Fig. 8.Fig. 8.
Fig. 8.
Fig. 8 represents the Dallmeyer Wide Angle Rectilinear Lens. It consists of two cemented combinations,p95each composed of a deep meniscus crown and a deep concavo-convex flint glass lens; between the two, dividing the space in the proportion of their respective diameters, is placed a revolving diaphragm, the largest aperture of which isf15;the position of the stop being nearer the back combination avoids the central spot or flare.
This lens embraces an angle of 90 to 100 degrees; it is quite free from distortion, and particularly adaptable for taking views in confined situations, such as interiors, views in narrow streets, &c. Being a double combination its work is more finished and round than that by the single lens.
Fig. 9.Fig. 9.
Fig. 9.
Fig. 10.Fig. 10.
Fig. 10.
Probably the two greatest rivals to the Dallmeyer Wide Angle Lens are the Actinic Doublet of Ross (Fig. 9), and the Steinheil Aplanatic (Fig. 10). The Ross Doublet consists of a crossed crown lens, cemented to its correcting flint lens, which is a crossed concave, the whole forming a deep meniscus the focus of which is equal to the back combination or about double that of the equivalent focus of the complete instrument, the posterior meniscus combination consists of a meniscus crown lens cemented to a concavo-convex flint lens. The two combinations are mounted rigidly with a rotating disk ofp96diaphragms or stops placed midway between the lenses.
The Steinheil consists of a front and back corrected combination of precisely the same shape, mounted rigidly and having a rotating disk of apertures placed midway between the lenses.
These are three distinct types of view lenses of wide angle, and a comparison of the diagrams will show the wide difference in the construction of the two latter from the Dallmeyer; and while they stand unrivaled for the perfection and beauty of their work, which is about equal, the Dallmeyer obtains a great advantage over the others in the thinness of its lenses, which enables it to work with greater rapidity, and indeed it has been used with great success with the drop-shutter for photographing moving objects and other similar out-door work.
FIG. 11.FIG. 11.
FIG. 11.
While the possession of a wide angle lens is indispensable in the varied selection of out-door subjects, yet for many purposes it has been found they are unsuitable; and to meet this want Mr. Dallmeyer has constructed a modification of the wide angle, which he calls Rapid rectilinear. Its construction is shown in Fig. 11. The lenses of the front and back combination have the same general form as those of the wide angle, but they are of smaller diameter, being constructed for angles of 60 to 70 degrees only. It is four times as rapid, and is in fact an aplanatic and symmetrical lens, and may be regardedp97as the most perfect lens extant. As it admits of the use of a larger aperture it is well adapted for interiors, where there is space for its use, and for almost every purpose of out-door photography, requiring short exposure and no greater angle.
The use of this lens has been greatly extended since the introduction of the rapid dry plate, which admits of its employment as a portrait lens in the studio, and in fact it has become a very popular instrument for portrait work, especially for the larger and life sizes, so that there is a strong probability that before many years the Rapid rectilinear and the D series of lenses of Dallmeyer will be the most useful and the most profitable lenses for portrait work in the studio that have ever been constructed, unless the near future shall give us something not now thought possible in optics.
Dallmeyer lenses are sold only by E. & H. T. Anthony & Co., who are the agents in this country, and as these lenses are quite expensive, and are indeed beyond the means of many, the Messrs. Anthony keep other and cheaper lenses, which are good of their kind, both for portrait and for out-door work, among which are the E A lenses for portraits, and the Platyscope and other lenses for views, etc.
To those desiring advice on the choice of a lens, this much may be said. If it is intended to procure a Dallmeyer, it is only necessary to know the limit in size of the work to be done. If in portraiture, you select a lens that will cover the size of plate you intend to use. If in landscape, or architectural work, or copying, consult the catalogue and order the lens that meets the requirements of the case. There is said top98be no difference in these lenses; that is, all lenses of the same series and size are exactly alike, the glass is of the same density, ground to the same curve, and polished to the same degree of fineness, so that each one is as good and no better than any of the others of the same kind and size. It is the same with the view lenses; one may order with confidence, and not be disappointed by receiving an inferior lens, while expecting the best in the world.
