Human Lifestyle

A clock to measure the seconds, the face and fingers of which be plainly seen in the dark room, is a most desirable and useful ring. But one specially made for the purpose at the present time is rather an expensive item. The following instruction will enable any photographer to adapt an ordinary clock at vary little cost. Any make or sue will do providing it has a good, bold, white dial and a minute finger, and is one without a which will go in any position like a watch. Unless it has a finger it will be of no use for our purpose. It does not how old the movement is or bow defective it’s time-keeping qualities; these are of no consequence. If we have not one in our one can be picked up very cheaply, often for a few at a clock repairer's or secondhand stores.
Having secured this, we can proceed with the work of converting into a dark-room clock.

Carefully take the movement out of the case, noticing particularly bow it m fixed in, and remove the fingers. Sometimes this latter has to be done before the movement will come out of the case. All screws, washers, fingers, ate, should be put into a purser or small tray so that they will not get lost, as they will be required later. We should now carefully look at the works and notice just those wheels and spindles which are required to keep the clock going and the minute finger moving. All the rest of the movements are not required by us, and are better taken out. The beet way to take these out without disturbing any other works is to cot through the spindles which carry the wheels with a three-cornered file anywhere where it is convenient. They can then easily be taken out. When all the unnecessary parts have been removed we shall have a clock which, when going, only takes round the minute band. The dial should now be pot back on the clock in such a manner that the centre of the dial where the hour hand was should be fixed over the minute finger movement. This may necessitate a little cutting of the dial, etc., or other parts, to allow it to fit in its right position, but can easily be accomplished. When this is fitted in position the long; finger is carefully soldered on to the minute finger and blacked, the minute finger placed in position, and the whole movement put back into the case. We have now a clock which takes just one minute for the finger to go completely round the dial, and each of the hours five seconds. The dial being of a large size and white, and the finger black, it is very easy to see and count the time in the dark room. Of course, the clock will go with once winding as long as ever it did.

Notes by assistants suitable for this column trill be considered and paid for on the first of the month following publication.

Specialization and Efficiency.

