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 o'^KW' r(tk'l
?

PUBLI$TIED }TO}ffTTDT

BOSTON,U.S.A.
 n"*:t,,f,lil#is,,H'
"i":l#mnlk:ii,l,#t
CYKO -the sensitive iecord-er of that indefinablo
mcthlug in cvcry artistic acgatlve. - Fra AInfu,
- -

Good negatives may be divided

:into three classes:soft, norrnal and
t'contrasty."

The result dependson the paper

used for printing.
Any of these good negatives, if
printed on the wrong paper, will pro-
duce poor prints, and all will yietd
beautiful prints on the right grade of
la- 'Ln Pdr
I a.O€f
l.rrVIS.U
# -*-
Cyko'iS made in three grades of tone
gradation for amateur printing, cor-
responding inversely to the class of
negatives for which each grade is
intended.
Contrast (Blue Label)_ For weak and soft negatirrc*
Normal (Yelow Label) For normal negatives of cvrn

soft (Rear.at.r) *"*"'?lXtil;V nceatives,

Scnd for Cyko'Manual, the key to prize+rvinningpicfirrcg.

AE|ltctD (Qilurngrllr, Binghambn, N. Y.

r[lnN ooBrlspoNDqto w.nE ADVEEtlslra ptEAttE tttt{'rloN AlrIalcAN pEomorl?Er

www.orphancameras.com
d

"/T\HE child with a eamerahabit is no longer an interloper

I between earth and sky. If e is never lonesome,wherever
he is, becausehe feels the kinship that exists betq'een
himself and all living things, " says Elbert Hubbard.
The Ansco Camera is so simple in construction and easy
to work, that with it a child can make as good outdoor
photographs as a professional. tilt I

, i:,ri
There is On? camera that makes a picture of every well directed l:.;ii
posure and puts the user out of the guessing class. That camera is

The Superb Ansso

Alrvays use Ansco film with an Ansco or Print your qictrlres on Cyko paper-the pfize-
*Used
with any other camera. It ha_sthe right speed winner at tll photograpliic eihibitions.
and the correct chromatic balance to rnake !v pro{essionals everywhere because it biol
good results doubly sure. duces best results.
T,tuenllt^tty.let of Ans.co Cameratrlfrom $z to 555, _are thoqtn in our catalog,
"The Settled Fact." It ,will cort !0u nothing ,f lou arc really intcresteZ

ANSCO CO]}I'PANY, Blnghamton, N.Y.

WEEN CORRDSPONDING WITII ADVERTISERS PLEASE MENTION AMERICAN PEOTOGRAPEI III

iffi'
r
Flammer Drrr-Plates u
hold the reeordof superiority, not
f
.uro{ for the heat and t,r-iaity
of.the Tropics, but for the most trying hot weath". .onditio.r. ;f ;;i
climate. Their keeping-qualities-a.J une*celed, and they a;";i;b
quickly with firm, tough films and with minimum of tendencyti frili.
rrammer's Speciq/Extra Fast (red /abe/) and Extra Fast (blue /a\e/)
fl
F
t
Hammer Dry Plate Co. oHro
AVENU"Tfl:"T',y;,t3:l"J
Ifammer's Little Book, " A Short Talk on NegatiaeMaking,,, mailed free

Ideal Yacation Photos

Run no risks with your exposures. Develop thenr
to perfection with that matchless develooer_
'"1f"".''
TAB LO I p' eRnruo'
RYTO L ",ff."^'
UTTIIVERSAL DevELoPER
!-fl It will give),()u magnilicent negatives :rnd prints.
.fhe
simplest, most cleanly :rnd most reliable of all developers,
King George's private photographer, \{r. Ernest I,lrooks,
used ' l{vror' only to develop his I)elhi I)urbar
negatlves. Jg cents per carton, of ail deaters

-ff*r Write for helptul

" Self-Help in
Photography ,,
booklet entitled

u'4t
k Bunnouclrs WELr.coME & Co.
-L4J A, Dept.. 35, Wesr 33rrl Srreet, N rw Vonr Crty
or A. Dept., 101, Coristine liuilding, ,\l oNTREAT,

WEN COMSPOMNG WIM ADVERTISERS PEASE MENTION AMEfuCAN PEOTOGRAPE}

www.orphancameras.com
 .ss'

Index to Advertisers
To The Manufacturer APPARATUS, SECOND.HAND
. VII-IX
Classified Advertisements
BLOTTING PAPER
Standard Paper Mfg.lCo. : XIII
You are selling goods which photographers buy! BOOKS
American Pbotography Publishing Co.l IX, VIII, XII, XX
You want to reach customers with buying power!
CAMERAS
AltrnrceN Prrorocnlprrv reaches such customers' Am. Minute Photo. Co. XII
. -gI
whose buying ability is proved by their own testimony. 4n;co C^oqo.any -. ... XXY
f omer & Jcnwrng ulvrsron
Rchester ODtialDivision.
We recently addressed a series of questions to the SenecaCamera Mfg. Co. XXII-XXIII
subscribers of AwnrclN Psotocnepuv in half a dozen CHEMICALS
Burke & James,Inc. XXVI
States; no selection, but taking the list as it stood. b"i*a.."Pnoto Supply -. Co. Vl-VtI
Eastman Kodak c6.- X)O(III-XXXIV
More than five hundred told us what their outfit is DEVELOPERS
worth; the figures ranged from $10 to $2000. Berlin Aniline Works xxI
Bunoughs \Vellcome & Co. .IV
Tur Avrnacn Valun ol Oun Ruonns' Applnerus Eastman Kodak Co. xxxv
Scherins _ & Glatz .xv
rs $211.98. ENLARGEMENTS
William H. Kunz . .IX
Trro Acruer Buwns or Aupnrcaw Prorocnepgv
FILMS
owN Pnorocnepnc Appenlrus Wontr OvBn Ansco Company il-III
Defender Photo Supply Co. VI-VN
l; $2,000,000. Eastman Kodzk Co. XXXIII
Aliowing two readers to a copy (the general practice FILMPACK ADAPTERS
SenecaCamera Mfg. Co. XXII
is to estimate five), you can reach through our columns FLASHLIGHT LAMPS
XII
readers who have bought over $4,000,000 Wonrn or' Helios Chemical Co.
INSTRUCTION
Pnorocn.mtttc Appanlrus. Am. PhotoeraohicTextbook Co. . XXVIII
Illinois CoUiee;of PhotographY {Y
This does not mean Surlr,rns; we will tell you of Clarence H. Wtrite rx
them later. LENSES
xxrx
Do you want to turn this $4,000'000 potentiality XIII
xxvt
your way? XII
XXVI
Aor,cnrrsn, x
XIV
Use AunntclN Pnorocnaurv; for most of these IX
XV
buyers subscribe to no other magazina The Tavlor-Hobson Co.
A. (i. \.oigtlander & Sohn . XXVII
Take soace now. Wollensak-Optical Co. XXV
MOUNTANTS
Chas. M. Hiseins & Co. xrv
MOUNTS
Knowlton Bros., Inc. . XIX
Our Advertisin$ PolicY The Sevmour
- Co.
PERIODICALS
.IX
The Amateur Photographer xxlv
AwnrcaN Pnorocnlrrv has come to the end of the The British Jouml of PhotograPhY xxlv
Ineento Photo News XXVII
last advertising contract invo'lving a preferential rate' National Sportsman .xv
PHOTOGRAPHIC SUPPLIES
From this date no advertiser will pay less than the Burke & James, Inc. XXVII
rates quoted on the rate card now in force, which will Classified Advertisements VIII-IX
Otto Goerz .xlv
be mailed on application to those who write for it' Obrig Ca_mera Co. . XII
witti"et'uv ' --t>
The edition of AlrBnrceN Pnorocn.qlnv for July, Wrieht-
- . . XIV
PLATES
1912, consists of ten thousand five hundred copies' CentralDryPlateCo. . t. .--XI
c.'-iimer ory Plate Co. {4I
to rnr Ap'v'rnrrsnn' O"i""aeipttoio Supply
- Co. . -YLV-II
Tms rs Oun SQuenB DBel Eiiiman Kodak c,l.' . xxxlx

