . . Page 56 CHAPTER YH Curtains, Blinds, and Screens An early system still the prevailing one— Desirability of avoiding complex mechanical devices especially when high up — Movable or separate screens often preferred for the front liglit— Mr. S. Fry's method— The hinged plate or "Venetian blind" system —Mr. Foss's internal tunnel— Mr. Debenham's shading de- vice Qi CHAPTER YHI Heating, Cooling, and Ventilating the Studio — Cleaning the Glass Desirable to use heating arrangement which does not obstruct work in the summer — Hot- water system — Open fire — Movable stoves — How to use the latter with a minimum of incon- venience — Ventilation — Mr. Wane's device — Need of very free circulation of air in summer — Keeping the studio cool — Cleaning the glass of the front and inside — The outer slope of the roof . 68 viii PHOTOGRAPHIC STUDIO CHAPTER IX Municipal Building Regulations . , . Page 75 CHAPTER X Miscellaneous Sash-bars, and setting the glass in them — Putty — Lead glazing — Framed construction — Oblique ties — Notes on glass for the studio — The diminution of illumination at various distances from a window 78 CHAPTER XI Tabulation of Desiderata and Non-Desiderata : A Reminder List 88 General Index 91 CHAPTER I HISTORICAL AND INTRODUCTORY To the portrait photographer the studio and its arrangements, with incident conveniences and inconveniences, must be a subject con- stantly in mind ; and while operating he cannot fail often to feel keenly how much better things might be than in that particular studio where he is engaged. As it is in the nature of humanity to see defects and dis- advantages vividly, and at the same time to overlook some of the complications and dis- advantages which may come in the train of the desired improvements, it very often happens that new studios have a few pro- minent advantages, but other very obvious attendant disadvantages ; which latter might B 2 PHOTOGKAPHIO STUDIO in most cases have been avoided by a more general consideration of the subject. The object of the present work is, not only to set forth desirable methods of constructing the studio, and making the best of second-rate or even undesirable positions or surroundings, but also to serve as such a reminder of the many points to be considered as shall save the attentive reader from falling into expensive and troublesome mistakes. In order that the reader, in determining the design of a new studio, may not fail to consider the various points of desirability and undesirability, there is provided, besides the general index, a reminder list of desiderata and non-desiderata, with page reference to the place where each matter is considered. It is suggested that this list be scanned through carefully before any design or alteration is determined upon. In the very early days of photographic portraiture a main aim was to shorten the exposure, certainly a matter of importance when five minutes in sunlight was considered a short sitting. Hence it was the custom to HISTORICAL AND INTRODUCTORY 3 whiten the face with powder, and the chief question as regards the glass house was to obtain as strong a light as possible upon the sitter. Although improvements in the photographic glass house have not, as a general rule, been made the subject of patent claims, it is interesting to note that Mr. Eichard Beard, who took out the second photographic patent granted in this country (No. 8546 of the year 1840), claimed in his specification the glazing of the inclined glass roof with blue glass, also the use of a large concave reflector to reflect the light of the sun on the person sitting. A studio of about this period is shown in the subjoined sketch, taken from Cruikshank's Omnibus. The operator is to be seen, mounted on steps and watch in hand, timing the long exposure, the camera being placed on a shelf over the door of the developing-room. The examination of specimens by a magnifying lens, the assistant polishing a silvered plate with a long bufl", the spirit-lamp in the developing-room, and the constrained look of the sitter are all characteristic of the early Daguerreotype period. 4 PHOTOGEAPHIC STUDIO Quite an early form, and one dating from the period when a main consideration was to intensely illuminate the sitter, was the old Fig. 1. — A studio of the early Daguerreotype period. form of Monckhoven's tunnel studio, which embodied the results of some experience in photographic portraiture, and a recognition of the fact that illumination from the north sky is by far more equal and desirable than HISTORICAL AND INTRODUCTORY 5 lighting from the south ; moreover, provision is made for shading the apparatus. The main light of this ancient form faced the north, and in order to allow this light to be as large as possible the tunnel part was made inconveniently low — so low, indeed, that Fig. 2,— Monckho veil's original tunnel form of glass house. the operator had to stoop. Obviously no great variety of lighting could be obtained in this glass house, but it was the first step in the evolution of a type of studio which is still in use, and has — in some of its modifications at least — such advantages as to make it occasionally appreciated in the present day. 6 PHOTOGEAPHIC STUDIO These modifications will be explained in the chapter on the Tunnel Studio. The open-area studio, with its glazed side towards the north, often called the lean-to or ridge-roof studio according to its configuration or position, is now the prevailing form, but subject to much modification in construction and detail according to special needs and locality. Hence that section of our work dealing with this form will be regarded by many as the most important section. This very brief historical sketch may well finish with a reference to the studio of the future, as the practical aspect of all history is its relation to the future. Writing in 1885, Mr. H. P. Eobinson, the veteran pictorial photographer, says, If I had to build another studio, it would take the form of a room — 26 feet to 30 feet square, 14 feet high, the north side glazed from the top to within 4 feet 6 inches of the ground." In this, says Mr. Robinson, there would be no more fear of the weather, and hail and snow may do their worst." It may also be remarked that a floor for such a studio might perhaps be easy to HISTORICAL AND INTRODUCTORY 7 obtain in certain large towns, and its fitting up would probably involve fewer points of issue with the local authorities, as represented by the district surveyor, than commonly arise when the older forms of studio are constructed. Such a studio would obviously be a near ap- proximation towards an ordinary room, with its conveniences and comforts. It remains a question whether there will be such a demand for, and appreciation of photographs represent- ing people as they are most seen by their friends, as shall result in the photographic studio more and more approximating to the drawing-room in design and arrangement. CHAPTER II THE NORTH-ASPECT OR OPEN-AREA STUDIO IN ITS MOST FAVOURABLE POSITION THE STUDIO OF THE COUNTRY OR SUBURBAN PHOTOGRAPHER Studios with the glazing along the north side and on the northern slope of the roof, so that the whole floor space is illuminated and avail- able for the arrangement of the subjects, are by far the most generally used at the present time ; so it may be assumed that most of those who wish to construct a new studio will adopt one modification or another of this general type — a type which we can best introduce by giving particulars of a highly satisfactory studio, which was constructed where all sur- roundings were specially favourable. After this the more common variations will be considered, THE NORTH-ASPECT STUDIO 9 and such expedients as may be adopted when a specially favourable position is not available. Although the photographer who proposes to establish a business in the densest part of a town cannot hope to realise all the best and most convenient conditions, the case is differ- ent when suburban residents are to be the staple of the photographer's sitters, and he can select a house with the express purpose of erecting a studio in connection with it. He may then have his glass house on the ground- floor level, immediately behind the house, and connected therewith by a covered way ; the house itself serving as a shade on the south side, and an unobstructed light being obtained from the north. Mr. Debenham's studio at Haverstock Hill may be taken as an example of a glass house constructed in a position carefully selected as desirable, — a glass house so designed as to be suited for the general run of professional photography ; moreover, good structurally. For these reasons it is proposed to take Mr. Debenham's studio as a typical glass house, which, if reproduced exactly, will suit very 10 PHOTOGRAPHIC STUDIO many of our readers. Afterwards we shall consider variations and special adaptations, as illustrated by the studios of some of tlie leading photographers. Although Mr. Debenham wished to have what is ordinarily called a north aspect for the glazed side of his studio and the shade of the house on the south side, he did not select a house the back of which had a due north or exactly north aspect, as when the glazed side of the studio is exactly north sunshine will reach it in the morning and in the evening when the days are long ; but by inclining the aspect very little to the east (N.N.E.) the duration of the morning sun on the glazed side is extended a little (perhaps to 9.30), a matter of no importance from a professional point of view ; but the late afternoon sun on the side is eliminated altogether, a matter of some importance as nowadays it is by no means a rare thing to have late sitters in the height of the summer. Fig. 3 is a rough ground plan showing the position of the studio in relation to the house and garden. THE NORTH-ASPECT STUDIO n The first essential for a thoroughly satis- factory studio on the ground-floor level is an unobstructed light from the north, or, better still, the N.N.E. ; and this light may be Fig. 3 Ground plan of Mr. Debenham's studio. considered unobstructed when the opaque objects in the scene do not subtend more than an angle of 25 degrees with the horizon, while 30 degrees is, on the other hand, rather objectionable ; but if the ob- struction is a wall which can be whitened, 12 PHOTOGRAPHIC STUDIO 35 degrees, or even 40 degrees, may be tolerated. When the obstruction is distant a slight elevation of the studio makes practically no difference in the angle subtended by the ob- struction ; but when the obstruction is near, the elevation of the studio two or three feet above the ground may make an important difference. Still, an elevation of two steps from the ground, as shown in Figs. 3 and 6, is desirable in any case as allowing an air space under the floor; moreover, such an elevation will often be required to make the studio level with the ground floor of the house. As will be seen by Fig. 3, the back of Mr. Debenham's house has an aspect of pre- cisely N.N.E., so that the studio stands parallel with the house ; the house thus forming the most efficient shade against sun- shine, and, moreover, the aspect of the studio light corresponds with the length of the garden. Precisely these conditions are seldom realisable, but other circumstances being favourable, substantially equal advantages may be realised although the aspect of the back THE NORTH-ASPECT STUDIO 13 of the house may diverge considerably from N.N.E., especially when the shade of the back addition of an adjoining house can be partly utilised, as indicated by Fig. 4. Indeed excellent positions may very frequently be found with back aspects ranging over one- 6- & Q Q o Showing obstructions subtending several angles. fourth of the compass card as here shown ; while occasionally good positions may be found where the studio may be set with one end towards the house ; so the photographer searching for a suburban situation has a possi- bility of finding a suitable house on either side of any street, and a high probability of doiug so within the right angle shown by Fig. 5. 