The advice to specialize in one or perhaps two particular branches of work is frequently given to the photographer whether he is a master, assistant, or amateur. This advice is often rather vague, first as to the "why" and more so as to the “how” of the question.
I am writing more particularly for the benefit of the assistant, because one who has a business of his own has usually found out what particular lines pay him tat, and how to push the sale them Still, it is strange to notice the great number of photographers' note headings stating this, that, or the other to be a specialty (or "speciality," or " specialite "), but which can form only a very tiny portion of the business done. For instance, a order comes to quite a small studio for an oil-painting. The photographer puts the work out, takes the profit, and feels pleased with him at having launched out into a high-class and profitable branch so has all his stationery imprinted for ever after “Oil-paintings a specialty," in the probably vain hope of a succession of such orders. Another advertises "Wedding-groups" or ' Child portraits «as his specialty, not necessarily because weddings are frequent in the one man's neighborhood, or that the second is extraordinarily successful with children. If any definite reason for printing these phrases on note-paper can be given, it usually is only that "it sounds well."
Another sort of specialization was criticized in a letter recently by an "All-round Hand" on behalf of his class. He described a retouched whose work was so "effective" that the portrait looked very nice but not a bit like the subject, and a receptionist whose "specializing" in her own department was so water-tight that she failed to recognize what -was wrong with the portrait when complained of.
I do not call these things specialization at all. I don't know what to call them. We have specialists in the Army. In the infantry a soldier may be, for example, a Lewis-gunner, a sniper, or a mess-waiter, but he must be a good infantryman first. I think the same applies to a craftsman, each as a journeyman photographer.
When an assistant has had a few years' practice and can, say, correctly expose on a well-arranged group, develop plates evenly, make good bromide prints that will tone well, and make a fair show at one or two other departments he will realize that some jobs are better paid than others. That will be the first reason "why" he should specialize. Then he will find that one branch of work appeals more than others, not necessarily because it seems more lucrative or easier, nor because it is a clean-hand job, but because it is more interesting. In short, he likes that particular, work. If he does not like one branch better than another the assistant should go further a field for wider experience till he does find work he can like. One spends nearly all one's life in work, so why not expend a little effort in finding something to does that one can enjoy doing? That is the second "why" for specialization. After a bit one finds that one is able to do certain work better, and with less effort, than other kinds. Again, this is not necessarily because it is easy work, but one "picks it up" more easily, and one feels surer of one's self in doing it. In ninety-nine cases out of a hundred the kind of work that a man finds he can do beet is the same as the kind that he likes best. It's quite natural when you come to think about it, and it works both ways. Anyone likes doing what he can do well, and in doing it with interest is likely in time to do it as well as it can be done. When that stage is reached, surely he is in a position to demand a higher price for his work.
That is the right sort of specialization. It does not prevent a man being skilful in other branches. Barely is it possible for a worker to reach the highest grade of ability in any branch of photography without at least a working knowledge of other branches. Retouching is probably the line in which the worker usually knows least of other department? The aim of so many retouches is to produce a beautifully modeled "effect," and to make a face resemble one of those nicely rounded plaster casts that they practiced light and shade from at art school. They like to call forth the remark "How nicely retouched," forgetting that the greatest art is to conceal art, and that the best retouching is recognized by its apparent absence. A retouched should know how his (or more often her) work will print, not only in a P.O.P. proof, but in other processes and surfaces, and be able to modify it accordingly. No one can be considered efficient unless the effect of his work on subsequent stages is understood and intelligently handled.
And that brings me to the question of efficiency. When an assistant decides to specialize, obviously he reaches certain stage of efficiency before be can claim to be a specialist. There is an absolute teat by which he can know when be has reached that stage. His employer or manager will be in the habit of giving the assistant instructions as to what is required, and how to set about it. The assistant should aim to be able, in at least one branch of work, to look his chief in the eye and say "Leave that to air." That is the test of efficiency.
Now for how to set about it Assistants in photography are at a very great disadvantage, usually as regards so-called experiments and other credentials to improving their work. I have never yet met an employer who offered an assistant the use of his studio on an "off" afternoon to try his hand at posing and lighting, nor one whom one felt like asking for that favor, still less one who would apply a few plates and some developer for practical tests. There before, unless one assists in the studio itself it is not easy to get even a starting knowledge of this work except in at home portraiture. All the same, within limit this is a very good school, for when the student can make a good portrait in an ordinary room or garden he won't have much difficulty in doing better studio work. A pair of “smoked" spectacles are useful to see the light and shade affect by eliminating much of the colour in the subject, and much practice may be got without using plates.
Of course, books are necessary. A pile of old "B.J.’s." and Almanac provides a heat of needful knowledge. The great thing, though, is to learn to work systematically and to cultivate the power of observation, for is photography it is often apparently small things that make big differences. A splendid idea of what I mean by system can be get from the "Watkins’s Manual." which will soon teach the student whet be wants to know about exposure and development.
In printing it is a food ides to take one good negative, one flat one and another on the contra sty aide, and practice on these only can produce the best possible prints with ease and certainty. With a standard 1 developer, at normal temperature, try various lengths of exposure and varying length of developed. When the different art of remits obtained have been carefully observed, the next thing is to start over again with a weaker light, or at a greater distance from the light, which amounts to the pare the ranks with the first lot, noting been effected and where not. I am referring to bromide printing not necessary to spend a lot, even at war prices. Half-plate paper cot into four is quite large enough for practice work, hot rent thing is to take time to observe closely the differences between different prints, and to aid this it is eventual to mark on the tack of each strip the exposure and length of development, and other variable factors.
It is only by starting slowly and systematically on the lines suggested that a really good "grounding" can be obtained in any object, and it is only with good grounding that one can rapidly. Attempts to short circuit the process by prattling only on the more advanced stages leads to mediocrity. It is that half baked sort of ability that has brought the term "all round hand" into such disrepute. Every assistant should be an all-round hand, with one or two special abilities. A man of that kind is reedy to tackle any sort of job that comes along, whether it comes within his previous experience or not.
Assistants who reach that stages of ability have nothing to fear from the soap-shutter who thinks bow nice it mart be to be working continually at such an interesting bobby, and whose enthusiasm gives him or her enough ability to get a start (and a disillusionment) at a tow shillings a week. It is enthusiasm that is needed to get on and no one can enthuse over poor work. Any assistant who feels that the class of work he is employed in is not worth doing well is hereby advised to do it u well as he can all the same, whether the pay makes it worth while or not, and whether that particular employer appreciates the effort or not. It is always practice that makes perfect, if the practice has an object and some system behind it; and when such efforts have had the desired effect by improving ability, then is the time to get a better job.
D. CHARLES.