l*
Hammer Dry Plate Co.
PORTRAIT ATTACHMENT
Eastman Kodak Co. XXXI-XXXfl
POSTCARDS AND PICTURES
VIII-IX
Every advertiser in this issue is, as far as we can Classified Advertisements
PRINTING PAPERS
determine, a reputable firm of good business standing' Anrco Company Ir:llJ
[ri* Pttot6 Piper Co. -X{-V
If any reader of the magazine does not get the value d. ci*"' bry'Plati Co. . -4lll
i"6"aiiPloio -.
Supply Co. vr-Yll
of his money and prompt attention from an advertiser, il;G;" Kodakctj.' . xxxl, xxxIV-,_I+,
we will use our best efforts to secure him satisfaction, Fitph Hanis& co. 4YIll
ri;i-b;ra& HuesginCo. xx.qq
and will exclude any advertiser of proved dishonesty r. i. i"*i" I --].-v-l
"Wetiin-eton
- t WurA XVIII
from future use of our Pages. SHUTTERS
Ilex.Optical
' Co. ' XXf
TANKS. DEVELOPING
Tnrs rs Oun SQuenu Drer- ro rnn Corsuwn'
XXXVII-XXXVIII
Eastman Kodak Co.

MEN CORRESPOMING WITE ADVERTISERS PLEASE UENfiON AUEHCAN PSOTOGMPHY V

F

PHOTO-PIIRE
CHE,MICALS
The term Chemically Pure, as applied to chemicalsfor
photographic purposes,is a misnomer. The photog-
rapher knows that he does not necessarilysecurethe
best results by the use of chemicals of gg%purity ;
what he wants are chemicals which are proved by
test to be best for his photographic purposes,chem-
icals which are Photographically Pure. Defender
Chemicalsare compoundedwith this in view-to se-
cure for the workman best results. The photographic
workman is not interested in the chemical purity but
in the photo-purity of his chemicals,and looks for the

DEFENDER DIAMOND

IITTEIIDER
DBpBNDERPHoro SUpPLYCo.
ARGO PARK ROCHESTER, N. Y.

WEEN COruSPOMING WIE &VERNSRS PBSE TNIION AIIEIICAN PEOTOCI'APET

www.orphancameras.com
 1ilfhi

Better Negatives

the Film that takes all

the worry out of
photography
Most Independent Dealers -
all Defender Dealers-sell
VULCAN FILM, along
with ARGO PAPER and
VULCAI.{ PLATES.

It is worth your while to

find out who the live
dealer is in Your
neighborhood. He
can give you ser-
vice the season
through. No
danger of
his supply In writing
of film, pa- us, ask for
'per or plates --___* a coyy of the
failing. Look Defender TiTt'
for the Defender Shelves. ster - free.

Co.
DBTBxDERPnoro SUPPLY
ARGO PARK ROCHESTER, N. Y.

PLEASE UENAION AMERICAN PUOTOGMPEY

SEIN @IESPONDING WIN ADYERTISERS

*-.1--
;-
 MISCELLANEOUS
Classified Advertisements
-- ENJOY your best picture" by having them etlarssd. 2.t+ x 3)..i,
Tnws- Afuntisemuls und.er lhis head,.2 ceftls b6 wud. Count hf ms or plates,4O cents. 2ll x 4rl and 3 4 x 4%, 50 cents. 4 x 5
aerT word, numbu, and initidl, includitug hea.d.ingand ad.dress. ql! 3%-xr%,60 cents. L. C. WAGNER, 222'North Street,
No a.dterrisenentless lhan 50 ceftts, Cash must accotubatuaoriler. Sidoey, Ohio-
Latest date, 9 a. m- 5lh of month prcNiousto date oJ bibliTation.
wAwrrc - Do not send goods on approwl lo strangers unless you SENDUSy*f^r,"ffi
arc sure Lhal o debosit eouo.lto lhe oilue has beenriode wi,ih ui u experts, and returned promptly. $5 guarantee agaiust injury, Wrap
some otker responsibl,eierson. Do frol, send notuey ro shargqs 25 cents \vith plate of film.' eoirprifened. TLis speciil frice wiil
be increased Apgust 1. Mail clasi negatives in pla-te box-to avoid
Ju goods withiut iwesligating their rcsponsibility. Goods mai be breakage. R. WfLLIS YEATON & CO., Drawer L, Hempstead,
sfrt by $ptess C.O.D. with ltioilege o.f examinalion, uithoul risk
of loss on eithq si'le. The publishtri oj AMERICA N PHOTOG- N.Y.
RAPEY cannol accept,respbnsibili.tyJot losswhen such elenentaty
LEARN PHOTOGRAPHY BY MAIL. We will sive advice on
irecaurions ale not obserud.
3III part of the work and teach you one year for $2, Circular.
SEND ORDER AND REMITTANCE HUNT PHOTO CLUB, Hunt, N. Y. (12)
TO AMERICAN
PHOTOGRAPHER, 221 COLUMBUS AVE., BOSTON, MASS
TILES@"*p*"*
paper to be gummed to nesative. Baautiful.samole oostcaid and
particulars, 5 cents. W, A. COR DON, Port bover, Ontario,
CAMERAS AND SUPPLIES Canada. (8)
FOR SALE - Complete Self-Instructing Library of Photography
_ FOR SALE - Graphic camera; pictures, | 5,4 x 2h: focal-plane consistinqof ten volumes, in excellentcoiditio..- Price. $2d cish.
shutter; Zeiss anastigmat lens. Price, $50.. Sell for $35. Sample K. J. VAN SICKLE, Carthage,N. Y.
prints. DR. RAICIiE, Marinette, Wis.
*
FOR SALE- Eastman Foldiry Pocket Kodaks (4A and 3A). Qry_l1qnd-r9{ q rd sixty-five pages, illustrated. Posrpaid,"^"t*.
50 cents.
latest mo'lels: perfect condition, equal to nerv. J. G. BAILEY, 2d OBRTC CAMERA CO., 147'fultotr Street, New yoik, N. y. (t0
Union Street, South Braintree. Mass.
rLecrnrcraffihlv maea-
zine for electrical and mechanical students and workers, oirb[sEes
- FOR SALE-4 x 5 long-frcus camera;/: 8 lens, Regno shutter,
illustrated directions for constructing dynamos, motors,'sasoline
l€ther crrrying case,two plateholders,and sood develooinsoutfit.
Goodrs new. Sell for $20. WM. J. SHARPE, Box 6. Wintoq, engine:, wirelesslelegraphy. rlectrophting, electrical wiring, mechan-
Minn. lcal drtwrng, using tools, [urniture conslruction. boat buildins. all
kinds_of mechanical work. $1.50 yearly; trial subscription for Ihree
FOR SALE-14 months. 25 cents. List of electrical and mechanical books free-
Speed Kodak; Cooke lens; Serie IV. /:5.6: SAMPSON
sellror'$50'H E DAILEY'4286
viou PUBLISHING CO., 221 Columbus etenui, noslon,
izui:ffi:ffittrltti'rvill Mass.