14 PHOTOGRAPHIC STUDIO As will be seen by the ground plan (Fig. 3) of Mr. Debenham's studio, it is rather small than large, the inside dimensions being 24 feet long and 12 feet wide; but this has proved sufficiently large in Mr. Debenham's hands for rig. 5 Showing position of studio in relation to houses of different aspect. the usual run of professional work, including groups, and it must be remembered that it is much easier to obtain required effects in lighting in a rather small studio than in a large one. Perhaps the principal disadvantage of a rather small studio is the limited number THE NORTH-ASPECT STUDIO 15 of backgrounds and accessories which can be kept quite ready to hand, but by the use of a compact background frame or support, and the construction of a small storage place for accessories in one of the yard spaces between studio and house, this objection can be largely overcome, and perhaps a considerable balance of advantage shown for the studio of rather small dimensions. In Fig. 6 Mr. Debenham's studio and dark room are shown in perspective, and the dimensions of the studio are : — Ft. In. Total length inside (studio only) . .24 0 Total widtli inside . . . .12 0 Height (from lloor) of opaque skirting . 2 4 Height of glazed part of front, from skirting to gutter , ..86 Width of each of the eight glazed sections which form the front . . .30 Height from gutter level to apex of roof 6 0 Angle at apex of roof, 90° or a right angle. The few courses of nine-inch brickwork which form the base of the studio carry on the inside half a timber framing, the top plate (see Fig. 7) being 4|- inches wide and 3 inches deep ; and interlocked with this 16 PHOTOGRAPHIC STUDIO framing, but also resting on the brickwork, are the joists, which run across at a distance of a foot from each other, these joists being 7 inches deep and 2j inches wide, and mid- way under each is a bearing or pier of brick- work. Upon this base a floor of inch floor- F i(J . 6. Perspective view of Mr. Debenham's studio and dark room. boards, tongued and grooved, is laid. A solid or firm and level floor is a first necessity in the studio, and a floor constructed as specified above should be highly satisfactory in this respect. It should not be forgotten that a "damp course" is required in the sur- rounding brickwork and in each brick pier, to THE NORTH- ASPECT STUDIO 17 prevent water rising, the usual damp course being two layers of thin slate with no joints opposite, and laid in Portland cement ; but if the photographer happens to have sufficient waste glass to use in the place of the usual slate, an even better damp course will be ob- tained. The complete walling in of the space under the studio floor is desirable for several obvious reasons, but the free access of air should be allowed for by inserting a few cast-iron " air-bricks," say four at front and four at back. The structural frame of Mr. Debenham's studio is made of wrought iron, such framing having the advantage of obstructing far less light than a correspondingly strong framing of wood ; moreover, the cost of a wood framing and an iron framing is about the same, pro- vided that the iron framing is made by a person capable of working the material advan- tageously. An iron framing can generally be taken down and re -erected with far less damage than a wooden framing. The base of the iron construction is a border- ing consisting of four pieces of angle iron, screwed down by square-headed coach screws 0 18 PHOTOGRAPHIC STUDIO to the wooden framing which runs round the inside of the brickwork base, the details being shown by Fig. 7. The angle iron, like all the angle iron used in the construction of the studio, should have a sharp internal angle, and it is 3 inches wide by f of an inch thick. Its top edge is represented by — . — ,1 r/y. 7. 1 Details of floor joists, floor, and the base of the iron construction. the inner boundary line of the studio in Fio;. 3. To this base of angle iron are riveted the structural uprights of the studio, these being shown in section in Fig. 3 outside the boundary line, and being as follows : — 1, At each corner an upright of angle iron 8 feet 6 inches high, and similar in section to the angle iron forming the base. The con- nection with the base is shown by Fig. 8. THE NORTH-ASPECT STUDIO 19 Although rivets (as showu) are in some respects better than bolts and nuts in fastening the framing together, either may be used. 2, Midway at each end of the studio is an upright of tee iron 3 inches wide and | of an inch thick ; these uprights rise up to the ridge Fi^. 8. Connection of the corner nprights with the base. of the roof, and are 14 feet 6 inches long. The riveting or bolting is merely flat to flat, with a bearing on the horizontal part of the angle- iron base, and requires no special description. 3, The upright pieces which rise from the front and back of the iron base frame are set out as shown in the ground plan Fig. 3, there 20 PHOTOGEAPHIC STUDIO being four along the front and four along the back. The distances are 3 feet from the corner of the studio in each case, and then 6 feet apart. By reference to the perspective view of the studio (Fig. 6) it will be seen that the front is divided into eight equal sections, each of 3 feet ; but the two uprights not shown in the plan are not structural, but merely parts of the wooden frames which take the front glass, these frames being bolted to the iron construction. It may be mentioned at this stage that the front and back of the studio are similar in all respects except as far as the doors are concerned, the glass at the back and on the back slope of the roof being covered by a permanent inside lining. The uprights at the front and at the back are all 8 feet 6 inches long, and rise only to the eaves. At the level of the eaves — that is to say, 8 feet 4 inches from the floor level, is a strong horizontal framing of iron to which all the upright pieces are attached. This frame is formed of angle iron similar to that used for the base frame and for the corner uprights, and the front and back pieces are set angle THE NORTH-ASPECT STUDIO 21 downwards {a, Fig. 9), so as to form gutters ; such strong iron guttering, forming part of the structure, being a very real advantage in affording a safe resting-place for the base of a suitable ladder when the roof is to be cleaned. The end pieces of this frame or rectangle are set as shown in h, Fig. 9, the vertical flat being outwards. The secure riveting or bolting together of this iron frame, and of the other pieces to it, and this without the use of any separate angle plates, is a very easy matter if properly done ; but, as before intimated, it is important that all the angle iron used should have a sharp internal angle, and not the rounded internal angle, which is more common. A principal aim in all framed construction is so to set it up that bolts, rivets, or nails shall not take any principal strain, but may rather serve to prevent the structural parts from shifting out of position. By the follow- ing method of joining together the angle and tee irons, such a condition is largely realised. Each end of the angle iron which is to form front and back of the horizontal rectangle Fi^. 9. Joints of tlie angle iron and tee iron for Mr. Debenham's studio. THE NORTH-ASPECT STUDIO 23 at the eaves' level is cut as shown at c, Fig. 9, and turned in as shown at d ; while the end pieces being cut as shown at e, and bent up as shown at /, go in position in relation to each other as shown at g. The corner up- rights beino[ trimmed as indicated at h, form a support and bond to the combination g as indicated at i. Convenient positions for rivets or bolts are shown by dots in this last figure. The connection of the front and back uprights of tee iron with the gutter is shown by j. The bars, thirteen in number on each side, which connect the ridge-plate (3 inches by |) of the roof with the gutters consist of tee iron and serve as sash-bars ; those shown in the perspective view (Fig. 6) as double being 2^ inches wide, with the iron I of an inch thick ; and those shown as single are 1|- inches wide, and the iron is y\ of an inch thick. The sketches k and I (Fig. 9) will make the connection of these with the ridge- plate and the gutter respectively, quite clear ; and the few remaining joints to the iron framing are so obvious as not to require any special mention. 24 PHOTOGEAPHIC STUDIO In Fig. 10 we have a perspective view of the iron framing, which it will be noticed has neither a tie across the span of the roof nor any oblique elements in the framing. The rigidity and strength of the rectangle at the eaves, and the effective tying at the ends, render further tie unnecessary, a matter of great con- venience. Oblique elements in the framing are rendered ud necessary by the filling in of the iron framing with the window-frames, etc. The plain glass in the front of the studio, which consists of sixteen panes, is all set in wooden frames with panels below, the opaque THE NOKTH-ASPECT STUDIO 25 part rising to a height of 2 feet 4 inches from the floor level ; but the glass of the roof is set with putty directly in the angle irons which form the sash-bars. For the glass of the roof Mr. Debenham has a strong preference for fluted rolled plate, as it tends to average the efl'ect of isolated clouds in the sky, and not only tends to prevent rapid variations in the intensity of the light from the movements of the clouds, but also softens the top light in a useful manner, forming a sort of artificial cloud. The most suitable fluted glass is the almost colourless St. Gobain rolled glass, about J of an inch thick, and having twelve flutes to the inch. The ends of the studio are formed of wooden panelling, doors for ventilation being provided near the top. For convenience of fastening curtains or other fittings, a wooden bar or scantling, 2| inches square, is bolted inside the roof at the ridge ; and others inside, just above the eaves' level, these being united together by other bars or scantlings running below the three larger tee -iron bars which form the roof framing. 