It is not so, however, with any other make of lenses; at least I have never heard such a claim made on the part of any other maker, hence for the selection of a lens by any other maker, some thought and experiment are justifiable and even necessary. Under such circumstances, the following method of testing a lens will be found useful.
When of several lenses of the same size it is desired to select the best, attach one to a camera box and focus it on some long object placed parallel with the axis of the lens; adjust the focus so that the part of the object nearest the lens shall be in focus, but near that point where it would begin to lose sharp definition. Mark the position of the carriage on the rail, then turn the focus forward so that the same point will be as near the other extremity of sharp definition, then mark the position of the carriage on the rail and note the distance between the two marks, which will indicate the depth of sharp focus. Now stretch a line across the room and focus the instrument on the centre of the line, and note to what distance on each side of the centre sharp definition extends; this will indicate the flatness of the field. Try all the lenses in the same manner, and secure the one that has the greatestp99depth of focus and the greatest extent of sharp definition on the horizontal line.
Expensive lenses should be treated with much carefulness. They should be kept free from dust and dampness, and should never be cleaned or rubbed with cloth or the handkerchief; nothing but fine chamois should be used to clean a lens, the fine polish of which (one important factor in its usefulness and value) is so easily injured by abrading its surface with anything of a fibrous or gritty nature.
The lens should always be covered when the day's work is done and while the studio is being cleaned up, to exclude dust, etc., from the glasses.
Examine the lens every morning to see if the glasses are at all dimmed by damp or dust, and if so, use the chamois. You must not expect good work from lenses whose surfaces are in any way dimmed.
Study your lens with care, and learn all its good and weak points, and so enable yourself to take every advantage of instrument, light and pose in making a sitting.
The camera box and lens in the hands of the competent photographer are what the brush and colors may be in the hands of the portrait painter. They are the means whereby he produces his portrait and stamps his individuality upon his work. Therefore, when we look back and consider the rude implements the pioneers in our art had to work with, we are often surprised that the work they produced was so really respectable in point of finish and excellence as it was.
Starting from a cigar box and a burning glass, not 50 years ago, the progress made, as represented byp100the instruments in use at this day, would seem to be fully equal to the advance from Fox Talbot's paper negative to that made on the Gelatine Dry plate.
As late as 25 years ago the box in general use consisted of two sections of square wooden tube, one sliding inside the other, in telescopic style; to the front of the smaller section was attached the lens, and the focusing glass fitted into a groove in the rear of the larger section. The lens afforded the means of adjusting the focus in its rack and pinion movement, and the ground glass had to be removed from its groove before the plate holder could be put in place.
This rude apparatus was considered in its time to be a very ingenious construction, but if the shades of Morse and Draper could contemplate the objects of art that have supplanted the rude constructions they were so familiar with and knew so well how to use, they might well wish themselves back among the living for the pleasure of working with one of the latest camera boxes.
The cameras of the present time seem constructed to meet every requirement of the most exacting intelligence. They are light, yet firm and durable, they are rigid as wood and metal can make them, and yet they are fitted to focus sharply all positions of the human form. They are complicated, yet extraordinarily convenient, and they are made in forms and sizes adapted to every possible use or demand.
There are four principal varieties of camera boxes in general use, viz:
The camera for positives, which includes the multiplier. The camera for negatives, wet or dry, for portraiture. The camera for copying, and the camera forp101viewing and out-door work; descriptive accounts of the several varieties will be given under their appropriate heads.
These boxes are usually made for use with four or more lenses in a block, by which at one exposure as many pictures are made as there are lenses.
The size represented by Figs. 1 and 2 is usually employed for work in tents or portable houses, on fairgrounds and places of resort at the seaside and elsewhere during the summer season.
Fig. 1 shows the front, with the method of attaching the four lenses, which are of the ¼ size, and they make four pictures on a 5×7 plate.
FIG. 1. CLIMAX.FIG. 1. CLIMAX.
FIG. 1. CLIMAX.
Fig. 2 shows the back of the same box with the ground glass reversed, and the plateholder partly pushed into position; there are shown also the openings through which the various sizes of pictures are made. This box can also be used with one lens for making two cartes de visite or one cabinet on the 5×7 plate.p102The same style may be had with the ground glass hinged to the box.
