The British Achievement In Aeroplane Cameras.

The progress made during the war in the design and manufacture of cameras for photographing from aero planes has hitherto remained undisclosed except by the few and somewhat sensational statements which were published now and again in the lay Press, and which, it may be said, were usually wide of the mark. Misers, Brock and Holat, in the paper which we reprinted in our issue of February 21 last, made certain sweeping claims to priority which in the following issue provoked denial n the part f two correspondents, both exceptionally well-informed as to what has actually been done in the production of cameras for the British air forces. Since the appearance it paper we hare had an opportunity of inspecting at the Kid Brooke camp of the Royal Air Force cameras representing the whole range of instruments which have bean used daring the war from the earliest days until its termination. The paper by Major Charles W. Gamble at the Optical Society on March 13 last has also set forth in try great detail the steps by which aero plane photography has been raised to great stats of perfection. It is therefore well that tone account be given of what has been accomplished and of the stages through which the aerial camera has passed.
At the outbreak of war photographs bum aero planes or airships had been taken only in quite a casual and amateur way, and the military authorities were low to recognize the great service which aerial photographs would reader to the Intelligence Branch of the Army. Within a law months, however, the value of the aerial photographs received recognition, and cameras specially made for the purpose were first need early in 1915. The first or A model, long since abandoned, was of a quite primitive type, consisting of wooden square-section cone-shaped body, carrying a lens of eight or tea inches local length and fitted with a Mackenzie- Wisbart adapter for envelopes taking 5x4 plates- The camera had to be held in the hand and pointed vertically or obliquely downwards by the observer as he stood up in the aero plane. The Mackenzie-Wisbart system allowed of a considerable supply of plates being taken up, but the relative fragility of the envelopes in the circumstances of their being handled by a wearer of thick gloves, coupled with a want of sufficient precision in bringing the plate accurately into the local plane of an f/4.6 lens, caused this form f plate-holder to be abandoned.
Early in 1916 a modified pattern, the C model, of the first instrument was put in the hands of airmen. It differed chiefly from the previous model in the means adopted for holding and changing the plates. The camera was fitted with two magazines, one containing eighteen 6x4 plates, in metal heaths, which was placed immediately over the local plane, and the ether (empty) magazine below it and to one side, the camera, of course, pointing downwards. By means of a horizontally moving metal plate, the lowermost of the plates awaiting exposure was pushed to one side and was received in the lower magazine, the operation of thus changing the plate also reciting the local-plane shutter under cover of the moving metal plate. The principle of mechanically changing plates by discharging from a holder placed mouth downwards into one placed mouth upwards has been retained in later models in which the changing mechanism it self has been further improved.
The two foregoing cameras mere both of wood, the disadvantage of which, as pointed out by Major Gamble in his paper, was the liability to expand or contract under the very wide range of temperature and climatic conditions to which the cameras are exposed. Inasmuch as a very slight alteration of the distance between an f/4.5 lens and the sensitive surface may disturb the definition, recourse was had to cameras of all-metal construction or to one consisting of wood framework, constructed so as to obviate expansion and covered with metal mounted thereon so as to cause no stresses in the structure in the event of its expansion. The E camera of the R.F.C.; introduced in 1917 was an all-metal camera of this type, and was fitted with a changing mechanism similar to that of the C model, but with the difference that the plate was changed by pulling a cord, and, the occulting metal plats being thus dispensed with, the camera included a capping shutter to cover the aperture in the local-plane blind during re-setting. A further new device first introduced in this model was an adjustable lens cone by which lenses of from 8 to 10(1/2) inches focal length could be fitted and readily brought into use.
Up to this point all the cameras employing plates were operated, as regards changing the plate, entirely by hand, a system which had considerable disadvantages. Simple as an ordinary photographer would regard the operation of the changing mechanism, the fact that it had to be placed in the hands of men entirely unfamiliar with photographic apparatus called for a changing device which would be free from mishandling by the human operator. It need hardly be said that the airman has many other things to do besides taking photographs, and that he carries on his work always under the conditions of fire from enemy anti-aircraft batteries and of attack from enemy machines. Thus the next step and one which brought the aero plane plate camera almost to its most perfected form, was to provide a mechanical means of changing, operated by power other than that of the airman and brought automatically into operation immediately alter an exposure had been made. This was done in the L camera first used by the K-F.C. early in 1917. With it the operator had simply to use Bowden release in order to make an exposure: the rest- resetting the shutter and changing the plate was done mechanically and automatically. The ingenious device introduced for this purpose consisted of a small propeller mounted on the aero plane and connected to the camera by a flexible shaft. This provided sufficient power for the operation of the plate-changing mechanism, the changing gear coming into operation on the observer releasing the Bowden lever.
An improved model of this camera came into use in 1913 as the LB and has proved the most successful of aerial instruments. It differs from the type just mentioned in being fitted with a self-capping focal-plane shutter which can be entirely removed and replaced by another in case of derangement. Moreover it can be adjusted as regards slit-width by an external lever, and there is the further provision of operating the plate-changing by hand or power as necessary and of instantaneously altering it for use by one or the other means. A further improvement was the series of most rigidly made and finished lens cones, enabling lenses of 4, 6, 8, 10, and 20 inches focal length being used on the one camera.
The principle of a propeller drive for the mechanical changing of plates was also applied to a camera of much larger size, for 18 x 24 cm. plates, first used by the R.A.F. in 1918. The camera, which perhaps may be said not to have been quite fully perfected at the time of the Armistice, is fitted with lens cones allowing the use of objectives of from 7 to 20 inches focal length.
Other cameras of simpler type have been used both in the Royal Flying Corps and the Royal Naval Air Service for purposes more or less special to the requirements of these services. Certain of these are cameras fitted with a stout handle or grip, by which the instrument can be held and pointed obliquely in order to produce a type of photograph distinct from that obtained with a vertical direction of the lens axis. Thus in preparing for operations with tanks in France, photographs taken obliquely are necessary in order to yield an idea of the nature of the ground over which the attack is to be delivered; and similar oblique pictures are taken for many purposes of the Admiralty, for example, in order to obtain records of the correctness with which the masters of ships proceeding as a convoy are carrying out their instructions as to formation.
But perhaps the camera evolved for aero plane work which would provoke the greatest admiration of a connoisseur in mechanical devices is that known as the F, and first used by the Royal Flying Corps in 1916, after having passed through its trials at Farnborough during 1915. This is a camera taking a continuous series of 5 x 4 pictures on a roll of film sufficient for 120 exposures. The mechanism is operated by a propeller to that as the aero plane travels the photographs are automatically taken at intervals corresponding with a certain number of revolutions of the propeller. Simultaneously with the exposure of each section of film a tiny record is made on each (by means of a small supplementary lens) of the reading of the height of the machine and of its compass bearings so that each negative is provided with a record of the direction of flight over the territory which is being photographed.

