The San Francisco Call. Newspaper, July 26, 1903, Page 11

T HE SUNDAY CALL. 11 experience “launched career, nbitious be- avoid the incident to interesting time bring- 1 his most rse, snappy, truly edify- dering and n thi The ed next Sunday. its efore s & ( rist shoud have his fllms, rolls ates hermetically sealed In tin nd efter exp: uld be 1s dampness and ies, and attacks of baggage traveling in the interior of Ja- 250 plates which had been y exposed by not observing this stmple precsution T would also = e the traveler to be- come thoroughly ainted with his camers e starting on his journey, lest he repeat the disappointing experience of & cele explorer, who other importe Tpon oping the plates on his re- et ace of the o 2ol Some mistake mapipuleting the tter was responsible His plate: were all b sr dealer will always allow you am- e to test a camera, and it will re- to embrace th t decide too has r graphic outfit. Above all, do not h ask for information regarding any point upon which you are in doubt. I nce had for a traveling companion on jnent 2 man who always main- hat to make inquiries was a sure ignorance. Be that as it to- sitate the co! sign is also the sure means of lessening that B Diagram No. 1. ignorance. Since we could never agree on the same ¢ in this matter we were compelled to part company. ad A few days ago a friend of mine, know- ing I was complling a book on photogra- phy for the truction of the beginner, sald laughing “Why, Mr. Taylor, I never had a cameia iIn my hands and have toured the wurld several times. I have the finest collection of foreign pic- (photographs) that any one would What's the use of all desire to possess the trouble, expense and labor of owning and operating a car At the best you never succeed in having more than 40 per cent of your photographic work turn out well?” How could any one live in this age of and refinement progress, love of beauty with such a narrow mind, especially a traveler? I was anxious to see his col- lection, =0 shortly made him a visit and viewed yhs—and what did I find yped, sterec handl plctures that every traveler has st forced upon him Look at the photographs of this tourist and compare them with those of one’s own taking. ls there any comparison as regards interest and happy memories be- tween the two? The purchased photo- ne and feeling, with- sclation. BY is cold { out incident or z By means own your own camera: learn to operate it and have the ready wit to make your tour not only a :1f, but also a pleasure our return home. how success to you ur friends 1-PLACING A PICTURE ner frequently makes the mis- take of placing his camera so close to the person or object to be photographed that his subject will more than fill the plate d the result is sometimes a grotesque ppearance—the head or a portion of the body of the sitter being cut off, as in plate 1, or perhaps the best part of a fine land- scape being lost. Eight times out of ten the operator, upon beholding the conse- quences of bis error, will condemn the camera as a poor one, or his lens as de- fective. This fault is easily avoided. Place your camera at such a distance from your sub- ject that the figures will be correctly pro- portioned on the plate. Uncap the lens, cover the camera with a black cloth and proceed to focus sharply, using a mag- nifying 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. 1f, on the contrary, the picture-is too small, advance the camera toward 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 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 appear inverted. There are lenses manufactured known &nd 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 b F et A work in rooms of limited dimensions, as these lenses show great concentration of subject. 1I-THE USE OF A HEAD REST. It is annoying and expensive when mak- ing 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 ean be adjusted to suit all the variohs positions In which you may desire to place your subfect, as it can be used for elther fullifigure work or sitting positions. & Should your lens be a quick one, so as to enable you to take instafitaneous ex- posures in the studio, then of course ft would be unnecessary to use the head rest; otherwise if the time for the ex- posure of the plate be four to ten sec- onds, you will be more sure of good re- sults if you use the rest. 1 grant that it would be better not to use the rest if the subject could hold are also in proportion. Avold placing perpendicular objects, such as lampd, tables, etc., in close prox- imity to the person who is to be photo- graphed. These articles give a stiff char- acter to the plcture, and if they are of small size the whole scene looks illy pro- portioned. n 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 plano; 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 altached to thelr lenses, but overlooked their use or considered them unimportant. Every lens, whether of cheap or expensive manufacture, is provided with what are rule which can be followed in most in- stances or which can be added to as his experience may suggest. For example, a 5x4 Rectilinear or any doublp lens is usually about a six and a half inch focus, and the largest diaph- ragm has an opening of the size shown in diagram No. 3. Accompanying this lens there are seven stops or dlaphragms In the order shown in diagram No. 2. Let us presume your lens registers in speed the one hundredth part of a sec- ond. 