FOR SALE-1A Grallex; perfect condition. Price r.ery low PHOTOGRAPHIC DEVELOPER FORMULA
C-.O.D.,with privilege of examination. A great bargain. kARL Patent applied for. A new developing compound rvhich absolutely
HODGE, Onai'ay, Mich. controls overexposurein plates or bapirs.
'wittilts Cives periect sradation
no fogging.. A i'9on to beginne.s. ;*,-;;;i;;%;;-;i;;i
prolesslonatwork, and have no occaSionto waste Dlatesor DaDerbv
i P R I C E . $ 3 . R a p i d r e c t i l i n e a lre n s ,3 t 1 x S \ , i n F . P . K . A u t o - 'pric;
etrors -of overexposure. Non-poisoneqc,keeps f6r monthi.
matic shurler. Just the thing for enlarging. B. A. HITCHCOCK, b_ymail, 50 cents. Make. up 100ounces. JOSEPH H. BRINTON,
Luqlow, lvlass. West Chester. Pa.
r un snru - e[o-, r.o,,s",i..l,r, N,Jllllil.n. fi*d
-pARRISH
..COMPLETE
EXPOSURE METHOD AND HOME POR-
to Optimo shutter. Like new, for $J6. FRANCIS TRAIT HELPS." by Frank Morris Steadman. New edition. itifl
Atheis. Ill. cloth cover. many illustrations. 75 cents, postpaid:
-Stre?i. tr.rde juDDlied
PHOTOGRAPH I C TOP I CS, r+z Fulton N;;\;d-Cii;:
TO EXCHANCE - Practically new No. 8 Blickensderfertype-
writer. tabulator, back spacer,etc., costingg60,tor reneiiine ia,iii *.,,-r"d
wrth good lem. C. A. DURSO, 25 Mulberry Street, New york about_it. 'fhe Oterland Monthly of San Franciscqhas been estab-
Citv. l r s h e d l o r t y - t w o y e a r s$. 1 . 5 0 p e r y e a r ; s p e c i m e n c o pl 5y c, e n t s . t t f )
-nnrougn
kft'6bb',Jtril
,?:xT3::i{3;t"3,1"k}i3.,j;iti!:t_*:$"inf perience. Prices reasonable. Send negatiies carefully dacked bv
mail or express. M. E. WELLES,88 Broad Streer, Bbsion. Masj.
ROCK BOTTOM PRICES on cameras. lenses, aud photo-
grapbic supplies. Why pay erorbitrnt pricesior v"ui pt otogiupf,l.
accessorleswnen.you can obtaln-lrom us everything you need in STUDIOS, POSITTONS WANTED. ETC.
your.pnorographtc work-whether amaleur or professional at
greatly reduced prices? New bargain tist ju-t off press. Send for
. POSITION \\--{NTED Ly r younA l,lroroxrapherto learn the
qopy ro_-day. NEW YORK CAMERA EXCH.\NCE, loe Futtor stiLte salarv'l H EoDoRE ALZEN'
Street. New York- iJ$l'i'"*T.9"it:i:roushrv
CLEVELAND - Koda.ks, G_ra-flex.Premo, Cenrury crmera-,
., l m
h s .p a p e r .a n d a l l s u p p l i e s .E n l c r q c m e n t sd,e v e l o t , i n ir,n , l p r i n t _
rnA:. Ggod pr-cl_ures at the right prices. Specirrlattintion eiven ro POSTCARDS AND PICTURES
mail orders. IOWLER & SLAI'ER, Clevehnd, Otrlo. rifi
BURIAL OI- THE "N{AINE." . Twelve difiercnt photogruphic
_ FOR_ SALE CHEAP - One 3laxi!2 Goerz Ango Camera, po!!card- oi tl)e sinking ol the " Mrine, SOcents. Ac"nt, ,,:iniea.
Dagor lens-;Iour holder" and erniiirg ca-se. Al-;f ;e";"'N, JAS. SIMON, Dept. A; Kittery, l,Ic.
longer needed. J. S., P. O. Box 563. \lew york. N. y.
- !1.t* @[..t"ly h..d."I"."d
-iilo.
^ FOR SALE tfr" +tfr C."pf."fr"**r; R"*dr, -Vie; photo-gelatine_postc_ards, large rssortment, ZS c""ti aoi"n,
Swiss music box, good as new. r'4--iNtgO - o ' ,i a i, "lw $ r . 5 0 . . p o s t p a i d .C H A R L E S A . D U R S O , 2 5 M u l b e r r y S f r e * ,
Came_ra,with Anaitigmat lens. R. C. S-Ra\cL,"i,;";. S;;_ Nerv York City. (tf)
tion. Ind-
WANTID-Pbotographs of explosions,wreckage from gas or
*X"o"lt.iB;tlifl',lii'fl";:i,l'X1:i,'rl:!il/o'.'lf8sf;
Newport News, va.
ffi: otner ^e_xplosfons,..or. other-photograph5pertaining to the explojives
art. $r to $2 will be paid lor each print accepted. WALTER O.
S N E L L I N C , 4 0 t h a n d B u t l e r , P i t t s b u r g h ,p a . ' \ 7 J
FOR SALE,-^Complete commercial equipment ,excepr small
,
rens).. o,z r 6ri Uoerz lens, Kollos Shutter, two CenturV cameras graphs of some of the handsomestmodels to be had. ZS cl,ntsi
tripod, truys. etc. $110.00. New. \\'. L KELLEY. H;ryi;h;;;i; s€t, postpaid. AMERICAN PHOTOGRAPHY, 221 Colum6ul
Mass.
Avenue, Boston. Mass.

VIII MEN CORRESPONDING WITH ADVERTISERS PLEASD ITDNTION AlIIiRICAN PHOTOGRAPH\

www.orphancameras.com
 WANTED Lenses
P. & S. Semi-Achromatic 'i
n

Rgi: B;,t"4'ni,*f:o'
i"'#ii $ffia3a;-1itr,.*'3p;;"d$;;#"
*,"Y."'l{!'.1'T!&ii{'liri$iii}i$ti;Fif
reterred' .1

:!

PINKHAM & SMTTH COMPANY / "d

-ar\

WANTED - 3A Kodak or No. 10 Anscoat bargain'. Give full 288-290 BovlctooSt., lSrl Brmicld St" Bostou'Mu'
a""'iii"iio""or r""., ihuit"t, "t.. PAUL F. STOLPMAN,Anamose'
N. D.-

\\'ANTED - No. 3 Kodak anastigmat lens' Must be i1 s-md

en"targinilintern. AddressA' B' C', 444 Buffalo
Street,Jamestown,N. Y.
"o'iliii.".""gr.o EXHIBITION PICTURES
- Aristo lamp in gmd condition' State prjce in
4'o.loyoglownnegativc,_enh'-*"1|,"Y,*:i:ffi
rialist, Finest possrbleprlnts -ln f :filllttfr
WANTE D "eNtii-oNV 8 i 10 enlarsemeut, unmounted' 35 cents'
n'i iiii"i street'
sruofu ' I 11 East \\'ashington ;;; 8.";;ii:--$-ple
New Castle,Pa. Full price-list on application.
Vllliam H. Kgnz
lPw"
" The PholograPheruho knrus
16 Arlington Street Bctou' Mrc'

THE SEYMOUR CO.

