PHOTOGRAPHIC APPARATUS
Edited by George E. Brown
0112218986969
ARCHIVES AND RESEARCH CENTER
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PHOTOGRAPHIC APPARATUS
MAKING AND ADAPTING
Reprinted, with numerous additions, from articles in “ The Photogram”
BY
FRED. W. COOPER, D. W. GAWN
AND OTHERS
EDITED BY
GEORGE E. BROWN, F.I.C.
(JOINT-EDITOR OF ‘‘THE PHOTOGRAM ’’)
180 DIAGRAMS AND WORKING SKETCHES
TENNANT & WARD
a7 POUR MH AVENUE
NEW VOR K
University Libraries
Texas State University
San Marcos, Texas 78666
PROT@OCGR ARM CG “Alera Adgleis:
TOOLS AND MATERIALS,
Ir is impossible to include in this book any complete treatise on the
use of tools, and on wood-working. In some of the sections, where it
seems necessary, references are made to special tools or methods, and
there are also occasional hints and particulars about materials. The
following brief notes may help some photographers who are not very
competent amateur carpenters, and for further instruction they are
confidently referred to a series of little books on useful arts and
handicrafts, published by Dawhbarn & Ward, Ltd., at sixpence each.
The most useful of these are “Tools and How to use Them,” which
gives instruction for keeping tools in good order, for making tools for
occasional purposes, etc. ; ‘Glue, Gum, Paste, and Other Adhesives,”
which gives, amongst other matters, instruction in veneering; and
“ Dyes, Stains, Inks, Lacquers, Varnishes, and Polishes,” which gives
instructions for wood-staining and polishing most useful to the
apparatus-maker.
In buying wood it is well to realise that as photographic apparatus
uses very little material in proportion to the labor, it is false economy
to take poor stuff for the sake of cheapness. In buying, remember
that your little requirements are very tiny in the eyes of the timber-
merchant, or even the carpenter; therefore, buy the wood for as
many jobs as possible at one tame, and let the man see that you feel
he is doing you a favor. Tell him the kind of work for which you
want the stuff, and that it must be well-seasoned, straight-grained,
and as free as possible from knots and flaws.
For the larger apparatus, what is known as “ American white-wood ”
is the best an amateur can use ;' failing: that, some selected, straight-
3
4 TOOLS AND MATERIALS.
grained deal. For the finer work it is often possible to buy pieces
from a cabinet-maker, which, although dearer than if bought
from the timber-merchant, will be seasoned beyond reproach ;
and if you have access to a pianoforte. builder, and can get
him to supply you, you will have the very perfection of seasoned
wood,
The tools required (or desirable) are :
2 hammers, one fairly heavy and one light.
1 fine tenon saw; and, if much work is to be done, a hand-
saw.
1 smoothing-plane, and if possible a trying plane also.
1 screw-driver.
1 large bradawl, for use as driver for fine screws.
1 pair pincers.
2 pairs pliers (fat-nose and hog-nose).
3 bradawls, fine.
1 or 2 wood chisels (say $ in, and 4 in.).
2 nail-punches, including one very fine.
1 vice, fixed to a bench or good table.
1 rasp, fairly fine.
I file, fairly fine.
1 countersink.
Glass paper in various degrees, and a papering-pad of cork or soft
wood.
Also ; if brass-fittings are to be occasionally made :
1 Archimedian drill, with $ dozen small bits.
1 fret-saw frame, with fine saws. :
1 smooth file.
Emery cloth, in various grades.
The necessary nails and screws depend upon the particular work
in hand. For fine camera-making, brass screws should be used ; and
holes for them should be carefully prepared with bradawls only
slightly smaller than the shanks of the screws. The iron wood-
screws used for heavier work should always be greased with saltless
fat (suet or cocoa butter, for instance) before driving. In buying
these screws, have them as long as the work will well allow, and not
too thick, In amateur work, there is a tendency to use screws too
short and stout ; and most tool-dealers, if simply asked for screws of
a given length, will supply them rather stouter than is best for such
work as we are contemplating. In ordering, state the number as
well as the length.
TOOLS AND MATERIALS. 5
Length. No. Length. No. Length. No.
t+ inch 0 or 00 $ inch 3 1? inch 8
Bs @ @ il oe 4 Ore) 2 inches 8 or 9
$y i Ie gy = Bor @ 24s; 9 or 10
Bo 2 ee leon © eee ee lll son tS
Round-headed screws, or mushroom-headed screws, which are
flatter, are useful in camera-making where the screws have to go
through the leather, and they should be of brass, but black japanned.
Cheese-headed screws are useful for the same purpose, and if not
bruised in driving are, I think, even more distinguished-looking than
the round-heads.
Dowel-screws, or double-enders, are useful for joining two pieces of
wood end to end. The screw is first driven into one of the pieces,
and the second piece then screwed on to it. When necessary to
make an end-joint and not possible to halve, or tongue the pieces
into each other, a dowel-screw and a good coat of glue will make a
very strong joint.
The nails best for the work now in view are “American” wire
nails, which, whether of British or American make, are superior to
“French” wire nails in having their heads but very slightly larger
than their stems. They may be obtained in any length that is
required for photographic apparatus. In the very small sizes these,
or gimp-pins, are superior to tacks; and for the very finest work,
gilders’ points are useful. These are simply steel needles, like
sewing-needles without eyes. They should be pressed, rather than
hammered, into the wood, and with care they can be used where the
most carefully driven tack would split the stuff.
THE STUDIO AND STUDIO FITMENTS.
A COMBINED REFLECTOR, SCREEN, AND BACKGROUND.
In pictorially photographing flowers, fruits, or, indeed, any’ other
of the numerous subjects with which one has commonly to deal,
quite apart from what may be termed purely out:door work, there is
often a considerable difficulty in effecting that harmony and blending
of object with background which, in many instances, is essential to
the end in view. The reason for this is principally the complex and
subtle color effects characteristic of subjects such as alluded to, and
lack of variety available in the backgrounds. Simple method of
constructing a series of small backgrounds for such subjects is here
Geely Gas
described. The apparatus will be found equally useful as a screen or
reflector for portrait work. For the framework, then, as represented
in figs. 1 and 2, front and side views respectively, the initial require-
ment is the ring (7). In the present example this is 2 ft. 6 ins.
in diameter, and is easily obtainable, being simply a child’s wooden
hoop. Of course, the measurements here and subsequently given
6 a
REFLECTOR, SCREEN, AND BACKGROUND. re
need not be rigidly adhered to by any means; but, if departing
therefrom, it is advisable to work approximately to the proportions
laid down. Every endeavor should be made to procure the hoop,
and, in fact, all other requisite material, as light in weight as possible,
or when completed and erected on its stand the apparatus will
be “top-heavy,” and somewhat unstable, unless the objectionable
alternative of employing counter-weights is adopted. With reason-
able care, however, this will be obviated. Diametrically across the
hoop or ring, as at (d), is attached a piece of dry yellow deal, about
4 ins. wide by barely $ an inch in thickness when planed, its ends,
of course, having first been cut to an arc, the radius of which equals
that of the ring inside. Four 14-inch screws (two at each end), will
serve to secure these two portions firmly together, and the whole
may then be subjected to a thorough rubbing down with glass-paper.
For reasons hereafter obvious, the ring must be rendered as smooth
and free from splinters as circumstances will permit.
The baseboard (6) is a piece of wood, preferably mahogany, 6
ins. square by # of an inch thick. In the centre of one side, after
all edges and corners have been smoothed and rounded, a tripod-
screw socket should be fitted flush with the surface and secured in
the ordinary manner,
It is next necessary to procure the following detailed parts from a
gasfitter or ironware dealer, who, at the time of purchase, should be
requested to do the slight amount of screw-thread cutting on the ends
of the tubing the work of a very few minutes with proper tools:
One piece of 4-inch brass gas-pipe, 6 ins. long, screwed outside
at both ends; one piece of $-inch brass gas-pipe, 12 ins. long,
screwed as before ; one brass double-swivel piece screwed for $-inch
pipe; two brass ceiling or wall plates also screwed for 4-inch pipe.
Take one of the wall plates and with 2-inch screws fasten it to the
centre of the baseboard, the reverse side to that upon which the
tripod-serew socket was placed. To this plate (p) screw the 6-inch
length of pipe (2) and to the upper end of that the swivel (s), taking
care in so doing to have its axis horizontal. Now, to the centre of
the board previously affixed across the ring, screw the remaining wall
plate (p’), and, lastly, make connection thence to the swivel (s) with
the 12-inch length of pipe (U’). Screw up all joints tightly, and the
framework is finished.
The means of erection resorted to, as will probably have been
gathered from the drawings, is an ordinary tripod-stand, a thumb-
screw holding the apparatus thereon, exactly as in the case of a
8 THE STUDIO AND STUDIO FITMENTS.
camera. Should this tripod arrangement not be convenient, other
methods of erecting the framework to a desired height will, doubtless,
suggest themselves,
As regards the choice of textile fabric to be used for backgrounds,
more especially, of course, in relation to color, graduation, and design
for it is presumed that no painting is to be afterwards done it
will, perhaps, be best to say nothing in any way approaching
dogmatism, as 1t is a matter rather for individual consideration.
In fact, it presents an excellent field for the exercise of one’s artistic
ability and originality. Each piece of material selected must be cut
circular, about 10 ins. more in diameter than the frame, and around
its edge a fairly wide hem must be made through which to draw a
length (in this instance about 2 yds.) of strong elastic. When
inserted in the hem and its ends joined, the elastic will contract the
circle of fabric into a bag-lke form, its mouth, as it were, being just
snapped over the ring from front to back to make all ready for use.
Obviously the operation of replacing one such background by another
is simple and rapid enough. If desired a piece of tape may be
substituted for the elastic, in which case, clearly, it must be drawn
tightly and secured when the material is 2 s¢tw on the frame.
As a reflector, I believe the apparatus will prove itself particularly
useful, since both the directions and actinic intensity of the light
reflected can be regulated, of course, below that of the primary, at
will, according to the color of the fabric placed on the frame, and
the angle at which the latter is set. Practically, too, the same may
be said of it as a screen, its use as such being sufficiently evident to
need no further explanation. D. W. Gawy.
A. SIMPLE HEAD REST.
A very simple form is here described, and can easily be fitted to
any ordinary chair back. Two pieces of wood # in. thick, one 24 x
2 in., and the other 12 x 2 in., will be required ; also two 4-in. bolts
34 ins. long, and with two washers and a wing nut to each; also
an ordinary sash screw with the plates complete, sold with same.
This sash screw must be one of the long, thin variety, in fact, the
longest procurable, generally about 4 ins. The first-named piece of
wood should be shaped as shown in fig. 1; the dotted lines show
the original shape of the wood, and the black lines show where
cuts are to be made the two slots are to be 9 ins. long and 3 in.
broad, so as to allow sliding easily on the bolts when fixed to a chair,
A hole that will just allow the sash screw to pass through must
ROCK-WORK. 9
also be made at the top of this piece, as shown in fig. 1. The
second piece of wood should be rounded at the corners, and have
two 3-in. holes bored through, one
2 ins. from top, and the other 2 ins. igo sg
from bottom; this will leave a space
between the two equal to two-thirds
the length of the piece (see fig. 2).
Now take a small piece of wood, about
3 ins. long and 14 ins. broad, cut to the
fig 2 Scale lin -1/t
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put a little cotton wool in the hollow
part to form a pad for the head. The
plate, with threads in the hole, must
now be screwed over the hole in top of
longest piece of wood and one of the brass plates fixed on the other side,
so as to prevent wear, and keep the screw straight. To use the rest,
the screw is passed through this hole and into the head pad at back ;
the long piece of wood is fixed on to the chair to be used at the front,
and the other piece placed opposite this on the back. The bolts are
passed through the slots in front board, and the wing-nuts screwed up,
after adjusting the rest to the height required. One of the washers
should be placed under the head of bolt, to protect the sides of
slots in front piece, and another washer under back of wing-nuts to
protect the wood there. A coat of dead black, or any wood stain,
will give a finish to the article, the black being preferable, as it can
more easily be touched out of the negative, should any portion of it
accidentally appear therein. Fig. 4 shows the head rest as it would
Frep. W. Cooper.
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shape shown in fig. 3, and make a hole g 'lIi} sa
at the back about 1 in. deep, so that S iiifi
the sash screw will fit therein ght. ‘
Sew some velvet round this piece, and “ {fap
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appear in use.
ROCK-WORK.
That a realistic piece of rock-work is a most valuable adjunct to
either a private or business studio, goes without saying, and it is
especially useful to the amateur, because it makes such a splendid
change from the conventional chair or table.
Now you must choose before starting whether you transform your
boxes into separate pieces of rock or one solid mass.
Of eourse, the separate pieces. lend themselves to an immense
variety of combinations, but the drawback is that the plaster of
10 THE STUDIO AND STUDIO FITMENTS.
Paris is liable to get chipped; not that that matters in practice, but
they do not look so nice when broken.
Let us suppose, however, that you decide to make it in one piece
choose your boxes, not too bulky, and nail them together with
the lids or open sides all one way, and, to use an “ Americanism,”
“just anyhow,” not squarely one above the other.
Then nail on some rough pieces of wood, all sizes and shapes,
even bunched-up newspapers will do, and as many old, large nails
with big heads as you can find, placing them in all positions as
before, “just anyhow,” to make the surface as rough as possible.
Now find your pieces of rag or canvas and place them handy, and
mix your plaster of Paris with water to about the consistency of a
heavy oil, and keep it stirred up. Place a few of your rags in this,
so that they are thoroughly soaked, then put them over the boxes,
ete., puckering them with your fingers to increase the rugged
appearance, or smoothing them out as you deem fit. Should there
be any point likely to come away use small tacks: a splash of
plaster will cover the heads.
You will now find that they retain the form given to them.
Should the surface not please you, or the marks of the canvas, etc.,
show through, splash on, before quite dry, with a soft, long-haired
brush, some more plaster, or lay it on as you please, then leave to
thoroughly dry. °
A more novel effect may be obtained by bunching the canvases
in such a way that they form pockets in which a small pot fern
may be placed, or a piece of moss may be fixed. Seaweed can also
be used, sticking a few limpet or other suitable shells and even stones
here and there; the plaster and turned-up edges of canvas will hold
them. Or they may be put on afterwards with the aid of a little
thicker plaster.
At this stage it still needs a finishing touch, which can be done
with white paint or a bright varnish when all is finished. A pool of
water is made with a piece of old looking-glass placed so that it can
easily catch the light. When thoroughly dry, obtain some boiled
linseed oil and lay it on with a soft brush all over. A coat or two
of boiling linseed oil, when the plaster is dry, and covered with a
thin coat of weak size tinged with red lead, will make a better
surface to paint.
It will now be ready to recéive a coat of stone-color paint, a
brush, not too hard, again being used; or you may paint or dis-
temper it to represent any sort of rock you may think suitable, so
FOCUSSING TUNNEL FOR CAMERA. il
as to make it somewhat of an ornament, as well as giving it photo-
graphic qualities. If you have used a large box or board for the
bottom portion it will now be easy to mount it on four castors, so
that it can be moved about with comfort. Be careful not to mount
it too high, or your grass-mat, if you use one with it, may not be
sufficiently deep to cover the ground line.
Now with regard to the sides not presented to the camera,
Whether you have left the lids on or not, many of them at least
will make useful cupboards in which you can place miscellaneous
articles. What would be the most satisfactory thing to do, though,
would be to utilise one side for the ferns, etc., and the other for
seaweed.
I may as well point out that all the boxes need not be of wood,
but cardboard, in fact anything that is light and suitable for a
foundation for our artificial rock-work.
In arranging the lights there is one thing to guard against, and
that is to see that the roof of the studio or other object not to be con-
tained in the picture is not reflected there, and do not forget that
much depends on a suitable background. GuoreE GILLING WATER.
FOCUSSING TUNNEL FOR CAMERA.
Most professional portraitists must have felt many a time that the
usual focussing-cloth of black velvet is not very ornamental in an
artistically arranged studio, and that the hair, unless very closely
cut, does not present a tidy appearance after focussing for one or two
exposures. Some time ago I discarded the velvet, using in its place
a square of thick art serge of a greenish-grey shade bordered with
a ball fringe and lined with sateen, and though this looks less
funereal it still rumples the hair and makes one feel hot when
focussing. In large studios it is possible, of course, to have a
‘‘tunnel” on castors, or fixed to a large camera table-stand, covering
the entire apparatus, and this is a most convenient way of focussing ;
the operator standing altogether in a sort of dark tent. But where
space is a consideration, or where one’s method of working renders
it necessary to have the camera frequently moved from one part of
the studio to another, something more portable has to be devised.
After a little experimenting, I constructed the following, which
provides a means of focussing without discomfort, as well as a lens
shade, an arrangement which condtces to an absence of veiling in
the shadows of the negatives. The camera was 12 x 10, and a board
was obtained about 22 ins. square, across the front of which a bead
12 THE STUDIO AND STUDIO FITMENTS.
was screwed to prevent the camera from slipping off when tilted.
At the places shown, holes are bored and bamboo canes about 18 ins.
in height fitted, one being set forward from the corner to allow for
the insertion of the dark slide. The bamboo frame is fitted on the
top of these four uprights extending far enough to shade the lens
sufficiently in front, and to afford room for focussing behind. So
much for the framework, which is screwed on the top of the usual
table of the studio stand. The arrangement of drapery over this
framework must depend to a great extent on the requirements of
the portraitist. My own arrangement is little more than the material
before-mentioned, covering the top and hanging down on each side
to about six inches below the baseboard. The front is, of course,
quite open, and the back closed in entirely by two curtain-like pieces,
which overlap each other slightly, and allow the head to be easily
inserted. Amongst other advantages, the shutter of the dark slide can
be drawn as readily as if no cloth covered it, whilst all the time
it is in almost entire darkness. For constructing the framework,
bamboo canes, which may be purchased, #? of an inch thick and
6 ft. long, at fourpence each, are most suitable. They are strong
and light, and if exposed to view anywhere are ornamental rather
than otherwise, and they may be readily joined by means of wooden
pegs or dowels. This idea in one form or another is no doubt being
used in some studios, but there are many others where such an arrange-
ment would be a great help. C. H. H.
A CHANGEABLE BACKGROUND.
As it is impossible to paint a new background for every special
case, some adaptable arrangement seems desirable. Instead of
washing the background, why not wash it off? This was easily
A BACKGROUND HOLDER. 13
tested a couple of pieces of wash-leather, some lampblack, a little
whitening, and a large canvas prepared for oil-painting. A sitter
the ever-handy brother was posed, the canvas fixed up, and what
appeared a suitable background rubbed on in black and white with
the two leathers, This proved so successful that
it seemed worth while to make a stand to hold 1
the canvas. A drawing of it is here given. i]
The only part that needs any explanation is the
fixing of the canvas in the stand. Each of the
two uprights has a groove cut right through,
while in the frame of the canvas are fixed, on
one side, two pegs to travel in one of the
grooves; on the other, one peg and the bush of a
large-winged screw. The pegs allow the canvas
to travel up or down, and the screw clamps it at
any desired height. The movement is practically iI
the rising front of a camera in a rough and ready
form. The only particular in which the one I
use differs from the sketch is that there is a box
fixed to the lower bar to hold the leathers and pigments. The size
that will probably be found most useful is about 6 ft. x 4 ft., as this
can be used for heads, half-lengths, or even three-quarter. Harry
W. Pops.
A BACKGROUND HOLDER.
The greatest advantage of the holder here suggested is one that
will not be fully appreciated until it has been experienced. It is
the power to lower the top as well as to raise the bottom of the
ground. Operators who have not had this advantage cannot realise
how great a boon it is, especially when working with children, and
how enormously it increases the effective value and practical variety
of a series of backgrounds. Often, with children, it is a great ad-
vantage to be able to dispense with a portion of the lower part of
the background and to lower the sky part so as to come into the
portrait without unduly dwarfing the little one. Again, how many
effective cloud-pieces there are which extend from, say, 5 ft. high
to the top of the background, and which make beautiful cloud or
graduate headgrounds if they can be lowered sufficiently.
The arrangement will be easily understood from the diagrams,
which are reduced from the original working drawings. The frame-
work consists of two stout uprights on feet with castors, stayed with
horizontal pieces, A A, and carrying four rollers, B, C, D, and E.
14 THE STUDIO AND STUDIO FITMENTS.
The backgrounds are attached, top to bottom, so as to form a long
continuous strip, each end of which is attached to a sheet of canvas,
about 6 ft. long, and of the same width as the backgrounds. One
of these sheets is nailed (or otherwise fastened) to the roller B, and
the other to the roller E, which we may call the reservoir rollers.
The rollers C and D are merely used as stretchers to keep the back-
grounds flat, tight, and upright. The roll of background passes from
B over C, under D, and on to E.
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The reservoir rollers are finished with grooved wheels which are
driven from grooved pulleys H and I (fig. 4), running loose on a
spindle. To the spindle is attached a handle F, and a cog-wheel J.
Each of the grooved pulleys carries a ratchet, K L, engaging in
opposite directions, so that whichever way the spindle and its cog-
wheel are turned one of the grooved wheels turns with it, while the
other runs loose on the spindle. Thus it is always the roller on to
which the background is being wound that is driven, and as both
the reservoir rollers are checked by a metal strap brake, to run
slightly stiffly, the background is always kept tight. In the earliest
form of the stand two handles were used, but the present form is
A BACKGROUND HOLDER. 15
much more convenient, The handle F is made with a drop-down
end, so that it lies close to the upright of the stand, and is out of
the way when moving the same.
Since the present stand was made a further improvement has been
suggested, which I should strongly recommend to anyone making
such a stand. It is that the driving wheels, H and I, and those on
the reservoir rollers, should be cogged, and driven by means of a
chain, such as is used in a safety bicycle, but much lighter. Light
link chains for such a purpose can be obtained from two or three
Birmingham firms who manufacture for the cycle trade, and at a
reasonable price.
The only objection that I have found to this stand, from those who
have seen it working, is the difficulty of joining the backgrounds so
that they will run true, without creasing or lagging at either side.
In actual practice this presents no difficulty. The photographer who
is using the stand lays two backgrounds, that he wishes to join, along
the side of his studio, using the wall as a straight-edge to get them
straight ; lets one lap two to three inches over the other, and glues
them together by the over-lap. I think that a still better joint could
be made by cutting the ends perfectly straight and at right angles to
the sides of the ground, butting them close together so that they
touch but do not over-lap, and glueing behind them a strip 8 ins, to
12 ins. wide of thin strong linen. The glue for this purpose should
have about an ounce of glycerine to each 4 ozs, of solid glue, to pre-
vent it cracking when rolled,
A useful, practical addition to this stand is a couple of small slots,
one at the front of each foot, to take a lath or narrow board, painted
or ornamented with stuck-on grasses and flowers. The top of the
board is cut to an irregular shape, so that
it shows no distinct line in the photogram,
and it serves to prevent the straight line
of junction between background and floor,
or (in this case) the shadow under the
lower guide roller.
Another very useful adjunct, though it
is no part of the background stand, and
can be used with any background, is a Fie. 3. Fic. 4.
wooden slope or floor-piece. It should slope gradually from almost no
thickness at the front to about four inches deep at the back, which
stands against the ground. “If it is wide enough (4 to 3 ft.), the slope
will be practically imperceptible, and will not interfere in any way
16 THE STUDIO AND STUDIO FITMENTS.
with the sitter. A carpet, grass-mat, or other fore-piece, laid on the
slope, will join up to the background much more effectively than if
laid on the floor.
No doubt, if such a stand were placed on the market by a firm of
photo-apparatus manufacturers, they would supply for it backgrounds
of considerable length, with half-a-dozen or more different designs
painted on one long piece of canvas, but even in that case there would
be the likelihood of wanting to occasionally add an extra ground, or
to replace a damaged one, so that it is useful to know that in actual
practice the joining presents no great difficulty. Aupx. L. Hamsuy.
A PORTABLE STUDIO.
For an open-air portrait the photographer has at his disposal certain
means of lessening the harshness of light and shade by screens and
reflectors, but it is not easy to vary at will the lighting of the model.
To surmount this difficulty I have designed a portable apparatus,
light and practical, constituting in itself a true studio, and being at
once screen and reflector.
It is simply a screen with three leaves, described as follows : The
centre leaf, A (fig. 1), serves as a background. It is entirely covered
with transparent material, but by means of rings and hooks artificial
backgrounds can be used. This leaf has a width of 5 ft., and a
height in the centre of 7 ft. 6 ins., and is shaped like a gable end.
2 wa
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The side leaf has a width of 5 ft. It is divided lengthwise into
two parts. The lower part B is 3 ft. 4 ins. in height, and is com-
pletely covered with a thin blue material. The upper part C is open,
and the space is filled either by ground glass, ribbed glass, or, better
still for lightness, by a white or bluish transparent gauze.
By means of inside curtain rods, small curtains, thin or heavy,
separated from each other, slip along the length of the screen, The
small leaves ID are secured to the side leaves by hinges; they are
furnished with glass or gauze, with the addition of little curtains on
rods, like the side leaves.
IRIN INO) IBIQAULID) AV SIP O/DIO). iy
The whole folds up like a screen (fig. 3), and owing to its extreme
lightness can be easily carried about.
It will be seen that by this plan the roof and sides covered with
gauze act as screens, letting a softened light pass through, and that by
means of the little curtains the light can be varied as in a studio.
The lower part of the side leaves acts as a reflector.
The apparatus once in place, the space inside (a square, 5 ft. long)
is enough to pose one person, and even two if needed. Such an
appliance is bound to be of service to photographers attending garden
parties and similar gatherings. Cu. Laqurux in The Photo Gazette.