FIG. 2. CLIMAX.FIG. 2. CLIMAX.
FIG. 2. CLIMAX.
FIG. 3.FIG. 3.
FIG. 3.
This same style of box is made also of larger sizes, to be used with one or more lenses, of which Fig. 3 represents the size for 8×10, by which with one lens can be made 4 cartes de visite or 2 cabinets on 8×10p103or 7×10 plates, and with 4 lenses 8 cartes de visite on the same size plate, or with 9 lenses 18 large gems are made by two exposures.
FIG. 4. N CAMERA, REAR VIEW.FIG. 4. N CAMERA, REAR VIEW.
FIG. 4. N CAMERA, REAR VIEW.
FIG. 5.FIG. 5.
FIG. 5.
For gallery work, however, the Figs. 4 and 5 representp104the most useful form of multiplying camera, as by their aid everything that would be called for in a ferrotype gallery can be made.
With one lens can be made on 8×10 plate: 2 cabinets, 2 cartes de visite or 1 large picture. With 4 lenses can be made on 8×10 plate by 2 exposures: 8 cartes de visite, and on 5×7 plates by one exposure, 4 cartes de visite.
With 91⁄9lenses on 7×10 plate can be made with two exposures: 18 gems; with 4 exposures, 36 gems; and with 8 exposures, 72 gems; on 5×7 plate with 1 exposure, 9; 2 exposures, 18; and with 4 exposures, 36 gems.
The carriage and plate holder of these boxes move vertically and horizontally, thus giving the operator the power of making a great variety of sizes and of using any size of plate from ¼ upwards to 8×10. On the ¼ plate can be made with one exposure, 41⁄9gems; 8 of the next smaller size by 2 exposures; and 16 of the smallest size, by 4 exposures, thus bringing into use only 4 of the 9 lenses; the second size is made by placing the lenses horizontally, also the openings in the back of the box, the plate also is laid on its side in the holder.
These boxes are finished in a variety of styles, plain or ornamental, and are fitted with holders for negatives as well as the usual rabbeted holders for ferrotypes, and by their use all the work of a small establishment might very easily be done, as all the sizes of ferrotypes are made from 16 gems on ¼ plate to 72 of the same size on 7×10 plate, and by one lens everything, positive or negative, from ¼ to 8×10 size, are made without difficulty.p105
THECAMERA FOR NEGATIVES, WET OR DRY.CLIMAX IMPERIAL CAMERAS.FIG. 6.FIG. 6.
THECAMERA FOR NEGATIVES, WET OR DRY.CLIMAX IMPERIAL CAMERAS.
FIG. 6.
For the gallery making no pictures larger than 8×10, the above, figure 6, represents the camera box that is the best fitted in every respect. It is light, compact and durable, and it is most accurately adjusted for cartes de visite, cabinets, 4×4 or 8×10 pictures in every style, full length, half lengths or heads. It has the double swing back, with the tangent movement, and is fitted with the Benster holder, which is represented in the cut.
This style can be had in every variety of finish, from the plain to the most ornamented, in mahogany or ebonized wood, with brass fittings or nickel or silver-plated, as may be most desired.
FIG. 7.FIG. 7.
FIG. 7.
For galleries where larger work is called for, figure 7 represents a box that is made in all the sizes from 11×14 to 25×30, and it is fitted with an attachment (see Fig. 8 for 8×10 to ¼ plate), thus enabling the photographer with one box to fill every order for pictures, from a card to a life-size portrait.p106
FIG. 8.FIG. 8.
FIG. 8.
This box is fitted with the double swing back, tangentp107movement, the telescope bed, which renders it very compact, and with the Benster holders.
CLIMAX ROYAL CAMERA.CLIMAX ROYAL CAMERA.
CLIMAX ROYAL CAMERA.
FIG. 10.FIG. 10.
FIG. 10.
p108
THE M SUCCESS WITH TANGENT MOVEMENT. FIG. 11.THE M SUCCESS WITH TANGENT MOVEMENT.FIG. 11.
THE M SUCCESS WITH TANGENT MOVEMENT.FIG. 11.
