Practicus In The Studio: A Talk About Lighting.

           Lighting the sitter is one of the most difficult subject to discourse upon that could well be chosen, for so narrow is the margin between success and failure that it u not possible to give definite rules which will ensure the same results under different conditions; in fact, so far m this true that there is a legend that one successful portraitist abstains from having his windows cleaned lest the lighting should thereby be rendered to hard.
            Hearty very competent writer on the subject has recommended the study of lighting to be begun with s plaster bust, and with this I heartily agree. The only thing better would be to follow the example of Adam Salomon and have life-sized wax figures with hair and clothes complete. A life-sized bust is not an expensive luxury even in war-time, for I recently purchased one near Hatton Garden for five shillings. It was the head and shoulders of Gibson's Venus, and has not special pretensions to classical beauty; it is just a moderately good-looking young woman with her head well balanced upon her shoulders. Busts having the head in unusual positions should be avoided, as the lighting which might suit them will not be useful for sitters.
            Having got our bust, the first thing to be done is to give it a coat of buff or very pale terra-cotta distemper, so that the light values will be about the same as those of the living model. This u very important, as white plaster reflects far too much light for our purpose. The reason why I advocate the use of a bust instead of a living sitter is that the latter cannot keep still for the time required for study, and the student will quickly see how a slight movement of the head upsets all his plans for obtaining a certain effect.
            The bust must be placed on a table so as to be about the height of an ordinary sitting figure, and in front of a plain medium-toned background. It should be in such a position that a high side light falls upon it, the light being rather to the front of the object. In an ordinary span-roof studio this would mean that the dark blinds or curtains would be drawn over one end of the studio, both top and side, for about five feet The bust should be about three and a half feet from the end wall the next blind should be half-down and the next quite open; the side light is obscured up to nearly five feet from the ground, and is open for about six feet run. If we now examine the lighting we shall find it fairly round, but rather contrasty. This is all for the best, for we can readily see the effect of altering the positions of the bust, the blinds and the camera respectively. One golden rule, by whom originally written I know not, is that "light from the sitter's end of the studio gives contrast, while light from the camera end gives softness." I cannot too strongly impress this fact upon the beginner.
            In ordinary circumstances, if the lighting is too harsh, open more blinds over the camera end; if too soft, close them over the camera and open them near the sitter. This one rule is the key to simple lighting, and its application will prevent much floundering in the early stages. If we do not want to alter the blinds we may move the sitter; if she goes further under the dark blinds we get softness; if she comes forward we get contrast.
            Excess of top-light is the commonest fault in portrait lighting; but there are times when top-light is needed. A flat face with insignificant features calls for it, as Mr. H. P. Robinson says: "I think I should use a good deal of vertical light in taking the portrait of a Chinaman." If the sitter had strong features and deep-set eyes such lighting would be disastrous. We may now try the effect first of turning the bust to and from the light, and you will quickly see how the modeling of the face is affected. As we turn the nose to the light the further check becomes illuminated, while as we turn it away it sinks into shadow. I would ask you to remember that neither the camera nor the sitter is screwed to the floor, so that you can obtain the same position of the head, but with very different lightings, by turning it till the desired effect is obtained, and then placing the camera in the position whence you observed it. Always keep your eyes open for accidental effects of lighting, and note the sitter's position in the studio for future use; some of these "observed" lightings are much better than those carefully arranged. I have nearly always found that the effects obtained with dark blinds and clear glass only are rather too vigorous for the ordinary run of work, hence it is very desirable to have in addition very thin white blinds or curtains so as to diffuse the light a little and tone down the glaring effect of the nigh-lights. If there are no white blinds an ordinary circular head-screen covered with thin nainsook or pale-blue nun's veiling is very useful. The nearer this is placed to the sitter the softer will be the lighting, and vice versa. In studios which are so placed that direct sunlight falls upon the glass during any period of the day white blinds should be used to cover all the glass. I have worked in this way in a studio facing due west, on which the sun shone from 11 a.m. until evening. In such a studio we must not have too large an expanse of white-covered window open at once, or we shall get flat negatives.
