Digitized by the Internet Archive in 2014 https://archive.org/details/snapshotphotograOOhard SNAP-SHOT PHOTOGRAPHY. " THE JUNIOR PHOTOGRAPHER " SERIES. Sixpence Each. No. I. SNAP-SHOT PHOTOGRAPHY : Or, the pleasures AND ADVANTAGES OF HAND-CAMERA WORK. By MARTIN J. HARDING. (With Snap-Shots by the Author.) No. 2. THE DARK-ROOM AND ITS EQUIPMENT. By h. j. l. j. masse. No. 3. LANTERN SLIDES THEIR PRODUCTION AND USE. By J. PIKE. No. 4. DEVELOPERS : their use and ABUSE. By RICHARD PENLAKE. [in the press. MANY OTHERS TO FOLLOW. ''THE JUNIOR PHOTOGRAPHER'' SERIES No. I. Second Edition ^ ^ SNAP-SHOT PHOTOGRAPHY THE PLEASURES AND ADVANTAGES OF HAND-CAMERA WORK. With Snap-shot Illustrations by the Author. BY MARTIN J. HARDING Ex-President of the Shropshire Camera Club. Hon. Sec. of Sun Co. Exhibition Medallist at the Crystal Palace, London, Amsterdam, Brussels, Vienna, Calcutta, New York, etc., etc. Percy Lund & Co., The Country Press, Bradford ; AND Memorial Hall, Ludgate Circus, London. 1895. PERCY LUND AND CO PRINTERS AND PUBLISHERS THE COUNTRY PRESS, BRADFORD AND LONDON DEDICATED TO COLONEL J. HESKETH BIGGS ONE OF THE EARLIEST WORKERS WITH A CAMERA HELD IN THE HANDS. HAND-CAMERA WORK Its Pleasures and Advantages. jHE rapid develop- m e n t of the hand- camera in all its V a r i e d forms of magazine for plates or cut films, roll- holder with continuous film, and last, but by no means least, the simple camera with separate improved light double-backs is, I think, one of the most as- Rapid Advance , • , • r . r of the tonishmg features of present- Hand-Camera. day photography. What a power is placed in the hands of those who intelligently use it, there being now no further need for regret at opportunities Home, Sweet Home. 8 lost through the want of a means of recording any striking subject, which, if not secured on the spur of the moment, has gone beyond recall. I recolleft in my early photographic days, when possessing only a heavy half- plate camera, going out re- Retrospect. peatedly intent upon getting a picturesque grouping of cattle, and, time after time, after getting into position and under the focussing cloth, the curi- osity of one or more of the animals would be aroused and their images on the ground glass increase to such alarming propor- tions that I was driven to beat a hasty retreat ! But the hand-camera has changed all that ; with what confidence can we now stalk our prey, carefully compose our subjeft on the faithful (if properly fitted) and ever-ready finder, await the desired moment, and shoot the whole herd without stirring a hair even of the most inquisitive young heifer in the group. The possible advantages of dispensing with a tripod first dawned upon me in the Discarding the ^utumn of 1886, when work- Tripod. half-plate on the North Wales Coast. Amidst blinding spray and in the teeth of a strong nor'- wester, it took me all my time to keep my 9 own legs under me, leaving the camera out of the question. Soon afterwards, seeing some very beautiful Early Worker. ^^^^^^ photographs taken by Colonel Biggs of Penzance, with a quarter-plate camera held in his hand, I determined upon making a trial of his plan of working. Clare Street, Bristol. It must be remembered that in those early days of hand-camera history the choice of instrument was very limited. I can find three only advertised in the '86 ^'Journal Almanack:" Shew's Eclipse, Marion's Detedtive, and one by a New York firm. The objectionable ''deteftive," lO by which misleading term many of the early patterns were described, First Called i -i i i Dete<5tive was soon happily dropped Cameras. in favour of the more satisfactory and simple name of hand- camera, which is now universally adopted. What a tale each succeeding ^'Almanack" has had to tell, until to-day we are simply bewildered with the ingenuity displayed in the wonderful variety o/mIi^I^ow of makes that have been in the Market. more or less perfedted. My present purpose is not to deal with these in detail, nor to give advice as to what pattern should be chosen — this must be left to the taste and requirements of the individual — but simply to relate my own experiences, pointing out difficulties to be avoided, and smoothing the way generally for any who may desire to take up this most valuable — if properly used — method of working. I must confess that, after seeing and handling most patterns up to time of writing, I am more than ever wedded to my first choice, which took no more elaborate shape than that of an ordinary camera with separate double- backs. In making a choice the chief considera- tion was regarding compactness and portability, keeping down to the smallest Choice of possible limit both of weight Camera. ^j^^ consistent with the high standard of results I aimed at securing in my ultimate prints, lantern- sHdes and enlargements, and I concluded that — for many reasons — 3^ inches square would be the most satisfactory and con- venient size of plate or film Size. to adopt. In the first place, assuming that — whatever size we work — our subjeft will be so composed as to take the full length, either horizontally or vertically, of the plate (however much it may be desirable to reduce its available width), then for the making of lantern- shdes by contaft it is obvious that my small size is the best because, with any increased area — even ^-plate — part of our subjeft must be sacrificed or the more complicated method of reduction resorted to. Again, in the making of enlargements, no large and costly condensers are required, it is no small advantage to be Enlargements. enabled to utilise the same lantern that projects our slides on the screen. We have only to place one of the small negatives in the carrier and adjust the focus to the desired size of enlargement. 12 To that great majority of amateurs whose only spare time is after the day's work is done" I commend this most simple and economical plan. The size of plate having been decided upon, the way was clear for choosing the A Pocket camera which I now submit Camera. once the most compaft and serviceable it is possible to imagine. Made in polished ebonite it measures, when closed, a bare 4 inches square by i J thick and weighs 11 ozs. — a veritable pocket instrument — this, to my mind, being the great feature in its favour. There is one point and one only, I believe, where, in common fairness, I readily admit the magazine or roll-holder cameras to be superior and that is in the facilities they afford for making a number of exposures in rapid succession ; but the occasions for this are, in my experience, of such rare occurrence that they are not worth providing for. Constant practice so soon perfefts the dexterity with which separate backs can be changed that I never feel the need for anything quicker or more automatic in aftion. Then there is always the lurking fear that even the best-regulated changingapparatus may suddenly adopt the block system" 13 at some critical moment, necessitating — in the probable absence Advantage of _ . . Separate oi a chang^mg: - bag: — an Double Backs. _ o & adjournment to the nearest dark-room which may be miles away. With separate dark-slides, in the very remote contingency of one becoming St. Augustine's Parade, Bristol. obstinate, it can be at once replaced without loss of time or temper. There has been great ingenuity displayed in the endeavour to produce a satisfactory changing mechanism and Disadvantage of Magazine somc camcras are, no doubt, Forms. really reliable in this respeft. But another great objedlion with most cameras of this class is that they will not work without their complement of plates, and this means the whole bag of tricks " being carried even when it may be desired to make only one or two exposures. There Magazine often Consequently a tendency to left at home, j^^^^ ^j^^ Camera at home unless photography is the special objeft in view. The most compact of the magazines is not always conveniently carried about wherever we may be going and