CHARLES M. TAYLOR, JR. i WHY MY PHOTOGRAPHS ARE BAD BOOKS BY CHARLES M. TAYLOR, JR. VACATION DAYS IN HAWAII AND JAPAN. 12mo. cloth. Illustrated. $1.60 net; by mall, $1.79. THE BRITISH ISLES THROUGH AN OPERA GLASS. 12mo. cloth. Illustrated. $1.60 net ; by mail, $1.76. ODD BIT8 OF TRAVEL WITH BRUSH AND CAMERA. 12mo. cloth. Illustrated. $1.60 net; by mail, $1.76. TOURING ALASKA AND THE YELLOWSTONE. 12mo. cloth. Illustrated. $1.60 net ; by mail, $1.75. WHY MY PHOTOGRAPHS ARE BAD. 12mo. cloth. Illustrated. $1.00 net ; by mail, $1.15. GEORGE W. JACOBS & COMPANY, PUBLISHERS. PHILADELPHIA. Why My Photographs Are Bad BY CHARLES M. TAYLOR, Jr. Author of u Odd Bits of Travel with Brush and Camera “ Touring Alaska and The Yellowstone f etc. ILLUSTRATED FROM PHOTOGRAPHS BY THE AUTHOR PHILADELPHIA GEORGE W. JACOBS & CO MCMII Copyright, 1902, By George W. Jacobs & Co. Published, May , igoa 1 DEDICATE THIS TOLU ME TO MT FRIEND AND PUBLISHER GEORGE W. JACOBS As the language of the face is universal, so 'tis very com- prehensive; no laconism can reach it: 'tis the shorthand of the mind, and crowds a great deal in a little room. —Jeremy Collier . PREFACE In memory of the many trials and errors of my own experience in photog- raphy, I launch this volume upon its career, hoping it . may aid the ambitious beginner, and enable him to avoid the most common mistakes incident to the first stages of this interesting study. In my early days with the camera, I used every possible means of becoming proficient in manipulating the instru- ment, and read many voluminous wri- tings on the subject ; but found no infor- mation which speedily brought me face to face with the causes of my most glaring defects, and at the same time suggested methods by which they might be prevented. 9 io Preface In order to increase my stock of knowledge by observation and associa- tion with others interested in this line of art, I joined several well-known photo- graphic clubs and societies ; but my progress was still so slow and tedious that finally I determined to receive practical instruction from one of the best commercial photographers in the city. This course happily proved most successful ; the “ danger line ” was at last passed. Disappointments over ruined plates became of less frequent occurrence, under and over exposures ceased to be a perplexing problem, unattractive posing now seldom worried me, in short the generally unsatisfactory results of the beginner soon changed to that pleas- urable contemplation of work achieved which, I think, is one of the greatest enjoyments of those who “ know how.” Hence I strongly advise this latter Preface 1 1 course to those who would excel in photography. The permanent advan- tage thus gained at the outset will save the amateur many trials and dis- couragements, for it is a grievous mis- take to think that this accomplishment is of such minor importance, compared with the fine arts, that it may be used only as an amusement for children. To the skilled manipulator, the camera offers a scope for imagination and in- genuity in obtaining picturesque effects which vie with that of the artist in oils and water colors. Therefore one may not hope to master its intricacies in too short a time, and without labor and study. An amount of application and perseverance, almost equal to that bestowed upon the kindred arts is necessary here. In this relation, I cannot refrain from protesting against the aversion to the camera, frequently ex- 12 Preface pressed by artists of note. This preju- dice, however, exists to a less extent than heretofore, since many painters of the present day, either openly or in secret, make use of this once despised instru- ment as an auxiliary to their work on canvas. In making this statement I do not wish to be misunderstood. The artist uses the camera merely to register on paper an impression, hitherto the office of the memory. An amusing interview took place not long ago between a prominent marine artist and the author of this work, in which the camera was held as a cup of poison in the fingers of the painter. I had suggested it to him as a means of preserving the appearance of ocean waves. The proposition was received with a scornful refusal, accompanied by some harsh comments in reference to my valued little friend, the camera. Several *3 Preface months later, the same artist called upon me with the request that I would purchase a camera for him, and give him instruction in its use. One should not be disheartened if he fails at first to equal the work of the masters in this art — especially in the matter of pictorial effect. Persevere, labor, study nature in connection with the camera, and, as a lasting reward, your dream of success will become a reality, your perplexities will gradually fade into nothingness and the fascinating art of photography will become one of the greatest pleasures of your life. I do not wish to convey to the reader the impression that this limited work covers all the errors of beginners — far from it. It is simply intended to draw the attention of the novice to a method of handling the camera, by which he 14 Preface will incur fewer disappointments, and obtain more satisfactory results. May , 1902 . C. M. T. Jr. CONTENTS Author’s Note to Part I, - - - 21 I. Placing a Picture, - - - 31 