            A point which should never be lost sight of is that the actual design or pattern of the studio is of no moment. So long as the light can be made to fall upon the sitter at the desired angle, ridge roof, single slant, top-light, high side-light will all give the same result if properly handled. Much more depends upon outside influences; trees, walls, other buildings all serve to modify the lighting and an arrangement of blinds which will suit the sitter in one studio may fail to do so in another which is differently placed.
            A lofty studio is not to be desired. I remember one clever photographer who said that he would work under a cucumber frame if he could. In a high-roofed studio the light is very difficult to control, as it is too far away from the sitter. Even, soft effects are easily obtained, but when any decided lighting is needed it becomes necessary to close all the blinds and to use the side-light only, and that only in a limited area.
            A few words on unusual forms of studio may not come amiss. When working in a studio which has top-light only, the sitter must be placed well back under the dark blinds, and plenty of light admitted from the "camera end." It is also often advantageous to turn the sitter slightly to one side of the studio and to work the camera close to that side of the studio, towards which he is looking, the background being, of course, placed diagonally across the corner. In a studio with a high side window only it is often necessary to place the sitter as close to the window side as possible, so as to get the effect of top-light. If too low a side-light be used the eyes are filled with light and look flat. What is sometimes called a "miniature-painter's light" is a high front light. This gives a very even, illumination of the face, but if properly managed there should be sufficient shadow and one side to avoid flatness. If it be desired to copy the lighting in an existing photograph or even a painting, if by a good artist, the spark of light in the eye forms a reliable guide as to the position of the dominant light. If this be high or nearly in the centre of the top of the iris, in the position say of 11 o'clock on a watch dial, it denotes a high front light, if in the position of 9 o'clock a low side light, and so on In some fancy lightings it may even be at 6 o'clock, which shows that the light comes from below.
            I will now deal briefly with screens and reflectors. The head-screen I have already dealt with as far as lighting the features is concerned, but it has other uses, such as subduing the light on white drapery. Nothing is more objectionable than to have a white dress brilliantly illuminated, making the face appear too dark and receding into the background. By use of the small head-screen this may be avoided, the shadow being cast where required. In some cases a screen covered with a thin open black material is useful, as it will cast a shadow without diffusing white light in other directions. Reflectors are usually relied upon too much; only when the lighting is nearly satisfactory but the shadows are too dark should they be introduced, and then not placed close up to the sitter. In this position they destroy all the modelling on the shadow side and give an unnatural appearance. It is unfortunately too common for the operator to make a hard lighting and then to use the reflector to even up the face. This is wrong, as it does nothing to subdue the over lighting on the other side. There is no need to be afraid of using a screen or white blind to soften the high-lights, as it does not cut off any light from the shadows which are still receiving front light and reflected light from the studio. If the same exposure be given with the high-lights screened the negative can be developed for the shadows without the high-lights blocking up.
            In conclusion, I would caution the tyro against judging lighting by the eye alone, the negative being the only test. The plate does not always see the sitter in the same way as the operator does. Some plates have a tendency to intensify the light, while others soften it. The lens also has a say in the matter, a short-focus lens usually giving a more brilliant negative than a long focus one does. This is partly due to scattered light in the studio, but it also seems to be caused by the distance between lens and plate. Naturally the operator will see that his lens is clean, his camera well blacked inside, and his dark-room light beyond suspicion before he starts work, or he is simply inviting failure in any attempt to secure good lighting.