it is not desirable to appear as if always bent upon photography. Still we never know when " trumps " may turn up and the hand- camerist's motto should be Semper par atus, "Semper contcution is, therefore, paratus." ^j^^^ nothing short of a pocket camera will meet all contingencies. Bear- ing this in mind, my " Baby " (as I have learnt to call it) has become my almost inseparable companion, and many are the times it has stood me in good stead. When starting only for an ordinary constitutional " or evening stroll, I Pocket Camera ^hould fccl lost without the always carried, ^^mcra iu OUC pOCkct and a couple of slides in another. What matters it if no exposure is made ? Love's labour is not lost ; indeed, there is no labour involved, and there is the intense satis- 15 faftion of feeling that had the unexpected happened, it would have been duly recorded , thanks to the ready means at disposal. Importance of ^^r iustance— to take only Ever-readiness, ^j^^^ Subject, in the wide field of cloud-photography, how frequently the most beautiful effects appear when least looked for. I am not referring to sunsets or moonlight " so-called, but to such skies as may be satisfactorily and naturally wedded to our landscapes which, as so often happens, have to be taken in the absence of the desired clouds. We may go out a dozen times with the express purpose of obtaining such and fail, and perhaps the next morning on the way to business or elsewhere, without the Camera, we are tantalized by the sight of some beautiful sky which we are simply power- less to secure. My large Securing Fleeting storc oi skv ncg^ativcs taken Cloud Effeas. *^ ^ at all hours of the day, " from early morn till dewy eve," owe their existence chiefly to the application of this principle of ever-readiness. Although working lantern-size plates, it must not be assumed that I advocate the Shape of retention of the square shape Pictures. • ^j^^ resulting prints. These are trimmed down or masked off as taste i6 demands. There are sometimes cases where the square may be admissible and made effective use of, but such are only exceptional, as it is generally preferable to Sanger's Britannia Car — St. John's Hill, Shrewsbury. work for the more usual and pleasing landscape proportions. The advantage of the square shape comes in Latitude , • ii i allowed by whcu, m the hurry or excite- Square Plate. ment of a snap-shot, one is apt to aim a shade too high or too low, the extra margin will still include our desired subject on the plate. The camera opens in the usual way, the front racking forwards and fixing firmly at 17 any desired focus. I have never yet felt the w^ant of a rising front which is advised by some workers, but a swing- Swing-back. back — absent from so many makes — is indispensable if distortion in architectural subjects is to be avoided. A nick in the brass strut of the swing makes it easy to instantly adjust at the proper angle that allows for the average tilt in photographing high buildings at close quarters. It will therefore be seen that I work with a camera of the ordinary model Swing-boats— Church Stretton Fair. in miniature and capable of use on a tripod, Focussing its only distinctive feature being that the focussing screen instead of having hinges to fold over the B i8 top in the usual way is made to slide in the same groove as the double-backs and after accurately marking the focus for different distances it may be left out of the reckoning, although there will be occa- sions, now and again, when we shall be glad to fall back upon it. When working at landscapes with the camera on a tripod it is sometimes a relief to revert to the old plan of focussing, if only for the fascination of again seeing the beauties of the reflected Celluloid image. A piece of thick matt Screen. celluloid makcs a perfeft screen with no risk of breakage. One mark on the focussing rack gives all objects at 12 feet and beyond quite sharp and a second provides for the Focussing. good definition of nearer figures as large as the plate will comfortably accommodate. There are some subjects in which softness of definition will greatly enhance the effeft even of the Definition. small dire6l prints, but for general work I emphasise the importance of absolute sharpness for the simple reason that, if lantern slides and enlargements are to be attempted, anything short of this will produce a diffusion of forms too unpleasantly pronounced excepting for the most advanced ^' impressionists." Very 19 artistic effefts are obtained by printing from the sharp negatives upon paper of a medium rough surface. A decided advantage accrues from the power of using lenses of different focal length, it being most conven- Lenses. ient to possess the means for utilising, as occasion arises, the back combination of a rapid rectilinear — the best all-round form of lens, including two foci in one mount — and which the fixed focus system does not admit of. There are so many excellent lenses in the market that it is needless and hardly fair to particularise further than cautioning the purchaser against the tendency towards extremes in the width of angle included. A focal length of 4^ inches is about the best for the size of plate I am writing about. The iris form of diaphragm will Iris Diaphragm. be found a great acquisition, allowing advantage to be taken of inter- mediate apertures which the usual fixed stops fail to provide for. Another important feature is the expos- ing shutter. I have found no form more Exposure satisfaftory than a rotating disc of thin metal aauated by a spiral spring and working behind the lens. It is instantly set by the pushing 20 round of a small pin in a semi-circular slit in the camera front, a half-way catch keeping the lens open for cap exposures when the camera is used on a tripod or other support. This shutter is quite free from vibration, the release being effected by touching a short projecting side lever. Its speed can be varied by applying a side screw on the disc, but in practice I negleft this entirely, finding a normal exposure of Speed of iVth of a second gives the Shutter. uniformly best results. No- thing more rapid is required excepting for special classes of work which must be provided for accordingly by those who take them up. The above speed is fast enough for all ordinary work including street traffic, and for waterfalls and marine subjedts renders the motion of breaking waves or seething foam far more naturally than any higher speed. There is only one slight drawback to its use : in stormy weather its position leaves the lens ex- posed to the rain or spray that soon coUefts upon it, in which case the camera should be kept protected as much as possible from the wind. Under any other conditions its out-of-the-way position is a distindl advantage and instead of varying the speed for different subjects, I find it 21 preferable to increase or reduce the lens aperture according to the prevailing in- tensity of the light. Some hand-cameras are provided with a spirit-level, an accessory which the Spirit Levels of average worker at least can little Value. j^^^^j^ ^^jjj^^ ^^^^ j^j^ tention must necessarily be centred upon Shows — Church Stretton Fair, the arrangement of his subjeft ; the pro- bability will be that if the level is right his subjeft will be out of register or vice versa, and this is where a careful adjustment of the swing-back comes into play. This brings me to a most important faftoraffefting the satisfactory accomplish- ment of our aim in securing the desired subieft on the plate. To make View Finder, ^ . absolutely certain of this, I insist upon the necessity for a good and carefully fitted finder. The form most generally used is a sunk refledlor, the miniature image being looked down upon, and is supposed to be protected by a shade which in aftual practice will be found far from satisfactory ; the direft refleftor fitted outside the camera top is subjeft to the same fault in a less degree. Excepting in brilliant