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. WITH A WINTER LIGHT—12 O'CLOCK NOON. For instantaneous exposures always use a No. 4 or No. 8 dlaphragm, never smaller. For time exposures, with No. 18 stop, expose 1-10 of 1 second. For time exposures, with No. 32 stop, expose 1-5 of 1 second. For time exposures, with No. 64 stop, expose 1-3 of 1 second. % 2 8 ) ! 1 Su3 Nt — S16 J226 :AI'IG o3z Diagram No. 2 (Actual Sizes). . e perfectly still, as In the latter case the position is more natural and graceful than where a rest is useéd; but‘you will find it a very difficult matter to get the sitter to remain absolutely still during the re- quired time for exposure. III-POSING SINGLE FIGURES AND GROUPS. There are many points to be consid- ered in photographing figures and groups. First notice the arrangement, if you would have an artistic picture. Avold 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 tak- ing a group, focus upon :th# central figure. In arranging a group, place the figures in a curved line, as shown in diagram No. 1 . The reason for this is apparent. The figures—A—B—C—are not equal distances from the lens, #ZRd when focus is made on the central figure, B, both A and C: termed diaphragms or stops, the use of which is to iIncrease or diminish the amount of light entering the camera in order to secure a sharper image upon the ground glass and consequently upon the negative. For instance: if the day is bright and sunny and you.wish to take @ time exposure, you may with advantage stop your lens down to Nos. 32 or 64 dia- phragm; 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 num- ber 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 sécond must be given with the No. 32 stop, 1-3 of one second with the No. 64 op, -and so on. The more closely you “stop down” the lens, the sharper wiil be the detalls in your picture, . Hundreds of tables have been compiled, dozens of ideas expounded, and many in- genious devices made to regulate the ex- _posure of a negative plate, but all are too complicated. I fear that so much intri- cate calculation on the part of the be- ‘wildered amateur would lead him further from the desired result than a simple S2 O 769 S15 Sf64 O ¢] No28 N°256 e RN For time exposures, with No. 128 stop, expose 2-3 of 1 second. For time exposures, with No. 256 stop, expose 1% seconds. If about 9 & m. or 3 p. m., double the time of these exposures. On cloudy days or for pictutes taken in shadow, multiply the above table by ten. WITH A SUMMER LIGHT-12 O'CLOCK NOON. * . For instantateous exposures always use a No. 8 or No. 16 dlaphragm, never larger. For time exposures, with No. 16 stop, expose 1-20 of 1 second. For 'time sures, with No. 32 stop, expose 1-10 of 1 second. For time exposures, with No. 64 stop, expose 1-5 of 1 second. For time exposures, with No. 128 stop, expose 1-3 of 1 second. For time exposures, with No. 256 stop, expose*2-3 of 1 second. If about 9 a. m. or 3 p. m., double the time of these exposures. On cloudy days, or for pictures taken in shadow, multiply the above table by ten. EXPOSURES NECESSARY TO GET MOVING OBJECTS USING NO DIAPHRAGMS. Men and animals walking, angle toward camera, 1-15 of 1 second; at right angle to camera, 1-50 of 1 second. Boats and water scenes, angle toward camera, 1-% of 1 second; at right angle to camera, 1-60 of 1 second. Children playing, angle toward camers, 1-50 of 1 second; at right angle to camers, 1-100 of 1 second. Cycling or horse trotting, ordinary gait, angle toward camera, 1-100 of 1 second; at right angle to camera, 1-200 of 1 second. Athletic sports, running, jumping, etc., angle toward camera, 1-150 of 1 second; at right angle to camera, 1-400 of 1 second. Cycle or horse racing, angle toward camera, 1-200 of 1 second; at right angle to camera, Gt of 1 second. The above iskcalculated for: A 4xB cam- era at 50 feet from the object; a 5x7 cam- era at 60 feet from the bbject; a 63%4x5% camera at 75 feet from the object; an 8x10 camera at 100 feet from the object. If the object is at & greater distance slower exposures can be used; If nearer the camera, quicker exposures should be given. It will not be many weeks befors you have made your own table for both time and instantaneous exposures. Iv. - MAKING TIME EXPOSURES WHEN THE WIND I8 BLOWING. You will be greatly disappointed in your picture, whether of figure, bullding or landscape, if it is a time exposure made when the wind is blowing. In i{llus- tration No. 4 you will observe that while the model remains quiet, her hair, as well as the fan and handkerchief, have been moved by the wind; hence the picture, correct in other respects, such as focus- ing and posing, is worthless as a speci- men of goad photography. Should the making of a picture under this disadvantage prove unavoidable, open the stop of your lens to No. 4 or 8, and if the light is powerful enough, give the plate an instantaneous exposure and the