What a day! Woke early but the boys left us alone (are they getting the hang of a lie-in at the weekend?) and we eventually got up soon after 9. The boys and Gill headed off to Scarborough and I went down the garden to plant some courgettes and climbing beans.
So I had the whole day to myself... lots of sorting in the garden, and at about 11.30 came in to do emails and at 12 watched part 3 of the either rubbish or excellent (can't decide!) Kyle XY on BBC2 whilst having lunch and preparing a nutloaf for the family to have when they come home. Had to do it by hand as out liquidiser is broken. So it took an hour to grate bread into crumbs and hand cut nuts... however it was eventually ready for the microwave. I also did a lot of apples, making them into rings and laying them on racks on the stove, which I have lit to get plenty of hot water and heat for drying fruit, despite the warm weather.
So a very productive day... family came back at 7ish, ravenous and ready for nutloaf and cauliflower with tomato sauce. They loved it!
Watched Hugh Fearnley Whittingstall on C4 whilst doing more emails and blog, getting ready to go out tonight.
Cycled down to City Screen to an event called the Fuzz Club, a psychedelic night with my favourite band playing, 'The Falling Spikes'. I met up with Dave T which was really good, we spent the whole night together chatting and enjoying the music. The support band was called 'Apply The Brakes', they were a bit American and a bit pretentious, and I was very glad when Spikes came on. They are loud and have a certain sound which they stick to... lots of stuff going on, a bank of guitars and my buddy Richard on drums. I really REALLY enjoyed them. They take me to amazing places, soundscapes, beautiful.
Came home after midnight and went to bed very soon after.
A quite late start after a busy day yesterday. However, needed to take the fraudulently-won wormery back to St Nicks where Catherine our Rotters manager will give it to the proper winners. I went via the bread shop and also took a load of compostables to put in the St Nicks demonstration compost bins.
Home for lunch, everyone getting on fine. Rang Cycle Heaven to see when they can sort out the bike I found at the beginning of April (I think) which as the Police haven't contacted me, is now mine. It needs new gears, but apart from that is OK, I reckon. They will do that next Friday.
Then went to Millers Yard via Sainsburys, picked up a large load of orange halves and coffee grounds and took them to the lottie. Picked up a sack from Country Fresh too, making my load extremely heavy.... up to 100kg. Anyway, it all went on the three working heaps. Then did some weeding, the recent rain has benefitted the weeds more than anything else.
Home to a stressed family, one child has beaten the other up and been restrained and then ran away. Gill was down the garden looking for him, and he eventually turned up in his bedroom... maybe he didn't run away, maybe he just pretended to.
I did a load of washing up so Gill could make tea, and washed some beet and spinach, before doing a bit of work in the garden. Came in for bulgar wheat and home-grown veg, then went out again to dig out the compostumbler.... when I'd done this I came in to watch Gardeners World but needed a shower to wash off the compost which had got on me...
And after GW, went outside again to pull up a huge lot of nettles and brambles from the pond area.... well the area the pond will be in!
A very late night... a chat with K on Skype around midnight and then washing up and at 1 something, watched the second part of Kyle XY on BBC3 I think which Gill and I watched last week and enjoyed.
Home for lunch, everyone getting on fine. Rang Cycle Heaven to see when they can sort out the bike I found at the beginning of April (I think) which as the Police haven't contacted me, is now mine. It needs new gears, but apart from that is OK, I reckon. They will do that next Friday.
Then went to Millers Yard via Sainsburys, picked up a large load of orange halves and coffee grounds and took them to the lottie. Picked up a sack from Country Fresh too, making my load extremely heavy.... up to 100kg. Anyway, it all went on the three working heaps. Then did some weeding, the recent rain has benefitted the weeds more than anything else.
Home to a stressed family, one child has beaten the other up and been restrained and then ran away. Gill was down the garden looking for him, and he eventually turned up in his bedroom... maybe he didn't run away, maybe he just pretended to.
I did a load of washing up so Gill could make tea, and washed some beet and spinach, before doing a bit of work in the garden. Came in for bulgar wheat and home-grown veg, then went out again to dig out the compostumbler.... when I'd done this I came in to watch Gardeners World but needed a shower to wash off the compost which had got on me...
And after GW, went outside again to pull up a huge lot of nettles and brambles from the pond area.... well the area the pond will be in!
A very late night... a chat with K on Skype around midnight and then washing up and at 1 something, watched the second part of Kyle XY on BBC3 I think which Gill and I watched last week and enjoyed.
We took the children to MAGNA today using public transport as usual! However, I had to go to town to get some money out as we had an expected £26 rail ticket cost plus buses and entry to the attraction. So I cycled in and Gill and the boys used a taxi as the bus service has recently been reduced and the only one which would have got them into the station in time was quite a bit too early to get, considering trying to get two little boys ready. But I got to the station before them and met them in the entrance.
We got an earlier train than expected to Doncaster and then a quick change to the Rotherham train. Then a short walk to the Bus Interchange where we waited for the number 69 towards Sheffield which stops outside MAGNA which is in a vast ex-steelworks building.
We got an earlier train than expected to Doncaster and then a quick change to the Rotherham train. Then a short walk to the Bus Interchange where we waited for the number 69 towards Sheffield which stops outside MAGNA which is in a vast ex-steelworks building.
A day working... after breakfast I did my paid blog, on my favourite subject, composting. Tomorrow the Community Care magazine is publishing my latest column which is on gardening, and to go with that I have a brief why and how with home composting. It just took an hour to put together. After this I had a very brief shower and got my stuff together to go to Pocklington to the POP Club, an out of school club.
I had to walk to Thief Lane to get the bus, which was a service which went through Heslington, not up Hull Road. I had already contacted the bus company about taking my unicycle on the bus... there's apparently a rule which says 'no bicycles on the bus' and on at least one occasion I've been refused onto the bus because the driver has seen the unicycle and thought it was a bicycle. So this time I rang the bus company and asked about bringing the unicycle... and fortunately, I was allowed. So when the bus came to the stop opposite the Retreat, I was suprised to be handed a large black plastic bin bag and told to put the unicycle in that, and take the saddle off! Fortunately the bag was big enough to go around the 36 inch wheel and I didn't take the saddle off (it is really difficult to take off and on anyway) and the driver didn't make a fuss. I remained extremely polite, and when we got to Pocklington, I thanked him for his help.. he didn't want the bag back.
My host was waiting for me to take me to the school where the POP Club was, and all the kiddies were very excited about my visit. I got changed and did my one-hour show, then two half-hour workshops, then the balloon show, finishing on the dot of 5pm. The bus back was at 5.45ish and the driver didn't comment at all about my unusually shaped luggage.
Home nice and quickly, Gill had made tea... stew and dumplings, and I had a quiet evening including a good chat with K and enjoyable 'Ideal', just as surreal as ever.
I had to walk to Thief Lane to get the bus, which was a service which went through Heslington, not up Hull Road. I had already contacted the bus company about taking my unicycle on the bus... there's apparently a rule which says 'no bicycles on the bus' and on at least one occasion I've been refused onto the bus because the driver has seen the unicycle and thought it was a bicycle. So this time I rang the bus company and asked about bringing the unicycle... and fortunately, I was allowed. So when the bus came to the stop opposite the Retreat, I was suprised to be handed a large black plastic bin bag and told to put the unicycle in that, and take the saddle off! Fortunately the bag was big enough to go around the 36 inch wheel and I didn't take the saddle off (it is really difficult to take off and on anyway) and the driver didn't make a fuss. I remained extremely polite, and when we got to Pocklington, I thanked him for his help.. he didn't want the bag back.
My host was waiting for me to take me to the school where the POP Club was, and all the kiddies were very excited about my visit. I got changed and did my one-hour show, then two half-hour workshops, then the balloon show, finishing on the dot of 5pm. The bus back was at 5.45ish and the driver didn't comment at all about my unusually shaped luggage.
Home nice and quickly, Gill had made tea... stew and dumplings, and I had a quiet evening including a good chat with K and enjoyable 'Ideal', just as surreal as ever.
Quite a relaxed day, didn't have to hurry to get up as the first appointment was at midday.
So cycled into town to get to Parliament St for about 11.55 and met up with Tash who's organising the Big Freeze, and quite a few other people arrived too, at least 20 which was good. We had a talk through and a bit of a practice of the 10 second delay after Tash blew her whistle, which is how we all know when to freeze. Then when the cameras were ready, we all wandered over to the fountain and Tash did a really quiet whistle and no-one knew whether it was the real thing or just a practice... so I suggested she blow it really hard so we all knew. I froze pushing my bike... near me was Kenny doing up his shoelace and a couple of other people just walking... well, frozen in mid walk. We counted to 180 (3 minutes) and resumed walking... my counting was pretty accurate because I got up to 175 when the others started. One person had frozen looking at his watch so he was the person who started at moving again at 3 minutes, and we all used him as a cue. The reactions of passers by were interesting but I couldn't see many of them as I was facing in the wrong direction... but I look forward to the film being available on YouTube. I was interviewed afterwards about why I had got involved etc.
I came home via the Mail Box Etc shop where I get photocopies, and got a photocopy of my Equity Card which a client wants to see as proof of my insurance as Professor Fiddlesticks. Then to Country Fresh to pick up 2 sacks and a box, bought a cauliflower and some broccoli too.
Home for lunch, and after I went to the lottie to put the compostable materials on my latest heap. After this went on to my agent's house to deliver the photocopy, and doubled back to Anna's to pick up yet another load of cut vegetation to take to Hazel Court. This time no-one stopped me or accosted me... I was able to dump the compostables in the green waste skip without any hassle, which is how it should be. There was a fellow unloading conifer prunings as well, then he opened his boot and revealed a pile of holly logs, which I asked if I could have... so returned home with these!
Home by 5ish, and did a bit of woodpile building followed by tea followed by cutting the front hedge which has become rather shaggy. Some passer-by had pulled a chunk of it and although I tried to push this back before cutting it, when I did cut it, this area became a hole in the hedge which is annoying. It looks as if I'm an incompetent hedge cutter!
I collected all the cuttings on a sheet and shredded them all and was finished by 9.15.
Spent quite a bit of evening dealing with emails and reading the US Composting Council quarterly newsletter which I found very interesting.
So cycled into town to get to Parliament St for about 11.55 and met up with Tash who's organising the Big Freeze, and quite a few other people arrived too, at least 20 which was good. We had a talk through and a bit of a practice of the 10 second delay after Tash blew her whistle, which is how we all know when to freeze. Then when the cameras were ready, we all wandered over to the fountain and Tash did a really quiet whistle and no-one knew whether it was the real thing or just a practice... so I suggested she blow it really hard so we all knew. I froze pushing my bike... near me was Kenny doing up his shoelace and a couple of other people just walking... well, frozen in mid walk. We counted to 180 (3 minutes) and resumed walking... my counting was pretty accurate because I got up to 175 when the others started. One person had frozen looking at his watch so he was the person who started at moving again at 3 minutes, and we all used him as a cue. The reactions of passers by were interesting but I couldn't see many of them as I was facing in the wrong direction... but I look forward to the film being available on YouTube. I was interviewed afterwards about why I had got involved etc.
I came home via the Mail Box Etc shop where I get photocopies, and got a photocopy of my Equity Card which a client wants to see as proof of my insurance as Professor Fiddlesticks. Then to Country Fresh to pick up 2 sacks and a box, bought a cauliflower and some broccoli too.
Home for lunch, and after I went to the lottie to put the compostable materials on my latest heap. After this went on to my agent's house to deliver the photocopy, and doubled back to Anna's to pick up yet another load of cut vegetation to take to Hazel Court. This time no-one stopped me or accosted me... I was able to dump the compostables in the green waste skip without any hassle, which is how it should be. There was a fellow unloading conifer prunings as well, then he opened his boot and revealed a pile of holly logs, which I asked if I could have... so returned home with these!
Home by 5ish, and did a bit of woodpile building followed by tea followed by cutting the front hedge which has become rather shaggy. Some passer-by had pulled a chunk of it and although I tried to push this back before cutting it, when I did cut it, this area became a hole in the hedge which is annoying. It looks as if I'm an incompetent hedge cutter!
I collected all the cuttings on a sheet and shredded them all and was finished by 9.15.
Spent quite a bit of evening dealing with emails and reading the US Composting Council quarterly newsletter which I found very interesting.
Drive Length: 7 miles
Number of Overlooks: 12
Black Canyon of the Gunnison National Park is one of those must sees in Colorado. The visit will not burn many calories but the views will remind you of just how insignificant the human life span is. The fast flowing Gunnison River has, over the span of 2 million years, gouged out a watercourse that is, at its’ deepest, 2,772 feet deep. Standing at the edge of the chasm is a life affirming experience. Life affirming that is if you grip the handrail until your knuckles turn white. Just looking down made me weak in the knees. Glancing across to the other side resulted in a tingling behind the sternum that surely heralded a heart attack.
The South Rim is different from the North, which I shall describe in a separate post. If you only have one day to spend, go for the North Rim. The views are far more spectacular and the drive is amazing in itself. The river views from the south rim are limited and the number of stops far more numerous. There are several lookouts that require a 700-yard walk, which is a blessing after sitting in the car for so long.
For those of you who have not visited the area since it became a National Nark, you will notice a lot of changes. There is a new visitor’s center, plentiful bathrooms, and heavy wood barriers on all but one of the lookouts. While you may wish to argue that the area should have remained a National Monument, you cannot argue with the jaw dropping wonderment you receive when coming face to face with the unyielding power of water and time. If only we could take such simple wisdom into our personal lives. It really only takes persistence to erode the most formidable obstacle. Of course, having a few million years doesn’t hurt either.
On this trip, the Gunnison River was flowing at over 7,000 cubic feet per minute. Looking down into the gorge with a telephoto lens I could see the chaotic confluence of rock, wood, and foam. The flow rate is magnified by the angle of decent, which is 96 feet per mile. As dramatic as this rate sounds, the flow through the canyon is significantly reduced from its heyday before the upstream damns regulated its flow.
Allow yourself 3-4 hours to get into the park from Hwy 347 and to see the South Rim, longer if, like I, you forget your camera battery and have to drive all the way back to Montrose to get it!
There is no easy way to get from the south rim to the north rim, so plan on another day to see and explore that side. There are short 1-2 mile hiking trails in the park, but since we had dragged our dogs along, we limited our activities to the overlooks themselves. I talked to a fellow tourist from Longmont Colorado who said that the view from the end of the Warner Point trail was worth the effort.
It is hard to say what is the best time of year to visit the park. Summer can be ghastly hot, winter can be windy and cold, and spring can be unpredictable. This trip was made over Memorial Day weekend, and we were cold the first day and warm the next. That’s Colorado weather for you. On a side note, we stayed in Montrose, which has some decent hotels, but very little in the way of decent food. Bring a cooler full of deli selections, and you will be happier by far.
Number of Overlooks: 12
Black Canyon of the Gunnison National Park is one of those must sees in Colorado. The visit will not burn many calories but the views will remind you of just how insignificant the human life span is. The fast flowing Gunnison River has, over the span of 2 million years, gouged out a watercourse that is, at its’ deepest, 2,772 feet deep. Standing at the edge of the chasm is a life affirming experience. Life affirming that is if you grip the handrail until your knuckles turn white. Just looking down made me weak in the knees. Glancing across to the other side resulted in a tingling behind the sternum that surely heralded a heart attack.
The South Rim is different from the North, which I shall describe in a separate post. If you only have one day to spend, go for the North Rim. The views are far more spectacular and the drive is amazing in itself. The river views from the south rim are limited and the number of stops far more numerous. There are several lookouts that require a 700-yard walk, which is a blessing after sitting in the car for so long.