sunshine a constant strain is felt in the effort to see beyond the central portion, and as it is of the utmost import- ance that the whole field of view shall be readily gauged in any lighting, some other form of finder should be chosen. This will be found in a bi-concave lens fitting on the camera front, requiring no shade- proteftor and giving the subjedl in full view without reversal, thus adding greatly to the ease and certainty with which we can proceed in composing our pictures. The brass mount of the finder has a cut- out opening of the usual landscape shape which is made easily reversible, so that its greatest length can be instantly brought either vertical or horizontal and this does away with any need for two finders. With 23 a camera that requires turning round to Advantage of a suit the subjea there is the Square Camera, ^j^j^ mistaking the pOsition of the shutter in taking a hasty shot, but a square camera is always held the same way up and the shutter release consequently comes handy in the same position, as ready to the touch as the trigger of a gun. With a finder of this description it will be evident that the camera must be held face high when making Position of , . - . Camera when CXpOSUrCS, thlS bcmg aU Photographing. important point in helping US to obtain truthful results and one I have always contended for. With the sunk finders the position of the camera — held under the arm or against the chest or side — is unnaturally low, so much so that the perspeftive thus given Perspective. differs greatly from that seen at the average level of the eye. I hold the camera close against my face with the top left-hand corner touching my nose and upon closing the left eye the finder comes exaftly opposite the right, or this position may be reversed at will. The description of this miniature equip- ment will be complete when I add that the camera, lens and six double-backs fit into a sling satchel which will also carry a light 24 changing-bag and reserve packet of plates when off for a long day's Full Equipment for a work ; or I sometimes use a Day's Work. fishing-basket with suitable divisions added, lined with green baize, and carry a bamboo tripod (in a fishing-rod case) which occasionally becomes valuable in landscape work if the light should fall off too much for the shutter. But for Work near work ucar homc I discard Home. \)Qt\i satchel and basket, one slide being always in position in the camera and the rest in my different coat-pockets, easily get-at-able, in their numbered con- secutive order, as required. In the usual run of work a dozen exposures will be Number of Guough to provldc for, but we Exposures. occasioually expeft to require many more. I have made twenty- seven exposures in a day's work amongst the rivers and mountainsof North Wales — not random shots, but every subject care- fully composed and waited for Careful Work. , i- f . as the lightmg or groupmg of moving objects might require — and on the coast have often far exceeded this number without by any means exhausting the con- tinuous changes in lighting, tide and cloud effedls that a few hours will produce. If a changing-bag is considered too trouble- 25 Double Backs ad lib. some, the number of double-backs may be increased at a small outlay, there being several excellent makes now offered at wonderfully cheap rates. They are machine-made but none the less serviceable and light-tight on that account : a set that I have had in hard wear for over five years is still as good as ever. Hobby-horses — Church^Stretton Fair. It must not be thought that I favour a lavish expenditure in plates simply because Results-Quality ^^cy are so small and cheap, not Quantity. principle that if exposed by the gross a certain small percentage of results will turn out trumps. On the contrary, I submit that the earnest 26 worker will soon learn to use his powers Careful seleftion just as fully as if Seie^ion. ^sing a large camera, the proportions of his successes and failures being just what he choses to make them. If any readers should be dubious as to the results of this method of working, I answer that my small direft prints, averaging 3X2J inches, have taken awards at exhi- bitions at home and abroad — not only in hand-camera classes, but in open landscape and seascape without size limit — and I refer to this in no spirit of opinionated egotism but simply as direft and conclusive evidence of the value of the method advocated. Before proceeding with a few hints on aftual practice, a passing reference must be made to that other class The Kodak. of hand-cameras, not yet touched upon, with roll-holder of continu- ous film and represented by the Kodaks, in the perfeftion of which the Eastman Company has gained so deserved a repu- tation. For the traveller and long-distance tourist requiring the readiest means for making a great number of exposures it is impossible to imagine anything more con- venient or complete and for this special purpose they are of the greatest possible 27 value. It would be a mistake to use the roll-holder for only a few and occasional shots on account of the complications involved in cutting off and re-adjusting the film ; for such work double-backs are infinitely to be preferred and the option of using them is provided for in some patterns of the instrument. My work would be incomplete without a reference to yet another form of camera only recently introduced and The Frena. *^ *^ which includes features en- tirely novel and distindl from any other make. This is the Frena which may be described as a hybrid between the ordinary magazine and Kodak types. It carries 40 cut films fitting closely together without sheaths and the changing arrangement works with great ease and certainty. Each change of film is automatically registered and any exposure can be readily got at for development as required. This point, alone, places the Frena in the foremost rank of magazine cameras, and for the long- distance tourist its extreme portability, combined with its capacity for so many exposures, renders it pre-eminently useful. Success with the hand-camera depends in a great measure upon the amount of nerve and presence of mind that can be 28 brought to bear upon the work. In making snap-shots — as thev are now Nerve. ^ generally called — the value of a quick eye and steady hand is fully as great as in sport of a more murderous character ; any attempt at hurrying should be avoided and haste made only Judgment. A Welsh Mountain Path. most deliberately. Much judgment is also often requisite in determining the critical moment for ex- posure, it being uncommonly easy to shoot " either just too soon or too late. In photographing seascapes many landsmen may not have noticed that every fifth or sixth wave rolls in very much heavier than the others; this Seascapes. 