No. 1

May, 1918

PORTRAIT

The camera in the air

will play a most important part in the winning
of the war. The exacting demands of the aerial
photographer require extreme care in the
selection of a printing medium.

GRADATION must he such that finest varin-
tions in tonal quality shall he perf«'clly reccjrded
and every ohject depicted perfect in every detail.

LATITUDE must be hroad enough to compensate
for the varying densities of negatives made under
dilTerent light conditions.

SPEED must be sufficient to permit prints to be
made in record time with whatever light source is
at hand.

ENLARGING CYKO

Regular and Contrast Grades

produces prints which fulfill these requirements by
registering all that the observer can demand.

For commercial and studio photography a paper
that is found satisfactory for aerial work cannot
be far from the ideal.

ENLARGING CYKO

is a chloride, not a bromide, paper, possessing
great speed, and unlike a bromide paper, gives, in
projected enlargements, contact print quality.
That is why it is such an overwhelming success.

ANSCO COMPANY

Ringhamton, I\. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART TN PORTRAITURE, ALSO PROFIT-
IN -PHOTOGRAPHY AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X May, 1918 No. i

The Question of Permanence

CYKO is used by most of the belligerent countries.
Its quality is such that the paper is well suited
for the purpose of making the aeroplane, in
combination with a camera, the eye of the army.

The paper print must be able to reproduce the
minutest details contained in the film or plate negative ,
but besides the matter of quality — especially for
records that must outlive several generations, the
question of permanence is all-important.

The present situation wherein quality versus price
tips the scale of the purchaser first one way and then
the Other, brings to mind the utterances of several
years ago made by one of the pioneer photographers of
New York, and perhaps the most scientific, Mr. Geo.
G. Rockwood:

'T am so sure of the permanence of the developing
papers (he was using several grades of Cyko), that I
am about to print a series of portraits of famous
American educators for the Public Libraries of Wash-
ington and New York, numbering several hundred
subjects, and I shall pin my faith to the developing
papers as being the most permanent form obtainable
short of printers' ink! These pictures are to be kept in
folios as a reference in perpetuo for historians and
writers. I have an abiding faith that the prints will be
in existence long after the originals have passed from
the memories and interests of all that come after."

^\THS07?^

^^/V

PORTRAIT

1/BRAR^

Revised Prices of New York Studio Outfits

Effective April 26, 1918

New York Studio Outfit No. 1

When Ordered Complete

Outfit complete comprising New York Portrait
Camera with Benster Holder, Automatic Cab-
inet Attachment with Curtain Slide Holder,
Ansco Upright Studio Stand and Curtain
Slide Holder Rack

8x10 11x14

When Ordered Separately

?i 20.0c ^154.00

New York Portrait Camera with Benster

Holder 54 00 84.00

Automatic Cabinet Attachment with Curtain

Slide Holder 27.00 31.00

Ansco Upright Studio Stand 42.00 42.00

Holder Rack for Curtain Slide Holders .... 3.0c 3.00

Extra Benster Holders 12. or 20.00

Extra Attachment Holders (5x7, 4^4 x6K or

4Kx6K) each 3.50 3.50

New York Studio Outfit No. 2

When Ordered Complete

8x10 Outfit complete comprising 8x10 New York
Portrait Camera, Ansco Sliding Ground Glass
Attachment with 8x10 double Zephyr Holder,
5x8 diaphragm, 5x7 adapter, 5x7 Zephyr
Holder and with 3^x5 diaphragm, Ansco
Upright Studio Stand and Zephyr Holder^
^^^'^ ,115.50

PORTRAIT

New York Studio Outfit No. 2

{Continued)
When Ordered Complete

11x14 Outfit complete comprising 11x14 New
York Portrait Camera with 11x14 Benster
Holder, 11x14 adapter frame, Ansco Sliding
Ground Glass Attachment with 8x10 double
Zephyr Holder, 5x8 diaphragm, 5x7 adapter
with 5x7 Zephyr Holder and sH^S diaphragm,
Ansco Upright Studio Stand and Zephyr
Holder Rack

$42 . 00

When Ordered Separately

11x14 New York Portrait Camera with Benster

Holder

8x10 New York Portrait Camera without Ben

ster Holder

11x14 adapter frame

Ansco Ground Glass Attachment with 8x10

double Zephyr dry plate holder and 5x8

diaphragm

5x7 Sliding Back with 5x7 double Zephyr dry

plate holder and 3>^x5 diaphragm

Ansco Upright Studio Stand

Holder Rack for Zephyr Holders

Extra Benster Holder

Extra double Zephyr dry plate holder 8x10 . .
Extra double Zephyr dry plate holder 5x7 . . .

The foregoing prices show increases only in the
Ansco Upright Studio Stand, formerly $33, and in
the prices of complete Outfits, which are uniformly
$3 higher than heretofore.

All prices are subject to change without notice.
3

23.00

11.00

42.00

350

2.25
1.50

^161.50

4.00

23.00

42.00
3-50

20.00
2.25
1.50

PORTRAIT

**A Great Net of Mercy Drawn Through
an Ocean of Unspeakable Pain"

What Your Red Cross
Dollars Do

An Accounting of Expenditures of the First Red Cross War Fund

Every one of the twenty million and more Red Cross
members is entitled to this Statement. Your local Red
Cross Chapter can give you further details.

First War Fund Appropriations up to
March 1st, 1918

Foreign Relief

Relief in France $30,936,103.04

Relief in Belgium 2,086,131 .00

Relief in Russia 1,243,845.07

Relief in Roumania 2,676,368.76

Relief in Italy 3,588,826.00

Relief in Serbia 875,180.76

Relief in Great Britain 1,885,750.75

Relief in other Foreign Countries 3,576,300.00

Relief for Prisoners, etc 343,304.00

Equipment and expenses in U. S. of Personnel for

Europe 113,800.00

Total Foreign Relief $47,325,609.38

Restricted as to use by Donor 2,520,409.57

PORTRAIT

United States Relief

U. S. Army Base Hospitals $ 54,000.00

U. S. Navy Base Hospitals 32,000.00

U.S. Medical and Hospital Work 531,000.00

U. S. Sanitary Service 403,000.00

U. S. Camp Service 6,451,150.86

U. S. Miscellaneous 1,118,748.41

Total U. S. Relief $ 8,589,899.27

Working capital for purchase of supplies for resale

to Chapters or for shipment abroad 15,000,000.00

Working cash advances for France and United

States 4,286,000.00

Total of War Fund Appropriations $77,721,918.22

At the close of the first year of the War the Red
Cross goes to the public for the raising of the Second
War Fund with a record of appropriations which war-
rants continued contributions to this great relief work.
As an influential citizen of your community, join with
your local Red Cross Chapter to make this campaign
successful. Your Red Cross is the Army behind the
Army. Give till your heart says stop.

Second Red Cross War Fund Week
May 20-27

^^ Efficiency'' is today the hardest worked word in the
English language, and has become so mixed up with
manufacturing, salesmanship, hypnosis and lunacy
that like "Psychology,'' it is becoming synonymous with
"gold brick," Beware of the product of any manu-
facturer who claims that "efficiency" enables him to sell
you a gold dollar for fifty cents.

PORTRAIT

June for New Members

The Photographers' Association of America is now
completing plans for a big membership drive in the
month of June, to increase its rolls to 10,000 active
members.

Every state in the Union and the Dominion of Canada
will be ambitious to make a big showing, and so each
city and each town is urged to prepare for this drive
and be ready on the moment when the call comes.

There will be state and city chairmen and working
under them will be cohorts of representative photog-
raphers in every city, who will personally call upon
the members of this profession and sign them up for
the great work that photography has in hand.

The committee urges that photographers individu-
ally take this up as a personal responsibility now and
anticipate the stronger effort to be made in June
through personal appeals to their fellow photographers,
and send the memberships, with checks, to the National
Headquarters at Washington at once. They will be
credited as of the membership campaign for the
month of June.

The committee arranging for the membership drive
consists of President Ryland W. Phillips, Philadelphia,
Pa. ; Pirie MacDonald, New York City; Geo. W. Harris,
Washington, D. C; Henry Fell, Rochester, N. Y.;
J. B. Schriever, Scranton, Pa.; and Chas. J. Columbus,
general secretary, Washington, D. C.

Vice-president Charles L. Lewis of Toledo, Ohio, in
appealing to photographers everywhere to rally to the
support of the National Association, declares that
''Hundreds have been benefited and built up through
their membership in the Photographers' Association of
America. All the really successful men of the pro-
fession are, or have been, members, and I have yet to
find the man who would not say he got more out of the
association than he ever put in."

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

V. THE "INTERIOR" DEVICE

TO get away from the sameness of pose of bust and
single figure portraits, artists are constantly
trying to combine portraiture with the painting
of interiors, in a similar manner as so many photog-
raphers practice home portraiture. The amalgamation
of two distinct motifs is a difficult proposition; it is
very much like the score and libretto in an opera —
one or the other is sure to strive for superiority. But
after all, one may argue as much as one likes, the music
remains the main thing just as in a portrait composition
the face and figure should reign supreme.

This, however, is rarely the case. An interior which
shows a room in a perspective view with side walls and
vistas through windows is in itself an intricate proposi-
tion. It has to suggest atmosphere to look real and
interesting, and to place figures that are good portraits
in this atmosphere is almost an impossibility. The
more natural the grouping is (and it ought to be
natural), the less will the attitudes of the figures con-
form to what we generally understand by portraiture.
Take, for instance, Tarbell's ''My Family." Edmund
C. Tarbell is one of our best figure painters and has
experimented a good deal with figures in interiors.

In "My Family" he had the advantage of depicting
familiar territory, his own home, and models whom
he could subject to all the whims and liberties of re-
arrangement. And yet there is only one figure which
would pass as a regular portrait — the girl sewing in the
wicker armchair. Besides this full figure profile view,
there are three heads in three-quarter which, taken
separately, might fill the demands of bust portraits.
The female figure to the right has merely a decorative
value. In legitimate portraiture this would never do.

PORTRAIT

Even in group portraits of twelve figures or more, as
those of Franz Hals, there should occur no omissions of
faces. A composition like Tarbell's is too good a pic-
ture to be a good portrait, yet the aim was portraiture.
Aside from this the picture has great charm. It is a
natural scene rendered with clearness and sympathy.

"My Family"
By Edmund C. Tarbell

Instead of amalgamating figures and furniture into a
massive effect, he disengages the separate forms, as it
were, and delicately connects and blends them by light
tonal values. The moderation, that rejected anything
harsh or superfluous, with which the picture was
painted, is one of its principal merits.

The less the artist shows of an interior the easier the
problem becomes. In Miss Hale's ''Lavender and
Old Ivory" there are plenty of accessories, even more

PORTRAIT

than in Tarbell's picture, yet the figure holds its own.
And this is due, first, to the clever spacing or spotting

of the principal objects, and second, to the elimination

"Lavender and Old Ivory"
By Lillian Westcott Hale, United States

of perspective. The vista of the corridor to the right
is a mere incident and enters into the composition as a
detail of pattern design and not as a factor of atmos-
phere and space. The selection of merely one wall as

PORTRAIT

a background, if properly selected and arranged so
that it looks absolutely natural, is apt to be sufficient
for the suggestion of an interior and a home atmos-
phere. In the Hale picture the mantelpiece is Httle
more than a decorative incident. Still, it makes the
picture what it is , a truly pictorial composition , harmoni-
ous and refined, and there is no reason, despite a cer-
tain vagueness of representation, why it should not be
considered a portrait.

Much depends on the arrangement. In this case
the balance of the main figure with the seven or eight
accessories is perfect. Each object is isolated, and yet
the combination of all the various shapes and accents .
has the effect of a compact whole, of an indestructible
harmony from which nothing can be detached. It is
in this direction where the "interior" device can be of
real value, as it discloses new possibiUties of attitude
and arrangement in the treatment of figures without
overstepping the boundary lines of portraiture.

Prints by Projection

One of New York City's most successful photog-
raphers, one whose Studio has been turning out the
kind of work which Fifth Avenue so readily absorbs at
high prices, owes a large part of his success to skillful
manipulation of his negatives.

From comparatively small negatives, 8 x lo being
the largest, he produces for his surprised and pleased
patrons ''prints by projection" that always equal and
often surpass the contact prints in quality and artistic
merit. He explains to his trade just how, from the
small negatives, two methods of printing may be
employed — contact and projection, and how by the
latter method not only a picture of larger size may be
produced, but also how with some subjects, in prints
by projection, desirable qualities can be enhanced and

PORTRAIT

weaknesses minimized, to obtain a result much more
pleasing than when printing ''in contact."

Never once does he say "enlargement," for the
reason that to most people, as he analyzes their psy-
chology, the word conjures up visions of the crayon
monstrosities foisted on the public by unscrupulous
solicitors in past years, or the cheap bromide enlarge-
ment of the amateur finisher's display window.

Enlarging Cyko is the unrivaled medium for "prints
by projection," whether they are portraits of highest
art, the simple little genre pictures or landscapes of
the amateur, or commercial subjects. Its dependa-
bility under all sorts of working conditions, its speed,
comparable with that of the bromide papers gener-
ally selected on account of their speed alone, its ease
of manipulation and latitude, account for the ever-
growing demand for Enlarging Cyko.

The making of "prints by projection" is a profitable
adjunct to the business of any studio photographer.
They bring good prices, are the means of increasing
the volume of each order, and are extremely gratifying
to the customer.

Enlarging Cyko in its two grades and four surfaces
is the one medium in favor with all who are doing this
kind of work. It is the paper which gives contact
print quality to prints made by projection — something
that is impossible with other mediums of photographic
expression.

Its use is not confined to professional studios alone,
but it is also being employed more and more extensively
by commercial photographers, many of whom are doing
Government work, and also by the Government itself in
the various branches of the military and naval service.

It will pay every reader of Portrait who is not
already using this Ansco product to determine for
himself the merits of this medium prepared especially
for the production of ''prints by projection."

PORTRAIT

Cyko Portrait by J. D. Strickler

PORTRAIT

An Appreciation

It is gratifying to us to learn from our readers that
we are really serving their needs in a practical manner
through the series of educational articles we are pub-
lishing in Portrait. If some few of the photographers
who receive this publication have not been reading
the articles perhaps the following letter will inspire
them to seize the offered opportunity to turn to profit
the many ideas advanced by Mr. Hartmann.

THE FREE STUDIO

Davenport, Iowa

Ansco Company March 12, 191 8.

Bingham ton, N. Y.
Gentlemen:

I would respectfully enquire if the articles running
in Portrait by Hartmann will appear in book form,
or if they have already been published in book form.

If not could you furnish the complete files since
these have been appearing in your little journal. I
think this is the best stuff of the kind ever written
and is of great value to the photographer, not only in
his composition but in talking intelligently to people
who know, or think they know, something about art.
It's great stuff.

Very truly yours,

(Signed) F. A. Free

A home without portraits of Father and Mother
destitute of reverence for the Fifth Commandment.

PORTRAIT

Portrait by J. D. Strickler
Awarded Middle Atlaotic States Salon Honor, 1918

PORTRAIT

Our Cover Portrait and the Hall of Fame

IF Mr. J. D. Strickler of Pittsburg had received a
medal for every honor in photography which has
been awarded him on his work, and if he pinned
them in true mihtaristic style across his manly breast,
his picture on our front cover this month would look
just like the breastplate of King Solomon or some
other old-time wizard, and no one would be able to
recognize the real J. D. behind them.

Like all real artists, Mr. Strickler's temperamental
inclination appeared in early childhood and continues
to incline in true bent-twig fashion toward the shaping
of his career.

After being graduated from the Randolph-Macon
Academy at Front Royal, Va., Mr. Strickler decided
to make photography his life work and became asso-
ciated with Mr. F. W. Guerin of St. Louis, Mo. After
several years' experience in some of the leading studios
of the country he went to Pittsburg in 191 1 and took
charge of the Everton Studio there. His exceptional
work soon brought him fame in the city of Pittsburg
and in the profession at large. Later, Mr. Strickler
became the proprietor of the Everton Studio which,
completely rejuvenated in equipment, continues now
under his own name.

Mr. Strickler confines his efforts to just one grade
of photography — the highest — and Cyko Paper has
helped him to attain the ideal in his work. The awards
Mr. Strickler has received are as follows:

National Salon, Photographers 'Association of Amer-
ica, 1915 and 1916.

Grand Portrait Trophy, North Central Photographic
Association, 191 6.

Pittsburg Salon Academy of Science and Art, 1916.

Middle Atlantic States Salon, 191 7 and 191 8.

Pittsburg Salon, Academy of Science and Art, 191 7
and 1918.

There^s no substitute for

HAMMER PLATES!

Rich in fine silver and pure chemicals,
they possess great speed, latitude of ex-
posure and uniformity. They develop and
dry quickly with little tendency to frill.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

^:ri!IJ;lil;kV-Jfai^g)

REQ. TRADE MARK

Hammer's little book

"A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

1 29-1 3 1 West Twentv-second Street

New York City

ANSCO

CAMERAS (L SPEEDEX FII>1

As Unerring in Action as a
Fine Jewelled Watch

and almost as convenient to carry, is the Ansco V-P
No. 2, the smallest and lightest camera made to take
2J4 X 33<4 inch pictures.

The illustration shows in detail the recently added im-
provements in this popular model:

S%ui-vel Spool Holding Device to insure even winding

and taut film ;
Steel Rollers to make winding frictionless ;
Leather Handle to facilitate carrying in the hand ;
fVire Release Attachment in addition to finger release,

for operating shutter without jar or vibration.

The Ansco V-P No. 2 is the only vest-pocket camera
that combines fast, clear-defining, anastigmat lenses with a
simple, easily operated micrometer focusing device. This
unusual combination assures fine, clean-cut pictures which
make perfect enlargements.

Write for a specimen picture on Cyko Paper
Then ask the Ansco dealer for a demonstration

Ansco Company » Binghamton, N.Y.

OUR BRANCH OFFICES, WHOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street
New York City

ANSCO COMP.\NY

325 W. Jackson Boulevard, corner Market Street

Chicago, 111.

ANSCO COMPANY
Q 20-9 2 2 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY
171-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERLAL CO.

22 Central Avenue, Atlanta, Ga.

SCHAEFFER PHOTO SUPPLY CO.
loii Capitol Avenue, Houston, Tex.

WOODARD, CLARKE & CO.
Portland, Oregon

ANSCO LLMITED

143-149 Great Portland Street

London, W., England

June, 1918

PORTRAIT

BINGHAMTON, N.Y.

^.jisa

The camera in the air

will play a most important part in the winning
of the war. The exacting demands of the aerial
photographer require extreme care in the
selection of a printing medium.

GRADATION must he such that finest varia-
tions in tonal quality shall be perfectly recorded
and every object depicted perfect in every detail.

LATITUDE must be broad enough to compensate
for the varying densities of negatives made under
difTerent light conditions.

SPEED must be sufficient to permit prints to be
made in record time with whatever light source is
at hand.

ENLARGING CYKO

Regular and Contrast Grades

produces prints which fulfill these requirements by
registering all that the observer can demand.

For commercial and studio photography a paper
that is found satisfactory for aerial work cannot
be far from the ideal.

ENLARGING CYKO

is a chloride, not a bromide, paper, possessing
great speed, and unlike a bromide papt^r, gives, in
projected enhirgements, contact print quahty.
That is why it is such an overwhchning success.

ANSCO COMPANY

Rin<;haniton, N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN -PHOTOGRAPHY AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X June, 1918 No. 2

The Much- missed Noko Paper

SO many former buyers and users of Noko Paper
have asked us whether we intend to put Noko
back on the market that we deem it necessary to
make a general announcement that Noko Paper will
be furnished again just as soon as the abnormal con-
ditions prevailing now, are over.

The Noko trade-mark is very valuable because it is
associated in the minds of photographic users as the
best paper that has ever been sold for the price. The
paper furnished under the Noko trade-mark was only
second in quality to Cyko Paper, which means that it
was superior in our estimation to the highest priced
paper of any other manufacturer and sold under any
trade-mark other than Cyko.

When NoKO is again marketed it will be of the same
high grade quality as formerly. We would furnish it
now only that the grade of its raw materials is so
difficult to obtain, and so dear, that the cost of produc-
ing it would be a great deal in excess of its list price.