HOW TO BUILD A STUDIO.
The first thing to decide on is the size of the building. This will
depend on several things the space one has, the kind and amount of
work he expects to do in it, and the amount of money he is willing to
spend.
These plans call for a building 21 ft. long, 14 ft. wide, and 9
ft. walls, which I consider a good size for all round work.
The following wood will be needed :
2 sills, 6 x 6 inches, 21 feet long.
2 ” ” ” 14 ”
15 floor joists, 6 x 2 inches, 14 feet long.
16 studding, 4x2 ,, g >
8 ae ”? a) 12 ”
2 plates, 5 ae ill e
16 rafters, es 3 9 99
3 braces, es a ae 5
600 feet drop siding.
400 feet common boards for roof.
400 feet matched flooring.
80 lineal feet 8-inch casing for cornices.
220 lineal feet 4-inch casing for cornice and sky-light frame.
3 8-inch sound cedar posts.
The posts usually come 7 or 8 ft. long; they should be cut in two,
and firmly bedded in the ground, with the top about one foot above
the surface.
Place one post where each corner is to be and one in the middle of
each side. It is understood, of course, that the side in which the
sky-light is placed should be to the north.
The sills, after being mortised, as shown in the plan, are placed in
position on the posts, and, after being levelled, securely spiked in place.
2
View in perspective not drawn to scaie.
i
0
J
Side elevation, broken part showing construction of frame.
Scale, % inch equals foot.
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D Seay UCLA
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Dark room |
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ee =e
Floor plan, broken part showing details of floor framing.
uapiamacunratntd| Soa |
Scale, % inch equals x foot.
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soft
s EL
Detail of Skylight
: ¥ full size
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2
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ose
Plan of rafter % full size.
Sills, 6 by 6.
Floor joist, 6 by 2.
Studding, 4 by 2.
Rafter, 4 by 2.
Cross-brace, 4 by 2.
Flooring, 1 inch thick.
Roof boards, 1 inch thick.
Rafter for skylight,"4 by 1.
Batten for skylight, 4 by 3.
Glass, 18 by 14.
Roof covering.
Post, 6 inches diameter, 3 feet long.
Batten, 1 by 13.
Batten, 14 by 4.
HOW TO BUILD A STUDIO. 1@
Mark off the two long sills in 18-in. spaces and place the floor joist
in position on these lines; some of the roof boards may be laid down
for a temporary floor. Next, take the two plates and mark them off
in 3-ft. spaces; lay one of them on edge on the temporary floor, with
the marked side facing, and about 94 ft. from, the edge, and place one
of the 9-ft. studding at each mark, the other end being over the sill
where they will stand when raised. Drive two spikes through the
plate into the end of each studding, when the whole frame can be
raised to position, the studding resting on the sill beside each
alternate floor joist, where they should be strongly spiked both to the
sill and joist. A temporary brace, from the top at each end to the
middle of the end sill, will hold it steady. The other side is raised
in the same way. The cross-braces are next put in position across
the top, one in the middle and one 4 ins. from each end.
The rafters are cut according to the diagram and put up a pair at a
time, omitting the one where the sky-light comes; the one opposite
the sky-light being fastened to a ridge piece 2 x 4 ins., 6 ft. long, set
in between those at each side.
The end studding can now be put in place, four on each end,
running up to the rafters. This completes the frame. The siding
and roof boards are now put on; the roof boards should extend 8
ins. over each end to form a cornice similar to the sides.
The cornice is cased in with 8-in. and 4-in. boards, and 4-in. boards
put on the corners.
The four sides of the sky-light opening should be cased in with 1-
in. boards 4 ins. wide (H+), allowing them to extend 14 ins. above the
roof. The four frames, or rafters (H?), which support the glass are
nailed to the casing at each end, with their top edges flush with the
top of the casing.
The roof covering is now put on. I would recommend the
amateur to use a good roofing paper for this purpose, as it costs less
and can be put on in one fourth the time of shingles.
Use plenty of nails in fastening it down 3 ins. apart is none
too close. In fitting it round the sky-light, allow the paper to extend
to the top of the casing and nail a batten (O) 14x} in. over it. A
batten 1x 4 in. (M) is nailed on top of this all round, making it
water-tight and at the same time forming a rabbet of 4 in. for the
glass to set in. Small battens (1) $x 4 in. are nailed edgewise on
top of the four frames, making 2-in. rabbet on each side. If all
measurements have been carefully made, this will leave spaces 14 ins.
wide for glass.
20 THE STUDIO AND STUDIO FITMENTS.
The sky-light frame should have two coats of white paint before
the glass is put in. In setting the glass, begin at the bottom and lap
each one at least 14 ins. over the one below it, after the manner of
shingles. Great care should be used to make everything water-tight.
For the side light, two ordinary windows will be the most con-
venient, as they can be opened for ventilation.
If the builder feels that he can afford the extra expense, I would
advise him to have the house lined with match boards, This is not
absolutely necessary, unless it is in a very cold climate, but adds very
much to the appearance of the interior, However, this may be done
at any future time just as well. In case he decides not to line the
inside, all the framing (except that of the floor) and the inside of the
roof boards and sheeting should be “ dressed,” which will be done at
the mill for a very small sum. The outside should receive two coats
of paint.
No provision for a chimney has been made in these plans, though a
small one of tile, set in the ridge at one end, might be found a great
convenience if the studio is in constant use. Irvin A. Netson in
The Photo Beacon,
THE DARK ROOM AND ITS FIXTURES.
TO BLOCK OUT LIGHT FROM AN ORDINARY WINDOW.
To do this permanently is an easy matter, as it is only necessary to
tack or paste two or three thicknesses of brown paper on the frame,
or to board it up with 4-in. tongued grooved boards, in either case
leaving a hole at the top for ventilation which must be covered in
manner described later to prevent the light from getting in. Where
daylight is also desired, a hole must be left in the opaque material
and a frame with red glass fitted ; or a red or orange blind covering
the hole and amply overlapping will do in place. But a combination
of dark-room and workroom is the ideal for amateurs, so that a
method of darkening the window with the option of having the full
size of same open to daylight is far better than any permanent
fixture.
The commonest style of window in England is an oblong opening
in the brick work having a frame of wood with spaces left at each
side for weights to run in. The latter are attached to cords
running over pulleys, two at the top of each side, the cords being fast
to two sash frames which slide up and down in grooves, Nearly all
such windows have on the inside a small recess running round, which
presents a flat surface for the fitting of a frame to hold opaque
material. Such a frame made as described later will exclude all
light. The writer has tried several methods, all of which were
more or less successful, but the method here described, being a
combination of the good points of all, has proved all that can be
desired.
The necessary material is as follows, but of course will vary in
quantity according to size of window. ‘Three or four 12-ft. slate laths
planed roughly on all sides, 1s. ; two largest sized sheets of thickest and
best brown paper procurable (the tough glazed yellow known as heavy
parcelling paper is best), 4d.; some good thin Scotch glue, ld. ; 1
21
22 THE DARK ROOM AND ITS FIXTURES.
sq. ft. of ruby glass, 2s., or $ yd. of red and $ yd. of yellow fabric as
sold by photographic dealers, 1s. ; four dozen 4-in. wood screws (a gross
box costs 8d. if unbroken) and one dozen I-in., 6d. ; tacks, Id., and a
yard of velvet, new or old, generally in stock, ld. Measure the height
of your window inside the recess where the frame has to fit ; this will
determine length of pieces in sketch, so cut two pieces out of one
of the slate laths to that length. Now measure length of recess at
the bottom, thus getting length of top and bottom of frame, and
two cross pieces, which cut from the slate laths also.
These six pieces have now to be put together in the form of a
square frame with two runners (at any height desired to suit your
room), as shown in sketch No. 1. The joints at corners are made by
the method known as halving: sketch No. 2 shows this in detail. A
Fi6.1
saw cut is made half through the ends of each piece on the flat the
cut being at a distance from the end equal to the breadth of the wood
used, The pieces are then cut out to the saw cut, the cutting made
even so that the joint will be square and flat, and then secured by
two or three }-in. screws driven in from each side. When the frame
is complete the two runners must be let in at proper height,
generally about one-third of the way up from bottom, and 15 ins.
apart; the halving method can be used to make the joint, but care
must be taken not to cut the side pieces too deeply so as to weaken
them. They are to be fastened with screws as before, and the frame
‘will now appear as in sketch No. 1.
The next thing is to attach the paper. A quantity of thin glue is
made by putting some good Scotch glue into a jam pot with sufficient
water to cover the pieces ; the jam pot is then placed in a small pan
BLOCKING UP WINDOW. 23
containing water and heated until the glue is all dissolved; then hot
water is added till thin enough to apply evenly with a brush. Sheets
of brown paper must be placed flat on a large table or on the floor and
be sponged over with water so as to make the paper swell. The glue
is then applied to the wood of frame, the paper placed in position and
rubbed into contact. The frame can then be turned over and the
other sheet or sheets of paper damped and fastened on with glue.
When dry, the paper will be found tight as a drum, and thus imper-
vious to light. When dry, mark and cut out the square 15 x 15 ins.
between the two runners, as shown in sketch No. 8. Now cut four
pieces of slate lath of sufficient length to just fit across the runners as
at D, sketch 3. These pieces are to be screwed on to the runners,
one at each side of the opening on either side of the screen, and the
paper well glued to them, especially at the edges.
Next, take a piece of slate lath from which the sliding frame of the
window (to cover the hole, cut as above described) is to be made. It
must be planed down to about 2 in. thick, so as to work easily
between the paper sides of screen. A frame must be made 15 x 18
ins. and the ruby glass let in, or what is simpler and just as good, one
thickness of ruby cloth glued on one side, and one of yellow on the
other side. This will help to hold the-frame together; of course the
joints are to be halved and screwed as described.
This frame must now be slid into position between the runners, and
four ribs of thin wood or cardboard tacked on to form grooves top and
bottom, for it to run in and to exclude
light at joints. A few holes, as at E,
sketch No. 3, must be cut in one side
near the top of screen, and corresponding
holes at the other side just below these
(see section side view, sketch No. 4).
After this, two pieces of wood should be
glued on at the sides of the holes as
shown on a reduced scale in dotted lines
at E, sketch 8, and a piece of cardboard
or strong paper glued over so as to cover
the holes, but to leave an outlet at the top and bottom. If the sash
of window be left open a few inches at the top and the frame put in
its place, ventilation between the fireplace or door and window will
then be complete without any chance of light getting in. Two small
blocks of wood should be nailed or screwed to the window frame at
the top to prevent the screen from coming out of place, and two holes
Block
WIFAImE
TPaMmeé
Winez,
9
wire ral § |
Fig.5
24 THE DARK ROOM AND ITS FIXTURES.
made in sides of window frames to put wire nails in, which should be
fastened to the screen by a string round their heads. These will keep
the frame in its place at the middle. Sketch No. 5 shows this method
of fastening in detail on a reduced scale; it is simple and effective,
though, of course, two small bolts or any other such fastener can be
used if desired.
The velvet named in list of requirements should be torn into
strips about 2 ins. wide and tacked on to edge just inside the frame
so as to prevent all light entering (where the screen does not fit well),
from getting into the room (see F F, sketch No. 3). Such a screen
is movable at will, and occupies little space against, or hung upon, a
wall. Red, or white, or yellow light can be had by making a larger
frame, one end with yellow, and the other with red covering working
at each side, if the hole be cut in the middle. Of course a ruby
glass or colored cloth could be glued permanently over the hole and
would save a lot of trouble, but would not be found half so convenient
as the sliding frame which gives a glimpse of daylight between times
of developing, and is a welcome relief when a lot of plates are to be
got through at one sitting. If the window be large the frame to cover
same could be made in two pieces, the joint running across the centre
from side to side. A piece of lath tacked to the top frame and cover-
ing the joint would keep out light at that point. Frup, W. Coorzr.
SIMPLE DARK ROOM VENTILATORS.
“Ventilate your dark room and you will have few grievances to
ventilate,” might well form a photographer’s maxim, for perhaps to
nothing so much as an impure, overheated atmosphere and dampness
is due many of the ills that developers and plates are heir to.
Naturally, the too common makeshift dark room is most deficient
in this respect, either because ventilation is a forgotten matter
altogether, or because it is thought that too great a difficulty will
be experienced in obtaining the requisite air without also ae
the unrequired light.
In this brief note is given a homely method of constructing dark
room ventilators which, to a considerable degree, will lessen these
troubles. The cost of materials will be no more than the acquisition
of a few screws and some empty cocoa or coffee tins need entail.
For each ventilator, two tins complete with lids are required, one
measuring about 13 ins. in diameter by 34 ins. high, and another
24 ins. in diameter i 4 ins. or 44 ins. high.
“In the lid of the smaller tin, cut four holes $ in. in diameter, and
SIMPLE DARK ROOM VENTILATORS, 25
between these, four 4 in. in diameter, as shown in fig. 1. The small
holes can be made with an ordinary bradawl, afterwards filing off or
hammering down the resulting burr; but for the others, use either
a carpenter’s centre-bit (an old one will do the job capitally) or a
small cold chisel, cutting the tin, in the latter instance, on a piece
of sheet lead laid upon a laundry iron, gripped bottom upward
between the knees whilst seated.
The larger lid must have its centre cut out circularly to such an
extent that it can slip easily over the smaller one. In this case a
central hole $ in. in diameter is necessary, which virtually converts
the lid into an angle-ring. Four or five screw holes should be made
to complete it, as indicated in fig. 2.
Round the small tin, about 3 in. from the bottom, cut six holes
2 in. in diameter, and in the larger one, seven or eight similar holes
Ei G@aeie Gen Me, Fic. 4.
? in. from the top. Paint both tins and the lids inside and out
dead-black. Such a paint, by-the-way, can be prepared by mixing
fine lampblack in French polish and thinning it, if needful, with
methylated spirit.
Now, wherever the ventilator is to be fitted up, whether upon the
roof or walls of the dark room, bore four $-in. holes to correspond
with those in the smaller lid. Adjust the latter over them, and,
with suitable screws, fasten it in position, Next place the larger lid
concentrically over the smaller, as in fig. 3, and secure it also with
screws. The rims of both lids project from the surface to which
they are affixed. In other words, the lids are placed top toward the
plane they are screwed upon.
Slip the tins upon their respective lids, and the ventilator is
finished. It is shown sectionally in fig. 4.
A dark room measuring, say, 8 ft.x 6 ft.x8 ft. will require not
less than six ventilators of the dimensions given, three being fitted
26 THE DARK ROOM AND ITS FIXTURES.
equidistantly apart on one wall, from 12 to 18 ins. above the floor,
and the rest high upon the opposite wall or the roof. This will
afford a good circulation, as fresh air will enter through the lower
ventilators, and the foul will escape by the upper ones.
If the positions of the blackened tins are such that they may be
considered unsightly when not in use, take them off the lids, and, in
the place of each larger tin, put another similar in diameter, but cut
down to 3 in, deep and painted to match the prevailing color of the
surroundings. It will have the appearance, then, of a plain disc, and
be very inconspicuous. D. W. Gawn.
REDUCING HIGH PRESSURE OF WATER SUPPLY.
In some of our cities and the adjoining suburbs, the pressure of
the water supply is too great to be used direct for photographic
purposes, and the reduction of that pressure becomes a problem to
be solved.
The difficulty is easily overcome by taking a supply from an
existing cistern, if the dark room be below the same, by syphoning
the said cistern, or connecting up to it in the ordinary way direct or
to a pipe leading from the same.
In the above cases there will be no necessity to provide an alarm
or cut off, as all cold-water cisterns fixed on the water-supply system,
controlled by our corporations or water companies, have the regulation
ball tap.
If when fitting a supply of water to a dark room the arrangement
is to be permanent, it is obvious that the best way would be to get
a contract from a plumber to fix a small cistern close to the ceiling
of the dark room, and couple up thereto a supply direct from the
house main, with ball-valve complete, and the required branch or
branches therefrom, with proper stops-cocks or swivel taps.
When, however, the supply is only to be a temporary one, and
must be easy of removal along with the other household furniture,
other means have to be resorted to, which are suggested below.
First and foremost, of course, some sort of tank, galvanised iron,
wood with lead lining, enamelled iron, or tin with several coats of
black lacquer, may be used: the same should be fixed on strong
brackets, or supported by uprights, and should be as high up as
possible ; of course allowing sufficient room between tank and ceiling
for the purpose of cleansing.
The water supply may consist of an ordinary hose-pipe attached to
the nearest tap, or a length of in. or 2-in. lead gas pipe may he
REDUCING HIGH PRESSURE OF WATER SUPPLY. 27
jointed to the nearest cold-water pipe, taking care to fix a stop-tap
between the gas pipe and the water pipe. This supply pipe, if left
sufficiently long to reach the bottom of the tank, will do. away with
the annoying noise of running water when it is filling. The lead to
the tap may be of gas pipe or rubber tube connected with a brass
union at the bottom, or by syphoning over the top with a tube
running to the bottom as shown in the sketch, which is much simpler
and quite as effective. The only remaining necessity (and it is a
necessity) is an alarm of some description to give warning when the
Ulel pape
J Cae
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Sielele 8
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Battery ;
He
tank is sufficiently full. Several kinds suggest themselves, but as
the electrical method is simple and easily fixed, and can with very
little trouble be arranged to give notice of low as well as high water
mark, we will describe one which is also shown in the sketch. The
materials required are :
One electric trembling bell.
One Leclanche cell.
A quantity of cotton-covered bell-wire, length according to position
of bell, etc
28 THE DARK ROOM AND ITS FIXTURES.
One wooden arm (A) with a copper ball or cork float (B).
Two strips of German silver, or zinc, or block tin 1 in. x8 ins.
(C and D).
A small block of wood 14 ins. x 1 in. x 4 ins. (E).
The block E is secured to the end of the tank as shown by screws.
The arm A with its float B is secured by a brass screw on which it
must work loosely at F, and this screw driven into a block of wood
also secured by screws to the side of the tank at the proper distance
from the end just above high water mark. The position of this
will, of course, be governed by the size of the tank, length of
arm A, etc., as indeed will the position and size of several of the
parts.
One of the pieces of metal, C, will be secured by screws along the
top of the arm from a little below F, and continued round the end
and on the under side. The other piece of metal, D, will be bent to
shape shown, and fastened on the face of the block E. At F
and D the electrical wires are to be connected by soldering or
under the head of screws, of course getting a good clean contact,
and the connections made to the battery, switch, and bell, as
shown.
It will be seen that the float arm will make contact, and complete
the circuit both at high and low water mark, thus giving the
necessary warnings ; but there are a few things to keep in mind, as,
if neglected, the photographer will have a damaged ceiling and wet
carpet, as well as a bill to settle with the authorities below.
See that the contacts at C and D are clean; scrape with a knife
occasionally.
See that the switch is not off. This part of the apparatus is not
necessary, but it provides a means of stopping the bell until a
quantity of water is drawn off sufficient to break contact.
See that the float and arm are in working order, and that it will
rise with the water.
See that the battery and bell are in working order by occasionally
raising or lowering the arm. F rep. W. Coopmr.
A PORTABLE DARK TENT. 2
A PORTABLE DARK TENT.
A dark tent half bag, half box suitable for the purpose of plate-
changing and developing, when touring, must, to fulfil its object and
be really worth carrying, combine the portability of a hand-bag
with, as nearly as may be, the conveniences of a dark room, This is
sufficiently obvious considering the photographic facilities available
throughout the country. Programs of tours are, however, as
“subject to alteration without notice” as most others, and, therefore,
it is advisable always to be so provided that one may be independent
of such more or less dubious advantages as are offered by keepers of
stores and inns on the road one hopes to pursue.
The apparatus described here embodies several features not to be
found in the generality of its kind. Extremely simple and inexpensive
to construct, it is both light and compact, measuring only 20 ins. x
13 ins. x6 ins. It is readily set up into a rigid and stable working
position and as easily closed for carrying, when it forms a strong case
for holding bottles, dishes, and other small items, beside a water-bag.
Respecting this latter, a few remarks may be given. Generally,
the one serious objection to the use of any small dark tent is that an
adequate water supply is lacking. It is seldom, indeed, that even so
much as a bucket of water can be so disposed for service as required
by syphoning or otherwise, whilst a rubber bulb-pump in company
with the largest domestic hot water jug is not exactly all that can be
desired.
To remove this trouble, then, it is suggested that an india-rubber
water-bag of about one-and-an-half or two gallons’ capacity should be
obtained, its screw-stopper being substituted by a connection so
shaped that a rubber tube can be attached. The other end of this
tube is furnished with a rose or sprayer in the dark tent.
Now, the bag being filled and closed tightly, it is placed on the
floor beneath the table one is to work at and a board or anything
similar is laid across it. The water may then be forced up the rubber
tubing as wanted simply by applying foot pressure upon the board.
By that means, an effective spray of water can be produced varying
in force and quantity to a nicety. Stop-cocks, valves, etc., are dis-
pensed with entirely. Of course, the bag is emptied for carrying, it
being folded and packed in the dark tent as stated.
Commence the construction of the apparatus by preparing rather
more than 11 ft. of clean, straight-grained pine or American white-
wood 24 ins. wide by $ in. thick. Upon one side, at a distance of
_ 30 THE DARK ROOM AND ITS FIXTURES.
lin. from the edge, cut a semicircular groove '; in. deep by 4 in.
wide. This can be done easily with a narrow gouge wedged in a
block of hard-wood so rabbeted that a sort of miniature plough-plane
is made.
From the wood thus prepared, mark off squarely and cut four
lengths of 20 ins., and four more of 13 ins. These are for the top and
bottom and ends of the case respectively, and are to be joined to
form two similar frames, as in fig. 1. When joining, observe that
0.
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at
= hE “ap?
Fig. 1. ING, @
the groove follows an unbroken line completely around the outside
of the frames.
The corner joints may be mitred or dovetailed as convenient. If
adopting the former method, strengthen the corners by cutting three
saw kerfs and glueing into each a tightly fitting veneer-like piece of
hard-wood as shown in detail, fig. 2. No attempt must be made to
cut these little pieces to shape prior to fitting them in position. They
can be trimmed off and the corners otherwise finished with plane
~ and glass-paper when the glue is quite set. Use finest Scotch glue,
freshly melted, thin, and very hot.
The frames being completed, they may, at this point, be stained
inside and out with an aqueous stain of any color desired. Two or
more applications are given always sparingly one being allowed
to dry before another is begun. As this will raise the grain of the
wood slightly, smooth it again with fine glass-paper and then serve
the frames with one or two applications of size. When perfectly
dry and smooth, finally wipe off all dust, and brush on evenly a coat
of best copal varnish. If an exceptionally good finish is desired,
allow this to dry, rub down with worn pieces of glass-paper and lay
on a second coat of varnish. Rub down once more and give a third
coating. Be particular to do the insides of the frames as thoroughly
as the outsides.
The next part to be made is a frame of 4-in. wood as represented
A PORTABLE DARK TENT. 31
in fig. 3, which, when hinged to the inside of one of the others, can
be raised outwardly and propped by side stays to support the fabric
of the tent when in use. This will be made clear presently. Stain
and varnish the frame as described.
PS
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er 12°
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Fie, 3. Fig. 4.
Obtain four brass hinges 14 ins.x4 in. With these, secured
by 3-in. brass screws, hinge the three frames together, as in fig, 4.
The two side props, of which obviously only one can be indicated,
are pieces of aluminium wire, No. 10, B.W.G., 18} ins. in length.
Their ends are pointed slightly and rest in indentations 33, in. deep
in the corner edges of the lower frame and the inner side of the light
upper one.
Ordinary slotted brass stays and milled thumb-screws, as fitted
to cameras, are attached upon each side of the main frames so that
the utmost rigidity may be insured. Other brass fittings also
necessary, are corner clamps to strengthen the frames, hooks and eyes
(two of each) to fasten them when closed as a case, and four very
small but stout hooks, by means of which the handle can be attached.
The positions of these various parts are clearly apparent in the illus-
trations.
The handle for carrying the case is made from a piece of tough
oak, its shape being as in fig. 5. Bore holes in it as indicated, then
take two pieces of strong picture-hanging cord about 84 ins. long,
32 THE DARK ROOM AND ITS FIXTURES.
double each and insert its ends into the hole at the extremities of
the handle. Thence draw partly through the larger hole and secure
it by tying a knot sufficiently large to prevent the loop of cord being
pulled out. The knot will, clearly, lie hidden in the large hole, as
represented in fig. 6. The handle is, of course, detachable, its cord
loops being merely “hitched” upon the four hooks when the case is
Nie LOC LAL
Lae
MEWS
\ SSD
carried. To finish the handle, it may be stained and varnished as
were the frames.
A little more than 11 ft. of mahogany or sycamore beading, semi-
circular in section, $ in. x} in., must now be prepared. Centrally
along this, at distances of about 1 in. apart, drill ;'j-in. holes very
carefully. These are necessary for the small screws to be passed
through the beading later. Cut eight lengths to correspond with the
outside edges of the main frames, and mitre their ends for the corner
joints.
Four pieces of japanned American cloth, 19? ins. x 122 ins., are
next required. They must be pasted together, back to back, to make
two pieces of double thickness, waterproof each side.
The frames being closed together and fastened, take the sheets of
cloth and lay them in position upon the edges of the case, putting a
tack in here and there to hold them in place temporarily. Adjust
the beading to cover the edges of the cloth which, by-the-way, should
be stretched as tightly as possible, and secure it with thin brass screws
4 in. long. The screws pass through the holes in the beading, then
through the doubled cloth, and, lastly, into the edges of the frames, so
holding all effectively. As far as the framework is concerned the
apparatus is thus completed.