26 PHOTOGEAPHIO STUDIO It is not necessary here to enter into any further details as to this studio, as such matters as the arrangements for heating it in winter, cleaning the glass of the roof, and arrangement of curtains will be considered under other headings. Those who, while re- taining a similar or modified design, prefer a wooden framing, will find some information in Chapter X., where will also be found miscellaneous information of application to studios in general. Details as to a metal strip as ridge cap, also as to other trimmings for shooting rain-water over the edge of the brick- work base and other parts, are too obvious to need special description. Variations in dimensions or arrangement will be suggested by the descriptions of other studios, which are to be found in succeeding chapters, but we may here refer to a very satisfactory studio, constructed by Mr. S. Fry at Kingston ; this studio being very similar to Mr. Debenham's, and identical in aspect, but the pitch of the roof is higher and the glazed sides are lower, variations made desirable because of the studio not being so satis- THE NORTH-ASPECT STUDIO 27 factorily shaded on the south side. In addition, Mr. Fry provided a large window of ground glass at the western end of the studio, this window being ordinarily covered by a background frame, but used occasionally for Eembrandt effects. Fig. 11, a, shows a section of Mr. Fry's studio, and the plan h shows the use of the ground-glass window in obtain- Section and plan of Mr, Fry's studio. ing Eembrandt effects. The usual background frame B is moved out into such a position as to screen off the light coming from the front of the studio, the sitter is placed at S, and the camera takes a position on the dotted line ; a grey reflector and suitable background being used. CHAPTEK III THE NOETH- ASPECT STUDIO AS ADAPTED TO THE NEEDS OF THE CITY PHOTOGRAPHER In the very rare case of the photographer being financially so strong as to control the finishing of the upper part of a large city building, he may often realise conditions about as favourable as in the case of the garden studio last described ; excepting, of course, as far as easy access is concerned, although the lift arrangements in large city buildings are often such as to make the height of the studio of little or no importance. Let us suppose that a studio is to be constructed as a feature of the top of any large new building, in a street which runs in a direction giving a possibility of a N.N.E. aspect ; the arrangements should generally be something like Fig. 12, although the desire to THE CITY STUDIO 29 economise space, indeed the absence of sufficient space, or an objection to the studio being placed with its front unparallel to the front of the building, may frequently interfere. Indeed Ideal position of studio on top of a city building. the suggestion conveyed in Fig. 12 is such as to be very seldom available, but worth keeping in mind. In practice the city j)hotographer has often a very limited choice, but as a general help to him in selecting a favourable locality and constructing a convenient studio 30 PHOTOGEAPHIC STUDIO in a city position, it may be useful to take as a basis at this stage the principal recommend- ations made by a committee appointed by the photographers of Philadelphia in 1871, but with a remembrance of various disputable points. The committee reports : — " The model light should be constructed in the following manner. It should have a north ^ side and top light combined ; the length of the top light 35 feet running east and west, the width from north to south 18 feet, lowest point north 10 feet, highest point south 15 feet. The side light should be the same length east and west as the top light, and come down within a foot of the floor. The rays of the sun should not fall directly upon the glass. To prevent this we recommend that wooden blinds be erected on the outside over the skylight, and so arranged that they can be worked from the inside. A light of this size would require five sections of blinds, and each section would require eight blinds, about 30 inches wide and 7 feet long, to cover ^ As to the desirability of a slight variation from the due north aspect, see p. 10. THE CITY STUDIO 31 the light properly. The blinds must be hung at the top far enough so that when the blinds are raised to operate, the top blind will shade the top pane of glass ; therefore when the blinds arc shut down they will be wider than Fig. 13. Studio of tlie Philadelpliia Committee. The snsli-bar recommended. your skylight. The frame to receive the blinds must be made very strong, and well fastened. ... A great advantage gained by having blinds over your light is that they keep the room cool in warm weather." ^ Figure ^ Sucli a complex and extensive system of external sunshades is a consequence of the large area and low pitch of the roof. A high-pitched roof like that of Mr. Fry's 32 PHOTOGEAPHIC STUDIO shows one half of the town studio as recom- mended by the Committee of Philadelphia photographers, and by the side is a section of the sash-bar they recommend for the roof. Having indicated the type of studio considered by them to be most desirable, the Philadelphia Committee thus concludes its report : — " In conclusion, we will say we are satisfied that there are two other styles of light which are next preferred, and under them very fine efi"ects can be secured — an entire side light or an entire top light, made of the following dimensions : — " 1st, A north side light 35 feet long east and west, commencing 12 inches above the floor, height 15 feet and pitch into the room 4 or 6 feet at top. " 2nd, A north top light 35 feet east and west, width of light north and south 18 feet, lowest point north 10 feet, highest point south 15 feet. (p. 27), or a favourable position like Mr. Debenliam's, may obviate all need of special external shading devices ; but the liigli-pitclied roof being often impracticable in towns, owing to the construction of the building, or the incidence of the regulations as to party-walls (see p. 77), some special shading device becomes necessary. See also pp. 34, 35, and 39. THE CITY STUDIO 33 " In many cases a light like either of these could be made where you could not have a side and top light combined ; and we feel confident they will make, when properly screened, good work." The suggestion for using a front light only when a combined front and top light is not available, is one well worth the consideration of the photographer wishing to establish him- self in a city locality, especially when read together with what Mr. H. P. Kobinson says as to the studio of the future, p. 6. It is now becoming by no means unusual to almost wholly glaze the fronts of second and third floors; and as these are often made 13, 14, or 15 feet high, such a floor may, if looking upon an open space, serve well without alteration. Examples of such glazed upper floors may be found in Ludgate Circus. In the next chapter will be found examples of the most representative modifications of the north-light studio, and a careful study of this chapter may often enable the photographer to make a good compromise between his require- ments and that which he can realise. CHAPTER IV VARIOUS MODIFICATIONS OF THE NORTH-ASPECT OR OPEN -AREA STUDIO — ADAPTATION TO VARIOUS CONDITIONS, AND MAKING THE BEST OF AN UNFAVOURABLE POSITION It is very seldom the whole width of a large studio is covered with glass as in the case of the studio of the Philadelphia Committee, as, in the first place, there is very seldom any necessity for so much top light, and a very large area of glass in the roof involves a con- siderable difficulty in shading against direct sunshine. Hence there is often an inducement to work with a small skylight that can be conveniently shaded by a permanent screen, as indicated in Fig. 14, which represents the arrangement adopted in the case of Herr Luck- hardt's studio at Vienna. By considerably reducing the depth of the skylight, and even SPECIAL STUDIOS 35 its length and the length of the front light, the studio is perhaps made very much more con- venient for single portraits, and the lighting becomes far more subject to ready control; at the same time a smaller floor area becomes generally available, and there is not the same scope for placing the sitter at his ease by rather Fig, 14. — Ilcir Luckhardt's simsliade. adapting the light to his pose than placing him in relation to the light. Hence it is that most photographers prefer to control a large area of light, although the greater part may be obscured by curtains or blinds. The sloping front, as shown by Fig. 15, is very seldom adopted, unless circumstances almost compel its adoption ; and although 36 PHOTOGRAPHIC STUDIO special advantages have been claimed for this form by enthusiasts, the increased risk of breakage is a very real item to put on the other side of the account. A studio section which may be regarded as Fig. 15. — The sloping front. involving a compromise between the sloj)ing roof and the sloping side is thus given by Mr. H. P. Eobinson, Fig. 16 ; the glass coming down to within 4 feet 6 inches of the floor ; but a far more convenient equivalent of it would be the modification shown by the dotted line. A very undesirable relation of the rest of SPECIAL STUDIOS 37 the roof to the glass slope is shown by Fig. 17, while the best is shown by Fig. 17, B, the second slope being light, or bluish in tint, and forming a diffusing reflector. When the roof runs horizontally from the top of the glazed Fig.l6. Corresponding lighting with one or two windows. slope as shown at C, a reflector placed as at R is often useful. A design of studio well adapted for erect- ing on the terrace of a roof, or in other position where no adjacent building serves as a shade on the south, is that of M. Liebert, and after 38 PHOTOGRAPHIC STUDIO what has been said, no very special explana- tion of Figs. 18, 19, and 20 is required. The pointed panes of the roof tend to lead the water away from the sash -bars, while the complete shading against sunlight tends to comfort in working, and reduced necessity to Fig. 17. — Illustrative of undesirable and desirable points. continually alter blinds. As regards dimen- sions, M. Liebert prefers to make the studio large, indeed about 35 feet long ; but the sug- gestiveness of the sketch is the same, whether a large studio or one of moderate dimensions is required. The alternative form (Fig. 20) with curved glass certainly offers less obstruc- tion to the light, but probably the advantage SPECIAL STUDIOS 39 is not sufficient to balance the greater first cost in construction, the increased risk of breakage, and the inconvenience incident to repairs. Now and then efforts have been made to order the studio much after the fashion of an ordinary drawing-room, and when this has Fia. 18.