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.

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.

Practicus In The Studio: Backgrounds

           The modern photographer regards the background of a picture in a very different light from his predecessor of twenty, or even ten, years ago. Then it was the custom to use elaborately painted scenes, which were supposed to be more or lees suited to the social standing of the sitter. Usually they were highly incongruous, and we often found such combinations as a butcher-boy in a tropical conservatory or a lady in evening dress waiting by the banks of bonnie Loch Lomond. I well remember one enterprising firm who went so far as to have the entrance to Hyde Park accurately reproduced with real posts and rails for church parade sitters, and an interior of one of the salons in Buckingham Palace for court dresses. This sort of thing was borrowed from a certain school of portrait painters who considered it necessary to depict their models in what they considered an appropriate entourage. Fortunately we have changed all that, and the scenic background is rarely used except in the "while-you-wait" studio, where it serves to cover up finger-prints and stress markings in other words, it has almost entirely "retired into the background." The painter had one reason for introducing scenic effects into his pictures which does not apply to photography, for his subject being fully coloured often called for a foil, a warm-toned curtain, or sometimes even a conflagration, as in some naval or military portraits being used to modify a rubicund complexion, while a delicate sky or light foliage served to enhance the charms of a blonde beauty.
           The modern photographer has evidently taken a lesson from stage lighting, in which a concentrated light is often thrown upon the principal character, while the garish colours of the scenery are allowed to remain in semi-obscurity; and this has been all to the good as far as the artistic nature of the result is concerned. Many photographers now confine themselves to plain backgrounds. It is a safe course, although one sometime, (eels that a little relief would often be acceptable, especially for half and full length poses. Hence a dark cloud or suggestion of foliage is often useful, as it allows the figure to show more relief by opposing a light portion to the shadow side of the sitter. There is one disadvantage in using this class of background because it is not always possible to bring the light patch into the desired position. This was overcome by a device, little known in this country, which consisted in having the background made in an endless belt running over two rollers, something like a roller towel, by which the height of any portion of the surface can be adjusted to a nicety. Such a background may carry foliage suggestions, clouds, and plain surfaces in various sections, as the length of 16 ft. affords ample room. Another device for securing gradation was to have the ground made in the form of a shallow saucer, which gave a perfectly natural effect of light and shade just where it was wanted. Such a construction was found in practice to be too unwieldy for general use, and a more convenient way of carrying out the same idea is to have a tall screen made of narrow strips of wood glued to an ordinary plain canvas background of a medium grey tint. This can be placed so as to form a kind of alcove behind the sitter, more or less concavity being given as harder or softer gradation is required, or even be used flat, while when done with it can be rolled up and put in a corner. To make the method of construction quite clear, I will compare it to the roller shutter of a studio dark slide, the wooden slips being, of coarse, turned away from the sitter. Tapestries and curtains form effective backgrounds if judiciously used, but neither the pattern nor the folds should be pronounced in character, only enough being shown to break up the flatness of a plain surface.
           The illumination of the background has an important effect upon its depth of colour, and much may be done by turning it to or from the light, while the distance it is placed under the drawn blinds gives somewhat similar modification. Thus, to obtain the darkest effect from any given tint of grey, we keep it well back from the sitter and bring the edge nearest the side light as far forward as may be, the reverse being done when a lighter tone is required.
           In the case of white backgrounds for "sketch" work it is usually recommended to light these independently by opening the blinds behind the sitter. This is all right in a dull light, but on a bright day the flood of light so projected into the lens is very likely to cause a general fog over the negative. Certainly if the quality of the work is to be considered it is better to secure opacity by Mr. Adamson's method of using red ink and seccotine on the back of the negative. A common error is to paint sketch backgrounds a bluish-white, the idea being that a denser deposit will be obtained. This is quite wrong ; nothing can be whiter than white; the blue only masks any yellow tint in the distemper, and there is no gain by adding it.
           From time to time attempts hare been made to print in backgrounds from film negatives interposed between the portrait negative or to put in backgrounds on the back of the glass. These plans are rarely satisfactory, though in some cases excellent results have been obtained. As a rule, however, the general effect is not so good as from a background which has been photographed with the sitter.