II. The Use of a Head Rest, 39 III. Posing Single Figures and Groups, - 45 IV. Making Time Exposures when the Wind is Blowing, - - - - 37 V. Foreshortening, - - - 65 VI. Pictures Out of Focus, - - 71 VII. When the Cap is Inadvertently Held be- fore the Lens while Making an Expo- sure, - - - - - 8 1 VIII. Doubling, or Taking Two Pictures on One Plate, ----- 89 IX. Halo or Ghost, 97 X. The Shadow of the Operator, - 103 XI. Too Much Foreground, - - 109 XII. Too Much Sky, - - - 1 15 XIII. Holding the Camera Level While Focusing, 1 21 XIV. Photographing against the Sun. — Returning Slide to Holder Edgewise - -129 XV. Over-Exposed Plates, - - 137 *5 i6 Contents XVI. Under-Exposed Plates, - - 147 XVII. Pictures in which Perpendicular Objects Lean, or Have the Appearance of Top- pling Over, - - - - 153 XVIII. Instantaneous Exposures, - - 159 Don’ts for the Beginner, - - 165 Author's Note to Part II, - - 17 1 ILLUSTRATIONS It has not been deemed necessary to include a List of Illustrations in this volume, as the various illustrations contained in Part I, and the errors they represent, are fully described in the text matter accompanying that por- tion of the book. The illustrations in Part II are what may be considered good specimens of correct photography, showing results that any amateur can obtain by care and study. *7 PART I Some Photographic Errors and How to Avoid Them Author’s Note to Part I The author takes it for granted that the amateur has received his first lesson from the dealer who provided his camera and outfit. This lesson generally relates to the manner of putting the plates in the plate-holder and oral instructions as to the making of a picture. These brief directions can be given in the space of an hour. Dealers also generally have a dark room or closet in their stores for the con- venience of customers. — In this interview the manipulation of the shutter for in- stantaneous and time exposures is like- wise explained. After this your troubles will come, and you will truly think : “ How abject ; 22 Author's Note to Part I how august ; how complicated, how won- derful is ” — the camera ! It has been stated as an indisputable fact that, to be absolutely sure of a pic- ture, glass plates are preferable to the roll films, but my experience would seem to contradict this assertion, for I have car- ried hundreds of films during my travels, which have extended to many lands and included a variety of climates. These films have been exposed under the most trying circumstances, and the loss by defective films has not exceeded from two to two and a half per cent. There are many advantages in using the Kodak Roll Films, one of the greatest being in the changing of the roll, which can be accomplished in broad daylight, without the use of the dark room. Exposures can also be made in quicker succession by the Kodak Roll Camera, than by those pro- vided with plate-holders. Author's Note to Part I 2 3 The chief difficulty here is in estima- ting by the eye the correct distance in feet, between the object to be photo- graphed and the operator, and setting the pointer at the proper scale. A miscalcu- lation would throw the picture out of focus and produce a blur ; practice, how- ever, enables one to overcome this. To counteract the lack of experience on the part of the beginner, the Eastman Company has manufactured a folding camera, called the “ No. 1 Folding Pocket Kodak,” which takes a picture measuring 2ix3i inches — also one called the “ No. 1 A Folding Pocket Kodak,” giving a negative 2ix4i inches. These two cameras are of universal focus , hence require no adjust- ment on the part of the operator. From my own experience I would recommend the tourist to include one of these in his outfit, as they are ever ready for instan- taneous or time exposures. They are 24 Author's Note to Part I rarely out of order, and their photo- graphic qualities are most satisfactory. While on a recent journey, I met an enthusiastic amateur, whose only camera was a “ No. 3 Folding Pocket Kodak.” These cameras require proper focus to be made on each subject up to one hun- dred feet ; but regardless of this fact, or of the use of the finder, he shot off his shutter at random — to the right — to the left — before — behind — at any and every- thing that came his way, and when snap- ping the shutter he would close his eyes, pointing his camera in the direction of the subject, like an amateur marksman with his rifle. Imagine the results ! Then he denounced and condemned the innocent little kodak. The tourist should have his films, rolls, or glass plates hermetically sealed in tin boxes ; and after exposure they should be returned to the sealed tin boxes. This is Author's Note to Part I 2 5 a safeguard against the dampness and variable climates of other countries, and also protects them from the attacks of the proverbial and ill-disposed “ baggage smasher.” While traveling in the interior of Japan, I lost fully two hundred and fifty plates which had been carefully exposed, by not observing this simple precaution. I would also advise the traveler to be- come thoroughly acquainted with his camera and lens before starting on his journey, lest he repeat the disappointing experience of a celebrated explorer, who took, as he supposed, more than six hun- dred