Chapter 2

The time was near noonday in early August, the air clear and the sun bright. A Graflex camera was used with Seed L Ortho plates and a three-times screen, and one-fortieth of a second exposure sufficed at F 8. The plate was developed with Kalogen in tank rather softly and a contact positive made of the negative. This positive was then used to make an 11×14 negative by enlargement. P. M. C. No. 8 paper, buff stock, was selected, and in printing a piece of thin, even-grained paper was placed between the negative and the print paper to gain a certain softness of quality in the finished print. Finally when dry the print was waxed and rubbed down several times to give extra life and richness, particularly in the shadows. The camera carried a nine-inch Struss lens.

G. B. HOLLISTER.

AS TO CERTAIN SOFT FOCUS LENSES

_See __Still Life_

Answering your question, Do you like to work with the Graflex with a Smith doublet, visual quality lens? I really believe it would be difficult to find a more satisfactory outfit. It is a companion always ready and willing to do everything that either comes your way or you go after. Working at F 4.5, the lens gives you the opportunity of getting the broadest effects in landscapes or the softest in portraits. As a rule these are not pleasing to most people when enlarged. I therefore usually work with the lens at F 6 or F 8, which gives a delightful image with distinct contours and a definite softness to the outlines, making beautiful enlargements which are sharp enough for bromoil or gum. And the Graflex is not so very heavy when a film pack or cut films are used. The image is always right side up and you see it in the full size. No one can question the efficiency of the shutter, and with practice you can hold the camera for a one-fifth second exposure. The only drawback to the outfit is in seeing things from the waist level, which makes the foreground difficult. Thinking of your picture as a pattern, however, it is better to be looking down from an elevation and with a nine-inch lens on a 4×5 box the immediate foreground is negligible. Everything considered, I believe there is no more satisfactory outfit than this combination.

“Still Life” was the result of a problem of construction in pastel with three colors, the vase green, the small box red, with the white string. It was later photographed as a study of colored objects, using a Standard Orthonon plate with a Cramer Isos III filter and a Struss lens at F 8. The lens was of fifteen-inch focal length on a 6½×8½ plate. The exposure was made in an ordinarily lighted room, but not strong light, and I think about four minutes was given. The print is on ivory black platinum. There was no retouching of any kind, and I think the print shows the value of using a color filter with an orthochromatic plate where colors are contrasted in the subject.

B. S. HORNE.

MR. LATIMER EXPRESSES HIS VIEWS SOMEWHAT AT LENGTH

_See __In an Italian Village_

In the olden days I used to lug around big cameras. I even went so far as to have 14×17 _hand camera_, made to take to sea with me to make large direct marines. In the days of the old Boston Camera Club it was called “the dog-house.” But I soon found out that it was “too much pork for a shilling.” Now I use small cameras and enlarge. My small cameras are mostly of the stereo-panoram variety, and a pocket Ansco, all fitted with fast lenses and with direct vision finders, which I consider much more practicable than the old style finders. For instance, I was on a steamer a few months ago, waiting to leave the dock, and a lot of gulls were flying around. I said to myself, “Here’s a good opportunity to test my shutter and finder, and see if I can stop them,” so I used up one roll of film on them. I made direct hits and stops on every one.

My picture “In an Italian Village” was made with my Voigtlander 45×107 mm. stereo camera. I was on an auto trip in Italy; had nearly used up my three months allowed by the Italian Government, and had three days to get out or lose my deposit for duty on my car. I was on my way to the French frontier, and ran through this Italian village—Todi I think the name was. When I saw this picturesque old wall with some of the villagers, I said, “I’ve got to get this whether I lose my deposit or not.” So I stopped the car, got out my stereo, stood up in the car, leaned on the windshield, and shot before they woke up to what I was doing. Then what happened? The whole village seemed to want to get into the plate, and I had a mob instead of a picture. I made several more shots, but the first one was the best. In nine cases out of ten in like conditions I find the first shot the best. Shoot quick and don’t give ’em time to pose. I suppose if I had trained movie models, though, it might be different. I’ve tried studio work, but I prefer the small camera and the quick snapshot. Luck counts, I admit, but when it is good, the snapshot seems to me more spontaneous than anything I can do in the studio.