WANTED
MANUFACTURERS & DEALI

Higb Class PaPers

176 Fnoenlr, Srrort

76-78 DueNr Srnent
Nnw Yonr BosroN, Mass'

CLARENCE H WHITE
will conduCta classin
' PHOTOGRAPHY'
CASSELL'S at Sezuinland;Five IslandsP.o.
MainE;fromJulyS to August 3
CYCLOP,EDIA OF add,ress5 W. 81st Street,New Yorl:,
PHOTOGRAPHY
A compreheneive work covering the whole-6eld.of
piotogriphic knowledge and. fractioer. ..Speciallv
ffi-tie-nu'v erperts to me;t all the Dede of botb onat€u
and professional PhotographerB- DON'T NEGTECT TO
Ylii":"9.'fi?'fJ::,?*'lJ:i1""$:"1'd:iT.'111"":
AMERICAN PHOTOGRAPHY READ PA,GE V
221 Columbus Avenue Boston, Mass'

Send Stamp
WILLOUGHBY
WILLOUGHBY'S j

Photographic Bargain 810 BroadwaY

Llst No. 123 explains the New York
j

'
Ask your Dealer for
I
t

Gash and the GalTlera 4

'r1

A. S. DUDLEY, Publisher j
circulars and
In;l:?fil""ii,ffiel"';fil.lii"3.lt."'ll'#1'IJ.':t Instruction
Pox 775C, PhiladelPhia'Pa'
,;
iiiihp-iil""it r x , l ; , o \ ' ' r ' r r n i ' | t r r to n I ' n o : t r l ' i

PEOTOGMPET
'l
WITS ADVERTISERS PLEASE MENTION AMERICAN j
WEEN CORRESPONDINC
1
i
I
.i
I
I
I
./
 The SensiblePrice Lens
' th,9very highest degree
of photographic efficiency
at the very lowest price in thl

(G. Rodenstock, Munich, Germany)

It possessesthe best optical qualities and

makesthe most of every exposure.
You can secure our lenses from vour dealer or
direct from us for thorough trial without any pay-
ment in advance.
OURGUARANTEE:
QUALITYUNEXCELLED,
PRICEUNEQUALLED
Send to-day for our new catalog. (Postage 4 cents.) It contains much lens information you should know

AMERTcAN
soLE 'i,l;n:'t""i,';f'
AGENTs
KREPS & STELLING,

TEARN A PAYING PROFESSION

that aesuresyou a gootl income ancl position for life. For 17 years we havc successfullytaught

PHOTOGRAPHY
Photo-Engfravind and Three-Color Work
'We
Our graduates earn $zo to $5o a week. assist them to secure these posi-
tions.
'Write Learn how you can become successful. Terms easy-living inexpensive.
for catalogue- NOW.
C'LLEGEoF n"l;T"TfJTl""e,
L.E.Brss'"", u.
Enngham,
"..*,uJolLINoIS
X WEEN CORRESPONDING WITE ADVERTISERS PLEASE MENTION AMERICAN PEOTOGRAPEY

www.orphancameras.com
Do You Want To Improvg
Jrour Work?
You are going to take a lot of pietures that you will possibly gelrer
have another-opportunity to obtain. Now isn't it a lot of satisfac-
tion to be prepared for any emergeney? You haven't the time to
make four or five exposureson eaeh subject in order to be sure you
have a satisfactory negative.
FIRST: You want a plate that is months, one that will stand rough
uniform, one thatis easyto manipulate, handling.
one that will render a harmonious blend
: one that is easv to
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 "Euryplan"Anasti{mats
SERIES VA. F4.5 SERIES II. F5.6 SERIES I. 6.8
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The Finest.Anastigmats Made
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A large number of requests have been
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SERIES VA. F4.5 "EURYPLAN."-An extremcly r&pid,
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in cvcrl' wal', but a little sm&ller in aperture.
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Agents IF YOU LIKE TO
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Special Trial
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 UNIQUE! ^A,RTISTICI

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SELTONA
Antique Seltona is a daylight printing paper of delicate texture.
It has an even, fine-grain surface, which gives mellowness to
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SOLDBY DEALERSEVERYWFIERE

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PHoro BeecoN, Esreslrsnnn 1889 C A M E R AN o r r s , E s r e s l r s H e o t 8 9 7

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published monthly by the American Photograohic Publishing Company, 221 Columbus Avenue, Boston, Mass' -
yEARLy sussdniprroN $1.so rb ceNeoe $t.ss To FoRErcN couNTRrBS $2.2s
sTNGLE coprEs 1s cENTS

MeNacrNc Eorron: FRANK R. FRAPRIE, S.M., F.R.P.S. Assocrere Eurron: F. C.BEACH, Prr'B'
stamps for their return if unacceptable.
Manuscripts and photographs submitted for publication m-ust be accom-paniedby-sufficient
orieinal manuscripts ." p"n""t??r'rpi;.;t'j;t!;.;5Jil#J:-;Jli;"*p;"d;iit -p"ltlLtio" ur puia{or o.npublicaiion. New ideas, practical hints,
and reoorts of club activities ire'desired. ltuttir"lJ""alJ-i"" i" u"v should reach us not later than the sth of the
""mber
previous month.
Subscribers who change their address must notify us. giving both old and new address, before the 15th of the month' to affect the
The posto6c;T;A;oil"riuta r.-ct-tra-Juii -rti.t, and the publishers are not responsible for
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Copwieht. t9l2,by the American Photographic Publishing Company. The
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a;;r;tT;;;; Mu..t' to, 1e08,at th6 Postofficeat Boston, Mass'

Wuorn, No. 277 JULY, l9l2 Vor. VI., No. 7

PRINCIPAL ILLUSTRATIONS

Nude Shbrr'i,ll Schell 369 Laid Up Wil'liam S. Dauis 393

Mr. and Mrs. F. Weston 371 Ready 1o Sail Wi'lli,am S. Daais 394
In a Cornish Village
(England) Manliattan from a Ferryboat . Wi'lliam S. Daais 395
OId Houses, Plymouth ' --
Mi. and Mrs. F. Weston 373 Solitude H. T. Hei'ser 399
Lamplight under Plymouth Hoe The Long Run Wreck Royal Photo. Conr'pany 127
Mr. and' Mrs. F. Weston 375 The Drover James WYPer 399
Young Girl (After Jan Ver Meer) In the Night Watches O. L. Grffith 4gg
Wi,tliam H. Castle 377 Margaret J. E. W'inter 403
M. Ri'chard, Witt 379 River Mist Julius Pattek 404
Study
Eduard H. Smith 381 My Dolly . J. Bonanno 404
EI Morro
Edward H. Smith 383 An Interior F. S' Hubbard 405
Moored
M. Richard Wi'tt 385 In the Sugar Camp Daniel HoY nq
Early November .
H. T. Heiser 386 Whittakeis Falls. H. P. Ayres 406
Surf-
M - Richord W itt 387 Old Welsh Windmill Willi'am R. Thomas 407
Silver Lining
St. Georges,-Bermuda Ed'word, H. Smith 389 Twenty Below Zero Stanley parloty 4qq
D. N. Bali and Co. 390 The Seamstress Beatrice B' Bell 408
The Dur-bar at Delhi
Ed'ward' H. Weston 391 Mountain Road in Winter f . G. Ki,nner 4-09
Almond Blossoms

ARTICLES AND DEPARTMENTS

A Note on Architectural Photography

Rising Front and Swing Back in Use : : Phtfr{ff:f&
The Ouestion of Tones
The Pinhole Stop in Picture Nlaking
Harbor Scenes :::::: "13
A Triumph in Newspaper Photography
Editorial Comment . 4of i.orlig.r Notes uttd li"*. .
Our Portfolio . . 403 Our Table 420
The Round World Exchange Club . 4rc Practical Hints 424
The Tvro's Troubles . 410 Correspondence 426
'Exposure-Tables 426
for JulY . 415 ProfesiionalNotes
Our Berlin Letter . 416 Calendarof Photographers'Associations 428

The Sparrell Pri.nt, Boslon

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 AMPRIffi
Vor. VI.
P
.lULY, lgl2 No. 7