pictures, which should have proved exceedingly valuable as scientific studies and other important data. Upon developing the plates on his re- turn home, not a trace of the interesting subjects was visible. Some mistake in manipulating the shutter was responsible 26 Author's Note to Part I for the irreparable misfortune. His plates were all blanks. Your dealer will always allow you ample time to test a camera, and it will repay you to embrace this opportunity, and not decide too hastily upon your photographic outfit. Above all, do not hesitate to ask for information regarding any point upon which you are in doubt. I once had for a traveling companion on the continent, a man who always main- tained that to make inquiries was a sure sign of ignorance. Be that as it may, it is also the sure means of lessening that ig- norance. Since we could never agree on the same course in this matter, we were compelled to part company. A few days ago, a friend of mine, knowing I was compiling a book on photography for the instruction of the beginner, said laughingly, “ Why, Mr. Taylor, I never had a camera in my Author's Note to Part I 27 hands and have toured the world several times. I have the finest collection of foreign pictures [photographs] that any one would desire to possess. What’s the use of all the trouble, expense and labor of owning and operating a camera ? At the best you never succeed in having more than forty per cent, of your photo- graphic work turn out well ? ” How could any one live in this age of progress, love of beauty and refinement with such a narrow mind, especially a traveler ? I was anxious to see his col- lection, so shortly made him a visit and viewed his photographs, — and what did I find ? The same old stereotyped, ever- handled, threadbare pictures that every traveler has almost forced upon him. Look at the photographs of this tourist and compare them with those of one’s own taking. Is there any comparison as regards interest and happy memories be- 28 Author's Note to Part I tween the two? The purchased photo- graph is cold in tone and feeling, with- out incident or association. By all means own your own camera ; learn how to operate it and have the ready wit to make your tour not only a success to yourself, but also a pleasure to your friends upon your return home. I PLACING A PICTURE I PLACING A PICTURE The beginner frequently makes the mistake of placing his camera so close to the person or object to be photo- graphed, that his subject will more than fill the plate, and the result is sometimes a grotesque appearance — the head or a portion of the body of the sitter being cut off, or perhaps the best part of a fine landscape being lost. Eight times out of ten, the operator, upon beholding the consequences of his error, will condemn the camera as a poor one, or his lens as defective. This fault is easily avoided. Place your camera at such a distance from your subject that the figures will be 33 34 Why my Photographs are Bad correctly proportioned on the plate. Uncap the lens, cover the camera with a black cloth, and proceed to focus sharply, using a magnifying glass upon the ground glass . Should the image reflected upon the glass be too large, move the camera back from the view or sitter, until the desired proportions appear. If, on the contrary, the picture is too small, advance the camera towards the subject. With judg- ment and practice, you will soon learn to do this instinctively. Never strive to obtain a picture too large for your plate. Should you wish a photograph of greater size, any photographer will, at a small cost, make an enlarged print from your small negative. You are doubtless aware by this time that all images reflected upon the ground glass of the camera, ap- pear inverted. There are lenses manufactured known Placing a Picture 35 and designated as long and short focus, wide angle, etc. The uses of the above lenses are apparent ; should one desire to make a photograph of a landscape with great depth of scenery, the long focus lens should be used ; or, should one wish to embody a great amount of detail in the limits of a negative plate — such as large buildings, or the interior of rooms — the wide angle lens should be employed. The latter lens is also very desirable for group work in rooms of limited dimensions, as these lenses show great concentration of subject. II THE USE OF A HEAD REST II THE USE OF A HEAD REST It is annoying and expensive when making a portrait, especially if upon a 5x7 or 8x10 negative plate, to find the result as that shown in plate No. 2. This is caused by the subject's moving while the exposure was being made. To avoid this difficulty, procure a head rest of your dealer ; this can be ad- justed to suit all the various positions in which you may desire to place your sub- ject, as it can be used for either full figure work or sitting positions. Should your lens be a quick one, so as to enable you to take instantaneous ex- posures in the studio, then of course it would be unnecessary to use the head 41 42 Why my Photographs are Bad rest ; otherwise, if the time for the exposure of the plate be four to ten seconds, you will be more sure of good results if you use the rest. I grant that it would be better not to use the rest if the subject could hold perfectly still, as in the latter case the position is more natural and graceful than where a rest is used ; but you will find it a very difficult matter to get the sitter to remain absolutely still during the re- quired time for exposure. Ill POSING SINGLE FIGURES AND GROUPS Ill POSING SINGLE FIGURES AND GROUPS There are many points to be con- sidered in photographing figures and groups. First notice the arrangement, if you would have an artistic picture. Avoid stiffness and straight lines in posing your subject. Natural curves give grace and beauty. When the sitter is placed to your satis- faction, take your camera and focus sharply the image upon the ground glass. Focus upon the eye of the person , which will equalize the general effect. In taking a group, focus upon the central figure . 