My usual method of enlarging from small camera shots is this. I enlarge a transparency (positive) up to 6½×8½ or 8×10. “In an Italian Village” was an 8×10 positive, sharp lens. Then, either with a soft focus or a sharp focus lens, I enlarge to whatever size I want and whatever effect I’m after. The advantage of enlarging the positive is that you can do any faking you want to better advantage, and when your enlarged negative is done you can print in any medium you wish, so I always make enlarged negatives. I don’t think I’ve made a bromide enlargement in twenty years. “In an Italian Village” was enlarged from a part of a 45×107 mm. stereo, a little larger than my thumb-nail. The enlarged negative is 11×14. It was printed in multiple gum, four printings, pigment 50-50 lampblack and indigo.

H. A. LATIMER.

NIGHT PICTURES IN THE STREETS

_See __Crow’s Nest Restaurant,__ also The Arch of Jewels, New York City—Mr. Alcock’s picture was made under similar conditions._

Picturing New York with a camera after dark is perhaps one of the most interesting phases of pictorial photography. After spending several evenings prowling about for subjects that will lend themselves for night pictures you start out one evening to transfer these mental images to the plate. A little patience, endurance, and a great deal of enthusiasm will do wonders. It is not the easiest thing in the world to start out with an 8×10 view camera, a good substantial tripod, and several plate-holders. A strong tripod is absolutely necessary on account of winds, jars, vibrations, etc. To avoid halation use portrait film, take the view where there are no glaring lights, and develop with Azol. Judge your time according to the amount of light (two to ten minutes). Capping the lens each time a lighted moving vehicle comes along helps the picture. For night pictures probably the best medium is gum palladium, because it lends itself to the mellow evening lights.

SOPHIE L. LAUFFER.

HOW TO “WORK UP” A NEGATIVE

_See __Along the Canal_

“Along the Canal” was taken about mid-day in July in bright sunlight, Graflex 4×5, Cooke lens working at one-twentieth of a second, F 11, on Seed 26x plate, Pyro (Kodak powders) developer. In working up, first make Solio print and enlarge by photographing up to 6×8. On this negative sky and some trees were painted out, using glass side to work on. From this negative print was made on American platinum paper, first the foreground, then the sky printed from negative which will suit subject. Retouching can be done on this print with carbon pencil. You then have a print which can be enlarged to any size, using Smith lens. This print is on Spanish hand-made paper, hand-coated with platinum.

W. E. MACNAUGHTON.

AN EXPERIENCE WITH A RAILWAY DETECTIVE

_See __The Railway Station_

I wandered into the Grand Central Station in New York City with a new camera—a Speedex 2¼×3¼. It had been given me as a present by my partner in photographic and other joys, who was tired of seeing me lug around an 8×10 view camera and plates. I thought the light looked interesting in the big station and opened my little box. Appeared on the scene the station detective. “Not allowed to make photographs without a permit.” “Where do I apply for it?” “At the stationmaster’s room.” I walked half a mile and interviewed a pretty stenographer. She said, when I showed her the tiny camera, “Certainly you can make snapshots with that little thing. What we don’t like is putting up a big camera on a tripod.” I went back in triumph, showed my permit, and shot. F4.8 Zeiss lens, wide open, one second exposure. Enlarged on P. M. C. No. 5, to 11×14 with Smith lens.

HENRY HOYT MOORE.

FROM A “BATHROOM” EXPERT

_See __The Hour of Twilight_

I never at any time have had a regular dark room, practically always changing my plates and reloading holders at night in total darkness. When developing plates or enlargements, I take possession of the bathroom, place a wide board across the tub on which are placed the necessary trays, see that the room is absolutely dark, and go ahead. I usually tank my plates and films and use Azol for developing, sometimes Pyro.