Figs. 10 and 11 represent varieties of cameras of a highly ornamental kind. They are made of hard wood, ebonized, and with nickel-plated fittings. Fig. 10 has the Wright's patent metallic swing, Fig. 11, the tangent movement.
The "Benster" Plate-holder (see page 109) is intended to, and will undoubtedly, supersede the Bonanza holder for wet plate work, as it is a more perfect silver saver than the Bonanza, while its easy adjustability to every size of plate places it away ahead of anything known or in use heretofore. The operator who has ever used this holder will never consent to go back to any of the old styles while he can procure the Benster. The plate rests on pure silver wire, and there is a trough with large bottlep109beneath, into which all the silver waste readily finds its way. As the trough is raised, the upper ledge descends, so that the centre of the plate is at all times in the centre of the holder, no matter what size is used. This obviates the use of inside kits, and adapts itself at once toany size of plate, from the largest the holder will admit to one not under three inches square. This is unquestionably the best gallery plate-holder made. By a recent improvement, the horizontal bars may be instantly fastened for plates of any size, and there is also an attachment for the vertical adjustment. Fordry plate studiowork it is the holderpar excellence.
THE "BENSTER" PLATE-HOLDER.THE "BENSTER" PLATE-HOLDER. FIG. 12.FIG. 12.
THE "BENSTER" PLATE-HOLDER.
FIG. 12.
p110
THECOPYING AND ENLARGING AND REDUCING CAMERA.THE COPYING AND ENLARGING AND REDUCING CAMERA. FIG. 13.FIG. 13.
THECOPYING AND ENLARGING AND REDUCING CAMERA.
FIG. 13.
Copying constitutes a large portion of the business of every gallery, and a camera for that purpose is almost indispensable, as the portrait camera is entirely unfitted for a major portion of the copying work that comes.
The copying camera requires no swing back, but does require great length of bellows and bed, which has often to be supplemented by the cone when a very small picture is to be enlarged to a great size.
A special form of copying camera is adapted to enlarging and reducing negatives, and for making transparencies. This form, Fig. 14, can be so arranged as to render it possible to remove the lens from the position as seen in Fig. 14 to the front, so that the twop111forms, Figs. 13 and 14, might be combined in one for copying and making transparencies.
FIG. 14.FIG. 14.
FIG. 14.
The Success Camera, for viewing, Figs. 15 and 16,
FIG. 15.FIG. 15.
FIG. 15.
p112
is an instrument calculated in every way to meet the requirements of professional out-door work. It is made in a form to secure the utmost rigidity and strength with the least weight. The bellows is conical, the bed is folding, the double swing back is convenient and easy of adjustment. In front,Fig. 16.FIG. 16.below the lens, is a small recess, or closet, in which extra tubes, flanges, screws, screwdriver, etc., may be safely carried; when folded, its bulk is small and occupies but little space. From the front to the outside surface of the bed, as folded, is only six inches, and the weight for 11×14 box, with ground glass and plate-holder, is only twenty-two pounds. By referring to the cut, 16, the compactness of this camera may be realized.
From the mode of construction the bed is rendered peculiarly rigid, and in their attachment and arrangement the brass guides are protected from injury. In case that, through accident, any part should get broken, it can readily be replaced without returning the camera.
The Novel View Camera is the latest response to the demand for something that shall be very light and very convenient. Its construction is the result of a series of experiments entered into with a view to obtaining an instrument in the make upp113
THE NOVEL VIEW CAMERA.THE NOVEL VIEW CAMERA. FIG. 17. REPRESENTING THE CAMERA WHILE BEING REVERSED.FIG. 17.REPRESENTING THE CAMERA WHILE BEING REVERSED.
THE NOVEL VIEW CAMERA.
