That the rules of technique once learned are all practically violated in the making of the plate and in the production of a print, according as the artist feels his subject and as he wishes to reproduce that feeling.
In that way only can the individuality be attained which is the keynote of picture-making.
Dwight A. Davis.
Photographing on a Rainy Day
This picture was made with a vest pocket kodak fitted with a Goerz Dagor F 6.3. It was a rainy day and the camera user made his exposure under an umbrella. The film was enlarged to 6½×8½ on Illingworth De Luxe paper, cream-colored stock, imported from England—took about three months to get it.
Mr. and Mrs. J. D. Drew.
How a “Rembrandt” Was Made
See [My Father]
The original negative of my father was made with 5×7 Graphic camera and a Standard Orthonon plate, using a Busch Omnar F 4.5 of ten-inch focal length, at full opening. A hazy day in the country, the ground covered with snow, a south window shaded by a veranda and my father seated in front of the window about four or five feet from it, explain the lighting. No reflector was used. Camera was moved to get the desired light. Knowing him, I caught him in a favorite chair and in a characteristic position. To subdue the detail of the door and wall behind, but to suggest the depth and atmosphere of the room and to give all the lines and modeling of the face, an enlargement was made on an 11×14 sheet of P. M. C. No. 8 Bromide paper, and this was carefully inked, using the copper sulphate, salt, bichromate bleach. The aim throughout was to get a print which should be a sympathetic record of a good strong face and one which should tell of the cheerful evening of a busy life.