Panoramic Photographs And Perspective.

The notes on panoramic photographs in a recent number of the “B.J.” will no doubt have interested quite a fair proportion of readers; and in all probability many more will welcome some amplification of the subject. And as there appears to be very little literature on this fascinating phase of the photographer's art the following notes are penned with the hope they may at least help the novice, even if they fail in the more ambitions desire to stimulate the production of a scientific treatise on the principle invoked. The panoramic camera is a necessity: there can be no question of that, and although much good work can be done by joining up several ordinary photographs, there are cases where all the skill in the world will fall to make a presentable picture; and an example, of this failure occurs when we have a view including railway lines in the foreground. At each join the lines meet at an angle and as we are not accustomed to trams tracing pentagons and squares, we are offended by the view. In a panoramic picture of the same subject, the lines will appear as continuous curves; so we are not asked to imagine the impossible, and therefore the eye and sense are not offended. To the professional mind in doubt, the big group is the most important class of work to which this camera can be put and here it is clearly scores that no argument is needed. These groups of course, are arranged in an arc of a circle with the camera at the centre; and the general perspective of the recanting picture, may be likened to one taken with an ordinary camera and a very long focus lens whose axis is at right angles to the same group arranged in a straight line. Now whatever carping critics may say, the man at the end of a panoramic group will he far better pleased than if it had been a wide-angle group; for he is in the same perspective as the man in the middle and this will prove a blessing to the photographer who has to copy a single figure from a group for the purpose of enlargement, and alas! in very many cases, the only available source will be front one of those big military panoramic groups and whatever consolation father, mother or sister can get from the finished enlargement, it will be all the greater from the fact that their departed hero is delineated in tine which would not be the case in the figure were copies from near the end of a while-angle group.
The thing that is most objectionable about a panoramic view is when something that we know must necessarily be straight comes out in the photograph as a pronounced curve. There are two ways to avoid this: one is by the arrangement of the subject, as in the case of a group, or by the selection of the point of view. Now, in general a horizontal straight line, except when it radiates from the camera, appears in a panoramic photograph as a curve: and, conversely, there is a certain curve which, when in a horizontal piano with the camera at its origin, will always appear an a horizontal straight line; and if we know the nature of this curve, we shall be in a better position to order the arrangements for any particular photograph we wish to take.
Let us take a practical example:-Fig. 1 is a diagrammatic view of Ludendorff, on horseback, giving a farewell address to his troops; and perhaps adding a few words of advice and warning mi the disastrous consequences of a complication of Prussian microcephalism and Asiatic beriberi. In the ordinary panoramic parade photograph the men dwindle away towards each end of the picture, and form a strange curve that would remind a soldier more of some lamentable straggle with the theory of a trajectory than of invincible, Vandalia, martial glory and also it offends all our ideas of perspective. And besides, perhaps, Ludendorff would not like it; he might think yon were puking fan at him, and intended some sly allusion to "elastic fronts." The remedy is to get the valiant soldier to let you arrange the men; and to get this effect of straight lines vanishing to the horizon, as in Fig. 1. they will have to be arranged in the form shown in plan by