FIG. 17.REPRESENTING THE CAMERA WHILE BEING REVERSED.
of which there shall be no unnecessary weight, and combining easy adjustment with great rigidity. It being absolutely necessary that a view camera shall permit the use of the plate both horizontally and vertically, all the older forms of view cameras were built square, to permit the shifting of the plate, thus adding very much to the weight of the instrument. In this instrument, however, all that is possible has been done to reduce the bulk and weight; in doing so several newp114improvements have been adopted. The box itself is very little larger in outside measurement than the largest plate it will take, and the double holder is so perfect as to be very little if any heavier than the glass plates it is intended to contain. The greatest improvement is the revolving bellows, the front end of which is fastened in the light frame-work in such a way that when the back is detached from the bed the whole bellows revolves, instead of requiring to be unbuttoned, as heretofore, making a great saving in time. The back is held to the bed by metal plates having slotted holes, which permit the passage of round screw-heads, which slide over the slots and thus hold very firmly. The back may be detached and changed from a vertical position to a horizontal in so short a space of time as two seconds, by the watch.
These boxes are made with a double swing, the combination of the two swings making it possible to avoid all distortion of lines.
These cameras are made in all sizes from 4×5 to 18×22, and they are decidedly the camera of the period. The 3 suitable sizes are fitted with partitions, and extra fronts for stereoscopic work.
The novel dry plate holders for these cameras are stripped of every unnecessary bulk and weight; each will contain two plates, except the sizes above 8×10, which are fitted with a patent shield, each one of which has two slides working in the end and in the side of the shield, therefore the slide can be withdrawn from the side of the shield, no matter in what position the camera is placed. These shields are single for one dry plate only. All the sizes of Novel Cameras above 8×10 are made with the ground glass of the same focusp115as for wet plate holders; if desired wet plate holders can be furnished to order.
A new idea has been perfected and carried out in connection with the Novel Camera, making it a combination View and Portrait Camera with the above name. See Cuts 18 and 19. A portrait attachment has been constructed to fit the back of the larger sizes of the Novel Camera, which can be attached or detached in a few seconds, thus rendering it unnecessary that there should be two large and expensive cameras in one gallery. This is an exceedingly valuable improvement for the larger sizes in more than one particular. The 18×22 size, with ground glass and two plate holders, weighs only 50 lbs.; the measurement of this size outside is 11×22×30¼ inches only.
Fig. 18.Fig. 18.KLAUBER CAMERA, VIEW PART ONLY.
Fig. 18.KLAUBER CAMERA, VIEW PART ONLY.
p116
Fig. 19.Fig. 19.
Fig. 19.
Thus it will be seen that every variety of work in the gallery may be done with two or at the most three Cameras.
The Climax Imperial Cameras for work up to 8×10; a Klauber Camera for portrait and view work from 8×10 to any size desired, together with a Copying Camera, would make a superb outfit for any gallery.
A stand or support for the camera box and lens, by means of which the box and lens can be raised or lowered or moved about the room with facility.
The stand best suited for the purpose is one that is strong, and heavy enough to be very rigid and firm, but not so heavy as to be cumbersome and difficult to move. For raising and lowering the camera, which in some cases is quite heavy, there are several appliances, such as levers, screws, weights, &c., &c., andp117the different styles of camera stands may be designated by the name of the mechanical power which is applied for that purpose, viz:
Lever Stands, Screw Stands, Balance Stands.
Fig. 20.Fig. 20.
Fig. 20.
The Lever Stand, Fig. 20, is one of the oldest forms of camera stand, and is still used in many establishments. The method of raising the top may be seen in the cut. There are two levers, one for each end, by means of which the camera may be inclined upwards or downwards. The levers are held in place by means of springs which press a beveled edge steel plate—attached to the levers near the handles—against a serrated plate of steel, attached vertically between the handles. (See cut.)
This style of camera stand is more used for very large and heavy cameras than for the smaller kind. They are very firm and rigid, and exceedingly durable, being made of hard wood, well seasoned, and they are consequently not at all liable to get out of order; in fact, a well made stand would last a life-time, if one cared to have a camera stand last so long. The next style in order is the
which is a very popular stand, and its most popular form is that called the Knickerbocker Stand, which is made in 4 or more sizes and has 2 styles ofp118tops; the top seen in Fig. 21 has the name of the inventor of the stand and is called the Stoddard Top; the other, No. 22, is the Acme Top. This form of stand is better adapted for light camera boxes, and is therefore preferred in small establishments and tintype galleries to the other styles, which take up more room and are not so portable.