The NoKO trade-mark indeed stands so high in the
estimation of the photographer, that an attempt has
been made to supply a paper under a brand which is
spelled so nearly like Noko that this notice may well
serve two purposes — the one already mentioned herein,
and the other to apprise anyone that may contemplate
infringement of our trade-mark , that he will be vigor-
ously prosecuted.

PORTRAIT

Acetic Acid Substitute

Mr. J. S. Cummings, of 1546 Broadway, New York
City, submitted a sample to us of what he terms Acetic
Acid Substitute, dry form, the formula of which he
gives us as follows :

No. I

Acetic acid substitute i lb.) Stock

Hot water 80 oz.J Solution

Shortstop

No. I 3 oz.

Water 128 "

Fixing Bath

Hypo I lb.

Water 64 oz.

Hardener

Water 5 oz.

Sulphite of Soda >2 oz.

No. I Solution 3 oz.

Alum /^ oz.

(Hardener turns sHghtly yellow but clears up when
added to hypo fixing bath.)

Our Research Laboratory tried Mr. Cummings' Acetic
Acid Substitute and its findings are as follows:

"There is no tendency for this substitute to cause
bleaching in the hypo bath. Prints sepia tone after
this bath just as well as in other fixing baths. As a
shortstop it is not quite so active as acetic acid, but by
increasing the concentration of the shortstop bath can
be made so. In the formula sheet given there is a ten-
dency all through to use not quite enough of the acetic
acid substitute.

"Chemically this substitute should be in the propor-
tion of three times No. 28 Acetic Acid, but as the for-
mulae given appear to work quite satisfactorily, there
is no need to use the theoretical amount necessary to
replace acetic acid.

PORTRAIT

"This substitute is crude sodium bisulphate
(NaHS04) . This material is most frequently obtained
as a by-product in the manufacture of nitric acid and is
practically valueless as a market commodity. Probably
its only use outside of photography is as a control in
dyeing. As far back as ten or fifteen years ago this ma-
terial was recommended by the French workers, and a
Httle later by The British Journal of Photography.^^

A supplemental report based on further experiments
reads as follows:

"With further reference to the Acetic Acid Substi-
tute of Mr. Cummings, we have had this in use in the
darkrooms for some days and have used it for fixing
a quantity of paper and films.

"The bath that has been used for fixing paper does
not appear to work any different from the standard
bath made with acetic acid, but the bath that has been
used for fixing plates and films does not hold up so well.

"After the first day or two there is a tendency to
make the film appear milky, and there are spots un-
equally fixed which, however long the film is left in the
solution, do not clear. In a day or two there is a
flocculent precipitate formed in the fixing bath. This
is troublesome because it clings very tenaciously to the
surface of the film.

"The bath used for fixing paper also turns milky but
this does not seem to interfere with its action. It is,
of course, not so easy to see the results of unequal fix-
ation on prints, and though practical, it would be bet-
ter to use citric acid even though its price may be
higher. The Cummings substitute is, as reported, a
by-product and is in a very crude state, and therefore
in our estimation its acidity is likely to vary greatly
throughout the package. Citric acid might cost a Httle
more but it would be more rehable in the long run.

"Two oz. of 28 per cent, acetic acid can be replaced
by .59 oz. of citric acid. Two oz. of glacial acetic

PORTRAIT

acid can be replaced by 2.13 oz. of citric acid."

Our reason for publishing the preceding report is that
we have received a great many inquiries from cus-
tomers requesting suggestions from us in regard to a
reliable substitute for acetic acid. It appears that
acetic acid is not as plentiful and easy to obtain as in
former years owing to the war requirements of our
Government.

If any substitution is to be made for acetic acid in
our formulae we recommend, by all means, citric acid
in preference to anything else.

Artcraft Photo Company

Studios, 428 Ryan Building, St. Paul, Minn.

Ansco Company, May 6, 191 8.

Gentlemen:

This spring I decided to give Cyko Paper a trial in
our amateur finishing work. Professional photogra-
phers of my acquaintance informed me that while the
quality of prints would be excellent, the price of the
paper would be too high.

I notified Ansco Company of my intention and they
sent Mr. Jens Ries, one of their demonstrators, with
the necessary supplies. That the trial might be fair I
insisted that he use Monomet, the Ansco developing
agent. A period of one week was enough to prove
that the lesults were satisfactory. The price question
then had to be considered.

My experience in the amateur finishing business was
received in the credit and accounting departments, in
which work it was necessary for me to do considerable
cost accounting. This experience helped me greatly
in getting my figures together.

The results of our trial proved that our printers
could make a third more prints with Cyko in a nine-

PORTRAIT

hour day than with the other standard paper. This
would mean that in one year, four printers could
accompUsh as much as six had previously done. As I
work one developer to two printers, I could, by using
Cyko, eliminate the expense of two printers and one de-
veloper. It was also necessary to reduce the wattage of
the lamps, and this, together with the speed of the
paper, meant much less electricity used. In this period
of labor scarcity, the financial saving should not be the
only consideration. I do not, however, allow anything
for the worry saved me in meeting my labor needs.

If the amateur finisher will apply these proportions
to his own costs, he will find that the price of Cyko is
practically the same as that of other paper. Then, if
he beheves as I do — that quality of work and worry
about labor are worth something — he will not hesitate
in making the change to Cyko Paper.

As "beauty is only skin deep," so the difference in

the price of Cyko Paper is in the Hst price, and not in

the final cost. ,^ ,

Very truly yours,

Artcrapt Photo Company,

(Signed) H. A. Reedy.

Finishing Department Requirements
Itemized

The Northern Photo Supply Company of 902 Nicol-
let Avenue, Minneapolis, Minn., has just sent us an
interesting little booklet entitled "Commercial Photo
Finishing," the contents of which are devoted exclu-
sively to information concerning the necessary equipment
and requirements of a modern finishing department.
The book covers so many points of this work that it is
well worth while to obtain a copy, which will be sent
free on request to the Northern Photo Supply Co.

PORTRAIT

Read the Official U. S. Bulletin

OWING to the enormous increase of Govern-
ment war work, the governmental departments
at Washington are being flooded with letters of
inquiry on every conceivable subject concerning the war,
and it has been found a physical impossibility for the
clerks — though they number an army in themselves
now — to give many of these letters proper attention
and reply. There is published daily at Washington,
under authority of and by direction of the President,
a Government new^spaper — The Official U.S. Bulletin.
This newspaper prints every day all the more important
rulings, decisions, regulations, proclamations, orders,
etc., etc., as they are promulgated by the several
departments, and the many special committees and
agencies now in operation in the National Capital.
This official journal is posted daily in every post-ofhce
in the United States, more than 56,000 in number,
and may also be found on file at all libraries, boards of
trade and chambers of commerce, the oflices of mayors,
governors, and other Federal officials. By consulting
these files most questions will be found readily an-
swered; there will be little necessity for letter writing;
the unnecessary congestion of the mails will be ap-
preciably relieved; the railroads will be called upon
to move fewer correspondence sacks, and the mass of
business that is piling up in the Government depart-
ments will be eased considerably. Hundreds of clerks,
now answering correspondence, will be enabled to
give their time to essentially important work, and a
fundamentally patriotic service will have been per-
formed by the public.

Do not forget that June 28th will be National War
Savings Stamp Day. Buy as many as you can.
6

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

VI. A REALISTIC GROUP

THE ''Portrait Saglio Family" by the French
painter Prinet is an example of story -telhng
portraiture; or, in other words,' the artist chooses
to use his sitters like models in a genre picture. I have
seen quite a number of European pictorialists put this
style of interpretation into actual practice and have
also come across a few examples in this country;
still, I doubt whether it will ever meet with general
public approval.

Let us investigate the mechanism and effect of this
innovation. The subject matter necessitates clear
definition. This is desirable, but can scrupulous
accuracy not go too far? Art, even when it attempts
expression, should never offend the eye; it should
charm it and, in short, always remain art. And this
is particularly true of portraiture. We do not want
moral caricatures such as Hogarth has produced.
And it is of no particular interest to see such and silch
a personality delineated in a certain mood with which
we are unacquainted. But this is just what is going
to happen.

Let us look at our picture. The whole treatment is
realistic. The scene is laid in the corner of a sitting-
room. There are present three persons, the father,
the mother, the daughter. Apparently the old lady
has said something of import to her daughter and
watches the effect it has upon her. The daughter
weighs the information in her mind, has folded the
hands on her knees and stares into space. The old
gentleman — well, it is difficult to state whether he
is interested in the discussion or whether he is merely
listening and looking at the two figures on the sofa.

PORTRAIT

The incident which produces these various facial
expressions is so vaguely suggested that it does not
detract our attention from the actual outward ap-
pearance of the sitters. This is a merit. And yet
we wonder why it was necessary to render special
sentiments and characteristic traits more visible, and

"Portrait Saglio Family"
By Auguste-Emmanuel Prinet, France

to excite the spectator to reflect on qualities that
assist our appreciation of the individual sitters as
httle as that of the general group arrangement.

There is no doubt that these faces and figures
possess likeness quahties, even very pronounced ones,
nevertheless quahties that are specialized to a certain
note of temperament and sentiment, so that really
very little is gained thereby. Does the expression of
the mother's face really enhance it? Surely the young

PORTRAIT

woman's physiognomy displays no increase of beauty
or expression, and the father's features have a dull and
stereotyped look about them. It is surely not the
vocation of portraiture to accentuate realities. The
portraitist has always been anxious to mend or hide.
A projecting chin, a too prominent nose, wrinkled and
obese features, the over-large head and diminutive
limbs of a child are undesirable attributes. And the
same is the case with facial expressions that do not show
the structure and proportions of a face under more
favorable conditions than the quiet and normal ones
of everyday life.

The group taken as a composition is not without
merit. The dark planes are well balanced with the
lighter parts of the picture; furthermore, each figure
holds its own. They are three distinct personalities,
and none can be said to be of more importance than
the others. This is probably one of the reasons why
this style makes an appeal to certain discerning por-
traitists. It allows more freedom in the treatment of
groups. What portraiture gains, therefore, by ar-
rangements of this kind is not greater beauty or truth,
but a wider field for its scope — that is greater variety
of form and larger liberty. Its aim, despite its ex-
aggerations, is most sincere, it advocates stronger
illusions of detail and finish, but its spirit is apathetic
to our spirit, feeling and artistic taste, and nothing,
I presume, will ever make it anything but a stranger
in our land.

Still, it is well to know the various phases of the
restless and troubled art of today, and to accept all
efforts as valuable object lessons, what to sponsor and
what to avoid.

PORTRAIT

Join the P. A. of A. This Month

DURING this month the Photographers' Associa-
tion of America is conducting a Membership
Drive by which it is hoped 10,000 members will
be gained for the Association, and if the plans of the
campaign committee are carried out as originally de-
signed every photographer in America will receive a
personal invitation to join the Association during the
time the drive is in progress. The committee feels that
if the photographers of America could be brought to
realize the vast amount of good that can be brought
about in the profession and in the war work of our
country through a large, wide-awake, progressive As-
sociation, numbering thousands on its rolls instead of
hundreds, no one would fail to accept the invitation
to become a member.

The Photographers' Association of America has a
wonderful opportunity ahead of it for nation-wide ser-
vice, and we hope that every reader of Portrait will
receive open-mindedly the solicitations of the members
of the Association who are directing the campaign.
The dues are nominal and the possibilities of benefits
from active membership are great.

Here is what Secretary of War Newton D. Baker
thinks of the efforts of the P. A. of A., as expressed to
the general secretary, Mr. Chas. J. Columbus, in a
recent letter:

"Let me congratulate the photographers of America
upon the loyal response which they have made to every
call from the Government for assistance in their im-
portant fields of war work.

"At a time when all classes of citizens were vying in
loyalty, the photographers have made an outstanding
record. They have given the photographic section of
the Signal Corps more men than the section could use,
and they have met the call for photographic lenses with
contributions that have supplied every immediate need.

PORTRAIT

"It is such practical patriotism as this that makes
it possible for America to meet successfully the cen-
tralized power of a military autocracy with the free
efforts of free citizens voluntarily associated in a war
for the defense of liberty and peaceful right."

Ansco Sodas

Purity of photographic chemicals is absolutely essen-
tial for high class work, and photographers generally
recognize that the best is always the cheapest.

Ansco Sodium Sulphite and Sodium Carbonate have
been the standard in the trade and profession for years,
and the quality of these products is being maintained
today despite wartime uncertainties and emergencies
in the chemical field.

Ansco Photographic Sodas are supplied at the fol-
lowing prices in one- and five-pound containers as
listed:
Ansco Sodium Sulphite (dried-powdered)

Price per one-pound container $ -35

Price per five-pound can i .45

Ansco Sodium Carbonate (pure photographic)

Price per one-pound container 25

Price per five-pound can i .05

C^KO Soda Mixture (correctly mixed for use in

any Cyko or other developing paper

formula)

Price per one-pound container 35

Cyko N-A Soda Mixture (non-abrasion, for the

prevention of friction marks on glossy

paper)

Price per one-pound container 40

Price per five-pound can 1.65

All prices subject to change without notice.

PORTRAIT

Cyko Portrait by John A. Erickson

PORTRAIT

Expert News Photographers Needed by Our
Government

1. The Signal Corps is in urgent need of expert
news photographers. Men selected for this branch
of the service must furnish satisfactory evidence as
to their actual experience as staff photographers with
some newspaper or news syndicate company, furnish
three letters of recommendation, and must be American
citizens by birth. It is essential that they be thor-
oughly familiar with the use of a Grafiex and other
speed cameras, as well as various makes of lenses,
their speeds, focal lengths and the manipulation of
various makes of view cameras in connection with
ordinary photography and telephoto work.

2. General Pershing has made a request for the
best available news photographers in this country
to make photographs of important happenings in
France. These pictures are to be preserved for
future educational work in our schools and colleges
and for a pictorial history of the war. It is intended
to send the men selected overseas as soon as they
have completed a short course in military training
in this country. Upon the completion of this course
they will be commissioned sergeants, first class.

3. Photographers who desire to see actual service
in the near future should immediately communicate
with the Air Service, Training Section, Photographic
Branch, marking their communications, "For the
attention of the Officer in Charge of Personnel."

4. It is requested that this matter be brought to
the attention of all photographers and given the widest
possible publicity.

By direction of the Chief of Air Service.

PORTRAIT

Cyko Portrait by John A. Erickson

PORTRAIT

Our Cover Portrait and the Hall of Fame

GENIUS often manifests itself early in life, and
the little, perhaps unnoted tendencies and trends
of childhood will often indicate to those of pro-
phetic vision, the budding of the successful career
which in maturer life reaches its fullest development.
Thus, when John A. Erickson as a youngster, im-
provised his first photographic darkroom in order to
develop his first negative, by draping a heavy curtain
aroimd his bed and then crawling under it, to those who
could project the act into the future, the career of
the successful photographer was plainly foreseen.

At nineteen years of age Mr. Erickson made his
decision to take up photography as his life work, and
associated himself with a studio in McKeesport, Pa.,
where after three months' apprenticeship he decided
to become his own master, and with no capital other
than seven dollars and a good character, he bought
the studio which he conducted successfully for thirteen
years. Seven years ago opportunity called him to
Erie, where his work instantly brought him favor and
profitable patronage, so that today his studio is a
recognized center of photographic advancement.

Mr. Erickson is a careful and painstaking work-
man, and his high ideals find their expression in the
product of his ability. He attributes his material
success largely to the business acumen of his wife,
whose daily help as his working partner in the re-
ception-room and as the ' 'general manager" of the
financial end of the business, has brought prosperity
to them both.

From the month, if not the day, that Professional
Cyko was placed on the market it has been exclu-
sively used by Mr. Erickson, who beHeves that there is
no other paper of the developing class that truly records
all of the values in a negative.

Avoid Lost Motion!

HAMMER PLATES

with shortest exposure and least effort,

produce negatives of highest quahty.

Permanence, brilhancy and rehability

are their chief characteristics.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

RES. TRADE MARK

Hammer's little book

**A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

1 29-1 3 1 West Twenty-second Street

New York City

The Master Camera

All the knowledge and skill of sixty years'
camera making has been concentrated in the
Ansco V-P Speedex No. 3 — a superb pocket
companion for anyone who appreciates that
which is the best of its kind.

With the finest of fine lenses and shutter
equipments, it produces sharp, clear 2^ x3/4
inch pictures in rain, sunshine or shadow.

ANSCO

CAMERAS C. SPEEDEX FILM

The user of the V- P Speedex No. 3
can quickly change the speed, the lens
opening and the focus without losing
sight of the image in the "finder" —
an exclusive Ansco feature which
makes picture-taking easier and more
certain.

The Ansco V-P Speedex No.
3 is extremely simple in opera-
tion, exceptionally beautiful in
appearance and extraordinarily
efficient.

Write for specimen picture on
Cyko Paper. Then ask the Ansco
Dealer for a demonstration.

ANSCO COMPANY
Binghamf on, New'Vbrk

Ansco V-P Speedex No. 3

Equipped with B. & L. Tessar lens,
F 4.5, $65.00; Ansco Anastigmat, F
4.5, $56.00; F 6.3 ; $40.00; F 7.5,
$31.00; in Acme Speedex shutter
(maximum speed, 1/300 second).
Other Ansco Cameras, $2.75 up.

OUR BRANCH OFFICES, WHOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street
New York Cit}'

ANSCO COMP.\NY

325 W. Jackson Boulevard, corner Market Street

Chicago, 111.

ANSCO COMPANY
920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY

1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERIAL CO.

22 Central Avenue, Atlanta, Ga.

SCHAEFFER PHOTO SUPPLY CO.
loii Capitol Avenue, Houston, Tex.

WOODARD, CLARKE & CO.

Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

M. X

July, 1918

PORTRAIT

BINGHAMTON, N.V.

The camera in the air

will play a most important part in the winning
of the war. The exacting demands of the aerial
photographer require extreme care in the
selection of a printing medium.

GRADATION must be such that finest varia-
tions in tonal quality shall be perfectly recorded
and every object depicted perfect in every detail.

LATITUDE must be broad enough to compensate
for the varying densities of negatives made under
difTerent light conditions.

SPEED must be sufficient to permit prints to be
made in record time with whatever light source is
at hand.

ENLARGING CYKO

Regular and Contrast Grades

produces prints which fulfill these requirements by
registering all that the observer can demand.

For commercial and studio photography a paper
that is found satisfactory for aerial work cannot
be far from the ideal.

ENLARGING CYKO

is a chloride, not a bromide, paper, possessing
great speed, and unlike a bromide paper, gives, in
projected enlargements, contact print quality.
That is why it is such an overwhelming success.

ANSCO COMPANY

Binghamton, N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN-PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X July, 1918 No. 3

A New Fixing Bath

THE following shortstop and fixing bath recom-
mended as a substitute for the hypo-acetic fixing
bath which everybody has been using, has been
found by us to work correctly for those who are unable
to secure acetic acid.

Fixing Bath

Recommended as a substitute for the hypo-acetic
acid fixing bath for development papers.

Important. The use of a shortstop between developing
and fixing of the prints is absolutely necessary, and a
bath should be prepared as follows :

Shortstop Formula

Water 32 oz.

Citric acid >^ oz.

Rinse the prints in this bath immediately after de-
veloping and before fixing. Fix the prints in a solution
prepared as follows:

Fixing Bath Formula

Water 60 oz.

Hypo I lb.

When dissolved, add the following hardener:

Water 4 oz.

Sodium bisulphite 2 oz.

Powdered alum i oz.

PORTRAIT

Pittsburg the Place in 1919

THE executive board of the Photographers' Associa-
tion of the Middle Atlantic States has selected
Pittsburg as the city where the next convention
will be held some time during the early spring of 19 19.
Excellent convention hall and hotel accommodations
are already assured, and the board looks forward to
one of the finest and biggest conventions ever held by
an amalgamated association.

Pittsburg is an ideal convention city. As an art
center it occupies a prominent place in the life of this
country. It is rich in historical interest and is a center
of education and culture.

The Pittsburg section of Photographers is well organ-
ized, and is sure to do its bit in making the convention
a live meeting.