Most of my exposures are made with an Adams Minex Reflex camera, quarter plate size. This camera cost about three hundred dollars before the war, and I have found it well worth the expenditure. It has a Ross Zeiss Tessar lens, which I seldom use, being quite content with the work of my Smith single F 4.5 lens, which I carry in the camera all the time with a three-times light filter attached. My only other camera, which I use a great deal, is a Newman & Guardia “Baby Sybil” with Carl Zeiss Tessar F 4.5 lens, taking a picture 4.5 x 6 cm. This does wonderful work, the negatives easily enlarging to 11×14 and over. I use the Standard Orthonon plate and Premo speed film pack, always giving a full exposure. My favorite printing processes are multiple gum and bromoil, three or four printings in the former, nearly always from enlarged paper negatives up to 11×14 from either camera.

“The Hour of Twilight” is a triple printing in gum, and was made with the Adams Minex on a Standard Orthonon plate, using a Smith single lens.

WILLIAM GORDON SHIELDS.

MR. WHITE’S METHOD WITH CHILDREN

_See __Sisters_

When I went out of town to make a photograph of these children I wasn’t feeling just fit and I asked my friend to excuse me from making any negatives that day. I took the opportunity to look around and get an impression of the place. I noted the big rooms and the characteristics of the lighting and the faces of the children. I found that they kept their toys in a big sort of a highboy. So the next time I went out I photographed them there. The lens? Oh, yes; a Taylor-Hobson single. Exposure? Always with a cap, indoors. Paper? Always platinum or palladium—sometimes with a gum coating to help out.

CLARENCE H. WHITE.

DRAGGING A VIEW CAMERA THROUGH THE SANDS

_See __Sand Dunes_

For want of a smaller one, I had the courage to drag a 6½×8½ Eastman view camera through the sand one late afternoon in September, to make my picture of the “Sand Dune.” I used a Struss lens stopped to F 11, a Standard Orthonon plate, an Iso three-times ray filter, and gave it as short an exposure as I could with a cap. I use a cap because I tell myself it is less mechanical and because I do not happen to possess a shutter.

I developed the plate with Activol and printed it on sepia Palladiotype to try to give it that quality of sunlight which I saw falling upon the sand, the waving dune grass, and the sea beyond.

MILDRED RUTH WILSON.

[THE HAMPTON SINGER, By Dorothy Abbott, New York City]

THE HAMPTON SINGER _By _DOROTHY ABBOTT, _New York City_

[THE ARCH OF JEWELS, NEW YORK CITY, By William A. Alcock, New York City]

THE ARCH OF JEWELS, NEW YORK CITY _By _WILLIAM A. ALCOCK, _New York City_

[WILLOW VALLEY, By Charles K. Archer, Pittsburgh, Pa.]

WILLOW VALLEY _By _CHARLES K. ARCHER, _Pittsburgh, Pa._

[PRAYERS OF BUDDHA, By F. Bauer, San Francisco, Cal.]

PRAYERS OF BUDDHA _By _F. BAUER, _San Francisco, Cal._

[THE SWANS, By Jesse Tarbox Beals, New York City]

THE SWANS _By _JESSE TARBOX BEALS, _New York City_

[ABOVE THE CLOUDS, By Clark Blickensderfer, Denver, Colo.]

ABOVE THE CLOUDS _By _CLARK BLICKENSDERFER, _Denver, Colo._

[GRAMERCY PARK, By Mary F. Boyd, Chambersburg, Pa.]

GRAMERCY PARK _By _MARY F. BOYD, _Chambersburg, Pa._

[HILL TOP—WINTER, By George Butler, Worcester, Mass.]

HILL TOP—WINTER _By _GEORGE BUTLER, _Worcester, Mass._

[WEISSTHURM—ROTENBURG O. TAUBER, By A. D. Chaffee, New York City]

WEISSTHURM—ROTENBURG O. TAUBER _By _A. D. CHAFFEE, _New York City_

[CABLES, By Arthur D. Chapman, West Hoboken, N.J.]