           The materials used for backgrounds are various. For plain tints Melton cloth is excellent when it can be obtained. Failing this, distemper on canvas or stout sheeting is very suitable. For graduated backgrounds distemper may also be used, but it requires a considerable degree of skill to apply it, so that the necessary softness is obtained, and for this class I therefore prefer flatted oil-colour, which does not alter in depth upon drying, and which can be easily worked and softened while wet. Aerograph work upon a plain grey distemper foundation answers very well, but it takes some time to cover so large a space. The aerograph is also excellent for subduing contrast in scenic backgrounds which are too contrasty. I have also improved such by rubbing on black chalk powder exactly in the same way as in finishing an enlargement, but care must be taken to avoid patchiness if there are decided brush marks on the surface. For small grounds up to 54 in. wide dark green or red serge is very good, and a little light may be introduced by dusting powdered French chalk on where required. This is easily removed with a clothes-brush if the plain surface is again required. If you wish to distemper your own backgrounds it is better to purchase one of the many ready-made distempers or to use the Kalko powders (Vanguard Co.). which are specially prepared for this work. Oil-colours should not be purchased ready mixed; they should be procured "ground in oil" in a stiff paste, and this should be thinned down with turpentine or on of the current "turpentine substitutes."
           Lincrusta and Anaglypta are useful for making imitation panelled backgrounds. The latter, being a kind of embossed papier mache, is the cheaper, but will not stand knocking it so well as the Lincrusta does.
           Now that we do not require so many backgrounds the old-fashioned multiple stand should be discarded and the material should be stretched upon light wooden frames fixed upon feet with castors, so that they may be moved about the studio easily and used at either end or diagonally, as may be desired. It is a good plan to have the ends of the studio finished so that they may be used as backgrounds. This has also the excellent fleet of preventing the space behind the movable screens being used as a receptacle for lumber. The oak paneling comes in very well for this, and if the entire end be covered a large group can be accommodated without having to eke out the ordinary-sized ground with curtains, side slips, and other make-shifts.
           As a guide to those who are attempting to make or renovate their own backgrounds for the first time, I give the following hints. Do not expect to get an even surface with one coat of distemper. You may do so but, if not, do not be discouraged, apply a second coat rather thinner in consistency. If working on new canvas or sheeting it is a good plan to give a first coat or filling of thin size, or even starch or flour-paste. Tins prevent the distemper from being sucked into the material, and makes it easier to apply. For oil colour, ordinary glue size is to be preferred. A large paint brush, about three inches across, is easier for the amateur to manage than the orthodox distemper brush, and should always be used for oil. Work quietly, and do not slop on too much colour at once. A good grey can be made by mixing a little Venetian Bed and blue with the black and white. This looks warmer, and photographs better than black and white alone. Remember that distemper dries many shades darker than it appears when wet; therefore before using your mixed colour try a patch' on brown paper and dry it before the fire: you will then know what your background will look like when dry. A very little white will turn black into a light grey. Do not buy black in a dry powder, as it is very difficult to mix; ask for black ground in water. Always strain your distemper through muslin before using, or eke you will get streaks which are caused by unmixed particles of colour which break up under the brush.
           There is a right and a wrong way of nailing a background on to its frame. The wrong way is to fasten all four corners and then to go round the sides. The right way is to drive a strong tack in the middle of the top edge, then to pull the canvas as tightly as possible and drive another tack in the middle of the bottom; then fasten the two sides in the same way. Having got a straight pull these two ways, begin driving in tacks about one and a-half inches apart towards the corners, always working from the centre. In this way any fulness is drawn out as you go on, and the background will be perfectly flat and free from wrinkles. It is a good plan to fasten a loop handle tit iron or brass at each side of the frame; this obviates the necessity of handling the edge of the wood, and keeps the background in much bettor condition. If the frame is wider than you can stretch, a loop of webbing or cord, about eighteen inches long, should be fastened to one of the handles. Holding this and one handle, you can easily move an eight-foot frame single-handed, although if good castors are fitted it may not be necessary to lift it very often.

