An Experience with a Railway Detective
I wandered into the Grand Central Station in New York City with a new camera—a Speedex 2¼×3¼. It had been given me as a present by my partner in photographic and other joys, who was tired of seeing me lug around an 8×10 view camera and plates. I thought the light looked interesting in the big station and opened my little box. Appeared on the scene the station detective. “Not allowed to make photographs without a permit.” “Where do I apply for it?” “At the stationmaster's room.” I walked half a mile and interviewed a pretty stenographer. She said, when I showed her the tiny camera, “Certainly you can make snapshots with that little thing. What we don't like is putting up a big camera on a tripod.” I went back in triumph, showed my permit, and shot. F4.8 Zeiss lens, wide open, one second exposure. Enlarged on P. M. C. No. 5, to 11×14 with Smith lens.
Henry Hoyt Moore.
From a “Bathroom” Expert
I never at any time have had a regular dark room, practically always changing my plates and reloading holders at night in total darkness. When developing plates or enlargements, I take possession of the bathroom, place a wide board across the tub on which are placed the necessary trays, see that the room is absolutely dark, and go ahead. I usually tank my plates and films and use Azol for developing, sometimes Pyro.
Most of my exposures are made with an Adams Minex Reflex camera, quarter plate size. This camera cost about three hundred dollars before the war, and I have found it well worth the expenditure. It has a Ross Zeiss Tessar lens, which I seldom use, being quite content with the work of my Smith single F 4.5 lens, which I carry in the camera all the time with a three-times light filter attached. My only other camera, which I use a great deal, is a Newman & Guardia “Baby Sybil” with Carl Zeiss Tessar F 4.5 lens, taking a picture 4.5 x 6 cm. This does wonderful work, the negatives easily enlarging to 11×14 and over. I use the Standard Orthonon plate and Premo speed film pack, always giving a full exposure. My favorite printing processes are multiple gum and bromoil, three or four printings in the former, nearly always from enlarged paper negatives up to 11×14 from either camera.
“The Hour of Twilight” is a triple printing in gum, and was made with the Adams Minex on a Standard Orthonon plate, using a Smith single lens.
William Gordon Shields.