        About twenty years ago a photographer living at Ealing came prominently before the public as a photographer of cats; he made them a (penalty, just as the late Mr. Thomas Fall, of Baker Street, had some yean earlier made a name for himself as a photographer of dogs. But sins those charming studies of cats have ceased to come from Ealing no other photographer appears to have made a special study of them. Cats are brought to moat studios, it is true, just as babies are, and a photographer may be asked to visit the home of «pussy," but such events are usually looked upon as being just ordinary, and few operators, if any, give a cat more thought unless it be of the evil variety than they would give to any other subject.
        The picturing of cats appears to attract but little attention. Most of the books about cats are badly illustrated by photography, and to see the beat eat pictures of to-day one must turn to the pages of the Bazaar, Exchange, and Matt, the issue of which journal for the first Friday in every month deals largely with eats, and the illustrations given therein are reproductions of the finest photographs of cats one is likely to meet with. The majority of the studies are remarkably good, bat as the name of the photographer never appears it is impossible for the writer to give praise to the operators to whom they are doe.
        The lighting of a cat needs care to bring out the animal's points, but not so much care as is necessary with a human being. A good light and plenty of it is permissible and, in fact, necessary, because of the brief exposures called for. The most important factor in cat work is the choice of suitable back grounds, and it is in selecting thaw tint the average operator usually cornea to grief. A background cam make or mar a picture of a cat, and I am inclined to write down the hack of rounds of commerce and w need for ordinary sitters as being useless for the work. The most satisfactory plan is to make a series of comparatively small backgrounds of varying colour, using millboard w a base, or, if preferred, light wooden frame, covered with cheap calico or similar material. Such backgrounds may measure about 60 INS, x 40 ins., a trifle larger if convenient but certainly not smaller. The material inboard or fabric is then distempered. If six or eight backgrounds of different shades are made the photographer can (elect the colour that will "how up" the cat to the best advantage.
        An ordinary table is portage the most rentable place or “throne” on which to pace a cat and a background with a continuous place (foreground) which can be placed over the table when the background is get up upon it is an advantage, as it prevents the junction between the background and the table showing in the form of an ugly line across, the plate, though the use of a large lens stop usually eliminates the division to some extent.
        Cats are not so affectionate or as easily managed as dogs, but cats know their friends quite as well as do dogs, though they are not so demonstrative. A cat wandering about a street wills often lake notice of some people, but not others, and in so doing rarely if ever attempts to make friends with the pennon who dislikes cats. And having such mysterious knowledge it is obviously difficult far a photographer who is not a lover of "pussy" to pose one in an artistic or comfortable position.
        The ordinary bulky studio camera is of little we for the work, because of "pussy’s" proclivities for wandering about the table and to the edge of the background. The camera to use with ears and comfort is the reflex, and in the band. Much, however, depends upon the behavior of the feline "sitter." As regards posing the operator most use his discretion awl bring his artistic training into play; souse cats look bait landing up other, lying down the most difficult being a sitting position. Cats, when in a strange studio will stand up or lie down more readily than they will sit. Lastly banish all acrimonies from the picture as many otherwise very fine studies of cats have been cause cats are imitative, and will only comfortable on cushions of their own colour or one very near to it, and when a cat is this pictured it because a disciple matter to brow where the cat ends and the accretion begins. – L. T. W.

Sight and the Photographer.