The bag portion is a matter for very careful consideration, in which
it will be well to have the assistance of some fair friend. In making
it, a good dea! of skilled ‘‘needlework ” is necessarily entailed.
A PORTABLE DARK TENT. 33
The material required is ruby or canary fabric, or “ Ruby Christia.”
In fig. 7 are given the patterns of the various requisite parts to be cut.
Two bags exactly alike are made, then one is put inside the other,
with the rough edges of their
seams contiguous, and the whole
is sewn together, making one bag
of two thicknesses.
The index letters shown indi-
cate how each portion of a bag is
to be joined; thus, a! to a, right
hand ; a? to a, left hand. Simi-
larly with b and ce. It should be
mentioned that, to the dimensions
given, a certain allowance for the
seams and for hemming must be
added.
Fairly wide hems are required
upon the edges marked x, through
which to run tape for fastening
the bag at one end to the case
and closing it at the other. For
the former, one piece must enter
the hem at x1, right hand, pass
through x2 and thence into x1,
left hand, and be cut off about
one yard longer than the sum of
those lengths, 7.e., x1, etc. Another piece commences at the bottom
of x3, left hand, runs through x4 and down into x3, right hand, the
length being cut as before.
In the hem at the large end of the bag, either tape or elastic may
be inserted as preferred. When seated at the tent, this is pulled
over the head and shoulders and fastened loosely at the waist, so that
one’s arms and hands are quite untrammelled within it for the opera-
tions to be performed. As a rule, when using a dark tent, the head
has to be tied tightly to the front of it and the wrists are then so
fettered that work is carried out in any but a comfortable manner.
It will have been noticed that no definite means of ventilating and
lighting have, as yet, been referred to. These desiderata are not for-
gotten, however: they will be found to be amply provided for by
the use of such fabric for the bag as has been mentioned, Through
that material, both light (suitably “filtered,” of course) and air will
3
€---8 --->
€---4-->
«----8--->
>
34 THE DARK ROOM AND ITS FIXTURES.
penetrate sufficiently to enable the operator to work in comfort.
Should a more thorough ventilation be desired, one or two ventilators
such as are described on p. 24 may be put in.
To attach the bag to the case, the latter being set up already, as in
fig. 4, the tape in x1, 2, and 1 is tied securely around the lower frame
in the semicircular groove, and that in x3, 4, and 3 around the vertical
frame. The junction between the frames and fabric will be ab-
solutely light-proof if care is observed in putting the taped edges in
the grooves and tying tightly.
Inside the case a piece of American cloth should be fastened over
the bottom hinges with the dual object of excluding actinic light
and preventing developing and other solutions from splashing upon
the hinges and causing corrosion.
A final word regarding the means of disposing of waste water and
solutions without opening the tent may, perhaps, be worth giving.
As partly shown in fig. 4 a trough of thin sheet lead or aluminium
should be made, about 17 ins. long by 3 ins. wide by 24 ins. deep, and
furnished with an outflow pipe, 14 ins. long at the bottom of one
end. This is placed in the lower frame or half of the case, in one
side of which is bored a hole for the trough-connection to project
through. Since the difference between the inside length of the case
and the longitudinal measurement of the trough is 2 ins., it will be
seen that the outflow pipe to which, by-the-by, a convenient length
of rubber tube is attached, need protrude from the case only whilst
the tent is in use. In packing up, the trough would be pushed to-
wards the opposite side and its rubber tubing drawn through the hole
and stowed away.
The tube for supplying water simply enters the tent with the oper-
ator himself. If that is not approved of, a swing tap or any other
connection may be fitted as desired. D. W. Gawn.
AN ELECTRIC-ALARM CUPBOARD.
On a cupboard used for the storage of sensitive plates and paper,
etc., it is an excellent plan to have fitted an attachment by means of
which an electric bell is caused to ring whenever the door is opened.
By so doing, much good material will be saved from inadvertent
exposure to actinic light.
The writer describes here an extremely simple little contrivance
which will, if adopted, serve to remind the photographic worker of
open doors which mean spoiled plates or paper.
AN ELECTRIC-ALARM CUPBOARD. 30
The necessary bell and battery are assumed to be already provided.
A cheap trembling bell with a 24-ins. gong will do nicely, and the
battery may comprise two No. 2 size Leclanché cells or two dry-cells,
as preferred. About half-a-dozen yards of twin bell wire will also
be required.
First obtain a strip of thin sheet brass of a springy nature, 5 ins.
long by 4 in. wide. Divide it so that you have two pieces 34 ins.
and 14 ins. in length respectively. Cut their ends round and punch
an $-hole (a) } in. from an end of the longer piece, another 1% ins.
distant from it, and one more + in, from the last. Observe that
centre to centre dimensions are meant. Merge these two latter into
one so that they form a slot (b) 3 in.x4 in. At {% in. from the
opposite end of this strip, solder, or rivet, on a tiny piece platinum
o
° @!
pee
\ She 2
Oa J Cc 24
Ear Gaels Fie. 2.
wire (c). This part will then be as in fig. 1, a plan and elevation of
it.
Take the short portion and punch $-in. holes } in. distant from its
extremities and then, about 4 in. farther in from one end, solder a
minute scrap of platinum foil (D). Bend the brass across its centre
at a right angle, and it will be ready, as shown in fig. 2.
Next prepare carefully three pieces of any wood # in. thick to the
following sizes: (e), 2 ins. square ; (f), 24 ins. x 1 in.; and (g), 2 ins.
x lin. Saturate them in paraffin wax heated in a water-bath.
One edge each of e and g must be chamfered off at a slight
bo <3 Ca)
SS a | eee
e fe g
Fie. 3.
angle relative to their planes, as should both edges of jf, so that,
when secured to the cupboard door (or any flat surface), they will be
36 THE DARK ROOM AND ITS FIXTURES.
as in plan, fig. 3; e¢ and g forming a sort of dovetail channel
between them, in which f can slide vertically, but not fall forward.
The piece f must also have its ends cut, as shown
i in fig. 4, front and side elevations.
After boring necessary holes in e and g, attach
them with screws tu the inside bottom corner of
the door, as indicated in fig. 3, being particular to
fix them exactly parallel and at such a distance
apart that f may slide between the two easily.
With two little screws fasten the shorter or angle
piece of brass, fig. 2, over the top right-hand corner
of g with the platinum-tipped end uppermost and
horizontal. Then, upon the corresponding left-hand corner of e,
secure the longer brass strip (fig. 1), in such a manner that its slot
is perfectly central over the channel between e and g, and its piece
of platinum touches that on the angle portion. The dotted lines in
fig. 3 make this clear.
Bore a small hole centrally, as indicated in fig. 4, in the rounded
upper end of the piece of wood, and slip it in its place between the
others from below and, when it reaches the brass extending across
the top, put a screw through the slot and into the hole just referred
to. Drive the screw in the top of f only to that extent that it does
not bind the brass strip tightly to it, and thus prevent movement.
Easiness, without excessive looseness, is what is required.
The action of this contact make-and-break will doubtless be ob-
vious: When closing the door, the bottom of the sliding piece
strikes the sill of the cupboard and, by it, owing to the curvature of
the former, is raised, just as the latch of an ordinary lock is moved.
In rising, f lifts the longer strip of brass aboye it, which, conse-
quently, breaks contact with the shorter piece, or, in other words,
stops the electric current. When opening the door, the converse, of
course, takes place.
Now for the electrical connections: Cut off a length of double
wire about 1 ft. longer than the distance of the appliance from the
hinges of the door. Bare and scrape clean two or three inches of both
ends, and attach one of the two wires to the longer piece of brass and
_ the other to the shorter. It is advisable to solder the wires thereto,
as mere contact joints rapidly oxidise and offer a gradually increasing
resistance to the flow of current until, finally, practically none can
pass. The point of attachment may be anywhere, providing that the
mechanical working of the various parts is not interfered with.
AN ELECTRIC-ALARM CUPBOARD, 37
Lead the loose ends of the wire away toward the door hinges, or,
rather, to that edge upon which are the hinges, fastening them here
and there with one or two short staples.
On the side of the cupboard nearest thereto, bore two very small
holes about 3 ins. apart, and into these, from the outside of the cup-
board, put a couple of binding-screws having shanks long enough to
project through and inside slightly. Take the wires, so far partly
attached, and, leaving sufficient slackness over the hinge to allow the
door free movement, solder an end to each of the screw tips. Re-
cover such parts of the wire as may be necessary, and the apparatus
will be complete, as in fig. 5. :
Hang the bell upon a wall and place the battery beneath it on the
floor or in any other convenient position. With the remainder of
the wire, connect one terminal of the bell to the carbon of the battery,
| i
Ia
4
i |
Ci]
Hh
|
i
the other terminal to one of the screws upon the side of the cup-
board, and the zine of the battery to the remaining cupboard
screw. It is presumed that the two cells of the battery have been
already connected in series, that is, the carbon of one to the zinc of
the next, and, in the above, the two electrodes not thus joined are
meant. ;
If the door is now opened, the bell should immediately begin to
sound and should cease directly the former is closed. A slight
adjustment by bending, ete., of the longer strip of brass will rectify
any little irregularities that may be manifested.
If very sensitive materials are stored unprotected in the cupboard,
it is well to tack a small piece of ruby fabric loosely over the brass
strips, as when making or breaking contact a spark will appear
between them. This might, under certain circumstances, prove an
undetectable source of fogging. D. W. Gawn.
38 THE DARK ROOM AND ITS FIXTURES.
HOW TO MAKE A DEVELOPING TABLE AND SINK.
The following materials will be required :
DESCRIPTION.
No. ins. ins. ft. ins.
1. Cross pieces 2 pieces deal 8 x 2 x 8 6 planed.
2. Legs As. eee 20 .
3. Stays . : Ls Be Or xine yl ate,
4. Shelf . : Bee ies me i eee ea 5
5. Top bar. aes eee ae OREO, a5
6. Table top, etc. ns OX le 8 s
7. Tank bottom . See mp OM SIL GD tS
8. Tank sides sae gs eh eo at,
9. Lid battens . a Dx oe le 4 :
1 Ib. nails, 14 ins., 2 ins., ”’3 ins. mixed wire (French).
2 buckets (one a little lar ger than the other).
1 yard best rubber tube, e bore.
1 small 2 gas tap.
4 sq. ft. of 4-lb. sheet lead )
1 ft. 3 lead pipe \
1 ft. 6 ins. $ lead gas pipe.
1d. smallest size copper tacks or zinc tacks.
see below.
The price of lead and outlet pipe is omitted, because the best way
is to take the frame, when complete, to a plumber, and get’ him to
put a lead trough in the place made for it, and to fix a piece of lead
pipe, as shown in sketch.
See that all the timber is sound and free from large knots; many
people have spare wood at hand that can be cut to sizes named, and
thus save the cost of purchase.
After all the material has been cut to sizes mentioned, planed,
and the edges and ends made square, proceed as follows : -
Place the two cae (No. 1) on edge, not flat, parallel to each other,
and with 1 ft. 44 ins. between the two: then nail one of the seven
boards (No. a et each end, leaving 1 in. overlapping at front and
back ; now nail another of these seven boards alongside those already
fixed at each end, this will leave a space of 1 ft. 6 ins. between the
two pairs ; next fix the two pieces (No. 8) just under the boards last
mentioned, as shown at A (sketch No. 1), and nail through the side
pieces ; these form sides for the lead trough, the ends, of course,
being formed by the cross pieces (No. 1).
Turn the frame over and nail the three boards (No. 7) over the
hole to form bottom of tank, now fasten the two battens (No. 9 on
list) across the three remaining pieces of No. 6 lot to form a lid for
the lead tank when not in use. These battens should be 14 ins. from
the edge at each end (see sketch No. 2), so as to hold the lid in place,
A DEVELOPING TABLE AND SINK. 39
and prevent its slipping backward or forward by fitting just inside
tank at each end ; the wood-work of top is now complete.
Take the four pieces (No. 2) which form the legs and place them
parallel on floor or bench 114 ins. apart (inside measurement) and
4 ins. from top; nail one of the four pieces (No. 3) across; nail one
piece of same lot across 12 ins. from bottom, leaving a space of 11
ins. between the top edge of each. Do the same with the other two
legs (see sketch No. 2). Next get someone to help you to place the
top in position on the legs; the upper ends of legs should fit exactly
to each end of the cross pieces. Put one or two nails in each corner,
then nail No. 5 across the two top side-pieces, and No. 4 across the
two bottom side-pieces to form a shelf the wood-work will now be
complete.
Bore a hole 1$ ins. in diameter in the right-hand back corner of
bottom of tank frame, and then interview your plumber. Instruct
t f
framework
Rennie en postor. gf boarts
Fig. 1. Fic. 3.
him to make a lead tank of 4 Ibs. lead (that is 4 Ibs. to 1 sq. ft.,
about 4 sq. ft. will be required) to fit your wood frame; it should
be 1 ft. 44 ins. x 1 ft. 6 ins., and 3 ins. deep, outside measurement,
with a 1-ft. piece of lead pipe # in. bore soldered in position to pass
through the 14-in. hole at back ; the reason for making this hole so
large is to allow a little adjustment, and also so that the lead round
top of pipe can be pressed into it, to prevent anything from lodging
there. When the lead is in position fasten along the top edges
with small zine or copper tacks about 2 ins. apart. This tank may
be made of tin, iron, or any other suitable material, but lead is by
far the best, as none of the chemicals used in photography are likely
to have any effect on it, of course excepting concentrated acids which
are not likely to be poured down the sink. The lead tank complete
should not cost more than 6s. or 7s., but that all depends upon the
conscience of the plumber who makes it. The next job is to string
or wire the shelf from the piece above to form a rack for dishes ;
thin galvanized iron or copper wire is best. This work is easily done
40 THE DARK ROOM AND ITS FIXTURES.
and very convenient, as the dishes do not contaminate each other
when so placed, and are always at hand when required. The wires
should be about 14 ins. apart or as broad as the dishes in use: fasten
them in position with small tacks or staples top and bottom, or wood
partitions may be used instead of wire, if so desired.
The water supply can be from a tap fixed above the tank, and the
outlet can discharge on to a gully below if the dark room is per-
manent; but where the photographer does not wish to go to this
expense, or where it is likely there will be a removal to another
house now and then, a very satisfactory and cheap method is to pro-
ees =
FIG. &@
cure two buckets, one larger size for the waste and a smaller one to
contain the water to be used, which is put on a shelf above, or hung
from the ceiling, or in any position that may be convenient so that
it is above the head. A piece of 2 lead gas pipe bent as per sketch
No. 3, with a piece of rubber tube attached of the required length,
and a small tap at the end, will form an excellent water supply.
To use fill the small bucket, place bent lead tube in position with
the rubber tube and tap hanging over the tank, and turn tap on,
then suck the tap until water is drawn over the highest point of
tube, that is at top of bucket. When tap is on, the water will con-
tinue to flow until the bucket is completely empty; the lead tube
must reach to the bottom of the bucket and have the end cut as
shown in sketch No. 8. The whole arrangement is shown complete
A DARK-ROOM LAMP. 41
in sketch No. 2; it is merely a simple syphon, but very effective,
less trouble, and costs less than a metal tube and tap soldered into a
bucket. A small rack for dishes should be fitted in the sink ; it can
easily be made out of
7 pieces of wood, in. x fin. x 1 ft. 4 ins.
Oe Pee lle Ge Ie en Imcs
put together as per sketch No. 4; this is very useful, and
keeps the bottom of dishes dry and out of the mixture
of chemicals which are sure to accumulate in the sink
when in use. When the lid is placed in position over
the sink and a clean newspaper put on as a tablecloth, "**
mounting or any other such work can be done with ease and comfort.
- Frep. W. Cooper.
A DARK-ROOM LAMP.
The usual developing-room source of illumination is a lamp or day-
light at the back of a ruby or orange glass. A great drawback to
the ordinary lamp is that there is nothing to prevent the glare in the
eyes, and though in some cases a flap for this purpose is supplied, it
often works unsatisfactorily.
After repeated efforts at an improvement on these conditions, the
writer worked out the lantern here described, and thinks it may be
of interest and use to some of your readers.
After permanently blocking up a considerable portion of my
window, I fitted over the opening left a frame made of 2-in. wood
1 in. thick. On the lower two-thirds of this frame I fastened two
triangular-shaped pieces of board (one at each side of the frame). On
the top and bottom. of these triangles were fastened rabbeted frames
to take the ruby glass (covered with orange paper rendered translucent
with paraffin wax). The one-third of the frame above the triangle is
fitted with ruby glass and is to be covered with an opaque curtain
during the development. To the upper side of opening A is hinged a
flap, and to the side opposite the hinge is attached a cord that runs over
pulleys to the side of the window, where it is fastened to a weight
to counterbalance the flap, so that it will remain open in any position,
When complete the whole frame is hinged to one side of the open-
ing left in the window, and by means of a small bolt is held tightly
against the opening to exclude other light. When starting the
development, the flap over A is shut down, and the curtain over the
upper part drawn close. Thus there will not be any light in the
worker’s eyes. When it becomes necessary to see how the development
42 THE DARK ROOM AND ITS FIXTURES.
is progressing, a slight pull on the cord will raise the flap, the plate
can be examined, and the flap again closed. The glass in A on my
lantern is 10 by 12, but I keep at hand varnished cardboard frames
to fit over the glass, with opening slightly smaller than the size plate
developing. By this means no light reaches the eye, save what
passes through the plate, and density can be much better judged
than when there is light all round the edge of the plate. The accom-
WINDOW
panying illustrations show the whole arrangement, but care must be
taken not to cut the lower part of the triangle at too great a slant,
otherwise you will see the lower glass while working. A very slight
slant is sufficient.
To obtain white light in the room, all that is necessary is to slip
the bolt and swing back the whole thing. To change plates, shut
the pane, leave open the curtained portion and flap A. To develop
during the day, you can use the daylight, but it is much better to
cover the window back of the frame with a piece of blackboard and
ANOTHER DARK-ROOM LAMP. 43
light the lamp. Ordinarily I work the developing trays on a bench
three feet from the light, but when developing large plates, it will be
necessary to bring the tray up close to the light for examination. At
such times I slip in an orange glass in rabbet strips under the opening
B, to weaken the light and avoid any chance of fog. M. Hurpert
BRIDLE.
ANOTHER DARK-ROOM LAMP.
Many brother amateurs desire a means of illuminating the
dark room for developing purposes, which will also serve for bromide,
transparency, and other printing. If these instructions are followed
a lamp suitable for oil, candle, or gas will be the result.
REQUIREMENTS.
A. 2pieces pine 21 in.x8 in. x} in. for sides.
Bee lpiece ,, 94imn.x8 in.xdin. ,, top.
B : ee op) tie WB thi, Fin, 95 LooLttONN,,
Cc lees: Be Aes a0 clin ae TTS ee. ice
D lee 5p) ti KB lh KEY MM, 9, WOID Git ARON,
E Le >) 6) tim, KO itm, KF TM, 5. Coor,
F 5 2pieces ,, 9 in.x $in.xZin. ,, door slides.
G 4 Dee. eee sO eae lee nee geet ne 9
H Die » 8 in.x $in.x2in. ,, door stop and air inlet.
i piece) 3) 9) ans OF Imhc imee ainnlleticover:
J 2 pieces}, Whim xl) im) xs in: 4, ruby, frame,
K De op «iM, IL tm, KTM, 5. oy 3
L 1 pair small brass hinges $ in. x 1 in. ‘and screws.
M 1 piece ground glass 9 in. x 6 in.
N 1 ,, ruby, 2 pieces canary medium 11 in. x 19 in,
O 1 ,, tin 9 in. x8 in, for inner top.
Re 1 small paraffin lamp with metal reservoir.
Q . Asmall quantity of 1-in. and $-in, panel pins or sprigs.
Take one of the pieces A, mark the 8 x 5 space, as shown in the
sketch No. 1, 2 ins. from bottom and midway between the sides, and
cut it out with a fretsaw or chisel. Place the door, E on list, in
position over the hole so made and mark round the edges; next fix
the two pieces F just outside these lines, and the two pieces G on
top of these, allowing them to overhang the under pieces so as to
form grooves for the door to slide in, then fasten one of the pieces
H across the bottom to prevent door from going too far down. Next
take the other piece A and bore 4-in. holes 2 ins. from the bottom,
as in sketch No. 2, then just above these fasten the other piece H,
and on the top of this the other piece I, allowing it to drop one inch
so as to cover the holes and prevent exit of light; these holes form
the airinlet. Others can be made just under the door at opposite side
if desired, but are not necessary unless the lamp has to be placed
with one side against a wall or in a very confined space.
44 THE DARK ROOM AND ITS FIXTURES.
Now take the piece C, which forms the back of lantern, and nail
it to the side pieces the position which the sides shall occupy must
be governed by the position the lamp is to occupy. A place on the
left of the work-table is the best, then the arrangement as per sketch
is correct; but if the lamp must be on the right of work-table, then
the door must be on the opposite side. The piece C is 3 ins. longer
than the sides; this extra length must be allowed to project at top
to form outlet for hot air, as shown in sketch No. 4. The piece D
must next be nailed on at top of front, allowing 3 ins. to project
above, and therefore 3 ins. below the top edges of sides, The
bottom may now be nailed on to keep the box square. Now
take the piece of tin, O on list, and with a punch, or by any other
means at hand, make about eighteen holes in it more or less, accord-
ing to size of holes and screw this to the top of sides between, and,
HSS SO} Of i
Fie. 1. Fie. 2. Hiroe: Fig. 4.
of course, 3 ins. below, the top edges of front and back projections.
g-in, screws are advisable to fasten this tin, as the wood will dry and
may cause some strain on the tin, which nails would not stand, as
they would come out easily. The other piece, B, can now be nailed
on to form top.
The frame for ruby medium is the next thing to construct. Take
the two pieces J and fasten them to the two pieces K ; the top pieces
must be flat, and the bottom piece edgewise in relation to side pieces.
This is shown in sketch No, 3, it being difficult to explain in words,
but simple in practice.
When complete the ruby medium must be tacked in position on
the frame, and the two thicknesses of canary medium be tacked on
to front of lamp then the ruby frame hinged in position. Sketch
No. 4 shows the whole thing complete. The inside should be
A SMALL ELECTRIC DARK-ROOM LAMP. 45
painted with white asbestos paint or with ordinary whitewash to
which a solution of alum has been added. Either of these will
make the wood fireproof to a certain extent, but ordinary oil paint .
must not be used as it would blister and increase the inflammability
of the wood. ‘The outside is best coated with mahogany or walnut
stain mixed with water; not varnish. The lamp should be placed
on a shelf, and gas can easily be applied by running a pipe under
the shelf and through a hole in shelf and bottom of lantern the
tap of course being under the shelf outside the lantern. The ground
glass, M on list, will fit behind the door and should remain there,
but be movable to get at lamp the ground surface diffuses the
light and is very effective for all kinds of artificial light, printing,
etc. The ruby medium can be used at will, and should be secured
at an angle with top by a string and hook, or hook and eye, when
not in use. F Rep. W. Cooper.
A SMALL ELECTRIC DARK-ROOM LAMP.
A simple form of electric dark-room lamp which, as such, gives
a soft reddish-yellow light, shadowless and equable, and, when
necessary, readily convertible for ordinary illumination, is here
briefly described. The requirements are few: A small eight-volt
high efficiency incandescent lamp (this can be obtained from the
General Electric Co. Limited, price 1s. 6d.), a glass flask of about
two pints’ capacity, a piece of 3-in. glass tubing, some shellac varnish,
about one yard of No. 26 S.W.G. silk-covered copper wire, a small
piece of box or mahogany, 1 in, thick, and two very small brass
terminals or binding-screws.
First cut the glass tubing of such a length that when inserted in
the flask it reaches from the mouth to the centre of the bulb. Heat
one end in a Bunsen or a spirit flame, and with a cone-shaped piece
of carbon, expand it slightly so that the bottom of the lamp will fit
into it nicely. Next, cut from the wire two pieces some 2 or 3 ins.
longer than the tube. Scrape | in. of the silk covering off one end
of the wires, and hammer the exposed copper flat. Then “tin”
these ends with a soldering bit, clip the extreme tips square, and
bend them into the form of tiny hooks. Hitch these two wires to
the loops on the lamp, clinch them, and touch with the hot soldering-
bit to make all secure. Re-cover the bared wire with silk or cotton,
serve it with shellac varnish, and twist the wires loosely together.
Great care should be observed in doing this, or the loops may be
broken off the lamp.
46 . THE DARK ROOM AND ITS FIXTURES.
Now, holding the glass tube in one hand, bell-end upward, and the
lamp in the other, let the wires hanging from the latter enter the
tube. Lower the lamp into place and cement it therein with a
plentiful application of shellac, and allow to set. When this is quite
hard, the lamp will be held securely, and the tube may be turned
with its other end upward and suspended vertically with cord upon
a nail, Then, whilst the wire is kept in it centrally, fill the tube
completely with shellac varnish and allow it, in turn, to set perfectly
hard.
The piece of wood referred to should be cut 24 ins. square, and
carefully smoothed. Bore a hole in its centre of such a diameter
WLLL LLL ELA E LL Digna Tap aI Dog IL Eg ORL,
S-
SISPIT LD OOOO LOLI CLO ODO LOLI
Eines IMIG, %,
that the open end of the glass tube will fit into it tightly. Upon one
side of the wood cut two grooves } in. deep radiating from the hole .
to one edge, and there screw in the two terminals, as shown in fig. 1.