29 should be waited for and the eye at the same time kept fully occupied in watching the more distant rollers, until the moment when they combine in adding balance and point to the subject. The sky should also In Prior Park, near Bath. be carefully watched, for on windy days the clouds come up and Clouds. . recede so rapidly that only a few seconds will often make all the differ- ence between success and failure in securing some happy combination. It is 30 in such subjefts as these that the hand- camera holds its own ; by its aid work can be accompHshed in a gale of wind which it would be sheer folly to attempt with a heavy camera on a stand. But rough weather is not the only enemy of the tripod. Moving figures have much to answer for in having hastened the evolution of the hand-camera. Before its advent photographs of street scenes, Street Scenes. . for instance, were, more often than not, sadly marred by the stiffened and generally unnatural posings of the numerous passers-by who would so frequently insist upon being included in the pifture. The desire to overcome this and similar annoyances has had much to do with the rejection of the tripod, with the result that we are now able to secure natural and effective groupings of street life and charafter, including all the ^'go " and bustle of the fast-moving traffic. In this work, especially, the value of an open- view-finder will be greatly appreciated, for it enables us to see outside our field of view and easily detect any approaching figures on either side, thus avoiding the inclusion of many an ugly hat or head and shoulders which are so often found in subjects taken with a reflecting finder. In photographing from an open window the hand-camera is again often most valuable in allowing us to Window Shots. lean forward and reach a view-point quite beyond the range of a tripod. Or again, in open landscape, subjects are occasionally met with, where Open there is positively no resting Landscape. j-Qom, but whcre wc Can cHmb on to some projecting rock or other vantage ground and once more prove the superiority of our pocket-camera. The advantage it affords will be obvious enough when working along the banks of some mountain torrent and Moving Water. taking shutter-shots of the surging stream as it rushes foaming over the boulders, the actual motion of the water being most realistically reproduced and very different from the poor streaky effeft of a cap exposure. To take another and important aspeft of the case, on the ground of economy in working, this miniature cam- Economy. era stands unrivalled, the outlay for plates, developing trays and other requisites being reduced to a mini- mum, and in comparison with large sizes the difference in expenditure for plates will be strikingly apparent. 32 The question of plates or films is worth some consideration, even for this small size now that the latter Plates or Films. have attained such perfection. When first introduced, celluloid films were frequently subjeft to various most annoy- ing defeats in the way of spots and mark- ings in the film, but these have now practically disappeared with the experience brought to bear in their Celluloid Films. manufacture. The films lie quite flat in the developer, the general manipulation being exaCtly the same as with plates, excepting as regards fitting in the dark slides. In washing they may be placed either singly or in pairs, back to back, in the grooves of the usual tank, and they dry readily and safely Drying Films. J J J J when suspended by means of small metal ticket clips, or pinned by one corner to the edge of a shelf. When dry there is no fear of curling, only a slight curvature, and they are best stored in books having strong cardboard leaves. In printing from film negatives, the frames will require fitting with pieces of plain glass. The most fiidicult point to get over was the question of holding them flat in the camera. With two metal carriers for 33 each slide, the weight remained about the same as when using glass plates, and mill- board was but little better, the advantage of the light celluloid being just out- balanced. To avoid this, I at last hit upon the expedient of utilizing sheet cork, c 34 and being an old entomologist, I hunted Cork Carriers some pieces used for lining for Flms. Jnseft boxes, which proved to be just the right thickness. After cut- ting to the 3^ inch square shape, I glued a sheet of very thin card upon one side only of each piece of cork, and left two opposite ends of the card projecting a bare eighth of an inch, these being folded over flat, and all finished off with a double coat of dead-black varnish. In filling the slides, a film is put in face downwards, then the cork division with the overlapping card edges uppermost, into which the second film is slipped face upwards, the slight curvature keeping it in position, and the slide is then readily shut down and fastened, when the films will be found to be perfeftly flat and in correft register. Slides in which the metal division is hinged would, of course, require this to be first removed. There are special makes of film-slides now in the market requiring no such con- trivance as I have described, but those having the old forms of double-back will find it very convenient to adopt my sug- gestion for carrying films, the weight being so slight that it is difficult to realize that the slides are ready charged. I find 35 this plan to answer admirably and com- mend the idea, free of patent, to our enterprising manufadlurers. When it is remembered that a gross of Compac5lness p, i • ,i and Portability hlmS Will paCK in the SpaCC of Films. 1 r 1 of two packets of plates and weigh less, and that the quality of the films is now all that can be desired, there being no praftical difference in the work- ing between them and plates, and no risk of breakage, it seems more than probable that as their virtues become better known, the demand for celluloid films will advance by leaps and bounds, enabling the makers to offer them on equal terms with glass plates. An important point for decision is the speed of the plate or film to be used. Rapidity of Makers have recently been Plates or Flms. ^^j^^ ^^^-^ UtmOSt tO prO- duce emulsions of great sensitiveness, and have succeeded in attaining a rapidity hardly dreamt of a few years back. For practised hands they open up a field of work on dark days and badly-lighted subjects that, without their aid, would be simply impossible, but the development of such plates is an art in itself to be left to the expert, the beginner in hand-camera work — if he is wise — contenting himself 36 with a much lower speed which will cover all his requirements until he has thoroughly mastered the treatment of these slower plates in the developer. Matters will be much simplified by keeping to one uniform rapidity for general work, rather than mixing up different grades in our dark-slides, which often Low Tide — Conway Bay. leads to awkward complications and mis- takes unless very careful notes are kept. If a speed is chosen that will be fast standard of ^nough for the weakest light ^p^^^' are likely to expose in, any increase in light is readily counter- balanced by a proportionate stopping down of the lens. The standard of 37 speed I advocate is represented by the " Ordinary," and will be found to yield most excellent results in all classes of work with the shutter working as I have pre- viously indicated. The following examples Exposure ^ill be uscful as guides in Guides. exposure : — In brilliant sum- mer sunshine, between ii and 3 o'clock, The'Turn of the Tide — Conway Bay. for general landscapes, including fore- ground shadows, the lens may safely be stopped down to //12 ; for very open landscapes, with distant mountains and no heavy foreground, //22. In marine work, //32 will give very full exposure upon sea and sky, the aperture to be 38 somewhat increased when shore work is included. For snow scenes, under the brightest mid-winter sun, between ii and I o'clock, //i6 will suffice. Any variation for different seasons of the year or hours of the day can be easily approximated from the foregoing examples and provided for by a simple proportionate increase in the lens aperture, it being noted that the stops given mark the limit of minimum aperture in each case. For those who are well versed in con- trolling development, there is a marked Latitude in advantage in erring on the the above-named apertures for landscapes may often be exceeded without risk of loss, the latitude in exposure being prac- tically without limit, provided the plate has received sufficient and due precau- tions are taken in its development. These remarks apply only to plates of medium speed and of the standard referred to, the latitude diminishing greatly when extremes in rapidity are reached. Isochromatic more generally used as their value becomes known. A little more care in the amount rather than the quality of Exposure. side of over-exposure, and Isochromatic Plates and Films. plates are at last coming to the front, and will be still 39 the dark-room lighting is the special feature to be observed in developing them. I