On this trip, the Gunnison River was flowing at over 7,000 cubic feet per minute. Looking down into the gorge with a telephoto lens I could see the chaotic confluence of rock, wood, and foam. The flow rate is magnified by the angle of decent, which is 96 feet per mile. As dramatic as this rate sounds, the flow through the canyon is significantly reduced from its heyday before the upstream damns regulated its flow.
Allow yourself 3-4 hours to get into the park from Hwy 347 and to see the South Rim, longer if, like I, you forget your camera battery and have to drive all the way back to Montrose to get it!

It is hard to say what is the best time of year to visit the park. Summer can be ghastly hot, winter can be windy and cold, and spring can be unpredictable. This trip was made over Memorial Day weekend, and we were cold the first day and warm the next. That’s Colorado weather for you. On a side note, we stayed in Montrose, which has some decent hotels, but very little in the way of decent food. Bring a cooler full of deli selections, and you will be happier by far.
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Trail Length: 4 miles RT
Elevation: 7,400 to 7,847 ft
Elevation gain: 447 ft

The Dillon Pinnacles are one of those geologic wonders of Colorado. They are located along Blue Mesa Reservoir between Montrose and Gunnison. For minimal effort, you can get up close to the formations.
Coming from Montrose, the trailhead is located just past the bridge that crosses over the reservoir. The trail follows along the water, or what used to be water, for 0.75 miles before heading up a gully filled with juniper, sage, rocks, and a small creek. After 0.25 miles it reaches an intersection. Take the left fork and continue to ascend upwards to a small hillock that looks down the length of the formation. A worn wooden bench is available if the cumulative distance to this point is overly fatiguing! You can see the trail in the distance along the formation. Do continue. The views are very pleasant, and the destination, another bench on a wind-blown mesa, provides 50-yard line views of the formation and alternatively, views of the San Juan Mountains to the south. Elk and deer are very prevalent along the trail from October through April. Their scat practically covered the trail and seemed more abundant than the rocks themselves.
The Dillon Pinnacles are made of eroded West Elk Breccia, a composite rock spewed from the volcanic West Elk Mountains 30 million years ago.
From a distance, the West Elks, with their central Needle Rock, look like the remains of a climate changing explosive event but are in fact the remains of an entire field of Stratovolcanoes.
Stratovolcanoes are versatile eruptors and are easily recognized by their dramatic cone shape. At one time or another, the volcanoes in the West Elks probably erupted with explosive force like Mt. Rainer, or sent plumes of ash into the stratosphere. The West Elk Breccia is composed of rock and ash that fell from at least one explosive eruption that resulted in over 600 ft of ash and rock accumulation. You can see the West Elks from the south rim of the Black Canyon of the Gunnison or even more dramatically from Hwy 92 heading toward the north rim of the park.

I have seen the Dillon Pinnacles many times from the overlook on Hwy 50 but this was my first opportunity to see them up close. As with most things in Colorado, they gain perspective and elegance the farther you get from the car. The Dillon Pinnacles are no different. It is worth the short hike to see these remarkable formations up close. A final note of trivia, Blue Mesa Reservoir is the largest body of water in Colorado. I have seen it covered in snow, dappled with sunlit elegance, and radiantly blue. It seems to have as many expressions as Colorado herself.
Elevation: 7,400 to 7,847 ft
Elevation gain: 447 ft

The Dillon Pinnacles are one of those geologic wonders of Colorado. They are located along Blue Mesa Reservoir between Montrose and Gunnison. For minimal effort, you can get up close to the formations.
Coming from Montrose, the trailhead is located just past the bridge that crosses over the reservoir. The trail follows along the water, or what used to be water, for 0.75 miles before heading up a gully filled with juniper, sage, rocks, and a small creek. After 0.25 miles it reaches an intersection. Take the left fork and continue to ascend upwards to a small hillock that looks down the length of the formation. A worn wooden bench is available if the cumulative distance to this point is overly fatiguing! You can see the trail in the distance along the formation. Do continue. The views are very pleasant, and the destination, another bench on a wind-blown mesa, provides 50-yard line views of the formation and alternatively, views of the San Juan Mountains to the south. Elk and deer are very prevalent along the trail from October through April. Their scat practically covered the trail and seemed more abundant than the rocks themselves.
The Dillon Pinnacles are made of eroded West Elk Breccia, a composite rock spewed from the volcanic West Elk Mountains 30 million years ago.
From a distance, the West Elks, with their central Needle Rock, look like the remains of a climate changing explosive event but are in fact the remains of an entire field of Stratovolcanoes.