From the opposite side the tube may be inserted, and cemented with
shellac, in the hole to a depth of in. or Zin. The two ends of wire
will, of course, be projecting, therefore they must be scraped clean,
laid in the grooves one wire in each and, finally, wound once
round the terminals before these are screwed quite home. Fill in
the grooves with a little sealing-wax to protect the wires.
It now remains to prepare a strong solution of potassium bi-
chromate wherewith nearly to fill the flask, and the lamp proper is
finished. The tube with the lamp at its end is inserted in the neck
A PLATE-CUTTING GUIDE. 47
of the flask and so suspended by the piece of wood resting over the
mouth, the lamp thus being in the centre of the solution. It is shown
in fig. 2. When a white light is required, merely withdraw the lamp
from the flask and stand the tube upright upon the wood, which thus
forms the base.
To light up the lamp, two wires leading from a battery are con-
nected by the binding-screws. If an accumulator battery is employed
a simple switch should be fitted so that the circuit may be easily
broken and the light extinguished ; but if a primary battery is used,
it is better for the sake of economy to stop the current by lifting its
electrodes.
For supplying energy to the lamp, a small four-cell accumulator is
strongly recommended. If, however, through lack of charging
facilities, a primary battery is more convenient, four chromic acid
cells, each of one quart capacity, will be found satisfactory. Where
the lamp is used intermittently and for a few minutes only, such as
for plate changing, a dry battery of five cells will prove very
useful.
A description of the construction of a suitable battery is obviously
outside the scope of this note, but if anyone desires to make one for
himself it will afford the writer much pleasure to give particulars
upon request. D. W. Gawn.
A PLATE-CUTTING GUIDE.
The dimensions given below are for cutting quarter-plates from
half-plates.
REQUIREMENTS,
No. 1 1 piece of wood, any kind, planed, 7% x 5241 in.
ete) 2 pieces A oe 7kx 4x4in.
ie Ds - . 5 43x $44 in,
” 4 2 BP) 2 ey 29 43 x 32 x % in.
eb 1 piece er 74x 4x in.
8 1 pair ee brass hinges and ee in. screws for same.
speeds A few 4-in. gimp pins or screws.
The arr shows how to put these things together better than
any description. No. 1 is the base, 2 and 3 the side strips going
round the plate frame, 4 the two guides on top hinged cover, and 5
the piece that holds the latter together. The flap prevents unduly
exposing the plate to light while cutting, as is the case with an
ordinary straight edge or square, and also forms a permanent guide
and correct gauge, which if properly adjusted will cut all plates
exactly to the same size. The plate should be placed film-side
upwards in the frame then the cut will go through the film and
48 THE DARK ROOM AND ITS FIXTURES.
prevent much waste by tearing same or breaking the glass. When
breaking the plate after cutting, the film should not be touched with
the fingers more than is strictly necessary. They can, after a little
practice, be broken by holding the extreme edges as in handling a
wet negative. Some of the cheap steel-wheel glass-cutters on the
market are good and work well for a time, but it pays best to get a
glazier’s diamond if many pilates are to be cut such always comes
in handy for cutting picture glass to size, etc. By alteration of the
measurements given, a frame for cutting any size of plate can be
constructed. The apparatus of size described, or one smaller on the
same principle, can be used to cut spoiled negatives to lantern size.
When the film is cleaned off and the glass polished they make good
cover glasses, FREp. W. Cooper.
A DISH RACK,
Photographic dishes must be kept clean and free from contamina-
tion by contact with each other. The least trace of hypo in the
developing dish may cause chemical fog on the negative, the least
trace of pyro in the toning dish will cause a stain. It is therefore
necessary to have some means of keeping the dishes apart. There
are many methods ; the following is a description of a good and safe
one, and has the added advantage of being simple and cheap. Get
two or three decent boxes made of thin dry wood from the grocer’s,
24 ins. by 18 ins. or thereabouts. Knock the bottom out of the
best of these and stand it on edge or side, according to the space you
can allow it to stand in. Under the developing table is the handiest
AX IDIISISE RUNCIK i 49
place, and it is there out of the way. Again, if a dish should slip out
of your fingers when being taken from the rack in the dark it will
not have so far to fall and therefore less chance of breakage.
Measure the distance across the box inside from side to side, cut a
piece of wood from one of the other boxes to fit, and nail it in
position, then cut smaller pieces to fit top and bottom, so as to divide
the box into any number of pigeon holes required, according to the
number of dishes you have, or the number of purposes for which
they are used, A dish should be reserved for each operation or
chemical used, and on no account should it be used for any other
purpose, as if is almost impossible to cleanse a dish thoroughly after
many of the photographic solutions have remained therein even for
een
PYRO DEVE
ce
Loree
oot TONE
ace
a short time, though a flannel and plenty of soap and hot water and
a rub over with hydrochloric acid, 4 oz., water, 20 ozs., will work
wonders in the cleansing line. To return to our dish rack, one
pigeon hole may be made to hold two dishes or more, and they may
be made any height, according to size of box or number or position
of cross shelves, The sketch shows nine holes. Supposing the box
to be 24 ins. x 18 ins., then each rack will be 8 ins. x 6 ins., which
is a good size for quarter and half plate dishes. If the dishes vary
much in size the lower holes can be longer than the top ones by
raising the cross shelf and cutting the upright pieces longer or shorter
accordingly. When finished the rack should have names painted in
bold letters under pigeon hole to denote the purpose for which the
dish or dishes kept therein are intended. A useful suggestion, which is
4
a
50 THE DARK ROOM AND ITS FIXTURES.
not altogether out of place here, is to reserve one of the pigeon holes
for a number of square pieces of cardboard to be used as covers for
the dishes when developing. By this means a greater amount of
light can be used in the dark room, thus gaining more comfort in
working, and by the use of covers, which are easily removed for a
few seconds to examine the plate, freedom from fog is secured.
The covers should be cut from good stiff cardboard about one
inch wider all round than the dish they are intended to cover.
Frep. W. Cooper.
A SIMPLE WATER-SPRAYING APPARATUS.
For the purpose of rinsing negatives, etc., between the stages of
development, or for finally washing them in a thoroughly satisfactory
manner, nothing excels or even equals a good water-spray, both as
regards its rapidity in action and perfection in removing from the
delicate gelatine film suspended “foreign” substances. A little con-
trivance which I have the pleasure of describing here, is, I venture
to think, the extreme of simplicity, and when in use with any ordinary
pressure of water, remarkably effective, forming, as will be found by
actual experiment, a fine spray or sheet of water of beautiful smooth-
ness and steadiness. For its construction, then, the first and practi-
cally the only requirement is a piece of clean and flat sheet brass,
copper, or zine (not tin-plate, on account of rust), measuring for the
present size apparatus, 3 ins. x 14 ins.; thickness, say, about equal
to that of the paper upon which these lines appear. By means of
a sharp steel point, a rule, and suitable compasses or dividers,
accurately draw upon one side of the sheet metal the outlines of the
dimensioned figure shown in fig. 1, and when completed proceed care-
fully to cut it out, for which purpose, as the metal is thin, ordinary
scissors may be used, subject, of course, to the permission of their
fair owner. That portion of the figure marked T has next to be
rolled up into tubular form, which, as it will only measure quarter-
inch or thereabouts in diameter, can easily be done on a common cedar
pencil; and the seam, assuming the maker is capable of doing so,
may be neatly soldered. Happily, however, for some, soldering is not
absolutely essential, as if when subsequently connecting the apparatus
to the water supply, the rubber tubing is drawn on until it completely
covers the seam, there should be very little, if any, trouble with
leakage. Upon now imparting to the front edge of the fan-like
portion a slight and perfectly uniform upward inclination, all necessary
metal working comes to an end, and our little creation presents the
COVER-GLASS CLEANING-HOLDER. 51
appearance represented in the illustrations Nos. 2 and 3 views from
above and one side respectively. When in action it will be seen
that the water is projected forcibly, yet softly, from the front edge of
the apparatus, in the form of a flat fan-shaped spray, which may be
varied indefinitely both in shape and pressure by simply manipulating
the tip of the forefinger over the orifice at the base of the fan-piece,
in a suitable manner, as the apparatus is held in the hand. Con-
nection to the service tap is, of course, made in the usual way with a
ars)
Y
€
FIG 3.
convenient length of rubber tubing, care being taken to make the
junctions water-tight, as leakage, by reducing pressure, lowers the
efficiency of the spray considerably. As a rubber tube to accurately
fit the spraying apparatus can hardly be expected, despite its elasticity,
to do likewise in the case of the larger diameter service tap, a brass
‘‘dimishing piece” should be obtained, and connection completed
with two pieces of flexible tubing of the requisite diameters, thus
obviating the difficulties usually experienced in this matter. D. W.
Gawn.
COVER-GLASS CLEANING-HOLDER.
The sizes given are for the construction of a frame for cleaning
lantern-slide cover-glasses, which may be cut from quarter-plates or
any other size of spoiled negatives. Procure
No. 1 ; 1 piece of pine or any good wood , 10 x4kx2
peo ; 2 pieces oe 4 44x 4x4
» 2 » » . 85% EXE
52 THE DARK ROOM AND ITS FIXTURES.
After all pieces are planed smooth and perfectly flat, cut No. 1 to
the shape with a fretsaw, as per sketch. A hand glass or hair brush
will do to mark the shape of handle
Ey Lae 7 form. Next fasten the two pieces
: | No. 2 in position at sides and two
Oo Nt. Yie JF chess | pieces No. 3 at top and bottom by
' » means of small sprigs. A 34x 3}
: a glass should be placed on the larger
piece as a guide to the positions for
the strips and to ensure close fitting of the glasses in the recess, but
not too tight. Frep. W. Coopsr.
A RAPID SOLUTION JAR.
A very simple and useful photographic necessity can be constructed
in the following manner, and will save much time and trouble in
making solutions of such chemicals as hyposulphite of soda, alum,
sodium-sulphite, etc., ete. Procure a large jar with a wide mouth;
if there be a cork or a cover so much the better. Now make a small
muslin bag about one-third the length of the jar
to be used, and the same circumference as the
neck thereof, put a draw string in the top of
bag of sufficient length to allow the neck of bag
to extend the width of the cover or cork. The
bag must now be nearly filled with hypo, the
cork or lid put on top inside the bag and the
string drawn up and tied. Next almost fill the
jar with water and allow the bag to hang
therein, supported of course by the lid. The
water will now dissolve the hypo, and the
solution being heavy will sink, causing the
water to rise and take up more of the chemical.
This will go on until a saturated solution is formed, or until all the
hypo is dissolved. It may be useful to some to know that a saturated
solution of hypo is at the ordinary temperature (viz., about 60° Fahr.),
water, 10 ozs., hypo, 4 ozs., or in about that proportion. This should
be diluted with equal bulk of water for fixing plates, and twice the
bulk for prints. FrEp. W. Coopmr.
A NOVEL DRAINING RACK.
A very serviceable and complete draining rack can be made out of
a sheet of zinc or tinned iron by the aid of a pair of shears and two
A NOVEL DRAINING RACK. 53
pairs of pliers. No soldering or joining of any description is necessary
in the construction of this rack, which is made simply and solely by
suitably cutting and bending the material used.
The sheet of metal is cut to the shape shown by the outer lines of
the diagram (fig. 1). The dotted lines D, F, I, J, K, are then drawn
by means of a steel point.
The tongues (B) shown in this figure are then cut in the plate.
The easiest way to do this is to fold the top portion, A, down the
DYDD
peop sana - n= = =o --- - += hed
Fle. 3.
middle, as in fig. 2, and then to cut the tongues by the aid of the
shears.
When they have been cut, the plate is folded back again, and
planished out on a flat-iron.
The base M is then bent up into the form of a dish, which receives
all the drippings from the negatives, and so prevents the bench from
being covered with pools of water. The method in which this is
done is as follows :
54 THE DARK ROOM AND ITS FIXTURES.
Take the pliers A and B (fig. 4), one pair in each hand, and with
these grip a corner of the base M (which, of course, has been properly
marked out) at the position shown in fig. 4. Whilst gripping A
firmly, give B a twist from right to left. The plate will immediately
take the shape (fig. 5), and, when turned over, present the appearance
LG TE
IGE O.
Take hold of it again, as shown in fig. 7, hold A firmly, and at the
same time give B a twist from left to right. Fig. 8 will be obtained.
Treat each of the other three corners in exactly the same manner.
Now grip the sides with a pair of pliers, A (fig. 9), and bend them
towards the centre till they are nearly at right angles to the centre
portion of the base M. Treat all four edges alike till fig. 10 (which
only shows half the base) is obtained.
A NEGATIVE WASHER. 5d
The four corners are now squeezed flat together and then bent to
the position indicated by the dotted lines, S (fig. 10).
These instructions having been carried out, the bottom part of the
rack will have been turned into a dish (fig. 11), which is water-tight,
though no solder has been used for the joints.
The long strips, E, on either side of the tongues are now cut.
The top portion, A, is then bent down twice at the dotted lines J, at
its extremity, so that H (fig. 1) is pressed tightly against the side, K,
of the dish.
It is then bent again at J, and at I, so that L is pressed flat against
the bottom of the dish, and A stands up in the dish at an inclined
angle. These operations will easily be understood by a reference to
the diagram (fig. 3). The letters M, L, and E in this diagram
correspond to those in fig. 1.
The tongues are then bent out at the dotted lines, C (fig. 1), at the
angles shown in fig. 3, Negatives, N (fig. 3), can then rest on these
tongues, and will be held secure by reason of the fact that they are,
to some extent, wedged in.
The strips, E (fig. 1), are then bent at D and F, and the lower parts,
G, of the strips then pushed up, so that they come between the part
Hf and the side of the dish. In this way a stay for the rack is
formed. Of course, to allow these strips to be pushed up in the
manner described, it is necessary that the side should be slightly
opened. It may easily be pressed back again by the pliers.
If the instructions given are carefully followed, and reference made
to the diagrams, the draining rack will be found easy to make, and in
every respect serviceable. Turopore Brown.
A NEGATIVE WASHER.
Get a water-tight tin, large enough to contain your washing rack,
and about two or three inches deeper than the rack when plates are
in place for washing. Such a tin can be got at any tinworker’s, either
ready-made or to order, and should not cost more than Is. or Is. 6d. ;
or a biscuit tin from the grocer’s, a small bucket or any such thing
will do. Now procure a piece of 2-in. gas pipe from the plumber’s
two feet will be sufficient cost about 3d. Bore a hole the exact
size of the pipe, about one inch from top of tin, and near one corner ;
bend the pipe and pass through the hole, as shown in sketch, so as
to leave one end about 4 in. from bottom inside, and the other end 4
in. below bottom outside. The tube must now be soldered in position ;
this is perhaps the most difficult part of the work to an amateur,
56 THE DARK ROOM AND ITS FIXTURES.
but a little care and patience will see you through. If you cannot
manage it, a plumber or tinsmith would solder it for a few pence.
Next procure two pieces of tin, about two inches broad, and of
sufficient length to go across the bottom of the tank ; bend to shape
shown in sketch No. 2, and solder in position shown at B, (sketch No.
1); better get the tinsmith to do this at the same time as the tube is
fixed, if you cannot manage the soldering. The object of these strips
is to raise the tank off the slopstone or bath bottom, and also to
prevent the outer end of syphon tube from coming in contact with ~
the slopstone. Now give the inside two coats of white enamel, and
the outside two coats of black. Of course any color will do, but
the inside should be white, as any dirt on the surface or rust coming
through the enamel shows itself at once. Another coat of enamel
FIG. 2. B
will cure the rust: in fact the tank should have a coat inside at least
once a year. When dry the apparatus is ready for use. A piece of
rubber water pipe, about two feet long, will be required, of a size to
fit just inside the bath tap, or over the nozzle of ordinary tap. Fix
the rubber tube to tap, and place the other end inside the tank ; the
water will now run in at top, and when it reaches the top of syphon
will commence to run through same from the bottom, carrying the
hypo from the plates with it. The flow of water from tap should be
adjusted to the capacity of the syphon, making the outflow through
the syphon equal to that of the stream from tap, then the plates will
always be covered and water continually changing. Twenty minutes’
to half-an-hour’s washing in this tank will be sufficient for any
plate.
The same apparatus could be used for washing prints, but in my
DRYING CUPBOARD FOR NEGATIVES, ETC. ov
opinion it is better to reserve it for plates, lantern slides, films, etc.,
only, and construct the apparatus for washing prints described in
another paragraph. A good negative washer can be constructed by
bending a piece of tube and hanging it over the side of a bucket or
other vessel, then when the said vessel is full of water, suck the
outer end of tube to draw water over top of syphon tube, it will then
continue to run until the vessel is empty; but the best plan is to
construct the above-named tank, which, when in position, fills and
empties automatically, and is always clean and ready for use at any
moment. Frep. W. Cooper.
DRYING CUPBOARD FOR NEGATIVES, ETC.
Dust spots on negatives, prints, or lantern slides, all of which seem
to have a special affinity for dust while drying, are a nuisance, and
will spoil the best work. If the small specks of dust nearly always
present in the atmosphere, especially in a room much used, are
allowed to dry on a new negative or print, it is almost impossible to
remove them without damaging the delicate gelatine surface. <A
simple method of getting over this nuisance is the subject of this
article.
MATERIALS REQUIRED.
A 4 pieces of wood. : Seems alee xes eile
B Dee - 24 in. x14 in. x} in.
C OR fa 12 in. x14 in. x4} in.
D Dee ae : : 12 in. x14 in. x4 in,
E : z Deere Bs . i 164 in. x14 in. x} in.
° : : ae eens a ; ; 24 in. x12' in. x4 in.
G : : 2 yds. cheese cloth, butter cloth, ordinary muslin, or
any such substances, in the form of a fine strong net.
A few 1-in. screws and 1$-in. wire nails, also small tacks, and a pair of
small hinges.
The sketch (No. 1) shows the method of putting together: the
pieces marked A form the four corners; B form the two top side
rails; C form the two top end rails; D and # form the door, and &
is the base of the whole. Commence by nailing the uprights to the
base at each corner, then the end top rails across, as in sketch 1.
The door is formed as in sketch 2 this can be replaced by a curtain
on string, drawn tight across one end, but the door is better, and
gives little trouble to fit. If made as shown, it will always close the
aperture, and effectually prevent the dust from getting in. A curtain
will not always do this, and is much more trouble to close properly.
The muslin is to be drawn tight round three sides and over the top,
and fastened with tacks, the end being left open for the door, as in
58 THE DARK ROOM AND ITS FIXTURES.
sketch. No more instructions are necessary. The sketches will
explain all better than pages of writing.
A very useful addition or additions to the above are one, two,
three, or more racks for laying wet prints or negatives upon, face
upward, or for drying mounted prints, lantern slides, ete. They
must be made to fit the cupboard described above, and will keep all
objects laid upon them separate, free from dust and damage, and each
one easily get-at-able. Two pieces of wood, 23 ins. x 14 ins. x4 in.
for the sides ; and two pieces, 11 ins. x 14 ins. x4 in. for the ends;
also a piece of the muslin or whatever is used, 12 ins. x 23 ins., will
be required for each rack. The method of putting together is shown
in sketch 3. The two side pieces are nailed flat on to the end pieces,
which must be on edge; the whole forming a square frame, with the
iG 2s
Fic. 3.
top raised from whatever it is resting on by the breadth of the end
pieces. The muslin, of course, is to be stretched tight across the top
from side to side, and secured with tacks, preferably at the edges, not
on the top, as if wet prints are placed on the tacks they may rust and
mark the prints. With these frames placed one on the other in the
cupboard, care being taken that they are put square upon each other,
and that no prints, or whatever is being dried, are allowed to lie where
the rack above rests on its fellow below, a current of air will pass
through the network of the sides of cupboard and over the surface of
wet objects, carrying the water away with it, the net sides preventing
any dust from reaching the films. The best place for this cupboard is
in a draught between window and door, or window and fireplace ; but,
of course, it can be made movable, and placed in any position required,
or fixed or built permanently in any suitable corner. F Rep. W. Cooprr.
AN IMPROVED OVEN OR DRYING BOX. 59
AN IMPROVED OVEN OR DRYING BOX.
An oven which has been completed after long experiment by Dr.
Edward Atkinson (of Boston, Mass.), appears to have distinct
advantages for many photographic and photo-mechanical processes,
as in plate drying, emulsion making, and in collotype. In fact, it
is useful wherever uniform temperature need be maintained for a
long time, and where ovens of iron, zinc, wood, ete., are unsatis-
factory. The oven in question was designed for cooking, and claims
absolute simplicity ; economy in first cost and in heating, and perfect
i Messialcsncery yase ora ot gaa 2s are
'
‘
' jo
'
fecal eke Ses ae pel ae Ae
'
'
1
'
\
1
'
1
'
‘
regulation of the temperature. The first object was to avoid the
great fuel expense of the ordinary stove, and the other advantages
are incidental. The stove is patented, but the inventor gives full
permission for anyone to make or use it without fee. The practi-
cality of the oven may be judged from the fact that it has been
adopted by many schools of cooking, and that the pamphlet
describing its performance is published by the Department of
Agriculture of the United States.
The diagram and the brief description are from a paper read before
60 THE DARK ROOM AND ITS FIXTURES.
the New York Camera Club by H. T. Duffield, and from them any-
one can build an oven involving the same principle of asbestos lining,
etc., and adapted in detail to his own particular work.
A box is made of zinc, or some other material, or a frame is made,
This is lined with some preparation of asbestos, according to the
fancy of the constructor. The bottom of this box has an opening,
which has a reducing plate to diminish the size of the opening. The
reducing plate may be constructed like the iris diaphragm of a lens,
or two sliding plates of metal will do. It should not close completely,
but should leave a round hole larger than the top of a lamp chimney.
The inner oven is made of sheet iron, set on legs of iron. It will be
seen that there is no opening in the bottom of the inner oven. The
heat circulates around the outside of the inner oven, and the products
of combustion escape by way of the same opening through which the
heat passes. At the bottom of the inner oven isa metallic slab to
distribute the heat, or the slab may be of soap-stone. A small pipe,
f, runs into this oven to ventilate it (the top of the pipe screwing
off), and, if it is desired, a similar pipe (or two) could be inserted in
the side of the oven, below G, to admit fresh air. In this case,
openings could be made at the alternate ends of the metallic shelves
to allow the air to circulate over the drying plates, or the shelves could
be of wire netting. A thermometer is inserted in the ventilator, but
this could be in another part of the top of the oven, so arranged that
the bulb projected into the inner oven. The outer oven rests upon
a metallic table, and it is desirable to have this metallic table rest
upon another one to hold the lamp; the upper table has an open top,
the lower a closed one. The door of the inner oven swings sideways
on hinges at the right. The door of the outer oven is fitted with
hinges on the lower side, so that when let down it may be held
vertically ; or, if desired for use as a shelf, it is furnished with chains,
which hold it in a horizontal position. The door of the outer oven
should be lined with asbestos, and fit tightly. The outer oven may
be of any material ; even wood coated with asbestos, paint, or plaster
would do, but it would likely carbonize with the heat, and therefore
metal had better be used. It will be noticed that an ordinary
paraffin oil lamp is the means of supplying the heat. Mr. Atkinson
says: “The paraffin oil lamp is most effective, very easily managed,
and the heat from the paraffin oil costs less than gas in this
country. I therefore use oil. If the top of the chimney of the
lighted lamp be placed just under, and as close as may be to this
hole (in the reducing plate), so that the draught through the lamp
A PRINT WASHER. 61
chimney is not impaired, the heat may be accumulated within the
box in proportion to the amount of oil consumed by a given wick, in
ratio to the size and non-conducting properties of the box. The heat
may be maintained at a very close measure for one hour, for twenty-
four hours, or for any length of time.” A well-kept lamp burns steadily,
and consequently it is quite an easy matter to maintain a constant tem-
perature, even though the oven be left to take care of itself. H. T.
DUFFIELD.
A PRINT WASHER.
The washing of prints after fixing so as to effectually remove the
hypo therefrom, is to many of us the most troublesome part of the
printing process. It is easy enough where there are only a few prints
to do at a time, but when the number exceeds, say, fifteen or twenty,
they become difficult to deal with, on account of their tendency to
cling together, and thus prevent the hypo from being washed out
properly. No doubt there are many good and effectual washers on
the market, but they are as a rule expensive and beyond the purse of
most amateurs. I propose to describe a cheap, simple, and practical
apparatus for washing prints, which can be made at small cost.
Procure one, two, or more ordinary tin wash bowls (not
enamelled) about fifteen inches diameter at top. Any
ironmonger or furnisher should supply these at 4d. or 5d.
each. Measure one inch from the top, and draw a line
round inside of bowl, next make small marks all round
the bowl on this line about one and a half inches apart,
and with a small hollow punch (costs 4d.), and a hammer
cut a hole through the tin at each of the small marks. To do this the
bowl must rest on its side on a piece of hard wood or a block of lead.
The holes must be punched from the inside so as to leave the burr on
the outside. Take off the rough edges round outside of every hole
with a file, then give the bowl two or three coats of enamel paint. Any
color will do, but white is preferable for the inside, as then you can
see whether it is clean. Your washing tank, or whatever you choose
to call it, is complete all the bowls you propose to use must be treated
62 THE DARK ROOM AND ITS FIXTURES.
as above have one bowl for every twenty prints you are likely to
wash at one time. The next thing required will be a piece of rubber
water pipe two feet long with half an inch bore, and a piece of lead or
brass tube to fit the same; the latter must be almost closed at one end,
so as to leave a fine slot about one-sixteenth of an inch across, and the
other end placed in one end of the rubber tube, and copper wire or
twine wrapped tightly round to make a water-tight joint. The other
end of the rubber tube will fit over an ordinary water tap or inside
a bath tap. A wire hook must be fastened on to the tube near the
end by placing under twine or copper wire when winding round to
make the joint with lead tube. Also a small wire loop put through
two holes inside of bowl will hold the nozzle of tube in position and
pointing downward. The sketches will make the above clearer than
any amount of writing. To wash prints, the bowl should be placed
on the slopstone or in the bath and the tube attached to the tap in
manner named above. Adjust the tap so as to have a stream of
water running into the bowl with sufficient force to keep the prints
moving slowly. If the tap be turned on too full the force of water
through the small slot in tube will tear the prints or damage the
delicate surface of same by sending them spinning round at a great
speed and causing them to collide with force against the sides of bowl
or each other. The bowls must be kept perfectly clean and should
occasionally have a. fresh coat of enamel they can then be used for
washing prints before and after fixing, but it would be well to keep
one or more for each purpose and put a distinguishing mark on each. .
