VOL XVII.

·'

Taken by our" VICTOR " No. I Magazine Hand Camera for i ·Plate. Price Complete 30/- . P ostage 1/ 3 , interstate 2 2 .

HARRINCTONS LIMITED, Sydney, Melbour~e, Brisbane,

No. 196.

THE AUSTRALIAN PHOTOGRAPHIC JOlJ.KNAL. SEPT. ~l. 1908 _, THE

,ftORNTON- ICKARD (.9) ? r;;:;:., ,,. '

... ~) + U-\S) ,_

FOLDING RUBY" EXCELS ALL OTHERS

in many poh~ts, but the most notable feature of these is the

Universal Rising, Falling, Swinging, and Extending Front

(A c!evice which the Thornton. Pickar<l Company were the first to place upon the Marhet).

Pointed attention is directed to the unique con­struction of this portion of the Camera. Not only are the Double Stretchers slotted throughout their whole length, but the Front itself is slotted on the sides, and fitted with >lotted Brass Plates,

as sho"n in the illustration. These Slots permit the Front to rise· and fall in anv position, independent of the .Stretchers, and at any extension of the Camera (even the· maximum), without altering the focus. No other Camera will permit of this!

In some so-called Uni,·ersal Swinging Front Cameras, immediately the front is raised or ·101\ered when _ "swung" out of the central position t11e Extension of the Camera is altered and re.focussing necessary. I

I TH E RUBY CAME RA HANDBOOK IS SENT P OS T FREE ON APPLICATION T O

THE THORNTON-PICKARD MFC. GO., LTD., ALTRINGHAM, ENGLAND. -II Schering's. PYRO II I OF WORLD-WIDE FAME. PUREST & BEST.

Schering's I Schering's Schering's Chemicals I "" \f.I f

I are o

~==~==== ~~e~i~l;y ~~~:.~!TE ~~~~:c~~RBONATE Photographic -I 1. _'""'."."'o""''k ·~~ P>oWg<•"k ~ ~RI TY• _ _ II

I Schering' s . ADUROL, A NEW DEVELOPER IN I Schering' .s POWDER AND SOLUTION.

Schering's . CHLORIDE OF GOLD. TONE= FIXING SAL TS containing

Schering's POTASSIUM CHLOROPLATINITE. I gold.

In 4-oz . tins; in t -oz. tab-

Schering' s . HYDROKINONE, Purest and Best. I] lets (making 32-oz. s olu-tlon ).

~

Sole Wholesale Agents for Great Hritain and Colonies

A. & M. ZIMMERMANN, 3 Lloyd's Avenue, LONDON. E.C.

I

__j

S EPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC .JOURNAL. I.

For Every !{ind

GOERZ LENSES OF

PHOTOGRAPHY

''Sy . ·t­N

EXCEL

Tho "SYNTO;' ~;:.~., '"'P"'"' !ho T 0 · cqeaper ,\nastigll\ats and all ~apid ~ecti- . R ' ' linear Le'lses in its performance, althougq less ii\ price than ll\any of tqese Lenses.

, ...................... ~ ................... ... i :

GO ERZ

'DAGOR' F/6.8.

The Universal Lens.

Great Covering Power and Exquisite Definition.

GO ERZ

'CELOR' F/4.8.

A Lens Unsurpassed

for Photography at High Speed and Studio Work.

, ...................................................... . '

Send for Booklet, " What Can be Done wit~ the Coerz Lens," to

HARRINGTONS L TD.t Sydneyt Melbournet Brisbane. SOL E AGENTS FOR AUSTRALAS I A, or I C. P. COERZ, 1-6 ijolborn Circus, London, E.G.

11. THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. S EPT, 21. 'O

FINE GRAIN ~ ORDINARY

/ LANDSCAPE

JPROCr:!5:5

iJLANTERN ,1:

-- ~ ·

- -- ~-

i~=t~ _=----=-....::.~~-=--------=--- - -_

~~~~~~~-=-=--PHOTOGRAPHERS INNUMERABLE HAVE PASSED THIS WAY

TO SUCCESS IN PNOTOCRAPHIC WORK.

THE IMPERIAL DRY PLATE CO., LIMITED, CRICKLEWOOD, LONDON, N.W._

SEPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. iii.

An Up-to-dote CAMERA ot o Moderote Price . . THE

"ENSIGN" Model V. For PLATES or FILMS. Post-Card Size (5t x 3} inches).

Complete with "Beck" Rapid Sym­metrical Lens (8 and "A 11 to mat " Shutter, Finder, Level, Patent Infinity Catch, Tripod Sockets, E tc. , Etc .

PRICE, £5 I Os. Postage, S'.S.\V. , 1/ 3 ; 111te1s1ate212.

HARRINCTONS LIMITED, 386 GEORGE ST .• SYDNEY: 179 COLLINS ST .. MELBU R ' E:

Farbwerke Vorm,

Meister, Lucius & Bruning.

LISTS ON A P PLICATION .

. . 93 QUEE STREET. BR ISBANE. . ..

-----------

I V. THE AUS'fRALIAN ·PHOTOGRAPHIC JOURNAL. SEPT. 21, '08

eINENl~TOG~~t<>MS

No "complicated" parts, consequently moderate in price.

NEW MODELS

JUST ARRIVED.

T~e EMPIRE No. 0.

-?• This l\Jachine is a superior and absolutely l'erfect Instrument at a Moderate Price.

It projects

Clear Pictures Sharp Pictures

Steady Pictures

PRICE, £20.

For Variety Entertainers, Coll eges, Schools, etc., nothing could be better. You can learn to operate it in an hour or two. It is simple and efficient. Every fitting necessary for the work is there, and the machine is the result of a

previous long experience in the manufacture of Cinematograph Machines.

The URBAN Bioscope

Dog mo,·ement mechanism, with a set of 5

Bioscope Projecting Lenses, 1 Lantern

Lens, Large Size Lantern, 4 inch Conden­

ser. Alum Trough, All-brass Slide Carrier,

3 12 inch Spools, Set of Tools and Combi­

nation Travelling Case and Stand.

Complete Outfit:

£50 Os. Od.

HARRINGTONS LIMITED, Sydney, Melbourne, Brisbane.

SEPT. 21, '0 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. v.

SUNDRIES for CINEMATOGRAPHS & LANTERNS. The VICTOR Arc Lamp. The· VICTOR High-Power Jets.

No. r-With cog-wheel adjustments and lever taps .. 17 /6

Made throughout of the very best mater­ials, and is fitted with every movement for Continuous or Alternating Current.

o. 2- \ Vith larger mixing chamber am.I screw-down valves 22/6

No. r, up to 50 amperes ..

No. 2, up to roo amperes .

£5 .. £6/10/-

No. 3- Specially made for Cinematograph prnjection. Extra large mixing cham­ber, cog-wheel lime adjustment , screw­down valves and brass plate tray, with hea,·y pillar £2

£2/7 /6 No. 4-Same as No. 3, with cut-off tap

Gwyer Jet, new model, with bye-pass tap ... Mechanical Tray for raising, lowering, and centrei ng jet Resistances for any supply circuit from Gas-making Plant for oxy-hydrogen light.-Gas tank, Retort, Two

Purifiers, Saturator, Tubing, and Best Cane Basket, Complete ...

£4 £1 10s.

£6

£10 Acetylene Gas Plant, including Generator, Four-jet Burner Tray and

Tubing . .. ·.. £1 7s. 6d. \Ve also have large supplies of Lenses, Condensers, Carriers, Chemicals, Limes,

Film \ Vinders, Menders, Etc.

CINEMATOCRl\PH FILMS. \Ve are old established dealers and do the largest trade in Cinematograph Films,

Apparatu:> and Accessories of any concern sou th of the line.

\Ve receive \VEEKL\" the Latest and Best Productions of the following world­renowned Makers :

Urban, Pathe, Hepworth, Vitagraph, Warwick, Williamson, Paul , Walturdaw, Alpha, Cricks and Martin, Lubin, Selig Polyscope Co., Itala, Cines-Rome, British & Colonial Cim. Co. Wrench Film Co.

ALL MAKES OF FILMS, 4~d. Per Foot. Complete List of <;ubjects sent on Application.

HARRINGTONS LIMITED, Sydney, Melbourne, Brisbane.

VI. THE AUSTRA LIA N PHOTOGRAPHIC JOURNA L. SEPT. 21, 'OS

FOR BRILLIANCY AND SIMPLICITY.

Self-Toning Paper \lf -.t'

SELTONA

RICH

PRINTS ARE

IN BRILLIANCY CRISP

WITH AND CLEAR

COMPLETE ABSENCE OF DOUBLE TONES. '>ti 'i(I

NEEDS FIXING ONLY.

Sole T LETO Photo. Material" Manufacturer!! : ~ Company Limited,

LONDON and E.DGE.W ARE..

•41"1 ~ THIS ST ANDS UNRIVALLED !

~

The New Focal Plane

:favorite (tamera) ~ A Triple Exte11sion

~ Tw~S\•tt" C."ora, l ·Pl•lo. l-=. rf' HIS SUPERB CAMERA is fitted with a New Pattern FOCAL PLANE I SHUTTER, giving exposures up to 1 / 1000 of a second. For photographing

Athletes, Gymnasts, Cycle Racing, Horse Jumping, and all quickly-moving objects. Equally suitable for Ordinary \ Vork, as well as for Copying, Enlarging, and Telephotography. It has a BECK LENS, with Behind Lens, T. P., T. and Inst. Shutter, 1 Dble. D. Sl ide, and Tripod, complete.

ll I The Best Value Ever Offered. Price, £6 12s. &d .

.;t. .;t. .;t. .;t.

HARRINGTONS LIMITEDt 386 George St., Sydney ; 179 Collins St., Melbourne ; 93 Queen St., Brisbane.

{L

SEPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. Vll .

THE LATEST CAM.~~ The ":~~~~~-~D~:~~XE." {

For FIL.MS OR PLATES.

This beautiful Camera is the latest innovation m

Up-to-date Cameras. It has a double extension, thus

making it useful for Pictorial Landscape \Vork with the

back combination of Lens. It is no larger than the

ordinary folding model, and it contains many notable

features .

ENSIGN=DE•LUXE No. II. Post Card Size. " Beck" r.r. Lens, f /8, "Automat" Shutter.

Price, £6 1 Os. Postage- .S.\V., 1/3; Interstate and N .Z., 2/2.

ENSIGN, Model v., No. I. t-pl. Size, "Beck" L ens, Automat Shutter, for Plates or Films.

Price, £4/12/6. Postage-N .S.\V., 1/3; Interstate or N.Z., 2/2.

These Cameras must appeal to the advanced Amateur and Expert, as the above indicated features place them in the front rank of moderate priced instruments. Their adaptability for plates or films, and double extension, without increasing bulk, gives them an added value for touring and home work

HARRINGTONS LIMITED,

179 Collin~, St., Melbourne; 9"3""'Quu...._e...,en ..... ~S-t., Bd'b'"~

\'111.

------------

THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, '0

THE ILFORD ZENITH PLATE (Chocola te a nd White La bel),

GIVES BEAUTIFULLY SOFT NEGATIVES.

Phenomenal Speed, Marvellous Latitude, Fine Grain, Long Range of Gradation, No Fog, No Failures.

Excellent in Dull Light , by Flashlight, or any Artificial Light.

• •

·•!•iow .H ·3 A<j p>AVJ2U::J

"1VN'HOOf ::>IHdV'H'JOlOHd NV11V'H1.SOV 3H1.

Pfo -./,Q ') A 11 Letters con ~

uuntng ~nb-

1 srril tions,Orders ~emittanc~s, I

~~~~G/NDAd~~: ~ tisement~. or f other bu"iness matters to be ad. dressed to the

l ~::1r:,?E'i>~,:~~: I }!rn.Phic Journal," (

I 3oJ George 1St., ':::> Sydney

[}\__

~J~ -~ All L;1erary ~

)

Contribntions and Photographs. Boohs or appara-

l tus for Notice or Review, must be addressed to 1he

l EDITOR, "Au s-

( graphic Journal," ' tr al i a n Photo- I 1 386 George St..

~ Sydney. _ < 1 u .... ___ _ JLJ

VoL. XVII. S YDNEY, SEPTEMBER 21, 1908. No. 196.

FRo~r time immemorial art Art. has had its fiercest struggle

with utility. The present age has not lessened the struggle-rather has it intensified it. The lay press has fallen into line with the utilitarian forces, and from this view-point art is of no use to us unless of practical benefit. The S.M. Herald, of September 5, in its leader on "Art and Applied Art," takes this solid stand, and offers insidious advice to artists, which, if followed, would ultimately lead to the degradation of art. Quoting from the article in ques­tion: "The difference between artistic nature and human nature is not sufficient to make an artist independent of popular

encouragement." Of course, artistic nature and human nature is one and the same thing ; all human nature is more or less artistic; but art, being the expression of the ideal in human nature, is a thing apart-a thing to be attained. "There are few painters so sel f-po~sessed that they can persevere in the hope that they will get from posterity the recognition that has been den ied them by their con­temporaries." True art expects of her deciples, as religion does of its exponents,. a disregard for all else save a pure devo­tion , else they are unworthy. The artist is a vehicle created to convey the mes­sage of art. Adversity or prosperity in the man should make no difference to his art; strong or weak, if he fall from the standard he is not recognised by the cult. "Virtue starves on praise, but dies. far more quickly of neglect." Virtue has nothing whatever to do with praise or neglect-neither has art. The artist may starve and perish, but art is imperishable -the next man will continue its inter­pretation. It is but natural that artists should cry for bread-should apply the lash to a humanity that is engrossed with the seriousness of l ife. This is good for humanity; it makes it lift its head from the yoke, and look on the beauty of life. Art can be done without-so can rel i gion~

the perfume of the flower, the beautiful

"252 THE AUSTRA LIA N PHOTOGRAPHIC JOURNAL. S1<PT. 21, ·os

in things- but the world would be the poorer Painters are asked to appeal to the nation for support, on the grounds that their art is "allied to the applied arts "- a specialised industry ; and to point out that "to benefit the art of painting is to benefit the whole industrial life of the State-this is to make a claim that must be heard." This cannot be, for true artists will never sell their birth­right; before doing so they will fly to more favourable lands, or sulk in their tents. If the State subsidises

.a conditional art for the glori fi-cation of industry, then it will get a degraded art - it will get the art it de­serves. Our press would have our artists leave their tabernacle and enter the work­shop; the grime and stress of toil must be their trade brand-else they have no claim on the community. The State groans when asked to contribute to that which gives no "tangible" return, hence the difficulty of obtaining substantial recognition for art . \Vhen artists forget their mission and pander to the common needs, then art forsakes them. The same thing applies to the nation in its control of art. If the State or its people seek for the possession of true art, it must unreservedly give from its coffers; it must enable its artists to strive for the .attainment of it - but unconditionally. It is generally conceded that art elevates mankind - perhaps for this reason it would be well to pay the price. Our contemporary concludes: "But no art has a place in a nation so long as it is divorced from all the activities of the people." Fallacious and ridiculous reasoning ! Ac ti vi ty has no analogy with art-and it is presumed the highest form of art is under consideration . Some years back we, as a community, \Vere sneered at as being simply well-fed animals, of the flesh fleshy. Our singers went out and charmed the world; .our painters are at present doing so. Is

not this worth something to us? Throughout the length and breadth of our hind we have what are-with the unconscious humour of our race- cal led "schools of art," yet the only art found therein is the tableful of newspapers, the seductive billiard-table, or the cosy room wherein the art of euchre, whist or bridge is assiduously practised. Could not our Government encourage the real thing, and hang on the walls collections from the brushes of our artists, and artistic photographs from our artistic photo­graphers ? If

We're made so that we love, First when we see them, painted things we have

passed Perhaps a hundred times, nor cared to see, And so they are better painted-better to us, ·which is the same thing.

Then let us foster the love for our sur­roundings by picturing them. This will at least create a national art for the bene­fit of the people; it will keep our artists with us, and prove to the world we are not merely well-fed animals. \\' hen our press and the State shall appreciate the difference between "high" art and "applied " art, and also understand that high art is the noblest expression of human ideals, regal in its attributes, and never to be linked to the stress of our existence, but kept apart, pure and un­defiled-- then art may expect the en­couragement it demands, and then will the nation benefit by the possession of a glorious thing.

-----0----

IT may safely be said that The Past never before in Australia and Gone. were so many cameras

seen at work as during the visit of the American Armada, and we will refrain from the cynical query, used on such occasions, as to the doubtful results of so much activity?