— Design of M. Liebcrt. been done by a person of genius and skill, very excellent effects have been obtained, and at the same time the advantage of being able to set out groups as if at home is consider- able. One of the most notable studios of this class was that of Rej lander, and some of the groups he produced in it are quite master- 40 PHOTOGRAPHIC STUDIO pieces. Among these may be mentioned the group of the members of the Solar Club, taken as at table in 1869. The interior of this studio is represented by Fig. 19, and the following is the substance Fig. 19 Design of M. Liebert. of a description given in the Illustrated Photographer for 1869, the description being followed by a reference to the Solar Club group. A reproduction of this group was issued with the Photographic News of 19th September 1884 :— SPECIAL STUDIOS 41 The studio itself comprises the whole of the upper suite of rooms of a very lofty house (1 Albert Mansions, Victoria Street), which is itself little short of a palace, and lets for an annual rental of £550. It comprises three very large and lofty rooms, all in a row, the Fig. 20.— Design of M. Liebert. separating partitions having apparently been removed, and their place supplied by curtains, which can be drawn across or aside at pleasure. The two end rooms have each one large window, and when the curtains which separate the rooms are drawn aside, these two windows face each other, so that when both are open a 42 PHOTOGRAPHIC STUDIO fine current of air sweeps through the apart- ments. The middle room is lighted by a large skylight in the middle of the ceiling, and also by two large semicircular-headed windows in one side, and reaching down to the ground. This room is much the largest of the three. The window in one of the end rooms is com- posed of an immense sheet of plate glass, which goes quite down to the ground. A large sheet of calico can be thrown over the skylight, so as to cover either a portion or the whole of it as the case may require. Take, for instance, the end room, which has the single large window down to the floor. In this you can place the sitter at either end, and the camera at the other, so as to have a side light only, and no top light. Moreover, this side light may be a high or a low one, or one which is neither high nor low. By covering the lower half of the window you have the low side light, and by covering a portion both of the top and bottom you have a horizontal side light. The camera in the end room may of course be placed in any position with respect to the sitter so as to include more or SPECIAL STUDIOS 43 less of the lighted side of the face. Also by drawing the curtain between this room and the middle one, the shadow on the shaded side of the face may be reduced by the light that falls upon it from the other room. The camera may be so placed in the middle room as to include more of the shaded side of the sitter, and these effects of shadow are often very fine. In the middle room the top light prevails, and may be employed in general by placing the sitter more or less under the ceiling of one of the end rooms. A great volume of light enters through the skylight, and is available for short exposures. The room is so large that groups comprising many persons may be taken in it. The ' Two Ways of Life ' might have been composed here, with the requisite number of sitters, and have been taken at one operation. In illustration of the use of such a room, we may mention that on a recent occasion the members of the Solar Club dined in it, and while some sat on either side of a long dining-tablc, and others at the top of it, one figure some feet beyond it, and another figure a greater distance in front of it 44 PHOTOGRAPHIC STUDIO — in all nineteen figures — Mr. Eej lander took a photograph, in which, without any striking Fig. 21. — Rejlander's studio. effect of exaggerated perspective or out-of- focus blurring, a faithful and striking portrait of every person present was duly secured. The distance from the farther to the nearer SPECIAL STUDIOS 45 sitter must have been considerably over 20 feet, probably nearly 30." Tlie Length of the Studio. — There are few matters relating to the glass house concerning which there has been greater diversity of recommendation than the size, and although we may confidently put it that no wide departure from the dimensions recommended in Chapter II. is desirable, unless for very exceptional requirements, it may be useful to give (in addition to what may be gathered from the present chapter) the following examples of the recommen- dations of authorities. Mr. William Heighway, in his Practical Portrait Photography, says : " The gallery should not he less than 10 feet long, which will represent the length of the side light; if more length can be obtained there should be at each end an unglazed portion of 3 or 4 feet." Mr. Jabez Hughes says : ''Its length should not be less than 25 feet, and need not be more than 40 feet." Professor Vogel says: "The length of the 46 PHOTOGRAPHIC STUDIO glass house, where no adjoining rooms are at the disposal of the operator, should not be less than 20 feet." Mr. H. P. Eobinson says : ''A large studio, like a great book, is a great evil. ... It will be found that if the room is to be long enough to allow of a cabinet portrait to be taken of a full- length standing figure, with sufficient space for backgrounds and a bit over for (contingencies, 28 feet will be quite sufficient." Good work is frequently turned out where the conditions appear almost hopelessly un- favourable. Mr. Edward L. Wilson mentions a case in which a photographer worked success- fully with a central light altogether from the top of the room, and coming from a kiud of lantern built out of the roof. By receiving the light on a suitably-adjusted white painted surface the effect of a side light was obtained ; and according to the time and conditions the photographer had to arrange sittings at various points round the central light. A remarkable example of great success in a very unfavourably -constructed studio is afforded by the work of Mr. T. R. Williams, SPECIAL STUDIOS 47 one of tlie most successful portraitists of the time when the carte-de-visite became popular. This studio was made by taking some of the slates from a Kegent Street garret and putting glass in their place, the result being an apart- ment about 17 feet wide and 33 feet long, but the skylight sloped down in the direction of the length of the room until it almost met the very small aiad insignificant original window of the garret. The aspect of the sloping light is almost westerly, tending a little to the south- ward, and it was made in the Daguerreotype period, when abundance of light was the main thing to be considered. In this very awkwardly- lighted apartment it was Mr. Williams's custom to set the background in one of the angles of the high end of the room, and to plant the camera on or near one of the diagonals. The general principle of work in this studio was to provide three sets of blinds of graduated opacity, the glass nearest to the sitter being covered with the densest blinds ; while a small area of clear glass was left on the low part of the slope most remote from the sitter, the remainder of the glass being covered with 48 PHOTOGRAPHIC STUDIO blinds of intermediate opacity. Mr. Williams could only work in his studio in the morning without being embarrassed by direct sunlight, which he softened down by covering the glass with thin muslin. Laborious as was the work of constantly altering the blinds in this incon- venient studio, the results obtained in it were exceptionally fine. Mr. Blanchard's south - light studio is described in a short chapter (Chapter VI.) by itself, and in a study of the method adopted by Mr. Williams and that adopted by Mr. Blanchard the photographer may find a clue to successful working under the least favourable conditions as to aspect. The revolving studio — that is to say, a studio on a turntable so that any aspect of lighting can be secured — is obviously a device only available in very exceptional situations, and even then, perhaps, not wwth the expense and complication. The revolving studio con- structed about 1870 by Mr. T. W. Dodge of Guisborough may be mentioned. CHAPTER V THE TUNNEL STUDIO The tunnel studio is not so completely a thing of the past as to justify no more mention than it received in our historical sketch, especially as wide and very fundamental departures have been made from the form shown in Fiof. 2 (p. 5), where the main light faces the sitter, and consequently the tunnel is made as low as possible in order not to obstruct that liglit. The excellent work done by Mr. T. R. AVilliams in the studio, mentioned on p. 4G, tended a little towards the revival of the tunnel form with the main liojht facino^ the sitter ; but such revival was the result of a complete misconception of Mr. Williams's mode of working, tlic essence of which was, as previously explained, an avoidance of the E 50 PHOTOGEAPHIC STUDIO axial line of the studio, as Mr. Williams usually placed his background across one of the two darker angles of the studio, and made his line of vision oblique to the apartment. Moreover, he so ordered his blinds as to diverge as widely as possible from the face lighting of the original Monckhoven tunnel studio. The disappointment resulting from this short-sightedness, in rather striving to imitate the unsuitable appliance which a man of genius forced into good service, brought the original form of tunnel studio into deserved disrepute, from which it is probably never destined to recover. There is, however, one purpose to which the tunnel studio — nearly in its original form — is excellently well adapted — namely, copying or reproduction. For this purpose there is no better studio than that recommended by Colonel Waterhouse, and shown in Fig. 22. In this case the slope and the upper panes of the side lights are of ground glass to diffuse the light. When a tunnel studio is now used for portraiture it approximates more nearly to THE TUNNEL STUDIO 51 the form of Colonel Waterhouse than that of Fig. 2, and it is generally set with one side to the north, this side only being glazed. In substantially this form it was used by Rej lander for some of his best work, before he had the studio described on p. 44 ; but the one almost fatal objection to this studio L ■■ ■■ ■■ /vy. 22 Waterliouse's studio, specially for copying. was that it did not give a choice as to which side of the face was to be lighted. The advantages claimed for the tunnel studio are great facility in bringing a definite or local light to bear on the sitter, good shading of the camera, and a dark resting- place for the gaze of the sitter. The first advantage doubtless exists, but the facility is accompanied by limitations, and probably is 52 PHOTOGRAPHIC STUDIO more than balanced by encouraging a routine and conventionalism ; the position of the sitter, the