the heavy line in Fig. 2. If we are using a 12-in. lens; and decide to have the finished picture about 40 inches long, the group will have to be included in an angle of about 180 degrees; because12^=37¾ nearly, which will allow just a little margin each end. If we further decide that the nearest soldier shall be three inches high in the photograph, and the one at the remote end of the line one-quarter that being then, by the simplest arithmetic, the nearest man must be 24 feet from the camera, and the furthest one 86 feet; and, as the group is to include 180 degrees these two men and the camera will be all on the same straight line. This is shown t., scale in Fig. 2, where the position of the camera is given by o, and B and B’ are the places of the and men. The setting out of the rest of the curve is quite simple if we remember that the panoramic projection of the horizon is a straight line, and every length of a panoramic photograph represents an equal angle or number of degrees; that is to say, if three inches at the end of a Pangram represents 15 degrees, then also three inches from the middle will represent exactly the same angle, and if the line B O, joining the men's feet in Fig. 1, is to be straight, the vertical distance between it and H O must diminish by the same arithmetical amount for each equal length of the picture; and as the distances from the camera must be inversely as the height of the figures, we have the clue to every point of the curve. Now, let us calculate the distance of the curve from the origin o for every 30 degrees. As the total fall in height is to be 3-¾, and 30 is contained six times in 180, then

is the amount required; and in the table below the distances of the points are given in feet for every 30 degrees, while the heights of the image are given in eighths-of-an-inch, to avoid fractions and show better the regular decrease.

In regard to this table it may be observed that the product of the height and distance is a constant quantity. A group arranged in this way will, in the resulting Panorama, have the same general perspective as Fig. 1 though course each element of the picture will have the perspective peculiar to the lens with which it was taken.
Now if the lines AO and BO are continued they will meet outside the picture, at the vanishing point O n the horizon; and if we call the vertical distances between A and B h and the number of degree from H to O, which in this case will be 240 deg., then for every degree the height will decrease by; therefore at any angle ß. measuring from H. the bright of the figures will be: -

and the distance from the camera to the curve of this point will be: -

It will be been that is a constant quantity which we will call a; and a ­ ß is a variable angle which we will call; then, substituting and patting r for the variable radius we have: -

,

and, clad in this classic garb, readers who have dwelt in the seventh heaven of mathematical bliss will recognize in old friend, the "reciprocal spiral." To show the nature of the complete curve it is continued in the diagram at each and by broken lines, and towards the origin it approximates more and more to a circle with every revolution it makes recording to the law –

where ra is the radius at the nth crossing of the initial line and by taking a and n of suitable dimensions we can get as near as we like to any tiled circle. By making is very small the whole curve approximates to the initial line; and if we take it small enough we have the special case of the radiating straight line. This from this spiral we can get in our photograph a right line at any degree, of obliquity and perhaps enough has been said to make clear the general law: -
The panoramic projection of a reciprocal spiral in a horizontal plane with the camera its origin is a straight line and only this carve or some special phase of it is so rendered.
But in all probability it would be as difficult to get a photographer to look at a formula of this kind as it would be get Ludendorff to let you arrange his men; so perhaps a better way would be to plot the curve to several valuations, then equal lengths; and this would give a rapid approximate way of finding what one wants.
Before leaving this subject there are several practical points consider. Where shall we put Ludendorff? In Fig. 1 it will be seen that the centre-line of the picture passes through the horse's head and therefore, he must be placed so that the mid-angular line in this case the 90 deg. line passes under the head of his charger. Another point to consider is what would happen if; instead of terminating the group at B and B we continued it along towards the originals far as the curve is

marked out in the diagram by the broken line, and also at the rather end along the straight for half a mile or so; and then starting the Circuit camera at the beginning of the group, let it run round for two and a half revolutions? Still keeping to the 12-in lens, we should want a 16-ft. film for the job; but to see the sort of thing we should get, draw a long rectangle in represent the picture (Fig. 40). The group will begin three tines over and end three times, and if we draw a straight line from the bottoms left-hand end of the rectangle to the horizon at the other end to show the line upon which the complete group is standing the diagram will be completed by a line of 240 deg. and one of 180 deg from the commencement of the picture and two lines of the same lengths at the end; and as these short

