The Postcard Lantern As An Aid To Copying And Enlarging.

A postcard lantern or its equivalent, for a simple substitute is quite easily devised, will often prove of use to the photographer for special work. It may be of great assistance, for example, when one desires to make a copy or an enlarged negative from a print, while at the same time introducing modifications, or blocking out unwanted portions.
Direct enlarging with a postcard lantern is not new, having in fact been suggested by A. E. Swoyer, in the "American Annual of Photography" for 1914. That writer, however, regarded the projected image as an end, whereas in the present article it is simply a means to an end or intermediate stage, while the method adopted is entirely distinct.
It will be seen, by reference to fig. 1, that the postcard lantern consists of a body, A, in the front of which is fitted the objective, B, while at the back is a hinged door, C, with grooves to hold the print, or sometimes a sliding carrier. A good source of illumination is two 30 c. p. or SO c. p. metal filament bulbs, D and E. The inside of the body U whitened, and it will be noted that the ides nearest the lamps are at such an angle as to reflect the light on the print. Two small interposed screens, or some similar arrangement, prevent direct rays reaching the lens. Cowled chimneys are usually fitted over the lamps, and due provision made for ventilation.

The most important item is the lens, which should be of fairly large aperture, owing to the loss of light by reflection, and should have a flat field. Cheap postcard lanterns often have objectives with so round a field that the holder has to be curved to get uniform definition. Such a lens is, of course, quite unsuitable for copying or enlarging. Many of these objectives are not even achromatic, and, on the whole, a proper photographic lens is Bach to be preferred, even to the best of them. The lens must be capable of covering a plate at least as large as the print to be projected and the lantern should have sufficient focal adjustment or extension to render a fairly small picture possible when required.
There will be needed, in addition to the lantern, an easel of the type shown in fig. 2. This consists of a frame, A, containing a

wheat of plain glaze, B, and supported in a vertical position by a firm base and struts. To the frame A, is hinged a smaller frame, C, which, when closed and secured by a turn button, presses on the glass.
The print to be copied is inserted at the back of the lantern, and focused sharply to the desired size, on a sheet of tracing paper stretched taut between the two frames on the easel; or, if preferred, a piece of finely ground glass may be placed in the frame, A, instead of a plain piece, and the tracing paper dispensed with. If the second coarse is adopted, the ground aids) of the glass should be at the back of the easel.
The worker, standing or sitting behind the easel, now has it is power to modify the projected image considerably, by of pencil or stomp work on the ground glass or tracing and even the brash may be employed advantageously in cases. Since the image is a positive, there is no difficulty in exactly how the final result will appear. Cars, of course, have to be taken that the work matches the colour of the image.
The next step is to make a negative from the modified image, by setting up a camera, F (fig. 1), behind, and central to the easel, O, without moving or interfering with the lantern. Thus, the copy negative will contain all the introduced work as well as the essential characteristics of the original, and the result if all is well done, will be a considerable improvement. The negative may obviously be any required size, though preferably it should be smaller than the projected image, as this reduces the likelihood of grain showing.
It will be seen that this method affords a handy way of inserting a black background, by painting round the projected image with any suitable opaque; or of introducing accessories on an originally plain tight background; copying joined up prints an I combinations; adding skies to landscapes; and many other purposes.
One may also make enlarged modified negatives direct from prints, by working-op the projected image, as before described and then, having find covered the objective, placing a large plate in the frame behind the grand glass or tracing paper, the exposure being then given by uncovering the objective for an estimated time. In this case, the postcard lantern must evidently be light-trapped properly, which is not so necessary for copying with a camera; while a little extra space mast be left in the rebate of the easel frame to allow the insertion of the plate. Enlarging in this way softens the definition a little, and thus lends itself to artistic elects. There may also be an alight grain, bat with proper cars this should not be objectionable. Backed plates should invariably be used.
Since metal-filament lamps do not give out much heat, it in traits feasible, with an intelligent study of size and ventilation, to hint a simple wooden, lantern of the kind under discussion; or, with but a little adaptation, one or other of the various contrivances for ^Urging by reflected light without a condenser may be pressed into service.
To anticipate difficulties which may, perhaps, perplex some who are unfamiliar with postcard lanterns, it should be stated that the projected image is always laterally reversed. Viewed from the rear of the easel, however, there is no inversion, when explains why copying is done from the back, that also I fortunately the most convenient position.
A. LOCKETT.