West Elk Mountains
It is possible to get close to Needle Rock, which is located in the town of Crawford. Up close, it looses some of its majesty. It is far more impressive when viewed as part of a circle of volcanic remnants.I have seen the Dillon Pinnacles many times from the overlook on Hwy 50 but this was my first opportunity to see them up close. As with most things in Colorado, they gain perspective and elegance the farther you get from the car. The Dillon Pinnacles are no different. It is worth the short hike to see these remarkable formations up close. A final note of trivia, Blue Mesa Reservoir is the largest body of water in Colorado. I have seen it covered in snow, dappled with sunlit elegance, and radiantly blue. It seems to have as many expressions as Colorado herself.
Correct exposure is one of the most important of the factors in making perfect photographs, yet the majority of portra approach it in the most casual manner, and apparently trust to a sort of sixth sense to tell them how long to keep the shutter open, or as one Mid to me, "It is like taking a dire into water; when I press the bulb, I do not know when I am coming to the surface.” With long practice it is possible to work successfully in this sab-conscious way, but most people will find it desirable to have some definite idea of the number of seconds necessary to give the exact quality of negative which is aimed at. I want you to take particular notice of those last words. There can be no fixed standard of exposure or density in portrait work, or we should all arrive at one monotonous style, without that touch of individualism which now distinguishes our best photographers from one another. Twenty or thirty years ago there was an established ideal of a clear, sparkling negative ranging from clear glass to opacity, and a high-class operator who did not conform to it had little chance of employment. Many negatives which would be appreciated to-day were then thrown aside as failures, because they were too soft or too hard to print in the limited range of media then available, but now we are more free to choose our methods, and can produce negatives to satisfy our own artistic instincts. Therefore it is necessary if we are to be consistently good in our work we must not trust to "flukes" for our successes, but to study the conditions under which our particular class of negatives can be obtained.
On asking one of our best known outdoor photographers bow he secured such uniformly perfect negatives. I was told that they were obtained by "exposing to suit the developer.” This was in the pre-Watkins days, when no attempt had been made to systematize development and most people believed that the clever worker owed his success to modifying the developer according to the appearance of the imago, often beginning with plain pyro solution, and working up the negative by adding alkali and bromide drop by drop. This idea is now exploded, proving that my friend was a true prophet when he asserted that the prime factor in producing the negative was correct exposure Hurter and Driffield, to whom photographers owe so much, have taught us that the amount of silver affected by light when a plate is exposed is in definite proportion to the length of exposure given, bat this assumes that all the so affected is reduced by the developer, or, in other words, the plate is “developed right out," which is rarely the case in studio work, most portraitists finding that such a procedure produces too much contrast. This fact has been recognized by both plate and developer makers who prescribe different times of development for portrait, landscape and copy negative, the former always being much shorter than the latter two.
To establish a correct method of exposure we must make a few experiments, working with a standard developer, and a fixed time of development, which may be obtained by the factorial system, the only variation being made in the exposure. It is convenient and economical, besides assuring uniformity of rapidity in the emulsion, to make several exposures on one plate, and this can easily be done in most studio cameras by fixing a small mask in the camera back and marking the slide so as to show when the plate is in position. The easiest size is to work three upon a half-plate, cutting a mask with opening two inches by four and fixing this in the existing carte or cabinet mask. If the slide has notches for single exposures, and also for repeating two C.D.V. on half-plate, the centre notch may be used, but new marks s little farther from the centre must be made for the two end exposures. For my own use I have made a repeating back which allows of four exposures, each three inches by two clear, from the rebate upon a half-plate, and this I find handy for many other purposes.
The exposures, which must, of course, be upon the same subject, may be varied in any proportion which the operator desires. Usually double at each step will be found as good as any for portrait work, as our negative will then show us the effect of one, two, four, and eight seconds' exposure. The result will be rather surprising to those who try it for the first time; for, supposing that the one-second exposure gives a thin but printable negative, it will be found that the eight-seconds section, although thick and slow to print, will also yield a passable result. That, however, is not my point, which is that the operator should now select the exposure which gives him the quality of imam- he wants, or if none quite pleases him should give an exposure between the two which he judges to be nearest correct. So far so good. Now all depends upon correctly estimating the value of the light, and this can better be done with an exposure meter than by the exercise of personal judgment. If we use an ordinary Bee meter and note the time taken to match the tint at the. time of making our exposures we shall be able to establish a ratio between meter time and exposure for any light or lighting. For example, if we find that our selected exposure is four seconds, and that it took right minutes to get the tint, we haw the proportion of half a second for each meter minute. Naturally I do not propose that anyone should make meter tests while sitter waits, but an occasional test between whiles can easily be managed. The plate speed and lens aperture must be unchanged, or due allowance must be made, or this system will be worse than useless.
It is often found that when strong effects of light and shade are being tried for that the negatives turn out hard and chalky and do not at all represent the model as seen by the artist. There are two causes of this, both closely connected, under-exposure and over-development, the latter being due to an attempted to force out shadow detail. Now, if development had been done by time without regard to the appearance of the image, we should have retained the detail in the high lights, but the shadow detail would still have been wanting. Longer exposure would remedy this without giving flatness, unless-unite an unreasonable time were given. This class of subject affords an excellent field for the progressive series of exposures already recommended; or if it be thought that the effect cannot be judged from so small s plate two full-sized exposures may be made, one receiving three times as long as the other, both being developed for the same time in the same dish.
It is important when making experiments in exposure to keep not only to one make of plate, but to the same grade. Emulsions vary in character, and two grades which are, perhaps, marked 200 and 240 H and D, cannot be relied upon to give the same quality of image, even if the difference in speed be accurately allowed for; much more is this the case if two makes of plate he mixed up. For the same reason one developer should be adhered to, and for printing quality land adaptability to various subjects and lightings there is nothing to beat the old-established pyro-sods. Remember that a negative is only a means to an end, and that "pretty" negatives do not always give the best of prints. Although not strictly within my subject, I feed that at the present time of year it is not amiss to on that pyro is less affected in its action by variations of temperature than most other developing agents. I have only recently found the slow action of another developer mistaken for under exposure, with the result that the exposures were increased and flatness resulted.
A point which mart not be missed is the effect of the distance between lens and sitter upon exposure. This is always allowed for in copying, but is often overlooked in portraiture. Most operators know that a large head requires more exposure than a full length, other things being equal, but perhaps could not toll you why. There are two reasons, one being the increase in the focal length of the lens a the sitter approaches the camera, and the other the flattening of the lighting by the greater amount of atmosphere which intervenes as the sitter is placed further from the camera. Let us consider the former case, assuming that a head measures 9 inches in height and we are making a 3 in. image of it: this adds one-third to the camera extension, supposing we are using an 18 in. lens working at F/6 for infinity; one-third added to the focal length gives us 24 ins - in other words, we are working at F/8, which requires practically double the exposure. When taking a full-length cabinet the reduction would be l/12th, which would only add an inch and a half to the original focal length, and this we could safely ignore so far as exposure is concerned. In the second case the increase in exposure is only apparent, not real. If there is a certain amount of fog over the shadows it covers the bare glass, but there is no more detail in the shadows than there would be if the atmosphere were perfectly clear. In London, where the atmosphere is as thick in winter as it is in most places, many photographers use a lens of shorter focal length than they would otherwise, in order to avoid this flattening.
In conclusion, let me impress upon the notice that correct exposure is the key to satisfactory results. Leaving colour effects out of the question, any arrangement of light and shade can be correctly reproduced if the proper exposure be given. We can flatten the scale by over-exposure, we can sharpen it by under-exposure, so that if we hit the happy mean we shall get upon our negative what we saw when looking at the sitter. Surely such a consummation is worth taking pains to attain, instead of following the usual "hit or miss" way.
On asking one of our best known outdoor photographers bow he secured such uniformly perfect negatives. I was told that they were obtained by "exposing to suit the developer.” This was in the pre-Watkins days, when no attempt had been made to systematize development and most people believed that the clever worker owed his success to modifying the developer according to the appearance of the imago, often beginning with plain pyro solution, and working up the negative by adding alkali and bromide drop by drop. This idea is now exploded, proving that my friend was a true prophet when he asserted that the prime factor in producing the negative was correct exposure Hurter and Driffield, to whom photographers owe so much, have taught us that the amount of silver affected by light when a plate is exposed is in definite proportion to the length of exposure given, bat this assumes that all the so affected is reduced by the developer, or, in other words, the plate is “developed right out," which is rarely the case in studio work, most portraitists finding that such a procedure produces too much contrast. This fact has been recognized by both plate and developer makers who prescribe different times of development for portrait, landscape and copy negative, the former always being much shorter than the latter two.
To establish a correct method of exposure we must make a few experiments, working with a standard developer, and a fixed time of development, which may be obtained by the factorial system, the only variation being made in the exposure. It is convenient and economical, besides assuring uniformity of rapidity in the emulsion, to make several exposures on one plate, and this can easily be done in most studio cameras by fixing a small mask in the camera back and marking the slide so as to show when the plate is in position. The easiest size is to work three upon a half-plate, cutting a mask with opening two inches by four and fixing this in the existing carte or cabinet mask. If the slide has notches for single exposures, and also for repeating two C.D.V. on half-plate, the centre notch may be used, but new marks s little farther from the centre must be made for the two end exposures. For my own use I have made a repeating back which allows of four exposures, each three inches by two clear, from the rebate upon a half-plate, and this I find handy for many other purposes.
The exposures, which must, of course, be upon the same subject, may be varied in any proportion which the operator desires. Usually double at each step will be found as good as any for portrait work, as our negative will then show us the effect of one, two, four, and eight seconds' exposure. The result will be rather surprising to those who try it for the first time; for, supposing that the one-second exposure gives a thin but printable negative, it will be found that the eight-seconds section, although thick and slow to print, will also yield a passable result. That, however, is not my point, which is that the operator should now select the exposure which gives him the quality of imam- he wants, or if none quite pleases him should give an exposure between the two which he judges to be nearest correct. So far so good. Now all depends upon correctly estimating the value of the light, and this can better be done with an exposure meter than by the exercise of personal judgment. If we use an ordinary Bee meter and note the time taken to match the tint at the. time of making our exposures we shall be able to establish a ratio between meter time and exposure for any light or lighting. For example, if we find that our selected exposure is four seconds, and that it took right minutes to get the tint, we haw the proportion of half a second for each meter minute. Naturally I do not propose that anyone should make meter tests while sitter waits, but an occasional test between whiles can easily be managed. The plate speed and lens aperture must be unchanged, or due allowance must be made, or this system will be worse than useless.
It is often found that when strong effects of light and shade are being tried for that the negatives turn out hard and chalky and do not at all represent the model as seen by the artist. There are two causes of this, both closely connected, under-exposure and over-development, the latter being due to an attempted to force out shadow detail. Now, if development had been done by time without regard to the appearance of the image, we should have retained the detail in the high lights, but the shadow detail would still have been wanting. Longer exposure would remedy this without giving flatness, unless-unite an unreasonable time were given. This class of subject affords an excellent field for the progressive series of exposures already recommended; or if it be thought that the effect cannot be judged from so small s plate two full-sized exposures may be made, one receiving three times as long as the other, both being developed for the same time in the same dish.
It is important when making experiments in exposure to keep not only to one make of plate, but to the same grade. Emulsions vary in character, and two grades which are, perhaps, marked 200 and 240 H and D, cannot be relied upon to give the same quality of image, even if the difference in speed be accurately allowed for; much more is this the case if two makes of plate he mixed up. For the same reason one developer should be adhered to, and for printing quality land adaptability to various subjects and lightings there is nothing to beat the old-established pyro-sods. Remember that a negative is only a means to an end, and that "pretty" negatives do not always give the best of prints. Although not strictly within my subject, I feed that at the present time of year it is not amiss to on that pyro is less affected in its action by variations of temperature than most other developing agents. I have only recently found the slow action of another developer mistaken for under exposure, with the result that the exposures were increased and flatness resulted.
A point which mart not be missed is the effect of the distance between lens and sitter upon exposure. This is always allowed for in copying, but is often overlooked in portraiture. Most operators know that a large head requires more exposure than a full length, other things being equal, but perhaps could not toll you why. There are two reasons, one being the increase in the focal length of the lens a the sitter approaches the camera, and the other the flattening of the lighting by the greater amount of atmosphere which intervenes as the sitter is placed further from the camera. Let us consider the former case, assuming that a head measures 9 inches in height and we are making a 3 in. image of it: this adds one-third to the camera extension, supposing we are using an 18 in. lens working at F/6 for infinity; one-third added to the focal length gives us 24 ins - in other words, we are working at F/8, which requires practically double the exposure. When taking a full-length cabinet the reduction would be l/12th, which would only add an inch and a half to the original focal length, and this we could safely ignore so far as exposure is concerned. In the second case the increase in exposure is only apparent, not real. If there is a certain amount of fog over the shadows it covers the bare glass, but there is no more detail in the shadows than there would be if the atmosphere were perfectly clear. In London, where the atmosphere is as thick in winter as it is in most places, many photographers use a lens of shorter focal length than they would otherwise, in order to avoid this flattening.
In conclusion, let me impress upon the notice that correct exposure is the key to satisfactory results. Leaving colour effects out of the question, any arrangement of light and shade can be correctly reproduced if the proper exposure be given. We can flatten the scale by over-exposure, we can sharpen it by under-exposure, so that if we hit the happy mean we shall get upon our negative what we saw when looking at the sitter. Surely such a consummation is worth taking pains to attain, instead of following the usual "hit or miss" way.
PRACTICUS.
In the early days of orthochromatic photography the dye generally used for the preparation of light filters was picric acid, this having the advantage of simplicity and cheapness and of great efficiency, picric acid absorbing the ultra-violet almost completely, and having a wry sharp cut in the spectrum. The disadvantage of picric acid, however, is that it is unstable to light, filters made with it soon turning brown. For this reason the early gelatine filters were made chiefly with tartrazine, which is very stable and gives permanent niters. Tartrazine, however, has the disadvantage that its absorption in the ultra-violet is unsatisfactory, and even moderately deep tertrazine filters transmit appreciable amounts of ultra-violet, this detracting very much from their efficiency. For this reason filter yellow, introduced by Hoechst in 1907, rapidly displaced tartrazine as the best dye for filter-making, and has held that position ever since.
Filter yellow is extremely stable, absorbs the ultra-violet strongly with the exception of a transmission band at 300μμ, which, since it is absorbed by glass, is of little importance, and hat a satisfactorily sharp out for the preparation of orthochromatic filters. A disadvantage of filter yellow which has always been recognized, however, is the fact that its absorption curve was less sharp than that of picric acid, and for many purposes, especially the preparation of very light filters, a dye possessing the stability and ultra-violet absorption of filter K, but of greater sharpness of cut, would be desirable.
When the need for light-filters of high efficiency for aerial photography arose the need for such a dye became pressing, and we undertook a search for such a material. After a great number of trials it was found that suitable absorption and stability were possessed by the phenyl-glucosazones.
When certain sugars, such as glucose, are warmed with a solution of phenyl-hydrazine in dilute acetic acid, yellow precipitates are produced possessing definite crystalline structures, by which the sugars may be characterized. These yellow substances are known as osazones, those formed with phenyl-hydrazine being termed phonylosazones. On measurement of the absorption spectrum of glucose-phenylosazone it was found that the absorption curve was very sharp and extended far into the ultra-violet, and since the material is well known to be stable, it appeared that a dye prepared from it would possess the properties required for the preparation of light yellow filters.
Glucose-phenylosazone is insoluble in water, so that to obtain a dye it is necessary to have a salt-forming group present in the molecule, and to produce a dye suitable for use with gelatine it was desirable that this group should be an acid one. To obtain such a derivative of glucose-phenylosazone which will form salts with metals it is merely necessary to substitute for phenyl-hydrazine a derivative containing an acid group and condense glucose with it in the same manner. Several such derivatives were tried, and the most satisfactory result was obtained with glucose-phenyl-osazone-para-carboxylic acid. This was prepared in the following way:-
Para-nitrotoluene was oxidized to give para-nitrobenzoic acid. This was then reduced to para-aminobenzoic acid, which was diazotized, and gave para-hydrazino-benzoic acid or phenyl-hydrazrne-para-carboxylie acid. The glucosazone of this acid is a yellow crystalline compound insoluble in water and almost insoluble in alcohol. It forms a sodium salt which is extremely soluble in water, but which can be precipitated from concentrated solutions by the addition of alcohol, and this sodium salt of glucose-phenyl-osazone-para-carboxylic acid has been adopted by us for the preparation of light-filters under the name of "Eastman Yellow."

In Fig. 1 are shown the absorption spectra of tartrazine, filter yellow, and Eastman yellow, from which it will be seen that the Eastman yellow has a sharper cut than filter yellow, and almost as strong an absorption in the ultra-violet.
Light-filters prepared from it retain these characteristics, and these light-filters have been prepared and specified under the names of EK 1 and EK 2 light-filters. A special filter for aerial photography has been adopted by the American forces under the name of Aero No. 1.