'SEPT. 21. •os THE AUSTRA LIA N PHOTOGRA PHIC JOURNA L. 2 53

It is certain that the camera, merely a form of amu ement, fulfilled its purpose, and its users derived a certain amount of pleasurable satisfaction in giving it full play on whatever their fancy lightly turned to

The records secured, whether good or bad, will serve to recall a joyous time,­a glorious outing, not to touch further on the portend of such an occasion. Suffice it that everyone with a camera who clambered our picturesque cliffs or floated out on the grey waters, to see that materialisation from out the morning sea-mists, everyone who photographed that coming pageant will reap many, many hours of keen pleasure in contem­plating their tiny pictures, the counterpart of one which will linger in the memory for years as the grandest living picture that has ever sensatecl the dwellers in this land.

A Surprising Photograph

IN this issue will be found a reproduction from a Photograph taken at night, and by

the light of merely a kerosene lamp and some ordinary wax candles. The picture does not aim at art. In its uncompro­mising sincerity and stifTness and general arrangement, it ignores art in any shape or form. By its tense bravery it simply holds your imagination-as the sitters held their breath, and it compels you to share that tension.- It is a remarkable photograph. \ Vho is there amongst us that feel challenged to question its mean-

An easy way to title negatives :- Many

amateurs experience a difficulty in writing titles

on their neg1tives; the method of writing on the

iilm necessitates the characters being reversed.

Another trouble is that there is no tooth for the

pen to grip on the film side. The metbocl the

writer adopts is as follows :-Take the negative•

and on tbe glass side rub with the ball of the

ing or composition ? It positively has neither, nor does it pretend to have any; and yet the creator of it, perhaps, essayed to make it an impressive picture, judging by the careful display of heterogeneous, domestic accessories, each one claiming undivided attention, each one added to "fill in," each one bravely standing up for its likeness, from the sauce bottle and coffee tin, like sentries on duty in the foreground, to the domineering broom in the rear-each "on its own" to use an apt, expressive phrase.

There is one grand redeeming feature, however, about this truly anarchial, ab­sorbing picture, and that is its honest and convincing advantages of the wonderful and hitherto neglected possibilities of the common wax candle, in conjunction with the ordinary kerosene lamp. Herein is the potent raison d'etre for its existence in our pages, and for this let us bow to it in heartfelt homage, for who is there amongst us that has dreamt of using the above-mentioned lighting factors for such work? \ Vhat vistas does it not open up to us of home portraiture, of t:enre subjects, when the toi lers of the clay foregather in the lamplit home and assume that restful posture and expression, usually foreign to them in the stress of day ; and those of us who looked on the night as a blank in camera work, wil l feel a thrill of surprise and gratitude for the creation of this simple picture, with its mysterious shadows, holding worlds of art possibilities within their transparent depths and in its positively atrocious composition .

finger a little retouching medium ; be su re and only put a very small amount on, and when this is thoroughly dry take a crow quil l pen, the same as used for mapping purposes, charged with a good quantity of liquid Chinese ink, and write the title rec;u ired. As soon as dry this will be ready for printing, and al though the lettering is done on the glass side, it will not show any blur in printing from it .

254 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, 'OS

Photo by J. W. T. Paul. I~ WI~'IER. ~RR.~. Engraved by

A. A. Lawson. Taken during the recent snow falls in Orange, N.S.W.

Beginning Photography.

By "AN AMATEUR " WHO HAS LEARNED.

(Contiiiued from last isrne.)

HOW TO MAKE A NEGATIVE WASHER.

AN inexpensive and very serviceable negative washer may be made as follows: Procure a wooden box of the following dimensions:

Six inches wide by eight inches high and twelve inches long.

Take this. box to the tinner and have it lined with zinc. At the bottom of the box insert an inlet pipe of about three-eights of an inch in diameter, and at the top an overflow having twice this diameter. Now make a wooden fram.e or rack to fit the box, consisting of four corner posts connected at the bottom by narrow strips, and about half way up by wider strips, say an inch and a half wide. This frame must be about an eighth less than four inches wide. Place a strip running lengthwise through the middle of the frame, and resting on the end strips at the bottom. This is for the plates to rest on. Sink vertical grooves in the wide

strips about one-half inch apart. Now let the rack be well covered with shellac, to prevent warping, and the washer is complete. Use;·a rubber hose for making connection between the faucet and inlet. This washer, of course, is in­tended for four by five plates only, though larger sizes can be made just as readily.

FORMULAS.

The formulas which are here presented have been found to give excellent results.

PASTE.

A very good paste can be made by mixing np two tablespoonsful of starch in a little cold water until all lumps are reduced. Pour this into a cup of boiling water and stir until thick. By making this once or twice the amateur caii easily judge the amount of starch to use.

NoN-CocKLING PASTE.

Nelson's No. r Gelatine Water .• Glycerine Alcohol

4 ozs. r6

I "

5 " Dissolve the gelatine in the water, then add

the glycerine and then the alcohol.

°SEPT. 21, 'OS THE AUSTRALI AN PHOTOGRAPHIC JO URN AL. 255

MAT BLACK VARNISH.

A tolerably strong solution of sandarac in alcohol, mixed with fine lampblack, dries with­out gloss, becomes hard without being b rittle, .and may be applied with a fine brush upcn .almost any substance.

PRINTING ON PLAIN PAPER.

Prepare the plain paper with Ammonium Chloride Sodium Citrate Sodium Chloride Gelatine Distilled water

Ammonium Chloride Gelatine Water ...

or,

60 to So grs. 100 grs.

20 to 30 grs. ro grs. IO OZS

IOO grs. 10 grs. IO OZS.

The gelatine is first swelled in cold water and ihen dissolved in hot water, and the remaining components of the formula are added. The -solution is filtered, and when still warm the paper is floated upon it for three minutes.

The salted paper is sensitized upon a neutral 45·grain silver bath.

PRINTING ON SILK.

Wash the silk in warm water and float for two minutes on the following solution:

Chloride of Sodium (common salt) IO grs. Ammonium Chloride ro grs. \Vater . . r oz. Ammonia 15 drops

Then hang the silk up to dry.

:Sensitize in: Silver itrate Water ..

. . 150 grs.

I OZ.

After floating the silk on this for two minutes, dry, print deeply, and tone as usual.

BLUE PRINTS.

Select a smooth paper with hard surface ; beavy, unruled writing paper may be used, but Rives' plain is best. Make up the following solutions:

A.

Red Prussiate of Potash Water ..

B.

Citrate of Iron and Ammonia \Valer ..

To coat, use equal parts.

240 grs. 4 ozs.

36o grs. 4 ozs.

This solution should be applied lo the surface of the parer with a tuft of cotton, or the paper floated upon the solution for one minute.

After coating, hang up to dry in a dark room or closet. When dry, print till the shadows are bronzed, then wash in clear water.

Solutions A and B, after mixing, can be kept in a dark bottle away from the light, and used several days for coating .

TONING BLUE PRINTS.

Blue prints may be given the black tone by plunging them into a solution of 4 parts of potash in 100 parts of water; when the blue color has entirely disappeared, and a yellowish color has taken its place, they are immersed in a solution of 4 parts of tannin in roo parts of water; then, washing them again, we obtain prints whose color is similar to that of pale writing ink.

COMBINED TONING AND FIXING BATH.

\Yater .. I gal. Hyposulphite of Soda 2 lbs. Sulphocyanide of Ammonia qozs. Acetate of Lead " oz . .. Nirate of Soda i oz. Powdered Alum ~ oz. Citric Acid ~ oz.

Dissolve; then add 15 grains of ch loride of gold. Filter before using.

NoTE.-This bath must be kept cold to give best results. I t will then tone in from five to eigh t minutes.

Add ~ oz. saturated solution of hypo after every 25 5 x 7 prints toned.

Wash in clear, cold, running water for one­half to three-quarters of an hour , frequent ly separating prints.

HARDENING AND CLEARING SOLUTION FOR

PLATES AND PAPER.

Take equal parts of saturated solutions of citric acid and powdered a lum and add together. Of this, use two ounces to a pint of water for washing prints, and full strength for clearing and hardening plates. This bath can be used re­peatedly for plates.

Mucilage Caramel

PLATE BACKING.

Burnt Sienna, ground in water Mix and add Alcohol

I OZS.

2

2

Apply this mixture to the back of your plates in the dark room by means of a camel"s hair brush. Before developing, wash it off.

(To be co11ti1111ed.)

256 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, 'OS.

Photographic Notes.

By J. I. PIGG. F.R.M.S., F.R.P.S.

(Special Lo11do11 Correspondent to the A .P.J.)

AT a recent meeting of one of the leading

photographic societies the idea of a gen­eral re-union on a certain date of the

members of the various photographic societies at the Franco-British Exhibition, was discussed, At present no definite arrangements have been made, but the idea is a good one, and will pro­bably be carried into effect. If the local societies take the matter up with any enthusiasm, there should be a record meeting of photo­

graphers. The regulations with regard to amateur pho­

tographers using cameras in the grounds of the Franco-British Exhibition have been anything but satisfactory. For the first few weeks there were no definite arrangements at all, and snap­shots were allowed to be taken in the grounds. Later on the authorities showed a violent antipathy to cameras of every description, and photography in any part of the exhibition was strictly prohibited. The public however had no intimation of these new regulations, and a large number of visitors brought cameras only to find they must be deposited in the cloak room. During the last week or two however, these restrictions have been removed, and by payment of a sh illing a permit to photograph in the grounds is given on application at the entrance. The permiss10n is now not even restricterl to hand cameras, and many photographers with stand outfits are to be seen every day in the grounds. As amateur photographers are so numerous one would have thought that some definite arrangements could have been made for their convenience at the opening of the exhibition.

During the last week the newspapers have recorded three fires in public halls, of the cellu­loid films of cinematograph machines. In one instance a serious panic ensued. This took place in Italy, and resulted in one woman being killed and many persons injured. In the other cases, at Islington and Glasgow, fortunately no one was injured. At present celluloid with its danger­ously combustible nature seems to be the only material that can be used for cinematograph films, but there ought to be no insuperable diffi­culty in finding a substitute for celluloid, or, failing that, to render iL Jess inflammable. Of

course the managers of cinematograph shows take every precaution, and the fire is soon ex­tinguished, but where there is a blaze there is a

ability to panic in public gatherings.

I have heard on good authority that another colour screen plate will, in the course of a month or so, be actually on the market, and not merely in the air; but considering past experiences, this piece of "intelligent anticipation " will be received with caution by readers of the A.P.J.

Two more processes for making screen plates have been brought out. In the Dufay process the blue, green, and red dyes are transferred separately to the gelatine coated plate. A bi­chromated film is exposed to light behind a screen ruled with opaque lines, moistened, and rolled up with greasy ink after the manner of a colotype plate. The lines or dots exposed to the light take the greasy ink, the unexposed porti ons remaining clear. The film is then coloured \Vith an aqueous solution of dye, which will only penetrate the parts which have not received the greasy ink. This film is placed in contact with the gelatine film of the screen plate, and the ink and dye (or some of each) are transferred to 1he plate. A varni~h which will not attack the ink is then applied. When the plate is dq• the ink is removed by turpentine, leaving the dyed lines or dots on the plate. Two other gelatine films are prepared in the same manner for the remain­ing colours, which are transferred to the screen plate.

Messrs. \Vratten and Wainwright have also patented a process for screen plate making. In this method advantage has been taken of the fact that certain dyes will take more readily to soft than hard gelatine. A specially prepared line screen is required, consisting of opaqne, semi-opaque, and transparent lines. The col our screen plate is produced from a single printing or exposure with this line screen. A pla1e is coated with a sensitised colloid substance, deeply stained with blue dye dried anrl exposed to light behind the line screen. After exposure, the blue dye is washed from the unexposed, and consequently soft gelatine; some of the rlye, however, is reta' ned by the portions of film exposed behind the semi-opaque lines. A yellow dye which will soak into the soft gelatine is next applied : this dye also partly stains the semi-soft lines, which are already light blue, changing them into green . The deep blue lines of the hardened gelatine remain unaltered. A red dye which will only penetrate the soft gelatine, or yellow line, is then used, the yellow line being turned into scarlet. The film then consists of blue, green, and scarlet lines.

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Subscribe 4s. 6d. for a year of the A.P.J. It is full of interest to professional and amateur.

SEe1 21, ·os TH E AUSTRA LIAN PHOTOGRA PHIC JOURNA L. 257

OUR ARTl.5T IC WORKER.5. (By "VALDON.")

(Specidl to the A .P.J.)

COUNT ERIC DE CATALANO.

I HAVE often wondered what peculiar mental quality goes to the creating of a photograph. It is proved, I believe beyond doubt, that

no two persons see colour exactly alike. The human eye is so infinite in its complex parts that there is certain to be variance in every eye when viewing the equally infinite complexity

Photo by A. J, Perier.

Engraved by A. A. Lawson

<'.'.:aunt EPie ae: <'.'.:aialano.

of colour; and the same reasoning should, in a measure, appiy to the seeing organ of the photo­graphic brain when spying out a likely subject for the sensitive plate.

Of course there are other subtle matters that impinge on the selective faculties. One man will be ravished by the exquisite sheen on the hair-wisps that dangle from a lady's forehead, and he is impelled to secure a picture of the thing of beauty; whilst another would move a fixed star to snap a fellow human receiving a smashing blow on his tender optic. This is

what is broadly called "a matter of feeling, " and when you have to deal with the feelings in connection with picture work, then heaven help you ! I have seen pictures (paintings) rejected by the Selection Committee of an artist's show that appealed to me as perfect works of art, while other pictures were acceptecl that would blister a mustard plaster with envy. Why ? Ah, don't ask me to let fly? Selection Com­mittees are human, and, apart from splenetic proddings at the other fellow, they fall into line with their dictum that "no two people see colour alike "

I shall leave to the scientist the task of further­elaboration.

Of this I am certain, that the human-mind, and especially the photographic-thinking box, is about as curious a phenomenon as there is, else why will one man produce an exquisite, imagination-exciting thing on a piece of paper, whilst another will cause the heart to ache at the exhibition of doddering senility? There are some neurotic individuals who aver that even I ! belong to the latter class, but pooing such spleeny squirms aside, I might state that I feel a deep admiration for the man who tickles my spine with a masterpiece-my heart goes out to him, so to speak, and I thank my exclusive star for opening my eyes to his merit-of course, when I am not competing with him for profit or notoriety.

This has relieved me. When the French liner the "Nera" lay in

our beautiful harbour, alongside the duckety­mud wharfs, and the back-yard embroidery of Miller's Point, she seemed like a dainty French aristocrat chained up in the back premises of some sans culotte.

I'm not sure if I've ever seen a French aristo­crat, nor would I know a sans culotte from an eschalot; but, anyway, I'm certain I've given you the impression as it struck me.

Accompanied by a brother camerist, who spoke the French language like a stage villian, I stepped on board in response to an invitation from the officers of the good ship.

We were led along the decks, past a row of pleasant-looking, boyish sai lors, who were bli thely scrubbing the decks to the hummed chorus of some opera. Could any thing be nicer? I've a lways had an idea that continental

'--­'"--

258 THE AUSTRALIA N PHOTOGRA PHIC JOURNA L. SEPT. i. ·os

~h~~~Italano. 'H.lRRISM I?>Oz.I'rMEJ{ OF 'rME I?>OSJUMORUS. Engraved by S. W. 13acon & Co.

sailors sung the operas while at work, I -suppose Vanderdecken's boys set the fashion. In the present case I won't be sure of the .classicism of the music, but it sounded well, and the harmony made the work seem pleasant, and oSomehow the . tangle and lumber of the ship, the viridian water of tbe bay, with its craft of many nations, all seemed a good setting to the picture. I could fancy myself in Marsailles or ·some other foreign port-the incident was trifling, but tbe effect was there. I snapped it!

We dived into the gloom of 'tween decks, into the twists of ship architecture, amongst cuddys .and gratings, girders and other mysterious and massive formations, past sudden openings, cram­med with steamy, oily machinery, manned by Madagascar natives, jolly and fat, in red and blue attire. An abrupt opening that let down a £ood of sunlight, brought us face to face with the object of our search-Monsieur Eric de Catalano.

Just then occurred a tornado·-a wonderful gust of sound and quick movement-it was only .a real French greeting. My guide emitted the language in volleys, Monsieur spoke with warmth, but more respect for propriety, and when they both spoke together in a fett-de-joie I

gave it up, and subsided against a somnolent donkey engine. Monsieur Catalano, however, inspirited me with a courteous welcome, and immediately I subjected his gravity to a test by discharging a choice brand of pigeonry.