47 48 Why my Photographs are Bad In arranging a group, place the figures in a curved line ; thus — B The reason for this is apparent. The figures — A — B — C — are at equal distances from the lens , and when focus is made on the central figure, B, both A and C are also in proportion. Avoid placing perpendicular objects, such as lamps, tables, etc., (as in plate No. 3), in close proximity to the per- son who is to be photographed. These Posing Single Figures and Groups 49 articles give a stiff character to the pic- ture, and if they are of small size, the whole scene looks illy proportioned. Be careful not to have your subject too far above or below the level of your lens. In the first case the effect would be to shorten the picture, while in the latter, the images would be lengthened. The best position is a trifle above the level of the camera . Diaphragms or Stops These diaphragms or stops are to the lens what the key-board is to the piano ; to do good work one must study care- fully their uses. I have met scores of amateurs, who own and operate cameras, who have never used these stops at all. They may have noticed that these were attached to their lenses, but overlooked their use or considered them unim- portant. Every lens, whether of cheap 5° Why my Photographs are Bad or expensive manufacture, is provided with what are termed diaphragms or stops, the use of which is to increase or diminish the amount of light entering the camera in order to secure a sharper image upon the ground glass and con- sequently upon the negative. For in- stance : if the day is bright and sunny and you wish to take a time exposure, you may with advantage stop your lens down to Nos. 32 or 64 diaphragm ; but should the day be dark and cloudy, you can increase the light on your negative by using stop No. 4 or No. 8. Do not forget that the higher the number of the stop or diaphragm, the more time you must allow for the exposure ; hence, if you allow an exposure of 1-10 of one second with No. 16 stop, 1-5 of one second must be given with the No. 32 stop, 1-3 of one second with the No. 64 stop, and so on. The more closely you “ stop down ” the Posing Single Figures and Groups 5 1 lens, the sharper will be the details in your picture. Hundreds of tables have been com- piled, dozens of ideas expounded, and many ingenious devices made to regulate the exposure of a negative plate, but all are too complicated. I fear that so much intricate calculation on the part of the bewildered amateur would lead him further from the desired result than a simple rule which can be followed in most instances or which can be added to as his experience may suggest. For example, a 5x4 Rectilinear or any double lens is usually about a six and a half inch focus, and the largest diaphragm has an opening this size : Actual size of lens 52 Why my Photographs are Bad Accompanying this lens there are seven stops or diaphragms in the following order : ACTUAL SIZES. Let us presume your lens registers in speed the one hundredth part of a second. I would then use the following table for approximate exposures, at least until your experience may lead you to a closer and more accurate division of time. Posing Single Figures and Groups 53 With a winter light— 12 o’clock noon. For instantaneous exposures always use a No. 4 or No. 8 diaphragm, never smaller. For time exposures, with No. 16 stop, expose of 1 second it «< ii ii ii 02 “ <* £ ii ii ii t< a u ii ii §4 tt it i it it ti ii K it it u 423 “ (i 2 39 140 Why my Photographs are Bad In my early days with the camera, I frequently experimented in exposing my plates and made a multitude of notes on this important subject. Now, however, the correct exposure under the various conditions of light is an instinctive knowledge, and I time my exposures much as the expert “ off hand shot ” with rifle or pistol fires at the mark without appearing to take aim. As his grasp of his gun decides the deadly aim of the trapper, so to the ex- perienced photographer, the period of time is not a calculation, but an instan- taneous conclusion acquired by long practice. In my experience one of the surest guides on this point has been the ground glass of my camera. Regulate the diaphragm or stop in your lens, and when the subject to be photographed is reflected on the ground glass, note care- fully the degree of light and the time of i 4 i Over-Exposed Plates exposure, and make a memorandum of the same for future reference. Thus you will gradually learn to compare and judge of the respective times of exposure demanded by the different degrees of light. Suppose, for example, you make your first experiment by placing in the holder a “ Seeds ‘ Gilt Edge ’ No. 27 ” Sensito- meter plate. This plate is capable of very quick exposure, your lens is of moderate speed, the subject to be photographed is a land- scape, and the day is clear and sunny. Focus carefully with a magnifying glass , place the stop No. 16 in the lens, note the light on the ground glass, and re- member the degree of intensity. Give the plate an exposure of one-half second . Make another exposure of one second , under the same conditions , then another one of one and one-half seconds. 