Fig. 2 shows the absorption curves of these light-filters.
As regards stability, it was found on test that the new dye was not quite so stable to light as filter yellow, but was superior to all other yellow dyes tried, and its stability is amply sufficient for the preparation of light-filters, since it requires weeks of exposure to direct sunlight to produce a change even in the lighter-coloured filters.
C. E. K. MEES.
H. T. CLARKE.
Filter yellow is extremely stable, absorbs the ultra-violet strongly with the exception of a transmission band at 300μμ, which, since it is absorbed by glass, is of little importance, and hat a satisfactorily sharp out for the preparation of orthochromatic filters. A disadvantage of filter yellow which has always been recognized, however, is the fact that its absorption curve was less sharp than that of picric acid, and for many purposes, especially the preparation of very light filters, a dye possessing the stability and ultra-violet absorption of filter K, but of greater sharpness of cut, would be desirable.
When the need for light-filters of high efficiency for aerial photography arose the need for such a dye became pressing, and we undertook a search for such a material. After a great number of trials it was found that suitable absorption and stability were possessed by the phenyl-glucosazones.
When certain sugars, such as glucose, are warmed with a solution of phenyl-hydrazine in dilute acetic acid, yellow precipitates are produced possessing definite crystalline structures, by which the sugars may be characterized. These yellow substances are known as osazones, those formed with phenyl-hydrazine being termed phonylosazones. On measurement of the absorption spectrum of glucose-phenylosazone it was found that the absorption curve was very sharp and extended far into the ultra-violet, and since the material is well known to be stable, it appeared that a dye prepared from it would possess the properties required for the preparation of light yellow filters.
Glucose-phenylosazone is insoluble in water, so that to obtain a dye it is necessary to have a salt-forming group present in the molecule, and to produce a dye suitable for use with gelatine it was desirable that this group should be an acid one. To obtain such a derivative of glucose-phenylosazone which will form salts with metals it is merely necessary to substitute for phenyl-hydrazine a derivative containing an acid group and condense glucose with it in the same manner. Several such derivatives were tried, and the most satisfactory result was obtained with glucose-phenyl-osazone-para-carboxylic acid. This was prepared in the following way:-
Para-nitrotoluene was oxidized to give para-nitrobenzoic acid. This was then reduced to para-aminobenzoic acid, which was diazotized, and gave para-hydrazino-benzoic acid or phenyl-hydrazrne-para-carboxylie acid. The glucosazone of this acid is a yellow crystalline compound insoluble in water and almost insoluble in alcohol. It forms a sodium salt which is extremely soluble in water, but which can be precipitated from concentrated solutions by the addition of alcohol, and this sodium salt of glucose-phenyl-osazone-para-carboxylic acid has been adopted by us for the preparation of light-filters under the name of "Eastman Yellow."
In Fig. 1 are shown the absorption spectra of tartrazine, filter yellow, and Eastman yellow, from which it will be seen that the Eastman yellow has a sharper cut than filter yellow, and almost as strong an absorption in the ultra-violet.
Light-filters prepared from it retain these characteristics, and these light-filters have been prepared and specified under the names of EK 1 and EK 2 light-filters. A special filter for aerial photography has been adopted by the American forces under the name of Aero No. 1.
Fig. 2 shows the absorption curves of these light-filters.
As regards stability, it was found on test that the new dye was not quite so stable to light as filter yellow, but was superior to all other yellow dyes tried, and its stability is amply sufficient for the preparation of light-filters, since it requires weeks of exposure to direct sunlight to produce a change even in the lighter-coloured filters.
C. E. K. MEES.
H. T. CLARKE.
A lovely relaxing late morning! Boys completely engrossed in their computer games etc and so we grown-ups just chatted, had breakfast together and lounged around.
A late lunch, about 2pm, and soon it was time to get ready to go... we walked down through town with Ulrich and his boys, and got to the station with plenty of time. The train was a bit late but we sat in the waiting room, Ulrich taking photos.
Our train came and the people sitting in our booked seats moved without any bother, and we all sat together around the table and had a relatively pleasant journey home. There was only a little grumpiness and boredom but Gill and I dealt with it well, played 'I spy' and passed the time happily. Got a taxi back home and got in at 8.
A late lunch, about 2pm, and soon it was time to get ready to go... we walked down through town with Ulrich and his boys, and got to the station with plenty of time. The train was a bit late but we sat in the waiting room, Ulrich taking photos.
Our train came and the people sitting in our booked seats moved without any bother, and we all sat together around the table and had a relatively pleasant journey home. There was only a little grumpiness and boredom but Gill and I dealt with it well, played 'I spy' and passed the time happily. Got a taxi back home and got in at 8.
DARK-SLIDES OUT OF REGISTER.
In three out of four studios that I have visited in the course of the last year or so, I found the dark slides of the camera in general use out of register with the focusing screen. The present use of rapid plates enables the photographer to use diaphragms to an extent that disguises considerably the want of fine definition, resulting from the plate not being truly in focus. In the days of wet collodion, when, in order to secure a portrait free from the unsharpness, due to movement of the sitter, it was the custom to use the lens at full aperture or nearly so, photographers had to be, and were, careful to see that their dark-slides were truly in register with the focusing screen.
Although the want of sharpness in the negative, due to the slides not being in true register is less conspicuous when using the smaller apertures to which the use of rapid plates has accustomed us, it is still very desirable that the coincidence of position of the plate and the focusing screen should be as complete as possible, if only for the power obtained to get properly exposed results with the shortest exposures, particularly in the case of portraits of children. A photographer, the proprietor of a high-class establishment, doing a large business, writes me that since the correction of his slides his operator generally takes portraits of children with the open lens with excellent results, and with fewer failures and continent economy of time and plates.
The plan which I employ to ascertain the truth, or want of it, of the registry of the slides, is to take a strip of wood about 3/5 or ½ an inch in thickness, rather longer than the width of the slide, and to drive a screw through it. The strip is laid across the front of the frame of the focusing screen, and the screw advanced until the point just touches the screen itself. A plate is now put in the dark-slide, the back is buttoned down, and the shutter is drawn. The strip is then laid across the front of the slide, and if it is in true register, the screw point will just touch the plate. It is desirable to repeat this trial with the plate placed both vertically and horizontally, and with each carrier that may be in use with the slide. A waste negative ix better than a plain glass for the purpose, as a paint scratch on the will indicate very closely coincidence of the two surfaces.
The reason for having the wood a little longer than the width of the slide is (as I have found in one or two cases) that the top or bottom or one of the sides may be higher or lower than the opposite and the extra length of the wood allows the screw to be tried on different paris of the plate. The (crew is inserted at the place where it will come over the middle of the screen when one of the ends of the wood is just at the outer edge of the frame. This arrangement allows full use to l made of the extra length of wood for the testing the truth of adjustment away from the centre of the screen. The extent of deviation from coincidence is ascertained by placing slips of card of different thicknesses between the point of the screw and the focusing screen, or the plate as the case may be, until piece is found of a thickness that just fills the space.
If it is the focusing screen that is found to be nearer to the front than the plate, a cardboard matt is rut of the same size outside as the ground glass; about a quarter of an inch wide all round except at the corners, where it is rounded inside for strength. A photographer generally has a stock of old mounts of various thicknesses, but if there is not one of just the thickness required, one or more thicknesses of cartridge paper may be pasted on to a thinner card, and when dry used for the purpose. The card matt is dropped into the frame, and the glass replaced and the slip-beading pinned in gain.
If it ia the plate that is too near the front, slips of card are glued on all round to the rabbet of the dark-slide. It may be that some of the carriers may require adjustment independent of what has been done to the dark-slides. In this case they may be trued by gluing slips of card along the edges or the front, or, if the error is in the other direction, by reducing the thickness of the wood in the same place.
Of course, a neater job may be made by sending the slide and frame of the focusing screen to a camera maker or to an intelligent cabinet maker, if (which is not often the case) the camera can be put out of use for the time, but the home cure method described has answered perfectly well.
W. E. DEBENHAM.
In three out of four studios that I have visited in the course of the last year or so, I found the dark slides of the camera in general use out of register with the focusing screen. The present use of rapid plates enables the photographer to use diaphragms to an extent that disguises considerably the want of fine definition, resulting from the plate not being truly in focus. In the days of wet collodion, when, in order to secure a portrait free from the unsharpness, due to movement of the sitter, it was the custom to use the lens at full aperture or nearly so, photographers had to be, and were, careful to see that their dark-slides were truly in register with the focusing screen.
Although the want of sharpness in the negative, due to the slides not being in true register is less conspicuous when using the smaller apertures to which the use of rapid plates has accustomed us, it is still very desirable that the coincidence of position of the plate and the focusing screen should be as complete as possible, if only for the power obtained to get properly exposed results with the shortest exposures, particularly in the case of portraits of children. A photographer, the proprietor of a high-class establishment, doing a large business, writes me that since the correction of his slides his operator generally takes portraits of children with the open lens with excellent results, and with fewer failures and continent economy of time and plates.
The plan which I employ to ascertain the truth, or want of it, of the registry of the slides, is to take a strip of wood about 3/5 or ½ an inch in thickness, rather longer than the width of the slide, and to drive a screw through it. The strip is laid across the front of the frame of the focusing screen, and the screw advanced until the point just touches the screen itself. A plate is now put in the dark-slide, the back is buttoned down, and the shutter is drawn. The strip is then laid across the front of the slide, and if it is in true register, the screw point will just touch the plate. It is desirable to repeat this trial with the plate placed both vertically and horizontally, and with each carrier that may be in use with the slide. A waste negative ix better than a plain glass for the purpose, as a paint scratch on the will indicate very closely coincidence of the two surfaces.
The reason for having the wood a little longer than the width of the slide is (as I have found in one or two cases) that the top or bottom or one of the sides may be higher or lower than the opposite and the extra length of the wood allows the screw to be tried on different paris of the plate. The (crew is inserted at the place where it will come over the middle of the screen when one of the ends of the wood is just at the outer edge of the frame. This arrangement allows full use to l made of the extra length of wood for the testing the truth of adjustment away from the centre of the screen. The extent of deviation from coincidence is ascertained by placing slips of card of different thicknesses between the point of the screw and the focusing screen, or the plate as the case may be, until piece is found of a thickness that just fills the space.
If it is the focusing screen that is found to be nearer to the front than the plate, a cardboard matt is rut of the same size outside as the ground glass; about a quarter of an inch wide all round except at the corners, where it is rounded inside for strength. A photographer generally has a stock of old mounts of various thicknesses, but if there is not one of just the thickness required, one or more thicknesses of cartridge paper may be pasted on to a thinner card, and when dry used for the purpose. The card matt is dropped into the frame, and the glass replaced and the slip-beading pinned in gain.
If it ia the plate that is too near the front, slips of card are glued on all round to the rabbet of the dark-slide. It may be that some of the carriers may require adjustment independent of what has been done to the dark-slides. In this case they may be trued by gluing slips of card along the edges or the front, or, if the error is in the other direction, by reducing the thickness of the wood in the same place.
Of course, a neater job may be made by sending the slide and frame of the focusing screen to a camera maker or to an intelligent cabinet maker, if (which is not often the case) the camera can be put out of use for the time, but the home cure method described has answered perfectly well.
W. E. DEBENHAM.
A very relaxed start to the day. It was raining so we didn't need to get up and get going anywhere... and the boys were completely engrossed in their computer game anyway.
After lunch everybody else walked to the Ten-Pin bowling place but I wasn't at all interested so I used their modem and a lead to download emails, do my blog, go on Facebook and chat to Ali and K on Skype. The families came back at about 5 having had a good time.
It was decided that we should have a take-away for tea, and Gill and I offered to pay for it. Ulrich suggested using a local pizza parlour which delivers... and the leaflet had an 'offer' of a pizza for 8 called 'The Beast' plus bottles of coke, garlic bread and a puddings, for £36. Ulrich rang it in and stated a vegetarian Beast, but then asked for extra cheese and pepperoni, thinking that pepperoni was pepper (the vegetable) rather than a meat sausage which he knows as salami ot wurst! So our huge pizza arrived, with slices of peperoni dotted all over, which was a shock, but then Ulrich realised what he had said. The solution was to cut the pizza into slices with the meat, and slices without the meat... and everyone was happy!
So we ate our pizza and garlic bread and I had a perry rather than coke, and had no room for any pudding! Then sat and watched 'The 11th Hour' on Channel 4, with Leonado DiCaprio narrating and a whole pile of folks whom I've either seen before or have heard of but haven't seen, like Paul Stamets, who's big in the world of fungi and has written an excellent book which I've read most of... infact he's written several books and is involved in mycology in quite a number of ways. Some of the mushroom cultures I've used are originally Stametsian strains.. A very moving film, putting the subject over very well.
I went for a short walk after tea to visit nearby allotments, which was pleasent.
Bed before midnight, slept well.
After lunch everybody else walked to the Ten-Pin bowling place but I wasn't at all interested so I used their modem and a lead to download emails, do my blog, go on Facebook and chat to Ali and K on Skype. The families came back at about 5 having had a good time.
It was decided that we should have a take-away for tea, and Gill and I offered to pay for it. Ulrich suggested using a local pizza parlour which delivers... and the leaflet had an 'offer' of a pizza for 8 called 'The Beast' plus bottles of coke, garlic bread and a puddings, for £36. Ulrich rang it in and stated a vegetarian Beast, but then asked for extra cheese and pepperoni, thinking that pepperoni was pepper (the vegetable) rather than a meat sausage which he knows as salami ot wurst! So our huge pizza arrived, with slices of peperoni dotted all over, which was a shock, but then Ulrich realised what he had said. The solution was to cut the pizza into slices with the meat, and slices without the meat... and everyone was happy!
So we ate our pizza and garlic bread and I had a perry rather than coke, and had no room for any pudding! Then sat and watched 'The 11th Hour' on Channel 4, with Leonado DiCaprio narrating and a whole pile of folks whom I've either seen before or have heard of but haven't seen, like Paul Stamets, who's big in the world of fungi and has written an excellent book which I've read most of... infact he's written several books and is involved in mycology in quite a number of ways. Some of the mushroom cultures I've used are originally Stametsian strains.. A very moving film, putting the subject over very well.
I went for a short walk after tea to visit nearby allotments, which was pleasent.
Bed before midnight, slept well.
An early start but the taxi arrived at 9 and we were ready...just! We got the 9.44 train to Leamington Spa... the Bournemouth train, and it was quite busy. We were in the quiet carriage but it was far from quiet... a chap near us was talking very loudly to the ticket person (are they still called conductors?) and we could hear that he wanted to go to Sheffield, but our train was going via Leeds, Wakefield and then Chesterfield, by-passing Sheffield. The chap seemed agitated, and before Leeds loudly announced that he was completely deaf and wanted to go to Sheffield. Everyone else had heard that to go to Sheffield, people should change at Leeds. So Gill found a sheet of A4 paper and a felt-tip pen (we carry these to give the boys something to do if they announce 'I'm bored') and wrote on it "You need to change at Leeds" and I took it to the chap who then shouted 'B****r Off' at me! So I sat down, and another chap got up and approached him and signed something... and he got similar treatment. There was quite a bit of a stir in the carriage because of this! The chap didn't get off at Leeds but we think disappeared at Chesterfield and presumably travelled back North again to Sheffers.
At Chesterfield though, a group of perhaps 6 young women got on and it was obvious that they'd been out the night before 'on the lash' and were either hung-over or still drunk and very loud and girly, and off to a festival or some type of camping trip. It took til Derby for them to notice that it was the quiet carriage..by this time my rather intolerant child was getting ready to say something to them. I was reminded of my festivaling days, and was a bit distracted by their short skirts and long legs. Fortunately I didn't spot something that Gill told me about afterwards, that one of them was flashing her see-through knickers! That would have made it an even more interesting journey! They got off at Birmingham New Street and a quiet chap got on near us... I had a chat with him; he was just finishing his degree on Sustainable Architecture, his dissertation was on sustainable interior design. We had a good conversation and a bit of a laugh about various things.
Then we were in Leamington and Katharina and her two boys met us at the barriers and we walked to her house through the town, passing through a lovely park with a bandstand which I remember from years ago when I performed at the Leamington Peace Festival. There was a Farmers' Market and I bought 4 little bottles of perry, locally produced. Katharina's house was another 15 minutes walk through the town, on the Kenilworth Road in a very large house, now split into several smaller residences.
My boys were very happy to see their old friends, and Katharina was pleased to show us her new house which they've had re-vamped, with new flooring (following removal of dry-rotted wood) and a wonderful new woodstove, apparently partly inspired by seeing ours. Katharina and Ulrich have liked the idea of a woodburner for a long time, as in Germany they are more common, but they've lived in rented property since living over here. So they have bought a HWAM 'Beethoven' with Soapstone surrounds, which slowly heat up and keep the heat really well! It is a very stylish, having a curved glass door and it's a lovely grey colour. It's a smoke-free model.... Ulrich had been wanting the version which heats water, but it's not legal to have it in a smoke control zone.
I felt very tired and very relaxed, and as the boys all sat on one of the futons playing with a computer game, I went to sleep on the other! Just for a few minutes though, nothing too antisocial. I heard Ulrich come home and soon roused myself and was more sociable. However it is lovely being 'on holiday' and with people whom I feel very relaxed with.
We had a simple tea, pretty late, and a game of Scrabble with everybody else doubling up in teams, and me by myself... but their partnerships obviously hampered them and I won! Gill and I slept on a futon in front of the stove, which was wonderful!
At Chesterfield though, a group of perhaps 6 young women got on and it was obvious that they'd been out the night before 'on the lash' and were either hung-over or still drunk and very loud and girly, and off to a festival or some type of camping trip. It took til Derby for them to notice that it was the quiet carriage..by this time my rather intolerant child was getting ready to say something to them. I was reminded of my festivaling days, and was a bit distracted by their short skirts and long legs. Fortunately I didn't spot something that Gill told me about afterwards, that one of them was flashing her see-through knickers! That would have made it an even more interesting journey! They got off at Birmingham New Street and a quiet chap got on near us... I had a chat with him; he was just finishing his degree on Sustainable Architecture, his dissertation was on sustainable interior design. We had a good conversation and a bit of a laugh about various things.
Then we were in Leamington and Katharina and her two boys met us at the barriers and we walked to her house through the town, passing through a lovely park with a bandstand which I remember from years ago when I performed at the Leamington Peace Festival. There was a Farmers' Market and I bought 4 little bottles of perry, locally produced. Katharina's house was another 15 minutes walk through the town, on the Kenilworth Road in a very large house, now split into several smaller residences.
My boys were very happy to see their old friends, and Katharina was pleased to show us her new house which they've had re-vamped, with new flooring (following removal of dry-rotted wood) and a wonderful new woodstove, apparently partly inspired by seeing ours. Katharina and Ulrich have liked the idea of a woodburner for a long time, as in Germany they are more common, but they've lived in rented property since living over here. So they have bought a HWAM 'Beethoven' with Soapstone surrounds, which slowly heat up and keep the heat really well! It is a very stylish, having a curved glass door and it's a lovely grey colour. It's a smoke-free model.... Ulrich had been wanting the version which heats water, but it's not legal to have it in a smoke control zone.
I felt very tired and very relaxed, and as the boys all sat on one of the futons playing with a computer game, I went to sleep on the other! Just for a few minutes though, nothing too antisocial. I heard Ulrich come home and soon roused myself and was more sociable. However it is lovely being 'on holiday' and with people whom I feel very relaxed with.
We had a simple tea, pretty late, and a game of Scrabble with everybody else doubling up in teams, and me by myself... but their partnerships obviously hampered them and I won! Gill and I slept on a futon in front of the stove, which was wonderful!
Gill wasn't feeling brilliant so I took the boys into school, told one of the teaching assistants whom I'm friendly with and trust about last night's incident and she couldn't believe it, with a 'what is the world coming to' and gave me a hug. It was good to offload it, and I immediately felt a whole lot better.
I went to the allotment to plant the remaining potatoes... and defoliated an area of ground by hand, then dug it over, removing buttercup and dandelion roots... but didn't get the potatoes planted and I sensed it was getting towards lunch, so I cycled round to Anna's to pick up another load of her vegetation she's cropped to make space for a trampoline, and took it to the Hazel Court/James St civic amenety site for recycling. On the way in I was shouted at by an operative who told me I wasn't allowed in on my bicycle, so I told her I was ignoring the sign saying no pedestrians/cyclists as I had no option wanting to put my recycling in the skips up at the top. I was told this many weeks ago and wrote to the paper about the nonsense of 'no pedestrians' as when the car drivers go to the skips, they get out of their cars and become.... pedestrians..... walking around from one recepticle to another... and I don't have a car to bring my drinks cartons to the site for collection, but use my bike and trailer for this. And as I pay my Council Tax and wish to recycle my wastes, I will continue doing this. But being shouted at doesn't make me feel good, so I am going to write to Yorwaste and the Council and complain. The sign should read 'Cyclists and pedestrians enter at your own risk, please be aware of vehicle movements' or somesuch. The civic amenety site is less dangerous than many of the roads I cycle on, so it makes no sense to ban cyclists on safety grounds.
I came home via St Nicks and arrived home just before 1pm. After lunch did some computery stuff and at 3, went to pick up the boys. Gave in a couple of 'Big Recycle Day' posters to display at school. When we got home I went to the lottie and put in the potatoes.... finished, hooray!
Home before 6pm, last of the soup for tea and then went down to the Priory St Centre for a Greenspeak meeting, on congestion charging. This was very interesting, might make a good paid blog topic. Caroline was there and she gave me some broccoli seedlings, a pepper plant in a bucket and a stunted tomato.... I'll give her some compost next week, in part-exchange. I'm very pleased with the broccoli.
Home via Country Fresh... two sacks and a box.
Had a bath to remove allotment from my legs.