The board feels that it is not too early for all photog-
raphers to begin to lay their plans to attend a conven-
tion which wdll be of exceptional educational value , and
one which will not omit any detail that will bring either
profit or pleasure to those present.

A Remarkable Photograph

Probably of the thousands of readers of Portrait
w^ho viewed the solar eclipse of June 8, only a very few
thought of attempting to photograph it.

The interesting picture here reproduced was made
by Mr. Goodrich of the Riverside Studio, Reno, Nev.
A 26-inch extension bellows was used and the lens was
an ordinary rapid rectilinear stopped down to 1{q inch.
A yellow filter was used and an ordinary portrait plate.
The exposure was i/ioo second. The image measured
only a quarter of an inch in diameter on the original
negative. The enlargement from which this reproduc-
tion was made is on Enlarging Cyko Contrast Plat
double weight.

PORTRAIT

The Solar Eclipse of June 8th

PORTRAIT

The Negative and the Printing Paper

WHILE there is the very great range of develop-
ment printing papers — a great range, that is, as
regards the degree of contrast produced — yet on
the whole, papers of this kind are susceptible of being
placed in one or other of two large classes — namely,
those which are ''hard" in working and those which
are "soft." In a general way the former are the choice
of the amateur photographer and the latter that of the
professional portraitist. Yet there is no essential
reason why this should be the case except that in the
great majority of cases negatives made in a professional
studio conform more or less closely to a standard of
quality which is a relic of the days when all printing
was done on P. O. P., or even further back than that,
when the albumen process was in vogue. Thus, the
professional negative is usually of a kind which has a
considerable range of tones from something like clear
glass in the shadows to a fair deposit in the high lights,
and therefore does not call for a printing medium of the
"hard working" character which is the salvation of
many of the over-exposed and insufficiently developed
negatives made by the amateur worker. There is,
however, no good reason why the possibilities which are
afforded by the range of printing papers at the present
time should not be utilized by the professional photog-
rapher on lines more or less removed from those which
are customary, and, as will be seen below, certain ad-
vantages are discoverable in working along these lines.
We are led to put these considerations into the above
form by the opportunity which we have recently had of
examining a number of negatives and prints therefrom,
the work of Mr. A. H. Robbins of Malvern Link, and,
we should say, the regular work of a photographic
studio which is a one-man business, and owes its success
to the personal labor not only in the studio, but in the
printing-room, to Mr. Robbins. The negatives were of

PORTRAIT

a degree of softness which probably many photographers
would call excessive, and would prompt them to com-
plain of over-exposure in the studio and insufficient
development in the darkroom. But this practice, in
conjunction with the use of a fairly ''contrasty" printing
paper, is the system which Mr. Robbins purposely
employs, as perhaps will be most easily understood by
quoting his own description of it:

"I take great pains to get a suitable negative for the
work in hand and aim at a soft result, working on the
old instructions over-exposure and under-development
with a well-diluted pyro developer. I also avoid flat
lighting if possible by the proper use of the blinds and
diffusers, and do not over-retouch. I have come to the
conclusion that there are two things necessary to get
good results: first, a good negative; second, a good
printing paper or card. The developer I use is made up
as follows :

Monomet i6 grs.

Hydrochinon 30 grs.

Soda sulphite >^ oz.

Soda carbonate ^ oz.

Potass bromide 10 p. c. sol 50 drops

Water, boiled 20 ozs.

"I find it an advantage to use soft water. This is
double strength. ^^

It requires to be said in reference to the above that
the prints, while soft, are nevertheless brilliant and
retentive of the textures and tones in the case of such
subjects where light draperies and nurses' caps and
collars occur in the portraits. And as regards re-
touching, we are bound to admit that when we turned
from the prints themselves to the negatives from which
they were made we were astonished to find that the
latter did not bear a single mark of the retouching
pencil. It is not to be supposed that the recommenda-
tion to expose fully, develop slightly, and to print on a

5

PORTRAIT

paper which gives distinctively bright results, is going
to prove the formula by which anybody may secure
similar results. Studio lighting naturally plays its
part, and so also does the skillful balancing of the ex-
posure and development of the negative in reference to
the contrast-giving quality of the printing paper. But
we have perhaps said enough to direct attention to a
method of working which certainly obtains its best
commendation from the quality of the work sent to us
by Mr. Robbins. — The British Journal of Photography .

Photographic Conventions in
War Time

THE Missouri Valley meeting, the second of the
war-time conventions held by an amalgamated
association, took place at Kansas City, July 8
to 12, 1918, and was successful from every point of
view.

An attendance of nearly three hundred photog-
raphers, all anxious to make the most of the meeting
from both the educational and social sides, was greatly
encouraging to the executive board which directed the
convention activities.

All of the demonstrations and lectures were timely,
interesting and enthusiastically received. The manu-
facturers, although by agreement not making extensive
exhibits, were fully represented and had an opportunity
to meet the photographers informally at stated hours
during the proceedings.

The officers for 191 8- 19 were elected as follows:

President, Harry Pottinger, Wichita, Kans.; Vice-
President, Henry Moore, Kansas City, Kans.; Secre-
tary, C. J. Fennell, Columbus, Nebr.; Treasurer, P. A.
Miller, Arkansas Citv, Kans.

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

VII. ON FORESHORTENING

THE ability to draw figures in foreshortened posi-
tion has at all times been considered an enviable
accomplishment. One has only to look at the
large religious and historical compositions of a Michel-
angelo, Correggio or Tiepolo to realize how much it
has been in favor, particularly so in mural decorations.
It demands a thorough knowledge of anatomy and great
manual dexterity, but it seems to be deprived of any
special advantage when introduced into the domain of
portraiture. At least, one would think so. Nor has
it ever been utilized to any extent, as far as I can remem-
ber, in this branch of art. And yet if we look at the
accompanying illustration, a portrait of a young girl,
by Thomas P. Anschutz, one of our American painters,
we are surprised to find a figure in an attitude that dis-
plays a strange amount of foreshortenings — in fact, al-
most nothing but foreshortenings. The leg from the
hip to the knee is foreshortened, and so is the forearm
resting on the lap, as well as the upper part of the arm
supporting the head. Even the face leaning sideways
is taken from a similar viewpoint. It is done in mas-
terly fashion. There is nothing cubistic about it.
It is good drawing throughout, smooth and flowing,
clear and precise, and not without grace and elegance.
A rare accomplishment. But to what purpose! No
doubt, to do something out of the ordinary, something
that takes special skill to perform, and for that reason
is not so easy to imitate. Is it worth the pains, may
be asked by some photographer who realizes how
difficult it would be to make such a composition by
photographic means. Everything in art is worth the
pains, provided the result is as satisfactory as this one.
Besides, the public is not concerned with the labor in-
volved in the production of a work of art, only the result.

PORTRAIT

The question is, whether this picture is as good as
other simpler compositions, and whether it has some

•A R<wc •• l.y Thomas P. Anschutz. Unite.l States

special pleasure to convey. It seems to me that the
main enjoyment of any representation of this kind lies
in the technical skill, and only, if accurately done, in

PORTRAIT

an increased impression of naturalness. The figure is
apt to look more round. Any decided line seen in per-
spective, as that of the leg, in this instance, increases
the feeling of actual dimensions. One becomes con-
scious of a certain distance from one point of the body
to another.

Foreshortening, furthermore, produces unusual com-
binations of lines and planes, and thereby renders the
object more picturesque. Anschutz's figure is com-
posed in a sort of S shape, and the numerous undulating
lines in the drapery produced thereby are pleasing to the
eye, while the upper part of the body has the charm of
attenuated lines. The lines are, as it were, pressed
more closely together than they would appear in a
more normal attitude.

There is really nothing extraordinary about the posi-
tion of the arms and head. They are such as occur in
many portraits. And if we regard matters from this
viewpoint, we will arrive at the conclusion that mild
forms of foreshortening are not as uncommon in por-
traiture as we might think at the first glance. In a
way, all three-quarter and all near- and far-profile views
are foreshortened. But we are so familiar with this
sort of representation that we do not regard it as such.
It is really only the full face and clear profile views that
are exempt from perspective diminution, and they are
the most unwieldy and prosaic poses known to the por-
traitist.

For, as mentioned before, the picturesqueness of the
human figure depends largely on slight shifts of the
figure, foreward, backward or sideways as it may be,
that destroy the absolute symmetry of proportions
and permit the display of receding planes.

The painter of "A Rose" has made the most of this
element of shght distortion. He was fully aware of
the dangers of foreshortening, but courageously went to
work, and mastered it in a new and delightful fashion.

PORTRAIT

An Ingenious Vignetter for Enlarging

OFTENTIMES we receive descriptions of novel
methods of increasing efficiency in studio work,
which we are always glad to publish in Por-
trait. There now comes to hand from Mr. John Baer,
1 2 13 Lydia Street, Kansas City, Mo., a sketch and a
letter describing an enlarging vignetter that is so good
we pass it along for the benefit of all.

The accompanying diagram of this vignetter practi-
cally explains itself, so there is little need for an ex-

tensive description here. It consists of a large sheet
of cardboard, 18 x 24 inches, to which is attached two
disks, 18 inches in diameter, also made of cardboard.
These disks are held in place on the large sheet, and
can be moved to whatever position is desired by means
of a milled screw.

The cardboard sheet has a square opening in the
center, and each disk likewise has the same size open-

PORTRAIT

ing to correspond. The disks, besides, each have six
openings of various shapes and sizes which, when used,
alone permit of twelve different vignettes, and when
used in combination, of an almost unlimited number.
When projecting prints, this vignetter is suspended
between the enlarging camera and the easel at the
required distance, and produces very effective results.

The cardboards are fastened to the ceiling by a rope
and pulley arrangement, as shown, and the counter-
balancing weight makes it extremely simple to handle
the vignetter easily and run it up out of the way when
not in use.

Such a device could be made in whatever size a
photographer would find convenient for his require-
ments.

Photographers' Association of
New England

The plans that have been made for the coming New
England convention, which will be held in Springfield,
Mass., August 20 to 23, 1918, give promise of a
meeting which will go down in history as a huge
success. The educational program and the recrea-
tional diversions provided by the board assure both a
profitable and a pleasant time to all who attend. Ar-
rangements have been made to accommodate an ex-
pected attendance of between four hundred and five
hundred professional photographers, manufacturers
and dealers.

The Columbian Rope Company, Auburn, N. Y.,
have written us that they are in the market for good
news pictures illustrating their products in use. De-
tailed information will be given to any photographer
who may be interested upon application to the Colum-
bian Rope Company at the address given above.

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The Texas Convention

The Professional Photographers' Association of Texas
will hold its annual convention at Fort Worth, August
6, 7 and 8, 1918. In order to condense the important
business items into the three days, the session hours
will be devoted solely to business purposes and the
playtime will come afterwards. An interesting program

has been planned, and through the incentive of a gen-
erous prize list, keen competition in the exhibits is
expected. The executive board consists of A. M. Howse,
President, Ladonia, Texas; C.I. Browne, Vice-Presi-
dent, Dallas; A. L. Blanchard, Secy.-Trcas., Hillsboro.

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Mildew on Photographs and Prints

AS photographers we are very fond of talking of
l\ the permanence of prints, as though we had no
^ ^ other consideration to bear in mind than the
constitution of the photographic image. The effect of
time with the train of deleterious influences it brings
is often lost sight of. We have, for example, the enemy
mildew, which attacks not only photographs, but per-
haps to a greater extent engravings, water colors and
other art productions. We have seen old silver prints
under cut mounts, the print in a good state of preserva-
tion and the mounts speckled all over with spots of
mildew. It is probable that the early photographic
workers took especial care to employ pure mounting
boards, paste treated with some antiseptic preservative,
and, when framing their work, to paper the glass into
the frame so as to exclude not only dust and moisture,
but the spores or other means of propagation of the
fungoid growths which we refer to as mildew.

Nowadays the mounting boards commonly used are
made of very poor stuff indeed, very largely of wood
pulp or esparto grass, if we may judge from the rapid
way in which they discolor when exposed to light. The
board is surfaced with smooth paper, but we have no
means of knowing what putrescence there was in the
adhesive employed. It has often been remarked that
any mounting board will do for carbon or platinum
prints, as they are permanent, but the mildew possibihty
has been overlooked when this remark is made. The
dry-mounting method with the water-proof shellac
tissue, of course, insulates the print quite effectively,
and would, we believe, be valuable in the case of water
colors. — The British Journal of Photography.

Prepare now to meet the Fourth Liberty Loan the latter
part of September.

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Cyko Portrait by Julius B. Pearlstein

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Our Cover Portrait and the Hall of Fame

YE Colonial Studio, Brooklyn, is easy to find be-
cause its location at No. 508 Fulton Street, is so
well known. This is not due entirely to its being
located in the heart of the best retail section of the city,
but because its proprietor, Mr. Julius B. Pearlstein, is a
real live wire and his studio has long been recognized
as the home of the highest standard of photography and
numbers among its patrons the eclat of Brooklyn's
society.

Mr. Pearlstein is possessed of high ideals, and only
the very best work that can be produced is permitted
to leave his exacting art shop with the impress of his
name.

A great many leaders today in the photographic
art, we are told, looked about for some time, engaging
first in one occupation and then another before finally
taking up photography and following it as a life work,
but Mr. Pearlstein began his photographic career in
the same town in which he now lives and works some
twenty- two years ago, and he has enjoyed marked
success, both artistically and financially. The wisdom
of conducting his business on a broad and liberal policy
is shown by the very marked increase in the volume of
business which Mr. Pearlstein does each year, and he
has no hesitation in saying that a large measure of his
success is attributable to the use exclusively of Cyko
Paper, which has stood the most severe comparative
tests to which it could possibly be subjected and still
remains at the "top of the heap."

By consistently applying the principles of the Golden
Rule in connection with delivering the highest quality
of portraits by photography, Mr. Pearlstein hopes to
play the winning game for many years to come.

The photograph reproduced on the opposite page is
a characteristic example of Mr. Pearlstein' s work.

HAMMER PLATES

are daily demonstrating their su-
premacy. Speed, color-range
and reliability make them an ab-
solute necessity to the up-to-date
photographer.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

REG. TRADE MARK

Hammer's little book

"A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

1 29-1 3 1 West Twenty-second Street

New York City

The Master Camera

All the knowledge and skill of sixty years*
camera making has been concentrated in the
Ansco V-P Speedex No. 3 — a superb pocket
companion for anyone who appreciates that
which is the best of its kind.

With the finest of fine lenses and shutter
equipments, it produces sharp, clear 2V4 x3V4
mch pictures in rain, sunshine or shadow.

ANSCO

CAMERAS €. SPEEDEX FILM

The user of the V-P Speedex No. 3
can quickly change the speed, the lens
opening and the focus without losing
sight of the image in the "finder'' —
an exclusive Ansco feature which
makes picture-taking easier and more
certain.

The Ansco V-P Speedex No.
3 is extremely simple in opera-
tion, exceptionally beautiful in
appearance and extraordinarily
efficient.

Write for specimen picture on
Cyko Paper. Then ask the Ansco
Dealer for a demonstration,

ANSCO COMPANY
Binghamion, New'Vbrk.

Ansco V-P Speedex No. 3

Equipped with B. & L. Tessar lens,
F 4.5, $65,00; Ansco Anastigmat, F
4.5, $56.00; F 6.3 ; $40.00; F 7.5,
$31.00; in Acme Speedex shutter
(maximum speed, 1/300 second).
Other Ansco Cameras, $2.75 up,

OUR BRANCH OFFICES, WHOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street

New York City

ANSCO COMPANY

325 W. Jackson Boulevard, corner Market Street

Chicago, III.

ANSCO COMPANY

920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY
1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERL\L CO.

22 Central Avenue, Atlanta, Ga.

SCHAEFFER PHOTO SUPPLY CO.
loii Capitol Avenue, Houston, Tex.

WOODARD, CLARKE & CO.

Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

l.X

No. 4

August, 1918

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BINGHAMTON N.Y.

The camera in the air

will play a most important part in the winning
of the war. The exacting demands of the aerial
photographer require extreme care in the
selection of a printing medium.

r.HADATION nmst be such that finest vHria-
lions in tonal quality shall he perfectly recorded
and e\t'ry object (le{)icte(l perfect in e\cr\ detail.

LATITUDE must be broad enough to compensate
for the varying densities of negatives made under
different light conditions.

SPEED nuist be sufficient to permit prints to be
made in record time with whatever light source is
at hand.

ENLARGING CYKO

Regular and Contrast Grades

produces prints which fulfill these requirements by
registering all that the observer can demand.

For commercial and studio photography a paper
that is found satisfactf)ry for aerial work <annol
l)e far from the ideal.

ENLARGING CYKO

is a chloride, not a bromide, paper, possessing
great speed, and unlike a bromide paper, gives, in
projected enlargements, contact print quality.
That is why it is such an o\ erwhelming success.

ANSCO COMPANY

Hinghaintoii. N. Y.

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A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN-PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.

Vol. X August, 1 91 8 No. 4

Raw Paper and Finished Papers
of All Kinds

WE have received notice from more than a dozen
leading manufacturers of paper that a further
increase in price, averaging about 40%, will
take place at once. We mention this so that photog-
graphers may understand the position of manufacturers
of sensitized photographic papers, especially those man-
ufacturers using the highest grade only. This is no
intimation that Cyko Paper will be advanced in price,
but is only a reminder that the photographer has not
suffered as much as others in the matter of cost of
producing what he has for sale — ^photographs.

The demand for photographs has increased very
materially during the war because nothing is prized
so highly as the portrait of the dear boy who is leaving
home for the Front. And what an inspiration it is to
the soldier-boy to get portraits of dear ones he has left
behind! Photography is certainly a blessing in these
days of strife and tenderness.

If the enemy alone had the means of making photo-
graphs in the air, on land and everywhere, he could win
the war in a couple of months and could pin the world
to the cross.

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* 'Pictures Can Help Win the War"

SOUNDS foolish, doesn't it? We have had food and
ships and men and munitions and coal and rail-
roads and blankets and W. S. S. and the Red Cross
and the "Y" and gas masks and airplanes and grape
juice and bond issues, all to win the war. And now
here comes this deluded writer for the Bulletin of
Photography and says pictures can help win it.

Well, please notice the quotation marks about the
title. I didn't say it. At least I haven't said it first.
The Committee on Public Information said it — printed
it on the back of its latest catalog of pictures. And if
the Committee says it, it must be so.

Now, just a minute. In a somewhat extensive
acquaintance among publications and newspaper and
magazine people I have yet to find anyone singing any
startling praises of the C. on P. I. They are more apt
to knock than to boost. I want to say at the outset
that this yarn isn't a knock. It's meant for a boost,
and it's meant to help you help the C. on P. I. to help
pictures help win the w^arl

Here is the argument.

People take things into their minds through smells
and feels and sounds and tastes and — seeing things.
The two most potent ways to reach the mind are sound
(or printed word) and sight.

But no matter how skilful a man may be with words,
description is only putting into words some ideas, which
the putter has in his mind. No one ever gets from a
word the same meaning you put into it — in description,
anyway. If you don't believe this, try describing one
person to another then bid your hearer go pick your
describee out of a crowd. Can't be done, of course,
unless said describee is nine feet high or thirty feet in
girth or has three eyes or a nose a yard long or something
like that.

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Well, then, no description of a battlefield, of a
charge, of the horrors of warfare, or a gas attack, of
anything at all at the front or near it can by any stretch
of the imagination really give an adequate idea of what
is there going on.

Pictures can .

You are a picture man. It's your job in life to make
pictures. You understand pictures. And you ought to
throw a large chest and have to buy an oversize hat
when you reflect that it is your profession which is
playing so vitally important a part, not only in winning
the war (aeroplanes, pictures of enemy activities, etc.),
in recording the war for history and as a most potent
argument against there ever being another war (motion
pictures and official records), but is that profession
which is doing so much to form and lead public opinion
without which no war is ever fought to a successful
conclusion.

If there had been photographs of the sinking of the
Lusitania, would we not be better prepared for war
today ?

All right, then. Photography is playing a vital part
in the war. Isn't it your job to help the public realize
not only the part your profession is playing in winning
the war, but as a picture exponent, to show pictures to
your patrons — ^pictures which may help them to realize,
as no words can help them, what the war really is like?