THE KNICKERBOCKER STAND.THE KNICKERBOCKER STAND.FIG. 21.
THE KNICKERBOCKER STAND.
FIG. 21.
p119
FIG. 22. THE ACME TOP.FIG. 22. THE ACME TOP.
FIG. 22. THE ACME TOP.
This style comprises a greater variety of forms than all the others combined, it requiring the least exertion to move the box up or down. The weight of the camera box when placed on the stand top is counterbalanced by weights which rest upon a shelf attached to cords, which pass over pulleys and downwards, to be fastened to uprights which support the top; when properly balanced it requires only a touch of the hand to raise the box or to lower it.
FIG. 23.FIG. 23.
FIG. 23.
The most popular form of this stand is the Bowdish. See cut 23. The description will be rendered quite intelligible by observing the weights which are in the centre, between the three legs, and the cords which pass over the pulleys to the three supports of the top. From the peculiar construction of this stand it has the most simplep120means of adjustment; it is raised or lowered by touch, and a binding screw serves to keep it immovably in position.
FIG. 24.—THE AUTOMATIC STAND.FIG. 24.—THE AUTOMATIC STAND.
FIG. 24.—THE AUTOMATIC STAND.
Another form of this stand is the Automatic, Fig. 24, which is a later form than the Bowdish, and has several improvements not yet applied to the latter. It is entirely new in shape and principle; it is very light and simple. The various changes are made quicker and easier than with any other stand. A coil spring bears most of the weight in raising and lowering, and self-actingp121stops hold the centre frame and bind it firmly at any height desired by the operator, no set-screw being required to make it rigid. It has also a new and superior device for tilting the top. Another form of this, very popular stand is the Gem City Stand, see Fig. 25,p122which in some respects is even better than the Automatic; beside the weight balancing the camera box it has a crank in common with the Automatic for raising and lowering. It also has a very convenient arrangement for copying, which is an extension which moves under the top of the stand and holds an upright support for the picture to be copied; this is a very convenient arrangement for galleries where there is not enough copying done to require a special copying box.
FIG. 25.—THE GEM CITY STAND.FIG. 25.—THEGEM CITY STAND.
FIG. 25.—THEGEM CITY STAND.
FIG. 26.—THE HANDY CAMERA STAND.FIG. 26.—THEHANDY CAMERA STAND.
FIG. 26.—THEHANDY CAMERA STAND.
There is another form of stand in use, in which the balancing weight is replaced by a crank and pulley; of this kind is the Handy Camera Stand.
Of this style there is another form that has advantages of its own, which would seem to render it peculiarly a useful and appropriate stand for light boxes; it is the Magic Camera Stand.p123
FIG. 27.—MAGIC CAMERA STAND.FIG. 27.—MAGIC CAMERA STAND.
FIG. 27.—MAGIC CAMERA STAND.
FIG. 28.—IRON CENTRE STAND.FIG. 28.—IRON CENTRE STAND.
FIG. 28.—IRON CENTRE STAND.
All these various styles of stands are made in sizes to suit cameras from 8×10 to 25×30.
Fig. 28 represents a style of stand which does not classify, but which is a useful stand in a portable gallery or tent.p124
This device for making exposures in the photographic studio has proved to be so useful and popular as to have secured almost general recognition and adoption among the photographers of America.
The possibility of making exposures in the studio, unknown to the subject, placed a very decided advantage in the hands of the operator, who, standing at any point, could watch the expression of the subject and seize the right moment to secure the impression desired; so that the pneumatic shutter seemed to be the proper complement to the lightning dry plate.
There is a great variety of these shutters exhibited and for sale, and the number continually increases.
The earliest example of this style of shutter that we know of is the Cadett, an English invention, which, in its introduction into this country, served as a stimulus to the inventive genius of Americans, and, as a consequence, we have the great variety that now may be selected from. An effort was made to apply electricity to use in working a shutter, but it did not succeed, and so the rubber tube and bulb became the accepted means for applying the force necessary to open and shut the slides or doors constituting the shutter.