Up late, watched an entertaining but daft TV prog called Kyle XY... Gill enjoyed it too.
I went to the allotment to plant the remaining potatoes... and defoliated an area of ground by hand, then dug it over, removing buttercup and dandelion roots... but didn't get the potatoes planted and I sensed it was getting towards lunch, so I cycled round to Anna's to pick up another load of her vegetation she's cropped to make space for a trampoline, and took it to the Hazel Court/James St civic amenety site for recycling. On the way in I was shouted at by an operative who told me I wasn't allowed in on my bicycle, so I told her I was ignoring the sign saying no pedestrians/cyclists as I had no option wanting to put my recycling in the skips up at the top. I was told this many weeks ago and wrote to the paper about the nonsense of 'no pedestrians' as when the car drivers go to the skips, they get out of their cars and become.... pedestrians..... walking around from one recepticle to another... and I don't have a car to bring my drinks cartons to the site for collection, but use my bike and trailer for this. And as I pay my Council Tax and wish to recycle my wastes, I will continue doing this. But being shouted at doesn't make me feel good, so I am going to write to Yorwaste and the Council and complain. The sign should read 'Cyclists and pedestrians enter at your own risk, please be aware of vehicle movements' or somesuch. The civic amenety site is less dangerous than many of the roads I cycle on, so it makes no sense to ban cyclists on safety grounds.
I came home via St Nicks and arrived home just before 1pm. After lunch did some computery stuff and at 3, went to pick up the boys. Gave in a couple of 'Big Recycle Day' posters to display at school. When we got home I went to the lottie and put in the potatoes.... finished, hooray!
Home before 6pm, last of the soup for tea and then went down to the Priory St Centre for a Greenspeak meeting, on congestion charging. This was very interesting, might make a good paid blog topic. Caroline was there and she gave me some broccoli seedlings, a pepper plant in a bucket and a stunted tomato.... I'll give her some compost next week, in part-exchange. I'm very pleased with the broccoli.
Home via Country Fresh... two sacks and a box.
Had a bath to remove allotment from my legs.
Up late, watched an entertaining but daft TV prog called Kyle XY... Gill enjoyed it too.
A busy day, up before 8, asked by Gill to get one of the children downstairs and get him dressed. I managed to do this and then distracted both of them (whilst they ate breakfast) by reading them a book which arrived in the post yesterday, sent to me by CRAGger Anna in Peckham, who knows my enthusiasm for composting. It's an American book called 'The Magic School Bus Meets the Rot Squad, A Book About Decomposition' (published by Scholastic Inc, ISBN 0-590-40023-1, 1995) It is a childrens' book, aimed perhaps at 4-7 year olds, so a bit young for my 8 and 10 year olds, but it was funny and appreciated. More than this, it helped them forget that they weren't wanting to go to school and they went on autopilot, I took them in without any problems whatsoever.
Home and to work.... got three carrier bags of potting material together, one of loam, one leafmold and one compost, and put these with the rotaseive ready for Green Thumbs this afternoon, where we are potting on seedlings from their seed compost in tiny pots into richer compost in bigger pots. Then I got six carrier bags of riddled compost to take to the veg shop and then on to the lottie to prepare three trenches to plant more potatoes, which went in soon after. Got home at 1.45, more than ready for lunch.
Did a bit of computery stuff after lunch and so soon it was 3 o clock and time to go to school to help out with the Green Thumbs Gang... my job was to show the children how to riddle the various materials and then use the resultant mix to pot up the seedlings.
As the children were getting ready to leave, I had a brief word with the mother of L----- who attends the gardening club and is wildly enthusiastic and talkative. A couple of days ago L had picked several horse chestnut leaves off a tree and was using them in various poses as costume/playthings and she came to show off to me. I asked her whether she should have picked them... in retrospect this was a little bit too much of a 'killjoy' and perhaps a bit strict and authoritarian. However, I was brought up to not pick stuff off plants as some are toxic (ivy, laburnum), others irritate skin (hogweed) and others cause photosensitisation. Also, picking wild flowers is illegal and picking something from someone elses property could get someone into trouble. Also, leaves are there to help the plant grow... all these things are reasonable rerasons not to pick plants willy nilly. But I accept that it was inappropriate to ask L the question. Her mother, however, told me not to speak to her child as I wasn't her teacher and I had no right to speak to her 'like that'. I apologised immediately but wanted to say why I'd asked her if she should have picked the leaves, so I'd written a note to L's mther and tried to give it to her after the gardening club.
Her reaction was quite extreme... she said if I didn't leave her alone she'd call the police, and then said "I'm sure they have your details already" which was most unkind and it made me think that she thinks I'm some sort of criminal! It upset me but I remained polite. Her words went round my mind all evening. I did speak to Julia, the Green Thumbs chair, and she was shocked and suggested I let the school know about the situation. There's nothing that can be 'done' about this, but incase she makes any allegations in the future or kicks off with someone else, I decided to tell someone at school.
An evening worth forgetting after this. Didn't feel very happy.
Home and to work.... got three carrier bags of potting material together, one of loam, one leafmold and one compost, and put these with the rotaseive ready for Green Thumbs this afternoon, where we are potting on seedlings from their seed compost in tiny pots into richer compost in bigger pots. Then I got six carrier bags of riddled compost to take to the veg shop and then on to the lottie to prepare three trenches to plant more potatoes, which went in soon after. Got home at 1.45, more than ready for lunch.
Did a bit of computery stuff after lunch and so soon it was 3 o clock and time to go to school to help out with the Green Thumbs Gang... my job was to show the children how to riddle the various materials and then use the resultant mix to pot up the seedlings.
As the children were getting ready to leave, I had a brief word with the mother of L----- who attends the gardening club and is wildly enthusiastic and talkative. A couple of days ago L had picked several horse chestnut leaves off a tree and was using them in various poses as costume/playthings and she came to show off to me. I asked her whether she should have picked them... in retrospect this was a little bit too much of a 'killjoy' and perhaps a bit strict and authoritarian. However, I was brought up to not pick stuff off plants as some are toxic (ivy, laburnum), others irritate skin (hogweed) and others cause photosensitisation. Also, picking wild flowers is illegal and picking something from someone elses property could get someone into trouble. Also, leaves are there to help the plant grow... all these things are reasonable rerasons not to pick plants willy nilly. But I accept that it was inappropriate to ask L the question. Her mother, however, told me not to speak to her child as I wasn't her teacher and I had no right to speak to her 'like that'. I apologised immediately but wanted to say why I'd asked her if she should have picked the leaves, so I'd written a note to L's mther and tried to give it to her after the gardening club.
Her reaction was quite extreme... she said if I didn't leave her alone she'd call the police, and then said "I'm sure they have your details already" which was most unkind and it made me think that she thinks I'm some sort of criminal! It upset me but I remained polite. Her words went round my mind all evening. I did speak to Julia, the Green Thumbs chair, and she was shocked and suggested I let the school know about the situation. There's nothing that can be 'done' about this, but incase she makes any allegations in the future or kicks off with someone else, I decided to tell someone at school.
An evening worth forgetting after this. Didn't feel very happy.
Gill took the boys to school and then went on a school visit to the Yorkshire Sculpture Park with our eldest.
I had a quiet day inside, although the weather was lovely out, I had to get my paid blog done (didn't do it at the weekend) and had a chat with Ali and Lorna and then just before I came off the computer at lunchtime, with K... so a busy and communicative morning. Also had several Fiddlesticks enquiries After lunch I did housework, washing up, made tomato soup, and finally getting out to the front garden to build a logpile just as the troops came home. I took just one boy (not my own!) to Martial Arts and went to collect stuff from Country Fresh, taking it to the lottie.
Home to have soup and pasta at 6, spent most of the evening dealing with a vast number of apples which were too good to compost and are perfect for drying. Loaded 4 racks with dozens and dozens of slices, plus one with melon slices. A warm evening with the stove, watching Ideal on BBC3 and Newsnight. Gill was exhausted from all the walking, plus the warmth of the stove made her sleep all evening.
I had a quiet day inside, although the weather was lovely out, I had to get my paid blog done (didn't do it at the weekend) and had a chat with Ali and Lorna and then just before I came off the computer at lunchtime, with K... so a busy and communicative morning. Also had several Fiddlesticks enquiries After lunch I did housework, washing up, made tomato soup, and finally getting out to the front garden to build a logpile just as the troops came home. I took just one boy (not my own!) to Martial Arts and went to collect stuff from Country Fresh, taking it to the lottie.
Home to have soup and pasta at 6, spent most of the evening dealing with a vast number of apples which were too good to compost and are perfect for drying. Loaded 4 racks with dozens and dozens of slices, plus one with melon slices. A warm evening with the stove, watching Ideal on BBC3 and Newsnight. Gill was exhausted from all the walking, plus the warmth of the stove made her sleep all evening.
Ghost Images or Flare
It is a known fact that many of the finest pre-war anastigmats frequently give both ghost images and flare when dealing with subjects which throw a strong light into their glasses. The defect is much lees often met when single lenses or the single components of convertible auastigtmats or R.R. instruments are employed. "Ghost images" or "flare'' are regarded by many photographers as being the more likely with instruments having many glass-to-air surfaces, and as a matter of fact, though not as a general rule, the more of these surfaces there are in the instrument the more likely is the defect to be in evidence in certain classes of work. It is not realized as well as it might lie by those who possess anastigmats which exhibit flare or ghost images that much may be done to assist in eliminating these if the instrument is provided with a sufficiently deep hood. We have in our own possession an anastigmat with no less than ten glass-to-air surfaces, and invariably when this lens is used against the light or under like conditions the defects are sure to manifest themselves, yet when the front glass is shaded with a deep and efficient hood we have never had the least reason for complaint. The rarity of ghost images or flare when R.R. or single lenses are used may be traced in part to the fact that with the former class the hoods are much more efficient: as regards the latter, when the single components of the convertible anastigmat are employed it is nearly always the front lens that is removed, and thus the mount of the lens serves as a highly efficient hood for the back glass.
Camera Copies.
The recent installation of the Photostat Patent Office brings forward the subject of quick and cheap copying of documents, printed matter, or drawings, by means of the camera. As most of our readers are aware in this and similar apparatus, the print is made by exposing bromide paper in a special camera which is scaled to various sizes. The image is normally a negative one, although positives may be made by recopying them same size. Taken in an ordinary camera the images would be laterally inverted, but this can be obviated by fitting a reversing prism or mirror to the lens, the latter being, of course, much the cheaper arrangement. We think that photographers who work for engineering and other manufacturing firms would do well to take this class of work into consideration, as it would secure many orders for copies of drawings, plans, etc., not amenable to duplication by the usual heliographic methods, which call for a translucent original. It should not be difficult to arrange an attachment to any ordinary large camera for moderate-sized subjects, while larger ones could be managed by taking a small negative and enlarging in the usual way. We have seen some excellent copies up to three feet across made in this way and as the work practically mechanical, highly-skilled labour is not necessary. On point is essential, and that is that the same lens should be used both for making the negative and the enlargement. The operation has been very successfully carried out thus: supposing an architect's drawing has to be reproduced, a copy is made upon a process-plate, say, half-plate or whole-plate size, the distances between lens and original and lens and plate being accurately measured. The lens is then transferred to the enlarger, and the negative and bromide paper carefully placed at exactly the same distances, the result being a full-sized copy free from any distortion, the image having been made to travel back through the same optical system by which it was produced. Where much work has to be done it would be well to have both camera and enlarger rigidly set to the required points so that for full-sized reproductions no setting would be necessary. With a proper artificial lighting scheme the exposures of both plate and enlargement would be a fixed quantity, and a spoiled sheet almost unknown.
The Shop Window.
A few days ago we were asked whether it was advisable to retain a shop window for the display of specimens or to be satisfied with show-cases in a lobby and let off the shop. This is not quite such a simple question to answer as it appears at first sight, since many factors have to be taken into consideration. The first of these is the class of business which is intended to be done. The highest class of portraitists depends almost entirely upon introductions and to a lesser degree upon reproductions of their pictures in the press. Some go no farther than a brass door-plate to advertise their locale, a few even dispense with this, while others have modest show-cases with only one or two specimens on view at a tine. A few of the older firms have large lobby shows or shop windows, but it is not until we reach those who cater mainly for chance trade that we find the window show really popular. Recently there has been a great increase in these window shows in London and other large centres, so that we must conclude that they have been found to be a paying proposition. It may be noted that many of the large portrait shops are being run by people who are also engaged in other branches of industry, and they have treated photographs in the same way as they would clothes, jewelers, or tobacco. Surely, therefore, it is quite in order for the photographer, pure and simple, to take a leaf from the business man's book and to go in for bold advertisement, providing that he has the means to do it properly, and not to lose sight of the next important factor in the matter that of locality. To be effective a window display must be situated where there is a considerable amount of traffic, and in what may be called a shopping or market thoroughfare, where there are other attractions. Even in the same street one position is valuable and another almost worthless. In nearly every important thoroughfare there is one side which is much better for business than the other, and this keen business man is careful to ascertain before he invests his money.
It is a known fact that many of the finest pre-war anastigmats frequently give both ghost images and flare when dealing with subjects which throw a strong light into their glasses. The defect is much lees often met when single lenses or the single components of convertible auastigtmats or R.R. instruments are employed. "Ghost images" or "flare'' are regarded by many photographers as being the more likely with instruments having many glass-to-air surfaces, and as a matter of fact, though not as a general rule, the more of these surfaces there are in the instrument the more likely is the defect to be in evidence in certain classes of work. It is not realized as well as it might lie by those who possess anastigmats which exhibit flare or ghost images that much may be done to assist in eliminating these if the instrument is provided with a sufficiently deep hood. We have in our own possession an anastigmat with no less than ten glass-to-air surfaces, and invariably when this lens is used against the light or under like conditions the defects are sure to manifest themselves, yet when the front glass is shaded with a deep and efficient hood we have never had the least reason for complaint. The rarity of ghost images or flare when R.R. or single lenses are used may be traced in part to the fact that with the former class the hoods are much more efficient: as regards the latter, when the single components of the convertible anastigmat are employed it is nearly always the front lens that is removed, and thus the mount of the lens serves as a highly efficient hood for the back glass.
Camera Copies.
The recent installation of the Photostat Patent Office brings forward the subject of quick and cheap copying of documents, printed matter, or drawings, by means of the camera. As most of our readers are aware in this and similar apparatus, the print is made by exposing bromide paper in a special camera which is scaled to various sizes. The image is normally a negative one, although positives may be made by recopying them same size. Taken in an ordinary camera the images would be laterally inverted, but this can be obviated by fitting a reversing prism or mirror to the lens, the latter being, of course, much the cheaper arrangement. We think that photographers who work for engineering and other manufacturing firms would do well to take this class of work into consideration, as it would secure many orders for copies of drawings, plans, etc., not amenable to duplication by the usual heliographic methods, which call for a translucent original. It should not be difficult to arrange an attachment to any ordinary large camera for moderate-sized subjects, while larger ones could be managed by taking a small negative and enlarging in the usual way. We have seen some excellent copies up to three feet across made in this way and as the work practically mechanical, highly-skilled labour is not necessary. On point is essential, and that is that the same lens should be used both for making the negative and the enlargement. The operation has been very successfully carried out thus: supposing an architect's drawing has to be reproduced, a copy is made upon a process-plate, say, half-plate or whole-plate size, the distances between lens and original and lens and plate being accurately measured. The lens is then transferred to the enlarger, and the negative and bromide paper carefully placed at exactly the same distances, the result being a full-sized copy free from any distortion, the image having been made to travel back through the same optical system by which it was produced. Where much work has to be done it would be well to have both camera and enlarger rigidly set to the required points so that for full-sized reproductions no setting would be necessary. With a proper artificial lighting scheme the exposures of both plate and enlargement would be a fixed quantity, and a spoiled sheet almost unknown.
The Shop Window.
A few days ago we were asked whether it was advisable to retain a shop window for the display of specimens or to be satisfied with show-cases in a lobby and let off the shop. This is not quite such a simple question to answer as it appears at first sight, since many factors have to be taken into consideration. The first of these is the class of business which is intended to be done. The highest class of portraitists depends almost entirely upon introductions and to a lesser degree upon reproductions of their pictures in the press. Some go no farther than a brass door-plate to advertise their locale, a few even dispense with this, while others have modest show-cases with only one or two specimens on view at a tine. A few of the older firms have large lobby shows or shop windows, but it is not until we reach those who cater mainly for chance trade that we find the window show really popular. Recently there has been a great increase in these window shows in London and other large centres, so that we must conclude that they have been found to be a paying proposition. It may be noted that many of the large portrait shops are being run by people who are also engaged in other branches of industry, and they have treated photographs in the same way as they would clothes, jewelers, or tobacco. Surely, therefore, it is quite in order for the photographer, pure and simple, to take a leaf from the business man's book and to go in for bold advertisement, providing that he has the means to do it properly, and not to lose sight of the next important factor in the matter that of locality. To be effective a window display must be situated where there is a considerable amount of traffic, and in what may be called a shopping or market thoroughfare, where there are other attractions. Even in the same street one position is valuable and another almost worthless. In nearly every important thoroughfare there is one side which is much better for business than the other, and this keen business man is careful to ascertain before he invests his money.
A relaxing day, woke before the children went to school. one wasn't wanting to go but he begrudgingly allowed me to help him get dressed, and Gill took them in. Once in school, he was happy and told his mum that he was glad to be there... fickle or what?
I needed to go to the Civic Amenity site to get rid of several bags of drinks cartons which can be collected for recycling there, and I took the old wheelbarrow which has been rusting in the garden since we moved here in 2001, and put it in the metal skip for recycling... really glad that cyclists are now allowed into the site without any hassle. Then on to Country Fresh but Jamie's promised load wasn't in yet, so came home via the lottie where I prepared the compost heaps for the coming onslaught, ie layered them with cow-parsley stems and docks and nettles. Had a friendly chat with my neighbour Jackie, who's nearly been thrown off her plot due to it being left to get too weedy. My plot is looking untidy but it is being used... onions, leeks, potatoes, asparagus, artechokes, 4 compost heaps....
Home on the dot of 1pm, lunch and chats with Gill who had been to town, and got money back on some trousers she'd got for me and didn't fit.... I'm a bit fatter than she thinks I am!
I then had a VERY satisfying time planting up a lot of seeds... better late than not at all! So loads of curcubits, sweetcorn and beans. Hooray!
I went to school but came home with no-one as my eldest went to a friend's house and my youngest was doing yoga. Home to go to the veg shop to collect a large pile of stuff from the wholesaler... and was only just strong enough to get this to the lottie, and it took quite a time to get it piled up and layered on the three heaps that are currently being used. Home in time for a quick shower before bombing down to the Bishopthorpe Road to 'Lal Quila' where the Hull Road Ward Planning Panel were having an unusual meeting. We were ushered upstairs, but then we got a message that Carolyn had arrived and she couldn't get up the stairs, so we came down and had our beers, poppadoms and onion bhajis plus the one planning application we needed to look at. It was a very enjoyable meeting, so thank you to Abul, one of our members, who suggested the change of venue and was our host for the evening.
I cycled down to the council offices to put the reply to the planning application in their letterbox, and came back via Jamie's van where I picked up another load and took it to the allotment.
Home by 9.30 pm, lit the stove so I could wash up and dry some apples not saleable but washable, peelable, core-able, slice-able and dryable.... and also ditto to a melon.
I needed to go to the Civic Amenity site to get rid of several bags of drinks cartons which can be collected for recycling there, and I took the old wheelbarrow which has been rusting in the garden since we moved here in 2001, and put it in the metal skip for recycling... really glad that cyclists are now allowed into the site without any hassle. Then on to Country Fresh but Jamie's promised load wasn't in yet, so came home via the lottie where I prepared the compost heaps for the coming onslaught, ie layered them with cow-parsley stems and docks and nettles. Had a friendly chat with my neighbour Jackie, who's nearly been thrown off her plot due to it being left to get too weedy. My plot is looking untidy but it is being used... onions, leeks, potatoes, asparagus, artechokes, 4 compost heaps....
Home on the dot of 1pm, lunch and chats with Gill who had been to town, and got money back on some trousers she'd got for me and didn't fit.... I'm a bit fatter than she thinks I am!
I then had a VERY satisfying time planting up a lot of seeds... better late than not at all! So loads of curcubits, sweetcorn and beans. Hooray!
I went to school but came home with no-one as my eldest went to a friend's house and my youngest was doing yoga. Home to go to the veg shop to collect a large pile of stuff from the wholesaler... and was only just strong enough to get this to the lottie, and it took quite a time to get it piled up and layered on the three heaps that are currently being used. Home in time for a quick shower before bombing down to the Bishopthorpe Road to 'Lal Quila' where the Hull Road Ward Planning Panel were having an unusual meeting. We were ushered upstairs, but then we got a message that Carolyn had arrived and she couldn't get up the stairs, so we came down and had our beers, poppadoms and onion bhajis plus the one planning application we needed to look at. It was a very enjoyable meeting, so thank you to Abul, one of our members, who suggested the change of venue and was our host for the evening.
I cycled down to the council offices to put the reply to the planning application in their letterbox, and came back via Jamie's van where I picked up another load and took it to the allotment.
Home by 9.30 pm, lit the stove so I could wash up and dry some apples not saleable but washable, peelable, core-able, slice-able and dryable.... and also ditto to a melon.