Fog In The Studio.

           IN many localities, notably in the London district, the state of the atmosphere has left much to be desired from the photographer's point of view. Not only has there been an actual deficiency of light through the presence of more or less yellow fogs, but there has been great difficulty in securing brilliant negatives on days when the light was fairly good, because of the general haziness of the atmosphere. Many photographers suffer from this fogginess without quite being aware of the actual cause of it. A simple experiment which will show in a rough way how much fog is present in any room at various distances can be made with the aid of two ordinary black velvet focusing cloths, velvet being chosen because it has leas reflecting power than any other material in ordinary use. One piece of velvet is crumpled up so that some parts produce deep shadow and put on a table in the position usually occupied by the sitter. The operator then stands by the camera at the distance at which a full-length portrait would be taken, and holds up the other about a foot from his eyes so that it half covers the piece on the table. If there is any appreciable amount of haze present he will find that the deep shadows on the distant piece appear quite grey in comparison with those on the piece which he is holding, and at once finds an explanation of the flat negatives which he has been obtaining.
           Having established the existence of the fog, our aim is now to minimise its effects, and there are many methods by which this end may be partially attained which, when put together, result in a substantial improvement in the quality of the negatives. In the first place, the studio windows should be kept clean, so that as small an area of glass as will give the desired lighting will be needed to obtain short exposures. By thus closing out all unnecessary light we reduce the general illumination of the fog and get a much brighter image. This can perhaps better be seen when working with artificial light. If we build the lamps in with screens or backgrounds so that the light falls upon the sitter only and none reaches any other part of the studio, there are only three or four feet of fog to work through, while if the whole of the studio is illuminated the amount is greatly increased.
           In foggy weather the lighting of the sitter may be more concentrated than is usually necessary, as a more vigorous negative will then be obtained, and printing can be carried on until the shadows are of sufficient depth. Windows become coated with smoke in a day or two in the winter and act as undesirable diffusers, so that it is advisable to clean at least the panes which it is intended to leave unscreened.
           A fairly warm temperature and good ventilation tend to reduce fog and to clear it away quickly. We have often noticed that a room or studio has remained foggy long after it has become fairly clear outside. When the necessary power is available, an electric fan will do much to establish a current of air, which should be directed towards an open window or door. A proper exhaust fan fitted near the roof is the best form, but the portable ones are of considerable value.
           We have already pointed out how the effect of fog may be reduced by cutting out all unnecessary illumination. A further improvement may be made by using a lens of as short a focal length as possible, though not so short as to introduce distortion. Where sufficient length of studio is available, it is now common to use sixteen or eighteen-inch lenses for all-round cabinet work, and it is quite good practice in clear weather. But at other times a tea or twelve-inch lens will be found to give much brighter pictures. As a matter of fact, many photographers have found this out without knowing the reason, and attributed the improvement in brilliancy to some other property in the lens than its focal length. Whatever lens is being used, it should be kept clean. Lenses will get as dirty as windows do in a smoky atmosphere, and will then yield flat images in the clearest light. If a lens has not been kept clean it is interesting to take a negative with it before cleaning and one directly afterwards. In most cases the contrast will be striking. Lenses should be cleaned carefully, a vigorous rob with the corner of the focussing cloth is not to be recommended, as such treatment soon "greys" the surface. An old worn handker-chief, kept in a box free from dost and grit, should be used. If there is a greasy deposit from town smoke, a single drop of pure alcohol may be applied on a tuft of cotton wool, and then the surface quickly polished with the handkerchief.
           Although we are opposed to all “tinkering” methods of development, the judicious use of bromide upon exposures which have been made under adverse conditions is quite permissible. To describe the action of bromide in popular language, we may say that, when used upon an over-exposed or foggily lighted plate, it allows the high-lights to get a start before the shadows begin to develop. If the plate be developed right out this advantage is lost, but as most portrait negatives do not reach this stage there is a decided benefit to be obtained by the use of bromide in the cases we have mentioned. It is necessary to add the bromide to the developer before immersing the plate. Once development has started it is of little, if any, effect. The character of the plates used should also be taken into consideration. Some brands tend to give brighter results than others. These should be chosen for foggy weather, as, although the scale of tones may not be so long, the resulting print is more satisfactory.