In five minutes we understood each other. There was no necessity for me to talk until

my arms tired. Monsieur's cabin was at our disposal, and it

astonished me to see how much could be stowed into a given ship-space. Photographs in all stages, and many mediums displayed their cream, sepia, or white bosoms on the panels, bunk, curtains and desk. Dishes and printing frames fought for existence around the corners; camera lumber peeped from every crevice, and slung lengthways above the bunk, like a hover­ing wooden fish, was a huge violoncello.

I always had a craving for a living room of this sort, instead of the wide spaces of our shore dwellings. Comfortably reclining in the seduc­tive bunk one could reach out to the table for one's pipe, or book, or breakfast, or one's slip­pers underneath ; and, when the mood favored, the banjo or other instrument was within easy reach to cheer the drooping soul. As for the photographic worker, what visions of ingenious

s~:PT. 21. ·os TH E AUSTRALIAN PHOTOGRAPHIC JOURNAL. 259

Photo by E. de Catalano.

Engraved by T he E lectric Photo Engrav. Co.

- - - - - - - - - - - - - - - - - - -

260 TH E AUSTRALIAN PHOTOGRA PHIC JOURNA L.. SEPT. 21, 'OS

~ r

Photo by E. de Catalano. ~~REE~ I~ M~B~~~~e~a Engraved by

~ . W. Bacon & Co.

contrivance could be conjured for the whistl ing. The whole range of picture-making operations could readily be compassed from the convenient adaptability of the bunk .

This would be photograph y de luxe.

The tender, gliding notes of a violin reached us from another cabin, as my fancy romped, and we were informed that the officers were musical to a man-also photographic . The fiddle and

camera were necessities to them in their enforced idleness at many ports. They were a happy family .

M. de Catalano, who is a native of Milan, Italy, has taken the camera in all seriousness. Th ough many years a worker, it was only recently, thanks to Demachy, Puyo, and other leaders of the French school, that he found his Nirvana therein . He has done a considerable

SEPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. 26 1

Photo by E . de Ca talano.

Engraved by ~ . W . l.lacon & Co.

262 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. Srn·. 21.~os

~J~

~ ~lb.

f~

Photo by E, de Catalano, A: ;yq A: R A: I@ l@E ffi ffi A: R. Engraved by

A. A. Lawson

amount of work in gum, and is and ardent fol­lower of the above-named artists, as well as Lebegue, Mlle, Laguarde and such lights of the new movement.

The photographic sailor is a man to be envied, for he gets all the change of scene and subject he may desire. M. de Catalano has taken full advantage of his opportunities, and his records tell of wanderings in many lands, He dwells with delight on the Bohemian sojournes in his native land , the land whose skies are similar to

ours, and whose atmosphere begets the te111pem-111e11t arlistiq11e which our own sunny clime as truly excites, only to harshly fri zzle again in the sultry blasts of utilitarianism. With sketch book in hand-for the colour-box was his first love-he roved through his beloved Italy , blot­ting in the vine-fields, with their splotches of rich tertiary tints, and bright daubs of primary colour in the peasant costume, and the rounded lumps of myrtle foliage characteristic of that land of wine, sunlight and song. As an artist

SEPT 21, '(18. THE AUSTRALIAN PHOTOGRAPH IC JOURNAL.

l'hoto by E. de Catalano.

he drowsed in the glamour of Monaco, :1nd tasted the delights of association with kindred art spirits therein. Lake Como enthralled him; an'.i Nice, with its carnival, its annual abandon­ment to mad g-aiety and floral riot in holiday splendour- baffling description by pen, tongue or brush. \:Vhen the brain is young the world is gay-the Italian world, to an artist, is Para­dise. It was at Nice that he first bowed to the camera. By chance he saw a record of the confetti fete, and the wonderful possibilities of the lens at once attracted him . No human hand could have limned so truly the details, and the picture he saw was different from the usual

Engraved by Electric Photo Eng. Co.

photograph, in its attempt to render the spectacle from an artist's standpoint. He became a mem­ber of the Nice Photographic Club, "L'Artis­tique," a club composed of seekers in the newer school of art photography. Here he mastered the new power, and ever since has remained faithful lo the magic box. He wandered afield in a fresh acces> of energy, and had the good fortune to meet Captain Puyo, who is a com­mander ol French artillery, and a camerist whose genius has heli:;ed to lirt pictorial photo­graphy into the realms of art. Puyo enthused him lllore than any other worker, and this great 111aster gave him e1·ery help that the friendly

264 TH E AUSTRALIA N PHOTOGRAPHIC JOURNAL. S};PT. 21 , •os.

61

~ (0

~

Pho10 by E. de Catalano. 'TME MA:Iful&OA:'f. En~raved by

H.B. Bell & Co.

associa tion of a master can give. M. de Cata­la no became aware of the existence of a new world, in which moved such spi r its as Robert Demachy, Vicompte P. de Singhy, Mlle. La­guarde, Le Begue, Maurice Bucquet, Ren e Michan, and many other delightfu l and earnest workers. From Nice he wandered to Antibes, in the south of France, to Cannes, Mentone, the Riviera, and compi led records with the fervour of new-found faci lity. The somewhat lone ly wanderings of the painter

in search of the paintable were now enlivened by a new companionship, for everywhere he found pictorial knights of the camera, and in every town he was received by brother workers who made his pilgrimage agreeable, and the common aims of the craft amongst advanced amateurs ancJ professionals brought h im to the realizati on of a brotherhood that is world-wide. M. de Catalano, in his capacity oi officer on board the French liner, has had wide oppor­tunities of building a fine collection of pictorial

SEPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL 265

Photo by E. de Catalano, from an Oil Print.

work in many countries, and he is happy in the companionship of his brother officers, who are "all in -the same boat," pictorialists, and enthu­siasts. Through the gamut of gaslight, P.O.P. and platinotype mediums, they have moved on to ozobrome, gum-and some of their work in that sticky emulsion is a revelation. The new oil method has now captured them, and the hop and dab of the deersfoot brush is heard in the quiet of their snug cabins when the hour gives them leisure, and the humour is upon them.

"Ah, bonjour, bonjour, M'sieurs ! Glad to meet you! You are of the camera? Bien, that is well! I will show you of my work! Allonz !"

Monsieur Martin, a burly, blue-eyed officer, with a sea-breezy disposition, excitedly plunged

Engraved by A. A. Lawson.

into his cabin, and in a trice returned with an armful of picture work, big and little, mounted and otherwise. Pictures of Turkey, Russia, China, Afric's burning sands, and other countries that had fallen to his lens. He was like a sportsman showing his trophies of the chase, a soldier his honours.

Voila ! this is a femme qala11te of the Bosphorus. Mon Dieu ! but that clechi: was near my last. Two shots, piff paff ! they lire---, but I bunk -what you call it-run, I fly"

Monsieur Martin has strenuous designs on Australia . He is indefatigable, omniverous for pictures, and the next voyage to Australia is to be memorable to the coterie, for they have planned a raid on our accessible picture grounds.

266 TH E A USTRALI AN PHOTOGRAPHIC JO URNAL. 8EP1' 21, 'OS

Photo bv ~I. ~lartin. E~Yl"'T . Engraved by

E. R. ~:Jorris.

It is a fact that our National Park with its miles and miles of forest tangle, attracts our foreign visitors in a fashion scarcely credible to us . Its beauty, conveying the wildness and grandeur of our primreval bush, is a source of wonder and admiration to their northern senses. Almost all the ship's officers go there for outings, anrl abandon themsel ves to th e charm o f our wild; and the group un der not ice-M. Martin has been there and hi s description and pho­tographs of it-our frontispiece is from his camera-have enthused the o thers, their next trip is to be memorable for an escapade therein.

I ' m going to be of that party if I have to sell my new reflex with the Dagor lens . I 'm going to rub up against them and get electrified by their enthusiasm into pictorial activity.

I'm glad I've met them, for they bring a vigo­rous spurt into my brain developer- they accele­ra1e me, without blocking my lights or flatt ing my liver - for I laugh, laugh heartily with them.

Ho ho, M 'sieurs ! but we'll have a good time . It will be en auaut to the mou ntains-I will

show you of the gullies! Bien! and of the creeks! Tres bien ! and the good o ld decorative

gum trees-les gommes bleus. Oiu M'sieurs ! Cette beaute et superbe !

You will observe, dear reader, I'm supplied with a French dictionary.

It will be a merry camera party, I promise you, for each man has an individmllity-M. Rosoor, quietly humorous, soothingly attrac­tive ; M. Sans, sparkling, bubbling, all ali,·e 0 ! M. ~lartin-Good ness, gracious ! a regular salt gale of big, boyish enthusiasm ; instant ly loveable; and the noble gen tleman wh o forms the subject of this sketch, M. de Catalano, refined, inspiring-a man who has chosen a hard working life aboard a liner in preference to exploiting his noble birth amongst the flaccid fashionables of the great giddy world - a type of man dear to the Australian heart. These will form the party, toge ther with a local friend or two who can tongue the lan­guages without upsetting a motor car.

Yes, it will be a merry party . I'm in it! I am now practising French with the gloves on. Eh bien ! Nous aurons une fameuse jou mee

de plaisir ! Voila ! and au rev0i r !

El'T :.i1, 'OB . TH E AUSTRALI AN PHOTOGRAPHIC JOURNA L. 267

Photo by M. Martin.

Enlarged Negative.s \\1ithout a Tran.sparency.

MR. \V . WOOD demonstrated the follow­ing method at an English Society . He said the process was only a few weeks

old in a practical form. An enlargement was made on thin bromide paper, and developed for three minutes in-

Water . . I oz. Amidol.. 5 gr. Sodium Sulphite 24 gr. Potassium bromide, IO p.c. sol 3 min . The exposure was obtained by test pieces and

judged by transmitted light, the portion selected showing a slight veiling of the high lights.

The prolonged development was to ensure the reduction of the whole of the silver bromide affected by the light. After washing the print was bleached in-

·water .. Potassium bromide

itric acid

IO OZ.

ISO gr. I dr.

Engraved by E. R. Morris

It was left in this solu tion unti l the shadows were only visible as a faint ye llow.

\ Vashing out this solution can be done by water alone, but it is a lengthy task . Five minutes' immersion in the following is suffi­cient-

\ Vater

Sodium sulphite

Potassium metabisulphite

I OZ .

200 gr.

IO gr.

A thorough wash removes the last of this clearing solution, and the bleached print is ex­posed to incandescent light for one minute, five or six inches away.

The print is now redeveloped in the first solution, and gives a negative containing all the gradations of the original. Development should

· be for ten to fifteen minutes to secure sufficient density. Fix in the usual hypo. bath, wash and dry. After the bleaching, all operations may be conducted in the light. A good IO x 12 enlarged negative was made The lecturer said this method was equally successful with plates.

268 THE AUSTRALIAN PHOTOGRAPHIC JO URNAL. SEPT. 21, '08

Forestry.

[ Mr. J. H. MAIDEN, Government Botanist, Sydney, in his articles on Forestry, now running in the Agricul/11rnl Gazette, makes the following pathetic appeal to Photo­graphers throughout the country to send him photographs of trees, simply trees, to help him in his task of telling all about them. We feel sure our conn try readers will help, and send him photographs of the trees in their districts. It would be really a patriotic thing to do. -Ed. ,,J.l'.j.]

I HAVE dealt with the Conifers so far, and the friendly letters recei"ed while the articles were appearing have included a number of

useful notes, which may find a place in an im­proved edition some day.

I now propose to tackle the non-conifers. I shall exclude those trees which are indigenous to New South Wales, since these are already being dealt with in my pictorial work,• and there is so much to be done that we cannot afford any duplication. The present series, however, will not exclude Australian trees. For example, if a tree be a Queensland native, which does not naturally extend into New South \Vales, I shall not hesitate to include it in the present series if I think it worthy of cultivation.

The principal difficulty experienced in a new venture like this, compiling "Practical Notes on Forestry," is want of illustrations. People like pictures. E\'en if a tree photographed may not be the best of its kind, it may still have some value, since it may show some of the characters. I find it difficult to get illustrations. The Gov­ernment Printer has very generously come to my assistance so far as the trees in the Botanic Gardens are concerned, and as the articles pro­ceed it will be observed what a rich arboretum (a garden of trees, as distinct from shrubs and herbs) we have in Sydney. But many trees cannot be illustrated because of the crowded nature of the Garden, which prevents their form being properly shown in a picture. Further, I do not want the articles only to display Sydney trees; I want pictures from all parts of the State. Will my readers help me for the common good ? Will they send me good photographs of trees growing in any part of the State, or tell me where such photographs can be obtained? It

"The Forest Flora of New South Wales," Quarto; each part profusely illustrated. Thirty-two parts have already appeared. Price, ls. per part, or 10s. per dozen parts. Postage, 2d. each part extra. Apply Government Printer, Sydney, or any bookseller.

is obvious that I cannot send an itenerant photo­grapher to photograph trees; so that it is no use for a friend at Moree, for example, to tell me, "If you will only send a photographer up here, I will show him a splendid tree."

For want of illustrations, I cannot arrange my articles according to a proper botanical or arboricultural classification. I begin with the oaks (Q1urcus) simply because I have some pic­tures of them

I cannot hold out any inducements at present to professional photographers to take tree photo­graphs on speculation. The sentiment about our nativf' trees is touching. Acres of cold type are brought into play. No trees are like Austra­lian trees; No Australian trees are like New South Wales ones Study of them develops the national sentiment. How nice it is to teach our children about them ; and so on. Then I go to 'one of the leading photographers in Sydney, and say to him, Mr.----, "I am a buyer of photographs of New South \Vales trees; send your man all over the State for subjects." He retorts: "My natural taste inclines that way, and I have shown my sincerity by spending over 1, roo in obtaining a large number of pictures of New Son th \Vales trees; but yon are the only man who has ever bought one from me."

So th~t this photographic door is closed to me. Fellow New South Welshmen, you buy photo­graphs of sheep, of horses (especially racehorses), of milki11g-cows, of politicians you buy a few, and of actresses probably more, but you do not take portraits of trees, and do not buy them, simply because this form of encouraging Austra­lian industry bas not been brought home to you. A well-grown tree is one of the noblest works of Nature! My message in the articles which follow is only to lovers of trees. Trees have their points, just as pigs and dogs have. Will you let me win the sympathy of some of you (I am not so foolish as to expect everyone's taste to be directed to trees) for our trees, not merely our native ones, but the imported ones which do well, or which promise to do well, in our richly-endowed State of many soils and many climates ?

There is very little literature on the subject written in New South Wales for New South Wales people, and still less with illustrations; so that I am engaged in missionary effort, and I feel sure I shall have sympathy in conducting the campaign I have undertaken .

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Subscribe 4s. 6d. for a year of the A.P.J. It is full of interest to professional and amateur.

SEPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. 269

The Royal Art .Society.

THE twenty-ninth Exhibition of the Royal

Art Society, though not containing any­thing theatrically striking, has reached

about as high a level, generally speaking, as it has ever touched. There are many, alas! too many, of the old familiar names missing, and there are many new ones. The water colours are a very fine collection, and, sad to state, our National Gallery Trustees, through lack of funds, could only secure two pictures ont of the whole collection. Lister Lister is to the fore with some large work, as usual, and his "Ghosts of the Hush" will be a favou rite with all who have lived tht:rein. His "Swirling Surges" (4.'i), is a forceful thing, the colour dancing and alive 205 (Albert Hanson) is a peacefnl scene broad and airy. 204 (\Vorsley ), a Spanish scene of great brilliancy. 209 (Daplyn), a finely rendered old house and figures. 223 (Watkins), o rchard in full bloom, brilliant. 224-225 (Fullwood), fine grey tones, differing in style from his Australian painted work. 227 (Datti lo-Rubbo), old woman's bead, strong and good pose. 229 (Moppet t), sketchy and clever 241 "Old Barn" (Reid), lovely colour, good sky. 239 , 243 . 244 (Minns), exquisite, all of them. 249" A Tiff'' (M inn s) , a fine picture. 255 (Watkins), very broad and true. 256 "The Hillside " (Fitzgerald), lovely low tones; cottages on hill and sky very fine. 3n miniature (Hunt), very good; best we'\'e seen of his. 317 t'!liniature, very good 307 monotype (Fullwood), fine delicate thing. 240 (Daplyn), familiar style, in low grey tones. 246 (Fitzgerald), a good study. 200 (Hanson), sea­blown trees, moon looks very large . I92 (Crisp), girl study; good in pose. I87 (Fitzgerald ) , "The \Villiams River;" never better painted. I82 (Hilda Marshall). fine quiet toned picture of water and reflected hillside. I70 (Oates), good windy sky and foreground. I62 (Tristram), "A Harbour Foreshore," and a good one . I57 (Fitzgerald), lovely bush scene. 154 "Sunlight and Shadow," and very true. 264 " Fe, Fo, Fi, Furn!" (Alice Marion Hambidge) , must really he seen; a lovely child picture. 263 (\Vorsley), Spanish again; sumptuous colour. I75 ('W. Green), a daring effect of sun-orange. I43 (Burgess), a fine sea and breaking wave. I30 (Phelps), good low tones. II5 (Mappet), clever. II4 (Butler), very good sunset effect.