142 Why my Photographs are Bad It would also answer the same pur- pose, but be decidedly more economical to use but one plate for this experiment, drawing out the slide covering the nega- tive plate only a third of the way and giving this portion an exposure of one- half second. Then draw the slide out another third of its distance and expose one-half second, thus giving an exposure of one second to the first portion of the plate uncovered. Finally remove the slide altogether and expose another half second ; you will thus have secured an ex- posure of one and one-half second for the first third of the plate, an exposure of one second for the second third of the plate, and an exposure of but one-half second for the third of the plate. All this of course must be very carefully done or your experiment will be a failure. The table given on page 53 may also be of service to the beginner. H3 Over-Exposed Plates You now have three exposures under the same conditions. Develop them carefully, and should the negative or that portion of it which has been given three seconds appear as plate No. 15, you will draw the conclusion that it has been over-exposed. The various objects in the picture will be well defined, as are the trees, bridge, etc., in the accompany- ing plate, and quite sharp when viewed through a magnifying glass, although the whole picture will have a dull and hazy effect. Of the two evils, over or under ex- posure, the former is to be preferred, for in that case you can restrain the strength of the developer and save the good qual- ities of the negative, but if under-ex- posed, there is not much hope for the picture. I am fully cognizant of the fact that there are many formulas both for the in- 144 Why my Photographs are Bad tensification of under-exposed plates and for the reduction of those over exposed, but I claim that it is far better to learn the correct exposure and thus secure more uniformly satisfactory results both in finish and in the harmony of light and shade in the negative. XVI UNDER-EXPOSED PLATES XVI UNDER-EXPOSED PLATES As a process of education, it is well to look upon a picture which has the fault opposite to the one just considered. In the under-exposed photograph shown in illustration No. 16 you will observe that the details are not sharply defined as in the one printed from the over- exposed plate. An under-timed picture has the ap- pearance of fog — it has what is called a “ measly look.” This effect is more diffi- cult to counteract than that of over- exposure ; and even when every means to improve the picture has been used it is not satisfactory. The amateur should strive to learn the 149 15° Why my Photographs are Bad method of correct exposure, and practice it. Haphazard manipulation may suc- ceed in some lines of work, but it is rarely successful in photography. XVII PICTURES IN WHICH PERPEN- DICULAR OBJECTS LEAN, OR HAVE THE APPEARANCE OF TOPPLING OVER XVII PICTURES IN WHICH PERPENDICULAR OB- JECTS LEAN, OR HAVE THE APPEARANCE OF TOPPLING OVER This is one of the most exasperating results that can come to the amateur photographer. Often the picture is cor- rect in every other respect ; the focus is good, the exposure is right, and the development is satisfactory. Why then, after all, is the picture so disappointing ? Why do the trees, buildings, fences and other perpendicular objects lean as if about to fall to the earth ? This is the fault shown in illustration No. 17. It is caused by wrong perspective, and any lens will show it regardless of the price — the wide angle lens even more ! 55 156 Why my Photographs are Bad than others. Any photograph of a high building, when taken from the ground, will show this defect in the result, no matter what lens is used, unless the camera has a swing back which enables the photographer to adjust the ground glass to a vertical position. By examin- ing the image in this vertical position it will be noticed that the image is correctly portrayed, and when the plate holder is adjusted in the same vertical position the exposure will produce the picture in cor- rect perspective. This shows the neces- sity of using a swing back to avoid this fault which cannot otherwise be elimi- nated with the hand camera that does not have the swing back. XVIII INSTANTANEOUS EXPOSURES XVIII INSTANTANEOUS EXPOSURES Truly instantaneous photography is one of the most difficult branches of the art of picture taking. It requires not only a quick eye, but good, as well as swift judgment, keen perception and a thorough knowledge of the details of photography. To these qualities should be added coolness and deliberation