According to the experiments of Haddon and Grundy set forth in
avery able paper read at the Photographic Convention of 1896, as
much of the hypo contained in the prints can be got out by properly
washing in running water for fifteen minutes as can be got in nineteen
hours’ soaking, and that longer washing tends to soften the gelatine or
other surface, and dissolve out the alum used by the makers of the
paper for hardening the film. Prints so soaked always look flat, and
if squeegeed on to glass or ferrotype generally stick and cannot be
stripped therefrom. The apparatus named above will effectually
wash out all hypo in about fifteen minutes, more or less, according to
the number of prints, and if the stream of water be properly adjusted
the prints will not stick together, but be on the move the whole time
they are in the bowl. In addition, there is no unnecessary waste of
water (our most valuable photographic necessity), as that passing
through the small slot is not great, but is more than sufficient to
wash out the hypo in the time named. Frup. W. Coopsr.
A PRINT-WASHING APPARATUS. 63
A PRINT-WASHING APPARATUS.
Most amateurs desire some better means of washing their prints
than the ordinary method of changing from one dish to another, or
allowing the water to overflow for a time from a dish containing the
prints, and then going on with the next operation. Both the above
methods are very unsatisfactory, and in many cases are the cause of
faded prints. The following instructions and sketches show a good,
cheap, and easily made washer that will be found satisfactory in
every way. Procure the following materials :
4 bacon tins, 64 in. by 10}in. . : ; ; . cost about 8d.
1 sheet of common tin . 5 ec Gs
2 pieces pine (No. 1), 11 in. by 7 in. by 3 4 in. ", planed cee eels
1 piece pine (No, 2), 62 in. by 7 in. by 4 in. , planed ie eae 20.
1 piece pine (No. 3), 11 in. by 74 in. by 4 in. , planed pee oul:
8 pieces pine (No, 4), 8 in. by a in. byt as in. peDlamede cere here OC.
1 small tin of white enamel . oe eng O Us
lo 59 _ Ile spa : : : : Soar eee OG:
1 pennyworth of 3 gimp pins - : : eee eid.
Total cost about 3s. Od.
Cut the piece of pine No. 2 to shape at one end, as shown in fig. 1 ;
this piece forms the closed end of box. Now nail all the first four
pieces together, as in fig, 2, to form a
box, minus one end and top; then pyuccccrc ey
fasten the eight remaining pieces inside
(as shown in fig. 2) to form slides for
the washing troughs (bacon tins) ; then
cut a piece of tin from the sheet 8 ins.
by 114 ins., double half over at one end,
bend it to fit the end of box, and punch
eight holes of }-in. diameter at equal
distances along the bed ; these form the
inlet for the water (see fig. 2) and
only sufficient water can pass through
them to keep the troughs supplied.
Now fasten this tin to the top, as shown in fig. 2, with gimp pins or
tacks. Punch holes in the tin for the tacks with a small sprig bit or
the sharp end of a large nail.
Now punch eight holes in one side of each of the bacon tins, just
below the rim ; let all be in a line, and punch from the inside, so that
the burr or rough edge will be on the outside, and not affect the
prints. All these holes, and those in the tin top of case, should he
one size, viz., about } in. diameter, but no more and those in
| RR SRR RE STSCI
FIG I.
64 THE DARK ROOM AND ITS FIXTURES.
the bacon tins should be eight on the left side of two of them, and
eight holes on right side of the other two, so as to have the holes on
alternate sides when the handles are towards the front of case. All
superfluous tin on the outsides of these holes should be removed with
a file.
Next give the insides of the tins and also the insides of the frame
or case two coats of white enamel, and the outsides of tins and case
two coats of black enamel or Brunswick black. See that all parts
are covered with either black or white, so that the metal will not
rust (and cause spots in the prints) nor the wood swell. If properly
covered the water should have no effect on the wood-work at all.
Allow the enamel to get thoroughly hard, then slide the tins in.
Be sure the top one has holes at the opposite side to the inlet holes
at top, and No. 2 must have the holes on the other side, No. 3 same
as No. 1, and No. 4 same as No. 2. When in position the troughs
should be numbered by placing a large figure in white on the front
of trough near the handle.
When all are in position the water will take the course shown by
the arrows, and carry the hypo from the prints with it,
As many as half a dozen quarter-plate or three or four half-plate
prints may be placed in each trough, but no more. The troughs
should occasionally be withdrawn and the prints separated, as they
may stick together, especially at first, and not get separated; but
the flow of water will keep them on the move if they are separated
once or twice during the washing.
A PRINT-DRYING APPARATUS. 65
This apparatus may be used for washing all kinds of prints, but
it is better to keep it for those which have been fixed in hypo.
See that the trays are kept clean by washing with soap and water
after use, or by washing with dilute hydrochloric acid, viz., acid, one
part, water, 100 parts. Should the enamel become stained with
hypo or damaged in any way, give the trays another coat of white
enamel inside. It is better to wash the prints in a dish before
toning, then tone, wash in dish again and fix. After fixing use the
apparatus described. It will clear all the hypo out of the prints ;
of course if a combined toning and fixing bath is used there will be
no necessity to use a dish.
The washer may be made to take more prints at a time by adding
to the height and putting two or more additional troughs in. It
could also be made entirely of tin by any amateur or professional
tinsmith at about the same cost for material. If the inside measure-
ments of the case here described were taken there would be no
difficulty in making one wholly of metal.. Of course there is no
necessity to adhere to these measurements they may be varied to
suit material at hand. FRep, W. CoorEr,
A PRINT-DRYING APPARATUS.
The convenience of having some means of drying prints rapidly
and cleanly is great, as will be agreed by all. It is far more than that
to the busy man. It means much time and money saved.
The print-drying apparatus described here resembles, as may be
seen in fig. 1 (side and front elevations), a meat safe “run to seed,”
as it has been flippantly expressed. or clearness, the net covering
is omitted in the illustrations. It is formed of four long frames
over which is stretched and secured white muslin netting, the frames
being fastened together with half a dozen nuts and bolts when in use,
and, if desired, taken apart and packed flat at other times.
Interiorly, on one of the side frames, are attached horizontally a
number of light rails forming, as it were, ledges whereon an equal
number of muslin covered frames (always, by the way, rinsed in
clean water and dried after use) rest and slope upward toward the
opposite side at an angle of about thirty degrees. On these are laid
the prints to be dried. Pinning them thereon is quite unnecessary.
Since, as stated, the frames are inclined, there can be no draining
from prints on the higher ones to those upon the lower, the drip, if
any, falling clear from the lowermost edges of all. Thus, contamina-
tion is practically impossible, and drying will proceed expeditiously.
5
66 THE DARK ROOM AND ITS FIXTURES.
The twelve frames in the present example represent an effective
area of forty-six square feet, the whole thing occupying a space of 6
ft.x2 ft. 3 ins.x1i ft. 8 ins. The lowest drying frame will be 1
ft. above the ground-level, and the highest 4 ft. 9 ins., so that accessi-
bility is ensured.
Fie. 1.
Of course, these dimensions need not necessarily be adhered to
closely, Amateurs having but a dozen or so prints to dry at a time
might make the apparatus much smaller, say, 3 ft. x 1 ft. square, whilst
those doing a great quantity would proportionately enlarge the size.
A PRINT-DRYING APPARATUS. 67
With sound yellow deal 1 in. square in cross section, construct
four frames, two each, as in figs. 2 and 3. Glued mortise and tenon
joints are to be preferred, but the more simple method of “halving”
and screwing can be adopted, providing due care is taken not to split
the wood nor to cut it away extensively.
On the inner side of one of the narrower or side-frames (fig. 3),
fasten with short screws twelve cross rails or battens, 18 ins. x 1 in.
x4 in., as indicated in fig. 1. Space them 4 ins. apart, commencing
1 ft. from the bottom, upward.
_ - _ _
72
ase nn a
ess
Ne, QD Cretan
Erect the frames and let them be held together temporarily in
correct positions, as shown in plan (fig. 4), by tying with strong cord.
Mark off the three 4-in, bolt holes, viz., (1) 6 ins. from the top ; (2)
2 ft. 4 ins. lower down ; and (3) 6 ins. from the bottom, boring them
through both uprights of the back frame and into the adjacent ones
of the sides. The inner ends of those in the latter must be squared
4 in. to about half their length, so that the square necks of the bolts
which are passed through them from the interior of the framework
will fit and be prevented from turning when tightening up the nuts.
68 THE DARK ROOM AND ITS FIXTURES.
One of the six requisite bolts with washer and nut is represented in
fig. 5.
Now obtain sufficient mosquito-netting or ‘‘ butter muslin,” stretch
it tightly over what will be the outside of each frame, and secure with
small tin-tacks. Fold the edges of the material once or twice and lay
tape over them before tacking.
With two or three double-jointed hinges, such as are fitted to
camera focussing-screens, hinge the
s H front frame to one of the sides, as
shown, and attach a couple of hooks
and eyes on the opposite side to fas-
ten it when closed as a door,
Bolt the frames together, and thus
the chief part will be complete. <A
light “lid” of } in. deal should be made
to cover the top as indicated in the ele-
Fic. 4. vations (fig. 1). Details of the under-
side of this are shown in fig, 6.
Twelve drying frames must next be constructed of 1 in. x } in.
wood, the outside measurements being 2 ft. 4 in.x1 ft. 6 ins.
Simple butted joints, screwed, will answer the purpose very well.
Each frame should be stayed across diagonally, as shown in fig. 7.
Observe that the edge which rests upon the rail is to be planed off
at an angle of sixty degrees, that the “footing” may be firm, Cover
the frames with muslin or net precisely as were the larger ones.
Fic. 5.
When using the apparatus, prints are taken from the final washing-
water and placed face upwards upon the smaller frames put con-
veniently at hand. When loaded, they are taken to the diaphanous
drying chamber, which may be placed out of doors, slipped into it
and the door closed. In about half an hour or less, according to
prevailing atmospheric conditions, the whole of the prints will be dry
enough for mounting.
A RETOUCHING DESK. 69
A word as to the capacity of our “dryer” may be interesting :
Whole-plate size, 96 pieces ; half-plate, or cabinet, 144; 5 by 4, 240;
quarter-plate, or carte de visite, 884. Other sizes, larger and smaller,
in proportion,
oop gree fl
Fic. 6. Fie. 7.
Enlargements up to 28 ins, x 18 ins. can be dried on the frames
one upon each, in that case. D. W. Gawn.
A RETOUCHING DESK.
Some form of easel or small desk to hold a negative whilst under-
going the operation of retouching, spotting, masking out skies, etc.,
is a useful addition to the photographers’ possessions. There are
several ways of making a desk, some simple, others more elaborate.
A simple and useful form, which is a combination of box and desk,
is here described. The following is descriptive of a quarter-plate ;
for other sizes of plate the measurements must be altered to suit :
A 4 pieces wood for sides, 7 in. x 2in. x din.
B-3 ,, +> », top and bottom shade, 74 in. x 7 in. x fin.
C 1 piece », negative frame, 74 in. x 7 in. x in.
D 2 pairs brass hinges, 1 in. long x 4 in. broad.
# 4 hooks and eyes.
l1-in. sprigs or wire gimp pins, 3-in. tacks or pins, black silicia or
some such opaque material,
The wood must be cut exactly to sizes given, and all planed smoothly
and square, including the edges. The piece marked C on list and in
sketch must have a 4-ins. x 3-ins. hole cut in the centre, and round
that hole, to 3; from the edge and about } in. deep, a recess must be
cut to hold the negative. The hole can be marked out with rule
and pencil, and cut out with a fretsaw ; and the recess cut with a
70 THE DARK ROOM AND ITS FIXTURES.
sharp chisel, care being taken to have the wood flat on bench while
making the recess, which must be carefully cut or the wood will
split. Of course this frame could be made with four pieces of wood,
instead of cutting a hole through one, but the joints are rather
difficult for an amateur to make. The four pieces A should now
be nailed together from ends and sides of a box, allowing the edges
of end pieces to come flush to sides, as in sketch, and one of the
pieces B fastened on to form the bottom. Another of the pieces
B must then be hinged to form the lid of the box; these hinges are
not shown in sketch, being opposite to side hooks #, The piece
C is next to be hinged to the end of said box lid, as at D D, and the
remaining piece B hinged to the opposite end of piece C, as shown
at D D, to form the top of shade. The side pieces of cloth can next
Ric. ts ies 2:
be cut to shape (allow a salvage edge to come to the front) and be
tacked in position. In measuring these side pieces the frame should
be opened. out to the position required for use, as shown in sketch,
and a paper template made to cut the cloth by. Hooks and eyes to
secure all, when closed up, may now be fixed at H # E, viz., opposite
to the hinges. These are unnecessary if the desk is not intended
for carrying about. A strap fastened round from front to back,
and a leather handle screwed on one side of the box, would make the
whole portable if required. The side supports are to be cut out of
thick tin or thin brass, as per sketch No. 1, the size when cut to
be 5 ins. long by 4 in. broad, with an 4-in. slot up the centre, and
ten or twelve notches cut in one side so as to engage with the side
pins in each case, and keep the desk open and at the required angle.
A HANDY PIN. gl
The strip is, of course, to be screwed to box lid at bottom, as shown.
The top of box below the hole should be enamelled white, or have
white paper pasted thereon, so as to reflect light through the nega-
tive ; the other portions may be stained or painted any color desired.
Plain walnut water stain, with or without varnish, answers well,
and is all the finish necessary. F RED, W. Cooper.
AX TBUXINUD NT IPIUN|,
The materials required are ladies’ hat or scarf pins about two inches
long, with large black or white glass heads, costing twopence a dozen,
and, for the handles, a few ordinary
beer bottle corks of best quality, and,
of course, unused. The pin is to be
pushed through the corks longitudinally
until its head touches hard up, as shown
in fig. A. The corks are then to be cut
down with a sharp blade until they
roughly assume torpedo shape, and then
rounded or smoothed off with No. 0 or
No. 1 sandpaper. Coat the pin points
with spirit or other waterproofing var-
nish to prevent rust. You will be surprised at the firmness of
this little tool, more especially when you try to pull the needle
out again. HILiarp VIKING.
CAMERAS AND ACCESSORIES,
A HAND-STAND CAMERA.
Tue following list comprises all the requisites for making the above
except a slight knowledge of ordinary carpenters’ tools, and careful,
thoughtful fitting of the parts as described :
No ee ea What required and sizes, |
1 sides | 2 pieces American white wood, 92 in. long x7 in. broad x 3
thick
|
2 top and | 2 pieces American white w ood, 933 in. long x ie in, broad x 3
bottom thick
3 ends 2 pieces American white wood, 7 in. long x ‘6h in, broad x 3
| thick
4 lid | 2 small brass hinges, Lin, long x about g broad .
5 lid | 2 small brass catches as described rene |
6 | scaleand | 2 small brass plates a eal
screw pel
7 2 doz. 1 in. size No. 7 screws, and 1 doz. 2 in. “No. 5
| screws
8 letOZeeel ins gimp pins or “panel pins not ordinary l-in. |
sprigs : 5 : |
ee Ree ne es eee ee |
All the wood must be cut perfectly square and planed smooth,
including the edges. The pieces must be cut exactly to size given
so that they will fit properly in position. The camera I have chosen
of which to illustrate the adaptation, is a quarter-plate. That is, per-
haps, the commonest type on the market, but others will answer equally
well. If any other size is to be used the above measurements will
have to be altered according to camera chosen, but the principle
would be the same in almost every case,
Take one of the pieces (No. 3 on the list), and mark as shown in
fig. 1. The ring, which should be about 2-ins. diameter, can be made
72
A HAND-STAND CAMERA. 73
with a pair of compasses, first having marked the centre by lines
crossing from corner to corner. Now bore a hole with a sprig bit (or
bradawl) at A, pass a fretsaw through and cut out the piece, follow-
ing the compass mark very closely to make a neat job. Rub this all
over with sand or glass-paper stretched over a small block of wood
or cork, also smooth the edges of the hole, and you have the front
of camera box complete.
Now take one of the pieces (No. 2) and bore a hole, about 1-in.
diameter, through the wood 54 ins. from one end, and in centre
from side to side, as per fig 2, At the bottom of fig. 6 is
shown section of hole with camera screw in position. The screw
fig 2
Vr }
‘ 5 ‘
' Lig I 5 3
cs va = n plate
t we a
ley ¥ 8 ; .- hole en plate
ny S A). hole in wood
iv y!
i’ iS
iy han <i
f KG ;
Ss q " I
' “ 1 )
Ny 5? : Re rackhana
i + Se v; ge
1 ra lot for focus i LEE OTS |
i 2 :
Ve c=: plale
passes through a small brass plate (No. 6 on list), which is let into
the bottom of box flush with the surface, as at P in fig. 6. This
plate, 13 ins. long x 1 in. broad, is shown in detail in fig. 7. It may
be made at home or purchased at any photographic store or iron-
monger’s. The centre hole should just fit the small tripod screw
the other holes should be countersunk for screws #-in. screws must
be used, and the heads driven down or filed flush with the surface
of the wood. Next cut an oblong hole about 1} ins.x $ in., as
shown at H in fig. 2, 1} ins. from edge and 1? ins. from end to centre
of hole, to work the rack and pinion adjustment through. Rub the
whole piece over with glass-paper, and you have bottom of camera
box complete.
74 CAMERAS AND ACCESSORIES.
Next rub all the remaining pieces of wood with glass-paper,
taking care not to round the edges, and proceed to fit together as
follows : Take one of the side pieces (No. 1) and the back, viz., one
of pieces No. 3, and fasten at right angles (as shown by dotted lines
in fig. 1) to each other with the panel pins; two pins will hold them
in position for the time being all joints can be made more secure
when parts are in position now fix the other side to back and then nail
the front in; next fasten the bottom piece in position with a pin at
each side and end he sure the oblong hole comes to front of box,
viz., towards lens hole.
You will now have an oblong box without lid, and if care has
been exercised in putting together, the edges and joints should be
square and even. If all is right a few more panel pins and two
l-in. screws (No. 7 on list), driven well and carefully home, will
hold all firm.
So ee ae :
(4 VACHE moni
hinge Body o box hunge
ieee
The lid is to be hinged in position next, and should be done
carefully so as to prevent strain when opening and closing camera
case. Fig. 3 will show the simplest way of doing this. It is not,
perhaps, the neatest way, but will stand greater strain than any other
method. The screws fastening hinges'to lid should be 1 in. long at
least, six of those No. 7 on list will do they strengthen the lid at
its weakest part the screws through hinges into body of box will be
six of the 2-in. named in list. The hinges should be let into the
wood flush with surface, to make a neat job. The catches at front
are li-ins. x 2 in., and cut out of thin spring brass, and holes drilled
as per fig. 8 or they may be purchased at the photographic stores ;
they are screwed on as in fig. 4, and a small steel or brass pin, with
head filed off, driven in nearly flush with the catch when box lid is
closed down tight. Small hooks may be used in place of these spring
catches, if desired.
The box is now ready for the finishing touches. The wood can
be thoroughly well rubbed with glass-paper, all parts made smooth
and clean, and the whole coated with vegetable black or lampblack
A HAND-STAND CAMERA. 75
mixed to the consistency of cream with French polish, and diluted as
required with methylated spirit, the whole being stirred well to-
gether. Any oil or color dealer will mix this for you. It gives a
dead black surface and will not rub off. If a polished surface be
desired, two. coats of good varnish over the above-named dead black
will give an excellent result. If the box be covered with leather it
will look much neater, and this is not a difficult matter. A skin of
A ee ee a
Sprem
Ut catch
Ee te ee ee
leather can be got from almost any bookbinder, cost about 5s. or 6s.,
and may be put on as follows: Cut the leather as shown in fig. 5,
leaving a little at front and side of lid, and pieces for the edges of
lid. Get some good stiff shoemaker’s paste, rub well into the leather
with a stiff brush until the leather is soft and pliable. See that there
is no dust on the box and lay it in position on side on centre square,
cateh ts}
Stun of leather
szde
end
Ag oe
draw the other pieces in position they should bend round corners
at dotted lines rub well into contact. with wood, and cut joints to meet
with a sharp knife where they overlap. Lens hole and all others
may be cut through with a sharp knife when dry. A neat leather
handle may be purchased at the photographie stores, ready for
fixing, or a piece of leather strap may be fastened by two or three
roundheaded screws on to lid, or a longer piece may be fastened
at back and front, as in fig. 6. The latter method takes all strain
off the hinges and catches of lid, and is, perhaps, the better
plan.
76 CAMERAS AND ACCESSORIES.
The camera can now be placed in position and secured by a short
tripod screw, the head of which should not be more than 3 in. thick,
and the shank 4 in. long.
Any shutter may be used by attaching a cord to the release spring
and toa small bead outside camera, but the roller-blind pattern is by
far the best, the release cord passed through a small hole at side and
cord to set shutter passed through hole in bottom of camera, as in fig.
6. The shutter should be firmly fixed on lens, or else be fast to the
lens board, and lens screwed on to shutter. The pneumatic release
may be used instead of cord: it is not liable to pull shutter off lens
just at the critical moment of exposing plate.
SG GC WW gC, ,€~~CCewCF7*'»eF”F[.F
RS
i
\
N
.
LI)
S&S
\“\<
i YEA
op
ZA
LEED
by
Le:
LLL
LLL
Treped
y
set shrller >f \ pene
If camera is to be used at fixed focus, a lens of not more than
54-in. focus must be used. The oblong hole in bottom of box would
not be necessary in this case, and the length of box could be reduced
by about Zin. If a focussing hand-camera be desired, a 6-in. or 64-
in. lens would be better, and in the latter case a scale is needed. To
make one, cut a slot in front of camera, as at S in fig. 1. Take the
remaing piece of brass (No. 6 on list), which should measure 1? ins. x
4 in. x34, thick, pass same through slot, and screw on to movable
frame of rack and pinion adjustment, then focus at say 5, 10, 15, 20,
and 25 ft., and mark on brass plate a line just where each of these
measurements makes the brass plate protrude outside front of box, and
mark distance on in plain figures. The plate is here shown in detail.
A HAND-STAND CAMERA. 17
The etching of such a plate can be simply and neatly done. Scratch
the distance marks very lightly at first, then dip the metal in melted
paraffin wax until it is well coated. With a sharp, hard lead pencil,
or the point of a fine nail, scrape through the wax over the lines, and
cut through it the distance figures. The whole may then be placed
in a solution of perchloride of iron, say, 1 0z. to 6 ozs. water, though
the strength is largely immaterial. This solution will eat away the
metal where the wax has been scratched away.
Extra slides may be carried at sides and on top of camera inside
box. Do not be in a hurry to finish the work, it is sure to suffer.
The method of jointing the wood-work is not altogether workmanlike,
but dovetailing or groove jointing for the ordinary amateur camera-
maker is not always a satisfactory job. It needs a lot of care and
practice to get all joints true, and it is quite unnecessary. However,
Fig
focws screw plate
S
10,
Fa
joz
sect
Serna
ol tg 8
es sks ee
those who prefer the dovyetailing may do the work accordingly, but
some of the measurements will have to be slightly altered.
Be sure, before you cut anything or fix anything, that you have all
in right position. If your camera is of a different design to the one
sketched, measure position for lens hole and all other holes and slots,
etc., before cutting ; they may not be in exactly the same position
as those I have given measurements for.
One or two finders may be fixed at front, if desired; one of the
upright bi-concave view-meters, with slots to fix same on two sides of
box, is as good as anything, and the camera is then used ata proper
height from the ground, viz., about the height of your eyes.
The sliding parts of focussing adjustment of camera should be
lubricated with powdered black lead to ensure easy working of same
through slot in bottom of box. The reversing back of camera must
always be upright before placing camera in box, so that when shutter
of slide is drawn out it can be bent over on to top of camera and the
lid closed ; the focussing screen may be left on camera as fitted,
provision having been made for this in the measurements given.
78 CAMERAS AND ACCESSORIES.
I have named American white wood in list of requirements, because
it is cheap, easy to work, and very suitable for the purpose. Of
course any kind of wood may be used, even ordinary pine would do if
no other is procurable.
The price of leather covering is purposely omitted from list, as
many will not go to the expense of so finishing the box. A dead
black or varnish black surface will only cost a few pence. Imitation
leather may be purchased at considerably less than price given for
skin, but I prefer the dead black to such, as it will stand more wear,
and can be re-blacked very easily.
The box will make an excellent camera case to be used in place of
the ordinary canvas bag; it will be sufficiently large to hold all the
apparatus of the average amateur.
The method of working as hand-camera will be open lid, set shutter,
place plate-holder in position, and draw slide ; close lid, expose plate,
open lid, and close and remove plate-holder. F Rep. W. Cooprr.
A UNIVERSAL CAMERA.
How many photographers have old apparatus laid aside which only
takes up space, and how few ever think that it can be made in many
cases into really serviceable and useful tools.