lines are necessarily repetitions of parts the long one, all live will consequently be parallel to each other.
The practical outcome of all this is what every user of a panoramic camera knows: avoid such a position that gives a straight line, which in perspective ought to be parallel with the ground line; if we can get to something like 45 deg. from this position the curvature will, as a rule, be quite
negligible; all radiating lines, and also parallels to these lines if a fair distance from the camera, will be straight in the resulting panorama because, like the circle, they are special phases of our spiral.
Knowledge of the rigid conditions for a straight line will do the operator no harm and even sometimes be helpful to the practical man.
When only a moderate angle is included in included in a panoramic view, it is not beyond realms of feasibility to bring the pictorial into ordinary perspective by spying: the only conditions necessary being to bend the negative into the same curve that it had during exposure; and then project the image by means of a lens at the centre of the curve on to a flat to a line passing through the centre of the curve and the middle of the negative. This is shown in Fit 3, where we may suppose the negative was taken with a lens at 12 inches focus, and is therefore bent into a circular arc of 12 inches radius, and is being copied with a lens of 6 inches focus, which will give us a copy corrected as regards perspective, and of the same size as if the negative had been taken in the ordinary way with a 12-in. wide angle lens. Of count, the corrected copy will be longer than the panoramic view. In regard to the optical system, it is not at all necessary to have an anastigmatic; some old-fashioned thing with a field as round as a football will do better; and perhaps a thin spectacle lens with a small stop right in contact with the glass best of all. Or, of course, the lens could be rotated during exposure; but then we should lose the advantage of roundness of field. Some years ago a lady took a picture of a castle in Scotland with an Al Vista camera, held so that the lens made a vertical sweep. The towers of the castle came out like barrels, but a correct bromide print was made in the way indicated above. A special optical system would have to be devised to cover anything more than a very moderate angle, and, in many cases, true perspective over a very wide angle would prove more objectionable than panoramic projection.
In the Cirkut camera we have great advantages: we can include any angle up to 360 degrees or more; we can focus; and we have usually three different foci to choose between; but, in the matter of range of time of exposure, it is the biggest sinner of all the panoramic cameras. The quickest exposure is literally too slow for a funeral, and the longest possible time you can give is too short for a dull subject on a dull day. In cameras of the Al Vista and Panorama class, we could tackle ordinary hand-camera subjects on a bright day; and for a still subject on a dull day we could fix the camera on a steady stand and increase the exposure to anything we liked by swinging the lens to and fro as many times as necessary. And on some patterns of the Al Vista a brake, in the form of an air vane, was fitted, which not only increased the exposure, but also amused the group while it was being photographed.
In the matter of fitting new lenses to panoramic cameras this, in general, is impractical, except in the case of the Cirkut camera, where a new lens will mean also a new set of pinions and the number of teeth to the pinions will be inversely as the foci of the lenses. There will be several points to attend to in making such a substitution, which are of more practical interest to the camera maker than the photographer.
In view of a recent patent for a camera in which the image is received on the inside of a cone, it may be as well to define panoramic projection as used in the above article as the projection by straight lines from points on the object through the centre of a vertical cylinder on to the cylindrical surface itself; the intersection of these lines with this surface forming the image, which is afterwards viewed when the cylindrical surface is spread out flat to form the panoramic picture.
C. J. STOKES.

Assistants Notes: Specialization and Efficiency.

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EX CATHEDRA: Enemy Cameras; Cycle Portraits; Gaslight Enlarging; Quality of V.P. Negative; Transferred Bromides.

Enemy Cameras.

We are glad to see that our contemporary, "The Photographic Dealer," is actively interesting it self to put a stop to a species of trading with the enemy which, though small in amount, is nevertheless quite indefensible. It appears that in Cologne and other places in the occupied portion of Germany cameras of German make can be bought at not a very much higher price than that before the war, yet one which at the greatly depressed value of the German mark enables the buyer to dispose of the camera at a good profit on bringing it to London. It is stated that dealers in London are being asked to purchase these instruments. The Photographic Dealers' Association has taken the matter up, and it may be hoped that prompt measures will be taken to see that this illicit trading is speedily topped. There can be no objection to Arm y officers in the occupied country buying such photographic supplies as they want from the only available sources, namely, the German dealers, but the practice of snatching a paltry profit by bringing the cameras to London for sale is one which surely should be immediately prohibited by the authorities on their notice being drawn to it.

Cycle Portraits.

We were recently shown a most artistic portrait photograph of a feminine client of a professional friend. The lady was riding her bicycle along a delightful stretch of country road. The portrait was a really delightful piece of work, and showed to perfection the poise of the head, the easy carriage of the rider, together with the perfect grace with which some women have learnt to cycle. This is an idea that might be well worth following up, for if well done a portrait of this kind should be a good business bringer, and is far in advance of the portrait in which a stationary cycle "ridden" in the studio. The real thing offers no special difficulties in the way of making a satisfactory picture, nor need the operator think that a reflex is essential. A good hand-camera is desirable, but the picture to which we refer was made with an ordinary field camera. In this case the picture was focused on the ground glass, the cyclist being requested to stand on a certain spot marked with a couple of smallish stones. She then retired, and rode slowly towards the camera for the exposure to be made. It will be found best, if possible, to make the actual exposure while the cyclist is free-wheeling, in order to lessen movement as much as may be, and for this, in order to obtain the best effect, the pedals should be horizontal or at the "quarter to three," the correct free-wheeling position. Rapid exposures are not needed; a 25th of a second at f.8 on a bright day with fast plates will be found to give a good negative. There is no reason why this plan should not be applied to male customers as well, for many persons of both sexes lend themselves when cycling to most graceful and pleasing poses.