32 (Scott), good tree painting, slight ly colourish . 103, a very good portrait by Mason ; flesh tone excellent. 99 (Hall), lady's portrai t ; um! R-atber too much strained. I4 "Le Chapeau Nair, " by same artist , is more convincing. IOI

(Dattilo-Rubbo) ; chic, good face work. 37 lady's portrait (Phillips-Fox), this is about the top level ol show 41 (Will Ashton), c lever shadow effect on breakers; Ash ton's landscapes are worth looking for. Fox's big group is worth studying. The style is, we be lieve, the result of Paris training. The detai ls on close exami­nation vanish, but from a distance how true, and what a fine picture! Auld has some good quiet work; his portrait of Harry Garlick is not his best. 96 (Alice Foy) "A Breton \ Vood ;" very low in tones, restfu l and poetic. 86 . "Floating Harbour, Bristol, " (Butler), good picture. Butler's big picture, "The Rosebud ," is very near being a fine tbini;-. Norman Carter and Datti lo-Rubbo have had each a picture selected for the National Gallery. The black and white section is 'tr,J11g in portraiture from the studios of Norman Carter, and Dattilo­Rubbo; and Muir Auld, Alice Foy, A. L. Miller, J . A. Crisp, D. G Reid, A. l\1. Cusack, anrl Amy Lea are repres~nted in monotones.

The show is worth our pictoria lists' attention. Many pictnres will appeal as fine studies, which may be peculiarly helpful as regards com­position and tone effect.

~~~~o--~~-

Fragmen ts.

(BY "MOSMAN.")

T HE editor of the A .P.J. one day said to me persuasively: "Now you're an amateur photographer who, like others, must have

met the usual bar rowfu l of troubles that beset every budding enthusiast (see how deftly he avoided using the stock term 'tyro! ')', and if we could only get you to tell us in you r own way what your present methods of working are, you might make yourself of some use to my readers ."

With my usual complaisance I hastened to assure the editor of the A.P.J. o f my unending regard for the hope and despair of the b.e. (contraction for" budding enthusiast "J, and said I would consult my note-book and see what it told me. I generally use a note-book-except when I forget, or when I haven ' t a lead pencil on me. It's rather a job to carry this out sometimes.

I haven't got a properly fitted-up dark-room, but make one each time I require to use it. In other words, I cover the bath-room window with a piece of red cloth, ditto to the fanlight; remove by force from i ts proper abode in the kitchen a small table, which is to be my developing bench ; set myself on the edge of the enamel bath, and , after locking the door, am ready to commence

270 THE AUSTRA LI AN P HOTOGRAPHIC JOURNAL. EEPT. 21, 'Ov,

operations. vVhen a new chum, I was indifferent to any such consideration as ventilation, and on a close summer night with a temperature of over 90, with window and door totally blocked up, with the lamp going, and my own lungs working at high pressure-- . But why picture the miserable wreck that used to issue forth after all was over? Now we do things in better style and have plenty of fresh air, and keep our emper better and produce better negati\•es.

Temperature has a very marked influence on the character of the resulting negath e, and unless one has the feeling that things are too sultry for the frilling gelatine plate, he had better fix up a thermometer in the dark-room. By the way, it 's curious how the ruby light affects one's eyes at first when the ordinary white light is encountered, and how, after a time, one gets light acclimatised, and can go from one source of light to the other

indifferently. The first act of a very new b.e., after taking his plate out of its sheath (of course, all b.e. 's use magazine cameras). is to plump it into the dish right in front of the ruby lamp, and to gaz~ ecstatically upon it, longing for the photo, which, alas! sometimes never cometh. Has it not been the sad experience of any of you, readers, to discover many a beautiful, beautiful plate blackened with fog or marked with stains, or pimples, or spots, as disappointing as they are curious? The persistence of bubbles, and the obstinacy peculiar to the whole family where a dry plate is concerned, have long puzzled the race of b.e.'s, whereas the remedy is, as a matter of fact, quite simple: a clean finger-or if you don ' t possess or can't borrow such an article, a soft camel-hair brush -passed across the face of the plate- always, and every time you develop a plate, is the proper way to use this medicine.

~~

An Inn of the Past.

(By N. LYKKE. For the A. P.J.)

I OFTEN smile when I think of it, and al­though it occurred three years ago, I can remember all the details perfectly well.

Now, you must bear in mind that I was travel­ling on my bike to a part of Southern Queens­land, situated exactly 600 miles from Newcastle, N.S.W., from which place I started my ride, and that en ronte I was taking a few photographs for pleasure. But what I am going to write of happened at an old "wine shanty,'' or, long before, deserted hnuse, then standing on the main Bingara road, about nine miles to the south of that town. Well, shortly after lunch I noticed that a storm seemed to be approaching at a very fast rate, and I wondered if I should reach the little aforementioned town in time, But my hopes were blighted by a sudden down­fall of rain, which compelled me to give up for the day and take the shelter offered by this crude old house, with its bark roof. I can tell you it was very acceptable just then; but the worst of it was there was not a soul about. After spending a few hours in roaming around this olcl place and trying to fathom its history, which was, I heard later, nothing to be proud of, I decided to have some light refreshment which I carried in case of emergency, and then, after making what arrangements I could for my night's comfort, I lighted my candle, fixed a ruby shade,

and started to develop my plates, which were exposed earlier in the day . It was so awfully dark you could almost feel it; there was also a peculiar stale smell, and although I was never of a nervous disposition I certainly did feel a trifle queer that evening. Anyhow, things went 0.K., and I had a fair result with my negatives, and my interesting work kept my mind off the uncanny surroundings, so after washing some in my rubber dish, which I put under an old downpipe from the roof, I stood them up to dry and retired for the night. But no, I could not sleep. The wind kept moaning through the deserted place, and it needed but little imagi­nation to see and hear unearthly sights and sounds in that lonely place through the long night watches. I fancy the "spooks" must have enj oyed my company immensely, as I can tell you I heard some very mysterious noises and was not sorry to see the glorious dawn breaking. But when I made an appearance cut on the main road, which did not take me long, I thought I was s1dly in for trouble , for there I met a mail carrier, who pulled up abruptly, and in an awesome voice asked me if I had stayed there over night. On my replying that I had, he told me its history, "hich, I assure you, made my hair stand on end. There were many who lost their lives and were robbtd in that house. And although I took refuge in it, I heard that many travellers positively refused to enter it day or night, but I can with truth say that it never affected my plates in the least.

SEPT. 21, '08. THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. 271

Photo by G. W. Pepper.

Tbe American Fleet entering P ort Jackson.

The Photographic Adventure5 of Mr. llobly.

(By P. w. MARONY.)

(Special to the A.P.J.)

AT last the day of our departure. from this island of peace and beauty arrived. We felt loth to leave it. \Ve had come to

like the ingenuous people, notwithstanding the warning advice we had received as to their duplicity and indolence. \Ve bad found them like the rest of the world we were used to, and made allowances br apparent objectionable features in their li\•es because of their isolation­and indeed we felt ourselves drawn to side with them against the exploiting outside world that looked with greedy eyes on their greei;i bills and fertile valleys.

In the early morning, before I had risen, Silas entered my room with the usual refection. His face was drawn and solemn, and on my inquiry as to the reason, he drawled:

"\Vall, Mr. Gably, yer goin' t' leave us, an' y'can't expect us t'laff, can yeh ?"

His almost savage look as he thrust out his chin at me in a semi aggressive way nearly broke me up. I felt as though I was looked on as the cause of his misery.

••But. Silas, my boy, I'm sorry to go, and

-~--~-------

A snapshot taken at a favourable moment.

Engraved by A. A. Lawson

sometime I will return, v.hen you will be a big man, I suppose, and own a whaleboat--"

" I 'm sicko' bein' here, Mr Gobly; an' I'd be glad to go down the islands with yeh, if y'could find a job for me."

I almost gasped as the probability of another stowaway flashed on me,

"Great stars, Silas!" I broke out, the arrested teacup at my lips. "You don't mean to clear out from home and mother, and--"

"Yeh jest said it, Mr. Gobly. I want t ' go an' make a livin'. This aint livi·n' !" Here he looked at the plate of fruit and disdainful ly around the comfortable room. "I want t' get where the real cannibals are!"

I nearly suffered convulsions at his uncon­scious allusion to the other sort of cannibals­myself included-which he objected to. After debating the matter-it was useless to combat with a determined youth of his grit-I advised him to wait until my return from the islands, when I would then take him to Sydney and get a "job" for him. But Sydney did not appeal to his imagination. He looked out of the window, and the blue sea away beyond the pines stirred his imagination and called him. Silas' mind was busy while I sipped the hot tea and battled with my own thoughts. I sympathised with his mental struggles, his eagerness to go forth and fight the fight against all odds-can-

272 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. sm 21, •os

nibals, pirates, and the dangers of the deep. What boy worth his salt has not been through the mill-until disillusionment arrives, and the inevitable drop-curtain falls on the youthful

dream. "Now, Silas," I said, with a wise shake, as I

pushed the empty cup away, "be advised by me. Don't run away, but hang on until we return. You don't know what may happen to us down in those islands, and, what with dangers and and --"

I put my foot in it. At the word "dangers" he pricked up like a terrier. and his eyes glowed and his breath came quickly. .

"My word, but y'll have a time, Mr. Gobly. Phew I won't ye bang into 'em! I s'pose y'll potogaff 'em right an' left. Ye'll have to mind the spears! Now, if I was with yeh I'd keep a sharp look-out for 'em while yeh potogaffed. My gosh! but ye'll be gettin' a spear into yer­into yer back, Mr. Gobly !"--

His eagerness to convince me as to the neces­sity for his protectorship, and the covert insinua­tion of my being wounded in flight, caused me to lay back and vent my feelings.

"Yeh needn't laff. Mr. Gobly. They eats people down there ! Don't yeh think I'd be useful t 'carry yer cameo, or a few guns? I'm a pretty good shot--"

"No, no, Silas! I couldn't think of endanger­ing your life, or taking you from your parents, who, I 'm sure, would never consent to your going to those wilds. Wait, I ask you, until I return this way coming home, and I wi ll then see if I can't take you to a usefu l life in our country."

I had spoken ! Silas solemnly folded his arms, and with bowed head he moved from the room, with the weight of a crushed ideal dragging his steps. I could not help heaving a genuine sigh for him. I had taken to the lad, and meant to do my best for him for very indebtedness. But I could never manage two of them-and Bobs was a whole Euclid to master. No, I could never take Silas, notwithstanding he considered himself a protector to me. Bobs would absorb my spare energy . So to the Bobs problem I forthwith applied myself.

We prepared for our departure, and our visits of farewell took up the whole day. The island never looked more inviting, the steel-blue atmo­sphere enveloping things. The lovely distances, th e pink bush tracks , and the myrtle fi rs appealed to us and cried-Stay! I knew the witchery that held many who came this way, and I saw Bobs looking on a ll as if he belonged henceforth

to them.

"Look here, Job," he burst out, as we walked down a long pine avenue. " Here's a road for you! I'm goin' to get my motor-car down. What a time around the island! Wh y these roads are made for motoring! Miles and miles of them through the island!"

"I supposes you intend taking your camera class out in the car?" I slyly asked.

"Now you've hit it. We'll just gee around wherever we like; up and down hill, across the flats, out on the level grassy cliffs Why, it 'll be glorious! One could never tire of this, for it's outdoor life all the time. I'll take up a farm, and won' t it be just rybuck ? '

"Depends on the companionship, Bobs." "Y-yes-of course, y' know J ob, old chap, I

mean to visit Sydney sometimes for supplies, and they-they'! soon forget me. "

I saw Bobs was waxing sentimental, so I steered for a house and continued my adieus. Brown and the Doctor were similarly employed in other directions.

Towards evening the cry of " Sail 0" rang through the place, as the steamer's smoke appeared on the hori zon, and excitement settled on us all. \Vhat news from home ? a whole month's occurrences to learn. What of the out­side world? and, need I state it- my anxiety to hear from one dear being only, away under the skies that receded towards that land of lands; the land that held my hopes, my home, my love.

I'm not given to softness. Some belie\'e I am knotty with a coating of ironbark; but I must say that that steamer's smoke made me a-tremble, and the couple of hours that elapsed before the anchor chain sung to the green deep beyond the island jetty seemed interminable .

We gained the ship 's side in a whaleboat, and hailed the people that hung over the rails.

Bobs couldn't wait till he got aboard for news of that which was uppermost in his mind.

"I say, skipper," he shouted, "did the New­town's lick the Uni's in the final?"

"They swallowed them, 14 to nil! " came the reply .

Bobs fell back in the boat, throwing up his hat, and otherwise uncontrollable.

"That'll tell you what class will do; the Uni. chaps were outclassed after all their skite."

As no one understood or contradicted his shouted assertions, he fell to whistling aggres­sively with his straw hat perched on one side, until we hooked on and clambered to the deck.

For some time afterwards each one of our party was lost to surrounding interests. Each one was submerged in his mail, and this time of

SEn. 21, ·os TH E AUSTRALI AN PHOTOGRAPHIC JOURNAL. 273

times is held absolutely sacred by all wbo travel or live down by those South Seas.

Letters from dear ones, and dearest ones; and from ones who were not dear at all, were read with avidity, and when finished each one felt hauled right up to date, satisfied, a duty done.

I called the Doctor and Brown, and we held a conference in a cabin. The position was critical as regarded Bobs. Our council of war lasted some time, and we left the cabin with a certain resolve.

The steamer would remain all night and leave for the islands early next morning. Our plans were laid accordingly. 'Ne filled in the day with replying to our mails for the next up­coming steamer, and when night came, with its last burst of pleasure-we hatl given a farewell dance to our kind hosts-the big island hall was filled with friends whom we had not known a month previously.

There remained but a few hours before the ship sailed in the morning, and we broke up to take a needed rest, with much exchange of friendly declaration, and vows to return and often visit our friend Bobs in bis island home.

Later, in the dim light-shimmer before the d.iwn, might be seen stealthy figures creeping into our friend Bobs' room, and, with appar­ently murderous intent, gently and quietly lift that soundly-sleeping reveller from his bed and convey him to a waiting vehicle outsiue ; and, later still, the stealthy conspirators were seen staggering to the steamer's deck burdened with the well.wrapped sleeper, what time the first grey fingers of dawn pencilled the east with the light of a coming day.

(To be co11/i1111ed.)

.Ste r eoscopic Prints \.i ithout Cutting.

As stereoscopic workers well know, stereo

negatives are, for reasons we need not now go into, always taken the wrong way

about; that is to say, the proper right-hand half appears on the left side, and vice versa . Fig. r represents the picture as on the screen, which is, o f course, upside down. The negative being taken in that position, we turn it round, and we get it as Fig. 2-the pictures on the wrong side for printing from direct.

Now to get a print in the correct position for

viewing, one of several things must be done namely: Cut the glass negative, transpose the sides, and mount on another piece of glass; print from the incorrect negative, and then cut the print in half ; tbe others need not be de­scribed, as they are like the above two methods, rather confusing and difficult.

The method of printing on to paper from an uncut negative I am about to describe does not appear to be generally known.

T[g.I.

FfS'.:J.

~ ~

Fig . .5.

L

a

R

CL

rfg- 7 .

F{g.2 .

L R

First of all a long strip of sensitive paper is required; this must be of the same width, or a trifle smaller, but double. the length of the negative. Suppose. for example, the stereo negative is 3}in. wide by 6~in. long, the strip should measure r3in. long. This strip. Fig. 3, must be folded into three parts, as Fig. 4, which is done by placing the strip sensitive side down­wards, 3.nd folding over the two ends (A.D., Fig. 3) until they meet in the centre (Fig 4). We thus have a piece of paper with sensitive surface both sides, as it were. It is then printed upon one side, as Fig. 4, and then turned over and printed on the other, as Fig. 6. When both sides are printed upon we have a folded strip like Fig. 5, and this, when opened out, as Fig. 7, will have two complete stereo pictures upon it. Care must be taken that both sides are printed the same way up. It must then be cut down tbe centre (A.A., Fig 7), when we shall have two correct and complete stereo prints, all ready for toning and mounting. The letters R. and L. represent in the drawings the right and left sides of the prints.-Focus.

'--

274 THE AUSTRALI AN PHOTOGRAPHIC JOURNAL. SllPT. 21, ·os

Costly Lenses.

\ \f / E are asked from time to ti me whether W we th ink that the present high prices

of the best anastigmats will be main­tained-whether, in fact, a photographer who pays several pounds for a lens to-day may ex­pect to get as much for it, seconrl-hand, in three or four years' time, let us say, as he might expect to get for it, second-hand, at the present time. We are not fond of attempts at prophecy, but at the risk of breaking the wise rule, "Never prophesy unless you know," we will give our own opinion.

The advent of the anastigmat brought about a regular slump in the higher-priced rectilinears, but that is the only notable general change in lens values that recent years have seen. The general tendency of competition and of improved

u==

Photo by A. C. Christopherson.

~~

Unique Photo, taken

at night by the aid of

eight common wax

candles and an ordin-

ary kerosene lamp. Exposure 6 minutes, special rapid full aperture.

by a beginner.

4:'i~

Engraved by A, A. Lawson.

plate,

Taken

~

~ ~

G:.==: ~ methods of manufacture is to lower prices, but we do not think that this is likely to depreciate the value of the highest-priced lenses of to.day in the near future. After all, the prices are largely justified by care in manufacture and in testing; and this is a quality which cannot bll

indefinitely cheapened, and will always fetch its value. We think, then, that a photographer who, in paying a long price for a very high quality of lens to day, does so with the thought that if he should want to sell it in two or three years' time he will get back a reasonable propor­tion of the price he h as paid for it, has good justification for the belief that is in him . In the meantime, he has the advantage of the use of a first-rate instrument.-P!totog1•aphy.