NUI)I.] SHIiRRTI,L SCHELL

 A NOTE ON ARCHITECTURAL PHOTOGRAPHY
F. WESTON

UDGING from a large proportion of the architectural work seenat local photographic
exhibitions and in club portfolios, there are many workers who fail altogether to
grasp the essential qualities which make up a successfulpictorial representation
of architecture. They have perhaps been struck at some time or other by the
beauty of work of men like Evans, Kimber, or Cliffe, and without analyzing this
beauty or striving to ascertain wherein it lies, they have essayedto do likewise.
Magnificent architecture of the ecclesiasticaltype, some well-known cathedral for choice,
is generally selectedby these workers for their efforts, perhaps owing to the force of example,
but more likely becauseit seemsto them that architecture of such obvious beauty is sure to make
a beautiful picture. The result is that they often fail to get a picture at aII, although they obtain
plenty of mere records. Every detail is there, for the stop used is always a small one, so that
the eye wanders along the flowing lines, lingering over this piece of carving and wondering
at that delicate tracery. The exclamation rises to one's lips, " What beautiful architecture ! "
but alas! one seldom says, "What a beautiful picture!"
In fact, one soon wearies of these records. Where is thequality which seizesand holds one?
where is the spirit, the soul of the building, the feeling that creepsover one in columned aisles
like the harmonies of somevast symphony?
This is the feeling arousedby such works as Evans' "In Sure and Certain Hope," Kimber's
"Until the Day Breaks," and Cliffe's "A Piilared ShadeHigh-overarched." Now wherein do
works such as these differ from the large number of architectural photographs turned out every
year and having no pictorial interest whatever? , ,.
If we think a moment, we find that the sameSensationcan be aroused at one time by music,
at another by architecture, and at yet another by a picture; but the qualities which call forth
this sensation are different in each case. No one imagines for a moment that the qualities of
music are the same as those of pictorial art, and yet many will strive to convey the impression
inspired within them by architecture, with its vastness and its three dimensions, by simply
depicting its details in two dimensionson a small pieceof paper.
They forget, or rather have never realized,that in attempting to make a picture they have
left the world of form and have entered another, the languageof which is altogether different -
a world which conveys impressionssolely by means of light and tone. It is to these that their
attention should be given and not the architectural detail. What form is to sculpture and A
architecture, light is to pictorial art; for, as Monet, the French artist, said, "The principal'
personin a picture is the light."
Now, upon again studying the photographs I have mentioned which are known to most of
us, or any other successfulrendering of architecture, we at once seethat their appeal lies in the
effect of lighting and not in the architectural detail. The feeling that was arousedby the building
itself, with its vastness,its atmosphere,and the dim shadowshaunted by the spirit of solemnity
and awe, is reproduced in the caseof the picture by the lighting alone.
Such a note as this ought to be unnecessarynowadays, but unfortunately the larger pro-
portion of architectural points that one seesin exhibitions and portfolios proclaims the necessity
for continually driving home thedbobvious truths.
Cathedrals-the epicsof architecture-we can leave to the great onesto depict;but in every
countryside there are beautiful little lyrics-buildings which, at some time of the day or night,
under favorable conditions of lighting, will make satisfying pictures.
37o

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 ffi
#

IN A CORNISH VILLAGE
MR. AND MRS. F. WESTON
 RISING FRONT AND SWING BACK IN USE
PHIL M. RILEY
LMOST every folding camera on the market to-day has a rising and falling front.
There are but a few exceptions, and those mostly among the very smallest film
cameras. Above quarter plate size(311 x 4,%) it is common to instruments intended
for plates, roll films, and filmpacks.
This device consists of a movable frontboard, carrying the lens, which slides
vertically between two upright guides of wood or metal. On roll-film cameras,
which do not permit of a reversible back, the whole camera front, uprights and all, is usually
constructed to slide from side to side laterally. Such camerasmust be used sidewiseto change
the picture from vertical to horizontal, or vice tsersaas the case may be, and when so turned,
this lateral adjustment acts as a rising and falling front.
A beginner quickly learns that the lens of a camera is normally placed opposite the center
of the sensitive plate or film, and that when in this position the view sometimeshas more or
less sky or foreground than is desirable; also that if the camera is tilted upward or downward
in securingthe desiredview, vertical lines will be distorted by the lens, so that in the photograph
they converge upward or downward instead of appearing parallel as they really are. Now,
by means of the rising and falling front, tilting of the camera is avoided in all save extreme
cases. With it the lens is moved upward or downward from its usual position, so that the pro-
portions of sky and foreground are varied at will, the variation of only a fractional part of an
inch in the image corresponding to several feet in the subject itself, depending upon the view
angle of the lens and its distance from the subject. The rise is also used to bring the tops of
high buildings into the view.
Extreme rise or fall necessitatesgreat care to insure good definition, and the lens must be
one of ample covering power, or else a small diaphragm will have to be put in. A lens which
barely covers the plate at full aperture gives no opportunity for the use of a rising front, unless
the length of exposuredue to a small diaphragm is no object. It is obvious to any one that the
moment a lens is moved from a position opposite the center of the plate, more of the image is
formed by marginal rays which, becauseof aberrations due to the form of the lens and the glass
of which it is made, never come to exactly the same focus as those which pass through it near
the center, along the axis of the lens. In the best anastigmats, however, the differencein focus
between axial and marginal rays has been brought to a minimum, so that the full rise or fall of
a camera can usually be employed with safety at f :16.
With cameras intended for plates or filmpacks one can see on the ground-glass focusing
screenexactly what effect any movement of the rising front has had upon the image to be pho-
tographed; but in the case of roll-film cameras, with which one has only a finder as a guide,
there is considerableuncertainty. With cameras of this sort, or any quarter plate, postcard,
or 4 x 5 instrument intended for quick work in the hand, it would be a great convenienceif
manufacturers would attach a scale, showing at what distance the foreground is cut by the
base line of the plate or film at various positions of a lens of given focus when the camera is
held level at a definite height, s&y four feet from ground to lens axis. A proper place for this
would be on one of the upright guides of the frontboard, with an arrow pointer on the front-
board itself, and in the case of a reversible back camera there might well be a scale on each
upright, one for vertical and the other for horizontal views.
Such a scalewould not tell if there were rise enough to include the top of a church steeple,
it is true; but with a telemeter to measuredistances,itwould tell the least amount of foreground
which one could get along with, and so insure securing all the height possible with the rising
front alone at any given distance from the subject. And this is all that can justly be expected
372

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 {3r"{
il.',li'l

O L D T I O U S I i S ,P L Y } I O U T H (I.]N(iI,ANI))
MR, AND \{RS. F. WI]STON
 :F

Frcunn 1
in a hand camera. Architecturai photography is a specializedsubject which really requires a
stand camera with ground glass and swing back to insure ,u...rr.
Any one can make a rising front scalefor himself, and it is really worth his while, even when
doing so with a film camera requires making about a dozen exposures. Only a little time is
required, and many failures are likely to be avoided. A convenientmethod is to divide the total
distance of rise and fall into one-eighthor one-quarter inch spaces,according to the size of the
camera' and then ascertainthe proper marking for each. This can be done by selectinga smooth,
level surface,such as a cement walk, and laying sticks of wood down at measuredintervals of
ten feet, beginning to measurefrom a point directly underneath the lens. Knowing the total
number of sticks laid down, one can tell, by counting on the focusing screenor in the film nega-
tives at each adjustment of the rising front, the distance{rom the camera to the nearest stick
to be seen at the bottom of the vierv.
As a rule, the rising front alone in'ill not include the tops of high buildings in a photograph,
unlessit is possibleto place the camera at a considerabledistance away. What the rising front
does is to raise the horizontal line of sight, which is an imaginary level line from the optical
center of the lens to the subject being photographed. Doing this also raisesthe circle of illumi-
nation; and as the edgeof the lens then forms a considerableportion of the image in the camera,
it is evident that if the lens is raised too far, the edge of the circle of illumination rnill cut
ofl
the cornersof the plate or film, and those portions will bear no image in the finished negative,
causing dark corners in the print. When there has been an attempt to make a lens cover
a
larger plate than it was intended for, this same darkening of the print is also seen,only at
all
four cornersinstead of two. Thus it is that the circle of illumination, and the fact that the image
formed by the extreme edge of the lens is never so good as that formed by its center, limit the
usefulnessof the rising front, and other means must be resorted to in extreme cases.
It will be observedthat when the camera is level, the use of the rising front does not alter
the coincidenceof the line of sight with the axis of the lens. The axis of a rectilinear or anastig-
mat lens, it may be well to state, is an imaginary straight line through the optical center
of
the lens and the centersof curvature of both front and back elementsof the doublet. In extreme