Such a camera once came into my possession, an old wet-plate
landscape 12x 10 with screw extension and wing, morocco bellows,
single slide, etc. The camera was apparently a wreck; on over-
hauling it, however, I was surprised to find how little really wanted
doing to it. The wood-work was in good condition, having been well
put together of sound, well seasoned Spanish mahogany. The handle
of the focussing screw and the other screws for swing-back, rising-
front, etc., were taken out, and for a few shillings the handle repaired,
and the whole lot re-lacquered, greatly improving the appearance.
The bellows were taken in hand. As they were much crushed and
very dirty, I resolved on heroic treatment, kill or cure, and proceeded
with a soft scrubbing-brush, and some warm soapy water to wash
them inside and out. They were detached from the camera, to be
glued on again afterwards. The water removed the dirt, and also
softened the paste which attached the twill lining to the leather.
The whole washing and softening was done carefully and quickly, and
then the soft bellows were set up to dry, taking care that they dried
in their proper shape. As they dried they were gently closed
together into the same position as they would occupy when the
camera was shut up, and when perfectly dry they were as stiff and
A UNIVERSAL CAMERA, 79
straight as a new bellows, and only required three coats of thin
leather varnish, the formula for which was found in a year book.
The places where the edges of the twill had become detached were
carefully pasted down and tiny patches fixed over any holes.
And now was commenced the real work of alteration or adaptation.
The rising front was taken out and a hole cut in it 104 ins. square.
Round this (to make a rebate) was fixed a beading so that a square
lens board 114 ims. square could be fitted in (fig. 1). To fit this
rebate a frame of mahogany was made # in. wide and nearly 3 in.
thick, and to it was screwed a sort of box 104 ins. square strongly
joined at the corners by dovetailing or otherwise, so as to be light-
tight. The box was 4 ins. deep, without top or bottom (fig. 2).
This formed an extension to the camera, for the frame a bc d fits
inside the 114-ins. rebate on the original front of the camera. But
not only will it form an extension, but it goes inside the camera to
i a 3
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tel e
shorten the length of focus, for a reason to be explained later. Now
on to the front of the box was firmly fixed by screws another frame of
wood 14 ins. wide and 4 in. thick, shown in fig. 2, and into a rebate
on this fits the actual lens board. The lens board or boards were
‘made reversible, so that when the extension is turned round and goes
inside the camera the lens board can also be turned and the lens in
consequence still point away from the dark slide. The flange was of
course screwed on one side of the lens board, and on the other side was
fixed a pneumatic shutter which is therefore available for any lens,
which with adapters or without may fit the one flange. To connect
the tubing from the ball to the shutter inside the camera in a
perfectly light-tight manner is quite easy, if a piece of brass be taken
and bored with a hole into which a short length of brass pipe may be
soldered (fig. 3). The little flange of thin brass is screwed on to the
lens board at one corner, a hole being bored through the board to
allow the brass pipe to pass. The rubber is then connected on each
side,
80 CAMERAS AND ACCESSORIES.
So much then for the front. The back was next taken in hand,
and the original 12x 10 slide and focussing screen laid entirely on
one side for the time. A wooden frame was made exactly like a dark
slide to fit inside the back, just as the original slide fitted. The
wood was not rebated for plates, of course, and no sliding shutter or
back panel was provided. ‘he inside size of the frame was made
11 ins. square, and a box without top or bottom, similar to that for
the front extension, was made 11 ins. square outside and 24 ins. in
depth. This was glued and screwed inside the frame (fig. 4). Now
a frame was made to take the new dark slide, and as this must
I
: y ‘ Fig-5.
Lis 4 e i Working
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always be perfectly flat, $-in. wood was used. It consists of
two pieces of 4-in. stuff 2 ins. wide and 21 ins. long, and two
pieces the same thickness but 7 ins. long and 6 and 8 ins.
in width respectively. Fig. 5 shows the construction. This was
firmly mortised together as shown, and was screwed on to the end
of the box-like frame (fig. 4)a@6e¢d. Perhaps a dark slide may
be found amongst the other relics of bygone years, if not it had
better be bought. It should be about 12 ins. long by 84 ins. wide,
and should hold two half-plates side by side with, say, 3 in. between
the edges of the two plates; thus two upright cabinets may be taken
without “changing” in the dark room. The usual cardboard or thin
wooden frame must be provided to fit into the 7-ins. square hole (fig. 5),
FIELD CAMERAS AND CAMERA-CASES. 81
to prevent more than one half-plate receiving exposure, and a second
frame should be provided for carte-de-visite work, the slide being
fitted with carrier to hold one half-plate oblong. To hold the slide,
two runners were fitted along the edges of the frame (fig. 5), and the
usual catch was provided to hold the slide in its various positions for
cabinet or carte-de-visite. The focussing screen was simply a light
frame sliding in the same runners. And now we see the necessity
for making the front extension reversible. The back being 21
ins. long extends across the camera, and when in use prevents the
camera being screwed in for short focus work, on account of the end
catching the wing at the side. When, however, the lens is brought
8 ins. back, by the reversal of this front extension, all is right. The
advantages of such a camera are varied and numerous. It serves as a
studio camera, with which midgets, carte-de-visite, and cabinets may
be taken (upright or oblong), Then the whole back may be slid out
and replaced by the original dark slide or focussing screen, and the
camera used for “12x 10,” “10x 8,” or whole plates either oblong
or upright. The extension is considerable, and the camera when
used with a short focus lens is useful for copying to larger sizes or
making enlarged negatives from quarter or half-plate transparencies.
I know that cameras can be bought which will do all this; but the
photographer who has not a large business, and hesitates to spend
£30 on a new camera, may be able in winter evenings to fit up in
the way I have suggested some old apparatus, the result of his labor
being not merely a camera to use occasionally for odd work, but a
most useful and serviceable universal camera, which, if not suitable
for outdoor work, answers a great variety of purposes indoors.
FIELD CAMERAS AND CAMERA-CASES.
I give a sketch of the alteration made some time ago to my own
half-plate ‘‘ Amber” camera, which answers very well in practice.
The turn-table was first removed from the baseboard and fitted to a
new baseboard of the same size as that originally supplied with the
camera. The problem then was to obtain any amount of rise, from
front or back, with rigid fixing in any position. Further, the struts
must be long enough to hold the camera in all positions from lens
downward to plate downward, and yet they must not interfere with
the closing of the camera. It was necessary, therefore, to provide a
4-in, slot along each side of each baseboard, with a 4-in. slotted bar
working as shown in the sketches.
At the front and at the back of the camera a pair of hinges is
6
82 CAMERAS AND ACCESSORIES.
placed ; but these differ from ordinary hinges in that their pins have
been removed, and replaced by a long wire which runs through the
two hinges (see sketch). By withdrawing the wire at the back of
the camera I can tilt the lens downward to photograph a tombstone
or other objects on the ground; by withdrawing the other wire the
lens can be tilted upward to photograph a ceiling. The whole
arrangement is so simple that anyone can make it for himself,
. ju i | 7, j yl
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_
obtaining the slotted pieces and tightening screws from the hard-
wareman.
The main value of this method is not for ceilings and floors and
the copying of prints, ete., since these uses are only occasional. But
for providing extreme rise and extreme fall of front it is constantly
of use. To take advantage of these motions it is necessary to have
a good amount of swing in both directions, to both front and back.
Its usefulness is of the kind which many a worker manages to do
without, but he who has once really used a camera with ample rise
and fall of front, will never willingly be without it, for general
work. The advantages gained in the way I have suggested can well
be obtained by the Sanderson and the Cole patent cameras; but
FIELD CAMERAS AND CAMERA-CASES. 83
those who do not wish to buy new cameras I should urge to convert
their present ones.
Another comfort, only to be thoroughly appreciated by those who
have tried it, is the long narrow form of camera-case, containing
tripod as well as the rest of the outfit. I believe the pattern is
American, originally, and is made in England by the Thornton-
Pickard Co. Any casemaker will construct it to order, and the
sketch gives detail enough to enable him to make it for any given
camera. My own case measures 224 x 12 x 32, and contains: In
left compartment five double plate-holders in centre, a half-plate
SN
ie
7
camera, with double case (as shown above), and with space left for
an extra plate-holder if necessary ; in right compartment, one plate-
holder, one quarter-plate Kodak roll-holder, adapted to the :half-
plate camera, with two or three extra rolls of film, a casket (Vade
84 CAMERAS AND ACCESSORIES.
Mecum) of convertible lenses, another casket with a Dallmeyer, a
Cooke and a Wray anastigmat lens (different foci), a Watkins exposure
meter, a note-book and, sometimes, an extra dozen plates. The com-
partment along the top contains the tripod and focussing cloth.
When intending to expose more plates than the dozen for which the
holders provide, the focussing cloth is replaced by a changing hag,
which can be used for focussing also.
The case is provided with a handle on top, and a broad shoulder
strap running to each end. When completely packed it is much
more convenient to handle than any arrangement of two separate
packages ; and when the camera is erected it is a great comfort to
have only one other parcel to carry.
A LARGE TRIPOD AND TRIPOD STAY.
The stand to be described here is a single folding bayonet-
jointed one, approximately 7 ft. 6 ins. high from ground to top of
head when the points of the legs are separated 2 ft. 6 ins. apart. It
will be of the simplest possible form in order to bring it within the
scope of any practical amateur’s carpentering abilities. In use, it
should be found strong enough to bear safely the heaviest of cameras
under all ordinary or, even, extraordinary conditions.
The material required for constructing the tripod is well seasoned
American ash, carefully selected for straightness of grain and even-
ness of texture. The use of this wood is recommended on account
of its comparatively great strength and lightness. It should be pur-
chased in a single piece, 4 ft. 3 ins. long by 9 ins. by about 14 ins.
Plane the board truly on both sides to make its finished thickness
lin. Also, round off the edge of each end as in fig. 1, and then, on
one side of the board, lay out parallel longitudinal lines as shown,
5.
3 in. apart. These indicate the dozen strips to be sawn off and
AX IEANRGIS, TMRMIOXOID) ANID) IRIUROID) Saw, 85
finished with plane and glass-paper to } in. in thickness. From the
surplus cut three pieces 52 ins. long by 1 in. square (finished
dimensions), and round the ends of each to correspond with those of
the foregoing.
Taking thin and very hot glue, secure one of these small pieces
between two of the long’ ones at their extremities, as in fig. 2. This
makes one of the three lower halves of the legs. In joining these
parts, they should be clamped tightly between two boards in the
bench-vice and left for twenty-four hours to insure a close union,
Especial care must be observed to join each portion in absolute
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alignment and squarely with another, or the stresses to which they
are subsequently to be subjected will be borne unequally and weak-
ness will show itself very soon and unmistakably.
The operation now is to cut a slot or mortise 1? ins. by } in. quite
through each of these treble ends, and then to attach a nickel-
silvered iron plate across them, 3 ins. x 1 in. x $ in. The
positions are indicated in fig. 8. The simplest way to cut the
mortise is to bore a couple of holes + in. in diameter on a central line
1} ins. apart, centre to centre, and take out the intervening wood
with a thin, sharp chisel, afterwards finishing with an ordinary file.
The lower ends of these parts of the legs will not yet have been
°
86 CAMERAS AND ACCESSORIES.
attended to, the two long side pieces of each being, of course,
separated by the block between their top ends. They must be
brought into contact about 3 ins. from the bottom, and two or three
screws put through to secure them so; they can then be cham-
fered off sufficiently to fit tightly into an iron shoe or pointed
ferrule. One of the thus completed lower halves of the legs is
shown in fig. 4.
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The upper portions or wings may now be
made, the remaining six lengths of wood being
employed. Take three of them, and upon one of
the broader or 1-in. sides thereof cut a mortise
# in. long by } in. wide by 2 in. deep with its
centre 124 ins. from what will be the upper
ends. Also bore a }-in. hole 33 ins. from the
other end, boring it right through, and after-
wards cutting it + in. square to half its depth
(see fig. 5).
In the final three pieces, bore a 4-in. hole
’s In, deep, 12 ins. from the upper end to its
centre, and another, wholly through, } in. in
diameter, 32 ins. from the opposite end, as in
fig. 6. The upper extremities of all six pieces
have to be fitted with top-plates, as represented.
Three nickel-plated iron stretchers (fig. 7) are
next required. They and, in fact, all the neces-
sary ironwork might be made in the rough
by any smith, it being quite an easy matter to
file the parts neatly to shape, drill and counter-
Fie. 4, Fie. 7. sink the requisite holes, and send all to be
nickelled.
Brass fittings may, of course, be adopted if desired, but they must
be much heavier than iron for the same strength, and will, if only for
that as a reason, be far inferior in appearance.
A LARGE TRIPOD AND TRIPOD STAY. 87
The flat lug of the stretcher rests in the }-in. mortise (fig. 5), and
is pivoted therein with a screw or a piece of steel wire driven
through the edge of the wood into the mortise } in. from its upper
end.
When the stretchers are so attached, each length of wood bearing
them may be paired with its fellow (fig. 6), and the two, at a distance
of 2 ins. apart, fastened together near their lower ends with a plate
3 ins. x 1} ins.x }in. The position of this is as in fig, 8, which is
a representation of one of the wings complete.
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Fie, 8.
Three iron bolts (fig. 9) must be obtained, furnished with 32-in.
washers and butterfly nuts, as illustrated. They, too, should be
nickelled.
Now, to form each entire leg, take one of the upper halves and one
of the lower, slip the top of the latter into the bottom of the former,
so that their transverse plates butt against one another, pass a bolt in
at the partly squared hole, thence through the 1#-ins. slot and so out at
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Fig. 9.
the opposite side, put a washer upon the projecting end, then the nut
and tighten up, when the leg will be immovably jointed. To fold it,
slacken the nut, pull the lower half of leg downward to allow its
plate to clear the bottom of the wing, swing it back between the
sides thereof and tighten the nut again.
The tripod head may be simply a brass or iron casting, or it can
be made of wood with metal fittings. Upon the whole, the latter
is preferable, as it is less heavy than a casting, and what is,
perhaps, more important, it is not so liable to scratch a good camera.
The common head is a vile offender in this respect unless covered
with chamois.
88 CAMERAS AND ACCESSORIES.
For use with a camera of fairly large size, the writer recommends
a circular head of wood 10 ins. in diameter or a rectangular one
12 ins.x 10 ins. Dimensions, however, will depend upon individual
requirements.
Whichever form is preferred, cut three pieces of }-in. walnut or
mahogany fretwood of the size given, and glue them together sand-
wich-like with their grains running crosswise. Thus glued, put
them immediately on a truly level surface, place a board over them
Fie. 10. Fic. 11.
and, upon that, a very heavy weight, and leave it undisturbed for a
day or two. The fretwood will, itself, be composed of two or more
thicknesses, so that the result of ‘‘ building” the head in this manner
should make it absolutely unwarpable.
Three head fittings are required, as in fig. 10, and a circular 2-in,
plate for the centre to resist the wear of the screw holding the camera.
They should be of iron, nickel-plated.
The positions of these parts must be marked out accurately on the
under surface of the head, as shown in fig. 11, the seatings being sunk
sufficiently to allow of flush fitting. Secure them with screws 2 in. long,
A LARGE TRIPOD AND TRIPOD STAY. 89
An adjunct not often seen on camera tripods, but which is almost
invariably applied to those of telescopes, is an arrangement of a
centre-piece and three radial arms placed between the legs and
connecting them together, thus preventing any tendency to slip. It
is really necessary in a large stand; but, for the photographer, should
be adjustable so that the tripod legs may be set as desired, and stability
be maintained as well.
Such a device is illustrated in fig, 12. he circular centre-piece
ne, U2,
is of any tough wood # in. thick turned 5 in. in diameter. Upon its
circumference is screwed three $-in. iron plates of the shape (in the
flat) shown «in fig. 13, and pivoted between their outstanding lugs
are the radial arms. These are of iron, from 6 ins. to 10 ins. long
and } in. wide by 53, in. thick. Their form is represented in fig. 14.
16
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° ° ° ° °
° °
Hie. 13: Fic. 14.
When in position, the notches shown, which are $ in. deep by
73; in. wide, hook upon the stretchers attached to the upper parts of
the legs. Since the arms are so jointed to the centre-piece as to fold
downward only, the whole contrivance cannot fall out of place, but
must be lifted to be yemoved.
Before proceeding to finish the stand, go over every portion and make
sure that all fitting and fastening is as near perfection as possible.
Clean off the wood-work smoothly with fine glass-paper and, finally,
either French polish it or apply a coat or two of varnish. D. W. Gawn,
90 CAMERAS AND ACCESSORIES.
A SHOULDER STRAP FOR HAND CAMERA,
If the hand camera has to be carried in the hand for a long distance
on a hot day, light as it may be it becomes a nuisance, and one longs
to have the hands free, especially on those parts of the journey
“between pictures.” The writer made a sling as described below to
meet this necessity, the cost of which was infinitesimal as compared
with that of a sling case, and is decidedly more convenient to work.
Slings are, of course, common enough; all kinds can be met with,
from the beautiful morocco or Russian leather article, bedecked with
plated buckles and jewelled in every hole, down to the common or
ordinary garden cord or rope. Some little novelty is, however,
claimed for the one here described, and one of the large houses in
the photographic trade might with advantage, both to themselves
ICE Sa
Leather Strap - Ea ae
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Gm FIG.2 FIG. 3
and their customers, put something like it on the market. The idea
is given for what it is worth. The requirements are :
A brown or black leather strap, about 3 ft. long and about 2 in. broad ; it
should be of thin soft leather, and may be procured at any leather
merchant’s or saddler’s shop.
A decent, buckle of square pattern and just broad enough to slide easily on
the strap.
Two solid wire rings, 4 in. diameter.
Two small swivel hooks with spring side.
Two #-in, brass screw eyes, thick ones preferable.
One best strong safety pin about 1 in. long.
An 8-in. piece must be doubled and stitched firmly to the fasten
side of the safety pin, as shown in fig. 1. The wire rings are to
have a in. flat side made as in fig. 2. This kind of ring can be
purchased at some ironmongers’ shops; if not, round ones can easily be
bent into the form shown, with a pair of flat-nosed pliers. The spring
hooks are to be fastened to the rings as shown also in fig. 2.
A screw eye is to be screwed on at each end of the top of the camera,
A STEREO TRIPOD HEAD. ol
exactly in the centre from side to side. One end of the strap must
be secured to one of the rings by stitching, riveting, or with an eyelet.
The other end must be fastened in the same manner to the buckle,
having first, however, been passed through the buckle in the manner
shown in fig. 3, and also through the ring, which will then be loose
on the loop so formed. To use the sling the small loop piece is
secured by the pin to the coat under the collar, and allowed to lie
flat along the centre of shoulder.
The long strap is passed through this and secured to the camera
by the spring hooks engaged in the screw eyes. The height of camera
can be adjusted by raising or lowering the buckle, and holes should
be made in the strap in one, two, or three places which may be fixed
by trial. If the buckle be slipped to the bottom or nearly so, the
camera can be used without unhooking, the strap acting as a support
while making an exposure. F RED. W. Coopmr.
A STEREO TRIPOD HEAD.
By the owner of a quarter-plate stand camera, a simple contrivance
for taking a pair of stereoscopic negatives on
two quarter-plates is a want often felt. The
making of such a piece of apparatus presents
little or no difficulty, and very little material
is required. A piece of baywood or American
white wood is as good as any other for the
purpose, size 5 ins. x 6 ins., and of the same
thickness when planed as the tripod top
belonging to the tripod to be used, so that
the screw will fit. The sketch shows the
shape to which the wood is to be cut, No. 1
being for that pattern of stand, the legs of
which are squeezed together, and clip on the
inside, and No. 2 for that pattern which
clips on the outside. If any other method
of attaching the legs is used, the pattern will
be altered accordingly. After cutting the
wood to the shape required, the next and most
difficult job is to cut the slot ; this would be 3 ins. long and the same
breadth as the diameter of the hole in the tripod head in use. This
slot must be cut clean and perfectly straight to allow the tripod screw
to travel easily from end to end, or allow the camera to be clamped in
any position. The shading in the sketch shows the direction of the
AN
ALIA
92 CAMERAS AND ACCESSORIES.
grain in the wood in relation to-the slot, and it is particular that the
slot be cut in the direction shown or the wood may split when in use.
The simplest way to cut the slot is to bore two holes of the right size
at the points marked A A in the sketch, draw two lines the right
distance apart connecting the holes, and cut along these carefully
with a fretsaw. Next place the six pins for attaching the legs in
their respective places. Ordinary brass or iron screws are better than
nails or pins for this purpose. A hole slightly smaller than the
screw, and about 4 in. deep, should be bored in the sides at about
4 in. from the edge, and in the centre from top to bottom, to receive
the screws, which are to be carefully driven in to within about 4 in.
from underneath the head, and the latter is to be filed off. A slotted
brass plate may be fixed beneath the wood to protect the edges
against wear by the shoulder of the tripod screw, though if the slot
is cut straight and clean this is not necessary, as the wear is not very
great except in the centre. A small brass plate sunk in level with
the surface at both sides of the slot in the centre would protect it.
All that is now required to complete is a piece of velvet glued on to
the top surface and cut off clean at the edges when dry.
The method of use is as follows: Fix up the stand so that the
slot runs parallel to the object to be photographed, clamp the camera
in position on the extreme right of the slot, turn the camera so as
to get the subject in position on the plate, place the slide in and
expose. Next remove the slide, and, without moving the camera,
replace the focussing screen, and notice the exact place occupied by
some prominent object on the screen; release the screw and slide the
camera to the other end of the slot; see that the prominent object
before noticed occupies the same position on the screen as before,
repeat the exposure, giving exactly the same time, so that the plates
may be developed together to get the same density. This method
of taking stereoscopic pictures can only be used when moving objects
are absent: the reason is obvious.
Printing, cutting, and mounting the two halves of a stereoscopic
slide have been described in ‘Principles: of Stereoscopy,” by HE. J.
Wall (The Photogram for July 1896).
As the camera can be clamped in the centre for general use, the
ordinary head can be dispensed with, and the one described carried in
its place. The tripod screw should be secured to the head by means
of a short chain or cord, made fast to a small staple driven in the
wood, and attached to the screw by a wire loop fast to the cord, and
bent round the narrow screw head. Frep. W. Cooper.
SKY SHADE FOR LENS. 93
SKY SHADE FOR LENS,
A sky shade is always a good addition to an amateut’s outfit, and
for some purposes an absolute necessity ; in fact, it would be better
always to use some means of cutting off side and top ight, and so
prevent reflections in the camera. A simple experiment will prove
the value. of a sky shade round a lens when out in the field: focus
any view in bright sunlight and notice the appearance on the screen ;
then place your hand over the lens just so as to cut off the light from
the sky, etce., but not so as to appear as a-shadow on the screen.
Now notice the picture and you will find the contrast between light
and shade much greater than without shading the lens, and the image
will be more crisp and bright. If, therefore, it is noticeable to the
eye, what must be the effect with a sensitive dry plate? A book,
your hat, or any such object can be used in place of the hand, but you
are never certain as to whether such a shade is in the field of the
lens, and so cutting off part of the view. The best plan is to make a
proper shade somewhat on the following lines: The writer has tried
several methods, but finds that here described to answer all purposes
better than any other, as it not only cuts off the sky and side lights,
but the glare from white roads or from snow on the ground in winter.
The shade prevents also what is in many cases called halation, but
which is in reality fog caused by light entering the camera. A sky
shade is far better than a diaphragm inside the camera. “ Prevention
is better than cure,” and it is better to keep out all unnecessary light
than to try to make it harmless after it has got through the lens.
Measure one side, and the top of your shutter, and if for instance
we suppose the shutter to be one of the roller-blind pattern, the case
measuring 3 ins. x 2 ins, it will measure 10 ins. all round ;
to this add 4+ in. for bends at corner, etc., making 10} ins. in all.
Now focus any view, using your shortest focus lens ; place a rule on
top of the lens ; notice where the rule cuts off the view to do this
run your finger along the rule till just out of the field of view then
the distance from the back of the shutter to the point just
outside the field of view will give the desired measurement, which,
for example, we will consider to be 4 ins. Now take a piece of
strong cardboard and cut to size as indicated by these measurements,
viz., 10} ins. x 4 ins. Mark as in fig. 1, z.e., make a cut ha/f through
the card at each mark, and cut out the pieces shown by dotted lines
to allow fitting on the shutter at top and bottom only, so as not to
interfere with the working parts at the sides of the shutter. This
94 CAMERAS AND ACCESSORIES.
card when bent into form, the loose edges being joined with a strip of
linen, will make a tunnel, and will fit easily over the shutter (fig. 2),
To complete it the outside should be covered with velvet, leather,
or fancy paper, and the inside must be blacked or have matt black
bottom.| side Cop side
+ cut away’ * cut away §
Fie. 1.
paper pasted in, the latter being the best, as it strengthens the joints,
The shade can be closed up when not in use, and is thus easily
packed away. It is immaterial whether the shutter be worked behind
or in front of the lens, the principle will be the same, only the
length of the tunnel will be altered. If the shutter is behind the
black.
interior|
BY ; ;
tm
Camera front.
TG oeo
lens the box must be longer than when it is worked on the lens hood.
The same idea can also be applied to almost any shape or size of shutter,
or even to the camera front where the shutter is worked inside the
camera, The necessary alterations in the form of shade to fit the
different patterns of shutters in use will easily suggest themselves.
Frep. W. Coopsr.
A PARALLELISER FOR SCREEN AND COPY.