Gaslight Enlarging.

The trade enlarger, whose work lies not only in the enlarging of negatives of reasonably decent quality such as he obtains from professional photographers, but also those of the quite unskilled amateur, has reason to ignore the advice which is sometimes given, namely, that the speed of modern bromide paper renders the use of a very high-power source of light unnecessary. It is quite true that the practice of some enlargers of keeping an oil lamp for the enlargement of particularly weak negatives on to bromide paper is one which contributes to a greatly improved result; but, on the other hand, a great deal more can be done if a high-power light such as an arc is available, and the enlargement made on one of the extra-slow gaslight papers, such as Cyko or New Kodura. The degree of brilliancy which in this way is obtained in an enlargement from an utterly miserable negative requires to be seen to be believed, and we have known of enlargers denying the making of such results except by the production of a new negative. The amateur enlarger can obtain them with his customary apparatus if he is prepared to let exposures run to as long as half an hour, but for commercial work a light of the power of an arc or mercury vapour is, of course, a necessity.

Quality of V.P. Negative.

Now that there is an ever-increasing tendency on the part of Press, commercial and professional photographers and serious amateurs the use of vest-pocket cameras, many are finding that their technique is decidedly faulty. It is certainly easier for the less skilful to make technically perfect 12 by 10 negatives than to produce an equally good result from a vest-pocket size negative via enlarging. The ideal result depends mainly upon the worker knowing what kind of negative to aim for. The general tendency makes these negatives too dense, and if this is the case of course the enlarging process will be found to make harsh contrasts all the harsher, and to lose the fine tonal qualities of the negative. It would be a good plan for the photographer who contemplates using a miniature camera as a supplementary instrument to make half a dozen exposures by the aid of the meter taking care that these are on the full side and develop them so that each is a lightly further developed than the previous use. A bet of enlargements from the negatives will show exactly what is required. Great care is needed to prevent mechanical drainage such as acratches, etc., and we favour the tank and time method of dealing with the exposures made with vest-pocket cameras. Grain must also be avoided but with a suitable developer used fairly diluted this ought never to prove troublesome.

Transferred Bromides.

Now that bromide paper is the almost universal printing medium with many photographers more attention might with profit be given to the transfer variety which if carefully used may be the means of imparting an individual and artistic expression to photographer work. We can recall a case recently in a large exhibition where considerable attention was attracted by a picture upon one of these papers. The whole effect was most original and uncommon. The other day we noticed some cabinet-sized per traits upon quite large mounts in a certain photospheres show-case. Examination revealed the fact that they were originally made upon one of these papers and transferred to the mounting paper. A delicate tint was worked in round each print with water-colour, thus imparting a most delightful finish. This offers a considerable saving over the plan sometimes adopted of making the prints upon large sheets of paper and carefully masking off the picture, while the result is to all intents and purposes the same. That the picture is reversed by the transferring has never to our mind been a serious objection to the process, as the average sitter would quite fail to notice it, but if the operator's intention is to use the process in carrying out some definite scheme the plate may be put into the elide, glass side to the lens, and the slight difference allowed for when focusing. The back of the plate should be carefully cleaned, and the film protected from abrasion by the metal dividing plate of the slide. For this there is nothing better than a piece of card covered with black velvet cloth.

EX CATHEDRA: Phase and Change; Strong v. Saturated Solutions; Commercial Flower Photography; Field Camera Bellows.

Phase and Change.

           While much is being talked of reconstruction on the grand scale, in the comparatively small field of photography we see things changing as the inevitable result of the circumstances of the time. The balance between the supply of and demand for labour - if that can be called a balance which a few months ago showed the latter to be immensely in excess of the former has been disturbed, and signs are plainly discernible of a reversion to the pre-war conditions under which the supply, or, at any rate, the publicly offered supply, was greater than the demand. It is easy to understand that the progress of demobilization in conjunction with the new labour which has been recruited daring the war should tend towards this condition in the ranks of photographic assistants. And the same thing is observable in respect to the firms or individuals who cater for photographers trade work. Such who have come into existence during the war now find themselves in competition with the demobilized ones who formerly had their established circle of customers, and are now taking active steps to recover their business. The circumstance provides a caution to those who may be thinking of purchasing a war-created business of this kind. A connection is difficultly held, and from several motives customers will be likely to return to those who previously had their patronage. The difficulties of supply, and, in many cases, the lower quality of work during the war period are factors which will operate in the direction of restoring custom to those who previously had it, and for this reason a business which is no more than two or three years old becomes a somewhat speculative proposition.

Strong v. Saturated Solutions.