CABLES _By _ARTHUR D. CHAPMAN, _West Hoboken, N.J._

[BOOKPLATE, By Alfred Cohn, Brooklyn, N.Y.]

BOOKPLATE _By _ALFRED COHN, _Brooklyn, N.Y._

[THE BUGLE CALL, By Dwight A. Davis, Worcester, Mass.]

THE BUGLE CALL _By _DWIGHT A. DAVIS, _Worcester, Mass._

[THE BRIDGE, By John Paul Edwards, Sacramento, California]

THE BRIDGE _By _JOHN PAUL EDWARDS, _Sacramento, California_

[MY FATHER, By Vernon E. Duroe, Brooklyn, N.Y.]

MY FATHER _By _VERNON E. DUROE, _Brooklyn, N.Y._

[MAIDS O’ THE MIST, By Mr. and Mrs. J. D. Drew, Montclair, N.J.]

MAIDS O’ THE MIST _By _MR. AND MRS. J. D. DREW, _Montclair, N.J._

[AFTERNOON TEA, By Eleanor C. Erving, Albany, N.Y.]

AFTERNOON TEA _By _ELEANOR C. ERVING, _Albany, N.Y._

[SUMMER PORTRAIT, By Laura Gilpin, Colorado Springs, Colo.]

SUMMER PORTRAIT _By _LAURA GILPIN, _Colorado Springs, Colo._

[SUNLIGHT—TAOS, By Forman Hanna, Globe, Arizona]

SUNLIGHT—TAOS _By _FORMAN HANNA, _Globe, Arizona_

[DICK’S STALL, By G. W. Harting, New York City]

DICK’S STALL _By _G. W. HARTING, _New York City_

[BETH-EL, By Edward Heim, New York City]

BETH-EL _By _EDWARD HEIM, _New York City_

[THE TOILERS, By Eugene P. Henry, Brooklyn, N.Y.]

THE TOILERS _By _EUGENE P. HENRY, _Brooklyn, N.Y._

[ARCHES OF THE MUNICIPAL BUILDING, By Atoinette B. Hervey, New York City]

ARCHES OF THE MUNICIPAL BUILDING _By _ATOINETTE B. HERVEY, _New York City_

[MORNING—PLYMOUTH, By Lillian M. Hobart, Northborough, Mass.]

MORNING—PLYMOUTH _By _LILLIAN M. HOBART, _Northborough, Mass._

[LAST OF THE SQUARE RIGGERS, By G. Buell and Hebe Hollister, Corning, N.Y.]

LAST OF THE SQUARE RIGGERS _By _G. BUELL AND HEBE HOLLISTER, _Corning, N.Y._

[WAR VETERANS, By Millie Hoops, New York City]

WAR VETERANS _By _MILLIE HOOPS, _New York City_

[STILL LIFE, By D. S. Horne, Princeton, N.J.]

STILL LIFE _By _D. S. HORNE, _Princeton, N.J._

[THE SUNSHINE OF JOHNNIE’S SMILE, By Roberta Hostetler, Davenport, Iowa]

THE SUNSHINE OF JOHNNIE’S SMILE _By _ROBERTA HOSTETLER, _Davenport, Iowa_

[SUN DRYING, By H. A. Hussey, Berkeley, Cal.]

SUN DRYING _By _H. A. HUSSEY, _Berkeley, Cal._

[PORTRAIT, By Doris U. Jaeger, New York City]

PORTRAIT _By _DORIS U. JAEGER, _New York City_

[THE PIPES OF PAN, By Myers R. Jones, Brooklyn, N.Y.>]

THE PIPES OF PAN _By _MYERS R. JONES, _Brooklyn, N.Y._

[IN AN ITALIAN VILLAGE, By H. A. Latimer, Boston, Mass.]

IN AN ITALIAN VILLAGE _By _H. A. LATIMER, _Boston, Mass._

[CROW’S NEST RESTAURANT, By Sophie L. Lauffer, Brooklyn, N.Y.]

CROW’S NEST RESTAURANT _By _SOPHIE L. LAUFFER, _Brooklyn, N.Y._

[THE QUARRY, By GEORGE P. LESTER, Bloomfield, N. J.]