result will be satisfactory. I have seen many curlous effects of ex- posures made under similar conditions. One was the picture of a dog, whose master, while coaxing him to be quiet, used such caressing tones and expressions that Fido's sensitive spirit was raised to the seventh heaven of beatitude, and while” his body posed obediently to his master’s behgst, his tall involuntarily kept up a constant and lively expression of delight. The photograph was a time exposure,” and the consequence was a portrait of a canine with the unfurled tail of a full fledged peacock. It is not difficult to suit your class of subjects to the day. -Should you desire to make time exposures in which trees and forests are the prominent features, then select the day that is calm and mild; but, If the scenes are at the sea- shore, and your subject is a yacht at full speed, it adds to the effect to have the wind at its best, and for this picture an instantaneous exposure must be made. FORESHORTENING. Most beginners quite overlook the im- portance of perspective in thé refative po- sitions of the lens and the subjeot. I: fllustrate this pot ose a post plac twenty feet from the camera, and an= other but ten feet from it. The post which is ten feet distant will paturaliy appear much larger on the glass plate of the camera than the one which is twenty feet away. So it is when & sub- ject is seated a chair, with hands and feet extended toward the camera. Those members will naturally be reflect- ed as larger in proportion to the rest of the body, and in the finished picture will displease the eye by their exaggerated size, as in plate No. 5 A. This error 1‘.- frequently made in phptographing ani- mals, when the head E}i generally made too prominent, and apparently magni- This is illustrated in plate No. § fled. B. It does not appear in such & pro- nounced. form in landscape work, ale though equally noticeable to the observe ing eye. Should the subject be a figure, it is well to place the camera slightly to the side of the sitter, thus equalizing the proporton of distance. This can also be done to advantage In photograpbing ani- mals, etc. Study to use the most artistio and plc- turesque effggts. It will taks more time, but in the end your pors will be well rewarded. PICTURES OUT OF FOCUS This effect s most commonly the re- sult of carelessness in the use of the fo- cusing scale of feet placed upom closed cameras provided with reil fims, as ko- daks. These {nstruments are without the focusing ground ss. As an flustra- tion of this fact, supposs you have pur- chased a No. 5 cartridge kodak with a roll of films. Now the distance between your subject and the lens if less than 100 feet must be measured. If the object to be photographed is ten feet distant and the pointer on the focused scale marks twenty feet, the result will be a negative such as that from which Plate No. 6 is printed. Cameras are generally of uni- versal focus for distances greater than 100 teet. In using this Instrument caloulats as closely as possible the distance in feet between your subject and the lens; then set the pointer to correspond with this number upon the focusing scale. I have known an amateur to have more than thirty exposures to turn out total fallures because she neglected to take advantage of this assistance In focusing. Again I have known several Instances of ama- teurs not using the focuaing rack at all— not because they forgot to focus, but be- cause they did not know that it was necessary. I would, however, advise the beginner to use a camera provided with the ground glass until his eyes become accustomed to judging distances and fo- cusing correctly. To gain experience In this line it would be well to measure off distances of six, ten, fifteen, twenty-five, fifty, seventy- five and a hundred feet, respectively, and impress their relative appearances upon the mind. This practice will prove very helpful in many photographic emergencies. If the view to be portrayed is, say, & ravine, perhaps a mile or more in depth, you should focus upon some object in the center of the landscape. Close your lens down to a No. 18 or No. 32 stop, and you will secure the extreme as well as the middle distance in sharp outline. Again let me strongly recommend to the novice a camera provided with a ground glass plate for his studies of distances and effects. He should become familiar with this before he branches into the un- certainty of space and depends whoily for his Information as to the correctness of impressions upon the small view fnder at the side of the kodak. The majority of professional photogra~ phers use the highly sensitized plates fon all kinds of work, including both time Actual size of lens % Diagram No. 3. and instantaneous pictures. But greaf caution is necessary in manipulating these rapid plates, for either under or over ex-- posure will result in a negative of unsate isfactory quality. A little practice, how- ever, will enable one to secure the desired effect. When photographing in a new it is well to test the strength of light and atmosphere b\ making several exposures of different lengths until the correct pe- riod is obtained. This is done by the professionals.