PRACTICUS.

Lenses Fob Odd Jobs.

           Most professional photographers would be surprised if they were told that in the matter of lens equipment they were far behind many enthusiastic amateurs, but we believe that we are correct in making this assertion. The fact is, that the professional is rather apt to put all his eggs into one basket, or, in other words, to invest in a few first-rate lenses and to consider that he has done all that is needed. He selects lenses for the size of the plate he generally works, and, so far as it goes, this is quite correct; but he seldom has anything to fall back upon for any job which may require one of a different focal length. It is remarkable that this is more likely to be the case with the photographer of to-day than it was a quarter of a century ago. Then it was not uncommon to find an equipment of a complete set of portable symmetricals, twelve in number, ranging from three to, twenty-one inches in focal length, the first ten fitting the same flange and in many cases having the lens cells interchangeable, so that even a variation of half an inch in focal length could be obtained. There were also "casket" sets, usually not of the finest optical quality, but good enough when used with small apertures, which gave an even greater range at a very reasonable cost.
           The portrait man does not, of course, need such a variety of tools, but the man who is willing to take on any class of work frequently finds that he cannot do exactly as he wishes, and, what is more important, what his client wishes, because of his imperfect equipment. This state of things can easily be remedied at quite a small cost if it be borne in mind that a comparatively poor lens works nearly as well as an expensive one if it be possible to use a small aperture. Another point to be remembered is that with modern enlarging methods at our command it is not always necessary to limit ourselves to one particular size of plate, since, if we can get our subjects, it is easy to make prints of a larger or smaller size as may be required.
           Let us take a few examples of possible orders and how they may be executed, or, to be more precise, how such orders have been executed. An extremely wide angle view of a street scene was required to show the disadvantages which would result to a shopkeeper if a railway viaduct were put near his premises. No orthodox lens would give the necessary view angle, but by using a four-inch lens which happened to be at hand, a negative was made upon a whole plate, which did just what was wanted: it gave the width of the picture well defined, and when the top corners were blocked out a 15x12 enlargement was made which did good service in court. Now, how many photographers have a decent four-inch wide angle lens in stock! Yet it is not an expensive tool, and if not paid for by the one job, its possession helps to build up a reputation for efficiency which leads to future orders. Such a lens is not only useful for outdoor work, but for enlarging when only a moderate length of bellows is available. If it be necessary to take a mall head out of a group, a considerable degree of enlargement can be obtained directly instead of having to resort to a second enlarging process. Conversely, such a small lens is of great value for making reductions with the enlarging lantern. If a copy, say, an inch by three-quarters, or less, has to be made from a cabinet negative it is easy to do so.
           Going to the other end of the scale it is a rare thing to find a telephoto lens in the hands of the ordinary photographer; yet is a most useful instrument for many purposes besides taking distant views. We remember some years ago, when the original Adon was introduced, being told by a large firm who specialized in catalogue work that they had been recommended by an amateur to try a telephoto lens for the photography of small articles, with the result that they had greatly improved the perspective in very case to the satisfaction of their customers and their own profit.
           While comparatively cheap lenses of the old rectilinear construction are capable of doing much useful work, we should not recommend their purchase if funds permit of more modern instruments being obtained, for when a lens is being used for copying or in the enlarging lantern at an extension which is many times its focal length, a large aperture is of great advantage, the difference in luminosity between one having an initial aperture of f/6 and f/16 being very noticeable, and if such lenses are of the "convertible" type, giving two or three focal lengths, their utility will be increased. Still, before purchasing new lenses it is as well to take stock of what lenses are on hand, and to make a note of their focal lengths. If duplicates of any one size are found one should be sold or exchanged, so as to secure further variety.
           It may be found that although suitable lenses are available, there is no means of using them upon large cameras or enlarging lanterns, and it is therefore advisable to have them adapted to the flanges already upon such cameras. This can be done at the cost of a very few shillings, and in the case of modern instruments it is not necessary to part with the lens or large flange, as these will be of standard and it will only be necessary to mention the diameter. For a makeshift, a very good plan is to cut a hole in a piece of card so that the lens thread will just go through, securing it by screwing on the flange at the back, the card being attached to the camera front by means of four drawing pins.
           Supplementary lenses of the Planiscope type will often prove useful, to shorten the focal length of lenses which will not give the desired angle or magnification, but it will usually be found necessary to work at a very small aperture when these are used, as the corrections of the original lens are upset. However, for this class of work speed is usually not necessary. A makeshift Planiscope may be made by attaching an ordinary small single lens, such as the front of a small portrait lens or one of the combinations of a rapid rectilinear, by means of a cardboard ring This sound rather crude, but we have known it to be done with success.

Assistants' Notes - 1

Books on Colour.

           Assistants who mean to make photography their profession should look into the question of colour, as pictorial art of the future will be intimately concerned in the study; some authorities-particularly those connected with the vast textile industry declare the future is bound up with it. Students of painting are bidden to study nature secrets, but students of photography will find the scientific side profitable and to their liking. Since 1835 over sixty books have been written, a fourth of that number being published in London, a fifth in New York. The Americans, by their productions of the last ten years, promise to surpass us on all points – by numbers, high prices they command, complete range of subject, interest, and research. As all books of recent yean seem to be written round Rood's "Modern Chromatics,” students will do well to commence with that treatise, as it contains valuable information, clearly written, well illustrated with woodcuts and diagrams, but unfortunately has no colour plates to assist the text. This book having passed through many editions, a clean secondhand copy is more often seen than any other, and is worth looking out for.- BURLINGTON

A Reliable and Permanent Method of Intensification

           Many photographers would be glad to banish mercury from their dark-rooms if they could find a satisfactory substitute for it. Those who use the mercury intensifier know that they cannot depend upon the negative being any use in a year or so, and, although they have tried the chromium method, the danger of yellow stains has caused them to go back to the old process again.
With papers of the "Cyko" class it is essential that the negative should be free from all stain, or the time of printing will be unduly prolonged. The following method of intensification has been in use in a well-known North-Country studio for some considerable time, and may, be depended upon to be stainless action and to give an absolutely permanent result.
           Make up lour solutions: -                                  Water
           A. Potass. bichromate ………………………150 grains 10 ozs.
           B. Potass. bromide ……………………………400 grains 10 ozs.
           C. Hydrochloric acid (pure) ………………200 drops 10 ozs.
           D. Potass. metabisulphite …………………2 ozs. 10 ozs.

For use, take equal parts of A, B, and C. Blench and immerse (after a brief rinse under the Up) in D solution until the yellow lain is completely destroyed. The negative is then re-developed in any non-staining developer without bromide, Azol or a paramidophenol mixture being especially suitable.
           The method is equal to mercury in every way, with the additional advantages of being permanent, and that it is not necessary to eliminate all the hypo in the film previous to bleaching.
           Bay pure chemicals, mix in the proper proportions, and use as directed above, and you cannot fail to get good results. - J. M.