direction from which the camera looks, and to some extent the lighting being to a considerable extent similar. That the camera is so well shaded in the tunnel form of studio that the operator may "see to focus without using a cloth, may perhaps be a very trivial advantage, but the shading of the air between the lens and the sitter can be effected quite as well by a device shortly to be described (Chapter VII.), and available in the open-area studio. This shading of the intermediate air is of special importance in dusty towns and in bright weather. With regard to any advantage incident to a dark resting-place for the gaze of the sitter we find a diversity of opinion. Mr. H. P. Kobinson says : " The tunnel was recom- mended for the singular reason that it would aid the expression, but it did just the reverse. There are people whose temperament will not allow them to look happy, however much they may try, if they have to stare into a gloomy space. It is bad enough to be taken to a THE TUNNEL STUDIO 53 strange place and to be made to go through a strange operation, without the additional dis- comfort of beinfy taken into an uncomfortable room." On the other hand, and in apparent contradiction to this, Mr. W. E. Debenham says : If the eyes are directed towards a light space there is reflection in them which is apt to make them look weak, and with many sitters there will be contraction of the brows, giving the appearance of frowning. I have found a sitter experience immediate relief by shading that portion of the studio towards which his eyes were directed." A recognised substitute for the old tunnel, and one that prevails in the present day, is the open- area studio, in which, as in that represented by Fig. 18, a portion at each end is shaded, the shaded portions serving in turn as covers for the camera, and to give that immediate shade over the head which is universally recognised as necessary to obviate a glint of light from the top and front of the hair, especially when this is smoothly brushed. In spite of these conditions there is much to be said in favour of carrying the front and 54 PHOTOGEAPHIC STUDIO top glass to the extreme ends, as in the typical studio described in Chapter 11. , and realising the advantages incident to the tunnel form by collateral arrangements. The shade over the head of the sitter is an admitted requirement, but a dark end to the studio is not necessary to obtain this shade. A semi-transparent blind a yard square is often enough ; or a much smaller screen inside the studio, and held over the head by a light bent arm fixed to a heavy foot such as is used for head-rests. Further, as against the permanent tunnelling or obscur- ing of either end of the glass house, may be urged that sometimes, especially in the case of sitters with deeply - sunken eyes, there is need for all the low front light which can be obtained. It must be remembered that the fully glazed studio will generally have rather a cheerful than a dull appearance, while the large closed area at the end will give, unless much dressed with light tints, all the rest required by the eye even of a weak-visioned sitter. In such a studio, and indeed in all open- area studios, the shading of the lens, as it is THE TUNNEL STUDIO 55 sometimes called, becomes important ; but this so-called shading of the lens is, as before mentioned, really the shading of particles floating in the air, and can be conveniently effected by such a device as is indicated in Chapter VIL The tunnel studio may be looked upon as a device which has arisen out of the over- emphasising of certain desiderata to the neglect of others, and, moreover, a device which has been useful educationally, but which will never come into general use. To the copyist it may undoubtedly be useful, as above indicated, and where the extent of a photographic business necessitates several studios, one may very well be a tunnel. CHAPTER VI THE SOUTH-LIGHT STUDIO Mr. Valentine Blanchard having determined upon premises where the only available place for erecting the studio was on the corner of a block of buildings with frontages to the south and the east respectively, erected a studio for working mainly by the south light, and he has taught photographers an excellent system for working under such conditions. Mr. Blanchard constructed his studio to fit the space. The ground plan is repre- sented by Fig. 23, and the section through A, A by Fig. 24. The construction is of iron, the sash-bars being bent to the angle shown in Fig. 24, and the glass of the upper slope overshoots the lower pane ; a small space for ventilation being left between them. The THE SOUTH LIGHT Siffer Cdmer^' Fig. 23. Blan chard's south light. Fig. 24-. BLmchard's south light. 58 PHOTOGRAPHIC STUDIO shaded parts of the windows show where the glass was covered with tracing paper or papier minerale, and the unshaded parts represent clear glass. Immediately opposite the uncovered part of the window looking^ southward Mr. Blanchard places a screen in such a position as to catch the rays of the sun, this screen being shown both in Fig. 23 and Fig. 24. The ordinary positions of sitter and camera are sufficiently shown by Fig. 23, but obviously this arrangement could be reversed for illuminating the other side of the face. The east window is practically inoperative as far as lighting the sitter is concerned. Mr. Blanchard says : " The sitter cannot see the side of the screen upon which the sun's rays fall, so there is no sunlight to dazzle his eyes. For ordinary work one screen is sufficient." "As the sun travels westward the screen can be drawn to the east, to admit more light, if necessary. In fact, whether working with the sitter at the east or the west, according to the hour of day, the screens can be used and moved about readily, so as THE SOUTH LIGHT 59 to cut off all direct sunlight, and yet give to the sitter all the light needed." Writing in the winter of 1877-78, Mr. Blanchard further says : "A year's experience, — embracing as it does all the variations be- tween the oblique light of winter and the almost vertical light of midsummer, — only con- firms the high opinion then expressed. I have one portion of the studio with a good east light, but I have been so well satisfied with the south arrangement of light that I have not made a dozen pictures at this end. The gain in rapidity of the south over the north is at once apparent to any one who has the means of trying both. During the past gloomy month I have made pictures that would have been absolutely impossible with a north light. I find now that I have the light well under control, that those beautiful luminous, yet delicate effects, so frequently seen in the photographs from Italy and America, and due to the penetrating power of pure intense light, are readily obtained with the south light." Mr. Blanchard then refers to the use of 60 PHOTOGRAPHIC STUDIO a tissue-paper screen to receive sunlight, the screen thus becoming a kind of artificial cloud. He says : Some three or four years back I recorded in the Year Book some experiments made with tracing linen pasted on to the roof of the glass with starch. I found when the sun was shining that the exposure was absolutely less under the portion of the roof so treated than under the part of the studio where the glass was unobscured. Remember- ing this result, I have lately employed a light frame, covered with papier minerale, and constructed to run readily on wires, so that at will I can place it wherever I may happen to want it. This is my white cloud, and when the sun is shining I find the quality of my negatives immensely improved by its use." CHAPTER VII CURTAINS, BLINDS, AND SCREENS Curtains, blinds, or screens to cover any required part of the glazed slope of the roof and of the glazed front are quite an essential, and in few things connected with photography has so great variety of device been introduced as in the fittino;s for hano;infT and workinof these curtains. In spite of this variety, one of the oldest hanging devices — originally due, we believe, to Messrs. Loescher and Petsch of Vienna — is that most generally used ; but their original device of cords and pulleys for operating the curtains has largely given place to the simpli- fied arrangement of pushing them with a fork-ended rod, each branch of which is fenced by a small liollow india-rubber ball such as 62 PHOTOGKAPHIC STUDIO is sold in tlie toy-shops. Complex mechanical devices for operating curtains have so much tendency to get out of order, and some of CURTAINS, BLINDS, ETC. 63 them at least must be placed rather awkwardly for ready access, hence they are best avoided. The curtains shown in Fig. 25 consist of short lengths of a soft blue material, with brass rings sewn on at short intervals, and these are threaded on stretched wires, as indicated by the sectional view. It is usual and desirable to allow the curtains to overlap a little as shown. Sufficient of these blinds should be provided to line the whole of the glazed roof, and if pushed home equally at the two ends they will, if of suitable material (a thin soft serge called " estamenne " answers admirably, but is rather expensive), occupy so little space as to leave the light practically unobstructed. Similar curtains answer well for the front light, the wires being stretched horizontally ; although some operators prefer to arrange the wires vertically, so that the curtains can be operated by raising them up from the lower part. In this case a light lath should be attached to the upper edge of each curtain, and from this a cord should go through a ring as shown by Fig. 25, the lightest available 64 PHOTOGRAPHIC STUDIO balance-weight well clothed as a tassel being at the other end of the cord. The stability in this case is derived more from the hitch through the ring than the weight of the counter-balance. By this device stability, ease in shifting, and absence of risk to the window may be secured. Light movable screens, each on a foot and capable of extension upwards, are sometimes used instead of curtains on the vertical light of the studio, and very few of these will serve, as it is a rare thing to have occasion to block out nearly the whole of the side light, and in such a case a background might be pressed into service ; moreover, the light screens may have other uses in the studio. Mr. S. Fry in 1874 advocated a system of using movable screens instead of fixed blinds for the vertical light, and since then many have adopted this plan. Mr. Fry, in describing the studio to which we have already made reference (p. 27), says : There are no side blinds, and none are re- quired. A much better effect is given, and one far more under control, by two lofty folding screens, made of light but strong framework (much like the Japanese screens CURTAINS, BLINDS, ETC. 65 now sold), and three of the four folds are covered with dark green tammy, the other having book muslin strained over it. By the careful manipulation of these screens (and in particular the