Buying Equipment

           STARTING a photographic business resembles in many respects setting up housekeeping; that is to say, there is a natural tendency to spend an undue proportion of the sum allotted for the purpose on certain big items and to stint on less showy but more essential details in other words to purchase suite- and decorations for the reception and perhaps the bedrooms, and to neglect the kitchen and scullery. In the photographer's case this has its equivalent in buying a large and elaborate camera outfit, a quantity of furniture and backgrounds, and making shift with inferior appliances in the dark and printing-rooms.
           An experienced chemist once said that when equipping a laboratory it could be assumed that after finding the cost of the principal pieces of apparatus, which the inexperienced imagined represented the bulk of the outlay, an equal amount should be allowed for sundries, which need not be purchased all at once but as required. We recently found confirmation of this judgment in the remark which a beginner in portraiture made in reply to a question as to how the business was progressing. It was to the effect that the takings were quite satisfactory, but that he had not received much benefit, as there was always something else to buy.
           If a little more judgment had been exercised in the first outlay there would have been a surplus available, and the profits of the first few months would not have been swallowed up as quickly as they were made. In our friend’s case success came quickly, and he could live and still get what was needed; bat very often it takes some months before running expenses are covered and anything that can be called a profit made.
           There is always a temptation to go in for a big studio camera. A twelve by ten with lenses to suit is usually the minimum, but the old hand knows that this size is now rarely required for direct portrait work in most studios, an, therefore, economise by getting a good whole-plate outfit and keep something in hand for the outdoor apparatus, which should be of the larger site. Any panel portraits or studio groups can be quite well taken with a good field camera and lens and in other cases large prints ran easily be made by enlarging. We are apt to forget that developing papers are now almost exclusively used, and that if only a moderate size is required there is no need to mention the fact that the prints are not made by contact. This brings us to the question of enlarging apparatus. Wherever it is possible this should be installed from the first, as it will soon save its cost, and it is preferable to select the lantern form instead of a daylight apparatus however, the latter is better than nothing. and even a fixed focus box giving an enlargement of two diameters will be found of treat value, as it enables a cabinet negative to be enlarged to twelve by ten almost as easily as the making of a contact print. As an example of the value and practicability of enlarging we may mention an order for a number of full-sized reproductions of pen-and-ink designs. These were photographed upon half-plates, and enlarged to fifteen by twelve. The difference in the price of the small and large plates made a very substantial increase in the profit on the job, and the customer was not a penny the worse.
           Great economy can be effected by properly equipping the dark-room, especially now that so much bromide work is done. Plenty of sink accommodation should be provided, and if lead be found too costly asphalt sheeting can be used as lining. It should be remembered that bench room can always be obtained by covering a sink with boards, but it is impossible to reverse the process. An efficient lamp with red and yellow filters is needed, and it is a good plan to provide a second one for the general illumination of the room; this will prevent many break-ages. A good printing box taking negatives up to whole-plate is almost a necessity nowadays even in the smallest business, for the little man who has to do every stroke himself must not have to waste time with printing frames. An ample number of dishes for developing, fixing, and washing should be provided, the larger ones being of wood lined with some waterproof material, and the smaller ones of porcelain. Vulcanite and celluloid are best avoided for professional work.
           We may now return to the studio, and consider the question of backgrounds. Where it is possible one end wall should be finished so as to serve as an interior; in addition, we require a very dark and a white ground with continuous floor cloth. When funds permit a piece of bold-patterned tapestry may be added, but scenic backgrounds are not needed except for the cheapest class of work. Chairs and tables should be, as a rule, light and dainty, such as people use every day, and not specially designed for photographic use. A heavy oak chair is a useful accessory when it is necessary to take the mayor or other celebrity.
           In the work-room especial care should be taken to facilitate output. It never should be necessary to clear the apparatus necessary for one operation before another can be started. There should be places for attaching tissue, trimming, and mounting, and these spaces should never be encroached upon.
           Retouching desks should be ample in size and firmly made. Anyone with the least .mechanical ability can make a good desk in an hour or two, always bearing in mind that the desk is made for the use of a human being and not for a negative. It is absurd to talk about quarter-plate and half-plate desks when they are supposed to accommodate a well-grown man or woman.
           It is necessary to decide what to buy before entering the dealer's portals, or it is likely that a lot of unnecessary stuff will be obtained. The purchaser should know better than the salesman what he requires. and it is only natural for the latter to try and shift such goods as are rather slow in selling. We shall not harm the dealer by this advice; his bill will come to the same, but if the tyro makes his own choice he should get what he really needs.