Amateur Photographer & Cinematographer (1933)

The AMATEUR PHOTOGRAPHER a L CINEMATOGRAPHER a August i6th, 1933 Methods and Ideals of well-known Pictorial Workers. From information communicated to our Special Representative. Mr. P. F. BIERMAN. I HAVE been an amateur photo¬ grapher for about a quarter of a century, and my interest has always been in the pictorial side of the art-science. I delight in land¬ scapes — the landscape of the country¬ side and mountain top, in preference to the landscape of the town, however mediaeval and picturesque the latter may be. Landscape is, I know, some¬ what out of fashion these days, most of our modern pictorialists preferring stunts and freaks of various kinds for which, personally, I have no use. “ My favourite camera is a Baby Sibyl, 3^ x 2|, which possesses an excellent finder in exact focus with the lens, and with a sky-shade and a rising front, which makes this type of camera almost as good as a reflex, without the disadvantage of the bulk and weight of the latter. I always take a stand with me on a photographic holiday, but invariably leave it at the hotel. “ I prefer to wander around my subject, viewing it from various points until I get a satisfactory composition, and 1 rarely find it necessary to do By P. F. Bier man. any trimming to the subsequent print. “ For some years I have used film packs, which can now be obtained of excellent quality, and almost any speed desired. At the present time I am using Selochrome with excellent results. Method of development : time and temperature, in a Dalian tank with the aid of a Watkins ther¬ mometer. My favourite developer is Rytol, plus a little pyro to improve the colour of the negative, and to hold the shadow detail. “ For enlarging, I use a good bromide or chloro -bromide, and develop with Wellington formula M.Q., which is as good as any. Then a thorough fixing in clean, fresh acid hypo, a good wash¬ ing, and then drying before toning. “ This latter process is accomplished with a one per cent solution of sodium sulphide, and an equal quantity of a saturated solution of nitro-benzine. This delightful mixture gives off an odour which is a cross between essence of almonds and rotten eggs, and I usually get told some home-truths from the family when, I have a batch of prints to do. You get some delightful blacks and brown-blacks by this method, which is quite easy, and there is no bleaching. You merely soak your print thoroughly, place it in the toning solution until the colour has changed to your liking, wash again and dry. The print is then spotted with a very weak solution of indian ink, and then oiled up. “ The oiling medium consists of raw linseed oil one part, to turpen¬ tine one to two parts, applied with a piece of soft rag all over the print. Into this I rub a little bromoil ink (usually black), then with a fresh piece of rag I rub well into the gelatine, removing all surplus. Then with a bit of rag or a swab of cotton wool soaked in the medium I clean up all the high-lights, add a little ink here and there to the shadows, and then put on one side to dry. “ The print is quite ready for mounting in a very few hours, and if skilfully done, there is no evidence of handwork of any description, because the medium, plus the ink, sinks well into the gelatine, leaving no trace behind. “To any of my readers who wish to try out this simple process I issue this important warning — do not over¬ do it. A blob of bromoil ink no bigger than a pea is sufficient for at least two 15x12 prints.” 20 152