Advertising by Airbrush.

           As American soldier, by trade a sign-writer, was recently making comparisons between this country and his own on questions of advertising, and. although we pointed out that the war had stopped experts here as well, he pointed out the difference between the stylish window tickets of City tailors, shaded in colours by the air-brash, with the old-fashioned printed silver letters on black in a studio showcase, and he could see no evidence that we had ever made nee of striking designs and methods as are tried in America. He criticized photographers, and guessed that the majority tad an artist and an airbrush on the premises, and yet they do not make use of the instrument at all for stenciling through and shading round a design, or even a little ground tint to letters calling attention to the studio's particular style, or inventing an attractive price-list panel for the window. American schools, such as the Detroit School of Lettering, use the airbrush largely for advertisement purposes, believing in colour and design as u means of arresting the eye. - BURLINGTON

EX CATHEDRA: Low-Priced Trade Work; A Lecture on Photography; Focussing Sharply; Patent Specifications.

Low-Priced Trade Work.

           In a business such as photography, in which the goods sold to the public exhibit so wide a range of quality, it is, of course, natural to find a similar range of quality in the work done by trade firms for photographers. In both cases the quality is more or less accurately reflected in the price which is charged. A consideration of these facts should, we think, provide tie answer to those who now and again urge upon our publishers that they should exclude the very low-priced firms from our advertising pages. An order for enlargements to one such firm may have been executed in what the disappointed maker of the negatives angrily calls a “disgraceful" style, on the strength of which, and without showing either the enlargements or the negatives supplied for them, it is protested that the firm should not be allowed to advertise its offers of service. As we have said, a complaint of this kind can only be made in the absence of a comparison between the price which has been paid and that charged by firms of the first or even the second grade. Probably the chief difference between low-price and high-price firms - a more essential difference than poorer materials and cheaper labour is that their scale of prices does not allow them to repair defective work by doing it again. They send their first production unless its defects are too gross even for their standard, and hence the result is very largely a matter of chance. Like the little girl and dependent on the negative, it may be very, very good or it may be horrid. If it be the latter, the purchaser must surely think that he could hardly expect anything else at the price. His case is paralleled by that of anyone who puts money in a high-yielding investment: he is buying something cheaply priced, and he takes his chances on it. No doubt the advertiser announces that his work is first-class, but then what advertiser does not?

A Lecture on Photography.

           Perhaps it is a welcome sign of greater general interest in technical and scientific matters, perhaps the result of the searchlight prominence of photography in the war, but we have lately received quite a number of requests that we should name the book to be recommended to anyone anxious to deliver a popular lecture on photography. The fitness for his purpose of a would-be lecturer who finds it necessary to put the question may be doubted, but at any rate the inquiry exhibits a praiseworthy desire for information, and doubtless there are many with a thorough practical acquaintance with photography who are not too self-confident to see that much more is demanded of a lecturer on the subject. For such as they a book which provides, a serviceable basis of information is Mr. Chapman Jones's "Photography of To-day," a volume which reviews pat and present photographic processes in a popular yet scientific way. On the very earliest history of the art, that is the work of Niepce, Daguerre, and Talbot reference may be made to a series of papers which ran through “The Photogram” for 1900. There are one or two issues of “The Photo-Miniature” which will usefully provide material, viz. those on "Who Discovered Photography”, “Colour Photography," and "Aerial Photography,” and as a means of faking a bird’s-eye view of the successive of photographic progress there is the monograph “Photography, Past and Present” issued as an illustrated supplement to the Diamond Jubilee Number of the “British Journal."

Focussing Sharply.

           In focusing originals, such as paintings, in which the absence of definite outlines presents a difficulty, most photographers make use of a small printed card placed against the surface of the original in order to provide a workable test object. But perhaps it is not so generally recognized that different types of lens require different treatment in order to obtain the best results. As a rule, rapid rectilinears and other lenses possessing greater or less roundness of field give the best average sharpness when the test object is placed so that its image falls about midway between the margin and centre of the field. With most anastigmats it is best to obtain the greatest sharpness in the centre, and the margins will then frequently be sharper in the negative than they appeared on the screen. With all types of lenses great assistance can be given by a judicious use of the swing-back, both vertical and side movements being employed as needed. This is particularly the case when using a portrait lens at its full aperture; a swing of the back will allow of the same degree of good focus over the plate as could, be obtained by a smaller stop. The method must not be abused, particularly when a short-focus lens is being used, otherwise the size of hand and feet in the sitting figure will be unpleasantly exaggerated.

Patent Specifications.