find no necessity for the use of deep ruby, as laid down by the makers. Three thicknesses of yellow fabric with the light turned down low, and not allowed to strike the film direftly in the earlier part of development, will be found quite safe, and far more comfortable for the eyes. For the more faithful rendering of colour gradations in foliage, even in the greens, but especially in the yellows and reds of autumn ; or for the golden sea-shore , sands, or when the waning light is rapidly yellowing ; or in cloud photography with our camera direftly facing the setting sun, or in recording all the delicate tints of clouds against a blue sky, they give a wonderful scale of tone and are a long way in advance of ordinary plates. iVs the makers say, they do what the latter can and much more besides, and by adopting them we shall be prepared for many otherwise difficult or impossible subjects which their colour-corredling properties enable us to overcome. For Atmosphere. i • i r penetratmg a thick fog they are really wonderful, and this reminds me that where effefts of haze are aimed at, they are better avoided. In the rendering 40 of ^* atmosphere," there is nothing to beat an ordinary thinly-coated plate. Having so far endeavoured to smooth the way up to exposure in the camera, we now approach the subjeft of develop- ment, which is far too exten- Development. sive to be treated at all fully in these pages, but a few hints may be of service in helping the young worker upon his road towards success. My own strong predileftion is in favour of our good and well-tried friend, pyro, in conjunftion with which as the accelerator I much prefer ammonia to any other Good Old Pyro. ^ . alkali, the changes that can be rung upon these media being praftically limitless. The formula followed should be that of the maker of the plate or film used, but — and this is distinctly important — the direftions for use, as mostly given, require considerable modification in prac- tice. The instructions to take equal parts of each are, it must be remembered, intended for correft exposures only, and, as it is next to impossible to determine our correctness or otherwise until applying the developer, it is evident that we shall be safer in adopting a more cautious method of working, and one that will adapt itself to our principle of giving full. 41 and even considerable over, exposure. Control of The application of the full Developer. strength of the developer would, in such cases, inevitably lead to failure, the image rushing up and probably vanishing in fog without giving a chance of putting a check upon its powers. Our Moonlight — Conway Bay. aim must be to acquire complete control of our plate, this being secured by tentative development which, if not scientific or in accordance with theory, is eminently satis- factory in praftice, and will lead to the attainment of a certainty in results un- 42 equalled, I submit, by any other method. Our mode of procedure then shall be to commence with one fourth only of the ammonia or other alkali employed, adding the remainder in fourths as may be re- quired. Many of my exposures are fully developed with only half the normal strength of the accelerator. If the ex- posure proves to have been much over- done, the first small dose of ammonia will probably bring the image up to the required density without further addition. A very convenient plan is to keep a Dry Pyro. . • i i • plain sodic sulphite solution, and add the pyro dry, keeping a bone spoon for the purpose. Experience is readily acquired for measuring it with sufficient accuracy. Full strength pyro for shutter shots is very apt to yield black and white negatives, with but a poor range of half-tones, and it is often most advantageous to commence with less than the normal amount. In hoar frost and snow scenes or any subjects having great contrasts, the proportion may be reduced to J grain per ounce until the shadows are well out and then pile it on, when the density will come up evenly, and without any blocking of the high-lights. Clouds in landscapes are thus kept back to their 43 correft printing density, and although again contrary to the views of some workers, this method proves, in my hands, so unfaiHngly successful, that I have no hesitation in recommending it. After some Kttle experience the careful worker will acquire the power of judging variations in Hghting with sufficient accuracy to allow of his safely applying the full strength of developer to very many of his exposures, always remembering that the proportions should be arranged to suit the degree of contrast he aims at securing. Even the most methodical Over-exposure. hand-camerist may be liable to an occasional slip in omitting to stop down his lens, the result being gross over- exposure which ordinary procedure in development, however weakly applied, is quite powerless to overcome, and would produce only disastrous failure. Some special means must, therefore, be sought for bringing under control the excessive aftion of the light upon the plate, and, within certain limits, the addition of bromide will have the desired effeft, but its aftion is inferior to and quite different from that of a citrate, the power of which has only to be known to be appreciated to the full. My attention was directed, many 44 years back, by Mr. T. C. Hepworth to the since learning their enormous powers in fog prevention and checking development, I have often wondered why plate makers so persistently ignore all reference to them in their developing formulae. The citrate of potash, soda, or ammonia may be used, the addition of a few drops of a lo per cent, solution working wonders, and, as an instance of its power, I quote the case of an exposure upon a brilliantly lighted seascape made inadvertently with full aperture — about twenty times too much — and which, by using citrate, resulted in a technically perfeft negative. Restraining Developer. great value of the restraining properties of the citrates, and Running into Port. 45 Amongst the numerous new developers that the last few years have brought to New front, hydroquinone has Developers. established itself in the favour of many, and deservedly so, for its all- i Common Objedls on the Sea-shore — Llandudno. round qualities (being a first-rate agent for lantern slides and bromide Hydroquinone. papers as well as negatives) make it most valuable for those who desire to simplify their procedure. The proportions of this developer may be 46 modified with advantage in the same way as recommended for pyro. The more recently introduced developers — amidol, metol, etc. — are hardly so suitable for be- ginners who should, however, bear them in mind for advanced work in special departments, after having made progress in their study of development. My notes thereon will be completed by drawing particular attention to the great Temperature of ^^^^ of temperature upon Developer. the solutions. Hydroquiuone, for instance, is practically inert at any- thing below 50 degrees, misleading the novice into the assumption that his dark- slide had not been drawn. With cold pyro a plate may show no trace of an image for many minutes, but development will commence almost immediately upon a well-exposed plate if the solutions are brought up to about 70 degrees, or the adlion is much accelerated by first taking the chill off the developing tray by means of hot water. The effeft of heat may be applied locally by pouring off the developer and breathing down a paper tube upon any lagging portions of the subject. Assunring that the reader has now grasped the principfes of negative making, and taking his knowledge of the hypo 47 fixing-bath for granted, it only remains to show what results he may expeft in the way of pictures. In the first Final Results. i i • i place let him by no means negleft completing a series of direft paper prints which, if mounted in Sunscape " albums, will form an interesting record of his successes — and failures. From the pick of