An attempt has been made to apply a time regulator to the pneumatic exposer that shall keep the lens uncovered for a period of time at the will of the operator, which shall be regulated by an index pointing at a figure representing a definite period of time. By turning the index to any figure, from 1 to 20 or more, representing seconds, the shutter is held open for that time, and then closes automatically. This shutter is opened, in the first instance, by pressure upon a bulb,p125in the same manner as any of the pneumatic devices. We may enumerate, among the various shutters, those giving the most satisfaction in use,
It has often been remarked by eminent photographers that the arrangement is a most useful one which enables persons to be photographed without being aware of it. The efforts in this direction necessitated the operator being close to the camera; here we have an instrument which permits him to be at any part of the studio he pleases.
TN: Cadett's Pneumatic Shutter
Many have experienced the difficulty of taking children's portraits with the proper amount of profile; with the above device all difficulty vanishes—the operator may be by the side of the child and attract its attention to any direction, and he has the means of exposing and capping the lens with far greater rapidity than with the usual method.
Directions.—After the day's work is done the rubber tubing should be taken off the instrument; this will prevent a partial vacuum in the bellows and tube, which would otherwise ultimately occur. These instruments are now constructed for application either inside orp126outside the camera. Its use is very simple—squeeze the ball end of the tube and the shutter opens.
This instrument no sooner made its appearance than Yankee ingenuity set to work to improve on it, or at least to produce something similar that might not infringe on the patent.
TN: Using the Pneumatic Shutter to Photograph a Child.
The first effort was to bring electricity into use to move a shutter inside the camera box, and a very good device was perfected and sold to numbers who were convinced of the usefulness of the idea, but were unwilling to pay the price demanded for the English instrument. This electrical apparatus, however, soon played out, and few operators had the time or knowledge necessary to keep the battery in order; and in many instances after the sittings had been made it was found, on attempting to develop the plate, that no exposure had taken place, hence these electrical shutters were soon relegated to the limbo of played-out photographic apparatus, of which every gallery of any standing has one.p127
THE "ECLIPSE" INSTANTANEOUS SHUTTER.THE "ECLIPSE" INSTANTANEOUS SHUTTER.
THE "ECLIPSE" INSTANTANEOUS SHUTTER.
For simplicity of construction and operation, for reliability and good results obtained with it, the "Eclipse" Shutter has gained an enviable reputation. It is safe to say that no shutter is better or more favorably known.
The "Eclipse" is made wholly of metal, and is finely finished. It attaches over hood of lens by a velvet-lined collar, and has a clamp to securely hold it in place. It is made in five standard sizes, collars for hoods of lenses being attached to a shutter of the most suitable size.
When the shutter is in a locked position ready for an exposure, the right-hand leaf of fly covers the aperture of lens. When released, the fly revolves, uncovering the aperture, which is again covered by the left-hand leaf.
When the shutter is in the position shown in cut, less illumination is given to the foreground; but byp128adjusting the shutter in different positions any part of the view may be favored.
The hair trigger release may be operated either by hand, by a cord, or by a pneumatic device. The pneumatic apparatus costs $1.00 extra.
The speed of the shutter is perfectly controlled by moving the spring on back of shutter from notch to notch on the curved arm.
PROSCH'S "DUPLEX" PHOTOGRAPHIC SHUTTER.PROSCH'S"DUPLEX" PHOTOGRAPHIC SHUTTER.FOR TIMED OR INSTANTANEOUS WORK. PERFECT IN BOTH.
PROSCH'S"DUPLEX" PHOTOGRAPHIC SHUTTER.FOR TIMED OR INSTANTANEOUS WORK. PERFECT IN BOTH.
With this shutter, the latest production of the inventor of the very popular "Eclipse" shutter, exposures can be made of any desired duration. It is equalp129to any requirement for the most rapid work, and as a time shutter, exposures can be made as quick as two pulsations can be given to air bulb (about one-tenth of a second) or of minutes' duration.
"Duplex" Shutters work perfectly, with even the very largest lenses, up to their full capacity; and several lenses can be used with the same shutter. The shutter gives a full opening; but yet, by the peculiar opening in the exposure slides, any part of the picture can be favored with more or less illumination by turning the shutter, sometimes even inverting it.