muslin-covered part between the sitter and the light) very fine effects can be produced, and more easily than by roller blinds. When the light is very powerful these screens may be advanced more towards the centre, in front of the sitter." In some cases, instead of blinds of textile material being employed, hinged plates some- what after the style of a Venetian blind are used for both roof light and side light. Messrs. Valentine, for example, had a studio fitted up with such hinged plates, these being of zinc, hinged at one edge, and painted white on the side next the glass, so that when inclined they reflect light on the sitter. Although the consideration of movable appliances for use in the studio does not come within our present scope, a shade for the front of the camera, such as was mentioned in the chapter on the tunnel studio, being an appli- ance in substitution of the tunnel, may be F 66 PHOTOGKAPHIC STUDIO described here, as also Mr. Foss's internal tunnel for Eembrandt heads. This latter device is sufficiently explained by the sketch Fig. 26, the appliance being easily made of three light covered frames constructed to hook together ; Fig. 26. — The inner studio for Rembrandt effects. obviously the camera may look in at either end, so as to render the appliance available for illuminating either side of the face. (A reference to Mr. S. Fry's special window for Eembrandt effects will be found on p. 27.) Mr. Debenham's shading device for the camera is not unlike Mr. Foss's device ; indeed CURTAINS, BLINDS, ETC. 67 one set of parts might, with a little scheming, serve for both purposes. It is a framing as indicated by Fig. 27, 6 feet high, 4 feet wide, but a shutter in the top can and 5 feet long JA Fig.27 Debeiiham's shade. slide out so as to project 3 feet. At A is shown a sort of long groove in which dark slides may be placed, and the camera is generally so placed that the ground glass is about level with the back of the tunnel. The whole arrangement is on casters. CHAPTER VIII HEATING, COOLING, AND VENTILATING THE STUDIO — CLEANING THE GLASS The warming of the studio in the winter is seldom satisfactorily accomplished, except in those quite exceptional cases where an ordinary open fireplace is available. In this case the fire can be lighted when required, and there is no interference with the usual routine ; more- over, the cheerful aspect of the open fire is in itself an attraction to sitters in the cold months ; or perhaps one may put it the other way, and say that the idea that a studio may be cold, damp, and miserable is a very great deterrent. Of all places, the studio requires more especially a quick and always ready means of heating, so as to immediately combat the mischief of those sudden rises of HEATING, VENTILATION, ETC. 69 temperature which, by saturating the air with moisture, cause streams of water to flow from those solid objects which have become "store-places of cold." Again, one wants to be always ready to meet a sudden fall in temperature. A hot-water circulating system, with every- thing kept ready for immediate use, might be fairly satisfactory were it not for the great readiness with which the water freezes in a glass building, and the annoyance of having a splendid warming system, which is unavail- able either because the pipes are full of ice or because they have burst. Moreover, the water pipes are a constant obstruction and nuisance during the summer; so much so that expensive systems of pipes have frequently been removed from studios because a constant nuisance in the summer ; and often, owing to neglect (blam- able, no doubt, still common), unavailable when most required. The system which has proved most success- ful in the studios of professional photographers is to have an arrangement by which — say two — small stoves can be set in position, and lighted. 70 PHOTOGRAPHIC STUDIO or removed in a few minutes, a very easy matter in most cases. A stock pattern of stove should be determined upon, and the smallest size of slow combustion stove, which can be had for about 16s., is very suitable; a form being sold which, with its base tray, is complete in one piece. This stove requires a 3 -inch stove pipe, and the stove pipes should rise up to a height of say 6 feet above the studio on the off or shade side, and each should turn in at precisely the required height, through a sheet-iron safety piece let into the side of the studio. If this arrangement is made, one stove or both stoves may be carried in, placed so that its outlet engages into the end of the stove pipe which forms a socket in the wall, and lighted at once. When not required the stoves can be removed with equal ease. That facility in placing or removing the stoves, which is so desirable in our variable climate, cannot be realised if there are intermediate lengths of pipe to handle. The advantage of being able to use either one or two stoves, and having each stove so small as to be easily carried by a single person, is obvious. In HEATING, VENTILATION, ETC. 71 heating the studio the main points to keep in mind are to have an arrangement which is always ready for use, but no obstruction or inconvenience when out of use. The ventilation of the studio is not by any Fi^. 28. Wane's ventilating and clearing (snow) method. means a difficult problem. The construction at the eaves, ridge, and other places usually allows a certain amount of air circulation — indeed, often sufficient for the cold weather ; but a flap to open each side of the ridge, as recommended by Mr. Marshall Wane and 72 PHOTOGRAPHIC STUDIO shown ill Fig. 28, is a great convenience. Mr. Wane says : " On each side I had hinged one long glazed sash, worked by an Archi- medean screw from the inside, and easily opened one inch or a foot. The studio is by this means kept cool in summer, and becomes a pleasure to work in. By this arrangement either side can be opened, no matter how the wind blows." In the summer something more than venti- lation in the ordinary sense is required ; wide opening doors, embracing almost the whole of the gable ends, may be provided. In the case of the pattern studio described in Chapter II., the pair of doors leading to the garden may also well stand open during the summer days ; and Mr. Blanchard, speaking in 1874 at a meeting of the South London Photographic Society, urged the desirability of so arranging a portion of the roof that it could be made to slide off altogether. A serious trouble to photographers is the heating of the studio in summer, glass acting, in relation to bright sunlight, as a heat trap. Hence devices for keeping the studio cool in HEATING, VENTILATION, ETC. 73 summer are more important than the mere question of ventilation ; but if the studio is so built that direct sunlight seldom reaches the glass, the evil is lessened.^ Arrangements for cooling the studio by artificial rain on the roof from a water-supply system have been used occasionally, and where a suitable su23ply exists at the required eleva- tion such devices may be useful, in spite of the tendency to incrust the glass of the roof with the solid matter left by the evaporation of the water. Insufficient attention is sometimes given to the cleaning of the glass of the studio, especially the outside of the roof. The inside and vertical front can very well be rapidly cleaned by first rubbing the glass with a mixture of methylated spirit (not finish), ammonia, and a very little whiting, and then polishing off with a dry chamois leather ; but the outside slope of the roof is better dealt with by first mopping over with weak caustic soda or caustic potash solution, say one ounce to a quart, and then very freely flushing off 1 See pp. 12, 14, 26, 32, 34, 35, and 3U. 74 PHOTOGRAPHIC STUDIO with water, any alkali remaining tending to the disintegration of the glass. In Fig. 28 is shown Mr. Marshall Wane's device for getting access to the roof, whether for clearing off snow or for cleaning the glass, and in Chapter 11. Mr. Debenham's ladder engaging over the ridge plate and into the structural gutter is mentioned ; but in many cases the above-mentioned method of cleaning the roof can be practised without any other appliances than a long light rod like a fishing- rod for the potash mop, and a hand pump for rinsing off the alkali. CHAPTER IX MUNICIPAL BUILDING REGULATIONS At the present time there are, in almost every town, local regulations as to new buildings and as to the conditions of altering or adding to old buildings ; such regulations being in practice held as law. Although widely different in the various towns, and so voluminous in the aggregate as to constitute printed material enough to fill a large room, we believe they all agree in ordaining that the projector of any new construction must give notice at the office of the town surveyor, and pay a fee ; and this having been done, there is often no further trouble, inspection, or interference. On the other hand, instances occasionally occur when the publicly-paid surveyor, as in duty bound, 76 PHOTOGRAPHIC STUDIO endeavours to aid the constructor in securing conditions of safety against fire and other sources of mischief. In every case the main purport of the regulations is that the structure of the new building shall be securely built of non -combustible materials, that chimnevs shall be sufficiently remote from wood-work, and that the exterior of the building shall, with the exception of doors and sashes, be of a non- combustible material. As a means of evasion, the expedient of making the studio all sashes and doors is not so often accepted as formerly ; while building the studio on wheels and calling it a carriage — an expedient which has been resorted to — is seldom or never of avail at the present time. As a general rule an epitome of the principal local regulations is printed for circulation by the local authority, and the full regulations are kept for inspection at the offices of the local authority; but operations in London are now subject to the London Building Act of 1894, 57 and 58 Victoria, which can be had from the Queen's printers. The regulation in this voluminous Act which most affects studio construe- BUILDING REGULATIONS 77 tion is that which orders that party walls must rise 15 to 30 inches over the level of any turret, dormer, or any similar erection fixed on a roof, within 4 feet of the party wall, — a regulation that will obviously tend, in many cases, to prevent the construction of those right-pitched roofs which are so desirable in protecting the glazed slope from sunshine. The administration of the London Buildinfj Act of 1894 is in the hands of the London County Council, and plans with specifications of proposed buildings and alterations must be sent to the superintending architect. Spring Gardens. Special applications with respect to buildings to which the ordinary rules are in- applicable, are now entertained, but subject to inconvenient regulations as to fees, etc. ; the Act of 1894 recognising that absolute and unbending rules