his work he may reasonably hope to seleft a set of miniatures worthy of framing, and even — if so inclined — for public exhibition ; or, by printing upon opal plates, he may delight his wife or sisters by adding to the drawing-room bric-a-brac. Another great field of work opens out in the production of lantern transparencies, their use being mostly con- Lantern Slides. fined to projection upon the screen, but I would suggest to slide makers a more extended application of their work. Except when brought out to put through the lantern, the slides are usually kept carefully stored away, a great source of pleasure being thereby lost. I would urge that they be kept convenient for inspection in a lanternscope, or, fail- ing this, even in the hand. When held before an opal globe and viewed through a four-inch hand-glass, their beauties will be 48 fully appreciated by admiring friends, who will often prefer these small transparencies before paper prints many times larger. For full details upon sHde making, and Low Tide — Llandudno Bay. the very numerous paper printing pro- cesses — both print-out and by develop- ment — the reader may refer to subsequent issues of this series. I have left until last the consideration of what will probably be deemed the, ^ , . greatest pleasure and advant- Enlarging : ^ ^ and Adlan"tage ^ge to be derived from work- combined. ^^-^ ^^^jj (^^mera, and that is in the facihties it affords for the production of enlargements. We have 49 open to us a choice of two plans of work- ing : daylight may be utihzed by employ- ing the camera itself in the manner detailed in the many photographic annuals and instruction books published, or for evening work by artificial light we have the very simple alternative plan of bring- ing the ordinary optical lantern into use. The finest definition will be gained by fitting our little rapid rectilinear lens to the lantern, or the lantern lens may be used if provision is made for stopping it down when making exposures. But even full aperture gives excellent results when broad effects and the suppression of microscopic detail are aimed at. The chief charadleristic of a really good A Hazy Day — Llandudno Sands. D 50 enlargement is a general softening down of that uniform biting^ sharp- Soft Effe^s. . . ° . ness of definition which, until recent years, had come to be gener- ally considered the critical test of a good photograph. In aiming at softness in large work it should be borne in mind that the negatives for enlargement cannot be made too sharp ; they should not be dense but rather err on the side of thin- ness, with all possible detail. Photography eives us enormous power in Detail. ^ . ^ the rendering of detail, and the question of the proportion included must be left to individual taste and judg- ment duly exercised according to the requirements of the subject in hand. In a case of many large prints of one subjeft being required, we have the option of making an enlarged negative which it is obviously easy to produce from the positive lantern slide. Of all plans of enlarging, I claim for this one the greatest economy and ease in working, and yielding results fully equal to those obtained by any other method. In conclusion, I wish to disclaim any intention of laying down dogmatically my own method of hand-camera working as the best and only one to follow. On the 51 contrary, I am fully aware that there are numbers of men who proceed upon quite different lines in securing the same objeft. But what I do claim is that, for economy and convenience of procedure, my own plan at least cannot be beaten. I must not omit a word of advice to any who may be contemplating the purchase lens is a fixture and cannot be got at for cleaning. If a magazine is decided upon, let it be one which will work as perfectly carrying only one plate, as when it is fully charged ; and, most important of all, be sure that the camera is light-tight. Do not take the dealer's word for this, and start on a holiday without thoroughly Test before testing it. I havc met with much loss of time and temper — in addition to fogged plates — was occasioned through neglecting this precaution. A £^ 4s. magazine let in light badly at the chang- ing bag end ; the second had separate double backs, in which the slides drew right out and the light poured in ; and in the last, a ^^15 15s. instrument, light found its way through the lens flange. Each of these cameras had been sold as Purchasing a Camera. of a hand-camera. Do not choose a pattern in which the Buying. three notable cases in which 52 perfect and ready for use. Makers and dealers in the rush of business are not infalHble, and the moral is obvious. In bidding adieu to my readers, I can- not refrain from recording my protest against those workers who, A Protest. ... in abusing its powers, have already brought the hand-camera into off for Douglas— From Llandudno Pier. some disrepute, and I can only hope that no one reading these lines will ever make a snap-shot that would cast the least reflection upon good taste. My final words shall be taken from an article I contributed to an early number of the now defunft Photographic Quarterly : I have no wish to discourage the 53 1 earnest workers of large direft sizes. I ' would not intentionally add one ounce to I their already over-weighted impedimenta ! ; All honour to the men who, in the cause of artistic pifture making, are willing to continue the self-martyrdom that the heavy out-door porterage of their calling entails. But to those who may be looking The Bristol Channel. for an easier and, at the same time, very excellent way, I commend the method now advocated. I took it up with many misgivings, but these have vanished as experience has been gained. To those who follow in the same direction, I can confidently promise the opening out of a field of possibiHties quite beyond the scope 54 of a heavy camera, and assure them that they will never regret the time devoted to intelligent hand-camera work." FORMULA. For modifications in development see page 41. Pyro Developer. A. Sodium Sulphite 160 grains. Water to make 20 oz. B. Ammonia 880 J oz. Ammonium Bromide 100 grains. Water to make 20 ozs. For full strength developer take equal parts of A and B, adding dry pyro ad lib. Hydroquinone Developer. A. Hydroquinone 160 grains. Sodium Sulphite 2 ozs. Citric Acid 60 grains. Ammonium Bromide 20 Water to make 20 ozs. B. Carbonate of Potash 2 ozs. Carbonate of Soda (Crystals) . . 2 Water to make 20 For negatives, equal parts of each is full strength, and if diluted with the same 55 bulk of water this will be found an excel- lent developer for transparencies and bromide papers. This is my pet formula and gives a fine range of tones from warm browns, through the purples, and right on to black, both with albumenized and gelatino-chloride papers. The possible scale of tones depends in a great measure upon the quality of the negative, and for full instrudlions upon this and other technical details, the student is referred to the various photo- graphic manuals now appearing in '^The Junior Photographer" Series. Toning Bath. Powdered Borax . Tungstate of Soda Gold Chloride Distilled Water . 20 grains. 10 8 ozs. 56 I NDEX. PAGE. Advance of the Hand- Camera . . . . 7 Atmosphere . . • . 39 Carriers 34 Celluloid Screen . . 18 Choice of Camera . . 11 Clouds 15, 29 Compadness of Films 36 Control of Developer 41 Detail 50 Definition 18 Detedlive Cameras . . 10 Development 40, 41, 45 Diaphragm, Iris . . 19 Double Backs .. 13, 25 Drying Films . . . . 32 Early Worker . . . . 9 Economy 31 Enlargements .. 11, 48 Ever-readiness . . . . 15 Equipment for Day's Work 24 Exposure . . 37, 38, 43 Over . . . . 43 Exposures, Number of 24 Finder, View . . . . 22 Films . . . . 32, 34, 35 Focussing 18 Screen .. 17 Formulae . . • • 54, 55 Frena 27 Home, Work near . . 24 Hydroquinone . . . . 45 Isochromatic Plates or Films 38 Judgment 28 Kodak 26 Landscapes 31 Lantern Slides . . • • 47 Latitude of Square Plates 17 Latitude in Exposure 38 Lenses 19 PAGE Magazine Form, Dis- advantage of • • 13 Magazine Form, Often Left at Home . . 