           A correspondent who addresses a query to us raises a point which no doubt is now and again in the minds of many other readers of these pages. It is a matter of common remark that the published specifications of alleged inventions to which patent protection is granted are often things which are as old as the hills or, on the other hand, bear on the face of them certain practical disabilities. But the explanation lies in the fact that the preliminaries in the way of search which are carried out before the granting of the patent extend, not to books and periodicals where the invention very likely has been published, but only to patent specifications themselves issued during the period of fifty years prior to the date of application. Moreover, the Patent Office is not concerned with the efficiency of an invention. It takes the applicant's word for its merits in this respect. Apart from its search in prior specifications its work is not very much more than a registration of the description of the invention and the claims made in respect to it. The questions of efficiency and of prior publication are left to be the subject of investigation in a court of law in the event of any action being taken as to infringement. While there are thousands of existent patents which have not been the subject of this legal inquiry, it is nevertheless true that a patent has not received absolute certification of value until it has been examined in the Courts. Inventors of photographic appliance: should not therefore set too high a value upon the fact that they may have teen granted a patent for a particular appliance. Nevertheless, it is a wise and not very expensive precaution to spend, say, the mutter of five pounds on obtaining protection for any invention before offering it for sale to a commercial firm. The patent rights can then be disposed of, and the co-t of maintaining the patent defrayed the purchasing firm if such is considered advisable.

Practicus In The Studio: Printing Processes For Portraiture.