Your first impulse may be to say, "But the news-
papers and the magazines do that." So they do. But
not all that can be done. And the C. on P. I. offers
you the chance to help. "Official War Pictures are your
best help in doing patriotic work," says the C. on P. I.,
and they said a whole earful.

Now, for ways and means. The C. on P. I. spews out
pictures as a Browning gun does bullets. These pictures
are taken by the Signal Corps of the United States

PORTRAIT

Army, the United States Navy, the Marine Corps, as
well as other branches of the service, and also come from
the French and Belgian Official Photographs collec-
tions. They are issued or "released," as newspaperese
has it, every day. There is a catalog to be had for a five-
cent piece, titling all those which have so far been
issued, and there is a monthly catalog and a daily
announcement sheet. The photographs are six-half,
eight-half, on heavy paper, glossy and squeegeed.

They cost ten cents each, postpaid.

Suppose you have a screen or background empty, or
empty wall space in your studio. Suppose you invest
five dollars a month or five dollars a week or one dollar
a month or one dollar a week in war pictures. Suppose
you make an exhibit of war pictures in your studio.
Won't people come to see them? Of course they will.
Now, never mind the advertising feature of this idea —
I'm not suggesting it as a means to draw people to your
studio, though it will have that effect. But won't it
help many people to visualize war and what war means?
Won't it help impress your friends and customers both
with the fact that your profession is doing its full "bit"
in the Big Game, as well as show them things they may
never see in print?

Write to the Committee on Public Information,
Division of Pictures, lo Jackson Place, Washington,
D. C. Ask them for a catalog (be sure to send the
five cents in cash — not stamps) . Then, from this catalog,
pick out a dozen or a hundred interesting titles and send
for the pictures. Hang them up. Put some in your
showcase. Advertise them. Talk about them. Spread
yourself — you are a photographer and this is a photog-
rapher's work — work you are proud to show. And
not only will you create interest, do your part, help
pictures win the war, assist in educating people to the
realities of the front, but you will also put yourself
before your clientele as both patriotic and up-to-date.

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If you can't wait another minute, go to the nearest
postoffice or pubHc hbrary and ask to see the Official
Bulletin of the C. on P. I., which lists the daily releases
of the available pictures.

Now, / think this idea of having photographers help
show the pubUc the war pictures photographers take is
Sirealidesi. I think iVs sl mighty fine idtSL. / think it's
an idea that's going to be taken up by a lot of you fellows
who don't think anything of a dollar or so or a little
trouble where your patriotism is concerned.

I wish it was my idea.

But it isn't. It was suggested to me by a photog-
rapher— a photographer in a small town. And it is
with much pleasure and real admiration that I hand
over all the credit to Mr. A. A. Richardson, of Bemidji,
Minn. — and that, for a wonder (for usually I don't tell
tales and names, too), is his real name and his real
address, and this is really his, real idea.

— C. H. Claudy, in Bulletin of Photography.

The O. M. I. Convention

The Cedar Point convention, as usual, was very well
attended and the meeting was a very successful one
from the photographers' point of view. Interesting
talks and demonstrations and attractive social features
made it possible for everyone to have an instructive and
pleasurable time.

The officers elected for 1918-19 are:
President, D. D. Spellman, Detroit, Mich.
Vice President, L. G. Rose, Toledo, Ohio
Vice President, R. E. Smith, Attica, Ind.
Treasurer, W. H. Littleton, Muncie, Ind.
Secretary, A. E. Riley

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An Autumn Offensive

WAR in these days is conducted on so vast a scale
that every major operation, whether financial
or miUtary, must be planned months in ad-
vance. Men and money must be marshaled and
munitions manufactured long before the signal is given
to open the engagement.

Far behind the lines, in Berlin, Hamburg and other
financial centers of Germany, the enemy financiers last
winter prepared the Eighth Tyranny Loan, which
brought in $3,600,000,000 in money of one sort or
another this spring. Today they are getting their
people in line for the ninth loan. Since the fall of 19 14,
the German war loans have been offered regularly at
intervals of six months or so. If they work on schedule
this time, the Germans will be floating the ninth issue
about the time the Government of the United States
offers the Fourth Liberty Loan to Americans this
autumn. Thus both nations will be tested at the same
time and the American dollar will compete with the
German mark. But this Government plans the greatest
loan of history. It is expected to be twice as much
as the Eighth Tyranny Loan and a billion more than
Great Britain's Victory Loan of $5,000,000,000, which
is the largest yet floated in any country.

So stupendous an undertaking as the Fourth Liberty
Loan requires the most careful planning on the part of
every American, of whatever age or condition of bank-
roll. The time to meet the cafl of the Fourth Liberty
Loan is now, and the way to meet it is by preparing a
program of saving. The Germans are busy right now
on their loan. Are you preparing for yours? To be
thrifty and forehanded at this time is the task of every
American who wishes to take part in Uncle Sam's
financial offensive next autumn. To conserve resources,
not only of labor and materials but also of credit and
cash, is to perform a war service of the first magnitude.

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Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

VIII. THE SO-CALLED '' PAINTER-LIKE " TECHNIQUE

THE so-called painter-like technique has haunted
the efforts of many ambitious photographers, and
has been the Waterloo of many a good, even
excellent, print. Its quahty is strictly of the artistic
order and for that reason so desirable. By painter-like
technique are meant those clever daubs and flourishes
of the painter's brush that look so spontaneous as if
they were produced by accident, and that enhance so
greatly the textural quality of a picture. In photog-
raphy the sketchy portrait is hardly ever a pronounced
success. It usually looks a trifle amateurish. This effect
is not without a cause. In plain words, it is mostly due
to lack of manual skill.

The painter who prides himself on being a master of
brushwork is sure to "sling paint" for several hours
every day, if for nothing else but to keep his arm in
trim, not unlike the piano virtuoso who is forced to
practice half a day to make his fingers flexible and
capable of that almost unconscious mechanism which is
obedient to the slightest suggestions of his mind. It
requires a thorough mastery of draughtsmanship and
constant practice. The best effects, true enough, are
produced accidentally in many instances, but they are
based on superior manual dexterity. And the photog-
rapher has neither the leisure nor opportunity to
acquire this accomplishment.

Frank Duveneck and J. Frank Currier, who furnish
the illustrations for this discussion, are both American
pupils of the Munich School and have played an im-
portant part in the technical revival which occurred in
this country in the eighties. The Munich School laid
special stress on draughtsmanship. Both artists have
profited by this training; they belong to our foremost

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'Whistling Boy" by Frank Duveneck, United States

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technical exponents. Their brush work, however, is so
virile and brilliant that it is more Gallic than Teutonic
in character.

To them the essence of a visible object consists of the
spot of interesting shapes and flourishes. All spots are
endowed with distinct definite character, and it is the
artist's task to weave them into harmonies in precisely
the same manner that a composer combines the tones
of the musical scale. Each stroke must possess a beauty
of its own, some delicacy of touch, some happy grace,
so that their combined effort enters the eye by a thou-
sand little paths. All this is based, it is claimed, on the
scientific truth that each part of a picture as it is re-
corded in the field of sight, appears but as a single spot
modified by those that surround it.

But it is a difficult problem to play thus at will with
details and then to gather them together into a con-
sistent whole. The complexity, the independence, and
the fantastic caprices of the different parts are apt to
play havoc with the final and total effect.

Notice how the sleeve and apron are treated in the
"Whistling Boy," and how wilfully the tie is arranged
in the Currier portrait sketch (of the same title).
I advisedly use the term "sketch," as there is always
something unfinished about this kind of work. Of
course, this is a merit rather than a shortcoming — in
this method of interpretation, for its principal aim is to
fascinate and captivate the beholder by minor technical
impressions. The first idea is to please by the delightful
manner in which each part is executed.

In photography this is most easily attainable by
omitting all manipulations by hand, that is, additions
which resemble actual drawing, etched lines and brush
strokes, and to try to achieve these spontaneous and

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'Whistling Boy" by J. Frank Currier, United States

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picturesque effects by contrast, as shown in the cap and
shirt-front of the Currier sketch and the dark waistcoat
and the white patches of the shirt in the Duveneck
study, which even in monochrome almost suggest
color. Of course it will not produce the spottiness of
effect; this may be regrettable, but as each medium has
some qualities that are intrinsically its own, it is wisest
to leave them where they belong and to strive for the
development of such accomplishments as lie within the
reach of one's chosen medium.

Uncle Sam Offers Commissions for Good
Photographers

Photographers are urgently needed by the signal
corps of the army to engage in the compilation of a pic-
torial history of the war. Until the immediate needs
are met, some commissions will be given to experienced
men from civil life, in addition to sixty lieutenants and
as many first class sergeants who are to be selected for
the work.

Other men will be sent temporarily to the signal corps
school of photography at Columbia University, New
York, where they will be taught not how to take pic-
tures but what kind of pictures to take. The success-
ful newspaper photographer represents most nearly the
type of man needed. For this work a "nose for new^s"
is required, as well as the technical ability.

Many of the men commissioned will become staff
officers of army divisions, and as such will be in charge
of the work of making a pictorial history of the activities
of the divisions from the time of organization through
active participation in the conflict.

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Photographic Salon of the California
Liberty Fair

YOU are invited to submit photographic prints or
transparencies (autochromes, pagets, etc.) to the
Photographic Salon of the CaHfornia Liberty
Fair.

Prizes will be awarded for the best pictures as judged
by the jury of selection composed of artists, art critics
and photographers. Only photographs showing artistic
merit will be exhibited. The prints are to be divided
into four classes, with awards as follows:
Portrait — first prize $25.00 second $15 .00 third $10.00

Genre — ''

25.00 '

15.00 '

' 10.00

Landscape — "

25.00 '

' 15.00 '

' 10.00

Marine — "

25.00 '

' 15.00 '

' 10.00

Natural color \
Transparencies /

25.00 *

' 15.00 '

' 10.00

CONDITIONS OF ENTRY

No. I — All pictures must be mounted on sheets not
larger than 24x36 inches, none to be framed. Trans-
parencies must be bound with cover glass.

No. 2 — On the back of each mount must be written
the number, title, price if any, and name of photog-
rapher to correspond with entry blank. Number,
title and name of photographer to be written on narrow
label on each transparency.

No. 3 — All photographs or transparencies must be
shipped by mail or express, charges prepaid, addressed
to Chairman of Photographic Salon Committee, Room
I , Promenade 10, Brack Shops, Los Angeles, Cal. They
will be repacked on close of exhibition and returned,
charges prepaid. All prints or transparencies must

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reach destination on or before September j, 191 8, to
allow sufficient time for judging, printing catalog and
hanging.

No. 4 — Special care will be taken of all exhibits but
responsibility for loss or damage will not be assumed
while in transit. The exhibit as a whole will be insured
while on the walls of the Salon.

No. 5 — A commission of 15% will be charged on all
sales made during the Exhibition. A catalog will be
mailed to each exhibitor.

Entry blanks may be procured by writing to George
F. Clifton, chairman Salon Committee, Los Angeles,
as mentioned in paragraphs 2 and 3, above.

A Course in Photography Free

We are just in receipt of a communication from
Daddy Lively, president of The Southern School of
Photography, McMinnville, Tenn., asking us to an-
nounce in this pubhcation the fact that in their desire
to help our boys "over there" they will give, free, an
intensive training in photography to the wives of pho-
tographers enlisted in the service whose desire it is to
continue the studios in the absence of their husbands.

Such an offer is likely to benefit not only the wives
of photographers but the Government as well, in
prompting photographers to join the military forces
of Uncle Sam, feeling assured that their wives are not
left helpless.

This free special course is to be given the first two
weeks in October, and without doubt there are many
who will wish to take advantage of this special offer .

13

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Cyko Portrait by Dwight Chambers

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Our Cover Portrait and the Hall of Fame

ABOUT a year ago in the heart of Chicago's business
district, where competition is so keen and strenu-
ous that nothing but abihty and strictly business
methods can exist, Mr. D wight Chambers, an unas-
suming artist, started his business known as the Cham-
bers Studio. Being a firm behever in modern methods
and the fact that the seeds of success must grow from
good ground, he fitted his studio in the most attractive
manner possible, and it is a gem of decorative art which
stands second to none.

Mr. Chambers is very modest in regard to his personal
abihty as an artist, but he fully demonstrates his capa-
bility by the work he turns out as it all has the true
mark of an individuality and quality that pleases his
patrons. His technical education was acquired and
completed through his study under such masters as
Root, Walinger, Matzene and Moffett, and he always
worked and studied with the one thought in mind of
some day establishing his own business on the solid
foundation of merit and quality.

As further proof of his good judgment and concen-
trated efforts his business rates today with the success-
ful studios of Chicago, and he proudly states that Cyko
has been an important factor in his success through the
correct portraying of his photographic efforts. His
individuality pleased customers, and through organiza-
tion and conducting his studio on strictly modern
business methods Mr. Chambers feels that his success
from the beginning was due to efforts and determina-
tion.

HAMMER PLATES

fill every requirement of modern
photography. They excel in speed,
crispness, color -range and keep-
ing qualities. Their record proves
their worth.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

Hammer's little book

"A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

1 29-1 3 1 West Twenty-second Street

New York City

The Master Camera

All the knowledge and skill of sixty years'
camera making has been concentrated in the
Ansco V-P Speedex No. 3 — a superb pocket
companion for anyone who appreciates that
which is the best of its kind.

With the finest of line lenses and shutter
equipments, it produces sharp, clear 2V4 x3^/4
inch pictures in rain, sunshine or shadows

AN SCO

CAMERAS (L SPEEDEX FILM

The user of the V- P Speedex No. 3
can quickly change the speed, the lens
opening and the focus without losing
sight of the image in the "finder" —
an exclusive Ansco feature which
makes picture-taking easier and more
certain.

The Ansco V-P Speedex No.
3 is extremely simple in opera-
tion, exceptionally beautiful in
appearance and extraordinarily
efficient.

Write for specimen picture on
Cyko Paper. Then ask the Ansco
Dealer for a demonstration.

ANSCO COMPANY
Binghamton, Newark

Ansco V-P Speedex No. 3

Equipped with B. & L. Tessar lens,
F 4.5, $65.00 ; Ansco Anastigmat, F
4.5, $56.00; F 6.3 ; $40.00; F 7.5,
$31.00; in Acme Speedex shutter
(maximum speed, 1/300 second).
Other Ansco Cameras, $2.75 up.

OUR BRANCH OFFICES, WHOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. T\vent>--second Street

New York Clt>-

ANSCO COMPANY

325 W. Jackson Boulevard, corner Market Street

Chicago, III.

ANSCO COMPANY
920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY
1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERIAL CO.
22 Central Avenue, Atlanta, Ga.

SCHAEFFER PHOTO SUPPLY CO.
ion Capitol Avenue, Houston, Tex.

VVOODARD, CLARKE & CO.
Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

No. 5

September, 1918

PORTRAIT

si

BINGHAMTON N.Y.

Cyko Conserves Labor

1 HE RESULTS of our recent trial of" Cyko Paper,"
writes Mr. H. A. Reedy, of the Artcraft Photo Company,
of St. Paul, Minn,, **proved that our printers could make a
third more prints in a nine -hour day than with the other
standard paper. This means that in one year tour printers
could accomplish as much as six had previously done."

Cyko Conserves Eleclric Current

'It was ALSO NECESSARY to reduce the wattage of
the lamps, and this, together with the speed of the paper,
meant much less ele6lricity used. In this period of labor scarcity
the financial saving should not be the only consideration. I do
not, however, allow anything for the worry saved me in meet-
ing my labor needs."

Cyko Qiialitv Satisfies

*If the amateur finisher will apply these proportion^
to his own costs, he will find that the price of Cyko is pradicalK
the same as that of other paper. Then if he believes as I do —
that qua/its of work and worry about labor are worth some-
thing— he will not hesitate in making the change to Cyko
Paper. As 'beauty is only skin deep' so the difference in the
price of Cyko Paper is in the list price, and not in the final
cost."

Ansco Company

Bin2;hamt()n, N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN-PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL'

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X September, 191 8 No. 5

Your Chance to Hammer the Hun

THE only way to win a fight is to hammer the
enemy until he quits. That's the way the United
States is going about the war, but there is no sense
in attempting to disguise the fact that the enemy will
stand a lot of hammering. It is necessary for us to
provide a gigantic hammer. Therefore we are extend-
ing the age limits for military service so as to provide
for an army of 5,000,000, and now the Government is
asking us to absorb the Fourth Liberty Loan, far
bigger than any of the others .

We can do it. We must do it, for if we should not
there would be such rejoicing in Germany overAmerica's
inability to finance her program as would be humiliating
and positively dangerous for us . Their troops would be
heartened and ours discouraged by the thought that
America was not enthusiastically in the war, determined
to win at any cost.

So we must prepare to buy Liberty Bonds of the
coming fourth issue (campaign opens September 28)
with every dollar we can rake and scrape together.
If we do that, we shall back up the soldiers at the
front as they need to be backed up and we shall serve
notice on the Central Powers that they will have to
quit, no matter how hard they may fight.

PORTRAIT

The North Central Convention

September 18-19-20, 1918, are dates that will be
long remembered by the photographers of the North
Central Association who seize the opportunity to
attend the convention which will be held in St. Paul at
that time. The executive board has styled the meeting
''The Efficiency Convention," and the program that has
been planned is such a strong one that the convention
ought to be one of the biggest and best of the year.

Photographers in the states covered by the associa-
tion, namely, Minnesota, Iowa, North Dakota, South
Dakota and Montana, and all others within a radius of
five hundred miles of St. Paul are invited to attend.

A new idea in regard to the exhibit by the photog-
raphers has been adopted which should provide an
incentive to a great many to display their best work
in competition for the honors. In place of cups and
medals, as has been customary, the board will buy
pictures outright selected by the judges, and pay ten
dollars each for the best pictures exhibited, not to
exceed ten in number.

Each exhibitor having pictures selected will receive
an engraved certificate and ten dollars for each picture
chosen. Such pictures will be the beginning of a per-
manent salon of the association and will be added to
each year. Each exhibit may consist of from one to
six pictures, 5 by 7, or larger, unframed. Address all
enquiries to J. R. Snow, Secretary, Mankato, Minn.

Advance in Price of Ansco 8x10 Printer

We are obliged to advance the price of the Ansco
8x10 Professional Printing Machine live dollars, from
September i, 1918. The machine after that date will be
listed as follows:

In United States, $25.00. In Canada, $27.50.

PORTRAIT

Save Your Film Spool Ends

We frequently receive letters from dealers and
photographers who do developing and printing, asking
if we could not allow them something for the vast
quantities of Ansco film spools that they accumulate.
Heretofore we have not been able to use the spools, for
the very good reason that they must practically be
remade in order to be usable and the labor necessary
for the operation is too great to make it pay.

Even at present the wooden dowels are of no use to
us, but all dealers and photo-finishers who wish to send
us the metal flanges, removed from the spools, may do
so and we will allow them five cents a pound for all
metal film spool flanges, of our make, in good condition.
These we will then refinish and use a second time. All
packages should be sent to Ansco Company, Bingham-
ton, N. Y., transportation charges prepaid.

The flanges of all spools size 6 A or larger run 136 to
the pound, 4A flanges, 185, and 3A flanges, 239 to the
pound.

We will also take back complete spools for 2C Ansco
Film at 5 cents a pound. There are 85 of the spools in
a pound.

Wanted: Pictures of German and Austrian
Territory

Readers of Portrait who have made pictures of
bridges, buildings, towns and localities now occupied
by the German forces in France, Belgium, and Luxem-
burg, also in that part of Germany west of the line
running north and south through Hamburg, should
send such photographs by parcel post or express to
Col. A. B. Coxe, 11 56 Fifteenth Street, Washington,
D. C. Pictures of the Rhine and of towns situated
along its course, and views in Austria, are also of
value. These are requested by the War Department.

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

IX. UNUSUAL ARRANGEMENTS

UNUSUAL arrangements have been introduced in-
to portraiture principally for the purpose of start-
ling the beholder by something that is new and
out of the ordinary, far away from the practices of every-
day routine. These artists who venture forth on new
paths complain of the limited methods employed in the
portraiture of their time and proceed to enrich them.
Innovations of this kind, no matter how seriously
thought out and soHdly constructed, have something
haphazard about them. They do not follow or set any
standard; they are in most instances show-pictures whose
success depends on the approval of public opinion.