           IT goes without saying that sight is the most important bodily function from a photographic point of view. One might imagine an armless, legless, deaf or dumb person performing some job or other connected with the business, and even one with deficiency of intellect might posses some little photographic skill, bat a blind photographer is impossible.
           It follows that a photographer's eyes, good or bad, should not be neglected, but accorded at least a modicum of intelligent consideration. A good many pros. hold the belief that the practice of their craft is in itself sufficient ultimately to damage the sight, and judging by the number of workers one meets whose eyes are not so good as they might be, the belief seems reasonable. On the other hand, there are craftsmen of ripe age whose sight is still perfect in spite of yean of hard work. The fact is that photography can – not must – damage or even destroy the sight of anyone engaged at it, the damage usually being brought about by circumstances many of which are in themselves inconspicuous and therefore unsuspected.
           These circumstances depend on the nature of the work, each branch of the business having its own peculiar sources of possible eye strain. In the studio the eye may suffer from constant straining at a too thick or coarse focusing screen, or focusing with the lens stopped down. This is a small thing, but in a very busy shop when the operator may be behind the camera for bourn at a stretch, the strain will tell. Where roach focusing has to be done, as much light as passable should be allowed through lens and screen, and the work done smartly. Indecision ceases strain, and does not improve the final definition of the picture.
           The continual itching from abort to long focus, occasioned by looking first at the sitter and than at the screen, may tire an eye but if the eyes (and the general health also) are this should prove more of an exercise than a strain.
           Working with artificial light, an operator may damage his sight by allowing the light to fall directly on his face too often; in other words, by looking long or often at the lamp. Continual witching on and off from full light to semi-darkness, as also going in and oat between studio and plate-changing room, will leave its mark on the sight if carried on to a great extent. The moral here is to keep a fair amount of light in the studio all the time, and have an assistant changing. The latter can keep his or her gaze away from the bright end of the studio without any trouble.
           In the dark-room the red or yellow lamp is often blamed for tired or failing eyes. This is not strictly right, though the position and strength of the coloured light is very often to blame. A lamp should never be in a position to sand direct light into the eye when working, and for this reason a hanging lamp, shedding all its light downwards, is to be recommended. The strength of the light should be as great as the sensitive materials will permit. With regard to the printing room, I would say to those who can please themselves: Discard bromide for gaslight, have as much light as you would in your drawing-room, and be comfortable.
           Where yellow or red light is compulsory all walls should be painted vary light: it will obviate much eyestrain in groping about for things which are invisible.
With printing and retouching direct light is mostly used, but in neither case does it – so far as my experience and observation go hart the eye to the same extent as in the case of the dark-room lamp. The difference is this: in one case the eye is working with the image supplied by the direct light and nothing else, in the other the direct rays are worrying the eye and distracting it from its work. This can continue for a long time without the victim being aware of it, even though the eyes and the work may be suffering.
           For retouching, the use of direct light, however, is not compulsory; many workers prefer to work against a white or tinted reflector, and one retoucher I know claims that this practice is repairable for his sight being as good as it was twenty years ago. Retouching with weak light, particularly if the negative is yellow or dense ceases eye strain, while the remarks on dark-room lamps apply also to extraneous light near a retouching desk. Working on very small beads is apt to be trying, and for this a magnifier may lessen the strain, bat it should not be used habitually, otherwise it may become an indispensable crutch.
           Spotting and working-up require sight that if perfectly free from automation, and when done by anyone whose sight is not normal, and not corrected by glasses, this work will greatly aggravate the weakness. At the slightest sign of strain the lighting conditions should be examined, and if not at fault astigmatism should be needed and the eyes tested. Spectacles, however, are not likely to cure bad light; they will correct the vision and so do away with strain, but that is all.
           Before going any further it may be as well to say that this article does not pretend to deal with its subject from any but a purely photographic standpoint. The many defects of vision caused by such things as nerves, bad blood, cigarettes, etc., are not within my scope, and when a photographer's eyes give trouble it rests with him or his doctor to decide whether his craft is to blame or not; it is always possible that some outside influence is causing the mischief. At the same time, a few remarks on the care of the sight may not be out of place. Tired or overworked eyes can be benefited by bathing, and any chemist will make up an eye-bath cheaply. The simplest and safest of these is boric acid.
           Sight can be greatly improved by country walking, particularly in districts where long clear views prevail. In my own experience I find nothing to equal daily gazing at landscape the foreground of which is mostly green, with distant planes stretching to far off mountains. Unfortunately, we cannot always enjoy this kind of cure for tired eyes, but in any case and at all times it pays a photographer to care for his eyes, even if it means a little extra trouble. This applies particularly to young workers. In the vigor of youth details are not so readily noticed as they are in alter years, and a young enthusiast may go on working in conditions which are bad for the sight without worrying until the mischief is done. Years after it may cost a good deal to undo what a little forethought could have prevented. – THERMIT.

Books on Colour.

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

A Reliable and Permanent Method of Intensification

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

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

Advertising by Airbrush.

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