           I find that nowadays people are rather apt to get into a groove over their printing methods and apparently forget that any other process exists except that which they happen to be working. It thus occurs to me that a brief review of the Different printing media at present available, with notes on the characteristics of each, would be of service to those who wish to vary their work.
           The uncertain character of daylight in Great Britain has made bromide and gaslight papers very popular, and an overwhelming proportion of portrait work is now produced upon them, but thanks to the almost universal supply of electric current, we are not now altogether dependent upon daylight for what may be generally classed as "printing out" as distinguished from developing processes.
           The quality of the negative is an important factor in the production of the print, and only a small proportion of current negatives would yield even a passable result upon the old albumenized paper which for many years was almost exclusively used, so much so, in fact, that a print was hardly regarded as a "real" photograph unless it was made upon it By reason of the quality of the negative required, and because it was impossible to produce it by modern factory methods albumenized paper is now only a memory, and it is impossible to procure even a small quantity through the ordinary channels. Hence it is unnecessary to touch upon it otherwise than by way of reminiscence. Bromide paper in its various grades has taken its place, and I therefore put it first upon the list as being the process for the million, or that proportion of it who practise photography.
           Although in such general use, few portraitists fully appreciate the wonderful variety of surfaces, speeds, and character of emulsions which are available. I cannot fairly allude to any specific makes by name, but will be content to refer my readers to the advertisements in the B.J. Almanac, and the advertisement pages of the weekly Press. Bromide papers may roughly be divided into several groups, although these somewhat overlap each other. We may divide them by speed, that is to say, the time necessary to produce a print from a given negative by a given illumination; by the degree of contrast which can be obtained from the same negative by the surface texture, and by the colour of the paper base itself apart from the image. Thus we have "slow" and "rapid" papers, hard or contrasty, and soft, rough, smooth "platino matt," "satin," and glossy, these giving a range from rough drawing paper to a surface like glass. In many cases certain grades come into two or more of these classes. Thus we may have rough rapid, smooth rapid, hard cream and soft cream, and the same in white. In this great variety lies one of the principal advantages of bromide paper, for there is hardly a negative which is capable of being printed at all for which a paper which will give the best result cannot be found. Many printers use only one variety of paper, and trust to their skill in exposure and development to produce even results from all classes of negatives, but from experience I can assert that a very ordinary worker can produce a better result upon "hard" paper from a flat negative than an expert can upon the average kind. Therefore I advise every printer to have by him a small stock of special papers, so that he can at once select the quality necessary for exceptional densities of image. While not recommending this course to he carried too far and to encumber one self with too many kinds, I would point out the influence of colour and surface in certain cases. Suppose that we have a hard, chalky negative; we can use for this a "cream crayon soft" paper. This not only reduces the contrast of the image but tones down the glare of the whites, while the slightly rough texture gives further aid me direction. With a very soft negative we may choose a satin surface paper, that is, one with a semi-gloss, which gives a richness to the shadows. A full gloss paper would be even better, but for high-class -work a glossy surface is rarely acceptable. Further modification may be obtained by toning the image to a sepia colour, a course generally advisable with harsh contrasts, as brown and white usually gives a softer result than black and white when both print are of the tame quality. I strongly the practice of toning bromides irrespective of quality; every day thousands of prints which are of fatrly good quality in black and white are spoiled by being converted into poor, flat, rusty sepias. If I have the slightest doubt as to the resulting tone of a print I would- leave it in black and white, and if the order were for sepia prints I would ask permission to submit a black and white print when sending the proofs.
           Gaslight papers closely resemble bromide in the points I hare already mentioned, so that it is not necessary to deal with them at length. I should like, however, to say that besides the "contrasty" qualities which are most used, are special kinds which, though very slow in action, walls give splendid results from dense negatives. These papers require a very strong light for printing, several fifty-candle-power lamps being needed in the printing boxes.
           Gelatino-chloride or P.O.P. was not o long ago almost universally used for portrait work, but is now little in favour, especially among the cheaper class of studios. A few good class firms still find that the warm tones so easily obtained upon it are acceptable to their patrons, and wisely adhere to it. Certain warm browns and reddish tints closely approach the delicacy of carbon, and will always be popular, but the purple black tones are now quite out of fashion, P.O.P. requires much greater cart- and cleanliness in working than bromide, which may account for the latter superseding it.
           Self-toning papers, which are mostly collodio-chloride, possess many advantages, although they are the slowest of the printing out sort. This defect may be largely overcome by employing an enclosed arc for printing, when the time in much shortened. A great range of tones from warm sepia to a blue-grey may be obtained by variation of the strength of the hypo bath and for the grays a preliminary soaking in a solution of common salt. Matt and glossy surfaces and white and cream bases are available in this class of papers. A variation of tone may be obtained by using a platinum toning bath as employed in the doable toning of ordinary collodio-chloride paper. I hare used much of this paper, and find that the prints stand very well. Some, which are fifteen or sixteen years old, seem quite fresh. Self-toning gelatino-chloride is also made, but I have not found so good a range of colours with them as with the collodion. Moreover, they cannot be dried by heat, as the latter can. Some few photographers have used what is termed salted paper for large work. This has to be prepared at home by coating drawing paper with a solution of chloride of ammonium or even common salt, and floating upon a bath of nitrate of silver. The prints may be fixed without toning, or they may be toned in any of the gold baths used for P.O.P. Strong negatives are required, as the image is inclined to be rather dull as compared with that on an emulsion paper. The surface is very agreeable, and with suitable subjects the results are highly artistic. Platinum printing like carbon stands in a category of its own, and occupies the first place with those photographers who put quality before cost. It is, next to ferro-prussiate, the simplest of all printing processes, and is not only pleasing but permanent; it is actually a "thing of beauty and a joy for ever." Platinum papers can be obtained in rough and smooth surfaces, end on white and cream bases. As there is no practically useful method of toning, special papers and solutions are prepared for black and sepia prints respectively. One important quality of platinum prints is their absolute flatness when finished; as there is no coating either of gelatine or collodion there is no risk of curling, and if attached by one edge to a mount they will lie close to it no matter what the condition of the atmosphere may be. It should be clearly understood that the word "platino," when applied to bromide paper, refers to nothing but the appearance of the surface. There is no platinum in the coating, and the image is no more permanent than that on ordinary bromide papers. Carbon printing is unique as regards the great variety of colour and surface in which prints may be produced. Although in portraiture only two or three are commonly used, such as sepia, red chalk, and warm black, at least fifty varieties of colour, including reds, blues, greens, browns, grays, and many others, and a score of different weights and surfaces in the transfer papers are regularly supplied. So that it is possible to make carbon prints which closely resemble those by any other photographic process; and, needless to say, all are absolutely permanent. It is worth noting that, in spite of war restrictions, the price of carbon materials has shown but little increase in price. Many are deterred from attempting carbon printing by the idea that it is very difficult, but this is not the case if ready sensitized tissue be used, and if the work be carried out systematically it is little more troublesome than P.O.P., and the extra price obtainable will amply justify the additional work.
           I have carefully abstained from giving working details of any process, us this has been done over and over again, out in case of any difficulty, any desired information will be given through the usual "Answers to Correspondents" column. My object has been to point out what materials photographers have to hand for the production of such prints as may be needed for any claw of business.

PRACTICUS.

Appearances.