PRACTICUS.

PRACTICUS IN THE STUDIO: MANAGING THE SITTER

           The first stop towards managing your sitter is to hare perfect control of your own feelings; no matter what worries or annoyances yon hare to encounter, do not take them into the studio with yon. Man is an imitative animal, and in the great majority of cases unconsciously copies the temperament of those surrounding him in a greater or lees degree, according to his own strength of character. Therefore, it is very necessary that the photographer should cultivate a quiet geniality of manner, adapting his degree of freedom of speech and manner to that of his sitters, taking care to avoid an excess of familiarity with those who bare an idea of their own importance or a patronizing air with those of more modest manners. To pat it briefly, the operator must be "all things men" (and women), and should boar in mind that "As iron sharpeneth iron so is a man's face brightened by the countenance of his friend."
           One person at a time is quite enough to manage, and any friends who accompany the sitter most not be allowed to remain in the studio while the kitting is made. If possible they should be induced to remain in the reception-room, but usually it will not be easy to arrange thin, and one at least will be allowed to enter toe studio. I have always made a rule of having a screened-off corner with comfortable chair, to which I escort the friend as soon as I have welcomed the sitter taking rare that the friend cannot peep out and he seen just as an exposure is being made. There is a goal reason for this; it prevents the friend from criticizing the pose, seen from a totally different position from the camera, id also prevents conversation, which often results in giggling With children, it is, of course, necessary that they should he accompanied by an adult, but only one should be allowed. If a mother and nurse come, try to get the mother to retire behind the screen, as the child will usually behave better with the nurse, who will not try to excite it. A whole family party in the studio usually means a resitting after a lot of valuable time and plates have been wasted. Even if a family group has been taken, the members should be shown out if separate sittings of any of the children are required, and it is sometimes politic to ask permission to make a negative or two of a pretty youngster, even if not ordered. The parents feel flattered by the compliment, and go away feeling that the photographer m really a man of taste.
           We now come to the practical work of making the portrait, some people call it a "picture," and we should endeavour to make it worthy of both designations. To this end it is necessary to make a rapid survey of the sitter's features and figure so as to get the best result possible. It is said that Reynolds always wanted to dine with a person before he painted his portrait, so as to get a true impression of his appearance, but the photographer is not so fortunate, for he has only a minute or two to decide upon his course of action. I will endeavour to indicate a few of the points to be observed. There is not one person in a hundred whose features are even approximately symmetrical, so that it is necessary first to decide which side of the face is to be turned to the light. The nose will often appear quite straight if the head be turned one way, and either aquiline or retrousse if turned the other. As a rule it is advisable to choose the straight side unless other conditions militate, in which case the aid of the retoucher must be sought. With nine people out of ten the left side of the face is the most perfect, so that the studio should be arranged to take negatives with the light falling on the sitter's left hand.
           The eyes are usually uneven in size and sometimes in height; the best result can be obtained by having the larger or higher eye nearest to the camera. In cases of a decided squint the abnormal eye should be turned from the camera and brought well into shade, so that it can be more easily corrected in the retouching. If the profile is fairly good, one or two positions of it should be taken - when the sitter is afflicted in this way.
           If the sitter's neck be short it can be made the most of by lowering the camera considerably, while with a long, scraggy neck the camera should be well raised. The height of the camera has an important effect upon the rendering of the nose. A long nose is shortened and the upper lip well shown with a low camera, while a snub nose and long upper lip is better rendered from a higher position. Tilting the head up or down will give the same effect, but this would interfere with the pose of the head and probably spoil the eyes and forehead. A small, receding forehead should be inclined towards the camera, while the possessor of a massive one may throw the head well back. In both these cases the pose will probably be a natural one to the sitter.