Their composition may seem rather daring to those
who rely upon the old rules and think that they should
be always observed. But it should be remembered
that art is made to please the eye, and that the funda-
mental laws of composition, of balance and proportional
relations, always remain the same, no matter how un-
conventional the new combination may be. It should
be agreed, therefore, that that which is pleasant to the
eye is within the rules of art. It is the eye that should
be consulted for the final verdict.

Still, the situation is slightly different in portraiture.
The latter has certain regulations of likeness and clear-
ness of definition, of direct representation and repro-
duction of actualities, which cannot be brushed aside.
The painters are aware of this and try to escape criti-
cism by labeling their eff"orts with pictorial titles as
''Promenade" and "Village Rider," that have but little
to do with portraiture.

These modern painters certainly do not suffer from
poverty of imagination. They put all the variety they
can into their portraits, and they quite well understand

PORTRAIT

to make them unusual when the sitters give them the
chance. Gustave Pierri's attempt of depicting a
mother with her six children and a dog taking a walk
in a winter landscape resembles a humorous illustration.
He made use of a certain flatness of tone and a decora-
tive design that repeats triangular shapes throughout
the composition. There are five elongated triangular
shapes of which the eye becomes conscious at the first

"Promenade" by G. Pierri, France

glance. But not satisfied with these, he introduced all
sorts of triangles, in the smaller children, in the feet
of the dog and the three little ones, and in the details
of the costume (noticeably in the caps) . Even the upper
contour of the group produces a zigzag fine. The faces
are shown either in profile or liberal three-quarter views
so there is no reason whv thev should not be faithful

PORTRAIT

records of resemblances. Quite a daring performance
displaying considerable skill in composition!

The handling of a group of seven is at no time an
easy task. The question is solely whether people care
to be represented in such a mardi-gras fashion, whether
it is in good taste and fulfilling the purposes why it
was made. That such a procession — as a motif as well as
in treatment — is stepping outside the boundary lines of
portraiture is indisputable.

"\'illage Rider" by John C. Johansen

The ''Village Rider" is a more favorable theme. It
has a charm of its own. Besides, we have seen so-
called equestrian portraits by Velasquez and others.
People accept more readily what they have seen before,
as it seems to them ''like traveling in a country they
know and love." The innovation in this picture con-
6

PORTRAIT

sists in the peculiar manner in which the lower margin
cuts into the figure of the horse. It is a mannerism
we have learned from the Japanese. The broad division
of the subject matter into a few lines and large planes
is excellent. The introduction of the tree is masterly,
only the right side of the picture is very weak . Although
the suppression of the horse's head may have been
necessary in order not to detract the interest from the
child, the foreshortened view is anything but beautiful.
The two examples suffice to reveal the danger of too
drastic innovations . On the whole it is better to practice
less variety of arrangements than inadequate ones. If
we feel that we cannot invent new devices without
making them seem affected, forced and inappropriate,
we should not abandon what is fit and natural for the
sake of novelty.

A Substitute for Bromide of Potassium

An effective substitute for bromide of potassium is
mentioned by The Amateur Photographer hom. which
the following is quoted: "The quantities of bromide
of potassium available for photographic purposes are
— during the progress of the war — becoming less and
less; and those who use this valuable salt in various
operations may have had cause for alarm at the steady
rise in price. They can be reassured, however, and
will find that bromide of sodium — a chemical that is
much cheaper than the potassium salt and is more
freely obtainable — will serve practically the same pur-
pose in photography. We have used this chemical
recently with complete success as a restrainer in various
developing-formulas for plates, films, and papers, and
found that its action differed but very little from that
of bromide of potassium. In the various bleaching-
baths for sulphide- toning, it replaces the potassium salt,
weight for weight, and the results are indistinguishable
from those for which the original formulas were em-

PORTRAIT

ployed. We have used it also in both the ferricyanide
and copper bleaching-baths for the bromoil-process,
and here again no difference in the action is discern-
ible. Bromide of soda is obtainable in the form of a
white powder, which readily dissolves."

Eliminate Your Printing Troubles
by Following Directions

IN view of the variation in quality of the many
different developing agents in use and the uncertain
purity of other products entering into developing
solutions, the exercise of extreme care and caution is
most essential in compounding photographic solutions
and in all manipulation of negatives and prints during
the war period.

Be sure to use developing agents and sodas which
have the guarantee of purity stamped on the containers by
the manufacturers; and only formulas advised for a
particular brand of plates, films or paper should be used
for best results.

In Regard to Bromide

In adding bromide of potassium to developing solu-
tions do it with this fact in mind: it is a stabilizer
forming a compound when combined with the silver
salts, making them less easily reduced by the develop-
ing agents. That is, to prevent the breaking down or
blackening of all the silver salts of both the unexposed
and exposed portions during a stated time of develop-
ment. With a given amount of bromide there is a cer-
tain fog-free period in development during which time
the print desired should be produced with correct
exposure. With overexposure the print comes up too
rapidly and all that is desired in shadow, detail and
minute gradation in highlights is sacrificed.

With short exposure, the print requires forcing beyond

PORTRAIT

the fog-free period, causing the print to be weak and
flat with the ever-present danger of veiled highhghts
or serious fog. Only sufficient bromide to keep the
emulsion from fogging is necessary within a certain
time of developing and correct exposure. Beyond this
point further addition is only required when more color
in print is desired.

Always bear in mind that as bromide is increased the
developing action is retarded proportionately, produc-
ing color by slower formation of the silver image and
that no increase in exposure is required, or is it ad-
visable, although more latitude in manipulation is given.

Experience has proven that 5 grains or 5 minims
saturated solution to each 40 ounces of developer is
usually sufficient to prevent fog in a reasonable develop-
ing time or within a fog-free period indicated by this
amount, and we advise it for prints on all regular
grades of Cyko and cold tone prints on Professional
grades. With this amount (the minimum) the following
table shows the approximate time of development
within the fog-free period with correct exposure on
different grades of Cyko at a temperature of 65° F.:

Contrast. . . .25 sec. Soft 35 sec.

Normal 35 '' Professional. . .40 "

Longer time indicates underexposure; shorter time
indicates overexposure.

With Professional grades the bromide may be in-
creased as desired to obtain more warmth in tone, or
to the maximum amount of 80 grains or 80 minims sat-
urated solution. This extreme amount is not advised ex-
cept under special conditions when the extreme olive tone
is required. For regular work in portraiture we advise
the standard amount 40 grains or 40 minims saturated
solution, as this produces a pleasing warm-black tone.

This table gives the approximate time of develop-
ment within the fog-free period of Professional Cyko

PORTRAIT

with different amounts of bromide, correct exposure,
temperatures 65° F.:

5 grains or minims 40 sec.

10 " " " 5° "

^^ '' ^' " A^ "

20 00

40 " '^ " 13^ min.

60 " '' " 2

80 " " " 3 to 4

If the foregoing conditions are adhered to the very
best possible prints will be produced, and the color of
black and sepia may be controlled as desired.

The following standard formulas for development of
Cyko should be used:

Regular Grades Professional Grades

Water 40 oz. Water 40 oz.

Monomet 15 gr. Monomet 15 gr.

Ansco Sodium Sulphite . i oz. :^nsco Sodium Sulphite .K oz.

■rj , 1 . . Hvdrochinon 60 gr.

Hydrochinon 60 gr. Ansco Sodium Carbonate M oz.

Ansco Sodium Carbonate 34 oz. Bromide, 5 to 80 drops satu-

Bromide Potassium 5 gr. ^ated solution

The New England Convention

That photographic conventions in war times can be
pleasant, profitable and at the same time patriotic, was
well demonstrated last month at Springfield, Mass.,
where the Photographers' Association of New England
held its twentieth annual convention. Verbatim reports
of the proceedings are published both in AbcFs Photo-
graphic Weekly and the Bulletin of Photography, which
should prove interesting reading to those who were
not privileged to attend the sessions.

Every one had a good time and in their enthusiasm
bestowed the well-earned honor of re-election upon
president L. B. Painting, to whom the Association is
deeply indebted for his untiring services.

PORTRAIT

Our Service Flag

ON July I, 1918, Ansco Company's Service Flag
bore seventy-eight stars and a new banner was
unfurled at our office . All of the boys whose ser-
vice is commemorized by a star were permanent em-
ployees of the company. Their places in our office and
plants have been filled by young women, wherever prac-
ticable, or by men above military age, so that there has
been no duplication. Of the seventy-eight, our offices
and stockroom force has supplied twenty-seven, or more
than one-
third of the
whole num-
ber. The
next larger
group com-
ing from one
unit of our
organiza-
tion is from
the Cyko
plant and
the third
largest from
the camera
works.
Ansco

C OMPANY

is proud of
the record of
sending sev-
enty-eight
of her very
best into the
World War
for Right-
eousness.

PORTRAIT

The Acetic Substitute Avalanche

WHEN the war in Europe first broke out and a
scarcity of mono-methyl paramidophenol sul-
phate, called Metol by the German manufac-
turers, became apparent, the numberless substitutes
which were offered kept our research laboratory busy
for months making analyses and publishing the results
of such analyses, and the same thing is now happening
with acetic acid substitutes because of the shortage of
this article due to our war requirements.

Our preferred substitute is citric acid; and citric acid,
as far as we know, may be procured without incon-
venience. The following formula may be used in place
of the standard Cyko fixing bath:

SOLUTION A

Water 64 ounces

Hypo 16 ounces

Dissolve and then add:

SOLUTION B (hardener)

Water 5 ounces

Sodium sulphite (dried powdered). .3^ ounce

Citric acid (to replace 28% Acetic
Acid as recommended in Cyko
standard formula) 390 grains

Alum (powdered) >^ ounce

We received recently from the Hachmeister-Lind
Chemical Co. of Pittsburg, Pa., a sample of what they
designate as Acetric Acid 2S° . Acetric is of course a
trade name, there being no such acid. Apparently
this product is a solution of sodium alum with a small
amount of some acetate, or perhaps acetic acid, added
to give it an acetic smell. This conclusion is borne out
by the fact that we get decided reaction for sodium and
aluminum and there is iron present as an impurity; also
the material, when evaporated, gives a crystal which is

PORTRAIT

characteristic of the alums. From calculations based on
its acidity, it is necessary to use 2)4. times as much of
this product as 28% acetic acid. This product prac-
tically amounts to the same thing as using sodium
bisulphite for making up an acid fixing bath, or can be
duplicated by the fixing bath recently recommended by
"Studio Light," and which formula is given on the first
page of the July, 1918, number of Portrait.

Samples have also been submitted to us by Messrs.
W. H. & F. Jordan, Jr., Inc., of New York, of 10%
acetic acid. We have analyzed this product and ob-
tained the following data:

Acetic acid. 9-555%

Specific gravity .1.0127

Organic matter Trace

Metals and alkahne earths None

Sulphuric acid Trace

Hydrochloric acid Trace

Empyreumatic impurities None

This acetic acid has the general character of that
produced in vinegar factories and appears to be made
from light wines or light beers. It is fairly pure and
would be sufficiently good for photographic work if
used in the necessary quantity. It would take prac-
tically three times as much of this article as is necessary
with 28% acid.

The Texas Convention

At the recent convention of the Texas Photog-
raphers' Association of Texas which was attended by
about one hundred photographers, much interest was
displayed in the exhibits. The following officers were
elected for the year 1918-19: President, C. I. Browne,
Dallas; Vice-president, W. D. Orr, Memphis; Secre-
tary-Treasurer, A. L. Blanchard, Hillsboro, Texas.

PORTRAIT

Cyko Portrait by A. H. Diehl

PORTRAIT

Our Cover Portrait and the Hall of Fame

SOME men reach the pinnacle of fame in their
chosen profession by devoting the best that is in
them to the attainment of that object, while
others lay their all on the altar of civic achievement to
the neglect of personal affairs, but comparatively few in
a community find time to cover both these fields of use-
fulness so successfully as does the subject of this sketch.

In the realm of photography Mr. A. H. Diehl has
distinguished himself as few have done. He served his
apprenticeship under B. L. H. Dabbs, at that time the
dean of his profession in the Pittsburg district, with
whom he was associated for over twelve years. Durng
those years he studied the art and laid the foundation
for the reputation he was afterward to achieve.

Cyko has been a constant companion of Mr. Diehl,
and he is unstinting in his praise of its adaptability.
He keeps abreast of the progress constantly being
made in photography, utilizing new methods, and some
of his "little journeys" into color work, tinting, ex-
pression and the like have given the product of his
studios a niche in the best salons of the land. Several
years ago he opened a studio in Woodlawn, Pa., to
meet the needs of his rapidly increasing patronage.

Mr. Diehl has been signally honored in recent years
in his profession. He is a member of the Pittsburg
section of the Middle Atlantic States Photographers'
Association, and in March, 191 6, he was elected secre-
tary of that association, and the following year he was
chosen as its president. He is a member of the National
Photographers' Association, and has served as a dele-
gate in the local and national conventions. He has
been secretary of the Sewickley Valley Board of Trade,
a member of the Board of Trustees of Sewickley Valley
Hospital, and was president of the Borough Council for
two terms and a member for nine years.

Speedy, Brilliant and Reliable

HAMMER PLATES

are unsurpassed. They are honest in every
smallest detail of production. Purity of
chemicals, finest of silver, perfection of emul-
sion and the last word in manufacturing
methods and machinery have made them
what they are.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

Hammer's little book

'A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29-1 3 I West Twenty-second Street

New York Citv

The Right Camera

x>

for These Stirring Times

Picture opportunities are plentiful. Be
ready for them with the Ansco V-P No. 2.
It rests so lightly in your pocket, and gets
into action so quickly, that you will want to
carry it with you always. Its fast anastigmat
lens, in exclusive combination with a simple
micrometer focusing device, assures pictures
sharp and clear in every detail.

ANSCO

CAMERAS €.SPEEDEXFII>I

The watch-case cover protecting the
high grade lens, the genuine fine grain
leather covering and the superb work-
manship are in perfect harmony with
the pictures It takes,
and unite in making
the Ansco V-P No. 2
a camera which you
will be proud to own.

Write for specimen picture

on Cyko Paper. Then ask

the Ansco dealer for a

demonstration.

ANSCO COMPANY
Binghamton. New'^jrlc

Ansco Vest-PocTcet No. S makes SV* xSV* inchpictures.

Equipped with Modico Anastigmat lens, F7.5, $20.00;

with Ansco Anastigmat lens, F6.3, $27.50 ; in Extra- ^

speed Bionic shutter f maximum speed 1/JOO

OUR BRANCH OFFICES, WHOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street
New York City

ANSCO COMPANY

325 W. Jackson Boulevard, corner Market Street

Chicago, 111.

ANSCO COMPANY
920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY

1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERLAJL CO.

22 Central Avenue, Atlanta, Ga.

SCHAEFFER PHOTO SUPPLY CO.
ion Capitol Avenue, Houston, Tex.

WOODARD, CLARKE & CO.

Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

No. 6

October, 1918

PORTRAIT

BINGHAMTON. N.Y.

Cyko Conserves Labor

''The results of our recem trial of Cyko Paper,"
writes Mr. H. A. Reedy, of the Artcraft Photo Company,
of St. Paul, Minn., ** proved that our printers could make a
third more prints in a nine -hour day than with the other
standard paper. This means that in one year four printers
could accomplish as much as six had previously done."

Cyko Conserves Eleftric Current

'*1t was also necessary to reduce the wattage of
the lamps, and this, together with the speed of the paper,
meant much less eleftricity used. In this period of labor scarcity
the financial saving should not be the only consideration. I do
not, however, allow anything for the worry saved me in meet-
ing my labor needs."

Cyko Quality Satisfies

If the amateur finisher will apply these proportions
to his own costs, he will find that the price of Cyko is praftically
the same as that of other paper. Then if he believes as I do —
that quality of work and worry about labor are worth some-
thing— he will not hesitate in making the change to Cyko
Paper. As 'beauty is only skin deep' so the diiference in the
price of Cyko Paper is in the list price, and not in the final
cost."

Anscp Company

Binghamton, N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN-PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.

Vol. X

October, 1918

No. 6

PORTRAIT
Photographers and the Draft

Gall a Meeting of Photographers in Your City and Lay
This Before Them

PHOTOGRAPHY IS A PROFESSION, THE LACK OF
WHICH WOULD PREVENT AMERICA FROM ^\^N-

NING THE WAR.
THE ESSENTIALITY OF PHOTOGRAPHY HAS
NEVER BEEN AND CANNOT BE QUESTIONED.
PHOTOGRAPHERS WERE NOT INCLUDED OR CON-
TEMPLATED IN THE "WORK OR FIGHT" REG-
ULATION OF THE PROVOST MARSHAL GENERAL.
PHOTOGRAPHER DR.\FTEES WTLO ARE GIVEN
DEFERRED CLASSIFICATION ON ACCOUNT OF
DEPENDENTS OR OTHER CAUSES CANNOT BE
FORCED TO SEEK OTHER E^IPLOYMENT UNDER

PRESENT LAW.

MALE photographers 1 8 to 45 will take their places
in the selective service in the same manner as
men of other professions.

Photography makes possible and maintains com-
munication in the army and navy, and here at home it is
the nation's bulwark for defense, for identification and
for record purposes.

Photography is an invaluable ally of the nation for
pubhcity for Liberty Loans, the propaganda work of the
food, fuel and other arms of the nation, for the Com-
mittee on Information of the U. S. Government, the
Red Cross, the Y. M. C. A. and the other organizations
that are ministering to the boys in khaki.

All civilian employes of the Government are re-
quired to have photographs of themselves attached to
their identification cards. All civilians going overseas,
even the Secretary of War, are required to have pho-

PORTRAIT

tographs attached to their passports. All employes
in munition plants are required to have photographs
attached to their identification cards.

Every officer in the service must file a photograph
with the War Department. The Department of Jus-
tice and the police forces of the country depend upon
the records of photographic studios for the tracing of
alien enemies, slackers and criminals. The General
Staff of the United States Army is depending upon
the photographers of the country to supply a history of
the war, and through the National Council of De-
fense representatives of the Photographers' Asso-
ciation of America have been duly selected by state
councils to handle this work in each state for the period
of the war. This was completely set forth in a letter
from the War College that was reproduced on pages 281
and 282 of the issue of Photographers^ Association News
of September i last.

Essential manufacturers and purveyors in all lines,
require photography in the distribution of merchandise.

Newspapers and magazines depend upon the photog-
raphers of America for a current and necessary service .

The boys overseas depend upon photographers at
home to supply them with pictures of the home folks,
of the mother, wife, sweetheart or baby left behind.

When filling out questionnaires draftees of the photo-
graphic profession are urged to indicate their own pro-
fession as a preference for military service. The army
finds increasing need for photographers, and as soldier
units increase there will be additional photographic
units formed.

All draftees should register at once with National
Headquarters. General Secretary will be glad to answer
any queries.

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Enlist Immediately Convertible Protar Lenses

THE Signal Corps at Washington issues a strong
appeal for every available Convertible Protar Lens
in this country. Nos. 13 and 17 are especially
needed in sizes eleven to nineteen-inch focus for use
overseas. Full list price will be paid for the lens if in
good condition. It is our war and the lenses are one
of the many instruments our boys Over There are
using to blast the way to Berlin.

There is no more Protar glass and the manufacturers
cannot produce even one more lens of this particular
type and size. If you have such a lens and will turn
it in at once you will render a service which can hardly
be measured in terms of its value. The Government
must have lenses immediately, but it does not wish to
be forced to commandeer them as the European
countries have done with lenses they needed. American
photographers have shown themselves most patriotic
in all demands made on them and we believe they
will respond cheerfully and without delay to this
appeal.

Address: Signal Corps, Granite Building, Rochester,
N. Y. (not Washington). Do not send your lens on
until you have written and heard from them.

The Pittsburg Salon

The Sixth Annual Pittsburg Salon of Photography
will be held in the Carnegie Institute, Department of
Fine Arts, during the month of March, 1919.

The conditions of entry and entry blanks will be
forwarded on request addressed to Charles K. Archer,
Secretary, 141 2 Carnegie Building, Pittsburg, Pa. The
last day of entry will be February 10. 191 9.