~~~~o~~~~

Subscribe 4s. 6d. for a year of the A.P.J. It is full of interest to professional and amateur.

Sl~PT. 21, 1908. THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. 275

ACR055 AU5TRALI A WITH A CAMERA.

BY FRAXC I S BrRTLES.

Special to the A.P.J. (Co11tmuedfrom the August issue.)

PORT DAR\VIN, or Palmerston, as it is called locally, is situated on a small cape juttmg out into the harbour. The white

population reside at the" back" of the town, which is the best residential portion of the cape. A minute 's walk away is the beach, o r rather a

A Silhouette Drawing by F. Birtles.

The boy was foc11ssed on th e ground glass, traced on transparent plate-wrappin)!-paper, transferred to white paper and fill ed in with ordinary ink, using a pen and brush. The ink was rliluted with water for the pale background washes.

series of beaches broken by stony ridges, which run out into the sea. At high tid e the sea covers these ridges .

On the lower side of the cape is Chinatown, which, to the visitor from the steamer, appears to be the chief porti on of Port Darwin: one street with gal vanised iron shops, unpainted and ugly-looking. Over the shop doorways are various

brilliantly-painted signs with little flags flying, and what seems, only for the bright colouring, like wax funeral wreaths. There is none of the bright Asialic splendor about this Chinatown; the Asiatic squalor is there !Lough alright.

There are approximately 3000 Chinamen in th e country and about 800 white people. I have made several inquiries about population, but can get nothing definite. Typical of the coun­try few, if an y , make a st udy of the Northern Territo ry. There is here the general tropical dislike for detail in conversation.

At a Chinese fruit and pork shop (combined) I noticed a group of Chows reverently and gently poking with a stick a small piece of pork that hung about six feet above the window counter. On inquiry I found o ut that it was a guessing compel1t10n. On payment of sixpence the Chow hands in his guess as to the weight of the pork. The winner gets the piece of pork, shoves the stick through it, and goes home. This is re­peated daily, and crowds of Chinese are to be seen there every day : it appeals to their gamb-1 ing instincts.

Around Darwin the Chinese have all the gopd land. This they till in a primitive way, bananas and pineapples being the chief products. Fruit is, on the average, dear; ninepence for a pine­apple, si xpence a dozen for bananas, are prices that the Chow asks without a blush. There are no middlemen and freight expenses to pay. He must make good profits . The same way with the Chow shops; they get full price for every­thing , and live on a few pence a day. No wonder the s teamers are always crowded with Chows going "home" for a holiday! If any­thing in particular is wanted one must go to the Chow. The three European stores seem to be unable to stock up sufficiently to hold the local European trade. Chow stores number about twenty , and here is a sample sign of one store: "Baker, Photographer, Fishing-boat Owner. ''

I was examining the portraits exhibited in the window by the Chinese brother artist, and puzzling out h ow it was possible to know one face from another- they all looked as if made in the same wax mould-when the artist strolled out and asked:

"You wantem pl icter taken ? Me takem all plicter. Welly good, eh ?"

2 76 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, 'OS

"How much do you charge?" I asked. "One pong one dossen. \i\Telly cheap, eh?" "All right; by-and-bye, maybe ." "All li. You wantem blead, you wantem fish,

you wantem plicter, all li, you come see me, all li. Goo'-bye."

Some of their " fishing boats," I fancy , do precious little fishing when the China steamers are nearly due. The opium traffic is, to all intents and purposes, as brisk as ever, in spite of strict and watchful observation of the customs officials. There are numerous ways in which the material is smuggled in, which are known only to the "Celestial Ray." One way is to

..

fancy. I notice that he is never there " fishing " when the steamer is away.

The guileless heathen is to be reckoned with in mining. As he is not · allowed to have the ownership of a claim, he gets a white man to act as owner. The Chow finds the capital and working expenses. There are mines about the country controlled by Chinese popularly sup­posed to be white men's property.

There is scarcely a paying business of any kind but what has got Chinese capital in it; and this will be a serious factor in the future develop­ment of the country. It looks very much like akind of " trust" amongst the Chows to keep the white

Photo bj B. G, Kelly. TuK°IE ! Engraved by

A. A. Lawson A Bush School, Jingera, during the snow weather.

drop the opium overboard near a prearranged spot, the " fishing boats" being near at hand to recover it. Another way is to drop the opium (weighted) overboard-perhaps even alongside the jetty. Attached to the opium case is a long string with a small fl.oat on the end-a cork, perhaps ; this is wrapped in a piece of paper with a weight sufficient to sink the fl.oat also. In two or three days' time the paper bursts and the fl.oat comes to the surface, where it would pass un­noticed, especially if under the jetty, which is deserted when the boat leaves. The placid­looking Chow "fishing" on the jetty with a hand-line has something to do with this trade, I

man out as far as possible. They can do it, too, especially to the man without capital. People in Darwin would probably scoff at the idea, but from what I have seen, "there is more in it than meets the eye " The Chow is very clannish and determined when he makes up his mind. If you speak against the Chow in Darwin you will be told that he is indispensible, and he will be defended on very untenable grounds.

Darwin harbour looks like Port Phillip bay, with its large expanse oi water; but the sur­rounding banks are similar to Sydney harbour surroundings. The water is not navigable for large steamers, except through the main channel .

SEP1 . 21, ·os THE AUSTRALIAN PHOTOGRAPHIC JOURNAL.

There is very little shelter; the winds can here have a wide scope to travel. The S E. wind, which blows for about five months after the wet season, could, when strong, make things "lively." This is the" fever wind"; but pass­ing over the harbour it is doubtless purified to a great extent, of which Darwin gets the benefit.

Now, as to the healthiness of the place While not to be compared to "down south," it is a very healthy tropical country for two hundred miles inland from Darwin. l\1any of the minor southern ailments are never heard of here. The air is very damp near the coast, but improves towards Pine Creek This place should be the

worked with "hite labour. There is a great "yell" made about the white ant; the fact is, not enough labour is employed to keep the ground properly tilled. The ground is cleared of undergrowth and trees, turned over, and planted within about a year, instead of letting it "air" and treating it with lime for a few years. The swamps could be easily drained. There is good country all along the railway line--enough for all comers

At present the country is at a standstill, and I would strongly advise all tradespeople and labourers who intend coming this way to keep away and await de,·elopments. The trans con-

Photo by Norman Hillen WOY WOY Eograved by

G. A. Daniel

health resort of the Northern Territory. It is not quite what it might be for that purpose, but un les one travels hundreds of miles away by steamer there is no opportunity to help recover. That is one drawback, the lack of high mountain country to retreat to during the trying season. If a white man takes ordinary tropical precautions against illness, be can live here in good health and comfort

As to the" on-the-land" policy, that is quite feasible; but cheap labour o[ some kind must be obtained Such commodities as cotton, coffee, tea, etc , cannot be grown without it. Tobacco, hemp, sugar, and cocoa-nut palms could be

tinental railway is absolutely necessary, and until that arrives the country will never be opened up. Living is expensive, and although hundreds of thousands of cattle are within three and four hundred miles of this place, meat runs about sixpence per pound.

On the Northern Territory tablelands good pastoral cauntry is to be found. Farming could not be carried on there, but the lowlands could be made to produce almost any vegetation.

If the railway route from Pine Creek to Oodnadatta is made it will be a huge failure. There is no pastoral or agricultural country worth talking about, and it would practically

278 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. ~EPT. 21, •os

run through desert land. The Pine Creek to Bourke (N.S. W .) is the most direct, and ouly about three hundred miles of th e whole route would be poor country. All the p:·oposed routes I ha,·e seen are not placed right. Some of them are planned to run through terrible hog country . Another one wou ld run along- the tableland ridges through two hundred miles of country where a goat could scarcely travel. fifty miles at the foot or on top o f the ridges is bog country. The line should travel south to Renner Springs. approximately east to Camoo­wea.1, south-east to Bonlie, Eulo, Cnnnamulla and 13ourke. Two hundred and fifty miles would link up Adelaide; about 90 miles liuk up Melbourne with the overland trunk route. Brish;u1e joins at Cunnamulla. To link up all the Q11eensland lines with the main trunk is not necessa ry. The country would be opened up from West to East, and the same applies to New South Wales.

I am starting at once for Adelaide, via Alice Springs. When I get down 800 miles the weather will be cooler, and will give me a

• J

..,1~" i;. • e,,1" ~ yo

rriR ' ~~ 1C o

~sul1J '

'/A

chance to recover from the fever. My next communication will probably be from Powell's Creek. I have written this well in advance to avoid, if possible, any more breaks in the series of A.P.J. articles, unavoidable wben only chance opportunities to send a mail are available. I want to get some special photos around Alice Springs, as I am told there is very interesting country around there.

[Mr. Birtles has safe ly reached Adelaide, his journey across the deserts from Port Darwin being an exceedingly rough one. He is now on his way to Sydney via :\1elbourne.-En.]

(To lie conti1111ed n~xt issue. ) ----o-----

fln5wer5 to Corre5pondence.

[By THE EDITOR, A.P.J.J LILLY E.-I am sorry you have trouble with

your toning of bromides. I would suggest your using Burroughs, Wellcome's toning tabloids. They save you trouble, and the results are ex­cellent if yon follow directions closely . Be sure the prints are well washed of hypo before toning -two hours washing is not too much.

A. McL.-Bromide is used to give contrast in negative. It holds back the detail. Ir is generally used for landscape work, but not so much for snapshots, as here you do not want to hold back detail, it is generally hard to get that out sufficiently. A ro per cent. solution is kept in a bottle, and drops are added to de'"eloper, say from 2 to 6 per ounce of de"eloper. In full exposures it is nearly always used.

T. T.T.-Tbe formula for blue prints is (a) Ferric am. citrate (brown) So gr., water r oz. (b) Pot. Ferricyanide 60 gr., water r oz. Mix and keep in dark . Filter for use. Coat any good white paper, usinil" a flat brush; dry, and print until very dark, then merely place in water. The picture will emerge in and clear in water. That is all to be done.

-....-?" ~ -

'-~~~~~~~~~~~~~~~.

~-J A

BKRK ROOM WORKER. From a drawing

by Frank J essuµ

EPT. :!l, '08 THE AUSTRA LIA N PHOTOGRAPHIC JOURNA L. 2 79

J.A.N.-Your work shows excellent promise. The landscape with cattle is good, and shows pictorial quality. The upright one is a bit con­fused in tones, the distance doesn't separate from the foreground. In the river the sky is too blank, otherwise good. Roses show good <juality, but stems are lost in blackness. There should have been some difference in background tones and stems. Study tonality and planes of distances more You are on the right road.

TRIPOD.-lt would be a long story to tell you how half-tone blocks are made. Here is an out­line: The original (photo or drawing) is copied through a glass screen, which is closely cross lined ; when finished, a print is made on metal which is coated with bicromated glue ; this is burned in over a flame, and it is then etched in diluted nitric acid, if on zinc, or perchloride of iron if on copper. The acid eats down between the dots which form the picture, and when deep enough the plate is mounted on wood and printed from. The dots being in relief carry the ink like type. Examine any picture in this journal with a strong magnifier and you will get a good idea of the process.

X-RAY.-- The exposure meter you mention is a good one, and with it you have a method for telling the correct exposures in varying lights and places. It is quite simple, and very little study of it will put you right. l would advise you to stick to pyro soda, as you have used it all along. You can do anything with it Try dilut­ing more, and leave out bromide for quick work.

-----0-----

I\ Photographic E>urglary.

H E broke in through a window While I was by the sea ;

The " plate" that he was after Belonged, alas ! to me.

A silent match he lighted, And so dispelled the gloom .

Of course, it wasn't easy To plunder a" dark room."

''Exposure" to the peril Of capture made him sly.

"I'll' film• my sack with booty," Said be," and then l'll fly."

But as he left the villa P oliceman 50 D

Upon his wrists the handcuffs Contrived to" P.O.P."

Although the rascal couldn ' t "Look pleasant" very well,

His blue-clad "finder" " took' him "Fo(r) cussing " to a cell.

All amateurs will be glad to learn that Mr. L. L. Raymond, the genial secretary to the N. S. W/. Photographic Society, is back from his health trip to the north. He looks a great deal better, and is fit again for arduous duties.

We note with very much regret that Mr. C. Dunn has retired from the !JOSition of secretary to the Mosman Photographic Society. His place will not easily be filled, the duties of secretary being at all times somewhat onerous.

We can recommend the chromium intensifier - "Tabloid"- of Burroughs Wellcome and Co. It gives good density with certainty. It is simple to work, and saves one the nervousness of handling poisonous compounds. It is useful for plates, films, lantern slides, and bromide paper.

Farewell to the old and welcome to the new. Mr. Arthur S. Farmer has taken on the job of hon. secretary for the Mosman Photographic Society. He can rely on hearty co-operation from all fellow members.

We note that the Bal main and Hozelle people are anxious for a photo. society, and a party of enthusiasts from the Photographic Society of N .. W. and Mosman Photographic Society, took a hand one night and helped them in the preliminaries.

Some very fine enlargements showing the landing of His Excellency Lord Dudley, a few hours after the event, attracted great crowds around :Messrs. Harringtons' window. The negatives were taken by Mr. A. E. Anderson, of Bondi, with the celebrated Goerz Anschutz catnera .

If amateurs could only realise the amount of pleasure- and profit-to be derived from a lens like the Goerx double anastigmat "Celor," I B, they would make special endeavours to acquire one of these unsurpassed lenses. No. o to 2

work at the wonderful aperture //4 ·8, and cover at this aperture o. o, 4} x 3}; No. 1, 5 x 4; No. 2, 6~ x 41 inches, the focus being 5, 6 and 7 inches respectively. The power in the worker's hands over dull lighting, rapid movement, and for colour work and telephotography is enormous. Architectural work, say in narrow streets, is also eminently possible, so that fine buildings (which otherwise could not be taken) come easily within the scope of these instruments. Messrs. Harringtons, Ltd., being sole Australasian agents for the makers, can supply all sizes up to No. 6. Inquiries are invited.

280 THE A USTRA LIA N PHOTOGRA PHIC JOURNAL. SEPT 21, '08

The prospectus for the first exhibition to be held by the V.P.A. is just out, an outline of which will be seen in our society columns. It should be a huge success. The grounds for probable friction are infinitesimal. The prizes are not for "pot hunters," but for just enthu­siastic photographers, professional or amateur. A high standard wi ll be required for the accept­ance of work.