           The keeping of certain chemicals saturated solutions is a recommendation which comes from the old days of photography when workers had a nodding acquaintance with practical chemical operations. At the present time, when such knowledge is the possession of a very small minority, the practice may lead to a degree of error which may not be suspected by the individual worker. Few will take the trouble to test the temperature of a saturated solution or to make certain that it is saturated at that temperature. And even if that is done, an awkward calculation is necessary in order to discover the quantity of solid chemical which a given volume of the solution represents. On these accounts it is a much better plan, we think, to sacrifice a measure of the concentration afforded by a saturated solution and to obtain in exchange the certainty of constant strength and the convenience of translating from solution to solid. To put this idea into a concrete shape, a saturated solution of hypo is one which varies greatly in strength according to the temperature, and at any given temperature represents per unit volume an odd weight of the chemical. A much more satisfactory and convenient plan of keeping hypo in concentrated solution is to dissolve the crystals in water and make up to a volume corresponding with twice the weight for example, 1 lb. of hypo dissolved in water to form a total bulk of 32 ozs. One ounce of hypo is then contained in every two ounces of the solution and the making up of fixing baths of any required strength becomes the simplest of arithmetical calculations. The same plan may be adopted for less soluble substances, choosing a ratio of 1:3 or 1:4 in place of the 1:2 which is possible only for such extremely soluble substances as hypo, potassium carbonate, and a few others.

Commercial Flower Photography.

           One of the most difficult branches of commercial photography is the portrayal of flowers, fruit, or vegetables for catalogue illustration, yet it is work that is frequently in demand. A good knowledge of florists, flowers and horticulture generally will go far to helping the operator in emphasizing just those points that the grower or advertiser wishes to put forward to his public. Perhaps our meaning may be the more plain if we give a simple illustration, taking the case of that popular flower the sweet pea, one, which it may be added is constantly being improved by various growers who are rapidly coming to see that one of the most direct, simple and effective methods of advertising the value of their new varieties and bringing their good points before flower-loving connoisseurs is a good photograph of a perfect bloom. Among the points looked for in the perfect sweet pea are the number of flowers that can be grown upon a single stem, their spacing upon the stalk, the length of the latter, a most important point, the size of the individual blossoms, and in connection with this an absence of what is technically termed "coarseness," and lastly the colour of the flowers. If a photograph of a perfect bloom selected at some trouble by a fastidious grower is to be a success then it will have to be something more than an ordinary hit or miss photograph of the bloom, and it will need to be arranged so that the points of the flower are shown to their best advantage. Thus the adjustment of the bloom in its holder or vase is important, likewise the position from which the picture is taken, and the rendering of its texture. In the case of vases of flowers, much the same rules will have to be followed as in the case of single specimens: nothing in the way of a "bunchy" arrangement is to be permitted. Backgrounds are best made of large sheets of mounting card of various colours, and these may also be employed for growing plants out of doors in isolating the subject from its background. Upon the technical side little need be said. An ordinary field outfit having long extension and a good lens of fairly long focus is as good an equipment as can be desired, since, except in the case of flowers growing outside, speed is not of importance. Of course, panchromatic plates and a set of screens are to be regarded as absolutely essential in order to secure correct colour rendering. A thin negative having abundant detail is best, those obtained by the tank method being highly satisfactory. It is becoming realised that a photograph is more satisfactory than one of the best drawings; colour photography is likely to popularise this branch still further, and commercial photographers should take full advantage of the demand.

Field Camera Bellows.

           The modern field camera is locked upon, and justifiably so, as an instrument of precision, and in many ways it is difficult to see how the standard design can be improved. There is one point, however, that is frequently overlooked by designers and that is the importance of fitting their instruments with bellows of sufficient width. Not only do wide bellows avoid trouble due to reflected light from their inner folds, but also it is next to impossible when using wide angle lenses of short focus to avoid some "cut off" of the image on the plate by the edges of the bellows, particularly when these are made to give a long extension. This form of trouble is the more likely to be met with in the conical bellows form than when the instrument has parallel bellows. For the latter type we must confess we have a preference, but even when conical bellows are in use there is no reason why the maker should not fit them of sufficient size to prevent the trouble referred to. Some cameras that we have seen leave much to be desired in the size of their bellows, and we can call to mind one of our own instruments that could never be used with success for wide angle work for this reason. Such a fault in an otherwise excellent design is spoiling the ship for ha'porth o' tar. When the bellows are made for long extension there is often a tendency for them to “cut off” part of the image when used at a shorter extension, and for this a loop of elastic is sometimes fitted to the top of the bellows in order to draw away the extra folds from the line of rays thrown by the lens. We have found in practice that this plan is not very satisfactory, and have supplemented the loop with two more, one at each side, which are attached to the nuts holding the swing front. In this way the extraneous folds are drawn entirely out of the way. When old bellows are inclined to sag in the middle at a long extension, a couple of loops of extra length attached in the same way will go far to overcome the trouble.

The Education Of Assistants.