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Expert Photographers Register

Expert photographers including pictorial, commer-
cial, motion and news, are urged to register for military
service at once with the National Headquarters of the
Photographers' Association of America, Star Bldg.,
Washington, D. C.

Photography has been foremost in the war. With
the enormous increase in the army more photographers
are required for oversea and domestic service.

Men in deferred classification only can be inducted.

A number of limited service men are required for
this country, also good laboratory men. They must
be in deferred classifications.

All photographers in the new draft should register
at once, stating qualifications minutely and preference
of service, land or air. They should set forth their
particular professional qualifications in draft registry
and should make application to their commanding
officer on reaching camp.

Photographers have made a wonderful record in
service and equipment. A larger army requires more
"eyes for the army."

The Photographers' Association of America makes
all men in Uncle Sam's photographic service honorary
members of the organization. The Association is
pledged to look after the welfare of all dependents of
photographers in service and to see that their business
is not placed in jeopardy in their absence.

ACTION'S STRENGTH
IS IN ITS FOOD SUPPLY

Eat Less — "^^^ste nothing
Create a Rg^crve

AMERICA tmSt FEED
lOO.OOO. OOOAUJES

PORTRAIT

Interesting Views from Overseas

''Pictures tell the story better than words" is aptly
illustrated by the following reproductions from photo-
graphs taken by our men overseas under direction of
the Committee on Public Information, who have
kindly consented to our pubhshing them.

These views are not only interesting as depicting
what the soldier is doing and witnessing but also have
a world of meaninij and convey a message of appeal

f^rr^"^

Copyrighted by Commilke on Public Information

Scene ix Streets of Xervesa

to us at home to back up in a practical way the boys
who have left the comforts of home and their loved
ones to save our people from going through the ex-
periences suffered by Belgium, France and Italy.

The above is one of the many ghastly scenes
being met with in the invaded territory, and clearly
depicts the desolation and havoc being wrought by the
6

PORTRAIT

barbarous Hun. This illustration is reproduced from
an official Italian photograph secured through the
Committee on Public Information, and shows the re-
mains of what was the quaint old town of Nervesa,
Italy, where once resided contented humans.

The next view is self-explanatory and brings the
horrors of war to our immediate homes. Bishop
Brent is speaking at the Decoration Day ceremonies
''somewhere in France."

Copyrighted by Committee on Public Information

Decoration Day Services Somewhere In France

Airplanes are a necessary adjunct of the army, play-
ing a very important part in the maneuvers, and a view
of one is always of interest. The cut on page 8 gives
an idea of the Handley-Page ("Langley") bombing
plane, one of the big fellows that is doing such wonder-
ful work in destroying not only German efficiency but
also its morale. The illustration shows one of those

PORTRAIT

''Langleys" in the act of ascending in preparation for
its errand of destruction, and that it is accompHshing
all that has been expected of it is clearly evidenced by
the newspaper reports concerning the horror with
which the inhabitants along the Rhine territory are
imploring the German Government to enter into some
agreement with the Allies with a view to the cessation
of airplane raids on cities.

Copyrighted by CommiUee on Public Injormalion

Haxdley-Page Bombing Plane

Balloons seem to be slighted in the news reports, as
they seldom are mentioned. That they are being utilized
is clearly proved by the view shown on opposite page
of an American observer at 3,000 feet elevation in an
American stream-line observation balloon near the front.

The Committee on Public Information has dis-
continued the service of furnishing war pictures to
individuals at 10 cents each.

PORTRAIT

:\ ■ W /

\S

tr

i "JJ

Copyrighted by Committee on Public Information

An American Observation Balloon

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmaxx

X. theatrical EFFECTS

THEATRICAL portraiture is really in a class by
itself. In its domain all sorts of devices, unusual
light effects, bolder shadows, and more varied ac-
cessories aside from the costume, which, in itself, is
an attraction, seem to be permissible. It is the very
opposite of careful moderation and classic convention.
Its tendency is literary and descriptive, and it is sus-
tained by foreign ideas coming from all parts. And
instead of trying to get rid of all these embellishing
influences, this style of representation thrives by utiliz-
ing them to the fullest extent. All that is necessary is
that the glare and the caprices of the footlights are
held in rein by the judgment of the portraitist. Still,
there is always something affected about these produc-
tions, but it is more the fault of the person represented
than of the portrayer. It is the translation of a world
in which forced attitudes and colorful effects are the
order of the day.

Our illustrations depict two theatrical celebrities by
two of our best American portrait painters. The ''Lit-
tle White Dancer" by Ben Ali Haggin is an exhibition
picture, such as are used as advertisements in the lobby
of theaters. It has the true flavor of the stage about
it. The dancer stands before the curtain and the foot-
lights throw a huge shadow on the same. It does not
depict any particular incident, for when a dancer is
called out before the curtain to acknowledge the ap-
plause bestowed upon her performance she is not apt
to stand in such a rigid attitude.

It is here where the portrait proposition enters, as
bowing or picking up the flowers would hardly consti-
tute a portrait pose. In pictures of this kind one does
not reason so exactly. The main thing is a strong and

PORTRAIT

picturesque effect. The lighting from below always
conveys the impression of something weird and dazzling
and a young woman in the regular ballet costume, al-
though not a lofty vision, is sure to prove attractive.
There is nothing delicate and effeminate about this

"Little White Dancer" by Ben Ali Haggin

representation. There was no chance for half tones or
a delicately drawn image. The direct and somewhat
crude lighting prevented this. The qualities that strike
me in this picture are its cheerful vigor, its clearness

PORTRAIT

of form, and the unusual virile force of the lady, and
indeed of the whole treatment.

The portrait of Mme. Gerville-Reache by Irving R.
Wiles, is a costume picture with ordinary studio light-
ing. The face is kept in due prominence, in this in-
stance not an easy task, as the costume is quite elab-
orate. It is for that reason, no doubt, that the painter
treated the arms and hands apparently so negligently.
One arm is foreshortened and hardly shows the hand;
of the other only the hand holding the fan is visible.
If the arms and hands had been depicted with greater
animation, sporting the fan for instance, the face would
have suffered thereby. This is another instance where
the portrait idea asserted itself. The painter was, after
all, more interested in the portrait of Mme. Gerville-
Reache than in the depiction of a stage character. The
pose is not at all characteristic of Carmen as we know
her from Bizet's opera or Merimee's novel. The excuse,
of course, is that portraiture is not illustration. But why
then don the costume? ^Merely for the pictorial effect?

These are the incongruities of theatrical portraiture.
The latter rarely possesses simphcity and dignity. It
does not strive for naturalness and truth. It is inter-
ested in minor artificialities of representation.

And yet it has one merit that cannot be undervalued.
It affords greater variety of subject matter. Poverty
of invention is almost excluded, and repetition can be
more easily avoided. And if judiciously applied many
of its little varied expressions could be introduced into
legitimate portraiture. Still, artists who explain them-
selves best in their works generally use more repeti-
tions than others. This is because all good portraitists
search for the best poses and the best lighting by which
to express their conception of people, and they find it
difficult — although they know that variety is pleasing —
to quit their best formulae of expression for less good

PORTRAIT

Madame Gerville-Reache as "Carmen" by Irving R. Wiles

Cyko Portrait by Dan Zintsmaster

PORTRAIT

Our Cover Portrait and the Hall of Fame

DAN ZINTSMASTER is a Westerner by nature
even though he was born and bred in the East.
For many years the call of his real home kept
summoning him, now stronger, now fainter, until one
day back in 191 5 he anchored in Minneapolis and came
into his own. Minneapolis had been the battleground
where Dan first tasted real success, and where, in 1910,
he took his life partner, whose association and helpful
cooperation in his business have brought, together
with growth and gain, a joy in life which is enviable.

From 191 1 to 1915 in Syracuse, N. Y., under the
name of The Rembrandt Studio, Mr. and Mrs. Zints-
master worked steadily and hard to create a business
in photography that would give them a field for expres-
sion. The years in Syracuse were profitable ones and the
volume of business that came as the result of their hard
work there brought the Zintsmasters much satisfaction.

Today the product of the Reynolds Studio in Min-
neapolis is becoming better and better known. An in-
creasing number of pleased parents whose children's
first portraits were made there, return year after year
bringing the little ones, with the result that as a pho-
tographer of babies and children a high reputation is
being built up. Mr. Zintsmaster's portraits are natural,
lifelike and invariably pleasing to his patrons.

Adoption of progressive ideas and methods has never
been wanting in Mr. Zintsmaster's business. With the
advent of Professional Cyko he instantly recog-
nized its merit and he has been one of its strongest
partisans ever since. Cyko for him, as for many
others, has been the foundation stone of success, for
no matter how sincere the effort, nor how painstaking
the work may be, without a perfect medium of photo-
graphic expression, achievement is impossible. Cyko
means all this and more to Daniel W. Zintsmaster.

From Equator to the Poles

HAMMER PLATES

have set the record for Speed, RehabiHty
and Keeping Quahties. They have tri-
umphed over every condition of cold, heat
and humidity the world over.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

REG. TRADE MARK

Hammer's little book

'A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29- 1 3 I West Twenty-second Street

New York Citv

The Right Camera
for These Stirring Times

Picture opportunities are plentiful. Be
ready for them with the Ansco V-P No. 2.
It rests so lightly in your pocket, and gets
into action so quickly, that you will want to
carry it with you always. Its fast anastigmat
lens, in exclusive combination with a simple
micrometer focusing device, assures pictures
sharp and clear in every detail.

ANSCO

CAMERAS C.SPEEDEXFILM

"1 he watch-case cover protecting the
high grade lens, the genuine fine grain
leather covering and the superb work-
manship are in perfect harmony with
the pictures it takes,
and unite in making
theAnscoV-PNo. 2
a camera which you
will be proud to own.

Write for specimen picture
^■ji on Cyko Paper. Then ask
the Ansco dealer for a
demonstration.

ANSCO COMPANT
Binghamton, Ne\v"\brk

Ansco Vest-Pocket No. 2 makes SV* xSVa, inch pictures.

Equipped with Modico Anastigmat lens, FT. 5, $20.00;

tcith Ansco Anastigviat lens, F6.3, $27.50; inExtra-

eed Bionic sJiutter f maximum speed 1/200

second J. Other Ansco Cameras $2.75 up.

.X

No. 7

November, 1918 ^

^1

PORTRAIT

BINGHAMTOI\L N.Y.

Cyko Conserves Labor

1 HE RESULTS of our recent trial of Cyko Paper,"
writes Mr. H. A. Reedy, of the Artcraft Photo Company,
of St. Paul, Minn., ** proved that our printers could make a
third more prints in a nine-hour day than with the other
standard paper. This means that in one year four printers
could accomplish as much as six had previously done."

Cyko Conserves Eleclric Current

"It was also necessary to reduce the wattage of
the lamps, and this, together with the speed of the paper,
meant much less eleftricity used. In this period of labor scarcity
the financial saving should not be the only consideration. I do
not, however, allow anything for the worry saved me in meet-
ing my labor needs."

Cyko Quality Satisfies

"If the amateur finisher will apply these proportions
to his own costs, he will find that the price of Cyko is pradlically
the same as that of other paper. Then if he believes as I do —
that quality of work and worry about labor are worth some-
thing— he will not hesitate in making the change to Cyko
Paper. As * beauty is only skin deep' so the difference in the
price of Cyko Paper is in the list price, and not in the final
cost. ' '

Ansco Company

Binghamton, N. Y.

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A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN -PHOTOGRAPHY, AND COMMITTED TO A " SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton,N. Y.

Vol. X November, 1918 No. 7

What Kind of Printing Paper Is the Photog-
rapher Looking Forward To?

THIS question represents somewhat the attitude of
mind of our publishers who have heretofore taken
the lead in regard to the kind and quahty of paper
supplied to the photographer.

Cyko Paper stands today as in the past — pre-
eminently the paper for beautiful sepia prints (van Dyke
brown) and rich platinotype black-and-white prints.
There have been times during the crucial periods
brought about by the war when absence or scarcity
of certain raw materials has interfered with standard
quality, but on the whole almost insurmountable
obstacles have been bridged over. The outlook is now
brighter and we all are warranted in looking forward to
normal conditions ere long.

In looking over the portfolios of platinotype prints
in our archives made by photographic masters of yore,
such as H. P. Robinson, Rene LeBeque and others,
one cannot fail to admire their beautiful tones so devoid
of any olive warmth, and we wonder whether in some
directions the taste of some photographers has not
wandered away from the true conception of beauty as
regards the proper black monotints. Some photog-
raphers— among them one or two whose opinions we
value in the highest degree — ^have suggested to our
publishers putting out a paper for black-and-white
prints only — in fact, such a paper as they have made in an

PORTRAIT

experimental way for the purpose of showing what can
be done when the sepia tone is to be ignored — a paper
with a very long scale of well-balanced steps and
gradations but with an extreme warmth. We doubt
very much whether there would be a very large demand
for such a paper, because however much some photog-
raphers may wish to indulge their own notion the
public will continue to admire and demand beautiful
van Dyke brown prints; but that is also an individual
opinion, and what we are seeking is to get the mind of
the majority of the photographers themselves from the
point of view of their patrons. Our publishers' aim is
to please the photographers by giving them what they
want, and it would be interesting to learn from them
the ideal which they have set for the future regarding a
photographic printing medium.

Will whoever may read this take the time and trouble
to write to our publishers, the Ansco Company, express-
ing his unbiased opinion ? The Ansco Company can do
wonders; they can produce anything that is wanted in
the photographic line when proper raw materials are ob-
tainable. As an instance of their easy faculty to meet
requirements and conditions we think we may cite with
propriety their success in producing for the Aircraft
Department of the Government at the outset of the
war, a certain kind of paper for aero work. All manu-
facturers were given the opportunity of producing what
was needed. The specifications and requirements were
rather severe, it is true, but Ansco Company, after a
few experiments, produced the kind of Enlarging Con-
trast Cyko which was ordered by the Government as
the standard in that particular field. They can do for
the photographer what they did for the Government
if they can find out exactly what the photographer will
be looking forward to when times become normal, and
when everyone will be looking around for something
"just a httle different" to attract business.

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

XI. THE GRACEFUL POSE, ITS MECHANISM AND
PICTORIAL VALUE

IN the portraiture of women the graceful pose enjoys
the greatest popularity. It is the accepted method.
A lady sitter, no matter how easy and free in her
movements and gestures, rarely makes a perfect
composition which would allow copying without the
addition of further embellishments. There is in this
style little opportunity for the invention of new
pictorial devices, and the artist must possess a remark-
able capacity for assimilation. Our modern idea of
gracefulness and elegance is still infused with the spirit
of the great English and French portrait schools.

The capricious moods and nervous gayety of the
French classics, the smooth and flowing style of Gains-
borough's drapery effects, the sentimental poses of
Romney and Greuze, and all the various pictorial
inventions of a Reynolds, Raeburn, Kneller, Hoppner,
Lawrence, as well as the exquisite hand-posing of
van Dyck and the Old Masters, still sway our memory
with astonishing pertinacity. Nobody can escape these
influences. Although we may have never visited the
European galleries, we are well acquainted with their
works and cannot but feel their charm.

The artist who is most successful in this style of
interpretation seems to be the one who idly follows his
inclinations, does not trouble to enter so very deeply
into the spirit of the people he meets, but gleans all
he can and then reproduces it from a modern view-
point. This is never deliberate imitation. It is the
artist's memory that serves him as he pleases. The .,
traditions reappear unbidden. They may impress us
at times as being a trifle forced, but in a line, in a
gesture or some part of the arrangement there will

PORTRAIT

"Girl in Pink"
By Wallace W. Gilchrist Jr.

PORTRAIT

shine out a clear reminiscence of the accompHshments
of former times.

Take, for instance, the hand on the dark cushion in
Gilchrist's "Girl in Pink." Comparatively few ladies
can pose a hand with such perfect relaxation from the
wrist and manipulate the finger in such a fastidious
fashion. It needs careful arrangement, suggestion and
guidance, and actual placing, and is prompted unmis-
takably by some Old Master idea that haunted the
mind of the artist . The tilted head reminds one shghtly
of Romney and the arrangement of the bust has
something of Lawrence about it. Even the way the
girl is seated gives us an impression of artificiality.
But all these various factors welded together by some
dominant idea help to produce the desired effect of a
graceful pose. Ecclecticism, i.e., knowledge and appli-
cation of previous styles, is not harmful as it enhances
the composition. Nor does it, if well done, ever bear
any direct resemblance to the specific work of another
artist. The portraitist who carries all the Old Masters
in his mind is the last one to copy; he selects, and it is
rather his spirit that is akin to theirs.

Edmund C. Tarbell's portrait, "The Dreamer," is
a much simpler composition. The pose is not unlike
the other but more naturally taken. Also the technique
is broader, and the way- in which the right margin
line cuts into the figure gives it a more modern aspect.
Nevertheless, there is not the slightest doubt that the
pose is not an accidental one; on the contrary, that
it has been posed and rearranged and altered until it
acquired the effect of a compact entity which satisfied
the demands of grace and refinement. One feels
that the painter experienced considerable difficulties,
that he wished to assert his technique (as seen in the
background, which, despite slovenly treatment, con-

PORTRAIT

"The Dreamer"
By Edmund C. Tarbell

PORTRAIT

veys distance and atmosphere), but that his hand
was halted by all sorts of considerations.

The much desired quality of making a portrait
"sparkle with life" is difficult to obtain in this manner.
Whenever gracefulness is made the main object of a
representation, the pictorial harmony becomes tightly
bound to the despotic laws of traditional beauty. It
is naturally somewhat superficial, sentimental and
polished, but it pleases the eye.

Of Interest to All

The Portland (Oregon) Spectator recently printed the
following article, and as it is of interest to you, why
not cut it out and have your local paper print it? It
will do you and the public good.

PHOTO-GRAFTERS AT WORK

"Mothers and wives of soldiers should be on their guard
against an invasion of sharks who are practicing a compara-
tively safe but very contemptible species of robbery by a revival
of the old photograph. Going to homes where service flags are
displayed, the swindlers make an agreement for a specified and
apparently reasonable sum to enlarge the photos of the absent
soldiers. The pictures are enlarged and enclosed in cheap and
flashy frames; and it is in the enforced purchase of these that
the wives and mothers are robbed. For the frames, the can-
vasser demands an exorbitant price, and when the intended
victims refuse to pay he becomes insulting and abusive.

"The wives and mothers of soldiers should have nothing to
do with the photographers, who usually represent out-of-state
principals. There are plenty of legitimate photographers in
Portland who, for a reasonable sum, will enlarge and frame the
pictures of absent soldiers." — Bulletin of Photography.

Don't Quit

Remember, the soldiers are still in the camps,
So keep right on buying your War Savings Stamps.

— Exchange.

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Photographic Enlargements as an Appeal in
the United War Work Campaign

ONE of the best publicity features employed in
Ansco Company's home town, Binghamton, N.
Y., during the recent United War Work Cam-
paign consisted of a series of photographic window dis-
plays made by a local photographer, in which cut-out
Cyko enlargements of home boys in service were the
principal figures. The publicity committee of the
war work campaign in Binghamton appealed to each
of the photographers of the city to make up a window
display to help stimulate interest in the work for which
the campaign stood, the same as was done here and in
other cities in the Red Cross drive last spring. The
photographers all responded and many beautiful dis-
plays resulted. Mr. L.J. Buckley conceived the idea
of utilizing his negatives in an entirely novel way, and
after securing the cooperation of a competent window
dresser, set about constructing a series of huts, seven
in number, each one bearing the emblem of the organi-
zation represented in the united campaign.

The huts were made of paper to imitate wooden
buildings and were provided with doors and windows.
Evergreens used in the background gave an out-of-
doors effect. In front of each hut stood one or more
cut-out figures of officers and men, enlarged to fifty-
four inches in height from Mr. Buckley's negatives.
The enlargements, on double weight Enlarging Cyko,
were mounted on heavy board and cut to outline with
a band saw.

For the activities within the hut special poses were
taken. The illustration on the opposite page shows this
feature — the boys around a phonograph and writing
table within the hut.