           Some people say that "appearances are deceptive," and others that " the first impression is everything." Although these dicta are apparently contradictory, there is truth in both, and our resent object is to point out how outward appearances react on the success of a photographic business.
In photography more than in most businesses the impression made upon a prospective sitter is of the greatest importance. A shabby exterior, a dark and uninviting approach, or a dingy, untidy reception-room will probably act as a deterrent to the better-paying class of customers. The visitor will go no further than to make an inquiry as to prices, and retire as quickly as possible. This fact is more readily realised by women than by men, and may account for the fact that many women have started successful studios, while men who could turn out better work have failed to attract patronage. To the woman the trimmings are of primary importance, and she starts fitting-up her premises with much the same idea that she has in furnishing a home – that is, to make it an attraction to others and a source of modest pride to herself. Now it is not necessary to go to work in an expensive manner to achieve this end; the only tiling necessary is to start with some definite scheme, and to keep it in view throughout. As the first contact with the public is usually by means of the showcase or window, we must start with that, and endeavour to make it as bright and attractive as possible, and always keep it so. Many places have been opened with an imposing array of plush and gilding, which for lack of care has in a few months become faded and dingy, giving the impression that no business is being done; while others started on more simple lines have by constant change and scrupulous cleanliness continued to attract the favourable notice of passers-by. Supposing that we succeed in doing this, the entrance and staircase, where there is one, should be respectable and well cared for. Dirty walls, with the paint or paper peeling off, worn linoleum, and dirty windows do not lead people to expect clean, artistic work behind them. This can all be remedied at small cost, and should at once be done where such a state of affairs exists. Many old-established photographers have experienced a serious drop in their takings when a rival concern has opened near them, not because the work was better, nor even as good, but because it was put forward in a more attractive way.
           The reception-room is often allowed to degenerate into a sort of rubbish store. Obsolete furniture from the studio, parcels received or ready for despatch, frames, and out-of-date specimens cover the tables and chairs and utterly destroy that appearance of daintiness and comfort which is so necessary to the production of a complaisant mood on the part of the visitor. One old photographer always called his reception-room the drawing-room, and always kept it quite free from business lumber. Even his specimens were kept out of sight until they were required, the comfort of his patrons being apparently his sole aim. Others have made their reception-rooms interesting and profitable by displaying paintings, rare furniture, and curios, which not only served to pass the time while waiting, but which were ultimately sold. While on this subject it may be worth pointing out that the personal appearance of the proprietor and his staff should be as carefully looked to as the other decorative items. Photographers used to have a reputation for slovenliness, and it is to be feared that some still merit it. They should take a lesson from the jeweller and other tradesmen who have to deal with ladies, and not appear in frayed, chemical-stained habiliments, while their assistants should be trained to those habits of neatness in dress and person which are expected to be found in a good-class business. One lady photographer insists on a uniform style of dress on the part of her receptionists, but this is going a little too far. Still, it is better than a tawdry blouse and a faded alpaca apron, which have been seen in studios of some pretensions.
           The studio is a workroom, and need only be kept scrupulously clean and free from unnecessary lumber. The camera and stand should be kept well polished even if of old pattern, and anything in the way of greasiness on the furniture avoided. Velvet and leather chair-seats need keeping in order, as a lady does not like to risk soiling a nice dress. We have seen a lady refuse to sit on a greasy-looking chair, while others doubtless shuddered when they did so. The fittings of the drawing-rooms should be inspected daily, combs and brushes frequently washed, and a white drugget kept ready for use for wedding and evening-dress sitters. If powder and cosmetics are furnished , the pots and bottles should be kept free from smears and dust; actresses may tolerate dirty “make-up,” private sitters will not. Nothing succeeds like success, and if trade is quite the world must never know, for people like to feel that they are patronizing a fashionable establishment, even if they have to wait for their portraits. One of the most successful American portraitists has told how at the beginning of his career he found sitters were not as numerous as he had hoped for, so resolved upon a bold stroke. He filled his diary with imaginary appointments for a fortnight ahead, and declined sitters who would not wait for a vacant date. At the end of the period he had booked more genuine appointments than he had ever done before, and since then he has never looked back. When anything is difficult to obtain people are sure to want it, and when the sitters who had booked told their friends how terribly busy Mr. So-and-so was, they immediately felt that he was the right man to go to. Few British photographers would care to take such a risk as our American friend did, but it is well to keep up the impression that business is flourishing, and that it is only as a special favour that early delivery can be promised.
           One little matter must not be overlooked, that of stationery. We receive many letters upon notepaper the quality and printing of which would disgrace a chandler's shop. When people contemplate patronising a self-styled artist they are apt to judge his artistic skill by the style of the communications he sends to them, and nothing is so, detrimental as poor stationery. We do not advocate florid designs or bizarre colouring the simpler the better but the type should be artistic and the paper as good as we can get in these times. The money so spent will not be wasted. It is only invested, and will return increased a hundredfold before many days. The whole point is this that the photographer must appear to have some self-esteem and confidence before he can expect the public to trust him, and therefore should make as good an all-round show as circumstances permit.

EX CATHEDRA: Stained Negatives; A Business Accessory; Photographic Apparatus at Auction Sales; A Home-Made Camera Case

Stained Negatives.