           Our title has nothing original about it, it has figured pretty frequently in the "Journal" lately, but as the question seems in rather a nebulous state, it is perhaps in order to inquire what it really means. In other trades it is not usual to employ the wide and comprehensive term assistant, but to specify the branch in which the employee is to be engaged. In letterpress printing, for example, we have compositors, linotype operators, machine minders, and warehousemen, and in each division a man is only expected to be proficient in his particular work; but in photography, except in very large establishments, this is not the case, and an' assistant is expected to be able to turn his hand to any job which happens to come in his way, or in other words, if the reputation of the studio is to be kept up, to be as good an all-round worker as his principal and a better one in some particular section. That there are such assistants we very well know, and the photographer who secures the services of one is to be congratulated.
           Now before starting any education scheme it would appear to be necessary to define the various classes of assistants and to set up some standard of proficiency for each. Another important paint to be settled is that of remuneration, so that a youth or girl entering the profession should know what wage can be looked forward to when he, or she, has qualified as proficient. Many things besides scientific knowledge and practical proficiency are called for in everyday work. We have known amateurs capable of turning out prints which would do credit to any studio in the kingdom, but their pace has been hopelessly slow, and no employer could afford to keep them. Nothing but practice in a busy place can give the necessary smartness, and it is a question how this is to be obtained.
           The old practice of engaging a juvenile as a sort of messenger and general helper with more or less opportunity to pick up knowledge of photography will obviously be out of the question under the new regime. Proper teaching should start at the outset, and it is difficult to see how this is to be obtained in many localities. Let us take the case of an intelligent lad living in a small country town who wishes to become a photographer. The only course that is open to him is to obtain work in the local studio with a man who can just manage to make a negative and print it sufficiently well to pass muster with a not too critical class of customers. When the lad begins to want a living wage he looks further a field, only to find that he is one of the incompetents whose existence we all profess to deplore, but who provide a source of cheap labour for the sweaters who, as in all other trades, are found in photography. If we are to have well-trained assistants there must be sufficient inducement for them to be trained in the same way as chemists, engineers, lithographers, or dental mechanics, by a proper system of apprenticeship or pupilage, supplementing their workshop practice with a part-time training in the scientific aspect of their work. The latter cannot be given in a house of business without serious waste of time, so that something on the lines of the Fisher scheme of education must be adopted, and it is for the masters to co-operate with the local authorities to secure this. But such a scheme is only workable with very young people; after the age of eighteen it is very difficult to find that readiness to assimilate knowledge that is natural to the schoolboy. It is easy enough to teach youngsters of fifteen to eighteen such subjects as elementary chemistry, optics, or even art principles, but if those three precious years have been wasted, the mind takes another turn, and learning becomes laborious. Moreover, a bad way of working is acquired, and this is often felt to be sufficient. There is now also the sex question to be considered, as a great change is coming over photography by the invasion of women into almost every branch. Are the assistants of the future to be male or female? Already men returning from army service are finding that situations are not so easily obtained as they had expected, and we look for still further developments in the same direction. Only a few years ago, and women were considered as greatly inferior to men as retouchers. What is the position now? The same thing going on in other branches printing, dark-room work, and even in studio operating - the only field in which male labour is unchallenged being that of outdoor work.
           Still, male or female, we must have assistants, and the initiative for their training must come from the master photographers. Their first problem will be to find instructors, the second to find a body to hold examinations and grant certificates of such a degree of proficiency that the holder can secure a standard, wage. In the organization of the chemists and druggists we have an excellent model. In this profession a youth enters as an apprentice, is given time for study, usually takes a course under a coach, and finally passes his minor and major examinations before he can hope to attain a position as a “qualified assistant.” One of the greatest factors in producing a shortage of good assistants is the ease with which a competent worker can start on his own account in a small wav. If we can offer such terms as will keep good workers in their situations we shall have accomplished much.

Holiday Photography Ideas

The holiday season has arrived and cant we all feel the spirit of the season start to set in. All around us seems to be festive music, smiling people, and shopping bags galore! Sending gifts, holiday parties, and maybe a snow shower fill our thoughts this time of year. In very short time family and friends will be celebrating together with smiling faces for everyone.

Everything about the season presents fantastic scenery for photographers. Whether you are a professional or simply a fan of the point and shoot, the holidays offer up many great opportunities to capture family memories on film. Because you dont ever want to forget some of the wonderful experiences of this season it is important to be prepared to capture the moments when they happen.

Here are some tips to keep in mind before it is too late.

It seems more and more people are switching to digital cameras these days, and why not, they offer so many advantages for the typical photographer. Before the holidays arrive make sure to prepare your camera a bit. This doesn't take too much work but sure will be helpful come picture time. First and foremost you want to clear out the cameras memory cards so there is maximum storage capacity available. The best way to do this is to plug your camera in and transfer any older photos to your computer. The next preparatory step is to charge your camera. There is nothing like running out of batteries in the middle of something special. If your camera uses regular batteries try to stock up on a few extras just in case.

