The Barnet Book of Photography: A Collection of Practical Articles. Various

Gum-Bichromate Process. Jas. Packham, F.R.P.S. 241 An Introduction to Carbon Printing for Beginners 253 The Carbon Process. Thomas S. Skelton 261 ILLUSTRATIONS. Homewards. Karl Greger 17 Among the Alps. W. de W. Abney 25 Winter Time on the Alps. W. de W. Abney 41 Melton Meadows. A. Horsley Hinton 72 Miss Lily Hanbury—A Portrait. Harold Baker 89 Gather the Roses while ye may. Alex. Keighley 121 Birch and Bracken. W. Thomas 137 Drifting Storm Clouds. W. Thomas 168 Streonsalch. W. J. Warren 201 Cupboard Love. T. Lee Syms 232 At the Fountain. J. W. Wade 265

      PREFACE.

      The purpose of this book is to place in the hands of every Photographer instructive articles on essential processes and manipulations, by eminent writers who have given such subjects their especial study, and who have borne in mind that whilst the experienced Amateur and the Professional may each find much to learn from a comparatively elementary description of methods and means, it is the Beginner who stands in greatest need of help.

      In the mind of every photographer the name of Barnet is inseparable from a great Photographic Industry, and now it is intended that the name shall be associated with a good and useful book, which is called the Barnet Book of Photography, and it is left to the reader to say if the fulfilment of its purpose and the manner of its doing are such as to justify its existence.

      To all who are interested in photography, who love it for itself and for its productions, and who desire to improve their own practice of its many processes and applications, this Book is respectfully dedicated.

      Barnet, Herts. ELLIOTT & SON.

       April, 1898.

      

COPYRIGHT.NEGATIVE BY W. L. F. WASTELL. A Famous Pike Stream. Contact Print on Barnet Platino-Matt Bromide Paper.

Alpine Photography.

       Table of Contents

      Writing in London on a day in winter with a murky sky and sloshy streets, the title of Alpine Photography is verily refreshing. It brings back days of sunlight and joyous experiment, and as we write the soul stirring scenery is before us called up by photographs taken under varying conditions of comfort and discomfort. That there is something different in Alpine photography to photography in our own country, we are bound to believe, since a special article is demanded for it.

      The first question invariably asked is as to the nature of the outfit required. We should here like to divide our reply into two divisions. The one concerning the mountaineer, and the other the ordinary tourist. For the former we have no doubt in our minds that a hand camera to take ¼ plate or 5 × 4 pictures is the most convenient form of camera to take. It is not our business to advertise any person's wares and we shall content ourselves by saying that personally we prefer a camera which has separate slides and does not possess a magazine, more particularly when glass plates are to be used, though a form of Kodak is not to be despised. But perhaps we are prejudiced in favour of glass plates, for they are simple to manipulate and have no cockles nor other drawbacks which the careless photographer may have to encounter. Probably the most useful lens to employ is a doublet of which the focal length is about a quarter more than the width of the plate, since it includes a fair angle and the margins of the photographs are not likely to be markedly different in general density to the centre, as is the case when wide-angle lenses are employed. In England a lens which will cover with a large stop, say f/8, is a desideratum, but in the Alps it is very rarely that such a large ratio of aperture to focal length is required. As a rule for ordinary plates a lens has to be stopped down to f/16 to give a negative in say ¹/₅₀th of a second. Nevertheless where orthochromatic plates are to be employed it is very necessary to have a lens which will cover a plate satisfactorily with f/8 in order to use a colour screen for producing orthochromatic effects, since the loss of photographic light caused by the screen can only be compensated for by such an aperture even when the shutter is slowed down. The reader is therefore recommended on the whole to furnish himself with one of the modern lenses which work at f/8, though he must remember that the larger the aperture employed the more the margins and centre of the picture will suffer from unequal exposure. With some hand cameras there is a means of attachment to a stand, but a stand on a mountain is difficult to use and moreover has on more than one occasion been proved dangerous to carry. The mountaineer if he desires to give a time—and not an instantaneous—exposure on his excursion, would do well to have a small clip ready to attach to the head of his ice axe. The axe will form a sufficiently stable stand for the more prolonged, but still short, exposure that he may be required to give on some particular subjects such as a photograph at sunrise or near sunset.

      Photographers in England are rarely afflicted with breathlessness through exertion, but it is different in mountaineering. A mountaineer may keep his wind, but it would be rare to find that his heart was beating equably after some spurt of exertion, such as rock climbing. It is often after some such exertion that he comes upon some view which he may wish to record on his photographic plate. The usual method of holding the hand camera would under such circumstances prove a failure so far as sharpness of image is concerned. Pressed against his "middle" or "upper" chest, the beatings of the heart will record themselves on the photograph. Under such circumstances resort must be had to some form of support on which to rest his camera. After many years' experience, the writer has come to the conclusion that there is no support superior to the ice axe. It is not necessary to cause it to stand upright in the ground, ice, or snow, though this should be done if possible. It will suffice to rest the point on the rock, and place the camera on the axe head, with the pick parallel to the body. We then have a firm support in one direction, and the hands, which are not affected by the automatic motion of the heart, can be trusted to keep it steady in the other direction. Photographs taken with a good lens, and with such a stand, will bear enlarging up to 22 inches, at least.