14 Nerve 28 Over-exposure . . • • 44 Perspedive 23 Plates 32 Pocket Camera . . 12, 14 Portability of Films . . 36 Position of Camera when Photograph- ing 23 Protest 53 Purchasing a Camera 51 Pyro 41. 42 Rapidity of Plates or Films .. .. 36, 37 Restraining Developer 44 Results 25, 47 Retrospedl 8 Screen, Celluloid . . 18 Seascapes 28 Seledion 26 " Semper paratus ". . 14 Shape of Pictures . . 15 Shutter, Exposure . . 19 Speed of . . 20 Size of Camera . . .. 11 Soft Effedls . . . . 50 Speed Standard . . 36 Spirit Level . . , . 21 Street Scenes . . . . 30 Square Camera. . .. 23 Swing Back . . . . 17 Temperature of Developer . . . . 46 Test Camera before Buying .. ..51 Tripod, Discarding . . 8 Variety of Cameras . . 10 Water 31 Window Shots . . . . 31 Advts.j Eastman's Kodaks. The most famous and most deservedly popular hand land tripod cameras in the world. Particularly recom- mended by War Correspondents, Engineers, and Travel- lers in all parts of the globe. Unequalled by any other cameras for compactness, lightness, capacity, and ease and rapidity of manipulation. No previous knowledge of Photography neces= sary. From I to loo pictures can be made without recharge. Rolls of film or glass plates can be used at will with the -Junior," -Folding," C Ordinary," and -C Day- light" Kodaks, and with the - Regular" and " Folding" Kodets. Prices from £i 6s. to £22 is. Illustrated Catalogue Free. Manufactured solely by EASTMAN Photographic^Materlals 115-117 Oxford Street, London, W. Paris: 4 Place Vendome. E [Advts. Shew's Hand=Cameras For Enlargements or for Lantern Slide Demonstration. The New 4=inch Cantilever Enlarging & Demonstrating Lantern Enlarges negatives 4JX3J to 24x18. Admits negatives up to 15x12 with adjustable stage. Exhibits lantern slides. Price - = « £4 4s. We recommend the above to the numerous users of our Hand-Cameras as an inexpensive means of enlarging from negatives 4J x 3 J, or from portions of larger sizes, as well as of exhibiting lantern slides. Many negatives, in some respeds unsatisfadlory for ordinary printing, become valuable records of the subjeds photographed by making lantern slides from them. The Russian Iron Enlarging & Demonstrating Lantern Lantern complete in case, £3 los. ♦♦♦♦♦♦♦♦♦♦♦♦♦4 See our Special List 0/ Optical Lanterns, /k^^ oai application to — SHEW & CO., NEWMAN STREET, LONDON, W. Advts.] Edwards's (Isochromatic and Ordinary) . 'Snapshot' Plates and Films. . . These Plates and Films are of extra- ordinary rapidity, and are made especially for Hand-Camera and other extremely rapid work. The Isochromatic Series are specially recommended as giving truer rendering of clouds and foliage. Mr. F. W. Hindley writes on Aug. 21st, 1894 : "Those Snap-Shot Films I took to Con- vention were splendid. Speed, Ai." Prices = 4i X3i Plates, 1/6 per Doz. . . Films, 2/0 Doz. 6J X 4| Plates, 3/8 ,, . . Films, 4/6 ,, May be had of all Dealers, or from the Manufadurers — B. J. Edwards & Co., The Grove, Hackney London, N.E. LAdvts. Price Twopence Monthly. Edited by Matthew Surface. Published on the _ _ Marvellously I St of the Month. Illustrated. The Practical Photographer . . . is devoted to the advancement of Photography, Photographic Processes, and the Graphic Arts. The latest discoveries and inventions are recorded in its pages. Specimen of Illustrations. Excellent Practical Articles. Valuable Cash Prizes. Up=to-Date Service of Notes. Frontispiece and Supplement Illustrations each Month. iSX Of All Dealers. Xo)^ Memorial Hall, Londor and The Country Press, Bradford. PERCY LUND & CO Memorial Hall, London, E.C.: Advts.] Price Twopence Monthly. Conduded by Matthew Surface, Editor of "The Pradical Photographer.'' Published on the _ _ Superbly loth of the Month. Illustrated The Junior Photographer . . . deals almost exclusively with the popular and elementary side of photography. Popular, yet Practical. Elementary, yet Progressive. Specimen of Illustrations. The Junior Photogfrapher . . . should be read by all who are taking up this profitable and interesting pastime. Best Writers. Splendid Illustrations. Novel Prizes. .XdX Of All Dealers. Xq>^ DrrDi-v T TTMPk Xr nr\ Memorial Hall, London, E.G., PERCY LUND & CO., Country Press, Bradford. Advts.] THE "GUINEA" Detective or Hand Camera. Showing Finder and Pneumatic Attachment. Size : 9x6^x5. Weight about 3 lbs. The Two Guinea Detective Camera. We are Sole London Agents for above. Also for Messrs W. Griffiths & Co 's Lantern and En= larging Cameras. Full particulars of above sent Free on Application. Also of the Anschutz Hand Camera, Field Hand Camera, and Congress Lens. Also Sensitised Paper, New Matt Paper (Bernard Alfieri's Formula), Dark Rooms and Developing Sinks, of which we are makers. The BLACKFRIARS Photographic and Sensitising Co., Offices and Works— 1, Surrey Row, Blackfriars Road, London, S-E. Advts.] ESTABLISHED 1830. Oold Medals & Highest Awards at all Great International Exhibitions. Four Awards at World's Fair, Chicago, 1893. NEW CATALOGUE POST-FREE. Ross' New Rapid Hand-Camera Lens, F.8. For Finest Work always employ ROSS' LENSES These celebrated Lenses are used by Photo- graphers in every part of the world. Over 50,000 have been sold, and intending purchasers are invited to send for a Catalogue before purchasing any other brand. ROSS-ZEISS Improved Anastigmatic Lenses. Manufactured by Ross & Co. in five different series. Suitable for all classes"of work. These excellent Lenses are carefully calculated for the finest work, and finished in Ross & Co.'s well- known style. Full particulars free on application. ROSS-GOERZ New Double Anastigmats. These new Lenses give splendid |definition with aperture, and embrace a wide angle of view. Manufactured by Ross & Co. in two series, F.8 and F.I I. catalogues free. TJ^QQ O r^fS 111, New Bond St., XiUOO Ot \J\J.^ LONDON, W. The Oldest Manufacturing Opticians in England. G [Advts. flORNTON-MKARD TIME and INSTANTANEOUS Largest Sale IN THE World. Is both Theoretically and Pradtic- ally the Most Efficient in the market. It gives any exposure, from fradtions of a second up to minutes or hours, without vibration. The same Shut- ter will fit two or more lenses. Price from 18/6. Speed Indicator, 3/6 extra. Focal Plane Shutter, from 35/-. Snap-Shot, from 10/-, THE THORNTON-PIGKARD CAMERA "RUBY PATTERN." The most complete and best finished Camera made. Shutter attached to front. Price, including Shutter, Stand, and Three Patent Plate Holders, from £8 lis. Illustrated Catalogue post-free on application, THE THORNTON-PICKARD MANUFACTURING COMPANY, ALTKINCHAM, near MANCH HESTER. Just Out. By Matthew Surface, Editor of ''The Practical Photographer'' and ''The Junior . Photographer.'' = Price Sixpence. = This, the Eighth Edition (43rd thousand) of this popular Handbook, has been entirely re-written, gives clear and simple diredlions on every operation connedled with photography, has a frontispiece in two colours, and is fully illustrated with upwards of 40 half-tone and other engravings. Percy Lund & Co., Bradford and London. Advts.] THE POCKET CAMERAS Herein described, Ebonite, and Improved Pattern in Alumininm, are made by J.T.MayMd&Co., 41, Queen Victoria St., LONDON. Particulars on application. [Advts. Percy Lund and Co.'s Albums Haunts of Memory Album. Cheapest Album published; for 12 J plate prints. 6d each. The Ordinary Panoramic Series for Unmounted Prints. Suitable for the pocket. Specially recommended for a series of views of any particular district. Admirably adapted for P.O. P. prints. No mounting required. Will hold 12 photographs at sight, and can be used for storing others by putting several on each page. Positively un- equalled for price and quality. I plate .. 6d. | Opiate.. 1/0 | Whole plate . . 1,6 The Antique Panoramic Series for Unmounted Prints. A superior quality to the above. Hand-made, old style cardboard leaves, with plain chocolate line. Very artistic in appearance. I plate.. 