In Deutsche Photographic Zeitung (No. 5, 1900), L. Belitski
describes a little instrument which will recommend itself to photog-
raphers having to make copies, and is, we think, an improvement on
that described in The Photogram for November 1899. Figs. 1 and 2
A PARALLELISER FOR SCREEN AND COPY. 95
show its construction. A brass cross, A, B, C, D, the arms of which
are about 4 ins. long and 32 of an inch in thickness, is made by
soldering two pieces, and the area of intersection made thicker by
soldering a third square piece. In this central portion a thread is
cut exactly at right angles to the plane of the cross. <A steel screw
E (fig. 2) works with this internal thread; E should be made about
7s in. in diameter, and 4 ins. in length.
A disc F (fig. 2) is soldered to this screwed rod; its dimensions
are 1} ins. diameter and about ;°, in. in thickness. A disc of white
card, G, equal in diameter to this brass disc, is edged with black and
perforated in the centre so that it pushes nearly over the rod, E.
A small washer, H, serves to press this card against the brass disc.
A screwed disc of blackened brass, I, about a quarter of an inch less
in diameter than the inner white circle of card, moves to and from
the rod, E. This black disc must be moved exactly centrally on the
B
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Fie. 2.
screw E, which must likewise pass through the exact centre of the
card. The back of the cross is covered with velvet so that it does
no damage to the copy against which it is placed.
The principle upon which the use of the device is based is very
simple. If the instrument be placed against any surface and the
eye placed so that the disc, I, when placed at the nearer end of the
rod, E, leaves a ring of white card of uniform breadth visible, the
plane of the cross must be at right angles to the axis of vision. Re-
place the eye by the camera, and when the same occurs the “copy”
and plate must be parallel. In practice a very light strip of wood
about } in. thick, 4 in. broad, and some 4 ft. in length, is shaped to
a wedge section on one side. The copy being fixed to the wall or
door, one end of this strip (K, fig. 1) is fixed under the screw F and so
supports the “ paralleliser,” the strip being inclined to the copy, and
its lower end being, if necessary, prevented from slipping by a weight.
On observing the image on the focussing screen, the camera is
96 CAMERAS AND ACCESSORIES.
turned until the white ring is uniform all round, moving the tripod or
stand towards the side on which the ring is the broader. To secure
absolute parallelism is the work of a very few minutes. L. Brnirsx1.
CELLS FOR COLOR FILTERS.
The form of cells I have found most suitable for the purpose are
made like the sketch (fig. 1).
To prepare such a cell for a lens of not more than 24 ins. in
diameter, take a piece of best patent-plate glass, being careful to
select a piece having about the same thickness at the edge all the way
round, Many of the sheets are more than half as thick again at one
E
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Fic. 1. Section Section of
E to F. Double Cell.
corner as at the other, and such sheets are quite unsuitable, as the
cells would be prismatic. Now place a straightedge against a
window at about the level of the eye, and holding the sheet at about
the same elevation in a horizontal position, look at the image of the
straightedge reflected in the glass. Should the image be straight the
glass is a true plane, but if it is distorted, bent, or wavy, the cell
made from it will seriously affect the definition of the lens. How-
ever, from the best part of your glass select two pieces 4 ins. x 4
ins. ; these pieces will form the sides of the cell. From a piece of
4 in, or thicker plate glass cut two strips 34 ins. x $ in., one 4 ins.
x4in., and one 4ins. x 1 in. With a fine file lubricated with a
A LENS BAYONET-CLUTCH. or
saturated solution of camphor in turpentine, file out the corners of the
4 ins. x 1 in. piece to form the stopper D (see fig. 1). If appearance
is an object, the other pieces may have the cut edges ground smooth
and true: but it is really only necessary to take off the cutting edges
with the file.
To put the cell together lay two thicknesses of stout blotting-paper
on a hot plate, and place the pieces of glass upon it to warm. When
a little hotter than the hand can bear, coat one side of the bottom
of the cell C with marine glue, and lay down in its place on one of
the 4 ins. x 4 ins. sides, do the same with A and B; now quickly
and evenly coat the upper sides of A, B, and C with the glue, and
lay the other 4 ins. x 4 ins. piece over in its place. Now press the
cell together until only a very thin transparent layer of the glue is
left between the surfaces ; remove from the hot plate, and before the
cell cools put the stopper in its place and press the sides A and B
together on the stopper to ensure a good fit; remove the stopper and
alow to cool gradually.
Clean off any excess of the marine glue, and the cell is ready for
use. :
Marine glue is the most generally useful cement, but if the cell is
to be used for oil or spirit it will be necessary to substitute ordinary
glue dissolved in strong acetic acid, or some other cement not affected
by the fluid. E. Sanger SHEPHERD, F.R.P.S.
A LENS BAYONET-CLUTCH.
The accompanying diagram (fig. 1) will enable anyone who can use
a file, to so alter the thread of the screw that a lens can be changed
instantly without any difficulty or uncertainty as to where the threads
start, a quarter turn being sufficient to firmly secure or release the
lens from its flange. All that is necessary is to file away two quarter
sections of the thread of the flange, and the opposing section of the
thread of the lens mount.
To make the alteration proceed as follows : Unscrew the lens and
on the flange rule with a soft lead pencil two lines at right angles, as
shown by the dotted lines in the figure, dividing the flange into four
equal parts. Letter the section as shown A, B, C, D, and the dotted
lines 1, 2, 3, 4; at 1 engrave an arrow as shown. Screw the lens
home into the flange, and mark on the lens mount where the letters
and dividing lines come, being careful to letter and number each
section and line. Unscrew, and, with a fine-cut, half-round file, cut
away from the thread of the flange the sections marked A and D, as
=
(
98 CAMERAS AND ACCESSORIES.
shown by the dotted line. From the lens mount cut away the
sections of the thread marked A and D, a fine-cut, flat file with a safe
edge being the best tool to use. On the mount engrave an arrow at
line 2. If the two arrows are now placed opposite each other, the
lens will drop into the flange, a quarter turn to the right making all
secure,
My lenses, both photographic and microscopic, were treated in this
manner some years ago, and I am sure the saving of time and temper
has well repaid the few minutes’ work required to make the alteration.
I do not wish to claim the idea as original, as I saw it in use for fire
plug caps in Rio de Janeiro in 1888. E. SancEeR SHEPHERD,
Balen
A COPYING BOARD.
The following materials will be required :
A 1 piece pine or American white wood 5 ft. x 8 in. x 1 in.
B 90 eS a Oititar elaine eran
© 2 . - 5 Delitse eo ples eas
D 1 es “6 5 ite eee ela
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F 2 laths as as etc sale <e-rel TN,
G 2 pieces s a ie tens gee latent
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ii A a ne Shinn ey tte cl ty
J 2 wire frames as described later.
K 2 3-in. sash screws with screw plates and washers.
L 4 2-in, brass thumb screws with screw plates and washers
thinnest that can be got.
M 1 pair 15-in. brass or iron butt hinges.
2 dozen No. 12 2-in, iron screws.
Fig. 1 shows the method of inaking the wire frames J, which are
A COPYING BOARD. 99
bent from two 4-ft. pieces of No. 6 B.W.G. iron wire. These
are also shown in position at J (fig. 3).
Fig. 2 shows two of the pieces B fastened together by screwing
the two pieces C at top and bottom of the back, as shown by the
dotted lines, and two slots, }-in. wide, cut through the boards to allow
Fie. 1.
the sash screws to pass through, for the purpose of securing the shelf
(piece D) in the required position at any height.
Fig. 3 gives the apparatus complete and ready for use, the letters
showing the position occupied by each part named on the list.
It will be noticed that piece I is to be screwed in an upright
position # in. from the end of the baseboard A, and the easel secured
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to it by means of the butt hinges screwed on to the top of I and on
the face of A, thus answering the double purpose of steadying the
easel when in use and allowing it to be turned down flat, with the
shelf remaining in position and the wire clamp frames turned up or
down. Two small turn-buttons should be fixed at this end of the
baseboard, as shown in fig. 2 at N, or an extra sash screw passed
through the bottom of the easel into the piece I, to secure the easel in
an upright position when in use.
100 CAMERAS AND ACCESSORIES.
The baseboard may be cut across if desired, and hinged in the
middle, as shown at O (fig. 3), so that it will occupy less space when
not in use; but this is not recommended, as it does away with the
stability of the whole to a large extent. The laths F are, of course,
the guides for the camera base, and are to be screwed to the base-
board exactly 6 ins. apart all along, so that the camera frame will
slide to and fro easily, but have no side play at any point along the
base. The above named camera base, which is composed of the
piece E, two pieces H, and the two short laths G, as side stays,
should have a hole bored in the top to take the camera screw ; this
hole, however, will differ as regards position according to the make
of camera to be used, though three or four holes could be bored
along the centre (or a narrow slot made running, say, half the
Fic, 3.
length), so that the camera can be clamped in the best position
of balance.
The shelf can be clamped in any required position with the
picture or whatever is to be photographed with its centre opposite
the lens and the wire frames secured by the side screws at the
necessary angle to hold the book or picture in position.
The remaining piece B, which should be of soft pine whether the
other pieces are or not, is to be used to pin small prints, etc., on by
means of drawing pins, and it will when placed on the shelf give the
lateral movement so necessary when copying life size or enlarging
direct in the camera.
When it is necessary to copy from a page of a book, a sheet of
thick glass can with advantage, if the lighting be arranged to prevent
reflections, be placed in front of the book, and the wire frames
secured to keep the glass tight up against the book, and so keep it
A COPYING BOARD. 101
flat. A 12-in. square of best 32-0z. picture-glass will answer all
ordinary requirements.
The easel, and in fact the apparatus as a whole, cannot be used to
copy pictures having a greater length than 2 ft. ; anything above that
size is best copied hung on the wall or on an easel apart from the
camera support, as described in most of the text books. Frep. W.
Cooper.
PRINTING AND ENLARGING APPARATUS,
PRINTING FRAME RESTS.
PHOTOGRAPHIC printing can be made easy and pleasant by fixing
proper means for holding the frames while in use. Amateurs, as a
rule, use not more than six frames at a time, so the provision of rests
is not a difficult matter. In fine weather printing can be done out-
ECenoy
side by placing the frames flat on the window-sill, and to prevent
them from slipping off, a piece of slater’s lath, which can be pro-
cured from any joiner or timber merchant for a trifle, should be
secured to the wooden sill by short pieces at each end and the long
piece resting on the front edge of the stone sill, as shown in fig. 1,
which is a ground-plan, as seen from above. For printing in wet
weather two blind laths should be got and cut so as to fit nicely
102
A VIGNETTING APPLIANCE. 103
across the window to be used A hole is to be bored through one
end of each one to be screwed to the window frame, as at A in fig. 2,
and the other as at B in same sketch. Next, two small brass clips
are to be screwed on as at C and D (fig. 2); these may be cut of thin
brass or tin, and be bent to shape as fig. 3. They, however, can be
procured at almost any little ironmonger’s or hardware store, for
a trifle per pair, and are known as curtain rod holders, ‘These
clips are about 2 ins. long and 4 in, broad with one screw hole at the
bottom, as shown in the sketch. Fig. 2 shows the laths thrown
across the window and in use, and the dotted lines mark the position
of the laths when swivelled up and down respectively, out of the
way. The height at which the laths should be fixed above the
window-sills will differ according to the size of frame in use, and the
best means of getting at that is by trial with the lath and frame.
The position of the window with regard to the light will also affect
the height of the rod above the sill, as the frame should rest at such
an angle as to get the direct light from the sky, not that reflected
from a wall or other object opposite. Frep. W. Cooper.
A VIGNETTING APPLIANCE.
The common form of printing-frame, as everyone will doubtless
agree, is peculiarly unsuitable for the purpose of vignetting when
extreme softness and delicacy of gradation is the end desired,
inasmuch as the distance of the face of the frame from the plane of
the rebate upon which the negative rests is insufficient.
In a half-plate size frame, this distance is about } in., which
obviously is the height a vignetting mask, if placed thereon, would
be raised above the negative, whereas it ought not to be much less
than 1 in.; whilst for larger sizes the distance might with advantage
vary between 14 ins. and 3 ins., according to circumstances. The
interposition of pieces of wood between the mask and the frame,
secured with tacks or nails, is perhaps the plan generally adopted
in the endeavor to better matters, though possibly the inverted
plate-box method is another favorite of the same rough-and-ready
description. The device here suggested is, it is hoped, an improvement
upon both.
For convenience in explanation it is assumed that a half-plate
printing frame of the ordinary pattern is to be fitted. Its outside
dimensions probably will be 9 ins. long x7 ins. wide x + in. deep,
measuring from the face to the back, where the springs are pivoted.
Take an 18-in. length of any kind of fairly tough wood, plane it
104 PRINTING AND ENLARGING APPARATUS.
down accurately to 1# ins. in width by + in. in thickness, and
then perfectly straight along one of its sides cut a series of four
grooves }in. deep by barely 74 in. wide, commencing the first #5
in. from the edge, and each of the others at a like distance apart.
If care is exercised there need be no difficulty in cutting or, it
would be more correct to say, scoring these grooves by means of a
straightedge and purposely blunted knife, or, indeed, any old scrap
Hib 4
of steel. The number of grooves may be less if preferred, and the
range of heights at which the vignetting mask in use may be raised
above the negative, restricted accordingly.
The grooving completed satisfactorily, divide the wood into two
parts, 9 ins. long, 7.e., equal to the greatest sides of the printing-
frame. Bore in each piece two holes about + in. in diameter and
slot them to the extent of # in. from the centres, as shown in the
side elevation, fig. 1, wherefrom all further measurements necessary
may be ascertained with the aid of the scale appended. Although not
A VIGNETTING APPLIANCE. 105
indicated in the figure referred to, it may be mentioned that the slotted
holes are not in line, the reason for this being that when the slots are
slipped home over the heads of two projecting screws, presently to be
screwed into the sides of the frame, greater resistance against inci-
dental outward and inward pressures is offered than otherwise would
be the case, and thus the grooves are kept more truly in plane and at
equal distance apart throughout an essential quality if the vignettes
are to slide in them properly. The screws required are brass, round,
or dome-headed, with the plain portion immediately behind the heads
of such diameter as will fit the slots easily but without shake. To
find the exact place to insert them, hold each strip of wood temporarily
in place against the side of the frame, grooved side toward the latter,
and then with a sharp pencil or a bradawl, inserted through the extreme
ends of the slots, mark the necessary spots. When the screws are
driven in at these places and left projecting 4} in., it will clearly be a
very simple operation to slip the grooved side pieces on or off them as
desired, and if they are adjusted perfectly in the first instance, every-
thing will be held in position firmly enough. Fig. 2 is a transverse
section of a side of the printing-frame with one of the grooved pieces
of wood in place, the grooves being somewhat exaggerated.
For the vignetting masks to slide in the grooves, card or thin sheet
metal may be employed- the latter preferably for its greater dura-~
bility. In order to provide facilities for printing from any part of a
negative, three masks may constitute a set. The form recommended
is shown in fig. 3, the apertures being given the places shown in fig. 4.
If the masks are made longer than the frame by about 3 ins., any
portion of a print can be vignetted by merely sliding them forwards
or backwards in the grooves. When the masks are of the more
usual kind, having flat, serrated edges, two only need be made, as the
left-hand reversed will serve equally well for the right-hand side or
wwe versi.
Sheet copper, zinc, and aluminium are perhaps the three best metals
for making vignetters, and if, as is advisable, the thickness does not
exceed ‘018 in. (=No. 28 B.W.G.), they can be cut out quite
easily with a sharp steel point guided by means of a suitable cutting-
shape, the radial slits being cut subsequently with scissors. Along
each end of every mask made, at a distance from the edge of about
=; in., should be drilled or punched a number of holes 5}; in. in
diameter and + in. apart, so that a short flap of doubled ruby or
canary fabric may be stitched on, the object being to exclude all
extraneous light. The flaps must be slightly less in width than the
106 PRINTING AND ENLARGING APPARATUS.
masks, as they should not impede movement of the latter in the
grooves. Separate cloth flaps are unnecessary on card masks,
because by simply cutting them across near the ends, and rejoining
by glueing or pasting on a piece of very thin fabric, the parts will
fold or hinge similarly to the shutters of a camera back, and answer
the purpose admirably.- D. W. Gawn.
AN APPLIANCE FOR BROMIDE PRINTING.
An ingenious appliance has been introduced for facilitating bromide
contact-printing, and is supplied by Messrs. Geo. Houghton & Sons,
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Pp
consisting of a frame, provided with a shutter for making the
exposures, and so arranged that it may be fitted over an aperture in
the dark-room window. This frame closely resembles a camera dark-
slide in principle, and the idea has occurred to the writer whereby an
ordinary ‘ book-form” slide may be adapted, without detriment to it
as regards its legitimate purpose, for printing bromides, etc., after
the style of the device referred to.
To the dark-room window must first be fitted a frame covered
with some material, such as brown paper or ruby fabric, to exclude
actinic light, and having in it an opening made exactly like the back
of the camera to which the slide to be used belongs. Detailed
explanation is not necessary, as with the example before one, it is
easy enough to make the requisite provision for slipping the slide
into position. Perhaps the simplest method of all would be to fit
to the aperture the reversing back of the camera itself, securing it by
means of three or four small turn-buttons.
In doing this due care should, of course, be observed to prevent
A SIMPLE ENLARGER. 107
any admission of light through the various joints. That being
effected, the chief part of the work will be completed.
Assuming the dark-slide to be of the usual form as in the figure,
it will have an interior framing of thin wood as at 7, in which the
plates are placed when “loading.” Through that, at diagonal corners
and diagonally, bore fine holes with a hot needle or a very thin
drill, as indicated by the lines (A B). Mere pinholes, only, are
needed. They cannot, by the way, admit light to the slide when
it is closed, as the rabbet on the opposite half of the slide then covers
them.
Should the clips by which the slide is fastened be upon the same
part as that in which the holes are bored, they may be unscrewed
and re-attached to the other half. This will allow the slde to be put
into position at the window as required whilst open. Temporary
additional fastenings should be provided for the slide when printing,
as the clips cannot be used unless it is removed from the window for
the purpose. Some slides have hook and pin fastenings on their
upper edges, and are, therefore, much more adaptable than the side-
clipped type.
Now, let it be supposed that all is ready for printing. Set the
dark-slide in place at the window. Put. a negative in it, film side
toward you, and secure it therein with two very small pins passed
through the corner holes. Place a pad of blotting-paper in the
empty half of the slide, and, upon it, a piece of bromide paper of
suitable size. Close the slide, and then make the exposure with that
shutter which is between the negative and the light.
In this way, printing can be done almost as quickly as the slide
can be filled and its shutter drawn much more quickly and con-
veniently than with an ordinary printing-frame.
If a dark-slide larger than the negatives to be printed from is
available, it should, by all means, be employed. An adapter can
then be used instead of boring holes in the slide- D. W. Gawy.
A SIMPLE ENLARGER.
Any one can construct an enlarger by which any negative can be
enlarged quickly and accurately to 10 x8 or larger, and with it the
whole work is finished in about two minutes.
Three boxes are made of ordinary deal, of about 2 in. thickness.
No. 1 is 24 ins. long, and 10 x 8 inside. This is open at one end; at
the other is screwed a box printing-frame, and the joints are made
light-tight. No. 2 is 3 ins. long, and is just small enough to slide
108 PRINTING AND ENLARGING APPARATUS.
into the open end of No. 1, and made to fit closely. It is open at the
end towards the printing-frame, and the other end is closed by a
board, to which the lens is fastened. The lens board No. 2 is made
like a box in order that it may slide absolutely parallel to the
negative and the printing-frame. The outside is left plain. No. 3
is 16 ins. long, and sufficiently large to slide over No. 1, and is closed
at one end with a board with an aperture for the negative, which is
held by two turn-buttons.
This is the complete apparatus, which is painted dead black
inside.
A quarter-plate lens is now fastened in position ; either that with
which the negative was made, or, better still, a rapid rectilinear with
large stop, and the box is placed with open end in No. 1. Then a
negative is fastened in the opening of the third box, and this is
placed over No. 1. The negative is placed with the film side turned
inwards, and no ground-glass is used, for it is useless with this
apparatus. Care is takeri that everything slides accurately and
easily.
One great advantage with this process is the ease with which a
thin foreground or other part of the negative can be covered for a
second or two with the hand or focussing cloth, without touching the
other parts, and the omission of the ground-glass in front of the
negative produces such brilliancy that the uninitiated would suppose
the enlargement to be a direct print. C. M. Grupy in Der Amateur
Photograph.
ENLARGING AND REDUCING APPARATUS. 109
A UNIVERSAL APPARATUS FOR ENLARGING, REDUCING,
COPYING, ETC.
Most photographers at some time or other desire to make prints,
slides, etc., of a size different from that of the original negative.
The apparatus now to be described will be found of use for enlarging,
reducing, copying, ete., and also for holding apparatus for photography
in connection with the microscope. The table or stand shown in the
diagrams was made some years ago by the present writer, who lays
no claim to any special knowledge of carpentry, and therefore
anyone who has a reasonable amount of patience and can use a saw,
plane, and square with average ability, will find no difficulty in
making some such stand. The frequent, almost constant use of the
Fie. 1.
apparatus for first one purpose and then another enables the writer
to say that it is indeed more than worth the time and trouble spent
in putting it together. As it is now some time since the thing was
made, no very definite information of its cost can be given, but half
a sovereign would more than amply embrace the cost of wood, castors,
nails, and screws.
In fig. 1 we see the apparatus as arranged for reproduction work.
It consists of two chief parts. First we have a table rather long and
narrow. The top of the table (T T) measures 5 ft. 6 ins. long, 20 ins.
wide, and 1 in. thick. It consists of one solid piece of American
white wood without any knots. This is supported on four legs.
These are of deal, 3x 3 ins. through, and 3 ft. long. These in turn
110 PRINTING AND ENLARGING APPARATUS.
rest upon four rather large wheel castors, so that the top of T T is
about 3 ft, 3 ins. from the ground. When working with a microscope
the upper part (B B) is removed, and all the apparatus rests on T T.
Its height is convenient for working seated on an ordinary kitchen
chair. This brings the eyes up to about the middle of a whole-plate
camera. From the diagram it will be scen that we have two shelves
(M M and NN) under the table. The stays upon which these
shelves rest also serve to make the whole thing firm and rigid. The
lower shelf will be found convenient for holding such things as
cameras, the upper one will be found handy for smaller things, e.g.,
lenses. Within reason the more weight we have on these shelves
the better, as it all adds to the stability of the stand, and in a
measure counteracts vibration.
Towards the left hand bottom corner we may see a rather large
focussing screen (24 x 18), resting edgeways on the lower shelf. It
is so left in position in order to show how it is quite safe in this
position, being held at the upper end by two long narrow strips of
wood, one of them fastened to the outside, the other to the inside of
the pair of legs on this side. The two form a sort of groove as it
were, and will be found very convenient for holding sheets of card-
board; the use thereof will very shortly appear. So far, then, we
have a long narrow table on castors, with two shelves below and two
narrow strips of wood along one side, Each shelf is surrounded
by a narrow rim, so as to prevent risk of anything rolling or
falling off the shelf. These contribute something to the general
stability and rigidity of the whole apparatus. The second or upper
portion of the contrivance consists essentially of a long narrow flat
piece of wood (BB) held up by supports from the top of the table.
This upper piece or baseboard is again of one piece of American
white wood, 1 in. thick, 13 ins. wide, and 3 ft. 3 ins. long. Upon it
may be seen four parts, viz., C, the camera, S, the shade, 2.¢., for
shading the lens from any light other than that coming through the
negative, etc., to be copied. This is held in H, the holder; S can
be moved up to H when required. Lastly, R is a sloping stand for
holding the reflector which casts light through the negative held
yan
Next, a word as to the way the baseboard is supported above the
table top. After one or two experiments, the following contrivance
was chosen : A piece of wood 2 ins. square is cut of length exactly
the width of table top. To each end of this is fixed a piece, 2 x 4 ins,
and, say, # in. thick (see fig. 2), where D D is the 2 in, square piece
ENLARGING AND REDUCING APPARATUS. ligt
as long as the table is wide. To the inside of the lower portion
of the end-pieces are fixed small runners; these are 2 ins. long by,
say, $ in. square. These form grooves just wide enough to embrace
the edges of the table top (TT in fig. 1). Now from the centre
portion of D D is cut a long narrow opening, F F, say 9 ins. long by
2 in. wide. Of course two of these sliding pieces are required, as
seen in fig. 1. Into F F we fit a flat straight piece, 9 x # (by, perhaps,
12 ins. long), One end of this goes into F F, and rests on its end
upon the table top. The other end supports B B. Turning now to
fig. 3 we see the under side of one end of the baseboard, BB. To
it are firmly fixed, by screws. two pieces about 9 ins. long and 1} or
2 ins. square. They are placed parallel and across the length of B B,
with a space between them. The width of this space, of course,
agrees with the thickness of the piece which fits into F F (fig. 2).
Ie, 2 ies 3s
Next, a word or two about the sliding parts resting on B B.
Turning to fig. 4, we see at a glance the simplicity of the light wooden
framework which holds the reflector. It is made, of course, to slide
easily along B B by means of small strips of wood fastened to the
side pieces, which form a groove very similar to that shown in fig. 2.
(1t may here be said that the best reflector is a sheet of white smooth
hbut not shiny cardboard. <A large sheet of very good but cheap
quality can be bought for a trifle.) For most purposes, when
working with a top light, it will be found convenient to have
this reflector sloped at half a right angle (45°) to the vertical. But if
the apparatus is being used in a room with an ordinary window, it
may be better to turn the reflector holder on its side, and reflect the
light sideways, as it were. Top (sky) light is, however, always to be
preferred for evenness of illumination.