enough to snap the shutter at the proper moment — or rather fractional part of a second in most cases. You should be neither too slow nor too fast, or you will lose the peculiar effect you desire to cap- ture. An enthusiastic amateur attempted to make an instantaneous photograph of a 161 162 Why my Photographs are Bad locomotive and train of cars, which were tearing along at the rate of a mile a minute. He snapped the shutter, as he supposed, at the moment the train was passing ; but the plate, when developed, revealed only a bare track, with no trace of “ the living engine and its tail.” In illustration No. 18 A., the yacht had passed the point which would have placed it in the centre of the plate, before the shutter was snapped — thus rendering the representation incomplete. But for this slowness on the part of the operator, the picture would have been good in all its details. Do not stand too close to the scene or object to be photographed. For instance, if you wish to make a picture of a train of cars at full speed, take a position fully a hundred and fifty feet distant, and make your exposure at an oblique angle, say forty-five to ninety degrees, Instantaneous Exposures 163 with the moving train coming towards you. The distance scale of your camera should be set at one hundred feet or the universal focus. Contemplate the ap- proaching train with calmness, and when it appears in full view upon the centre of your camera finder, snap the shutter. Hold the camera firmly, and do not hes- itate or delay action for even the hun- dredth part of a second. To obtain the best results in this class of work, patience and experience are necessary. For objects which move more slowly, such as pedestrians, or horses and carriages going at ordinary speed, etc., see table on page 53. Should the object taken move faster than the speed of the camera shutter the result on the negative will be as shown in illustration No. 18 B. The speed of the shutter must exceed the speed of the sub- ject photographed. 164 Why my Photographs are Bad Study the best effects, even in instan- taneous work : if it appears that the engi- neer of the passing train is about to blow his whistle, or make a signal, wait as long as you can for the more artistic picture. If the subject is a carriage in motion, choose the point of view which presents the most attractive background. All these details should be considered and with care can be made to count in the finished work. Many amateurs seem to desire only instantaneous work, because there is more excitement in it ; yet in most cases this very excitement is the cause of the failure to make a good picture. Perseverance and vigilance will finally overcome all difficulties, and he who has patience to continue in this work, will find himself amply rewarded. Don’ts for the Beginner Don't — Photograph against the sun. Don't — Pose a group in the sun, if a shaded spot is accessible. Don't — Be in a hurry — Take time. Don't — Become excited — Keep cool. Don't — Draw a slide from the holder, or return one to it, unless the holder is covered by a focusing cloth. Don't — Stop your lens down too much on dark and cloudy days. Don't — Purchase second-hand cameras when new ones can be obtained almost as cheaply. Don't — Purchase a camera or lens un- less the dealer allows you ample oppor- tunity for testing the same. Don't — Make two exposures on one plate. *6 5 166 Why my Photographs are Bad Don’t — Leave your plate-holder or lens exposed to bright sunlight ; it warps the one and injures the other ; also fogs the negative. Don’t — Receive instruction from any one who cannot give authentic infor- mation. Don’t — Take films or plates on the ocean, or into damp climates, unless pro- tected by tin boxes, hermetically sealed. Don’t — Be discouraged over failures. Don’t — Believe all you hear about pho- tography, but rely on your own judg- ment and experience. Don’t — Think that the best results are only chance. Don’t — Take a subject unless the pose or view is carefully studied as to the best effect. Don’t — Forget your red lamp when packing your camera outfit for photo- graphic tours. Dont’s for the Beginner 167 Don’t — Forget to dust glass plates be- fore placing in plate-holder ; otherwise the negative is likely to show “ dust spots.” Don’t — Keep photographic films or plates in a damp place. Don’t — Forget to purchase films or plates of one emulsion when possible. Don’t — Breathe when photographing, if the camera rests against your body, as you might thus move it out of position. Don’t — Think you are perfect in your work even if you have made a number of successful pictures. There is always much to be learned in the art of pho- tography. Don’t — Promise pictures to your friends, unless you intend fulfilling the obligation. Don’t — Expect your camera to accom- plish more than you know. PART II Some Specimens of Good Photography Author’s Note to Part II The author’s purpose in adding Part II to this volume is to demonstrate to the beginner how a subject, whether land- scape or figure, may be selected or posed so as to avoid many of the errors and bad effects shown in Part I ; and also to give some examples of correct time and instantaneous photography. With careful study of the subject to be photographed with figures placed