The next tip for holiday photographers concerns the composition of each picture. The holidays offer really great scenery that should be captured. Try placing your subject off center in the picture to more creatively display the local scenery. Many pictures with the subject directly in the center lose the colorful surroundings that would otherwise complement the picture nicely.

When you are taking pictures of an event, such as children opening their gifts on Christmas morning, remember to take lots of pictures and wait until later to choose which ones are worth saving. Digital cameras are especially useful for this technique because they have large capacities that can easily be edited later. You want to take a lot of pictures to ensure you catch everything going on; why risk missing something special if you have the capacity? This technique is also helpful when trying to capture the family together. There is always one in the crowd that smiles at the wrong time or just plain looks silly. The more photos you snap the more likely one is going to be a good representation of everyone involved.

The bright lights displayed during the holidays present a great chance for some creative photography too. Instead of taking the same old photo of the house decorations try something new. If possible on your camera, try leaving the shutter open for an extended period of time. During this brief half- to four-second pause you can nudge the camera a bit to add extra effect. The result should be unique pictures of the lights with a slight blur effect. Try experimenting a bit to create the exact photo you are looking for. You can also try this with decorative candles.

The opportunities for photographing during the holidays are endless. Everywhere we look there are fantastic photos waiting to be taken. Make sure to be prepared because once the scene has passed its too late and we would hate to miss some of those wonderful memories that the holidays offer.

About the author: Don Packer is the designated photographer for all his family gatherings. That way at least one person is capturing the family history and fun times.

Some Of the Reasons Why you Should Begin Photoblog Now

Web logs or blogs have quickly become one of the most common forms of self expression. They allow people to post their thoughts on the Internet, to be viewed by the world at large. Usually they are done in text, but now technology has opened a whole new generation of blogs, known as photo blogs.

Remember the old expression, "a picture speaks a thousand words"? Photo blogging is the embodiment of this concept. Instead of people voicing the stories that they want to share by writing them out, they do so using photographs. These pictures can often convey sentiments that are hard to express in words and invoke the emotions of those who view them. Not all of them are dramatic portraits that required years of skill to take. They can be as simple as a mother smiling with tears in her eyes, as she holds a new baby in her arms. A picture like this sends a lot of messages, from the appreciation of new life, to the huge responsibilities that parents hold, as symbolized by the child in the mother's arms.

Many photo bloggers are expert photographers and share their art with the world through their blogs. Many of these photographers have received acclaim for their skills and have been recognized as the true artists that they are. They post pictures that they have taken all over the world, from serene mountain scenes, to violent confrontations. All of their pictures convey certain messages by the images that they contain.

Amateur photographers also use photo blogging as a way to establish themselves as artists. They may not be able to travel the world over to obtain their pictures, but can still take them locally to convey their messages. A picture taken of children at play in a schoolyard can carry invoke all kinds of emotions if taken at the right angle and with varying light. Even a picture as simple as a person deep in thought while walking a dog can convey the message of a how an animal can be happy while attached to a leash, while also showing how humans can suffer although they are free to do what they want.

Photo blogging has become so popular that forums have been created for them. Here people can talk about blogging, get advice on techniques or share their pictures. So much for the old photo albums that you used to pull out when you had a visitor. Now you can share all of your favorite photographs with the millions of people that surf the web just to view them.

If you love to take pictures and are proud of your work, consider starting a photo blog. It may be the most rewarding way for you to enjoy your hobby and display your craft.

Author Resource:-> Gregg Hall is an author living in Navarre Florida. Find more about this as well as photo restoration at http://www.photorestorationservices.com
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Photography And The Cell Phone

Almost every modern cell phone has a camera feature. Though they are far away from modern
quality digital camera, cell phone cameras can still be used to produce good quality photographs.

The cell phone has some additional features that are not yet obtainable on digital cameras and so may even be able to provide some preference. The best way to obtain quality photos is to understand the specifications that are accessible on these devices, enabling you to make an informed decision when choosing your mobile product, ensuring that it meets your requirements.

The size of the telefone celular screen will affect the quality of viewing on your cell phone. It will not change quality of a photo when you downloaded to computer. Quantity of pixels that your cell phone camera uses will influence the quality of the photo. The minimum imaging resolution you should use is 1.3-2 mega pixels if photographic images are an important feature for you.

Maximum resolution of 5.0 mega pixels and up is available on latest cell phones. The above the quantity of pixels, the better quality of photos will be when reproduced. This is because the pixels are the quantity of dots per inch used to create the photo, the more that are used, the less the photo will break up when enlarged.

A majоr advantage of a camera consists in that that it is possible to send photos to friends and family with compatible cell phones. These can be sent via MMS.

Digital photography can also be sent via e-mail if the cell phone is internet enabled. Any photographic image can be sent for free via IR-Port or Bluetooth to another compatible device. This is an excellent way of sharing photos, without the need for downloading first, which is both fast and functionality. This means that cell phones have an advantage over other photographic devices, to a degree, because they still do not have these functions.