‘We now come to the holder (see H, fig. 1, and H,, H,, fig. 4).
This consists of two portions, first a sliding stand of two uprights and
one cross piece; and secondly, of a set of carriers, each fitting into
the next size, so that any ordinary size of plates may be held centrally.
112 PRINTING AND ENLARGING APPARATUS.
The sliding part will need no description beyond saying that it is
again made on the same general plan as shown in fig. 2. The two
tall upright pieces are also provided with a groove by two narrow
strips attached to their inside faces. Into this groove fits the outside
of the largest carrier or kit. In the apparatus before us provision is
made for 12 x 10, 84 x 64, 64 x 43, and 44x 34 plates. Moreover, the
largest carrier is made square so as to fit either vertically or horizon-
tally into the grooves of the uprights. The carriers, painted dead
black, rest into each other and are held by small turn-buttons, so
placed that their edges just coincide with the sight line of the
opening. Thus these same buttons will either hold the next small
carrier or a glass plate, as occasion may require.
: Fic. 4.
We next come to the lens shade (8, fig. 1; 8,, S,, fig. 5). This
consists of two square boxes open at each end. One (S,) is a little
smaller than the other (S,), so as to slide into it if required. It will
be seen that to the right hand an end of S, rests on a ledge of Hy.
The other end is supported by a small piece of wood. ‘These sliding
boxes are of quite thin wood, say $ in. thick, and painted dead black
inside.
In fig. 1, C is a 12x10 camera, resting directly on B B, and
matters are so arranged that the optical axis of the lens passes
through the centre of the openings of H, the holder, so that with
this camera the lens, normally, is opposite the middle of the plate.
When using a smaller camera, ¢.g., whole-plate size, a sliding stand is
required to bring the optical centre opposite the middle of the camera.
Such a contrivance is shown in fig. 5. This consists of two side
ENLARGING AND REDUCING APPARATUS. 113
pieces, with grooves made by narrow strips, as in other cases. Two
transverse pieces (Lj, L,) are fixed. But P P isa third piece, which
is free to slide an inch or two either way across the baseboard.
Wood-turned buttons are placed so as to catch the back and sides of
the camera base. Thus the whole camera can slide sideways, and yet
keep its optic axis perpendicular to the plate in the holder or carrier
at H. In this way, a lantern slide can be made from, say, any part
of a 12x10 negative, the axis of the lens being, at the time,
perpendicular to the surface of the negative.
The practical man will need no words as to the general use of this
apparatus beyond, perhaps, reminding him that it may be used for
copying. <A sheet of stout and stiff card just fits the same groove in
Ine,
H that the largest carrier slides into, To this card the small drawing,
etc., to be copied is fixed with drawing pins. If anything larger than
this card is to be copied, say a map or plan, the way it is done is as
follows : First a large sheet of card is fixed with drawing pins to the
edges of the two uprights of H,, H,. The map is fixed to another
sheet of card and the two then held together at the corners by four
American clothes clips. It will be seen from the diagrams that
everything is of the simplest description, and requires nothing beyond
a modicum of care and patience to put together. When all is
finished it is as well to give the whole thing a rub over with any dark
wood stain, and get it to dry as quickly as possible. It is also
advisable to use screws (not nails) throughout, so that should any
shrinking occur the parts can be readjusted. Rey. F. C. Lampert.
8
114 PRINTING AND ENLARGING APPARATUS.
AN ENLARGING EASEL FOR BROMIDE PAPER IN ROLL.
In designing the present enlarging easel, the ends kept in view
have been, at once, simplicity in construction, reliability and economy
in use. Therefore, in adapting the roller principle to the apparatus
in order that bromide paper in the roll may be
aT enlarged on without the preliminary operation
of cutting, it was necessary to depart somewhat
from the arrangement employed, with few varia-
tions, in most of the film cameras, since that,
however admirable in its way, would be too
difficult for the majority of ‘handy ” amateurs
to undertake to reproduce upon a necessarily
much enlarged scale. Moreover, a roll holder
IM 5 pattern would entail the waste of probably half
a yard of paper in every roll put through it,
owing to the impossibility of winding off closer
than nine or ten inches at each end. Not more
than six inches in all need be sacrificed in the
device under consideration.
As some bromide papers are very easily torn,
it is not advisable to depend upon the rollers
and strength of paper to secure that tautness and
flatness of the latter necessary to preserve the
accuracy of the image projected on its surface.
Hence, a board is provided over which to wind
the paper and whereon it may, should such course
seem desirable, be pinned at each corner in the
ordinary manner. The pinholes so made
will serve as guides to turn off exactly
successive lengths as required, so that one
exposure need never encroach on any
portion of another.
The paper may be put upon the rollers
precisely as it is purchased. Another
good feature is that the roll can be cut
as desired when on the rollers with-
out causing subsequent difficulties
in winding off what may have
remained unconsumed.
EASEL TO CARRY BROMIDE PAPER IN ROLL. 115
Briefly expressed, the principle of the apparatus is that of the
common roller-blind. It has two removable rollers on which the ends
Nh
i
I
»
SSSnwT
Eig. 2%
of the paper are secured by means of drawing pins. The rollers, in a
horizontal position, rest upon brackets attached to the back of a strong
116 PRINTING AND ENLARGING APPARATUS.
panelled frame and the paper is wound over the front thereof, from
top to bottom, or vice versa, by an endless cord working on a V-grooved
pulley at one end of each roller.
There are two forms in which the easel can be made, viz., tall, for
standing on the floor, and short,.for use upon a bench or table. The
former is chosen as the subject of this article. If the bench type be
preferable, it will, obviously, be a simple matter to build the frame-
work shorter.
The wood to be used may be of any kind, it being merely suggested
that the framing and roller-brackets should be of mahogany, afterwards
polished or varnished ; panel and shallow case enclosing the rollers
should be of selected yellow pine or white wood; and the rollers of
sycamore, Of these, the panel and rollers must be finished in the
natural state of the wood, and the case painted or stained dead black.
The easel is represented in vertical mid-section (fig. 1), and front
elevation (fig. 2), whence general details may be seen, Thus, the
two parts forming the base are detachable by removing the pegs which
A
(ay _ IB my &
Eek vie af t i h
Fre. 3,
hold the bottom cross piece, and the six nuts securing the inclined
and horizontal stay-rods, This renders the easel very portable. The
rabbeted cross pieces above and below the panel are useful for keeping
masks, ete., in position, it being possible by this means to make en-
largements of all sizes up to the fullcapacity of the paper upon the
panel, viz., 30 ins. x 40 ins. They serve, also, to prevent light passing
through the narrow openings by which the paper is brought from and
to the rollers. Being made to rise and fall upon screws through slots,
they may be shifted clear of the slits when putting in a fresh roll of
paper. In the figures referred to, these pieces are shown covering and
uncovering the openings at top and bottom respectively,
A transverse section (fig. 3), taken on the line A B (figs. 1 and 2),
further explains the construction. The base is not shown therein.
Commence by getting out the two similar uprights (fig. 4), 7 ft.
long x 3 ins. wide x 1 in. thick. At each end, cut central tenons 3 ins.
long x 2 ins. wide x 4 in. in thickness. Also, at a distance of 45 ins.
from the top, cut a mortise 2 ins. x $ in. cleanly and squarely through
from edge to edge.
EASEL TO CARRY BROMIDE PAPER IN ROLL. 117
Next prepare the top horizontal piece as in fig. 5, 364 ins. long x
3 ins. x 1 in., cutting two 2 ins. x } in. mortises edgeways through it,
starting each 4 in. from the ends. Follow that with the
centre cross piece, the length, width, and thickness of which
is as last stated. It must have a tenon made at both ends
similar to those of the uprights.
The bottom piece is as shown in fig. 6. Dimensions |
are there given. |
With these parts in hand, the frame can be made up,
securing the joints with glue and small wedges only. |
ye
UT T |
Is ’
root 4
' 1
=
The tenons should be practically a driving-fit in the
mortises and, providing they are cut squarely throughout,
the joints will be both strong and neat.
The panel to be made and fixed in the frame is 40 |
ins. x 304 ins. x 4 in. in thickness. Preferably it should |
|
1
Fic. 5. &
|
|
be of tongued and grooved boards, as its surface (over LT]
eat ¥ =
(oF 4 p24 oD
4 e hese \fueee |
ee eel
(ies az SslEn
‘2
Fic. 6.
which the bromide paper will run) must be perfectly flat
and smooth. The method of securing it in position is
partly indicated in the cross section, fig. 3, and also in
fig, 11. Two 4-in. square fillets 40 ins. long are braded
into the frame flush with what will be its posterior sur-
face. These now form a rabbet in front, whereon the panel
will fit, and can be fastened with brads, their heads being
punched in about 4 in. below the surface, and the holes
later filled with putty. Observe that the panel and fillets
are 4 in. shorter than the distance between the top and
middle cross pieces of the frame. This is to allow for the
}-in. apertures below and above the panel for the passage of the
paper, as before mentioned. Take care, therefore, to fit the panel and
fillets in correct positions.
Fie. 4.
(118° PRINTING AND ENLARGING APPARATUS.
The brackets for the rollers are represented. in figs. 7 and 8, the
former being for the plain ends and the latter for those carrying
the pulleys. The rollers are put upon them in precisely the same
way as is that of a roller-towel. :
Each bracket may be secured with two screws driven through from
the front of the framing. Their positions are: top of upper brackets,
24 ins. below top edge of frame; top of lower brackets, 334 ins.
below bottom of upper ones, The. distance apart, horizontally, is
about 31 ins.
The two rollers, one of which is shown in. fig. 9, must be turned.
Each can be in one piece, including pulley and spindles.
oe ee
Hires 9s
Make the shallow box for encasing the rollers 414 ins. x 33} ins.
x5 ins. inside measurement, as given in fig. 10. Its sides and
ends should be of 4 in. stuff and the back of 4 in. . One side must.
have cut in it two slots extending from the edge backward to
pass over the pulley-end spindles of the rollers. They are approxi-
mately 2 ins. long, x 2 in. wide, and 24 ins. centre distance from
each end.
Place it in position over the brackets (the frame is assumed to
be lying face downward on the bench or floor) and, with a pencil,
scribe a line on the back of the frame closely against all sides of the
casing.
‘With these as guides, brad or screw on four slips of wood as long
as the lines, and # in, square in section. Again placing the box in
position, it should now fit inside these strips. Drill or bore a couple
of +in. holes in the sides of those pieces attached to the uprights,
EASEL .TO CARRY BROMIDE PAPER: IN.ROLL. 119
continuing them through into the sides of the box. Four’ pegs,
about 3 ins. long, made to fit the holes, will, when inserted therein,
hold the case securely upon the frame. A peg, as put in position, is
x
Fic. 10. Fie, 11.
‘shown sectionally in detail, fig. 11, A being the frame upright,
B the slip of wood, C the side of case or box, D the peg, E and
F parts of bracket and panel respectively, and G fillet behind panel.
The rising and falling rabbeted pieces for the front of the frame
may next be attended to. They are alike, as shown in fig. 12.
4 2 Oe
Ordinary brass slotted-plates, milled-head screws, and sockets as sold
for camera fronts may be used. The extent of rise and fall need
not exceed ? in. With these fitted, the upper portion of the easel is
complete,
li
The base, as stated, is detachable, so that when necessary the
apparatus may be packed flat. The two “feet” are of the shape
and dimensions represented in fig. 13, They are secured to the
120 PRINTING AND ENLARGING APPARATUS.
bottom of the frame, as shown. Four iron stay-rods (fig. 14), and two,
as in fig. 15, will be the final portions required. Further than as
indicated in figs. 1, 2, 14, and 15, no explanation as regards the
positions and means of attaching the stays need be given beyond,
perhaps, remarking that a single bolt is passed through the heads of
the inclined ones and each of the frame uprights, and a couple of
screws through their bases fasten them.
To put a roll of paper (which may be of any width up to 30 ins.)
Fic. 14.
upon the easel, proceed thus : Remove the box enclosing the rollers.
Take one end of the roll and fasten it, emulsion side outward,
squarely upon one of the rollers taken off its brackets for the purpose.
Roll the whole length of paper on the roller, and then replace it upon
the brackets. Pass the loose end of the roll through the nearest
narrow opening in the easel, take it across the front of the panel and
pass through the other slit. At the back, pull through sufficient to
reach the empty roller and pin it thereon with its reverse side outward.
Wind in the slack paper on the full roller, and, as a prudent measure,
fn fl [t= 4
Camp a RAT 2
ie is
Fie, 15.
slip a black card screen between the rabbeted cross pieces, to protect
the sensitive surface of that which is on the panel. Cover the rollers
with the box. Now adjust an endless cord upon the pulleys, tightening
it enough to get a good grip of both, and the easel will be ready for
work. It is possible to dispense with the cord, but advisable to
employ it, as then all strain is taken off the paper.
Suggested additions to the easel are four castors for the base, and
a number of various light wood or card masks for use in front of the
paper. D. W. Gawy.
MISCELLANEOUS ATTACHMENTS.
SMALL DARK-SLIDES IN LARGE CAMERAS.
Ger a board of the size and half the thickness of a double dark-slide
of the half-plate camera made to slide into the grooves that take
these slides. In the centre of it cut a hole 4} ins. x 3} ins. trans-
versely, as shown in the figure. On each side of this aperture fasten
strips provided with grooves to take the quarter-plate focussing screen
and the quarter-plate backs. Thus we are able to utilise the backs of
the quarter-plate camera without carrying the camera itself, thereby
reducing both the weight and bulk of the kit. Of course this method
may be applied to cameras of any size. Many workers already
possess cameras of two sizes, and even if they do not it will save
weight and expense if they furnish their one camera with the
apparatus described, and backs of the next smaller size, rather than
buy an additional set of slides of the ordinary size for their camera.
It often happens that subjects are found that can be equally well
taken on a plate smaller than the full size, while at the same time the
longer extension of the larger camera is an advantage. I may cite
121
122 MISCELLANEOUS ATTACHMENTS.
an example : I wished to take a carved panel on a church tower
which could only be taken from a certain point. A quarter-plate
would have taken in all that was of interest, but I had to
use a half-plate because the smaller camera would not have allowed
the use of a sufficiently long focus lens to get the object of the
desired size. T. PERKINS.
A SIMPLE PLATE ADAPTER.
The present.device,-which is simple but effectual, enables the oper-
ator to secure on one plate two separate views or portraits, and this
without danger of fogging one half of the plate whilst the other half
is being exposed. Select one of your thinnest (spoilt) negatives and
cut it with a diamond exactly.in half; make one of these halves
opaque by pasting on black or ruby paper: .Then along the top and
>
-C
FILM
SIDE OF
* pI ATE
bottom ends, stick a thin strip of cardboard. Thus you have an
opaque glass, as shown in the diagram marked at B, with the
two strips of cardboard shown at C C. These strips prevent the
whole surface of the opaque glass (which I will henceforth call the
shutter) from touching the film of the dry plate (A), upon which it
is resting, and over the surface of which the shutter slides to and fro
during the operation.
To operate : Place the dry plate in the dark-slide, film side up
in the usual manner, then on the top of it lay the shutter (B), If it
is.a double dark-slide and the operator wishes to use both sides,
he must, of course, provide himself with two of these shutters (B),
using one each side, 7.¢., one in the front of each dry plate, and he
must also use a dividing card, or septum, without springs, as it ‘is
essential that the shutter (B) should have: plenty of play, in order
that it may drop from one end of this slide to the other when closed
and turned about.
A MIRROR ATTACHMENT FOR THE CAMERA. 123
Now we will suppose a photographer, using a half-plate camera,
wishes to take one cabinet and two carte-de-visite portraits. He will
place two half-plates in his double dark-slide in the usual way, but in
the front of one he will insert a shutter (B). Closing the slide, he
-will observe that when turning it about the shutter (B) will fall to
whichever end of the slide happens to be down, so that he may un-
cover whichever end of the dry plate he wishes without opening the
slide. He will take his cabinet photogram im the usual way, and
then to secure his two carte-de-visites he will first focus the image on
the right hand half of the screen, then hold the slide, containing the
dry plates, in his hand, so that the shutter (B) may drop to: the
hinged end (as in fig.), which will leave the right hand half of the
dry plate uncovered ; on removing cap he will thus secure on this
portion of the plate the first carte-de-visite image ; replacing the cap
he will now withdraw the dark-slide, turn the camera slightly, so
that the second image will be projected on the left hand half of the
screen, and having focussed again and got all ready for the second
portrait, he will hold the dark-slide up, this time with the hinged end
upwards, when the shutter (B) will immediately drop to the opposite
end of the slide, and thus the half of the dry plate nearest the hinged
end will be uncovered. Re-inserting the slide in the camera again,
and drawing out the shutter, he is now ready for the second exposure,
and the second carte-de-visite will then be secured on this end of the
dry plate.--THEODORE Brown.
is MIRROR ATTACHMENT FOR THE CAMERA.
Those who are called upon to do much studio work will agree with
me when I say that by reason of the image on the screen of the
camera being inverted, it is a most difficult matter to tell when the
sitter is in a natural position, and when he or she is not.
124 MISCELLANEOUS ATTACHMENTS.
The above illustration shows a simple device calculated to obviate
this difficulty, and to make it an easy matter to secure natural results.
The mirror A being hinged to the focussing screen frame, the
operator observes the image of his subject in this mirror, at a position
indicated by the dotted lines D. Thus the image, instead of being
inverted as at C, is seen the right way up at D, and thus renders the
operation of photographing much easier than without this simple
addition to the camera.
If the reader will take a mirror, and hold it in the position
indicated, I feel sure it will lead him to construct the apparatus for
permanent use. THEODORE Brown.
A COVER-GLASS POLISHING-BOARD.
We give below a description of a simple piece of apparatus for
cleaning and polishing cover-glasses, and a method of doing the work
which will to some extent do away with the attendant difficulties.
The apparatus consists of a perfectly flat and smooth planed board, 2
LEATHER or :
COTTON SHEETING
ft. long, in. thick, and 5 ins. broad. Any kind of wood will do,
but one which does not warp easily, such as American white wood,
bay wood, or red deal, answers the purpose best, and will prevent
possible trouble after it has become dry. Having cut the board to
shape shown in-sketch, stretch a piece of good twill sheeting, that has
been through the wash, ¢éght across one side and tack it on to the
edges all round, cutting off any that may protrude over the edge on
the other side. Next stretch a piece of new chamois leather tight
over the reverse side of the board and fasten with tacks as before,
also cutting off any that may protrude above the cotton cloth. Velvet
or velveteen will answer equally as well as chamois leather, and is
cheaper. Some kind of binding may be fastened round the edges and
ends to cover the tacks if desired, but it is not necessary unless the
polishing is to be done on the dining-room table.
Having washed the glasses -and if old negatives are being used, a
good way of getting the films off is to let them soak in a solution
made from the contents of the blue packets of a couple of Seidlitz
SYSTEM IN EXPOSURE. 125
4
powders, for about twenty minutes, occasionally moving the glasses
about to ensure their coming in contact with the solution at all parts,
then putting into the bowl the contents of the two white packets,
whereby gas will be generated between the films and glasses which
will part them sufficiently to ensure the easy removal of the films
stand them up on edge against the wall, or in racks, to drain. Be
sure that all the gelatine has been removed, and for this purpose hot
water and a nail brush are best.
When the bulk of the water has drained off, and before the glasses
are dry, place the board on the table, cloth side up, put the glasses
flat on, and with the right hand rub the glass to and fro along the
board until dry and clean ; very little pressure is needed ; in fact, the
weight of the hand is sufficient, If any dirt adheres, breathing on
the glass and repeating the rubbing will generally remove it. Turn
the glass over and clean that side also, and so on, until all the glasses
are cleaned. Now turn the board over, and by the same method
polish them all on the leather side.
The board can be held firm on the table by the handle with the
left hand ; care must be exercised not to tear the material with the
corners of the glasses ; if they are kept with their edges parallel to
the edges of the board while rubbing this will not happen, and the
board should be brushed when dry before use with a stiff brush, to
remove all dust that may have adhered to the surface. Frep. W.
Cooper,
SYSTEM IN EXPOSURE.
Have you ever exposed a: plate twice? Isn't it annoying?
Especially when both subjects are good ones and far away from
home. The way to avoid such mishaps is to have a system when
out picture-hunting, and a good one is as follows : Procure an old
5 x 4 film carrier or get a piece of tin about 44x54 ins., and turn
three of the edges over to hold a card like the holder fixed near the
door of a tram-car or ’bus for the guard’s list of passengers. Next
cut a number of cards or thick papers to fit the holder, and rule as
shown on next page.
A small piece of the holder should be cut out at the edge not turned
up (as shown by dotted line in sketch) so that the cards can be easily
taken out. Small holes should be pierced in each corner of the
holder, so that it can be sewn on the inside of camera case cover, .
where it will always be handy. If a loop is added at the top, by
bending a small piece of leather round a pencil and stitching same
to camera case, just above the holder, a pencil can always be at hand.
126 MISCELLANEOUS ATTACHMENTS.
It will be seen from the illustration that different kinds of plates
can be carried and exposed in any order. Suppose, for instance, you
wish to photograph an interior, if you have an anti-halation plate.
you will use that. You look over your list and find that slide No. 9
contains what you want take this slide, and when you return it to
the bag draw your pencil through No. 9, and so on for every plate
exposed. You can tell at a glance how many plates exposed and
what kind of plates you have brought with you. Always keep a
register of all the exposures you make in a small book, which you can
purchase at any photographic dealer’s for 6d. Such a record is useful
for reference and is a great help when developing plates, especially if
they are not developed for a long time after exposure. The note-book
should be quite separate from the list attached to camera case as all
unexposed plates can be noted on a fresh list and left in the slides
for future use. Keep the old list until you have developed the plates
it may be useful to prevent confusion even when in the dark room.
This is a simple dodge and it works well, but mind don’t forget
to draw your pencil through the number of slide after each exposure.
Such a list, with small alteration, is applicable to single or double
slides if they are numbered, as all slides should be, in plain figures.
The list sketched is for double slides. Frep. W. Coorzr.
A PLATE DUSTER.
N ovelty is not claimed for this article, since plate dusters have been
described in the photographic papers several times. The following
. is merely a simple method of making such. Get a piece of wood of
any kind about 3x3x 4 in., and round off two of the corners ; then
A LIGHT FOR A:PORTABLE DARK: LAMP. 127
get a 8x 2 in. piece of thick, soft plush or velvet (any color will do),
fasten this with a few }-in. tacks to one side at bottom of the wood,
pack some cotton wool, soft paper, or better still, a small roll of velvet
in the velvet cover, as in sketch, then draw the cover over and tack
on the other side; as shown, ‘The raw edges and tacks may be covered
by wrapping evenly with twine or by glueing a strip of paper or cloth
round the wood.
LACKS
Paper 5 pl L574 OF
tie Z velvet
colton \ :
wool
This article is far better than a camel hair brush for dusting plates,
but it should be kept clean or it will make the plates worse than if
left alone. Keep it in a small box or case that will just about fit it
(a quarter-plate box is as good as anything). Occasionally give the
edge a good brushing with a stiff clothes brush to be quite certain no
dirt of any kind is in the velvet, and the latter should be renewed
occasionally to be more certain of its cleanliness. Frup. W. Coopmr.
A LIGHT FOR A PORTABLE DARK LAMP.
After trying candles, night-lights, oil in all shapes and forms, and
finding them all unsatisfactory, especially under the trying conditions
of an Eastern climate, I finally lighted upon a (to me) completely
satisfactory solution of the difficulty, which every tourist experiences
more or less acutely. The lamp which I describe and illustrate here
was suggested to me by a similar device which I saw in a little mud
hut near Damascus.
Ido not say the thing is new; on the contrary, I found it where
new things are almost unknown. I give herewith drawings of the
lamp as I now use it, and can thoroughly recommend it to those who
are tired of melting candles. I also suggest improvements that may
perhaps be made by some. The fig. shows the light complete. The
only things to be manufactured are the float and burner (A and B, fig.
3). The float may be made by cutting a piece of tin of the shape
shown in fig. 1, in the centre of which is bored a hole for the
128 MISCELLANEOUS ATTACHMENTS.
reception of the burner. Three small pieces of cork are then fixed
to each of three points of the piece of tin. I cut a small slice of
“hottle-cork” into quarters (fig. 2) and threw one piece away. For
the small sum of twopence I bought a glass holding about 2 ozs.,
and as this was rather too deep, I filled it about half full of water,
on the top of which I poured olive oil. On the surface of the latter
I laid the float, which with the pieces of cork is shown at B, fig. 4.
A burner was the next thing. This I made by cutting a small circle
of stiff card (A, fig. 3) through which I threaded a piece of candle
wick (B, fig. 3). This was then placed on the float, the wick being,
of course, long enough to reach the oil. Such a light, needless to
say, will not last for ever, as the wick and oil require attention.
When newly set going, however, it lasts for a considerable time
Fie, 4,
without attention, and many plates may be changed or developed.
This may seem to some to be a very messy, inconvenient, and out of
date arrangement, but after using it for a long time on my travels, I
certainly prefer it to candles, especially during the hot weather.
The floats and burners are articles of commerce in Syria; small
boxes of the latter can be bought very cheaply. The improvements
I would suggest are to use small pieces of thin wax taper, instead of
eutting away pieces of candle for the purpose of obtaining the wick,
also the use of a smaller glass (if really necessary) ; but however deep
the glass may be, it can always be partly filled with water, as shown
in the drawing. I have also used carriers for the wick (A, fig. 3)
made of thin wood cut from a matchbox with equal success. The
arrangement is now so primitive that many will perhaps suggest and
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sombcnriene