in the most natural and graceful attitudes sug- gested by artistic taste and judgment, and with all other necessary circumstan- ces taken into consideration, we need not fear for the ultimate success of any ear- nest amateur. The few photographs here shown will 172 Author's Note to Part II suggest what may be expected of lens, shutter, plate, and operator ; the operator, however, is by far the most important factor. It is not claimed that these photo- graphs are perfect in execution or that they reach the highest point of artistic photography ; they are simply samples of good work showing results which, with care and practice any amateur may at- tain. No use has been made of double print- ing for cloud values or of various other manipulations of the negative to produce extremes of light and shade. These ef- fects are so extensive in their character that much could be written in relation thereto ; but this course has been avoided that the amateur might not become per- plexed. Let your photographs express individu- ality ; and, as far as possible, sentiment. Author's Note to Part II m Keep your own style and originality, for by doing that you will become a leader in photography, and not a mere copyist or follower of others. Made with Voigtlander Lens No. 2. Diaphragm No. 32. Plate — Seed’s “ Gilt Edge ” Sensitom- eter 27. Size plate — 6ix8i inches. In studio — moderate light. Time exposure 12 seconds. II Made with Voigt lander Lens No. 2. Diaphragm No. 16. Plate — “ Cramer Crown.” Size plate — 6ix8i inches. In studio — moderate light. Time exposure 10 seconds. Ill Made with Voigtlander Lens No. 2 Diaphragm No. 16. Plate — “ Cramer Crown. ” Size plate — 6ix8i inches. In studio — moderate light. Time exposure 10 seconds. IV Made with Voigtlander Lens No. 2. Diaphragm No. 32. Plate — Seed's “ Gilt Edge ” Sensitom- eter 27. Size plate — 6ix8i inches. In studio — moderate light. Time exposure 12 seconds. \ V Made with Bausch & Lomb Rapid Rec- tilinear Lens. Diaphragm No. 8. Eastman Film Cartridge. Size film — 5x7 inches. Camera “ No. 5 ” Eastman Cartridge Kodak. Day partly cloudy. Time exposure i second. Note. — To produce the indistinct effect shown in this background, use a No. 8 or even No. 4 diaphragm. Focus sharply upon the object or figure. VI Made with Voigtlander Lens No. 2. Diaphragm No. 16. Plate — “ Cramer Crown.” Size plate — 6ix8i inches. In studio — shaded light. Time exposure 15 seconds. VII Made with Bausch & Lomb Rapid Rec- tilinear Lens. Diaphragm No 64. Eastman Film Cartridge. Size film — 5x7 inches. Camera “No. 5 ” Eastman Cartridge Kodak. Day clear and bright — no wind. Time exposure 1 second. Note. — To produce the sharp effect shown in this picture — stop down the lens — using stop No. 64 or even smaller diaphragm. VIII Made with Bausch & Lomb Rapid Rec- tilinear Lens. Diaphragm No. 16. Eastman Film Cartridge. Size film — 5x7 inches. Camera “ No. 5 ” Eastman Cartridge Kodak. Day clear and bright. Exposure 100th part of one second. IX Made with Bausch & Lomb Rapid Rec- tilinear Lens. Diaphragm No. 16. Eastman Film Cartridge. Size film — 5x7 inches. Camera “ No. 5 ” Eastman Cartridge Kodak. Day clear and bright. Exposure 100th part of one second. X Made with Bausch & Lomb Rapid Rec- tilinear Lens. Diaphragm No. 16. Eastman Film Cartridge. Size film — 5x7 inches. Camera “ No. 5 ” Eastman Cartridge Kodak. Day clear and bright. Exposure 100th part of one second. XI Made with Eastman's “ No. 1 A” Fold- ing Pocket Kodak. Diaphragm “ open stop.” Eastman Film Cartridge. Size film 21x41 inches. Day clear. Exposure 75th part of one second. XII Made with R. & J. Beck Lens 5x4 Rec- tilinear 7 inch focus lens. Diaphragm No. 16. Plate — Seed’s “ Gilt Edge ” Sensitom- eter 27. Size plate — 4x5 inches. Light good. Exposure 200th part of one second. Use tKe Bright White Light for Bromide Enlargements, Photo Engraving, Lantern Slide Making amd Copying v* Superior to daylight because Steady and Strong. Burns kerosene, hence absolutely safe; costs lc. an hour, portable and complete in itself r no expense for instal- lation. The Bright White Light fits any Magic Lantern, intensely brilliant, absolutely safe ; three times as brilliant as Acetylene or Electric In- candescent Light at one- tenth its cost. Fits Moving Picture Film Machines. La.rge Stock Maggie Lanterns, Stereopticorvs 40.000 Lantern Slides for Rent Send for Catalogue free Willia.ms, Brown (Si. Earle Ma.nufa.cturing Opticians Kodak and Photographic Stock Dealers No. 918 Chestnut Street, Dept. 10 Philadelphia KODAK FILMS, By reason of their non-halation quality and because of the great ‘ ‘ latitude ’ ' which they give in expo- sure, produce better results than glass plates. Kodaks load in daylight — plate cameras require a dark room. Kodaks, $5.00 to $75.00 A new folding Kodak for the pocket, almost for the vest pocket, at $6.00. EASTMAN KODAK CO. ROCHESTER, N. Y. Catalogues free at the dealers or by mail — Pictures Mounted with Have an excellence peculiarly their own. The best results are only pro- duced by the best methods and means— the best results in Photo- graph. Poster and other mounting can only be attained by using the best mounting paste— Higgins* Photo Mounter HIGGINS’ PHOTO MOUNTER (Excellent novel brush with each Jar) At Dealers in Photo Supplies, Artists’ Materials and Stationery A 3-oz. jar prepaid by mail for thirty cts. or circulars free, from Chas. M. Higgins & Co. Manufacturers NEW YORK CHICAGO Main Office, 27 1 Ninth Street Factory ,240-244 Eighth St. LONDON BROOKLYN, N. Y., U. S. A. Photographic LENSES are Voigtlander & Son’s Made by the original firm in Braunschweig, Germany. They are unequalled. Sole American Agents Benj. French Co. BOSTON. MASS. The Platinotype Sepia and Black WILLIS & CLEMENTS believe their best combination to be KK for Smooth Surface Prints (Supplanting BB and new BB) CC for Rough Surface Prints Send 25 cents for sample package Sepia or Black with developer. WILLIS CLEMENTS 1624 Chestnut Street PHILADELPHIA Love Tales American Love Tales English Love Tales Scotch Love Tales Irish Love Tales German Love Tales Each volume 16mo. Cloth or limp leather. With dainty cover design and photogravure frontispiece. Cloth, net, 50 cents per volume ; by mail, 55 cents. Limp leather, net, 8o cents per volume ; by mail, 85 cents. Who does not enjoy a love story, especially if it is a good one? Each of the above five volumes contains eight or more stories by representative writers of that particular country, and as the selection has been carefully made we feel sure they will commend themselves to everyone upon perusal. George W. Jacobs Co., Publishers PHILADELPHIA “ Should be in the library of every huntsman in the country .” — Sporting News. Sport Indeed By Thomas Martindale. 8vo. Cloth. With 24 full-page illustrations from photographs taken by the author. Price, net, $1.60; by mail $1.77. It is hard to say whether sportsmen, or lovers of nature in general, or those who are fond of anecdote and shrewd observation expressed in terse and vigorous English, are most deeply indebted to Mr. Martindale for his new book. — The New York Commercial c -Advertiser . Diverting to an unusual degree in his descriptions of the joys of the hunt. — The New York Times Saturday Book Review. A bright, entertaining, interesting book, which every devotee of outdoor life and hunting will enjoy from the first page to the last —Sporting Life. Furnishes a store of entertainment which will serve to relieve the tedium of many a long, stormy winter’s evening. — The Sportsmen s Review. It shows how it is possible for a business man to retain his love for fields, woods, streams, and forest craft, while still actively engaged in commercial pursuits ; how youthful enthusiasm in these matters may keep anyone from growing old. A breezy, health-laden book. — The Boston Globe. George W. Jacobs Co. f Publishers PHILADELPHIA 365 Breakfast Dishes 365 Desserts ^ ^ ^ Two little books which provide an appetizing breakfast and a dainty dessert for every day in the year. Prepared by one who is familiar with the needs of good cuisine, these little books contain just such information as will be helpful and invaluable to every housekeeper. Compiled from Mrs. Lincoln, Marion Harland, Mrs. Lemcke, “Table Talk,” “Good House- keeping,” “ The Boston Cooking School Maga- zine,” and others. Price, 40 cents net, per copy ; postpaid, 45 cents each. George W. Jacobs & Co., Publishers PHILADELPHIA A book which aims to do for the cat what “ Black Beauty ” has done for the horse and “ Beautiful Joe ” for the dog. Highly commend- ed by Hezekiah Butterworth, Agnes Repplier, Elbert Hubbard, Charles W. Chesnutt, Mrs. Mary F. Lovell and others. PUSSY MEOW PATTESO The introduction is written by Mrs. Sarah K. Bolton. Attractively bound in cloth and fully illustrated from photographs. “ ‘ Pussy Meow ’ is not a sermon, or a treatise on the care of cats, pure and simple. It is first and foremost an interesting story, which is sure to find a welcome in every library where it is sent.” — The Cleveland c Plaindedler, “A better book could not be placed in the hands of children.” — The Indianapolis Independent . Price : Net, 60 Cents. By Mail, 70 Cents George W. Jacobs (El Co., Publishers PHILADELPHIA Wit and Humor Books EnglisH Wit and Humor Irish Wit and Humor Scotch Wit and Humor With handsome cover design in gold and frontispieces of Sidney Smith, Thomas Moore and Thomas Campbell. 16mo. Cloth. Each, net, 50 cents ; by mail 55 cents. Full limp leather, each, net, 80 cents ; by mail 85 cents ; or the three books neatly boxed, cloth, per set, net, $1.50 ; by mail $1.65. Full limp leather, per set, net, $2.40 ; by mail $2.55. The best anecdotes, witticisms and humorous stories in the English language are here brought together, making a veritable feast of brilliant sayings and epigrams. — ‘Philadelphia Press . American Wit and Humor Compiled by D. K. Simonds, with handsome cover design in gold, and frontispieces of Mark Twain and Oliver Wendell Holmes. Uniform with English, Irish and Scotch Wit and Humor. Two vols. in a box, cloth, net, $1.00 ; by mail $1.10. Full limp leather, net, $1.60; by mail $1.70. Mr. Simonds has taken the time and the trouble, not only to observe the humorous sayings of his countrymen, but to collect them in two dainty little volumes ; and those who merely glance through the books or peruse them more leisurely will agree that although America has never been deemed a witty nation, yet Americans are not devoid of humor. George W. Jacobs & Co., Publishers PHILADELPHIA GETTY CENTER LIBRARY 3 3125 0 002 9211