The foreground of the window was filled with framed
portraits of Binghamton soldiers. At night the display

< M

c

p

PORTRAIT

was softly lighted with red lamps, and in order to
keep traffic open police guards had to be stationed
to see that the crowds kept moving. The success of
this display was so phenomenal and the possibilities
in its use so many that it has occurred to us that
photographers elsewhere would be glad to adopt the
idea when called upon to do something for their com-
munity as an aid in furthering the interests of the Red
Cross or other war-time activities.

A sad element in regard to this particular display
came through the news that one of the boys whose
likeness appeared in the window, a captain of infan-
try, had just lost his life in France. A gold star was
immediately placed upon his portrait and may be dis-
tinguished in the accompanying illustration.

The careful working out of such a display by a sin-
gle photographer or several in cooperation should
prove of wonderful value in stimulating local interest
whenever it is attempted.

Countless ideas should suggest themselves for use
in connection with Red Cross campaigns, Libert v Loan
drives or during periods of solicitation for local phil-
anthropic or charitable institutions.

We publish this article with the thought that any
town or city might receive much benefit from such a
display made possible through the initiative of its
photographers .

Boosting for the Middle Atlantic States
Convention

Twenty-five Northern New Jersey photographers
enjoyed the hospitality of William Parker at his
studio in Morristown, on the evening of November 4.
A big booster dinner will be held in January in antici-
pation of getting out a big delegation to attend the
Pittsburg convention.

PORTRAIT

EVERYBODY join up!
This is not a dreary ceremonial. It is a cheerful
reconsecration at the season of good cheer, and its
collective force means strength, victory and final peace.

You are your brother's keeper. You are the Red
Cross. The whole world needs you and is listening for
the growing volume of your pledge.

In the lands where the tooth of war has bitten to the
bone, where hitherto America had been only the un-
meaning name of something very far away, you have
carried healing and courage. Your name, the simple
name of the Red Cross, has become a synonym of
friendship and the surety of relief.

You are warmth to the frozen, medicine to the suf-
fering, food to the hungry, and comfort to the bereaved.
And to the American soldier you are ' ' the folks back
home." He doesn't want to think that a quarter of you
are with him and the rest don't care. He wants to
know, and wants the world to know, that you are with
him — to a man, to a woman, and to a child. That is
what puts heart into him and gives him standing
wherever he goes.

And you have got to look him in the face when he
comes home.

In the great week before Christmas you will be called
to the Red Cross colors, every man and woman, young
or old. There will be no exemptions, just one great
voice from all together. Let the answering message that
'^ All is well," ring from every corner of a loyal land.

The American soldier has staked his life against every
diabolical form of death. He is just a boy and he is
human and he is ours , and he wants the ' ' hail from home . ' '

Let us be prompt , everybody , everywhere , to sound it .
Let us stand by till the tattered old flag comes home. As
you love the ' ' boy ' ' and the country , make it unanimous .
— Red Cross Magazine.

PORTRAIT

Official Photographs Showing Activities of
United States Forces in France

THE following reproductions are from photographs
taken during the great offensive which was started
by the Americans and which resulted in their driv-
ing the enemy out of the St. Mihiel salient, and which
culminated recently in Germany's agreeing to the armi-

'fi^o#M^V'^/7

Copyright by Committee on Public Information

Americans in support beside a road in the captured St. Mihiel salient

stice terms imposed by the Allied governments. Be-
hind the men is seen a German narrow gauge railway
for hauling supplies. This railroad was subsequently
converted to the uses of the American Forces and greatly
helped to keep them adequately supplied with the nec-
essaries for successfully continuing their offensive.
While it would be the heiorht of national conceit to

PORTRAIT

presume to say that the x\mericans were the principal
cause of Germany's downfall, still we feel assured that
this country will not be considered vain boasters in
saying that the United States was a mighty factor in
the final determination of Germany's quitting, for with-
out the help of the United States in supplying the Allied
governments with food and munitions the end probably
would have been so far distant that no one would have
been able to see it.

Copyright by Committee on Public Information

U. S. Sailors Fighting on Land

It is difficult for the average American to conceive of
Uncle Sam's sailors doing any thing but fighting on the sea
and familiar with none but the big guns aboard warships.
But the illustration on this page fully demonstrates
their versatility as they are here shown as adepts in the
use of the powerful little weapons called machine-guns .
The havoc wrought by these death-dealing instruments
will never be known, but it is safe to say that a great
number of Germany's casualties were the result of their
use by the Allies.

PORTRAIT

i

Unconventional lighting. Subject standing in audience. Xo background used.
Made by Felix Schanz and Ben Larimer at O. M. I. Convention

PORTRAIT

Our Cover Portrait and the Hall of Fame

FELIX SCHANZ got his early training back in
the Wet Plate days as an apprentice with D . H .
Andrews of New York city, and it is there
that he laid the foundation of a successful career.

In the early eighties Mr. Schanz formed his first
acquaintance with the Anthony Company, and for
several years was a weekly caller at their office , supply-
ing them with photographs of noted actors and other
celebrities of the day. These photographs at that
time were in great demand by the public and were
sold in large numbers by photographic stock houses.

Following the advice of Horace Greeley, "Go West,
young man, go West," he struck out for the West
and in 1882 landed in Ft. Wayne, Ind., where he de-
cided to locate. Accordingly he opened a studio and
for twenty-six years conducted his business on the
main street of the city, occupying a whole building.

Mr. Schanz believes in keeping abreast of the times
and is a member of the P. A. of A.; in fact he is one
of the oldest from the point of continuous member-
ship. He is also a member of various other photo-
graphic societies, including the O. M. I.

One of the features of the O. M. I. convention held
at Cedar Point, Ohio, this year was a joint demonstra-
tion given by Mr. Schanz and Mr. Ben Larimer of
Marion, Ind. Their aim was to show that very beautiful
results could be obtained by working under unusual
light conditions. Accordingly, two sets of negatives
were made; one was made showing the conventional
method of lighting used in the average studio, and in
the other the subject was taken out into the audience
and photographed under the light conditions found
there .

On the opposite page is shown a reproduction of
one of the negatives made at that demonstration.

The sharpest demand for Speed, ReHability
and Color-range are met by

HAMMER PLATES

Purity of chemicals, skill in manufacturing

and modern methods of handling keep

them always "up to the minute"

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

REQ. TRADE MARK

Hammer's little book

"A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29-1 3 I West Twenty-second Street

New York Citv

The Right Camera
for These Stirring Times

Picture opportunities are plentiful. Be
ready for them with the Ansco V-P No, 2.
It rests so lightly in your pocket, and gets
into action so quickly, that you will want to
carry it with you always. Its fast anastigmat
lens, in exclusive combination with a simple
micrometer focusing device, assures pictures
sharp and clear in every detail.

ANSCO

CAMERAS C.SPEEDEXFILM

The watch-case cover protecting the
high grade lens, the genuine fine grain
leather covering and the superb work-
manship are in perfect harmony with
the pictures it takes,
and unite in making
theAnscoV-PNo,2
a camera which you
will be proud to own.

Write for specimen picture

en Cyko Paper. Then ask

the Ansco dealer for a

demonstration.

ANSCO COMPANY
Binghamton. New'Vbrlc

^^ 'Pocket No. 2 makes SV* xSVi inchpictures.
Equipped with Modico Anastigmat lens, F7.5, $20.00i
with Ansco Anastigmat lens, F6.3, $27JJ0; in Extra-
speed Bionio shutter (maximum speed 1/100

Answer the

Christmas Roll Call^

All you need is a heart
and a dollar ^ ^ ^ _>

No. 8

December, 1918

PORTRAIT

^

BINGHAMTOM. N.Y.

M o n o m e t

The Developer of the Present

MONQMET IS THE ONLY DEVELOPING
AGENT IDENTICAL WITH METOL
IN RAPID, ENERGETIC ACTION

MONOMET develops in the same time as
Metol and gives the same characteristic rich-
ness and quahty — with a tendency to more
briUiancy. This fundamentally essential
point many are endeavoring to secure by the
addition of a caustic alkali, as an accelerator,
to developers of the paramidophenol class —
which addition always tends to rob the print
of the typical richness required in prints on
developing paper.

MONOMET has been tried out thoroughly in
comparison with other modern developers and its
results are unquestionably superior.

MONOMET sepias are identical with those pro-
duced from prints developed with Metol.

PRICE

One-pound container ---..... $^2.50

Half-pound container 11.50

Quarter-pound container (i.OO

One-ounce container - ] .50

ANSCO COMPANY Binghamton, N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN -PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.

Vol. X December, 1918 No. 8

Greetings of the Season

THIS New Year we truly see the dawn of Peace, and it is
not too much to say that there are better times ahead.
Of course most of us cannot complain much — not at all
when we compare our lot with that of the people of European
countries who have waited man}' years for this great day. Peace
ON Earth — Sublime words! And the lessons of patience taught
by their Great Author long ago have been handed on to us
by the noble men and women of war-stricken Europe who know
better than we of this country what is meant by fortitude.

But now we are to begin again to enjoy the fullness of the earth's
bount}'-, and our first wish is that those who have suffered most
in the recent trying times may be the first to feel the spirit of
tranquillity that is approaching.

The business of the professional photographer is certain to
take on bigger proportions than ever before. With the many
thousands of men returning home from the service there is sure
to be an unprecedented demand for photographs of soldiers in
uniform. These will not be the hastily made small size or post
card "pictures," such as many of them had taken before their
departure, for they will want something to serve as a souvenir
or memorial of a great epoch in their lives. A well-made photo-
graph of them now will be treasured for generations. The
significance that such mementos will have, and the sentiment
that relatives and friends will have for the portraits of men who
participated in the great World War, will live forever. The
photographic profession should prepare itself to meet the
opportunity.

Good Will Toward Men — That is what we want to say
to all our readers — and to wish each and every one a Christmas
of real joy and a Happy New Year throughout all of 1919.

PORTRAIT

The Law of Precedence Among Chemicals

A PHOTOGRAPHER is not necessarily a chemist
and, therefore, does not always appreciate the
necessity in compounding a solution or mixing
the chemicals in the proper order or sequence. ''After
you, my dear Gaston" will not work in chemistry un-
less "Gaston" is clearly entitled to come first and
"Alphonse" next. Only two instances need be men-
tioned to illustrate this point.

For example, in the old days, when the ferrous oxalate
developer was in common use it was always, quite
rightly, the rule to make the working developer by
adding the iron to the oxalate solution and not ''vice
versa."

The reason for that is that ferrous oxalate, which is
the active substance in the developer, is freely soluble
only in the presence of an excess of oxalate of potash.
If the oxalate solution be added to that of the iron, it
is clear that at the first instance there is an excess of
iron-salts, and some ferrous oxalate must be thrown
down as a precipitate , and may not afterward dissolve .
The result in that case would be a muddy developing
solution, which will lead to staining of the whites of
the prints.

It is, in fact, a general rule in practical chemistry
that in such circumstances as these it is much easier
to keep a substance in solution than to re-dissolve it
once it has been deposited.

Another good instance of right and wrong order is
in mixing of a fixing bath composed of a mixture of
hypo-sulphite of soda and acid.

Hypo is readily decomposed by acid, with the solitary
exception of sulphurous acid. Hence, in making up
the formula just mentioned for acid fixing bath, the

PORTRAIT

order should be such that the hypo is not brought in
contact with the acid except in the presence of pro-
tecting sulphite.

The proper course is thus to mix the acid and sulphite
thoroughly together in solution, and then to add this
mixture to the hypo, previously dissolved.

It is quite wrong to add first the acid and then the
sulphite to the h}po solution, and even if the order of
acid and sulphite be reversed, it is quite possible,
owing to a local excess of acid before the whole is
thoroughly mixed, to cause a certain amount of de-
composition of the hypo. While it is impossible to
deal at length with the reason for this or that order in
making up photographic solutions, these instances will
serve to remind the reader that there are reasons for
adopting a given order, and, therefore, reasons why it
should not be departed from.

Drop in When You Are Passing By

Ansco Company extends a cordial invitation to any
photographer who may have occasion to pass through
Binghamton to make this Company a visit, so that we
may become better acquainted with each other and the
business in which we are interested.

There is a great deal of satisfaction to all of us in
personally meeting those with whom we are doing bus-
iness, as it affords an opportunity of becoming famiUar
with each other's point of view.

We must all do our best to make the change from War
Work to Peace Work as easy as possible. Co-operation
is the Big Thing needed NOW .

— Wm. B. Wilson, Secretary, U.S. Dept. of Labor.
3

PORTRAIT

Pictorial Aims of Modern Portraiture

By Sadakichi Hartmann

XII. DECORATIVE INVENTIONS

THE decorative style in portraiture is largely a
matter of embellishment, and quite often super-
fluous embellishment. It attempts to heighten
and enrich the impression we derive from a picture
by the introduction of all sorts of beautiful ac-
cessories that are beautiful in themselves, but that
have really little to do with the main purpose of the
representation, provided that the latter is supposed
to be a portrait. The artist selects haphazardly a
number of picturesque objects, and delights in the
enjoyment of their form, color and texture for their
own sake, for sincerity of expression takes a second
place with this style . Its first idea is to please . What ,
for instance, has all the bric-a-brac, the candlestick
and Japanese jar, to do with the subject in Neilson's
"The Hand Glass," except to fill space?

Of course, this overloading of a picture with an
incongruity of objects is meaningless. It is only of
value when the artist makes them say something.
Each object must have its own individuahty and im-
portance as a part of the composition so that nothing
can be taken away without spoiling the whole. In
criticising such an effort we must not forget to dis-
tinguish the leading theme from the decorative inven-
tions that encase them. These additions may be
sometimes rather commonplace, and yet be pleasing
enough to be in good taste. They may be used in order
to make an effect-loving public accept a beauty too
refined or subtle for general appreciation. Some of the
best portrait painters are guilty of this condescension.
And so if we find some very ordinary accessories
introduced into a composition we must not misjudge
the sinceritv of the whole. The clever artist makes

PORTRAIT

concessions only in points of minor importance . He
never tinkers with his original inspiration and the
thing he values.

"The Hand Glass"
By Raymond P. R. Neilson

There is no doubt that if the figure in the Neilson
picture had been placed a trifle higher a much simpler

PORTRAIT

background would have done just as well. The hand-
mirror and the powder-box would have been ample
for any incident of occupation. Even the Japanese
print behind the head of the sitter did not call for the
spottiness on the left side of the picture. But as the
expression in the face is an exceedingly virile and
spontaneous one, the artist wished to balance it by a
general animation throughout the picture. He ac-
complished the balance, the face stands out clearly.
Still we feel that this unusual variety of minor points
of interest was hardly necessary. It is surely not a
calm and tranquil harmony that has been achieved
by this wald outpouring of accessories, but rather an
exaggeration of decorative possibilities.

Louise Cox in her "^layflowers" proceeded with
more moderation. It is not as brilliant but is a more
rational composition. In the Neilson picture the
equilibrium of proportional relations is almost upset;
in this case the figure of the little girl is absolutely
the center of attraction. It absorbs everything, even
to the extent that we hardly notice the Venetian glass
with the flowers. Accessories are used merely as
accessories, and their decorative value consists solely
in producing a more perfect harmony. The shape of
the child without the cushion and the flowers would
be unsatisfactory, and only through the combination
it becomes a continuous shape that is agreeable to
the eye.

But this method hardly carries out the true signifi-
cance of the decorative idea. It must be a Httle less
temperate and calculating than in this picture, and
a httle more so in the other. The introduction of
decorative elements presupposes wilfulness, an
unrestrained play of imagination. Such a style can-
not be bound bv ordinarv rules. It should be ex-

PORTRAIT

pressive rather by richness and force than by pro-
prieties and niceties. Taste alone can be the reg-
ulating power, and a sound sense of balance will

protect the artist against overemphasis and excess, and
against anything that oversteps the limits of pictorial
imagination .

PORTRAIT

Tinting Cyko Paper with Oils

(Reprinted at the request of many readers, from the
December, 1913, number of Portrait)

THROUGH all the years of photographic manipulation,
from the days of the daguerreot>T)e, the photographer
has, to a more or less degree, endeavored to produce a life-
like effect, lacking in the purely mechanical, chemical process,
by touching up the faces, jewelr>% draperies and flowers with
color and gold. When we look upon some of this crudely tinted
imagery of early days we smile at the ridiculous attempts at
realism. They did the best they knew and man has strived
continuously since to improve methods.

Photography has not kept pace with other means of color
reproduction; but there are very few workers today who have
not access to, and chance to study, practically, perfect repro-
ductions of the greatest colorists of modern times, through the
medium of the three-color process engraving, and by this study
gain inspiration and knowledge for their own work.

JVIany are bom colorists but not draughtsmen, and wish for
a medium whereby they may give their photographic work a
personal, purely man-made element, always lacking to a degree
in the chemical image, and making the picture of more interest
and value to the purchaser and to posterity. A colored photo-
graph is more life-like and will hold interest for a longer time
than a picture in monochrome.

There are many methods of coloring photographs in vogue,
but the results usually lack something in atmospheric quality
or the colors are unnatural, brilliant and startling and lack in
the technique of the real painting. If dyes are used they im-
mediately sink into the paper and cannot be removed or changed.
Standard water colors require a special matte surface for correct
rendition.

Oil colors have alwa>'s been considered the most plastic and
have been found to give a richer and more life-like effect than
other mediums.

All surfaces of Cyko Paper, with the possible exception of
the Glossy, are well adapted to coloring in oils. Cyko Linen
and the Studio surface require no preparatory treatment. It is

PORTRAIT

optional with the user whether a thin glue sizing be given to
Semi-matte, Plat and Buff. Such a sizing is not essential but
may be used for the purpose of giving greater luster to the print.

The method of tinting is simple and the worker with only a
rudimentary knowledge of painting is given access to the realm
of color previously closed to him by lack of a proper medium.

Remember that there are no strong, briUiant, startling colors
in nature, but everything is blended in a low, harmonious tone.
Colors should never be used raw, but always in tints and com-
binations. No gold leaf' or bronze should be used to represent
jewelry as it cheapens your work and gives it a quality of being
unreal. No expensive outfit is required and only a few colors
are necessary — a small palette and knife for mixing colors (a
sheet of glass and a pocket-knife will do) , and the ordinary tube
oil colors procurable at any art store. For a starter the following
colors only are needed: Yellow ochre, vermilion, ultramarine
blue and flake or silver white. Others may be added as foimd
necessary. These practically include the colors of the spectrum
and are those used so harmoniously in nature.

The colors are mixed and thinned to the correct consistency
for application with turpentine, and for washes must be trans-
parent so that all detail shows through.

A good flesh tint, or color for light or auburn hair, is made with
vermilion and yellow ochre.

Yellow and blue make green, with red to warm the shade.

Blue for sky is warmed with yeUow.

Browns are combinations of the three.

Purple is composed of red and blue.

Pink is reduced red.

Other combinations will come to you by practice.

Two or three bristle brushes (size No. 4 or 6) are required for
applying broad washes. The colors are, if found necessary,
then wiped out or toned down with a lintless cloth to the desired
tint.

The colors may be used heavy or opaque or made lighter with
white for blocking out or working in sky, backgrounds or fohage.

For detail in laces, draperies, jewels, eyebrows, lashes, eyes
or lips, the small No. 2 or No. 3 sable brushes are best.

PORTRAIT

White is used for tracing lacey draperies and should be mixed
with color for the high lights in jewels, etc.

Shado^vy flesh tones are washed over with blue, }'ellow and
red to give a warm, slightly greenish cast.

Reds in shadow usually take on a dark purplish tinge produced
b}' mixing a little blue with strong colors.

Shadows are never black but usually take on an atmospheric
blue on grass, rocks, fohage, yellow sand or snow.

Shadows in white draperies are always blue, sometimes inclined
to green with a touch of yellow.

High lights on jewels are produced by a touch of solid white
with trace of original color.

Gold is a reddish yellow made with yellow ochre and a trace of
vermilion .

Diamonds, opals, jades or other stones may be reproduced
with the changing tints or sparkle of reaUty with the colors given.

Tinting of cheeks must be very carefully and delicately executed
as glaring color is not desired by others than the demimonde.
Study your subject and act accordingly. The amount of color
in cheeks should of course be governed by age, characteristic?
and complexion of the individual. The cheeks of babies and
young people should be tinted low, and of adults near the temples.