cannot be maintained. Generally speaking, the best plan is to take the proposed but not fully matured plans to the ofiice of the local authority, and ascertain what regulations they may be likely to in- fringe. CHAPTER X MISCELLANEOUS The sash-bar shown in section by Fig. 13 is a good example of a bar grooved at each side so as to carry away any leakage water or con- densed moisture to the gutter, such bar being now readily obtainable from those dealing in wooden mouldings, and a similar sash-bar in wrought iron is obtainable. The setting of the glass in the sash-bars demands special care, as few annoyances are so serious to the photographer as a leaky roof. In the first place the bars, whether of wood or iron, should be well primed, with abundance of thick paint if the bars are of wood, or with a w^ell-rubbed-on coating of thin paint in the case of iron sash-bars, care being taken that the material is dry and, if practicable, warm when the priming is applied. The putty used SASH-BARS AND GLAZING 79 should be somewhat better than ordinary commercial putty. Two parts of whiting and one part of white lead — or better still, finely- ground litharge — will, if dried and mixed with the necessary quantity of boiled linseed oil, give an admirable putty. The mixing is usually done by repeatedly turning over the materials on an iron or wooden slab, and between each turn -over knocking the paste down to a thin sheet with a heavy large-faced hammer. The glass should always be cut a little narrower than the space between the sash-bars, and a bed of putty nearly an eighth of an inch thick should underlie the glass. An attention to the precaution that the glass should not touch the sash-bar at any point is of special importance in the case of iron sash- bars. Water often rises by capillarity where the glass of the roof overlaps, and wind against the lap often gives rise to considerable inflow. This may be avoided almost completely by preserving a distance of about the twentieth of an inch between the sheets of glass, most conveniently by bending a few strips of thin sheet lead over the top of the lower pane. 80 PHOTOGHAPHIC STUDIO Various systems of glazing without putty, by the use of strips of lead attached to the sash-bar, have come into use of late, these methods being more or less based on the old lead glazing commonly used for churches. Among these methods may be mentioned that known as the simplex system, the special lead strips for which are sold by Messrs. Grover, of Wharf Eoad, City Road. The strip, in section like an inverted J., but having the stem composed of two leaves, is nailed to the sash -bar, the inside angle is smeared with thick paint, and the glass being placed in position, the strips forming the divided stem are turned over right and left. The most obvious advantage of this system is the ease with which breakages may be made good. It may be taken for granted that no photo- grapher will undertake to construct a studio himself, unless he has, by experience or ob- servation, acquired a general knowledge of the essential principles of construction, whether in carpentry or ironwork, or other materials. It therefore becomes unnecessary for us to give diagrams of all the current forms of joint. CONDITIONS OF STABILITY— GLASS 81 the fixing of ridge covering, metal flashings, and other details of the nature of trimmings ; neither is it necessary to go into such matters as painting or decoration. We may here again emphasise the need of bearing in mind the necessity of so setting up the framing, whether it be wood or iron, that all principal strains should be taken by the integral parts of the framing, and not by rivets, nails, or bolts ; these serving rather to prevent the structural parts shifting from their positions. Every roof span should be tied across, to neutralise the tendency of the roof to push out the sides, and every system of rectangular framing should be tied with one oblique piece or more, to prevent a tendency to fold up, like the folding of a parallel ruler. No wooden construction is satisfactory in which these precautions are neglected, but the conditions under which the studio described in Chapter 11. is constructed, allow for the equivalent of both these precautions. Some discursive notes on glass, in relation to its use in studio construction, may be useful. Mr. Jabez Hughes, speaking at a G 82 PHOTOGRAPHIC STUDIO meeting of the South London Photographic Society in 1874, made some remarks which are interesting as bearing on the recommenda- tion contained in Chapter 11. to use rough rolled plate for the studio roof; Mr. Hughes said that he originally put Hartley's rough green glass (rough rolled plate) in the roof, with a view to subdue the top light. This was found in winter to interfere with rapid w^orking, and was removed, and its place supplied with large sheets of patent plate. This effected a great improvement for winter- working at first, but eventually an accident having shown that this patent plate had become much yellower by exposure, he re- turned again to the rolled green glass, in which when a change occurred it was fortu- nately for the better, the green merely changing to a bluish green. The fluted glass recom- mended in Chapter 11. is the St. Gobain glass, nearly colourless to begin with, and very little, if at all, liable to change on exposure to light. Many years ago Mr. Thomas Gafheld, a proprietor of a large glass establishment in the United States, made an extensive series of GLASS FOR THE STUDIO 83 experiments on glass, in relation to its use in studio construction, and as to the action of light upon the colour of glass ; his attention having apparently been drawn to the latter subject by an observation of Faraday's that a certain sample of purple glass became darker in tint by eight months' exposure to light. Mr. Gaffield found, to begin with, that the most colourless glass is the most desirable for the studio, and that some of the early notions about greater rapidity of action in a studio glazed with blue or violet glass were fallacious. Mr. Gaffield also found that most samples of glass undergo some change in tint by long exposure to light, colourless glasses often becoming slightly yellow ; indeed one sample became perceptibly changed by a single day's exposure to the summer sun and a week's exposure. The colour of the ordinary Belgian sheet -glass, originally a very faint bluish green, changed very little, if at all, by prolonged exposure. Where practicable, it may be useful for the photographer, before determining upon glass for his studio, to test samples for their actinic 84 PHOTOGRAPHIC STUDIO transparency ; this being perhaps best done by setting up the samples in a frame, and photo- graphing an evenly illuminated surface through them. The including of a portion of each kind of glass, after exposure for a few weeks to the summer light, would make such an experiment of far more value than it other- wise would be. The diminution of illumination at various distances behind an opening or window is a question regarding w^hich it is useful for the photographer to have some notion, but it is desirable to avoid some of the misapplications which have been made of the first of the following two fundamental laws : — 1. The intensity of the illumination re- ceived from a luminous point on a given surface is inversely as the square of the distance from the luminous point. 2. The intensity of the illumination which is received obliquely is proportional to the cosine of the angle which the luminous rays make with a perpendicular on the illuminated surface. The misapplications of the first law have ILLUMINATION AND DISTANCE 85 mainly been made by persons who have regarded the window as a source of light, and have assumed that the illumination of an object inside an ordinary studio can be esti- mated by a simple use of the law of inverse squares. This is not the case, because the sources of light are outside the window, and the window is to be regarded as a diaphragm controlling the light coming from an enormous number of points — equally from all visible points, if the window look outwards at a uniformly clouded sky. The illumination of any point inside the studio is therefore pro- portionate to the area of sky which shines upon it, determined by the window as a diaphragm, the variation of distance between the luminous points and the illuminated object being insignificant. Distance from a window cannot be measured in the same sense as distance from a point, as when an object is near a large window a given movement away from the window does not equally increase its distance from all parts of the window ; hence the term distance from the window " only begins to have significance when the object is 86 PHOTOGRAPHIC STUDIO some considerable distance — several diameters of the window — away. Then it is that the diminution of the illumination becomes ap- proximately as the inverse ratio of the square of the distance, but only if the window looks out upon an equally illuminated scene ; this can be shown by a simple geometrical construction. The photographer, however, seldom or never works at such distance as to come within even an approximation of the application of this law, or indeed of another law which steps in as an approximation when the distance from the window is considerable. The statement of the two laws (for small windows or distances of several diameters) as given by Yogel is as follows : The intensity of illumination diminishes in the ratio of the square of the distance, and increases in the ratio of the square of the diameter of the window. In a studio such as that described in Chapter II., and with all the glass uncovered, the illumination is practically equal at all distances from the windows, but in the case of Mr. Fry's Rembrandt window of ground glass (p. 27), or of a small clear window, it may be ILLUMINATION AND DISTANCE 87 sufficiently exact for practical work to assume the illumination to diminish inversely as the distance from the nearest point of the window, instead of diminishing inversely as the square of the distance, as would be the case if the light came from a single point. CHAPTER XI REMINDER LIST OF LEADING DESIDERATA AND NON- DESIDERATA, WITH PAGE REFERENCES TO PLACES WHERE INFORMATION OR SUGGESTIONS MAY BE FOUND It is recommended that every person about to construct or alter a studio, slioidd carefully look over this chapter before determin- ing u^wn the main features of a studio, hut the general index and the text should be looked through before finally deciding upon details. Curved glass to connect top and side lights, 38, 41. External sunsliades, influence of pitch of roof and locality, 31, 32, 35, 38, 39. Floor, a firm, 16. Glass, and matters to be considered in selecting it, 25, 82. Ground-floor level, relation of the level to near and distant obstructions, 9, 12, 13, 14. Heating arrangement should not obstruct summer work, 69. High or low pitch of the roof, 27, 31, 32, 77. House as a shade on the south