THE QUARRY _By _GEORGE P. LESTER, _Bloomfield, N. J._

[DETAIL OF CALIFORNIA BUILDING, By Florence Burton Livingston, Mohegan Lake, N.Y.]

DETAIL OF CALIFORNIA BUILDING _By _FLORENCE BURTON LIVINGSTON, _Mohegan Lake, N.Y._

[SUNBEAMS, By Ben J. Lubschez, New York City]

SUNBEAMS _By _BEN J. LUBSCHEZ, _New York City_

[ALONG THE CANAL, By William Elbert Macnaughton, Brooklyn, N.Y.]

ALONG THE CANAL _By _WILLIAM ELBERT MACNAUGHTON, _Brooklyn, N.Y._

[SPRING, By Holmes I. Mettee, Arlington, Md.]

SPRING _By _HOLMES I. METTEE, Arlington, Md.

[SYMPATHY, By Hervey W. Minns, Kenmore, Ohio]

SYMPATHY _By _HERVEY W. MINNS, _Kenmore, Ohio_

[THE MEADOW, By Robert B. Montgomery, Brooklyn, N.Y.]

THE MEADOW _By _ROBERT B. MONTGOMERY, _Brooklyn, N.Y._

[THE RAILWAY STATION, By Henry Hoyt Moore, Brooklyn, N.Y.]

THE RAILWAY STATION _By _HENRY HOYT MOORE, _Brooklyn, N.Y._

[Cultivating, By L. Pokras, Brooklyn, N. Y.]

CULTIVATING _By _L. POKRAS, _Brooklyn, N. Y._

[PORTRAIT—MISS F., By Arthur Racicot, Quantico, Va.]

PORTRAIT—MISS F. _By _ARTHUR RACICOT, _Quantico, Va._

[TO THE UNKNOWN SHORE, By Lawrence C. Randall, Columbus, Ohio]

TO THE UNKNOWN SHORE _By _LAWRENCE C. RANDALL, _Columbus, Ohio_

[THE EAST RIVER, By D. J. Ruzicka, New York City]

THE EAST RIVER _By _D. J. RUZICKA, _New York City_

[CLOSING OF AN AUTUMN DAY, By J. G. Sarvent, Kansas City, Mo.]

CLOSING OF AN AUTUMN DAY _By _J. G. SARVENT, _Kansas City, Mo._

[THE VANISHING ROAD, By Otto C. Shulte, San Francisco, Cal.]

THE VANISHING ROAD _By _OTTO C. SHULTE, _San Francisco, Cal._

[THE HOUR OF TWILIGHT, By William Gordon Shields, New York City]

THE HOUR OF TWILIGHT _By _WILLIAM GORDON SHIELDS, _New York City_

[A SONG, By Guy Spencer, New York City]

A SONG _By _GUY SPENCER, _New York City_

[OPEN-AIR PULPIT, GRACE CHURCH, By Elizabeth G. Stoltz, Marion, Ohio]

OPEN-AIR PULPIT, GRACE CHURCH _By _ELIZABETH G. STOLTZ, _Marion, Ohio_

[L’ENTRE’ACTE, By Mankichi Sugimoto, New York City]

L’ENTRE’ACTE _By _MANKICHI SUGIMOTO, _New York City_

[FARMYARD, By George P. Swain, East Orange, N.J.]

FARMYARD _By _GEORGE P. SWAIN, _East Orange, N.J._

[CARLOTTA, By Lacy Van Wagenen, Orange, N.J.]