The latest printing process, viz , " The Donisthorpe," was very successfully demon­strated at the monthly meeting of the Photo­graphic SocietyofN.S. W., on theeveningofTues­day, 8th September, by those two enthusiastic workers, Messrs. A. J. Peri er and A. V. Wilkinson. It speaks volumes for the simplicity of the process when the fact is known that the " Donis­thorpe" material was only received by these gentlemen the day before the meeting was held, and that the demonstration was all that could be desired.

We notice with pleasure that the Town and Country Jo11mal has started a photographic column, and that the reading matter therein is not only terse and to the point, but also very up to date. We understand that expert, Mr. A . V. Wilkinson, of colour photography fame, is in charge. We wish him every success.

" Our Alma Mater,"-Vve are in re­ceipt of the Riverview College Mai:razine, now in its 23rd year of robust life. The frontispiece is a reproduction of three great paintings by Raphael, Andrea de! Sarto, and that gifted re­cluse artist, Fra Angelico, illustrating an excel­lent article on "Religion and Art," by John Plummer. "In the Blue Mountains," by E.D. M., is a fine pen picture. The social, musical, sport and literary columns make de­lightful reading, even to an outsider, and the illustrations from photographs are of a high order. It is a magazine of glad young life.

A pioneer photographer, Mr. Charles Percy Pickering, has only recently died at his residence in Leichhardt, at the ripe old age of eighty­three. Mr. Pickering was practising photography n Sydney as early as that popular dating-time­

" The wreck of the Dunbar." Many of our prominent professionals have had their training from him at his long - established studio on Brickfield Hill. His nephew, Mr. J. D . Picker­ing-, is at present operating at the Eden Studios, whilst other members of his family are in the profession, both in England and Australia.

The friends of Mrs. Hammerton, nee Miss Baker, of Adelaide, will be sorry to hear of her dangerous illness, and that there is little or no hope of her recovery. Mrs. Hammerton bad only recently taken up colour work in connection. with her life's hobby-flower photography.

Errata.-In the article on Judge Docker, August issue, the titles of his stereo pictures were transposed. The "Arch of the Pr<e­torium" should be "A Street in Jaffa," and vice versa. The Judge's portrait was taken by Elliott and Fry, London, not Downey. In a later issue we hope to reproduce some fine stereo work by the Judge, which can be conveniently viewed in the 'scope without removing from the JOURNAL.

The Society of Artists will open their Exhi­bition at the galleries, in Queen Victoria Markets, on October 15th. There will be new departures in the conduct of the Exhibition, and attractive features are promised. The artists responsible are working hard to make the show a brilliant success.

International Photographic Ex­hibition, Dresden, 1909.-\Ve have received a parcel of the business syllabus and programme of the above Exhibition for distribu­tion, and will be pleased to forward copies of same on application. Some Australasian photo. clubs and professional photographers are prepar­ing to send exhibits. There is no charge for wall space, but only exhibits of true artistic merit will b~ accepted for exhibition. Profes­sional photography-portraits, &c.-will have to pay 3s. for each picture in frame not exceeding ;l square metre, and 5s. for each one exceeding that size. The scientific and ethnological sec­tions are free and promise to be of extra interest, being patronised by governments of almost all countries.

The eyes should always go with the head_ Nothing is more disagreeable than to see an eye looking out of the corner, or twisted across the face. The eyes of a full or nearly full face should look full at the camera; a little above the lens, I prefer, if you can trust your sitter not to drop the eye as the cap is removed. If the head is turned to the right, the eye should go as. much to the right; if a little more, it is no great matter, but it should never come back again, or a shy or frightened look will be given. - H. P . ROBINSON.

SEPT. 21. '08 THE AUSTRA LIA N PHOTOGRA PHIC JOURNA L. 2 I

The next lecture at the N.S.W. Photographic Society (Tuesday, the 220d instant) is by Mr. Norman C. Deck, whose long absence from the society has been regretted by members.

Photographic S ociety of N.S. W .

MR. J. S. STENING opened the business of the meeting with a discussion on hand

cameras. He explained that a great many suc­cessful pictures of late were only possible with a hand camera, whereas in olden times the hand camera was held in disdain, and a photographer was " no class" if he carried a camera smaller than whole-plate. He then exhibited old forms of shutters and cameras, and traced design down to the present forms. The essentials of hand cameras were simplicity, sound construc­tion and unobtrusi1eness. i\lany cameras of the present day suffered from want of stability and glittering ornament. The different features of a hand camera were then gone into. Changing Systems: Film pack, roll film, envelope system changing boxes "ere shown. Shutters : The importance of knowing one's shutter. Shutters mentioned, Thornton-Pickard, Koilos, compound sector. Lenses: The ad1·antage of an anas­tigmat was then entered into, and the question of depth of field, angle of view discussed. Focal plane shutters were the most efficient, although they generally suffered from the lack of slow speed, or the slow speed caused vibration. Finders were then discussed, different forms be­ing shown, and the wire frame and peep-hole recommended. The lecturer then gave instruc­tion as to holding the camera, two forms being recommended: under the arm, tight against the chest, holding the breath in both cases. Mr. Stening then showed enlargements of negatives taken in a 2~ x 3! camera, which were remark­able for their sharpness. The next business of the evening was the demonstration of the Donis­thorpe process by Mr. \Vilkinson. For this process the negative must be a veritable ghost and must be developed with a quick-acting de­veloper, such as rodinal, metol, amidol. The negative is placed in a hardening bath for 5 rr.ins. and then rinsed for 2 mins. It is then soaked in the dyes provided for 5-ro mins, and then rinsed. Special gelatine paper is soaked 3 mins., then squeegeed to the dyes plate and left 5-15 mins .. the print being examined from time to time by lifting up a corner. When done it is placed in methylated spirits and then dyed. The prints made de111onstra1eci the possibilities of the pro­cess, which is a ,·ery intc1esti11g and truly no\·cl

one. During the evening also the gold medal and bronze plaques, which had arrived from England, were distributed to the winners in the Society's exhibition held some time back.

----0---

Mos man Ph otog raph ic Society .

ON Thursday, 23rd July, Mr A V. Wilkin­son gave a lecrnrette anci demonstration on

the "Factorial System of Development." Owing to the inclement weather the meetings arranged for 30th July and 6th August were postponed. At the usual monthly meeting of the society, held on 13th inst., Mr. R. P. Crittenden lectured on "Home Portraiture," describing various methods by which table covers, sheets, and blankets may be converted into temporary back­grounds, reflectors, etc., and dealing very fully with the position of the sitter and lighting to obtain various effects. umerous photographs, taken with the u~e of make-shift accessories, were shown, many of which were most artistic . The lecture was continued long after the usual time for terminating, but Mr. Crittenden's happy handling of a subject upon which he is undoubt­edly an authority, more than compensated for the lateness of the hour. The close attention pl.id to the lecturer by the audience was a sure indication that " Home Portraiture" is a sub­ject that appeals to the average amateur photo­grapher. On August 27th Mr. \V. M. Hamlet (president of the society) gave a lecture on "Pictures of Travel," being a descriptive dis­cour e upon a walking tour from Brisbane to Sydney, illustrated by lantern slides, about roo being shown. The lecturer was listened to by the enthusiastic regular attendants of the so­ciety's meeting with interest. On September roth the Annual Exhibition of the society was carried out, the total number of exhibits being in all classes ro8. The first prize, class I., being the best print, any subject, was won by ~1r. Homan-a very consistent worker-the subject being " U.S .A. Battleship Georgia." The first prize, class III., bromide enlargement, was won by Mr. Homan, "The Coming Storm." Second prize, class IIL, "Spotted Gums," by A. S. Farmer. The first prize, class IV., lantern slides, by W. Morey. Mr. Henry King kindly acted as judge, and altogether the exhibition was watched with interest by the members, and was considered a decided advance upon the previous exhibition. Therefore we go on our way re­JOtctng The general report and balance-sheet was adopted, and considered satisfactory, and new members are coming [0rward.

-A. S. FARME1<, Hon. Treas. and Sec.

---- ------~~--

282 TH E AUSTRA LIA N PHOTOGRA PHIC JOURNA L. SEPT. 21, '0

Balmain and Rozelle Photographic Society.

A PRELIMINARY meeting was held in the Rozelle Mechanics' Institute with a view

to forming a Photo Club. About thirty at· tended, most of whom gave in their names for membership. Mr. E. Hubbard was elected Hon. Secretary, and a committee of five was formed. Mr. H.J. Bourne gave a room for the use of the clnb for twelve months, together with £r rs. for :prize money. A subscription fee of ros. 6d. per annum w.is decided on, juniors and ladies 5s. A second meeting was held on the 15th inst., ;particulars of which were late for this issue.

----0----Victorian Photographic Affiliation.

THE first exhibition held by the Victorian Photograph ic Affiliation, the governing

body of photographic clubs in Victoria, will be inaugurated on Saturday afternoon, 6th Feb­ruary, 1909, and will be open to all photo­.graphers.

It is intended that a selection of the best works of Victorian exhibitors shown at the exhibition -shall, after its closing, be fo r warded by the V.P.A. to the International Photographic Exhibition to be held at Dresden from May till October, r909. Exhibitors of these se lected works will be duly communicated with, and their consent to their work being forwarded asked . The V.P.A. is desirous of sending a thoroughly representative -exhibit of Victorian photography .

Aw ARDS.- T he Victorian Photographic Affilia­tion's gold medal will be awarded to the best picture shown in Section B, and the V.P.A. silver medal for the second best picture in that o;ection.

The Victorian Photographic Affiliation dip­lomas, which will be of unique rlesign, will be a warded to the best and second best picture in -each class in Section B .

JUDGES AND SELECTION CoMMITTEE.-·The two Judges and a Selection Committee will be ap· pointed by the Council of the V.P.A from the following, viz. :- Messrs. Bernard Hall, Director of the National Gallery, Melbourne; John Mather, President Victorian Artists' Society; J. Ford Paterson, Trustee National Gallery ; C. D . Richardson; F. A. Campbell; R. Porteous; G. A. Brewster; A. Barrie; and Robert Harvie.

In the case of Section B, Class 4, Architecture, and Class 7, Stereoscopic ·wcrk, special judges .apart from the above will be appointed .

A certificate will be issued for each photo­graph selected for hanging. The exhibitor of

any work not selected will be duly notified, and the work may be removed after the receipt of such notification.

LANTERN SLIDES, TRANSPARENCIES A:-10 STEREOSCOPlC WoRK.-These exhibits will be suitably displayed by the V.P.A.

Note.-Last day for receipt of entries, 15th January' 1909. Last day for delivery of ex­hibits, 29th January, 1909.

The following only shall be the Sections and Classes:-

SECT10:-1 8-GENERAL, Dl\"IDED IXTO CLASSES (CoMPETITIVE).-Class r, Landscape, Seascape, River Scenery; Class 2, Portraits ; Class 3, Genre; Class 4, Architecture; Class 5, Animal Studies; Class 6, S <i ll Life, including Flowers and Fruit; Class 7, Stereoscopic \York (set of 3); Class 8 . Lantern Slides (se t of 3) ; Class 9, Transparencies, other than those in Classes 7 and 8.

SECTION D, (NON·CO~IPETITIVE).-This Section will comprise Pictorial Photographs not for com­petition and examples of Scientific and Tech­nical Photography, such as Photography in Natural Colours, reproductions of Paintings, Photographs by artificial light, Photography applied to Astronomy, Microscopy, Medicine, Surgery, and X Rays, Botany, Telephotography, and Military purposes, also photographs of peculiar or historic interest.

INTER-CLUB Co~1PETITION. -In connection with the Exhibiti.:m, an Inter-Club Competition will be held under the V.P A. regulations for these competitions as below. Prize, the \'.P.A. plaque.

Prospectuses and all information may be ob­tained from F. Dutton, Exhibition Hon . Sec., 120 Fenwick-street, Clifton Hill, Melbourne.

- ---0 ----Southern Tasmanian Camera Club.

THE monthly meeting was held at the rooms on Tuesday evening, July qth, Mr. A. J·

Taylor in the chair. The chairman deli,ered his promised lantern lecture on a trip to Europe. A cheap magazine camera (Victor) was depended on for photographic records, and by this means many interesting and creditable slides were pro­duced. Slides of Rome, l\aples, Florence and Venice, accompanied by explanatory remarks, then followed, and proved Mr. Taylor's know­ledge of the past history of these cities to be a powerful factor in retaining the interest of his a ud1ence from start to finish . Other slides de­picted scenes in Ireland and London. A hearty vote or thanks was accorded to the lecturer.

A. PROPSTl1'G, H on. Secretary.

SEPT. 21, '08

/ /

THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. x

J. H.

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x. T!-I E. AUSTRALIAN PHOTOGRAPHIC JOURNA L. SEPT. 21, '0

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SEPT . 21, 'O THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. XI •

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- - - - - - - - - - - - - - - ----

THE AUSTRA LIAN PHOTOGRA PHIC JOURNA L. SEPT. 21, ' 0

Send a Post Card to-day for the New Illustrated Booklet

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SEPT. 21, '08. TH E AUSTRALIAN PHOTOGRAPHIC JOURNAL. Xlll

Advertisements are inserted under this heading, 12 words or under, 6d., and ld, for each arlditional word, per insertion.

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CAMERAS AND OUTFITS.

J (j.j:I i-plate Griffiths' lllagazine Camern., t . and i. shutter, changing bag, 20s.

1 G7~A 15 x 12 Parallel Square Bellows Camera (Per­ken, Son & Rayment), 3 d.d . slides, Ross' 15 x 12 r.s. lens, 'l'. and P. shutter, best ash tripod, leather «Lse. Splendid condition. £30 .

l 7Jti' Kodak ENLARGE R, to enlarge films up to t-.} x 6~. 15s.

2127A 12 x 10 Dallmeyer Par9.llel Bellows Camera, double extension, 3 d.d . slides, 1 single slide, 13 x J l Dallmeyer r . r. lens, casA. Cost £40 ; sell £25.

21!J1 No. 2 Falcon Kodak, for daylight spools, rapid lens, 31 x 3!. 10s.

2194 No. 4 Bull's-Eye Kodak, daylight spools, case for pictures, 5 x 4. A bargain . 37s. 6d.

21 ()5 i-pl. Duplex Twin Lens Camera, good lens, 1 double dark slide. 15s.

2 l!J7 !-pl. Duplex Twin Lens Camera, fnll size finder, l plate holder. 15s.

2209A No, 3 Cartridge Kodak, for !-pl. daylight roll tilms, 2 d.d. slides. Nearly new. £3 I Os.

2303 12 x 10 Outfit, double extension Camera, 3 d .d sl ides, 12 x 10 Dallmeyer r.r . lens, leather case. Splendid condition £20.

2345A No. 2 Bull 's-Eye Kodak, daylight loading, ;q x 3~, leather case. A bargain. 15s.

23 7 , !-plate Hoss Twin Lens Camera, folding pair Hoss-Zeiss anastigmat lenses, T.P. shutter, chang­ing box to carry 12 plates; very complete. £19. Bargairi.

23()1 No. 1 Victor lllagazine Camera (old model), for 12 plates. 15s.

2423;. No. 4 (5 x 4) lllagazine Victor Camera, r.r. lens, complete. £5 .

2430 Voigtl11.nder Hefiex CtJ.mera ~ · plate "Heliar" lens, //4·5. foca pltJ.ne shutter, up to l · lOOOth sec., full size finder, 6 d.d. slides, letJ.ther ctJ.se. Very littest model. £40.

2455A !·plate Enlftrging Lantern, 5in. condenser, 2-wick oil lamp. Good condition. £4 5s.

2471 '' Crackshot" C1tmern, complete . Nearly new. 5s

2485 Ilex Stereo l\Iagazine C11.mern, size 6if x 3!. Eqtrnl to new. £~ !Os.

2486 Kodak Enlarging Camera, for any negatives up to!-pltJ.te. Eqtrn.l to new. £ 1 15s.

2496A No. 1 Victor i\Iagazine Cftmera, complete. £ 1 2s. 6d .

2505A ~- pl." Cycle Wizard" B C11.mera, hand or stand, B . & L . shutter, r .r. lens, 1 pl holder, case. £5.

25H !-pl. Stand C"'mern, double extension, Aldis lens, series II., No. I, //6, abo r.r . lens, j/8 , 1'.P. before lens sautter, 3 d .d. slides, tripod, canvas case, and 3 !-pl. printing frames . The lot,£ 4 10s.

2522A No. 1 Victor M1~gazine Camera. In good order. £1 2s. Gd.