           The hands are a constant source of worry, and many photographers now look the difficulty boldly in the face and take bust portraits almost exclusively. If they have to be included in the picture the hands should be made as unobtrusive as possible, and care should be taken not to let them come too far forward, or they will appear larger than they really are. It is usually recommended to use the swing back to bring the hands into focus without stopping down the lens, but this is not a good plan, as it necessarily renders them on a larger scale than the rest of the picture. It is always desirable to use as long focus a lens as possible for sitting figures, so as to minimize distortion of this kind. Of course, some sitters have small hands, and then there is little difficulty in dealing with them. One position is always to be avoided, that of having the fingers interlaced while the hands are lying on the knees. A book or flower may be held so as partly to hide the hands, but this device is rather hackneyed. A long chain or string of beads falling from the neck into the lap often affords an opportunity for a graceful arrangement of the fingers.
           Full-length portraits are now rarely taken unless for the express purpose of displaying the dress or uniform. For these the camera should be raised, so that the lens is about level with the breast of the sitter say, five or six inches below the chin. Care should be taken that the body is well balanced upon the feet, which should not be placed evenly, but one; little before the other; in military terms, the sitter should ''stand at ease" and not at "attention." At the risk of being considered old-fashioned I strongly advocate the judicious use of the head-rest for standing figures, as not only are "moves" reduced to a minimum, but it prevents the sitter from dropping into a slouching position. I prefer not to place the rest behind the head, but behind one shoulder.
           The rest is also very useful when making dancing poses, as it enables a position to be held with one foot in the air. The ironwork should be painted a fairly light grey, so that it is lost in the background and is easy to work out on the negative. If black or dark green, as usually supplied, it is difficult to get rid of.
           Young children present a different set of problems from adult sitters. Their features do not require so much consideration, and the lighting is usually full. The great points are to keep them still and to secure a happy expression. They should not be allowed to curl themselves up with one or both legs drawn up under them, but otherwise they will find their own poses, from which the photographer should make his choice. The great thing is to get the child's confidence as soon as it comes into the studio, and to keep the camera out of evidence as much as possible. To attempt to work with children as one would with adults is to court failure. Many of my best child pictures have bean obtained by focusing upon a cushion or similar article, placed where it is intended the child to be, before it came into the studio at all ; then the plate was inserted t the slide drawn, and the child coaxed into position in an innocent sort of way. Then the exposure was made, using a rather long release tube or cable, and while the child's attention was otherwise occupied the plate changed and the process repeated. A little table at which the child can stand is an excellent accessory, as if a toy be placed upon it in focus the child will usually go to it of its own accord; if spoken to it will usually look up with a pleased expression, and the exposure is instantly made. I generally find that I can get three sharp negatives out of four exposures when working this way. The "little bird" trick is not a bad one; but there should be no deception, the bird should be forthcoming. I have made hundreds of negatives with the help of a cheap toy, consisting of a small metal bird perched on a bulb which contained a water warbler, worked by a rubber tube. The bird flapped his wings and opened his beak while singing. The plan was to tell the child to look for the bird, and to give a note or two on the warbler, and immediately after the exposure to show the bird in action for a few seconds. It was then hidden and the child told that it would come back if he were good. Alas! a little sitter found it when I was not looking, and effectually ended its career. It was probably of Hun origin, and, I hope, cannot be replaced. However, the idea remains, and it might be possible to make a substitute. It is a good plan to keep a few cheap toys so that a child can take one away with it, especially if a resitting may be necessary, as the child will be willing to pay another visit to a place where toys are given away. Big toys, such as Teddy bears, horses, etc., are a nuisance, and the toy should be used to attract the child's attention and not given to it until the exposure is made. Before I learned this I have had a child marches away with it into a dark corner and sit down to play with it, any attempt to entice it out being hopeless. I have said nothing about posing either adults or children, as little useful information can be conveyed by words. By the study of paintings, engravings, and the work of good photographers much can 'be learned and a general idea of what is graceful and artistic obtained, then when the sitter arrives one is not at a loss for a pose. If there is any characteristic mannerism about the sitter it should be preserved; if a man habitually holds his head on one side it is a mistake to put it straight, as it would be to make a man who stoops slightly stand bolt upright.