About a fortnight ago Mr. X. ran down for the day to visit his friend Y., who dwells somewhere on the south coast, within about one and a half hour’s journey from Croydon. Mr. X. having exposed sixteen quarter-plates, Y. enquired of him when they would be developed. “To-night,” answered X., and added, “Perhaps before I get to Croydon.” Y. expressed incredulity, on which X. guaranteed that he would have all the plates developed before reaching his destination.
No previous preparation had been made, and the train started in forty minutes from the time of above conversation. A sheet of ruby paper, some drawing pins, some oiled paper, and a piece of Willesden waterproof paper, together with Beach’s developer, in two solutions, were procured. The guard was duly “tipped,” and a pail of water obtained from the engine-driver. Mr. X. being safely locked in a third-class compartment, the Willesden paper was made into a tray, with sides three inches deep, on account of the swaying of the train. The ruby paper was pinned over the carriage lamp, and the blinds carefully drawn. The night was, fortunately, a dark one. Most of the plates were shutter views; these were first developed, the developer being used for about three plates and then thrown away. The time views were subsequently developed, with a suitable modification in the proportions of developer. The plates were well rinsed in the pail of water, and while wet wrapped in oiled paper, and thus packed in the ordinary boxes in which they are sold; the object of using oiled paper being that it does not stick to the film when the latter is either dry or wet. The plates were all developed before Red Hill was reached; the fixing being deferred until arriving home.
The resulting negatives were not noticeably inferior to those which the same worker generally produces in his dark-room. We have before us a print of a wreck with fisher-boats “salving,” which is distinctly above the average skilled amateur work.
If so good a result is attained by adapting a railway carriage on the spur of the moment, even better could be done by pre-arranging to make use of the dreary time spent in traveling by night. The above tour de force is a strong argument in favor of those railway companies who run journeys of from five hours upwards, such as the Scotch express, providing a well-fitted but inexpensive dark-room. A luggage van might be converted, with an open compartment for workers to sit in when their “dark deeds” are done.
A pleasant vision is opened up of snap-shot views, taken from a railway carriage, and developed during the journey. Of course, plates need not be exposed while the train is “hurtling” along at seventy miles an hour; but in a, say, ten hours’ journey there are many stoppages and slackenings of speed which a member of the “wideawakes” could profitably utilize.--The Amateur Photographer.
MILITARY PHOTOGRAPHY.
Captain Curties, of the Royal Engineers, has written a series of articles on the above subject, which were published in the Broad Arrow. In the last of the series he gives a description of his photographic outfit. His arrangements for exposing and developing the plates in the field afford interesting reading. However, judging from our own experiences on the scout, the picket line, or field, we should say that the whole scheme, as portrayed by Captain Curties, is more or less chimerical, and no matter how plausible the plan may seem or read to the members of a theoretical camera club in their well-furnished quarters, there are certain difficulties in the way which would make the scheme impracticable, and even if these were overcome, the results would be of but little if any use in actual service, a fact which will be apparent to anyone who has seen active military service.
The captain in his articles says:
“The one object I have kept in view all through has been to simplify the art as much as possible, and to make each photographic section complete in itself, and able to take, develop, and print a picture without any outside help in the shortest time possible. Having this end in view, my equipment supplies in the first place two light knapsacks, to be carried in a reconnaissance by two mounted officers or men. One contains a very light fold-up camera, capable of taking pictures 10 in. by 12 in., round which is wrapped the focussing cloth. It has not appeared to me desirable to place before a general a view of a country smaller than this. The extra weight would be more than compensated for by the comprehensive picture obtained; moreover, in a small plate, I take it, distance would not be fairly and distinctly portrayed. The other knapsack carries three dark slides, very light but strong, each containing two plates. This knapsack also contains the lens, instantaneous shutter, etc. Both knapsacks are made to fit close to the back, and, in addition to the straps passing over the shoulders, are secured to the sword-belt, thus preventing any injurious motion when riding. By the simple act of unbuckling one strap, each can be at once unslung ready to be unpacked. The tripod, which is made as light as can be consistently with strength and stability, is carried folded up in a bucket attached to the saddle, and fixes immediately on to the camera. We next proceed to the all-important subject of “developing” in the field. For this purpose I use a tent composed of a large, folding, umbrella-shaped top, made of a material which admits a deep ruby light. When this is opened and fixed in the ground, it stands just clear of a tall man’s head. Over it is dropped a sort of sack, open at bottom ends, the top end being much smaller than the bottom end, and capable of being drawn together by means of two cords. This sack is lightproof and waterproof. The lower end is held down by means of a light iron hoop or ring, which also folds up to facilitate packing. The hoop is attached to the bottom of the sack in such a way that a border of the material extends beyond it, and rests upon the ground. This, in the ordinary way, is sufficient to keep out light, but should any find its way in, a few handfuls of earth or stones heaped up round the border will effectually keep it out. The stick of the umbrella is a hollow bamboo, open at the top. It is pierced with holes to about half its length; this ventilates the tent. A cap placed over the top of the stick excludes light, but not air. We now have a complete tent in which a man can move about freely, and use his hands without constraint, and, above all, he is not half stifled, as one generally is in the usual run of developing tents. It can be taken down at a moment’s notice, and packed in a very small compass, the whole being exceedingly light and compact. A few stays may be necessary in windy weather to keep it steady. The person about to develop a plate slings over his shoulders, knapsack fashion, a small metal tank, containing sufficient water to wash several plates; attached to it is a gutta-percha tube and tap. Round the waist is buckled a broad leather belt, in which are fixed bottles containing the developing solutions, etc. A light fold-up trough, with a gutta-percha drain-pipe, carried outside the tent, and two light shelves, hook on to the stick of the umbrella. All that now has to be done is to lift up the walls of the tent, step inside, and develop and print the picture, which by using bromide-paper (undoubtedly the process for military use), would take something like a quarter of an hour, the printing, of course, to be done from the wet plate. I may mention that I use scarcely any glass beyond the plates (which I believe in); those articles which are made of glass are protected to prevent breakage. I believe myself that the whole of the articles now made of glass can be manufactured from a preparation of celluloid, which is strong, light, and durable. I hope shortly to have a complete set of bottles, measures etc., made of celluloid.”