1/0 I i plate.. 1/6 , Whole plate .. 2/0 Albums for Snap = Shots To paste in. Cloth bound ; cardboard leaves of excellent quality ; lettered on front "Photographic Views." Made upright or oblong ~ I plate 1/0 each. I plate 2/0 „ Sunscape Albums. A new slip-in album with antique cream leaves, full boimd, gold edges, extra finished in four sizes, J plate.. HO I Cabinet.. 5/6 | i plate.. 6/0 Whole plate, 10/0. Portfolios. To hold unmounted prints. A handsome case, half-bound snake skin, complete with flaps and ribbons. Lettered Photographs" on front. To hold 6^x4! prints.. 1/0 each. 8^x6^.. 2/0 12 X 10 . . 3/ 0 ic OF ALL DEALERS. PerCV Lund & Co., country Press, Bradford; r ^ivj i^mmuL wu., Memorial Hall, EX. Advts.] Messrs. Iliffe & Son, 3, St. Bride Street, London, EX. Photographic Pastimes. A series of interesting experiments for amateurs. Novel and curious effeds with the camera. 8vo. Illustrated. Over 200 pages. (Postage, 3d.) i/o. Photography Annual, 1894. Edited by Henry Sturmey. A compendium of information and statistics for the year, together with 28 full-page examples of high- class illustrations. About 1000 pages, nearly 400 cuts. Demy 8vo. (Cloth, gilt lettered, 3/6). Paper cover (postage yjd.) 3/6. The Science and Practice of Photography. A thoroughly pra(5lical and exhaustive man- ual. By Chapman Jones, F.I.C., F.C.S. Fully illustrated. New and revised edition. Crown 8vo. (Postage, 4jd.) (Cloth, 3/6.) 3/6. IN THE PRESS. Short Lessons in Photography. By J. Ardaseer. A text book for the amateur. WRITE FOR LISTS. 'Z^* [Advts- PERCY LUND & CO.'S Photographic Publications. Poisons and Their Antidotes. A List of Photographic Poisons and the handiest Antidotes. Printed in plain bold type for the dark-room, on varnished card with suspendet. May save a life at any moment. Price 3d. post-free 4d. The Pocket Exposure Note Book. Convenient size for the waistcoat pocket, ruled and printed for nearly 300 exposures Spaces are provided for No. of Plate, Date, Sub- jedt, Light, Plate, Lens, Stop, Hour, Seconds, and Remarks. 3^ in. X 3 in. 90 pages. Bound Cloth. 3d. The Pocket Exposure Note Book. Superior edition. With pencil, sockets, and leaves for memoranda. 6d. The Practical Photographer's LabebBook. Book containing 128 labels, varnished on front and gummed behind. The labels for poisonous chemicals have the handiest antidotes indicated in bold type. 8vo. 6d. ; Post-free, yd. '* This is certainly the best label book which has yet been issued." — Amateur Photographer. " It is a good thing." — Photo Review of Reviews. '* One of the most useful that we have seen." — Hand Camera and Lantern Review. The Country Press, Bradford ; & Memorial Hall, London, E.G. Advts.] PERCY LUND & CO.'S Photographic Publications. The Stereoscope and Stereoscopic Photography. Translated from the French of F. Drouin by Matthew Surface. Contents: Binocular Vision: The Perception of Relief— The Pseudoscope. The Purpose of Judgment in Vision— The Telestereoscope and the Iconoscope — The Stereoscope — Pano- ramic Stereoscopes. Various Combinations — Examination of Stereoscopic Picftures without a Stereoscope — Stereoscopes of Projedlion — Obtaining Relief by a Single Pidlure — Applications of the Stereoscope— Stereoscopic Photography — Stereoscopic Photography by Displacing the Obje<5t — Stereoscopic Photo- graphy by Successive Exposures— Stereoscopic Photography by Simultaneous Exposures — Stereoscopic Photography without Lenses — Stereoscopic Photography by Artificial Light — Stereo- scopic Negatives— Stereoscopic Positives — A Few Words of History. Crown 8vo. i8o pages. More than loo illustrations. Price i/6; post-free, 1/9. " This book ought to be sold by every optician." — The Optician, "The information given as to the various forms of stereoscopes is very complete. The book is well illustrated by numerous diagrams and process blocks." — Amateur Photographer. Practical Essays on Art. By John Burnet. I. Practical Hints on Composition. Contents: Com- position — Angular Composition— Circular Composition. II. Practical Hints on Light and 5hade. Seven full- page plates, with descriptive letterpress, given in this Essay. III. The Education of the Eye. Contents: Measure- ment — Form — Perspe(5tive — Lines — Diminution— Angles — Circles — Aerial Perspedtive. 180 illustrations, including examples by Cuyp, Rubens, Potter, Ostade, Claude. Metzu, P. de Laer, Wouvermans, Raffaelle, Dominichino, Rembrandt, Gerard Douw, Correggio, Michael Angelo, and other eminent masters. Crown 4to. Strongly bound in neat red cloth. 132 pages. 2/6. Post-free, 2/10^. "The public— especially the art-loving public — owe a debt of gratitude to Messrs. Percy Lund & Co. for having placed the Essays within the reach of everyone, by publishing them, colle(5ted under the title of Practical Essays on Art,' strongly bound in cloth for half-a-crown. ' — Morning Leader. The Country Press, Bradford ; & Memorial Hall, London, E.G. [Advts. PERCY LUND & CO.'S Photographic Publications. A History of Photography. Written as a Pra(5tical Guide and an Introdu<5lion to its Latest Developments by W. Jerome Harrison, F.G.S., with an Appendix on the Discovery of the Gelatino-Bromide Process. This work treats on the origin of photography and the earlier processes, together with the inventors and introducers of these different systems, taking the readers through the Daguerreo- type, Calotype, Collodion, Collodion Emulsion, and so on, up to the days of the displacement of Collodion by Gelatine. A History of Photographic Printing Processes also forms a portion of the book, with a History of Roller Slides and Negative Making on Films, and a Brief Record of other important phases in photo- graphic work. It concludes with Biographies of Niepce de St. Vidtor, Sayce, Abney, Woodbury, H. P. Robinson, Poitevin, Traill Taylor, and Russell. Demy 8vo. 150 pages. Paper, 1/6 ; Cloth, Post-free, i/SJ and 3/9. The Evolution of Photography. By John Werge. With a Chronological Record of Dis- coveries, Inventions, etc., Contributions to Photographic Litera- ture, and Personal Reminiscences extending over forty years. Crown 8vo. 312 pages. Illustrated with 10 collotype portraits. Neatly bound cloth. 3/6 ; Post-free, 3/9. "The book is full of interest, even for the general reader." — Graphic, Bromide Paper. Instructions for Contact Printing and Enlarging. By Dr. E. A. Just. Also includes extensive sedtion on " Enlarging by Projec- tion." by Dr. Just; "Warm Tones in Bromide Prints,'' by W. Ethelbert Henry; Table of Foci; and copious Index. New edition. 156 pages. With Bromide Paper Frontis- piece and upwards of 30 illustrations in the text. Price i/o ; Post-free, 1/3. " A more useful text book it would be hard to find, for every detail of contadt printing and enlarging is fully treated." — Pacific Coast Photographer. "There is really nothing omitted worthy the attention ol the bromide printer.'' — Photographic Times " The most exhaustive monograph on the subjedt yet issued, no detail conne(5led with bromide printing and enlarging being omitted." — British Journal of Photography . The Country Press, Bradford ; & Memorial Hall, London, EX. Advts.1 For all Snap-Shot Work The Developer is Poweirs Compressed Pyro and Soda It is very Compact and very Soluble, and gives Negatives of the highest possible excellence. 1/0 per Box of 2 Bottles; by post, 1/2. -I- 4- + Pull particulars on application of all my well-known Compressed Developers and Toning Baths. All the best Photographic Dealers stock them. -f -J- + T. H. Powell, Photographic Chemist, ii6, Denmark Hill, London, S.E. [Advts. Like a Pack of Cards! The FRENA Flat ^ carries 40 Films. It has a Beck Lens. It can he used with success by the entire beginner or the photographic expert. .* Every Camera is sent out with a handbook giving such full partic2ilars that no further instruction in its use is reqjiired. R. & J. BECK, 68, Cornhill, London, West End Agents— London Stereoscopic Co., VondoW i