CARLOTTA _By _LACY VAN WAGENEN, _Orange, N.J._

[MRS. PICKFORD, By Mabel Watson, Pasadena, California]

MRS. PICKFORD _By _MABEL WATSON, _Pasadena, California_

[THE LITTLE ART SHOP—WOODSTOCK, By Anthony J. Weis, New York City]

THE LITTLE ART SHOP—WOODSTOCK _By _ANTHONY J. WEIS, _New York City_

[THE DANCE, By Delight Weston, Blue Hill, Maine]

THE DANCE _By _DELIGHT WESTON, _Blue Hill, Maine_

[SISTERS, By Clarence H. White, New York City]

SISTERS _By _CLARENCE H. WHITE, _New York City_

[SAND DUNE, By Mildred Ruth Wilson, Flushing, Long Island]

SAND DUNE _By _MILDRED RUTH WILSON, _Flushing, Long Island_

_THE_ PICTORIAL PHOTOGRAPHERS _OF_ AMERICA

The objects of the Pictorial Photographers of America are to stimulate and encourage those engaged and interested in the Art of Photography; to enlist the aid of museums and public libraries in adding photographic prints to their departments; to stimulate public taste through exhibitions, lectures, and publications; to invite exhibits of foreign work; and generally to promote education in this Art so as to raise the standards of Photography in the United States of America.

Meetings of the Association are held in New York City on the first Monday of each month. During the winter of 1919-1920 the following lecturers addressed the Association at these meetings: Mr. Robert J. Cole, Art Reviewer, New York Evening Sun, on “Man and the Camera;” Mr. H. J. Potter, of the Eastman Kodak Company, on “Both Ways from F-8;” Mr. Albert Sterner, on “Before the Click of the Shutter;” Mr. Pirie MacDonald and Mr. E. B. Core, on “The Pictorial Side of Professional Photography;” and Mr. Walter G. Wolfe, on “The Use of the Soft Focus Lens.” Mr. Allen Eaton, Field Secretary of the American Federation of Arts; Mr. William M. Ivins, Curator of Prints, Metropolitan Museum of Art; Dr. Frank Weitenkampf, of the New York Public Library; Prof. Charles H. Farnsworth, of Columbia University, and Walter L. Hervey, Ph.D., also made addresses.

Another feature of the meetings which added to their interest and usefulness was a monthly print competition. Prints were submitted by members from all parts of the United States, judged by a committee in advance of the meeting, and a selection of ten prints presented to the members for their consideration. From these they chose each month the two best prints.

The Pictorial Photographers of America this year for the first time arranged an exhibition of prints in Europe. Acting on the invitation of the Copenhagen Photographic Amateur Club to cooperate in celebrating its Twenty-fifth Anniversary, about 350 prints from leading pictorialists all over this country were assembled and forwarded in July to Copenhagen.

At home, in cooperation with the American Federation of Arts, the Pictorial Photographers of America exhibited at the following museums the hundred prints which are reproduced in “Pictorial Photography in America for 1920.” The John Herron Art Institute of Indianapolis, The Jackson Art Association of Michigan, The Boston Society of Arts and Crafts, The Mechanics Institute of Rochester, The Arnot Art Gallery of Elmira; and during May, at the University of Virginia.

During the past season the Association has cooperated with other organizations of a similar nature in planning for and establishing an Art Center in New York City. The plans for this have been successfully worked out, funds are already in hand for its accomplishment and buildings purchased for occupancy. This will provide a home for our Association, a splendid gallery for exhibitions, and thus make certain of immediate accomplishment plans for our future which have seemed impracticable up to the present time.

In publishing “Pictorial Photography in America for 1921” the Association has invited the cooperation of pictorialists whether or not members of the organization. We hope that it will interest in our work men and women, whether photographers or not, who are interested in the development of the Art of Photography. The Secretary will gladly give more detailed information about the work of the Association and its plans for the coming year to any who are interested.

JERRY D. DREW, _Secretary._ National Arts Club, 119 East 19th Street, New York City. [Advertisement: Pinkham and Smith Company] [Advertisement: Eastman Kodak Company] [Advertisement: Ansco Company] [Advertisement: Ica-Contessa] [Advertisements: Kalogen; Willis and Clements] [Advertisements: Japan Paper Company; George Murphy, Inc.] [Advertisements: Fred’k W. Keasbey, Abe Cohen’s Exchange] [Advertisements: Wollensack Optical Company; Willoughby’s]