[The immense part played by aerial photography in the prosecution of the war is naturally realized by photographers, a very large number of whom have been practically engaged in carrying it on. But perhaps the magnitude of the scale is not a matter of common knowledge, and therefore we embrace the opportunity of reprinting from the "Daily Telegraph" of Monday last an article which presumably embodies official figures. It is interesting to find that in the essential matters of cameras and lenses the British forces were better equipped than the German. The fact has recently been the subject of remark as regards lenses, and the writer of the 2 notes printed below describes, it will be noticed, the same superiority in respect to cameras. Eds. "B. J."]
When hostilities broke out in 1914 aerial photography was still in its primitive and experimental stage. A considerable amount of pioneer work had been done both from balloons and aero planes; a small but valuable literature was arising; but the impetus of war was required, with the aid of the immense scientific and technical resources behind the Royal Air Force, to exploit its possibilities. Some idea of the progress made can be gained from the fact that on the Western front alone during the last ten months of war no tower than 264,605 Royal Air Force negatives were taken in the air over German territory, and the gigantic total of 5,800,000 prints was made from these negatives for the use of the Intelligence Staff.
The most recent types of Royal Air Force cameras are very highly finished pieces of work. .The lens itself is shielded in a deep tube which faces vertically downwards, thus preventing direct sunlight falling upon it. At the other end of the camera is a steel chamber, containing the automatic device for changing the plates after each exposure. The entire apparatus is securely fastened to the side of the machine, and u connected by a wire with the observer's seat. The pressure of a lever is sufficient to expose a plate and to bring a new plate into position. The German cameras, as recently exhibited in the Strand, lack many of the exquisite mechanical refinements of the British instrument, particularly the ingenious device by which the plates are automatically changed in the air, without any attention whatever from the pilot. This striking British invention ha enabled many excellent and valuable photographs to be taken while the machine itself has been under heavy fire both from the air and the ground.
High-Speed Photography.
Anyone who has tried to take a snapshot from the carriage window of an express train realizes the difficulty experienced in obtaining a negative entirely free from movement. The same difficulties are, of coarse, experienced in taking photographs from the air. A modern aero plane is really a traveling observation platform moving at from fifty to a hundred miles an hour. As the pace of the machine cannot be altered, the object to be taken must be "snapped" as it slips swiftly by beneath the machine. Aerial photography is, therefore, high-speed photography of a special kind. An aerial photograph is almost always under-exposed, and this calls for exceptional treatment when the plates come to be developed. Apart from this peculiarity, however, it is the definite policy of the Royal Air Force to specialize in very thin negatives. A dense negative takes far too long to print by artificial light. A thin negative enables prints to be made in about three seconds. In this way a trained Royal Air Force photographer can print and develop as many as eighty separate enlargements in the course of an hour.
For this scientific work the Royal Air Force has trained large numbers of highly skilled workers. In the model dark-rooms at the Central School of Aerial Photography every candidate for acceptance as a R.A.F. photographer must first pass a severe test, designed to reveal his suitability or otherwise for the work. He is then given a month's practical intensive training, particular attention being paid to the processes of development, and to the enlargement of negatives by artificial light. Much importance is attached to the rapidity with which these enlargements ran be produced, for the fate of a battle may depend upon the promptness with which large scale copies of a vital subject can be supplied to the Intelligence Staff. After a further course at a training centre in England, the airman-photographer would proceed to a service squadron overseas and be assigned to a photographic section working with a recon naissance Bight. Such a "section" usually consists of a technical non-commissioned officer and about seven men, who take in torus the more confined and laborious aspects of the work. One man will “load” the magazines with unexposed plates, another will fix the cameras to the machines prior to flight, and receive them on return; others are detailed for developing, washing, drying, and plotting the negatives. Several men are constantly engaged in tin enlarging room, exposing and developing as many as 100 prints in an hour.
Before an Offensive.
It is during the strenuous days preceding a big offensive that photographic activity raises to its maximum. During the successive big drives made by the British in France during the summer and autumn of last year, the entire field of operations was photographed over and over again. If a new series of enemy trenches were constructed during the night, a R.A.F. reconnaissance squadron would bring home photographic evidence of the fact on the following morning. It was no uncommon thing for as many as 11,000 negatives to be made on the Western front alone during a single week preceding an important advance.
In addition to this vast work of aerial reconnaissance, photography was also extensively used for verifying the results of artillery fire, and for recording the precise effects of bombs dropped from the sir. The very Inking photographs of Frankfort, Mannheim, Mets, Sablon, etc., recently published in the Press, were actually taken during the raids upon those towns. Another valuable development was the application of the stereoscope to war intelligence. By taking two photographs of the same object, say an enemy trench system, at an interval of a few seconds, a striking stereoscopic effect is obtained which throws all the ramparts and other elevated portions of the enemy work into high relief. In this way the principal difficulties to be encountered by the attacking party can be foreseen.
Aerial photography is destined to become one of the big new industries of the future. The topographical surveys of to-morrow will be photographic surveys; the school and commercial atlases will be photographic atlases. Exploration, commerce, scientific research must all benefit by an industry which may well grow to very largo proportions. In this field of post-war industrial activity, Britain will inevitably take a foremost place, for she already has at her command in Royal Air Force personnel some of the most highly trained specialist photographers in the world.
When hostilities broke out in 1914 aerial photography was still in its primitive and experimental stage. A considerable amount of pioneer work had been done both from balloons and aero planes; a small but valuable literature was arising; but the impetus of war was required, with the aid of the immense scientific and technical resources behind the Royal Air Force, to exploit its possibilities. Some idea of the progress made can be gained from the fact that on the Western front alone during the last ten months of war no tower than 264,605 Royal Air Force negatives were taken in the air over German territory, and the gigantic total of 5,800,000 prints was made from these negatives for the use of the Intelligence Staff.
The most recent types of Royal Air Force cameras are very highly finished pieces of work. .The lens itself is shielded in a deep tube which faces vertically downwards, thus preventing direct sunlight falling upon it. At the other end of the camera is a steel chamber, containing the automatic device for changing the plates after each exposure. The entire apparatus is securely fastened to the side of the machine, and u connected by a wire with the observer's seat. The pressure of a lever is sufficient to expose a plate and to bring a new plate into position. The German cameras, as recently exhibited in the Strand, lack many of the exquisite mechanical refinements of the British instrument, particularly the ingenious device by which the plates are automatically changed in the air, without any attention whatever from the pilot. This striking British invention ha enabled many excellent and valuable photographs to be taken while the machine itself has been under heavy fire both from the air and the ground.
High-Speed Photography.
Anyone who has tried to take a snapshot from the carriage window of an express train realizes the difficulty experienced in obtaining a negative entirely free from movement. The same difficulties are, of coarse, experienced in taking photographs from the air. A modern aero plane is really a traveling observation platform moving at from fifty to a hundred miles an hour. As the pace of the machine cannot be altered, the object to be taken must be "snapped" as it slips swiftly by beneath the machine. Aerial photography is, therefore, high-speed photography of a special kind. An aerial photograph is almost always under-exposed, and this calls for exceptional treatment when the plates come to be developed. Apart from this peculiarity, however, it is the definite policy of the Royal Air Force to specialize in very thin negatives. A dense negative takes far too long to print by artificial light. A thin negative enables prints to be made in about three seconds. In this way a trained Royal Air Force photographer can print and develop as many as eighty separate enlargements in the course of an hour.
For this scientific work the Royal Air Force has trained large numbers of highly skilled workers. In the model dark-rooms at the Central School of Aerial Photography every candidate for acceptance as a R.A.F. photographer must first pass a severe test, designed to reveal his suitability or otherwise for the work. He is then given a month's practical intensive training, particular attention being paid to the processes of development, and to the enlargement of negatives by artificial light. Much importance is attached to the rapidity with which these enlargements ran be produced, for the fate of a battle may depend upon the promptness with which large scale copies of a vital subject can be supplied to the Intelligence Staff. After a further course at a training centre in England, the airman-photographer would proceed to a service squadron overseas and be assigned to a photographic section working with a recon naissance Bight. Such a "section" usually consists of a technical non-commissioned officer and about seven men, who take in torus the more confined and laborious aspects of the work. One man will “load” the magazines with unexposed plates, another will fix the cameras to the machines prior to flight, and receive them on return; others are detailed for developing, washing, drying, and plotting the negatives. Several men are constantly engaged in tin enlarging room, exposing and developing as many as 100 prints in an hour.
Before an Offensive.
It is during the strenuous days preceding a big offensive that photographic activity raises to its maximum. During the successive big drives made by the British in France during the summer and autumn of last year, the entire field of operations was photographed over and over again. If a new series of enemy trenches were constructed during the night, a R.A.F. reconnaissance squadron would bring home photographic evidence of the fact on the following morning. It was no uncommon thing for as many as 11,000 negatives to be made on the Western front alone during a single week preceding an important advance.
In addition to this vast work of aerial reconnaissance, photography was also extensively used for verifying the results of artillery fire, and for recording the precise effects of bombs dropped from the sir. The very Inking photographs of Frankfort, Mannheim, Mets, Sablon, etc., recently published in the Press, were actually taken during the raids upon those towns. Another valuable development was the application of the stereoscope to war intelligence. By taking two photographs of the same object, say an enemy trench system, at an interval of a few seconds, a striking stereoscopic effect is obtained which throws all the ramparts and other elevated portions of the enemy work into high relief. In this way the principal difficulties to be encountered by the attacking party can be foreseen.
Aerial photography is destined to become one of the big new industries of the future. The topographical surveys of to-morrow will be photographic surveys; the school and commercial atlases will be photographic atlases. Exploration, commerce, scientific research must all benefit by an industry which may well grow to very largo proportions. In this field of post-war industrial activity, Britain will inevitably take a foremost place, for she already has at her command in Royal Air Force personnel some of the most highly trained specialist photographers in the world.
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.
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.
Oh bliss, I slept through the early morning stuff, Gill took the lads to school without any problems at all, and then came back to bed, waking me up in the process, which was just the best way to be woken up!
Got up at 10 and breakfasted and disappeared into the garden, coming back in for lunch.
A quiet afternoon, doing jobs around the house and in ther conservatory, seedlings needing management etc.
I went to the lottie just before going to school and picked some leeks for tea, and then picked the boys up.
Had tired nutloaf for tea with a leek sauce, then zoomed into town for a meeting with the organisers of the York Freeze which is happening next Tuesday, May 27th, in Parliament Street. Several groups of people, and individuals, will be randomly near the fountain at middayish, and will all at the same time become still for 3 minutes.... a sort of art installation thingy. It is to raise awareness of volunteering. We watched the youtube vid of the New York Feeeze in a railway station, very effective, and then the much smaller Bristol Freeze, filmed partly by my friend Chevvy. We discussed tactics and how we would know when to freeze and to unfreeze, got this all worked out.
This meeting lasted an hour, and I then came home via Anna's where there are still twigs and stuff to pick up, so brought a load home and put them through the shredder when I got back.
Got up at 10 and breakfasted and disappeared into the garden, coming back in for lunch.
A quiet afternoon, doing jobs around the house and in ther conservatory, seedlings needing management etc.
I went to the lottie just before going to school and picked some leeks for tea, and then picked the boys up.
Had tired nutloaf for tea with a leek sauce, then zoomed into town for a meeting with the organisers of the York Freeze which is happening next Tuesday, May 27th, in Parliament Street. Several groups of people, and individuals, will be randomly near the fountain at middayish, and will all at the same time become still for 3 minutes.... a sort of art installation thingy. It is to raise awareness of volunteering. We watched the youtube vid of the New York Feeeze in a railway station, very effective, and then the much smaller Bristol Freeze, filmed partly by my friend Chevvy. We discussed tactics and how we would know when to freeze and to unfreeze, got this all worked out.
This meeting lasted an hour, and I then came home via Anna's where there are still twigs and stuff to pick up, so brought a load home and put them through the shredder when I got back.
An excellent day, children on good form, and a really good gig near Hull.
I was getting ready to go when my parents arrived on their way to a garden open, but I had to go and get the midday train. I wrote my column for Community Care on the train between York and Brough... just took 40 minutes and when I counted my words, it came to 347... my limit is 350!
So got to Brough near Hull and was picked up by the dad and the two children and we went to South Cave to the family centre next to the church. Their Granddad was blowing up 'rocket balloons' and letting the children let them go, something I sometimes do in my balloon show, so I knew that would be something I couldn't do... but it set the scene for lots of fun, and both my shows went down a storm, so much so that they gave me an extra fee on top of my agreed fee.
There was quite a wait before my train home so had a pint at the pub near the station, and a good chat with a couple of locals.
So a satisfying day, and Gill and the boys had had some fun too.
I was getting ready to go when my parents arrived on their way to a garden open, but I had to go and get the midday train. I wrote my column for Community Care on the train between York and Brough... just took 40 minutes and when I counted my words, it came to 347... my limit is 350!
So got to Brough near Hull and was picked up by the dad and the two children and we went to South Cave to the family centre next to the church. Their Granddad was blowing up 'rocket balloons' and letting the children let them go, something I sometimes do in my balloon show, so I knew that would be something I couldn't do... but it set the scene for lots of fun, and both my shows went down a storm, so much so that they gave me an extra fee on top of my agreed fee.
There was quite a wait before my train home so had a pint at the pub near the station, and a good chat with a couple of locals.
So a satisfying day, and Gill and the boys had had some fun too.
Although many photographers, both professional and amateur will be familiar with the fact that the printing of carbon tissue can be done conveniently with the stronger sources of artificial light, such as the electric arc and mercury vapour lamp, as well as by daylight, it does not appear to be so well known that by choosing a suitable source of light prints without the usual lateral inversion can be obtained from ordinary glass-plate negatives by the process of single transfer only. A few remarks on the method of obtaining such prints may therefore be of interest to those who have the necessary facilities in their studios or homes.
To obtain the unreversed print the tissue most be placed in contact with the plain glass side of the negative, the latter being placed in the printing frame with the film towards the light. The negative moat then be illuminated by a very small but sufficiently actinic sources, and care must be taken that as little light as possible, other than the direct rays from the direct rays from the source, falls on the plate during the exposure.
The most convenient and satisfactory illuminant is undoubtedly the comparatively new Ediswan "Pointolite" lamp. The actual source in this lamp is a small metal ball, the diameter of which is about two millimeters, supported in the centre of a glass bulb, some 10 centimeters in diameter. The ball is rendered incandescent by a small electric arc, which obtained by placing a second electrode immediately over the ball. The usual rating is 100 candle-power, and the current required about 1,5 amperes. This intense and practically “point” source of light is highly actinic, and forms an ideal illuminant for many optical purposes. In using the lamp for the purpose under consideration it is well to place the negative end of box coated inside with a dead black, and to the lamp outside the box at the other end. A small rectangular hole is to be provided in thia end, so that when the lamp u placed as close as possible to the hole the beam of light which enters the box will just cover the film of the negative. The distance between the centre of the bulb and the negative may be 20 centimeters, or even less. It is clear that a number of negatives may be printed at the same time, the bulb of the lamp being placed for this purpose in the middle of a circular or, say, octagonal box with suitable radial partitions; light reflected from the film of one negative must not be allowed to fall on the others. When six negatives are printed at once the cost of printing may be less than that of the final rapport used in the double transfer process, and there is, of course, also a considerable saving of time. With negatives of average density the time of exposure required is 40 to 50 minutes. The time may be shortened, if fine definition is not required, by reducing the distance between the negative and the lamp. It may be added that the "Pointolite" takes so little current that is may be connected to any lamp-holder, special wiring not being required.
A second illuminant which will be found to give satisfactory results is the iron arc, but this can only be used where ordinary arc lights are installed or where the electrical fittings allow the use of a current of 5 or 6 amperes. The advantage of an arc with iron pole, instead of the usual carbon poles is that the iron burns away very slowly, so that no “feed” is required. In fact, the lamp in this case may consist simply of two iron rods, 1 or 1*(1/2) cm. in thickness supported in the same vertical line with a space of about 4 mm. between their nearer ends. The poles must be, of course, insulated and connected to the mains in the same manner as the ordinary arc lamp. The arc is most conveniently “struck” by drawing a third iron rod across the ends of the pole piece. Once the pole, become hot the lamp will run for long periods, sometimes hours, without requiring attention. If the power is supplied by direct current the upper pole should be made the negative one. It is well to place a tray containing .water below the lamp, as occasionally small pieces of molten iron may fall. As the light is very rich in ultraviolet rays it should not be used except when the eyes are protected by plain glass or ordinary spectacles. With this more powerful source a larger number of prints may be exposed at once, the frames being arranged in a circle, say 50 cm. from the light. At this distance no special screens are necessary and reflection from surrounding objects is of no account unless they are light-coloured. The exposure required at 50 cm. is about 20 minutes, with a current of amperes.
With the distances quoted above the diameter of the circle of confusion representing the points of the image is about .005 mm, but there is a slight loss of definition which appears to be due to reflection between the front and back surfaces of the negative. The want of sharpness, however, is remarkably slight, and in most cases amounts to no more than a softening of the otherwise hard lines of the picture, an effect which in many subjects is quite pleasing.
S. S. RICHARDSON.
To obtain the unreversed print the tissue most be placed in contact with the plain glass side of the negative, the latter being placed in the printing frame with the film towards the light. The negative moat then be illuminated by a very small but sufficiently actinic sources, and care must be taken that as little light as possible, other than the direct rays from the direct rays from the source, falls on the plate during the exposure.
The most convenient and satisfactory illuminant is undoubtedly the comparatively new Ediswan "Pointolite" lamp. The actual source in this lamp is a small metal ball, the diameter of which is about two millimeters, supported in the centre of a glass bulb, some 10 centimeters in diameter. The ball is rendered incandescent by a small electric arc, which obtained by placing a second electrode immediately over the ball. The usual rating is 100 candle-power, and the current required about 1,5 amperes. This intense and practically “point” source of light is highly actinic, and forms an ideal illuminant for many optical purposes. In using the lamp for the purpose under consideration it is well to place the negative end of box coated inside with a dead black, and to the lamp outside the box at the other end. A small rectangular hole is to be provided in thia end, so that when the lamp u placed as close as possible to the hole the beam of light which enters the box will just cover the film of the negative. The distance between the centre of the bulb and the negative may be 20 centimeters, or even less. It is clear that a number of negatives may be printed at the same time, the bulb of the lamp being placed for this purpose in the middle of a circular or, say, octagonal box with suitable radial partitions; light reflected from the film of one negative must not be allowed to fall on the others. When six negatives are printed at once the cost of printing may be less than that of the final rapport used in the double transfer process, and there is, of course, also a considerable saving of time. With negatives of average density the time of exposure required is 40 to 50 minutes. The time may be shortened, if fine definition is not required, by reducing the distance between the negative and the lamp. It may be added that the "Pointolite" takes so little current that is may be connected to any lamp-holder, special wiring not being required.
A second illuminant which will be found to give satisfactory results is the iron arc, but this can only be used where ordinary arc lights are installed or where the electrical fittings allow the use of a current of 5 or 6 amperes. The advantage of an arc with iron pole, instead of the usual carbon poles is that the iron burns away very slowly, so that no “feed” is required. In fact, the lamp in this case may consist simply of two iron rods, 1 or 1*(1/2) cm. in thickness supported in the same vertical line with a space of about 4 mm. between their nearer ends. The poles must be, of course, insulated and connected to the mains in the same manner as the ordinary arc lamp. The arc is most conveniently “struck” by drawing a third iron rod across the ends of the pole piece. Once the pole, become hot the lamp will run for long periods, sometimes hours, without requiring attention. If the power is supplied by direct current the upper pole should be made the negative one. It is well to place a tray containing .water below the lamp, as occasionally small pieces of molten iron may fall. As the light is very rich in ultraviolet rays it should not be used except when the eyes are protected by plain glass or ordinary spectacles. With this more powerful source a larger number of prints may be exposed at once, the frames being arranged in a circle, say 50 cm. from the light. At this distance no special screens are necessary and reflection from surrounding objects is of no account unless they are light-coloured. The exposure required at 50 cm. is about 20 minutes, with a current of amperes.
With the distances quoted above the diameter of the circle of confusion representing the points of the image is about .005 mm, but there is a slight loss of definition which appears to be due to reflection between the front and back surfaces of the negative. The want of sharpness, however, is remarkably slight, and in most cases amounts to no more than a softening of the otherwise hard lines of the picture, an effect which in many subjects is quite pleasing.
S. S. RICHARDSON.
Distance: 7.5 miles RT
Elevation: 7,044 to 9,204
Elevation Gain: 2,280 ft