The illustration gives a front view of the shutter, one-half size of No. 2, which is suitable for an 8×10 lens, or even larger, as it has an opening at the diaphragm of 11⁄8inches.
Inclosed in metal casing are two pivoted slides, which move, in unison, in opposite directions, and make the exposure in one continuous movement without the slightest jar, even when worked at its greatest rapidity. The motive spring is on the back of the shutter, and is of coiled wire; a perfectly reliable spring. Its tension is regulated by moving it along a series of notches. The exposure slides are moved by a stud on the lever shown on front, which passes through the shutter and a slot in each slide, and engages with the spring on the back. On the end of the lever are two notches hidden by the secondary lever. When the lever is fully depressed, the release catches in the upper notch and locks the slides closed. A slight pressure on the air bulb or a trip to the projecting end of the release, frees the slides, and they make an instantaneous movement or exposure. If the secondary lever has been brought into play, by a turn orp130two of a milled-head nut, the release will catch in the second or lower notch and hold the slides at a full opening, in which position they remain until a second pressure is given to the bulb, or the release is tripped by hand.
The shutters are made in standard sizes, having narrow threaded collars on each side, to which can be adapted tubes to receive lenses, which are to be transferred from regular lens tubes. Any intelligent instrument maker or machinist can adapt such tubes to lenses; the original tube is not used.
It might have been thought that the rapid dry plate, by shortening the time of exposure so much, would have done away with the necessity for using head-rests; and many old photographers whose backs have often ached from handling the "Wilson," the "Spencer" and other enormously heavy head-rests, thanked their stars that a time of relief seemed to be at hand. But not so. The head-rest is just as necessary as ever, and the heavy ones are as advantageous now as before. The most important use of the head-rest is to keep the head in the position required. That the head should be immovable is necessary during the time of exposure. Many people are quite able to keep still enough for photographic purposes without a rest for the head, but very few are able to keep the head in the position desired by the operator without some assistance; hence the necessity for the use of the head-rest for even the shortest exposure. One benefit, however, has been derived from the advent of short exposures; there seems no necessity for the use of the extremely heavy varieties.p131The lighter rests would seem to be capable of fulfilling all the requirements of a head-rest.
SUCCESS HEAD-REST.SUCCESS HEAD-REST.CENTENNIAL HEAD-REST.CENTENNIAL HEAD-REST.
SUCCESS HEAD-REST.SUCCESS HEAD-REST.
SUCCESS HEAD-REST.
CENTENNIAL HEAD-REST.CENTENNIAL HEAD-REST.
CENTENNIAL HEAD-REST.
The Success head-rest is one variety of the lighter kinds, of which another is the Centennial. These are very useful in the studio, more particularly in posing a group, when it is necessary to have a head-rest for each one of the party; they are also sufficiently rigid for single sitters. They are in all sizes, short for children and long for adults, and if any part should be broken or get out of order duplicates can be had at trifling expense.p132
THE RIGID HEAD-REST.THERIGID HEAD-REST.SPENCER HEAD-REST.SPENCER HEAD-REST.
THE RIGID HEAD-REST.THERIGID HEAD-REST.
THERIGID HEAD-REST.
SPENCER HEAD-REST.SPENCER HEAD-REST.
SPENCER HEAD-REST.
The Rigid head-rest is of a heavier kind, and is a favorite with many who prefer a medium weight. It sets firmly on its base and can be quickly and easily adjusted to either sitting or standing figures.
The Spencer head-rests are examples of the heavier kind; they are very firm and rigid, and heavy enough to suit the most exacting gymnast or athlete. There are many other varieties of the light, medium and heavy kinds, but the cuts show the best of the various weights, and a selection can be made from these without fear or hesitation.
A gallery should have half a dozen head-rests atp133least, and while the majority should be of the lighter, there should be a sample of the medium and heavier, kinds, so that no important aid to good work should be lacking.
Much attention has been bestowed upon the posing chair since 1865, when Sarony introduced into the country the posing apparatus which first brought his name permanently before the American photographers and the public.
The Sarony posing chair, table, rest, etc., has, however, passed, and remains among the things that were, and many other styles of chair since have had their brief day and are gone.