           We suppose that by far the greater majority of stained negatives which are sent to us for a diagnosis of the defect represent the result of incomplete fixation. Unfortunately a remedy for the brownish stain which is the product or insufficient treatment of the emulsion with hypo is an almost hopeless problem in comparison with such general stain which comes from development or even the patchy stains due to contact with a printing paper containing soluble silver. About the only suggestion which we can make for the removal or, at any rate, partial remedy of fixation stains is to intensify the negative with mercury and ammonia, or with Monckhoven's formula of mercury and silver cyanide. By either of these processes the yellowish stain is converted into a grey one 01 little printing value, and with the aid of a certain amount of local reduction of the intensified negative it is possible in some cases to arrive at a respectable result, but whenever circumstances permit of a second exposure being made, the making of another negative is the only remedy which should be thought of. The silver stains from damp paper are of rarer occurrence in these days of development papers, yet it may be added that a ready means of removing them is that of Mr. Harold Baker, of rubbing with Globe metal polish and then leaving for a sufficient time in a strong solution of hypo. This is a very much better and safer plan than the iodide and cyanide method, the drawback of which is that the solution attacks the image proper as well as the deposit of silver stain, and therefore calls for an exceptional degree of expertness in its application.

A Business Accessory.

           "A place for everything and everything in its place" is one of those maxims of our childhood on which too much importance cannot be laid in any business establishment. The waste of time and the mental irritation which arise from the inability to find something which "you know is there all the time" and is only hiding itself through some diabolical malice, are elements which one tries to eliminate from the day's work. Partitioning of drawers and cupboards and a system of labelling the places where articles in frequent use are to be put when they are finished with will go far to removing these causes of reduced output in the normal working hours. But the suggestion we have to make and it is one of which we have proved the utility relates to a means for preventing the straying of the odd messages and memoranda which are part of the machinery of any business. It is simply a place where notes that such-and-such an order is wanted urgently, or such-and-such a chemical is getting out of stock may be placed so that they cannot be overlooked; where, in fact, which is the important thing, they will be looked for. In our own office routine, which calls for many reminders, this takes the form of a good sized board covered with soft cork lino and provided with a supply of push pine. These serve to fix in an instant any memorandum which .needs to be displayed to view until it is dealt with. The board speedily becomes an institution to which one looks and which soon largely replaces verbal messages. It seems to us that good use could be made of one or two of these devices in businesses, such at that of photographic portraiture, where there is much reference from department to department.

Photographic Apparatus at Auction Sales.

           A short time ago we commented upon the advisability of intending purchasers of second-hand lenses being very careful to see that the lens offered to them in a certain mount was actually the instrument issued new by a particular maker. We recently heard of an experience in connection with lenses which goes far to point out the importance of the buyer knowing fully what he is purchasing. The case in point was en auction sale, and among other things, household furniture, etc., two lenses by a well-known maker were catalogued. A photographer whom we know attended the sale, and after having previously examined the two instruments to his satisfaction, though he was not aquatinted with the particular type of lens, bid for and purchased them for what was a fair sum. Of course, a trial upon a camera was not permissible, and his surprise may be judged when upon testing one of the instruments very indifferent definition was given. At some trouble the photographer got a catalogue illustration by the makers of the lens, and upon comparing the plan with his own instrument he found to his surprise that one of the components of the original instrument was absent altogether, which fact was made all the worse because the maker had long ago suspended business. And at a time like the present no others would be likely to take on such a job as supplying the missing component, even supposing such a thing was possible. This note is penned as a warning against those who may be tempted to buy photographic goods at general auction sales, which do not admit of a proper trial of the instruments catalogued. Such may turn out the reverse of a bargain, and as a general rule the purchaser has no redress, since most auctioneers in their conditions of sale hold themselves under no guarantee against errors of description.

A Home-Made Camera Case.

           Now that any goods of leather are so expensive it may be of service to some if we refer to a case for the camera outfit which we saw the other day for the making of which the photographer had used a substitute for leather which yielded a solid and yet slightly lighter case than that material. The case was made of ordinary three-ply wood, with a division for the slides, and the lid was fitted with lap-over edges in the same way as the best leather cases are made. The inside may be lined with thick green baize or thin felt, obtained from any upholsterer in a large way of business, and fastened with small gimp pins obtainable from the same source. The outside of the case was finished with a covering of good waterproof canvas fixed in position with dextrine paste, obtainable at any shoe or leather sellers, the edges of the canvas being turned over and fixed in position with the gimp pins before mentioned. To the bottom, four “Domes of Silence” furniture castors were fitted to keep the case off the ground, and so to reduce damage by its being placed for any time on wet ground. The case was made for less than a quarter the cost of one in solid leather, and weighs a few ounces lighter than leather case of the same size. Provided the joints are firmly screwed there is nothing to fear on the score of solidty. Moreover, such a case allows a more substantial lock and hasp to be fitted than if the article were made of the ordinary stout leather.