Crosier Mountain is a lesser-known, lower mountain to the northeast of Estes Park that is perfect for a shoulder season outing. It has significant elevation gain, glorious views of Longs Peak, Mt. Meeker, Estes Park, and the Mt. Mummy. There are at least three different trails that approach the mountain, each offering different features. I have done two of the three and of those two, prefer the one that will be described in this post. It just has more expansive views.

You can get to any of the trailheads via Loveland and Hwy 34 or via Estes Park and Devil’s Gulch Road. Since I had never driven Hwy 34, we decided to take that route. The canyon walls east of Drake are very pretty and worth the drive. From Hwy 34, you can access one of the first trailheads right after turning onto Devil’s Gulch road. A colleague of mine usually takes this route and indicated it is longer, at least 10 miles, and wanders through many open meadows. Around 6 miles from the turn off is another trailhead that is well marked. A large dirt parking lot can hold many cars. There is a trail map and gate to the left of parking lot. The other trailhead is in the town of Glen Haven itself. The trail starts on the left just beyond the stables when heading towards Estes Park. The Glen Haven trail goes through a very large meadow and comes back around the mountain. The other trailhead approaches the mountain from the south and intersects the Glen Haven trail at the 2-mile interval, so the trails only differ for the first half of the route.
The early part of the second trail ascends quickly up a slope with nice views of the rocky cliffs to the north of Hwy 34. After a half mile or so, there is a nice view down the canyon itself and out onto the plains. The trail is covered in loose quartz rock that has eroded out of the hillside. Ankle high boots are advised for anyone with weak ankles.
At 1.8 miles, there is large aspen grove with very large old growth trees. It would be very pretty in the fall. The trail in this area is very sunken and in places the ground was above the level of my knees. This trench was also narrow, which made walking difficult. It is just past this area that the trail intersects with the Glen Haven route. The spot is well marked with a trail sign and a very large log suitable for resting.