2524A !·pl. No. 3 Zenith Camera, Model B, 2 double plate· holders and focussing screen. £ 1 2s. 6d.

2526 Folding Post Card Camera, with Coll ineat· series III., No. 3 lens in Koilos shutter, to l-300th sec., 3 single phite-holders, film pack adapter, and aluminium telescopic tripod. Equal to new. The lot, £16 10.

2527A !-pl. Stand Camera, with focal plane shutter, Lellows extension ll ~ ins., 4 double plate-holders, no lens or tripocl. £3 10s .

2528A ! -pl. "Suter" Hand Camera, with magazine carrying 20 plates, r.r. lens, focussing ad justment, t. and i. shutter, solid leather case, complete. A bargain. £7.

XIV. THE AUSTRALIAN PHOTOGRAPH IC JOURNAL. SEPT 21, 'O

CAMERAS and OUTFll S. - Continued.

2529A ~-pl. "Suter" Hand Camera, with magazine for 20 plates, r .r. lens, focussing adjustment, t. and i. shutter, solid leather case. £9.

2530A 1-pl. "Fwourite Poco," fitted with d0uble swing and reversing back, rising and falli ng front, lever focussin11, etc., one dollble plate-holder, no lens or shutter. £2 JOs.

2531A 5 x 4 Premo D, sin gle lens, t. and i. shlltter, scale foclls•ing, view-finder, etc., 3 d<mble plate­holders. The lot, £2 1 Os.

~537 Harrington's "Popular" Variety Back Focus­sing Screen and one d.d. slide. £:! 5s.

2542 l;-pl. Rouch l\Iagazine Hand Camera, r.r. lens, changing box for 12 plates (with sheaths) canvas case. All in first class order. £1 l 7s. 6d .

2544 12 x 10 Studio Camera, rack extension, 1 double and l single slide. £6.

254S Victor Hand Camera. 10s.

2550 5 x 4 Ross Twin Lens C:imcra, fitted with pair Boss Goerz f /1 7 double anastigm"t focal plane and before lens, Thornton -Pickard shutter, 6 double book-form slides and changing box for 12 plates or 24 films, solid leather canying case, and sm"ll waterproo! carrying ca•e for 6 slides, almost new, and in per!ect order. £27 10s.

2557 t-pl. No. 1 Victor. £1 5s.

2560 10 x 8 l\Iarion's Camera, n sing front, swing back, etc., Ross Sin. homocentric lens, single view, len s, view finder, 3 d. d. slides, foe . cloth, in tan canvas case, lock and key, cedar tripod. £10.

2571A 5 x 4 No. 4 Victor . In very good condition. £4 10s.

25SO ~-pl. Newman and Guardia's Nydia Camern, fitted with Ross Homocentric lens, Sin. locus, all in leather c-ase, three-fold ash tripod, with Nydia tripod board,l No. 4 light I so screen, with holder and case. Enµlish list price, £21 6s. 6d. Specially fine outfit, as good as new, £1S 10s.

2256 15 x 12 Parallel Bellows Camera, Perken , Son and Bayment, double extensio11 36 in., rack focus­sing, reversing and double swing back, ri sing and cross front, 3 double-dark slides. £14 .

2594 ~-pl. Perken, Son & Rayment Camera, T.-P. rapid rect . lens and shutter, one double dark slide and threefold tripod. £5 .

2595A ;lpl No. 3 Austral i\lagazine Hand Camera. 15s. 2597A l;-pl. Magazine Hand Camera for 12 phttes.

£ 1 Js.

2605A No. 1 Magazine Victor, 1907 type. £1 5s.

2607A ;l-plate Austrnl l\Iaga zine Sun, 12 plates, rapid rect. lens. £2 10s.

260SA 5 x 4 Borona 2, with three d.d. slides, all in case. £2 l 5s.

2609A l;-plate i\Iagazine Rex, for 12 pla tes. 30/-.

2610 ~-pl ate Field Camera, conical bellows, double extension, reversing back, 2 d.d. slides. £3.

2611A l;-plate No. 3 Victor l\Iagnzine, in stiff water-proof case. Yery good order. £2 15s.

2612A 3~ x 2~ Holl Film Cnmern.. 5,.

2614 ;}-plate Magazine Hand Camern. I 5s.

2615 l;-plate l\Iagazine H1tnd Camnn, with time and inst. shutter, iris stops, in stiff rnnvas cnse. £1.

2616A ;l-plate ;\Iagazine Hand Camera, 12 plntes. 15s.

2617A ~ -plate l\Iahogany-body Camera. reversing back, ri se and falling front, rapid rect. lens, iris diaph, 3 d.d. slides, tripod. A good outfit in very fair order. £2 5s.

2618 ;l-plate No. 3 l\lag•z ine Victor. £3 .

SOMETHING SPECIAL.

Panoramic Camern, taking a view 7in. x 20in, using ordinary 7in. films, fitted with Taylor, Taylor and Rob­son's rapid lens, in per!ect order; will do for t ime and instantaneous work.

Specimen of work may be seen on application. Price, £21.

Apply, HARUINGTONS LTD., 3€6 George-street. Sydney.

LENSES.

1446A 15 x 12 R.R. Lens (C.C. Vevers), iris dia­phragm, 25-in. focus. Nearly new. £7.

1962A ~ -pl. Boss Patent Concentric Lens, m s dia­phragm, 6in. focus. Good for architecture. 95s.

203S Cabinet Voigtlander Portrait No. 4 Lens, f/4·5. Good as new; no stops. £10.

2140A Cabinet Voigtlander Portrait Lens, extra rapid ll~in . focus, rack & pinion, Waterhouse stop. £S.

2176A 12 x 10 Ross Achrom atic Len s, 20in. foous. Recommended for landscape. £3.

2177A Cabinet Port. Lens, "Darlot," lOin. focus. £5.

2178A 12 x 10 Single Lens Valentine lSin. focus. 50s.

2179A Cabinet Portrait Lens, "Olas," Pnris, 15in. focus . £ 4 l 5s.

21SOA S x 5 Portrait Lens, Stewart, £5.

2431A !-plate Dallmeyer Triple Achromatic Lens 7in . focus , Waterhouse stops. £2 5s.

EPT. 21, '08. THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. xv.

l.E SES. - Continued. 2502A Aluminium 'l'ripod, height extended 42in., closed ll ~in., for cameras up to 5 x 4, leather case. 17s. 6d.

'2509A Voigtliioder 'l'riple Anaotigmat Cooke Lens, No. 7, j 7, for 9i x 7i. £7 5s . 2506 1- l-pl. Bmss Bound Double Dark Slide. 18s.

2511A 1-1-pl. Planorthoscopic Lens, Laverne. 25s . 2561 Globe Enameller, !or gas lOin. rollers, \'ery good order £7 10s.

2512A ;i-pl. H. & Co. Rapid Symmetrical Lens, //'€, 5;lin . focus. 25s. 2576 7 x S Seascape Background. 25s.

2525 Voigtlander Euryscope Series VI. No. 4A Lens, //7·7, covers 15 x 12 plate, 19!in. focus . £7.

2574 i-pl. Harrington's Series D //6 Lens. 35s

2575 Beck Universal Multifex, No. 2. £3 10s.

25 2 Ross No. 6 Symmetric Lens, Sin. focus. £4.

2577 S x S Ground, semi interior and exterior effect. 35s.

A 3-Jet Acetyline Burner, per!ect order. 10s.

2599 D.D. Optimus Lens, by Perken, Son and Ray- Cinematographs, lanterns and Accessories. ment, //4; good order. £ 4.

2600 Cooke Lens, 7~ in. focus, with extension lens, giving 12 in. focus. £7 10s.

2604A Cabinet Portrait Lens, by Wu!Jl of Paris, 10 in. focus, rack and pinion. £3.

:?619 1 Series 3, No. 7 Aldis, for ~-plate, f/7.7, no stops, in leather cam. £1 l 7s. 6<l.

2620 1 Ideal Set Lens, 1 each wide angle, copying and telephoto. 17s. 6d.

FOR SALE-i-plate r r . Lem, Victor shutter. 300. T. READ, 2S Albert-street, Petersham.

SUNDRIES.

2182A Limelight, mixed jet, In.test model 15s.

2240A "Jack's Return," story of the sea, 460 ft. Equal to new. 4d. per foot.

2461 The "Empire" No. 2 Cinematograph, including mP.chanism, with everything necessary, and com. plete !or working. Used few times. £35.

Cin ematogra ph Films :

2465 Telltale Opera Glasses (comic).. 165 feet.

Lost in Desert (dramatic) 600 ,,

Wrong Flat (comic) 625 ,.

Time Flies (comic) 303 "

Per foot, 3d.

1252 Adams' Adjustable Shutter (new), !-pl. 22s. 6d . 2466 Susan Tastes the Wine (comic) 232 feet

1464 Rontgen Riiy, inductioncoil (3 in spark), in good working order. £6 !Os.

1709A 18 x 15 Process Printing Frame, 3 bars, no glass. 20s.

21S3A Metal bicycle attachment, used on handlebars, or as tripod. 7s. 6d.

2328A 2in. T .-P. Shutter. 15s.

24 Vril Spirit Lamp, !or enlarging lanterns.

The Bandits (dramatic)

Per foot, 3~d.

550 "

2562 Warwick Bioscope, mechanism only, fitted with 2~ Warwick special cinematograph !em, and Sin. focus lantern objectif. £20.

2563 Double-barrell Saturator, contained in special heating tin with lamp. £2.

2564 First quality rubber cloth Gas Bag, in grnd order. £2.

xvi. THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, 0

QUEENSLAND BRANCH.

Further Parti culars of the follo wing, if required , from

HARRINGTONS LIMITE D, 93 Quee n Street, Brisbane

188A 2 B. "Dallmeyer Portrait Lens, C.D.V. or !-plate splendid lens. A Bargain. £6 l5s.

189A 12 x 10 Dallnieyer Wide Angle Landscape Lens, rotating stops; cost double. £4 15s.

199A ~-pl. Lancaster Sterno Camera, with pair Lane stereo lenses, d .d. slide and tripod; in good con­dition. £4 10s.

247A 12 x 10 Ross Rapid Rectilinear Lens with stops. In first class condition. Price, £9.

270A No. 2 Bulls Bye Kodak, in good working condi­tion. 22s. 6d.

276A 7 x 5 Thornton-Pickard "Ruby" Rapid Recti­llinear Lens, with Iris diaphragm; as good as new. £2 15s.

286 3~ x 2~, !-plate, and 5 x 4 Second-hand Cameras. A few to sell, in good order, from 5s. Particulars on application.

301 25 x 21 Dallmeyer Patent Rapid Rect.ilinear Lens, no flange, cost £45. In good condition. A bargain. £11.

327A 5 x 4 Cycle Poco, No. 4, fitted with rapid recti­linear lens, in Gem automatic shutter and pneu­matic release, focussing sen.le. etc., 3 d.d. slides, carrying case for the lot; in working order. £3 15s.

330 }-pl. Folding Camera, with Meniscus lens in automatic shutter, three double dark slides, tripod and Victor enlarger. In fair order. £2.

338 ~-pl. Square Bellows Camera, with Ross lens, 3 d.d . slides, changing box, tripod, focussing cloth and bag. In good order; a barg1tin. £10 10s.

339 Cook Lens, ~-phtte, //6·5, 7~ in. locus. £3.

340 Clement and Gilmer Anastigmat Lens, ~-plate, f/7, 7i in. focus, in Unicum shutter. £3 10s.

341 Second-hand Magic Lantern, with carrier and case. £2.

342 5 x 4 Long-locus Premo Splendid R.R. Lens, 6 d.d . slides in 3 bags, tripod and daylight enlarger up -to 10 x 8. £6.

PHOTOGHAPHIC BUSINESS.-In full-going order . established 25 ye1trs; important Queensland min­ing town ; all n.ccessories; rent low; a steady busi­ness capable of expansion. Price, £110. Particulars- HAlUtlNG '_l'ONS LTH.,

386 George-st ., Sydney.

COLOUR PHOI'OGHA.PHY.-New three-colour }-pl.

Camera, latest design, 3 filters, 5 x 4 Cooke lens,

;~slides. bag and tripod, specitllly suited for m1ddng

lantern slides in natural colours. Price, £ l ~ !Os.

Kt:TT's PnoTo. STORES, l\Ielbourne.

r--· The . .. I

I

PHOTOGRAPHIC INSTRUCTOR (Bv J. I. PIGG, F.R.N.S., F . R.P.S.)

Australian

Edition . Price, 1/J Postage 3d. Extra.

The most up-to-date work on Photography. 20 full-page illustrations by the author. Numerous diagrams.

Practical formulre.

The clearest book on the art we have read.-Bull~tin.

HARRINOTONS L T D., Sydney, Melbo urne, Bris bane.

The AEROGRAPl-0 is of great assistance to the artis t for Black and White & Water-Colour Drawings, Finishing Pho t o ­graphic Enlargements, Prepar· ing Work for Process En· graving, Li tho graphic Work, Tap e stry, Painting, P ottery Decoration, &c. Great rapid- tJ) it y and i superior ; -~ resu lts

Larger instruments

tor Mural decorations

General Painting, Lime Wash, and

the like. Especial Air Compressors. Write far

prices and partic'ulars to-

THE AEROGRAPH CO., LTD 43 Holborn Viaduct, London, E.C.

Stocked by HARRINGTONS LTD.

EPT. 21, '08 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. XVll.

I A Special Paper for Portrait W orh. !

Your especial attention is called to the "PORTRAIT" CARBON S .C.P., which is a delightful medium for general Portrait work.

This NEW ORADE is for the softest of effects, combined with full detail and luminosity in the shadows.

CARBON effects with ease and certainty at a minimum of cost and time.

Prices the same as for other grades of S.C.P.

In conjunction with the above try the

"Wellington" Speedy Plates for uniformity of speed and quality.

WELLINGTON & WARD, Photographic Material Manufacturers,

Elstree, Herts, England.

Full Price List Gratis on application.

XVlll. TH E AUSTRALIA N PHOTOGRAPHIC JO URNAL. SEPT. 21, 'OS

"EMPIRE" PRODUCTS They are PERFECTION.

ONCE USED, ALWAYS USED.

CORJ\l Yf( (Regular) Platino Matt Bromide Paper. Glossy, Smooth and Rough. For general contact printing and contrasty enlarging from weak negatiYes.

(ORJ\l Yf ( (Rapid) Platino l\Iatt Bromide Paper. G lossy, Smooth and Rough. For contact printing from plucky negati\·es and general enlarging purposes. ·

Al bu men-Sensitised ra 11er. Perfectly presen·ecl. \\'ill keep fresh an unusually long time.

rostcardS, R egular size, s! x 3~ . Court size, +t x 3l · Artlyte, Coralyte, Glossy, l\Ialt.

rostcardS, Rapid Coralyte. Glossy and l\1att. Now on the Market.

Opal rlates. Lantern rlates.

Artlyte (;aslight raper. Platino Matt and Glossy.

Coralyte in Cream Crayon.

Transparency rlates.

Chenlical Cartridges for a ll purposes. R eliable formulao .

HIGHEST QUALITY. ALL REGULAR SIZES. POPULAR PRICES.

THE EMPIRE WORKS CO., SYDNEY. Principal Distributors:

HARRINGTONS LIMITED, Sgdney, Melbounre. Brisbone.

~

SEI'T. 21, '08 . TH E. AUSTK...\LlAN PHOTOGRAPH IC JOURNA L. XIX .

r,r~ . ~~

~r Directorg or Austrolosion Photogrophic Clubs. ~~ Members of Clubs visiting in stra~ge districts and wishing to attend a meeting of the local Club should communicate with the Hon. Secretary for information regarding place and time of meeting.

°=~' - \'\II ·~ r-~ ~~4 ~u~ •11 ~~

New South Wales. BROKEN HILL AMATEUR PHOTOGRAPHIC SOCIET\'­

Hon Sec., E A . Whitehead.

Coo,1A SCHOOL oF ARTS AMATEUR CA,IERA CLuB­Hon. Sec., J. A. Perkins.

COWRA S. OF A. AMATEUR PHOTOGRAPHIC CLUB­Hon. Sec. P. J. icPhee.

F,11rnEs A'IATEUR CAMERA CLUB-Hon Sec., $. \V. G. Smith.

GouLBURN CA,IERA CLUB-Hon. Sec., T . \Villiams.

GR.\FTON CA,IEl!A CLUB llon. Sec., P. Saunders.

GRENFELL CA"ERA CLUB-Hon. Sec., GuLGO'.\'G A:\IATEUR P1-10TOGRAP1-11c Assoc1ATION-

Hon. Sec, A. P. Lambert.