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LAMPI,IGH'I UNDER I'LYMOUTH HOE
MR. AND MRS. I." WES'fON
 Frcunp 3
casesof architectural work it is necessaryto incline the axis of the lens upward
by tilting the
camera upward or using other means so as to include the tops of high buildings. Iitras
already
been stated that doing this wilt cause distortion of the image in the form of vertical
lines con-
verging upward in the photograph. As a matter of f.act, tiatis exactly what our
eyes see,for
all flat surfaces appear to diminish in size as they recede from us; but in the case
of vertical
spacesour minds, knowing the lines to be parallel, do not accept the real perspective
as true.
In fact, we see not what the eyes transmit to us, but rather what the brain
tells us is a fact,
and in our photographs we want vertical lines to appear as such. Some preventive
measure,
therefore, must be taken. Before considering what that shall be, however, let
us see how the
distortion of the image is caused, as shown by the accompanying diagrams,
which are some-
what exaggeratedto make the facts clearer.
Figure 1 shows a camera set up before a high building in the normal
way. The diagonal
lines represent the directions which rays of light take in pasring through
the lens from points
correspondingin distance apart to the top and bottom of the building. The
central line i.p..-
sents the axis of the lens. In this figure it is evident that the top of the building
is not included
on the plate at the back of the camera. Figure 2 shows how, with the lens raiied
by means of
the rising front, an image of the whole building is secured in the camera.
In Fig. 3 is seen the result of tilting the camera instead of raising the lens.
The top of the
building is brought into the picture, but the diagram shows that the rays
of light from the top
of the building are intercepted by the sensitive plate or film nearer the lens
than are those from
the bottom' In other words, they are shorter, not having space enough
inside the camera to
diverge as much, and that causesthe narrowing of the image ut th. top,
which looks untruthful
to us in the photograph.
Nevertheless the whole image is usually in approximate focus, unless
the lens is of rather
long focal length, because,the top of the building being farther from
the lens than the bottom,

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YOUNG CiIRL (ATI'II1R JAN VER MEER)
WILI,IA]\{ H. ('ASTLE
P holol4rtfhic .\ttticl1,oJ PhiLtulclphio
its image comes to a focus nearer the lens than does that of the bottom, and tilting the whole
camera upward brings the sensitive plate into such a position that these conditions prevail.
The distorted image is corrected and parallel vertical lines are secured by u swing back,
centrally pivoted, which can be swung forward or backward at the top or bottom, so lhat the
plate or film can be made vertical, whatever the inclination of the camera. The sliding bed
of some American cameras,which incline the lens upward or downward while the camera back
remains vertical, accomplishesthe same result; so also does the English camera,with a front-
board carrying the lens, which can be inclined forward or backward without affecting the camera
back. Many American 4 x 5 cameras and most larger instruments have the swing back in
addition to the rising front. Figure 4 shows how the swing back brings the sensitive plate to
a vertical position and makes more nearly equal the lengths of the light rays from top and bot-
tom of the building. The sameis true when the rising front is usedin addition to the swing back.
Referring again for a moment to Fig. 1, in which adjustment the camera recordsvertical
lines as vertical, it is seenthat the sensitiveplate is at right anglesto the horizontal line of sight.
This is the one essentialto correct perspective,whatever direction the lens axis may take;
whether it coincideswith the line of sight, as in this particular instance,or whether it assumes
such an upward direction that the horizontal line of sight passesobliquely through the lens,
as when the camera is tilted and the swing back is used as in Fig. 4.
So much for distortion of the image. There is yet to managethe matter of focus. Referring
to Fig. 3, it is obvious that if the image is in focus when the camerais tilted without using the
swing back, it cannot be after distortion of the imagehas beencorrected,as in Fig. 4. This latter
adjustment of the swing back intercepts the rays before they comq to a focus, and does not
intercept the shorter rays until after they have passedbeyond their focal points. All that can
be donewhen the swing back is in useis to employ a diaphragmin the lenssmall enoughto secure
the desired degree of definition, first focusing sharply across the center of the image with the
lens wide open, and then watching the top and bottom of the image for enough detail as the
diaphragm is gradually made smaller. In this way the best average approximation is secured.
In landscapework there is still another use of the swing back which would not be possible
were there prominent vertical lines, but which when they are absent does not cause enough
distortion to be noticeable. We all know that short-focuslensespossessgreat depth of focus,
becausethe differencebetween the focal points for near and distant objects is very slight. In
the caseof long-focus lensesfor large cameras,it is impossible {o get anywhere near equal focus
for near and distant objects at the same time without putti4g in a small diaphragm. This
increasesexposure considerably, which is a d.isadvantagein *inay weather, when there is a
prominent foreground of trees or anything else which will show the slightest motion.
Knowing that the focal point for near objects is farther from the lens than for distant
objects, as shown by any camera focusing scale,it is an easy matter to swing the camera back
so that that portion of the sensitive plate which catchesthe image of the foreground will be far-
ther from the lens than that which catchesthe image of the distance;in other words, to move
the top backward and the bottom forward. Doing this will yield very nearly equal definition
for near and distant objects, when that is desirable,and with this adjustment the lens can be
used at full working aperture. Thus it is that while the ordinary use of a swing back requires
the employment of a small diaphragm, the present one avoids it.
As the effi.ciencyof one's camera is more than doubled by a knowledge of its adjustments,
so this little " dodge" in landscapework is of inestimablevalue when depth of focusis an essential.

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STUDY
M. RICHARD \\'ITT
PhotographicSociety oJ P hilttlelphia
 THE QUESTION OF TONES
ARTITTTR HAMMOND

HEN the photographer has mastered the initial difficulties of his craft arid under-
stands enough about exposure and development to enable him to secure a fair
proportion of good negatives, if he is at all ambitious and wishes to do really good
work, he begins then to think about the artistic qualities of his pictures, realizing
that something more than mere technique is called for in a work of art. In just the
same way a painter or an illustrator has to start in by learning how to use his
brushes and colors or his pencil before he can give much thought to such things as composition,
values, atmosphere, and so on.
On account of the fatal facility of photography, and also partly owing to the low standard
by which photographs sometimesare judged, many peoplethink, when they get to the stagewhere
they can produce what are described as " good clear photographs" without very many failures,
that they know it all, and do not consider they have anything more to learn. But photography
does not by any means end at this stage. There is a lot more to learn, and, in fact, the true
enthusiast never gets through learning. Every picture presentsfresh problems, and to my mind
one of the greatest fascinations of photography is that there is always something more to learn,
somethingnew to find out.
Now, the chief virtue of photography as an artistic medium is its power of reproducing
gradation or shading. There is no other medium that can so truthfully and so delicately depict
the infinite variety of tones,the subtle gradations,and the valuesof color contrast as can a prop-
erly exposedand developeddryplate. In his book, "The Artistic Side of Photography," A. J.
Anderson refers to this opJity of tone rendering as being the specialvirtue of photography which
distinguishesit from other meansof artistic expression,and not - as is very commonly supposed
- its power of depicting fine detail, for the drawing of fine detail is a quality of only one kind
of
photography. A pinhole doesnot draw fine detail, and yet apicture taken with a pinhole instead
of a lens is just as much photography as the work of the finest anastigmat.
It is in this rendering of tones and gradation that the photographer has control over his
medium, for variations in the exposureof the plate and in the development of the negative all
have effect on the tones and the scaleof gradation in the resulting picture. The drawing of fine
detail is purely mechanical, and dependsalmost entirely on the quality of the lens. V"ry little
skill is required to securesharpnessof definition, but considerableskitl and experienceare needed
to securegood tones.
Now, when I refer to tonesin this way f do not mean the color of the print, the tonessecured
by redevelopinga gaslight print, or by plating a silver print with gold. I refer to the translation
into monochromeof the various colors or degreesof brightnessin the subject.
The scaleof tones in many subjects is really not as long as one would think, for the lightest
tones are seldomas light as possible,nor are the darkest tones as dark as possible. The brightness
or darknessof the picture is more a question of "key," and dependsupon whether light tones or
dark tones predominate.
In order to explain what f mean by tones, let me refer to the little picture of a boy on the
beach reproduced on page 382. In this subject the lightest tone is the boy's white jersey, yet
even this has shadowsand gradation; so our lightest tone must be just the highlights on the jer-
sey. The tone of the skin is many degreeslower than white. Even the highlights on the skin
are not as white as the highlights on the jersey. Compare the highlights on the boy's shoulders,
knees,and feet with the lights on the jersey on the sunny side. The jersey in the shadow is
38o