From this point the trail begins a steady accent through stunted Ponderosa pine. I am a true Coloradoan and I don’t like staying in trees for very long without vistas, so I found an Ipod with music to be helpful on this stretch.
The final pitch to the summit is also well marked. It is here that the third trail intersects. Parts of the summit pitch are very steep and the trail is very eroded in places. The trees thin as you ascend though, offering nice views of the foothills to the east. There are also several interesting rock formations. The summit is very broad allowing for significant exploration. There is a nice cut in the rock that allows for direct views of Estes Park without climbing the small rock pile on the right.
Crosier Mountain is not my favorite hike simply because it is a bit too monotonous for me but during the spring when we just don’t want to snowshoe anymore, it is a nice alternative to the trails around Boulder. We can take the dogs and let them run their paws off. The trail is multi-use and you will occasionally run into horses and mountain bikers but in our half-day outing, we only ran into 3 other groups.
Elevation: 7,044 to 9,204
Elevation Gain: 2,280 ft

Crosier Mountain is a lesser-known, lower mountain to the northeast of Estes Park that is perfect for a shoulder season outing. It has significant elevation gain, glorious views of Longs Peak, Mt. Meeker, Estes Park, and the Mt. Mummy. There are at least three different trails that approach the mountain, each offering different features. I have done two of the three and of those two, prefer the one that will be described in this post. It just has more expansive views.

You can get to any of the trailheads via Loveland and Hwy 34 or via Estes Park and Devil’s Gulch Road. Since I had never driven Hwy 34, we decided to take that route. The canyon walls east of Drake are very pretty and worth the drive. From Hwy 34, you can access one of the first trailheads right after turning onto Devil’s Gulch road. A colleague of mine usually takes this route and indicated it is longer, at least 10 miles, and wanders through many open meadows. Around 6 miles from the turn off is another trailhead that is well marked. A large dirt parking lot can hold many cars. There is a trail map and gate to the left of parking lot. The other trailhead is in the town of Glen Haven itself. The trail starts on the left just beyond the stables when heading towards Estes Park. The Glen Haven trail goes through a very large meadow and comes back around the mountain. The other trailhead approaches the mountain from the south and intersects the Glen Haven trail at the 2-mile interval, so the trails only differ for the first half of the route.

At 1.8 miles, there is large aspen grove with very large old growth trees. It would be very pretty in the fall. The trail in this area is very sunken and in places the ground was above the level of my knees. This trench was also narrow, which made walking difficult. It is just past this area that the trail intersects with the Glen Haven route. The spot is well marked with a trail sign and a very large log suitable for resting.

From this point the trail begins a steady accent through stunted Ponderosa pine. I am a true Coloradoan and I don’t like staying in trees for very long without vistas, so I found an Ipod with music to be helpful on this stretch.
The final pitch to the summit is also well marked. It is here that the third trail intersects. Parts of the summit pitch are very steep and the trail is very eroded in places. The trees thin as you ascend though, offering nice views of the foothills to the east. There are also several interesting rock formations. The summit is very broad allowing for significant exploration. There is a nice cut in the rock that allows for direct views of Estes Park without climbing the small rock pile on the right.
Crosier Mountain is not my favorite hike simply because it is a bit too monotonous for me but during the spring when we just don’t want to snowshoe anymore, it is a nice alternative to the trails around Boulder. We can take the dogs and let them run their paws off. The trail is multi-use and you will occasionally run into horses and mountain bikers but in our half-day outing, we only ran into 3 other groups.