JUNEE DISTRICT CAMERA CLUB-Hon. Sec., E. Pegg.

L1s,10RE PHOTO. \.LUB-Hon. Sec., S. Simmons.

L1THGOW D1sTRlCT AMATEUR P110Toc;1<AP111c CLULl-Hon. Sec., W. Isley, Main Street.

IACLEAN CA" ERA CLUB-Hon Sec .. E. Campbell.

1os,rAN PHOTOGRAPHIC SOCIETY-Hon. Sec • Chas. Dunn, Box 242 G.P.O.

NEWCASTLE AND DISTRICT PHOTOGRAPHIC SOCIETY­Hon. Sec., R. Lamont, 93 Hunter t., ewcastle.

'S.\V. TRA,I\\'AY CAMERA CLUB-Hon Sec., H. E. Perfect.

PARKES A'IATEUR C.C.--Hon. Sec., H. G. Baldwin.

PHOTO<.RAPHIC SOCIETY OF .S \\'., SYDNE\' Hon. Sec., L. L Raymond, Box 829 G.P.O.

TENTERFIELD CAMERA CLUB-Hon. Sec., Ernest C. Roper.

\VALLSFND AND PLATTSBURG CAMERA CLUB-Hon. Sec., J.B. Wells.

YouN <. CA,IERA CLUB-Hon. Sec., \V . Sinclair.

Victoria. AMATEUR PHOTOGRAPHIC ASSOCIATI ON O~ VICTORIA­

Jion . Sec . , T. Haughton Watson, 57 Swanston Street, Melbourne.

BALLARAT CAMERA CLUB - Hon. Sec., Geo. H. Hutson, 226 Raglan Street.

BALLARAT PHOTOGRAPHIC SocIET\' Hon. Sec., G. :\1ontgomery, 201 S1urt Street.

BEECHWORTH CAMERA CLUB-Hon. Sec., H. Ford. BEND1r.o AMATEUR PHOTOGRAPHIC AssOCIATloN­

Hon. Sec., Jas. Miller. CLIFTON HILL AMATEUR PHOTOGRAPIIIC CLUB-Hon.

Sec., F. Dutton, 120 Fenwick-st., C.H., Melb'ne. EAST MALVERN A.P.C.-Hon. Sec. and Treasurer . \V .

Churchill Fisher, 66 Railway Rd .. Malvern (Vic.) FooTSCRAY CAMERA CLUB, MELBOURNE-Hon. Sec .•

Chas. " aylor, 75 Ryan Street, Footscrav GORDON COLLEGE AMATl!URPHOTO. ASSOCIATION, GEE­

LONG-Hon. Sec., H. L. S. Potter, 97 \Veller St. PORTLAND PHOTO. CLUB-Hon. Sec., A. E. Taylor.

STA\VELL CltOOL OF MINE' l,JJOTOGRAPHIC CLUB­Hon. Sec., Afwn Galbraith.

W'oRKING i\lc::< 's CoLLEr.E PHOTOGRAPHIC CLUB. MELBOUIWE- Hon. Sec., A . A. Bishop, 9 St. George's Road, Malvern.

South 1\ustralia. ADELAIDE C.C -Hon. Sec., \V. E. Hill, Chester

Place, Unley, Adelaide GAWLER CA~IERA CLUH-Hon. Sec., J. F. Rogers. KAPUNDA PHOTOGRAPHIC CLUB Hon. Sec., T. \Var­

ner, Chappel Street, Kap11nda. MOUNT GAMBIER P110TOGl<APHIC CLUB-Hon Sec.,

Edwin A . 0. Kluge. SEMAPHORE PHOTOGRAP11 1c Soc1ET\' - Hon Sec., C.

Mart, c/o DalJ!etly & Co , l'ort Adelaide. SOUTH AUSTRALIAN P.S., ADELAIDE lJon. Sec,

A. H . Kingsborough , 51 Rundle St, Adelaide.

Tas mania. NuRTHERN TASMANIAN CC., LAUNCc:sTON Hon.

Sec., F. Styant-Browne. SOUTHERN TASMANIAN c.c Ilon Sec' Alfred

Propsting, 105 Elizabeth Su eet, Hobart.

Queensland. BURNETT C.C., BuNDABERG- IIon. Sec. H.J. Page. CHARTERS TowERs A.P.S. - Hon. Sec, E. Vernon,

Redmond. GYMPIE AMATEUR PHOTO. SOCIETY-Hon. Sec ., L.

Birt, c/o Scottish Gym pie Mines. IPSWICH AMATEUR PHOTOGRAPIIIC Soc1En·-Hon.

Sec., Pearson \V. Cameron. MARYBOROUGH PHOTO. SOCIETY Hon Sec .. J. 13. Nock QUEENSLAND PHOTOGRAPHIC SOCIETY, B"ISBANE­

Hon. Sec ., T. F. Illige, 108- r 10 Eagle Street. RocKHAMPTON CAMERA CLuB-llon. Sec., A. F. Nel­

son, c/o P. A. Nelson & Co., Alma Street, Rock­hampton.

New Zealand. AUCKLAND CAMERA CLuis - Hon Sec . and Treasurer,

A. Graham, 43 George Street. CHRISTCHURCH PHOTOGRAPHIC SOCIETY-H on. Sec.,

P. \ V . Williams, 2II Hereford St., Christchurch. DUNEDIN PHOTOGRAPHIC SocrnTY- Hon. Sec . G.

Crombie, 83 Stnart Street. PAEROA AMATEUR CAMERA CLUB. PAEllOA, AUCKLAND

Hon. Sec and Treas. J. Hubbard. vVANGANu1 CoLLEGE CAMERA CLus, WANGANm­

Hon. Sec., L . E. Riddiford. \ VELLtNr.TON CAMERA CLUB, \VELLINGTON- Hon.

Sec., Allister Brown. WELLINGTON COLLEGE CAMERA CLUB- Hon. Sec .

L. Mandel. WESTPORT CA'1ERA LUB-Hon . Sec., A . R . w_

Scot t , Westport, South Islancl . Y.M.C.A. CAMEllA CLUB, AuCKLA1'D-Hon. Sec_

F. E. Cory.

xx. THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, '08.

Dark Rooms 1\ vailable for Photographers. (Mention the " Australian Photol{raphic ] 011n1al " for Introduction .)

New South wales. I Melbourne. -Craven & Co., 179 Collins Street Melbourne. -Watson & Co., 78 Swanston Street Melbourne. -Working Men's College, Latrobe Street Stawell.-School of Mines Photographic Club. Stawell-B. S. Dawson.

Adamlnaby. -W. H. West . Commercial Hotel Armidale. -Mallam & Co Armidale.-M. Mahony Ballina.-W. A. Hill Bathurst-F. Bloomfield. Bingara.-J . C . L. Veness, N .S.W Bundanoon.-Golden Cross Laboratory Bulli.-C. Sykes. Broken H ill. -Brokenshire Bros. Argent Stree t Cobar.-S. Faul Cooma-J. A. Perkins, S tationer. Condobolin. -T. 1\1. Shakespeare, William Street Corrimal. · -Wynn's Store (between Bulli and Wollongong) Oeniliquin.-A. B. Jefferson's Pharmacy, Napier Street Oungog.-Kelly"s Boarding House Fitzroy Fall s . - l nquire Caretaker Forbes .-Howe's Studio Ooulburn-T. C. GleaYe, Studio, Auburn Stree t. Orafton.-H. Jordan Oranville- W . 1-1. Young, Pharmacy. Opp . Railway Station. Orenfell.-C. W. Harveyson. Orenfell - R. Rheuben. 0ulgong. - H . Cross, Association Room OundaJlai.-Charles E. VVeston, Storekeeper lnverell.-E. A. Thomas Junee.-G. B. Stevenson Katoomba.-Costigan and Co., i\fain and Park Streets Kiama. -S. Cocks, Manning Street Leura.-Hotel Alexandra. Llndfield- L . V. Solomon. the Bridge Pharmacy Lismore. -F. Wicks & Co Maclean .-G. Tyler. River Street Moss Yale-Taylor Bros., Storekeepers Mount Yictorla.-Cooper's Hotel Newcas tle.-W. H. Soul & Co. Newcastle.-0. Godfrey, 85 Hunter Street Newcastle.- -H. Charleston Newc11stle-Blackall and Hunt, H unter-street Petersham-F. A. Engl ish, Stationer, Palace Stree t. Sydney.-Harringtons Limited, 386 George Street Tamworth.-H. Emmerson, Tobacconist, etc. Tenterfield. -A . B . Butler Welllngton.-Jas. Haynes, Medical Hali. Wollongong-Paul Guiraud, Lower Crown Street. PIJl. -L. N. Anderson, Beach Street, Levuka.

Victoria. Ararat.-H. IC Vickery. Ballarnt. -Carter & Werner. Lydtard Street N Bnllarat.-School of !\lines Bendigo. -F. Napoli Prescott, jeweller Bendlgo.-Amateur Photograpllic Association, School of l\ l ines Castlemaine. -School of Mines. Castlemaine.-Mr. Max-Pinens, Chemist. Oeelong.-Gerdon College Photographic Association Healesville. -Mr. Lenha . Penlea Melbourne.-Amateur Photographic Ass'n., 57 Swanston Street

Warburton.-1\lrs. Whi te-Law, Winchester Lodge

South Australia. Adelaide-E. S. Casely, Gawler Place Adelaide.-S. P. Bond. Lrd., 51 Rundle Street Adelaide. -W. An<lrPw and Son, Arcade Angaston-R. II. Ball. Oawler.-J. Letcher, Pharmacy. Mount Oambie r .-M. j. Clarke. Port Pirie. -E. j. Francis, Photo Store Port Adelalde-B. Kirby and Co., Chemists, St. \'incent St. Port Augus ta-\V. Harden, Jr., Commercial Rd.

Queensland. Bri sban e.-Harrin~tons Limited, 93 Queen Street Boonah-J. T. F. Costin. Chemist Charte rs Towers. E. Vernan Redmond, Gill- 1:areet. lps wich-W. S.S. Fox. Chemist. Macka y -W.W. llolyoake One Mile Oy mpie-R. W. Potter. Port Oo uglas.-H. C. P. Crees. Mossman. Rockhnmpto n - A. T. Nelson, c/o P. A, Nelson & Co, Alma-st. Southport. -W. Stark. Photographer Toowoomba.-Club llotel Toowoomba.-J. F. Moloney, Globe Hot•! T own s ville. - R. C. J.>ark, Chemist, Flinders Street

Tasmania. llevenport , W. -A. W. Marshall Stewart Stree t Hobart. -Percy Ash, Elizabeth Street Hobart -\V. j. Clewer, 93 Elizabeth Street Hobart.-R. H. Overell, Chem ist. Hobart. -Trowbridgc Bros. Launceston -F. Styant-Browne, 112 Brisbane Street Launceston. - ·J. H. Lithgow, 136 Charles S treet Launceston -j. Sparrow, Brisbane Street Launcestou -Messrs, S. Spurling & Son, Brisbane Stref't Zeehan.-C A. Owen, !\Jain Street Zeehan -Phillip L. Andrews, Chemist & Druggi st, Main-' tree t.

West Australia. Kalgoorlie.-). J. Dwyer Perth .-The Photographic Supply Co., 486 Hay Street. Perth.-A. L. Tilly, 50~ Hay Street l'erth.-Perth Boye School

New Zealand . Auckland.- Alf. Jones & Co., The Strand, Queen Street Auckland. -). L. Holland & Sons, 55-57 Victoria Street Christchurch.-Walter Suckling, Photo Stores, 204 Cashel St. Ounedin.-A. Fieldwick, The Octagon Manapouri.-R. ~:Jurre11, View House Napier. -A. j. Williams, H .B. Pharmacy Queens town.-P. Malagslan. Rees Street

CONTENTS: Editorial . • . . . . PAGE 25r Beginning P hotograph y . . . . 254 Photographic Notes by J. I. Pigg . . . . 256 Our Ar tistic Workers . . . . . . 257 Enlarged Negatives without a Transparancy 267 Forestry . . . . 268 The Royal Ar t Society . . . . . . 26g Fragmen ts . . . . . . . . 26g An I nn of the Past . . . . 270 The Photographic Adventures of Mr. Jobly 27r Stereoscopic Pri n ts . . 273 Costly Lenses . . 274 Across Australia with a Camera 275 Answers to Correspondence . . 278 Trade Notes . . . . 279 Club Reports . . . . . . 28r

ILLUSTRATIONS. IN \ VJNTER GARB • • • • . . 254

OuR ARTISTIC \VORKERS­Count Eric de Catalano Turkish Boatmen of the Bosphorus An Italian Peasant Girl Street in Madagascar An Egyptian An Arab Beggar A Tapanese The Mailboat From an Oil Print .. Egypt .. A French Girl

A HARBOUR SALUTE UNIQUE PH OTO ABORIGINAL Bov LATE Wov Wov CARTOON-Dark-room \Vorker

PAGE 257 258 259 26o 26r 262 263 264 265 266 267 27r 274 275 276 277 27 ~

SEPT. 21. J 908 THE AUSTRALIAN PHOTOGRAPHIC JOURNAL.

The Acme of Perfection in Roll Film Cameras. THE-----m,.

"ENSICN-SUPE~BE" The improvements in these'• ENSIGN-SU PER BE" C;1meras

are numerous and excell ent. They have an improved form of Spoo l Carrier. and Flush Back Panel. which is removed when using: Dark Slides for Plates.

"ENSIGN-SUPERBE," No. 10. '

1 Beck" Symmetrical Lens, / / 8. Automat Shutter.

Price. Complete. £5 Ss. Postage: New South \Vales, 1/ 3; Interstate, '2./ 2.

"ENSIGN-SU PERBE," No. 10 v. \Vith "Ensign" Anastigmat Lens, Series I I. (3 foci), No. 0

j 1.7, Automat Shutter. Price. Complete. £6 6s.

Postage: New South \Vales, l / 3; Interstate. 2 /3.

"ENSIGN- SUPERBE," No. 10 x. \Vith ·' Ensign" Anastigmat Lens Series I. (3 foci), No. 0

/5.8, l{oilos Shutter. Price. Comple te, £8 I Os.

Post:tge: New South \..Valc:s, 1/3; Interstate, 2/1..

The 11 Ensign-Superbe" Roll Film Ca mera is not only more perfectly made and finished tban any other folding pocket camera of the same type, but it is thinner when closed and consequently much easier to carry in the pocket.I

HARRINGTONS LIMITED SYDNEY. M=E=L=BO= U=R=N=E. ----------' BRISBANE

For Plates or Daylight Loading Films.

For Photos 4t x 3t inch (t- plate).

Here's a useful thing. THE "MECCA" Pri11ting Frame

For Cl\SLICHT PRINTING.

The cut explains everything, The handle is a novelty and acts as a stand , a lso helping rapid work when opening and closing . You can stand it up anywhere Quick workers wi ll appre­ciate this frame .

Price. ;}-pl., 1/3. 5 x 4, 1/9. ,l-pl. 2 /3.

Postage: N.S.W., 6d. Interstate, 1-pl. 6d,

5 x 4 7d., ~-pl. 8d .

HARRINGTONS LIMITED 386 George Street , Sydney ; 179 Collins Street , Melbourne ; 93 Queen Street , Brisbane.

THE AUSTRALIAN PHOTOGRAPHIC JOURNAL. SEPT. 21, 1908.

~ fJohn, Brunswick Established 1756.

Collinear Lenses. ·.

r.==================:

] ~· ~

Taken with a DYNAR LENS. :=====v

The ·word COLLIN EAR means the geometrically exact reproduction of an original in its image. The opticians of a ll nations endeavour to arrive at this non plus ultra in the quality of their Photcgraphic Lenses.

The firm of Voitliinder and Sohn have made long and various experiments in this direction, and have succeeded in obtaining

the very best lens giving

the very best results A Lens of great rapidity, possessing a very large field of view absolutely free from curvature of the focal plane, spherical and chromatic aberrations, astigmatism, &c. Moreover, the image is most brilliant and clear owing to the absence of reflections.

Full Particulars and Price List at your dealers or from the Sole Australasian Agents,

HARRRINGTONS LIMITED, 386 George St., Sydney; 179 Collins St., Melbourne; 93 Queen St., Brisbane.

Published by HARRINGTONS LIMLTED, 336 George Street, Sydney. Pr_i_nted by THE BUILDER PRINTING \VoP.KS. 527 Kent St, Sydney.

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