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EL MORRO
EDWARD H. SMTAH
Pholografhic Socicty of P hilodelphi,t
 {:

the next tone, foilorvecl by the darker flesh tones. The face, though dark, seems to me to be
about right, for not only is it in shadow, but the rvhiteness of the jersey makes it appear dark
by contrast. (Cover the rvhite jersey ancl see horv much lighter the face looks.) Then we go on
dor,vn tl-re scale of tones - the shadou,s on the arms, the neck, the dark tights, the seau'eed, the
hair, and the darkest shadorn'in the hair - rvhich is the end of the scale.
All these gradations of tone are clcarlv diflerentiated, and yet the',vhole scale of tones, from
thc highest light to the clarkest shadorv, is not r.'ery long, for there is no printing process yct
ar-ailable (with the possible exception of a transparency on a thickly coated plate) that will give
as long iL range of tones as it is possible to secure in the negative; but as long as the lightest
tonc and the clarkcst tonc are corrcctly rendered, the middlc tones will take care of themselves.
The photographer often has to compress thc scale of tones in the subject into a shorter
scale, for it is of no usc to gct in the ncgative lvhat it is impossible to reproduce in the print.
If the negatir,e llossessestoo long errange for the printing process selected, either the highlights
or the shadorvs must be sacrificed, for if we print for the highlights, the shadorn'will be overprinted
and rvill bc black and solicl; and if rve print till the shadows are right, there will be no detail or
gradation in the highiights. Keep the negative thin enough to enable both these tones to be
repr:sented in the print, the very highest highlight by white paper and the deepest shadow by
the blackcst ;rossible deposit of silver or platinum, or r,vhatever it may be, and the middle tones
will {it themselr.es in. Some of them may be left out, but they will look right. A negative with
bare glass in the shaclorvsand very dense highlights will never give a good print. Study your
subject carefully and note the highest light and the darkest shadow, and then try to show
both correctly in the print.
z,8z

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MOOREI)
EDWARD H. SMITH
PhologrophicSociety oJ Philadelphia
 The sea and sky in this little snapshot are naturally darker in tone than the white jersey.
A blank white-paper sky would have spoiled everything and put the whole thing out of tone.
The lighthouse (Annisquam Light) and the white houses in the distance are, on account of
the atmosphere,darker than the white object close to, for atmosphere between the lens and
distant objects has the effect of evening up the tones and reducing contrastl so that a *hite object
appearsdarker and grayer, and a black object appearslighter, so much so that a white object and
a black object might, under certain conditions, appear to be of similar tone.
Now, i' order to securegood tones, one must study the subject and note whether the light
tones or the dark tones are the more important, and the exposure must be made accordingly,
remembering that an exposureslightly less than normal will give delicate gradation in the high-
lights at the expenseof the shadows.
On the other hand, a full exposure,slightly more than normal, will give rich shadowsfull of
detail, but the highlights may becomehard and chalky. A normal exposurewill give the maxi-
mum gradation throughout the highlights, halftones, and shadows; and if the negative be kept
rather thin and soft, so that the scale of tones in the negative is not greater than the chosen
printing processwill be capable of reproducing (and this is merely a question of skill in develop-
ment), it will be possibleto representin the print both the highest light and the darkest shadow,
which rendering will tend to make the tones look right
The normal exposureand full scaleof gradation should, as a rule, be aimed at, and the grada-
tions should never be tampered with uniessthere be a good reason. As A. J. Anderson expresses
'expose
it, "The artist's maxim is, for the tones that are most desired."'
Sometimesthe subject consistsentirely of light tones, and there are no very dark shad.ows-
open sea and sky, snow sceneswith no dark objects or very dark shadowsl and for such subjects
the exposuremust be timed to securethe maximum gradation in the highlights. On the other
hand, a subject consisting almost entirely of dark shadowsmust have an exposurelong enough
to register detail and gradation in the shadows. A double-coated orthochromatic plate will
usually give good gradations, and a light ray filter will improve the tones when blue and yellow
are the predominating colors. Slow development with a dilute developer will generally tend to
producea negativeshowingsatisfactorytonegradation,forthe shadowswillhavetime to develop
up a little before the highlights have become unduly dense.
The data regarding the picture here reproduced may perhaps be worth recording. It was
taken with a 4 x 5 Adams Reflex Camera, frtted with a Spencer soft-focus lens of nine-inch
focal length, stop/:7 (approximate,about halfway betweenf:4.5 and/:9), in
July just after
mid-day, very slightly diffused sunlight, strong enough to throw a good shadow,but not as bright
as possible. The exposure was one twenty-fifth second on Cramer double-coated fnst. Iso.
plate, and a Cramer three-times ray filter was used. The negative was developedin metol-hydro,
and the print was made on Artura Grade A.
I do not take any credit for the tones-they are due to the remarkable excellenceof the
modern dryplate, but I do take credit for seeingthem and knowing I have got them; also,to same
extent, for knowing why and how I got them.
The photographer who wants to do good work must train his eye to seeand appreciate tones.
Chalky highlights and dense,solid shadowsare all too commonl they are the rule rather than the
exception; and yet very few peoplercalizehow utterly untruthful such pictures are as representa-
tions of nature. If a water-color painter were to paint the landscapepart of a picture and leave
the sky white paper, the picture would not look finished; yet many photographers forget to
paint their skies. Orthochromatic plates and a ray filter whenever possible, full exposure,and
careful development will be found to do wonders in the way of painting the sky and putting
detail and gradation into the trees.
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EARLY NOVEMBER
M. RICHARD WITT
P hotographicSociety of P hilodelphia
 '

SURF H' T' HETSER

Photographicsociety oJ Phitailclphia

THtr PINHOLtr STOP IN PICTURtr I\4AKING

F. C. LAMBERT, M.A., F. R. P. S.

ICTORIAL expression is largely a matter of the emphasis of personal preference,

that is, the picture maker sees something rvhich takes his fancy or makes a strong
appeal to his imagination. This gives rise to the wish to make a record of it - to
secure it for further study and enjoyment. This may or may not be accomparried
by the further rvish to communicate his esthetic
emotions to others; and it
should not be forgotten that when the desire to lvork for others becomes unduly
promincnt it is r-ery likely to influence harmfully the personality of the work, ultimately result-
ing in thc making of "pot-boilers" for a market.
No\\', although the number of tools used is no measure of thc quality of the rvork - for
often the best craftsman employs the fervest and simplest tools - yet the more one can vary
the use of any one tool, tl-rebetter chance one has, or ought to have, of getting the best value out
oI it. This does not mean that a pocket knife is a clesirabletool for felling a forest trce; but if a
sturdy branch has to be cut off, the expert user of such a knife scores over him r,vho has never
before uscd his knife for anything but sharpening his pocket pencil.
Turning to our lens as a tool of prime importancc in photography, the more we know about
what it rvill do thc better. But first a word about depth of focus and depth of field - two terms
frequentlv confused, rvith unfortunate results. Depth of field or subject refers to the nearest
and farthcrmost parts of the object that is being photographed; that is, the foreground and
distance, rvhich are sharp enough for practical purposes. Depth of focus is the comparatively
small distance through rvhich we can rack the focusing screen toward and from the lens lvithout
rdo