side, 9, 12, 13. Iron framing and sash-bars, 17, 21, 24, 57, 74. Length and size, 14, 15, 30, 32, 45, 46. Local building regulations should be studied before design and position are determined upon, 77. KEMINDER LIST 89 Movable screens v. fixed blinds for the side light, 58, 64. Much or little glass in the roof, 34, 35. North aspect, slight deviation from, 10. Pointed panes, 38. Rembrandt window, interior alcove, 27, 66, 86. Revolving studio, 48. Sash-bar with^drip grooves, 31, 78. Side light only, 6, 32, 33, 42. Sloping front, 35, 36, 37. Top light only, 32, 46. Tunnel, modern forms or devices which realise the ad- vantages of, 53, 54, 55, 65, 67. GENERAL INDEX Air-bricks, 17 Aspect, best, 10, 12 Beard's patent, 3 Blanchard, Mr., ventilating the studio, 72 Blanchard's south-light studio, 48, 56 Blue or violet glass, 3, 83 Brickwork base, 15 Capillarity, leakage from, 79 City studio, 29 Cleaning ladder, 2 1 Cleaning the glass, 73, 74 Concave reflector, 3 Construction conditions of stable, 21, 81 Cooling the studio, 73 Cruikshank's sketch of studio, 3, 4 Curtains and blinds, 25, 35, 61 Curved panes, 38, 41 Daguerreotype studio, 3, 4, 47 Damp course, 16 Debenham, Mr. W. E., 53 Debenhani's cleaning ladder, 74 Debenham's shade for the camera, 67 Debenham's studio, 9 Desiderata and non-desiderata, reminder list of, 88 92 PHOTOGRAPHIC STUDIO Dodge's studio, 48 Elevation in relation to near obstructions, 12 External sunshades, 31, 32, 34, 35, 38, 39 Floor, a firm, 16 Foss, Mr., internal tunnel, 66 Fry, Mr., Rembrandt window, 86 Fry, Mr. S., on movable screens, 64 Fry's studio, 27 Gaffield, Mr. T., on gia«s for the studio, 83 Garden, studio in, 11, 14 Glass, blue or violet, 83 Glass, change on exposure to light, 83 Glass, cleaning, 73, 74 Glass, fluted, for roof, 25, 82 Glass for studio, testing, 84 Glass for the studio, 3, 81, 82, 83 Glazing, 78 Glazing without putty, 80 Ground-floor level, 9, 12, 13, 14 Groverand Co., Messrs., 80 Gutter, 21 Head-shade, 53, 54 Heating the studio, 68 Heighway, Mr. W., 45 Hot- water system of heating, 69 House as shade, 9, 12, 13 Hughes, Mr. Jabez, 45 Hughes, Mr. Jabez, on glass for the studio roof, 82 Illumination at various distances, 84 Illustrated photographer, 40 Iron framing, 17, 24 Iron sash-bars, 23, 57, 74 Liebert's designs, 39, 40, 41 Local building regulations, 76 GENERAL INDEX Loesclier and Petscli, Messrs., system of blinds, 61 London Building Act, 76, 77 London County Council, 77 Long exposure, 2 Luckliardt's studio, 35 Monckhoven's tunnel, 5, 50 Movable screens as blinds, 58 Municipal building regulations, 75 North aspect, 10 Nortli-liglit studio, 6, 8 Obstructions, angle subtended by, 11, 14 Open-area studio, 6, 8 Pajner minerale, 58, 60 Patent claims, 3 Philadelphia Committee, 31 Photograiihic NewSy 40 Pitch of roof, 27, 31, 32, 77 Pointed panes, 38 Putty, 79 Rejlander's studio, 39, 41, 44 Rembrandts, 27, 66, 86 Revolving studio, 48 Ridge roof, 6, 38 Robinson, Mr. H. P., 46, 52 Robinson, Mr. H. P., on the studio of the future, 6 Roof, area of glass in, 34 Sash-bars, 31, 78 Screens, movable, 64 Shade for the camera, 51, 52, 53, 66 Shades, external, 31, 32, 34, 35, 38, 39 Side light only, 6, 32, 33, 42 Sitter, dark or light gazing place for, 52, 53 Size of studio, 14, 15, 30, 32, 45, 46 Sloping front, 35, 36, 37 94 PHOTOGRAPHIC STUDIO Snow, clearing off roof, 71 Solar Club, Rejlander's group of, 40, 43 Stability of framed construction, 21, 81 Stoves, slow combustion, 70 Studio of the future, Mr. Robinson on, 6 Suburban photographer, 9 Top light only, 32, 46 Town studio, 29 Tunnel studio, 5, 49, 65, 67 ' Two Ways of Life,' 43 Valentine, Messrs., 65 Venetian system of blinds, 65 Ventilation of studio, 25, 71 Vogel, Professor, 45 Vogel on illumination at various distances, 85 Wane, Mr. M., ventilating, 71 Waterhouse's studio, 51 Williams, Mr. T. R., 46, 48, 49 Williams's studio, 47 Wilson, Mr. E. L., 46 THE END Printed by R. & R. 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New Series of Christmas Mounts for Midgets, CD. v., and Cabinets. An immense variety of Mounts for C.D.V. and Cabinet sizes. Made for all sizes. MARION & CO., 22 & 23 Soho Square, London, W. Advertisements 7 VOIGTLANDER'S LENSES THE LATEST THE COLLINBAR The |-plate instrument a splendid Lens for Hand Camera work. It is rapid, covers a wide angle, and gives splendid definition. No. 2 Collinear £6 3 0 For groups in the Studio or for single portraits No. 9, with full aperture, covers a 12 x lo plate, and with a stop y/i8 to //36 will cover a 24 x 20 plate. \ Price £37 8 0 All the Collinear Lenses are excellent Landscape Lenses by removing the front Combination and using only the back. The Collinear then is a Lens that can be used for all purposes. It is therefore for Universal use. Made in all sizes. Sole Agents for Voigt lander's Lenses. MARION & CO., 22 & 23 Soho Square, London, W. THE EXCELSIOR STUDIO CAMERA. 6^ inches square for single Cabinet and 2 C.D.V.S, ex- tending to 20 inches 8J inches square for | plate, 2 Promenades, 2 Cabinets, single Cabinet, 2 C.D.V.s or single C.D.V. extending to 28 inches .... 10 inches square for 10 X 8 and sizes downward, extending to 28 inches .... 12 inches square for 12 X 10 and sizes downward, extending to 28 inches .... 15 inches square for 15X12 and sizes downward, extending to 36 inches .... 550 726 930 13 10 o C.D.V. and Cabinet No. 102 5 No. 103 13 o o Voig-tlander Rapid Euryscope No. s 16 10 o No. 6 22 o o No. 7 28 12 o With Archimedean Screw THE EMPIRE UHIVERSAL STUDIO CAMERA. Size. i Camera. | Lens. 6^ inches square for single Cabinet or 2 C.D.V.s on ^ plate, ex- tending to 19 inches 82- inches square for { plate for 2 Promenades for 2 Cabinets or 2 C.D.V.s, extending to 19 inches 9 inches square for 9X7 for 2 Cabinets or 2 C.D.V.s on ^ plate, extending to 22 inches ID inches square for 10X8, 2 Boudoirs, \ plate, 2 Cabinets, or 2 C.D.V.S, extending to 24 inches 12 inches square for 12X10 and other sizes, as 10X10, extend- ing to 28 inches 15 inches square for 15X12 and other sizes, as 12X10, extend- ing to 31 inches £700 5 o t5 o II 13 o Voigtlander Por- trait Euryscope No. 3a £7 14 o No. 4a II o o No. 5a 16 10 o No. 5a [6 10 o No. 6a 22 o o No. 7a 28 12 o MARIOH'S ADAPTABLE STUDIO CAMERA. Twelve inches square, with an extra back for 8J inches square. This Camera has been designed with the idea of obviating the necessity of using two Cameras in the studio. It is provided with a 12-inch slide, but when smaller size pictures are to be taken, an Adapter to take a \ plate slide is put in its place._ Both the 12-inch and ^-plate backs are repeating. The Camera is made in the best mahogany, with Leather Bellows extending 40 inches, so will serve for copying purposes. It has Double Rack and Pinion Adjustment, Focussing Screens to fall down. Double Swing Repeating Backs (12 and 8^ inches), and Rising Front. The price, including one 12-inch Roller Dark Slide with carrier for 10 X 8, and one 8i-inch Dark Slide with carriers for half and quarter plate, and extra front, is £\2, : los. Other sizes can be made to order. Advertisements 9 HAND CAMERAS. THE CARD CASE. With one slide each, for plates 4j x 3 J . , . 6/ for plates 61 x 4i • • . 15/ Extra slides 4 J x 3 J, 6d. ; 61 x 4|, is. A thoroughly practical and efficient instrument, with which good work may be done. THE PERSfi FILM CAMERA. To hold 60 to 70 Films, J-plate size. Price, with 12 Films, £9 : S^- Every Instrument tested before it is sent out. This Camera is in every way a high-class one, and we do not hesitate to say will give satisfaction to purchasers. Any maker's Films can be used with it. We find those of our own manufacture to be well liked. THE RADIAL CAMERA. To hold 1 2 plates, no sheaths required. Plates of different rapidity can be placed in the Camera, and the operator can use either the Instantaneous or Slow at will. All the body of the Camera is metal, and w^ill stand any climate. For plates 3i x 3i • • • • £s ^ 4^x31. . . . 700 ,, 9 c. X 12 c. . . . 800 5x4- • • • 800 6ix4f • • • • 12 o o MARION & CO., 22 & 23 Soho Square, London, W. lo Advertisements ACCESSORIES FOR THE STUDIO. The following are some of the latest — No. 300. A Settee, Cream and Lined, ;{^6 o 12 6 „ 301. Table, „ „ 3 15 61 the set „ 302. Chair, „ „ 3 3 oj complete. ,, 304. 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Background and Foreground combined, 14/x 76 Vignette and J length Backgrounds 8x5 Moro's artistic Backgrounds, exterior and interior, first quality ...... I i« I 10 3 5 CURTAINS. Fawn and Blue, rich pattern . In Milan Curtain, ruby with design . Tapestry, Designs No. 10 In Rep Silk, Maroon 010 6 014 o 112 o 112 o 210 o 3x2! yards . CARPETS. SCREENS. I 10 White Enamel with Liberty Silk 2 o MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements THE GLENFIELD PHOTOGRAPHIC STARCH MARION & CO., SOLE AGENTS. This Starch is undoubtedly the best in the market, and is being used by all the leading photographers in bags of 7, 14, 28, and 56 lbs. at 6d. per lb. King's Solution for removing" Silver Stains from unvarnished Negatives, 2 oz. is. ; 6 oz. bottle, 2s. 6d. Tomlinson's Spotting* Medium in Opaline Palettes, 4^ x 3^, is. each. Marion's Mounting Solution. — It does not cockle the thinnest Mounts. In Bottles, Trade price 8s. dozen. Stewart's Sterilised Paste for mounting Photographs, Drawings, Maps, and for Office Work, in bottles and with brush, 6d. and is. each. We do enlargements for the trade, finish and frame superior work at moderate prices. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 13 MARION & CO.'S PHOTOGRAPHIC PUBLICATIONS. The Houses of Parliament. (Edition de Luxe). 16 Large Illustrations with Historical and Descriptive Letter - press. By Archibald Milman, Esq. Bound Cloth. Gilt Edges 7/6 Choice Selection of Downey's Art Studies. 16 in numlx-r. Bound Cloth ...... 30/ 38 Choice Views of Salisbury Cathedral. George Herbert's Church, Bemerton, Amesbury, Wilton Chiirch, Stonehenge, and model of Old Sanim. With Descriptive Letter-press. All printed on superfine Rive's paper . 10/6 " A Choice Book of a rare part of Old England." Art Studies by Downey. Fine Collotypes. Demy Size. A series of 36 subjects most popular . . each 1/6 Art Studies by Downey. Fine Collotypes. Imperial Size. A series of six subjects ..... 5/ Art Studies by Downey. Rembrandt Photogravures. Demy Size. A series of six subjects .... 2/6 Artistic Photogravures. Imperial Size. Proof copies 31/6 A series of six subjects prints 15/9 Nature Studies by Chevalier Lafosse. 12 in a portfolio 3/4 each, or set 40/ Do. Do. 24 in a portfolio 4/ each, or set 90/ Yeo's Studies of Children. Collotypes. Demy Size 1/6 The Tower Bridge. Prints 11x9. Mounted on plate-made mounts ....... 2/ Famous Race Horses. 8L x 6L 2/6 ; 14I x loi 10/ 6. Sir Visto. Ladas. Matchbox. Isinglass. Empire Series of Folios. 16 Illustrations in each. Westminster Abbey, Royal Portraits, Stars of the Stage (i and 2 parts) Eminent ]Men, Houses of Parliament, Windsor Castle each /6 < GETTY CENTER LIBRARY 3 3125 00722 8634