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SIL\:IiR I,INI,\(]
M. RICHARI) WII''f
P hotogrophicSocictyoJ P ltilttdelphia
getting outside the region of practical and acceptable definition. Now, it is common knowledge
that the smaller the stop the greater the depth of field and also the greater the depth of focus.
It is therefore an easy and natural step from the smallest stop provided by the lens-maker to a
home-made large pinhole stop.
It is also comnron knowledge that the size of the image increases or diminishes as we increase
or diminish the distance between the lens and the plate. Also, the nearer the lens is to the plate
the smaller the scale and the rn'ider the angle of field embraced by our plate.
This question arises, " Can we, by using a pinhole stop in our lens, set sufficient range or
depth of focus to show a practical difference in the scale and angle of the picture with one and
the same lens rnithout shifting the camera?" I think the best way to answer this question is to
shorv the results of some experiments. I need hardly say the subject was not chosen because of
its soul-stirring eighty-one tone poetic value, but because it shorn'sus plenty of lines and details
in all parts, and also shows a fair degree of depth of subject.
In Fig. 1 rve have the result obtained by focusing as sharply as possible u.ith the largest
stop provided r,vith a rapid symmetrical eight-inch focus lens. A thin sheet of copper was cut
to give an easy lit inside the lens tube. In the center of this copper disc a hole with a No. 1
needle rvas made. The diameter of the hole fitting the thickest part of the needle is just about
one trventieth of an inch. This pinhole stop, which was used for Figs. 1, 3, and 4, u'as pushed
close up to the stop of the lens. Figure 1 is a print frorn the resulting negative. (N.B. With
the lens eight inches from the plate this one-twentieth inch stop is practically f:160.) Figure
2 is the result of a one fort1.-fourth inch diameter yrinholewithout an\. lens, also at eight inches
fronr the plate.
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 ST. GEORGES, I]ER}IU])I\ ED\\'ART) H. S]II'IH
P hotograph'i'c Society oJ Philadel pltia

plate,
Next the eight-inch lens ancl one-twentieth inch stop were used at six inches from the
inch stol>
ancl Fig. 3 shor,vsus the result (f : I20). Finally, the eight-inch lens and one-turentieth
rvere used eleven inches Irom the plate, rvith the result shorn'nin Fig. a ff:220). In other words'
plate than
this eight-inch lens lvas used two inches ncarer and three inches farther away from thc
its normal u,orking clistance; that is, with such astop as/:8 for instance, or comparing eleven

and six inches, lve havc a ratio of nearly trn'o to one.

First, as to scale ancl angle: of course the elcven-inch lens distance (Fig.4) givcs the smallest
B t.hc rn'idth
angle ancl thelargestscaleof presentation. In Fig. 1, I have indicated by the lincs A
of iubject inclucled in Fig. 4; similarly, in Fig. 3, A B shorvs the eleven-inch view angle, and
the six-inch position of the
C D the eight-inch view angle of Figs. 1 and 2. Or, as before said,
lens includes nearly twice as much vierv angle as the eleven-inch position docs'
,,Cui bono?" asks the reacler. Why not use lenses of different focal length? For one thing,
a six'
the r,vorker may not possess morc than one lens. Next, the method permits not mcrely
fancies ltetween six and eleven.
an eight, and an eleven-inch lens clistance, but anything one
to
Next, as to clefinition: Of course one must make due allorn'ancclor the inevitable loss due
halftone (dot) reproduction. But rvhen that is clone I am in hopes that cnough will comc through
of Fig. 4
to show that, at any rate for pictor'ial purposes, Fig. 3 is'sharp enough. In the case
if there is any idea of using the negative
we erregetting to about the limit of practical definition,
for anything treyond trvo diameters enlargement.
The beginner might pardonably imagine that by using a stop smaller than one-twentieth
is
inch he would get a gieater depth of focus;but for reasons we need not now enter upon, this
doubtful, as di{Iraction effects r,vould be likely to become apparent.
One need hardly add that there is nothing magical about a lens of eight inches focal length
six-inch
and that, mutatis mutandis, one can apply the foregoing to other lenses. Thus, using a
3d9
lens, we could get a llractical rvorking depth of focus extending to a quarter of six on either sicle;
for examplc, from lcur aud one-half to seven ancl one-half (or perhaps eight) inches.
The object of liig. 2 (pinhoic only) is to shor,vthedifferentgeneralqualitics of a pinholewith
and lvithout a.lcns. The size of hole here used (one forty-fourth inch) was selectedas beingabout
the size that gives us the sharltest result so obtainable.
As to exposures,olte Inily com;rutc and compare them by considering the square of the distance
betwecn the holc aur-l thc plate, rvhen one is using the same hole. This rve n1y see at a glance
when put in talxrlar Iorm; for exarnple: -
Lcns to platc clistan,:e (r 8 11
ililliiil'ir'ili,1i"'" '1 ut
"'n
If one u'ishes to comitare the pinholc exposurc rvith that of a familiar stop, square the/ numbers.
'Iake
the case oi otre-tu'entieth inch hole at eight inchcs and stop f: 16 at eight inches:
The pinholc stop is /: 1(;0. \\,'e can either squiire sirteen and one hundred and sixty and compare,
or, lvhut is elsier, dir-iclcone hunclrcd and sixtrr by sixteen, getting ten, ancl square that, getting
one httnclrcd. Or, <tther things being equal, the one-trventieth inch stolt rcquires one hundred
tinres the e.xltosurct.rfihe lens-stop /: 16.
'I'o
comc bacii toour startingpoint; namely, that 1>ersonalexpression is often a matter of
qrrite small clilTerenccs:IIou- olten one feels that one has just missed one's aim by a tri11e,and
1'et a fatal triflel ln ltractice thcrc is lrequcntly but one satisfactory r.iewltoint for a certain
comltosition; ancl horv seltlom is it. that thc normal focal length of our lens is just right to gir.e
the vicrv angle desirecll Hcre cornesin the rnethod described above. It is Dractically equivalent
to altering thc u,.orliing focal distance, or vicrv angle.
It may l;e urgccl that u,ith such a small stop rve gct too great a depth of field. But rve nury
use a larger sto1t,sltl' otre-tenth inch, or \\'e can put thc lens siightly out of focus. In favor oi thc
method it may be said that it gir-esa \rcry gradual changc of sharpnessoI dehnition, so that it is
impossible to say cxactly u'here an1'degree of sharpnessbcgins or cnds. I'urthermorc, with such
a negative lve ha"'e l,ariorts mealts of control in printing; for erample, interposing various media
betlvcen negative and print ancl other \vays which f may perhaps discuss later on. Let it be
clearly understood that I am not adr.ocating the general use of this method, but my aim is rather
to ltoint out that it is more in the nature of an cxceptional method for special cases,and that rn'hen
rve clo rvant to n c l'unt it badll'. I linorv of no other methccl lvhich can ltrecisely take its place.

TIII., DI, ITIJAR AT I)ELHI D. N. BALI & CO.

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AL}IOND ]JLOSSO}TS
EDWARD H. WESTON
Third Prize, May CotnPctilion