Lips should be delicately pink and blended softly with flesh
tones. Eyebrows and lashes are best if not touched unless ver\-
slightly.

If eyes are blue, gently touch iris with very transparent
ultramarine. If gray — add to this a minute quantity of yello\\
ochre. For brown eyes use a combination of the three colors.
Black eyes require no color.

Remember that the illusion of distance or perspective is pro-
duced by combining the real colors with atmospheric blues,
purples or warm grays, and that in a landscape subject, the
colors become softer until they blend with the distant hills and
sky.

Try it! — and you will have a new and better idea of your
own latent ability; increase 3'our reputation as an artist and
incidentally bring more shekels of the realm into your treasury.

PORTRAIT

Recruiting for the P. A. of A.

The great number of photographers who have for
years been members of the P. A. of A. are aware of
the advantages that such membership brings them;
those who are not members are invited — and urged —
to join in order that they too may share in the benefits
to be derived by being one of the Association.

The journal which goes to the members of the P. A.
of A. twice a month, free, tends to keep them fully
informed on business-pulling methods and achieve-
ments, legislation, regulations, etc., and the officers
of the P. A. of A. have the interest of each individual
member at heart, which goes to make up the success
of the Association. Photography as a profession, open
to both men and women, can well afford to give and
receive the help that the parent body should expect
from persons eager to better their own positions and
those of their confreres.

A post card sent to the General Secretary of the
P. A. of A., Mr. Chas. J. Columbus, Star Building,
Washington, D. C, will bring a membership blank and
information as to dues and other details.

A Special Mid -Year Course in Photography

We are in receipt of an announcement sent out by
the Clarence H. White School of Photography by
which we note that the School is in its fifth year and
that the Special Mid- Winter Course, offering daily
classes for a period of eight weeks, begins January
13, 1919. Various advanced methods of developing,
printing and mounting will be taught. A course for
professional photographers who, as the Clarence H.
White School Calendar says "are no longer satisfied
with the bald, hard portraits of the studio," is to begin
on March 30, and will continue for ten weeks.

Spring and summer sessions of the school, to be held

PORTRAIT

at Canaan, Conn., beginning May ist, will give many
from the larger cities an excellent opportunity to com-
bine a pleasant summer outing with instruction in
photography, which will mean in the end that they are
the gainers in several ways. After having spent a
profitable and restful six weeks of summer weather
in the country one feels more ready to return to fall
and winter work; and then too, new things learned at
such a school means that one is better prepared to
take advantage of bigger opportunities.

A catalog with full information will be mailed to
anyone writing to Clarence H. White, 122 East 17th
Street, New York City.

Pacific School of Fine Arts Pliotography
The Only School on the Coast

With new conditions arise new problems and the
Pacific School of Fine Arts Photography, located at
No. 3014 South Grand Avenue, Los Angeles, Calif.,
offers an excellent opportunity to those who would
learn the Art and Science of Photography. This is a
profession open to both men and women at all times.

The instructions for the Special Educational Course
for the amateur covers a period of two months in field
and laboratory work. The Complete Professional
Course occupies a period of thirty weeks in lectures
and practical work, including over sixty subjects. The
Fine Arts Department includes oil and water color
effects, and mediums for working out ideal conceptions,
harmony of color tones, design and composition.

The Pacific School of Fine Arts Photography has ideal
school equipment and thoroughly up-to-date instruc-
tors. Exhibits of the ablest photographers' work are
held in the class rooms, thus affording the students
opportunity to familiarize themselves with the highest
grade work. A comprehensive prospectus will be mailed
on request to the above address.

PORTRAIT

Our Cover Portrait and the Hall of Fame

MOST photographers will concede that the por-
traiture of babies and young children is one of
the hardest if not the most difhcult branch of
the profession. To become proficient in the art of pho-
tographing children requires tact, consummate skill and
a deep knowledge of child-nature.

Mr. David S. Berns is recognized in the Washington
Heights community, New York City, where his studio
is located, as an exceptionally successful recorder of
baby's cunning ways through photography. His
methods are natural and easy. Confidence once gained
means that more than half of the task is accomplished,
so no matter how much time is required to gain that
end Mr. Berns never begins to expose his plates until
complete confidence and a mutual sympathy between
artist and subject have been attained.

Mr. Berns is a real student of child-psychology, and
in accordance with his knowledge of the child's mental
processes are his methods varied to suit the tempera-
ment and mood of his subject. As a result he produces
portraits that please, and so great has his reputation
become as a specialist in this one line that fully ninety-
five per cent of his sittings are of children.

On his studio Mr. Berns has spent much time and
money in order to make it a fitting place in which
to carry on his successful work. It is a model from the
sanitary point of view, and is completely equipped
for the comfort and pleasure of his little friends.
Mr. Berns' choice of Cyko Paper as a fitting medium
for registering his work is simply in line with his care-
ful thought in everything connected with his work .

Get the habit of doing things right. This will mean:
Greater production, less waste, increased earnings. Work
for good times all the time.

— Wm. B. Wilson, Secretary, U.S. Dept. of Labor.

The Gift of Gifts at j4.11 Seasons

Ansco V-PNo. 2

O the soldiers of
the American Ex-
peditionary Forces
no gift can take
the place of a
camera — and
now that hostil-
ities haveceased
and the censorship
lifted , Axsco cam-
eras will be called
for more than
ever.

That the Ansco
V-P No. 2 is the
choice of the boys
**over there" is well
shown by the fol-
lowing letter from
one of them:

Somcirhcrc ?» France

October 4. 1918.

Ansco Company,

Binghamton, N. Y.

Gentlemen: — The enclosed cut of an Ansco Camera, together with Money Order for
$27.50 and Christmas package coupon, tells what's wanted — Ansco V-P No. 2, with F6.3
lens. Stick the coupon on tight. No writing necessary. Sincerely,

Edgab C. Athey.

AXSCO COMPANY, Binghamton, N. Y.

Cyko Conserves Labor

1 HE RESULTS of our recent trial of Cyko Paper,"
writes Mr. H. A. Reedy, of the x4.rtcraft Photo Company,
of St. Paul, Minn., **proved that our printers could make a
third more prints in a nine-hour day than with the other
standard paper. This means that in one year four printers
Id accomplish as much as six had previously done."

cou

Cyko Conserves Elecftric Current

'It was also necessary to reduce the wattage of
the lamps, and this, together with the speed of the paper, .
meant much less eleftricity used. In this period of labor scarcity
the financial saving should not be the only consideration. I do
not, however, allow anything for the worry saved me in meet-
ing my labor needs,"

Cyko Quality Satisfies

'If the amateur finisher will apply these proportions
to his ow^n costs, he will find that the price of Cyko is pradlically
the same as that of other paper. Then if he believes as I do —
that quality of work and worry about labor are worth some-
thing— he will not hesitate in making the change to Cyko
Paper. As 'beauty is only skin deep' so the difference in the
price of Cyko Paper is in the list price, and not in the final
cost."

Ansco Company

Binghamton, N. Y.

The speed and quality of

HAMMER PLATES

do much to overcome the difficuhies of

winter photography. They give the

longest possible values with

the shortest exposures.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

Hammer's little book

**A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29-1 3 I West Twenty-second Street

New York Citv

The Master Camera

All the knowledge and skill of sixty years'
camera making has been concentrated in the
Ansco V-P Speedex No. 3 — a superb pocket
companion for anyone who appreciates that
which is the best of its kind.

With the finest of fine lenses and shutter
equipments, it produces sharp, clear 2V4 x3^/4
inch pictures in rain, sunshine or shadow.

ANSCO

CAMERAS €. SPEEDEX HLM

The user of the V- P Speedex No. 3
can quickly change the speed, the lens
opening and the focus without losing
sight of the image in the ^'finder" —
an exclusive Ansco feature which
makes picture-taking easier and more
certain.

The Ansco V-P Speedex No.
3 is extremely simple in opera-
tion, exceptionally beautiful in
appearance and extraordinarily
efficient.

Write for specimen picture on
Cyko Paper. Then ask the Ansco
Dealer for a demonstration.

ANSCO COMPANY
Binghamton , 'NewYork.

Ansco V-P Speedex No. 3

Equipped with B. & L. Tessar lens,
F 4.5, $75.00; Ansco Anastigmat, F
4.5, $56.00; F 6.3 ; $40.00; F 7.5,
$31.00; in Acme Speedex shutter
(maximum speed, 1/300 second).
Other Ansco Cameras, $2.75 up.

OUR BRANCH OFFICES, WHOLES.\LE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street

New York City

ANSCO COMPANY

325 W. Jackson Boulevard, corner Market Street

Chicago, 111.

ANSCO COMPANY
920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY
1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-IMATERIAL CO.
22 Central Avenue, Atlanta, Ga.

WOODARD, CLARKE & CO.
Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street
London, W., England

^ X

No. 9

January, 1919

PORTRAIT

BINGHAMTON N-Y

M o n o m e t

The Developer of the Present

MONQMET IS THE ONLY DEVELOPING
AGENT IDENTICAL WITH :MET0L
IN RAPID, ENERGETIC ACTION

MONOMET develops in the same time as
INIetol and gives the same characteristic rich-
ness and quahty — with a tendency to more
briUiancy. This fundamentally essential
point many are endeavoring to secure by the
addition of a caustic alkali, as an accelerator,
to developers of the paramidophenol class —
which addition always tends to rob the print
of the typical richness required in i)rints on
developing paper.

MONOMET has been tried out thoroughly in
comparison with other modern developers and its
results are unquestionably superior.

MONOMET sepias are identical with those pro-
duced from prints developed with Metol.

PRICE

One-pound container -------- $'>'?.50

Half-pound container 11 .50

Quarter-pound contain«r ------- »j.(M)

One-ounce container 1 .50

ANSCO CO^NIPANY Binghamton, N. Y

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE , ALSO PROFIT-
IN- PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.

Vol. X January, 1919 No. 9

New Hopes

THE year 19 18 has passed into history. For some it
ended all things, for others all things have just begun.
It marks the greatest of all epochs. It is said that no year
A. D. or B.C. can compare with it in significance to mankind. It
has marked the downfall of military ambition and brought closer
than ever before the ideal of world government. And now that
the victory bells are ringing we look forward to the realization of
peace for all the world. What a wonderful time in which to live!
During the year just past, photography has brought to all of
us a visuaHzation of the making of history. How important to
the world has been the peace time development of the camera,
now near its perfection, which brings to us pictures from all
the world — through the media of newspapers, books, magazines
and cinema theaters. It brings us face to face with dear ones
separated by long distances, gives us pictures that make us glad,
that make us sad; pictures that teach, that preach.

There is a saying that "Printing is the art preservative of all
other arts," but with the aid of illustrations from photographs
caught while the "picture" was in the making there can be no
changing of facts or distorting the actual happening as chronicled
— the evidence is always there. Today, as never before, the art
and the science of photography should be carefully studied and
the wonderful possibilities put to the uses of mankind. We are
entering an era pregnant with opportunities of service.
Photography will grow during the next decade into a form and
stature heretofore undreamed. The researches of the past four
years of warfare have developed many things that can be applied
successfully in times of peace. During these days of "recon-
struction" professional photographers everywhere will find a
reward in searching out the goal toward which these new channels
seem to lead.

PORTRAIT

A National Convention in 1919

THE coming of Peace seems to promise not only
a continuance of the prosperity of the profes-
sional photographers of the United States but
also to increase that prosperity. Every young man
who has been in the service, either in the Army or Navy,
will be anxious to have his picture taken before he lays
aside Uncle Sam's uniform and re-enters the routine of
civil life.

The photographers of the country realize that they
will all be called upon to play a very important part
in the reconstruction program. Interest in photo-
graphic topics apparently never was greater than it is
today and this fact was carefully considered recently
by the executive board of the Photographers' Associa-
tion of America, that met in formal session on Janu-
ary 13 and 14 in Cleveland, Ohio.

At their meeting the board unanimously decided that
there was an opportunity for the Photographers' Asso-
ciation to render an inestimable service to the profes-
sion which could best be accompUshed through the
medium of a big national convention to be held some-
time during the coming summer.

The convention plans were definitely laid at Cleve-
land and the prospects are that the convention which
will be held, will surpass previous meetings in many
ways.

The program will contain many instructive features
which will be worth a great deal to those who attend
the national convention.

Particular attention is likewise being paid to the
entertaining of delegates and, due to the fact that no
national convention has been held since 1916, an ex-

PORTRAIT

ceptionally large attendance is anticipated. During
the interval from 1916 to 1919 the art and science of
photography has progressed at an amazing pace. The
development of the different photographic divisions of
the Army have meant that during the past two years
much more has been accompUshed in the way of re-
search than the previous decade had brought about.
All of these facts mean that there is a great deal for
the average photographer to learn in regard to the
progress of the times. This very fact should induce
every photographer who wishes to incorporate in his
business new and progressive ideas to make a special
effort to attend the 1919 National Convention. It is
not too early to begin making definite plans now.

The convention will probably be held at a centrally
located place in the Middle West, either late in July
or early in August. Both the date and the place will
be definitely announced later.

Series of 1919

Thrift Stamps and Government Savings Stamps
(war savings stamps)

UNCLE SAM needs everybody's help in 191 9 just
as in 1918. Thrift Stamps are for sale exactly
as in 19 18. Government Savings Stamps are
blue in color and bear the likeness of Benjamin
Franklin. They cost, during January, $4.12, increas-
ing one cent each month, and will be redeemable at
$5.00 on January i, 1924.

Don't give up the best habit the War gave us.
Keep on buying Government Savings Stamps.

PORTRAIT

New Studies of the Mechanism of Composition

By Sadakichi Hartmann

I. LOCAL VALUES

IN MOST art schools that I am acquainted with
special stress is laid upon the rendering of correct
values. Also painters seem to be fond of criticising
one another's work from that viewpoint. By local
values the painter means the accurate representation
of the color of an object seen at a certain distance and
its relation to the color of all the other objects that
surround it. To render the color as the eye actually
sees it rarely looks correct on the canvas; it needs some
kind of calculation and sympathetic manipulation to
bring the conflicting tints into a harmony.

In photography this is even more difficult as it
necessitates translating the color value into mono-
chrome. Certain plates perform the mechanical part
well enough but of course do not guarantee any harmony
of effect. The photographer ought to know how light
or dark colors are recorded under different light con-
ditions. Only this knowledge will make him the master
of the situation, as it will enable him to avoid jarring
notes and the too conspicuous rendering of certain
parts. From a purely artistic consideration, however,
the accuracy of local values is not as important in
monochrome as it is in painting, as black and white
really represent only the gradations of one color, and
a yellow dress may be as dark gray in values as a
red one. And anything that is not clear in a repre-
sentation can not be fully appreciated or at least not
criticised.

In Fig. I we see the facial values of an old man's head
drawn by a master's hand. The name of Titian
guarantees painstaking observation and skillful execu-
tion. On closer examination we will notice that there
are only four distinct values: one dark tint employed

4

PORTRAIT

in the few shadows and the actual drawing of the
features; one medium gray and one very Hght gray
tint that produced the modehng, and almost pure
white for the few high lights on the nose, beard, eye
and forehead. And if we pursue this study we will find
out that a face rarely needs more than four separate

Fig. I Head by Titian

tones. Of course there may be gradations so subtle
that it would be difficult to state whether they belong
to the darker or lighter passages, and the more closely
the latter are related to each other (i. e. the smaller
the range of their color expression is), the more un-
discernible the combining tints will be.

In the Boucher portrait. Fig. 2, there are four values
and their differentiation is unusually strong. The

PORTRAIT

Fig. 2

Portrait of a Young Woman
by Francois Boucher

diagram skeletonizes the
division. There is a strong
hght tint that monopoUzes
almost the entire head.
Only the pupils, the shad-
ow under the nose, and
parts of the neck, mouth
and eyebrows show a de-
cidedblack. The remainder
consists of tw^o middle
tints, one particularly
noticeable on the cheek
and side of the nose, and
the other under the eye-
browns, at the root of the
nose around the eyes, up-
per lip and chin. The artist apparently wanted a well
Ughted face, but the brightness was keyed a trifle too
high, and the result is a somew^iat
unnatural and chalky appearance.

The values in the portrait of
Frank Eugene (of Secession fame) ,
Fig. 3, are much finer in that re-
spect. In this print the facial
values are dominated by a middle
tint. There are no direct high
lights, the middle tint becomes a
trifle lighter along the nose, the
cheekbone and the forehead, that
is all. The darker passages, on
the other hand, are firmly carried
out and yet not as deep as in the
Boucher reproduction . The white
collar in this composition proves
to be as valuable a pictorial fac-
tor as the black cap on the head Diagram

PORTRAIT

Fig. 3

Frank Eugene
Anonymous

of the young woman. Still
the photograph has one
decided defect, it lacks
strength in comparison
with the painting.

The merits of these two
pictures are combined in
the Rembrandt Self-Por-
trait, Fig. 4. In this
portrait we encounter lum-
inosity without any strain-
ed effort, and strength
despite the softness of
gradations. The facial
values in a pictorial rep-
resentation should impress
the beholder as being life-
like, like real human flesh, clear and well modeled, and
not as manipulated light and shade arrangements. It
almost seems as if Fig. 4 was composed only in three
tints, and yet the round-
ness of the face is more
convincing than in any of
the other examples. So
there is no actual rule to
follow. The effect will de-
cide. The simplest means,
however, are, artistically
speaking, preferable to
more elaborate ones, as
they are more apt to hide
the mechanism of tech-
nique.

The complexion of a
face is in itself so subtle
and varied, so constantly

PORTRAIT

exposed to minute changes of color either by moods
or atmospheric conditions, even in a room or studio,
that it should be handled with particular care and not
according to a certain stereotyped plan of Hghting, For
it is largely complexion that lends animation and also
character to a face, and the more attention an artist
will pay to the local values of flesh, the more lifelike
his portraits will become.

There is no reason why we should not, even in
ordinary portrait photography, distinguish at the
first glance whether the sitter had a pale or ruddy
complexion, or whether some fair lady was a blonde
or brunette, or dark. Artificial means, however, like
powder or vaseline for the high lights should be avoided.
They do not help the naturalness of expression. The
proper and most reliable means are lighting and a
judicious choice in the colors of dress, accessories and
background.

The New York Association

This year the annual meeting of the New York Pho-
tographers' Association will take place in Elmira. The
Masonic Temple is the place, and the date has been
fixed for February 25, 26 and 27. Preparations have
been going on for quite some time, and all the partici-
pants will share in the benefits to be derived from the
well made plans by the officers for the year. Fred T.
Loomis is the Association's president, and he and his
board associates promise an educational and interesting
meeting. There will be demonstrations and talks by
those "who know," and all in all it is Hkely that the
promise of a meeting to be long remembered will not
only be met, but exceeded.
8

PORTRAIT

Cyko and the Red Gross in Bulgaria

Trevna, Bulgaria.

November 25, 1918.
Hon. Ansco Company,

Binghamton, N. Y., U. S. A.
Gentlemen:

For four years and until now I have not employed
with perfect satisfaction other than your Cyko pho-
tographic paper, which I have in the past obtained
from the house of Leopold Loebenstein of Vienna.
Just now I am using with a great deal of care my little
stock of Cyko, and it is with great regret that I see
the quantity dwindHng down, inasmuch as the said
house is not in a position to furnish us with any more
Cyko Paper.

The address of your honorable house I found in one
of the direction sheets of Cyko Paper. This enables
me to request you to inform me if you are disposed to
furnish Cyko Paper by parcel post — naturally, when
the post ofhce department is allowed to receive such
parcels for carriage to my country. In the event of a
favorable response I will thank you to quote me your
very best prices and terms.

In addition to this request I wish to be permitted,
in my own name and in the name of a large number
of my fellow-citizens, to present to you our thanks for
the fine treatment and the great humanity of the
noble American people toward the Httle and unhappy
Bulgaria.

With my very best wishes.

Nicola V. Sirneff,

Trevna, Bulgaria.
{Photographer of the Bulgarian Red Cross.)

PORTRAIT

x\n Automatic Finishing Plant

FOR several years Mr. H. E. Woolever of Crystal
Beach, Ont., has employed in his studios a
special plate developing machine of his own in-
vention, which has resulted in saving the services of
one man at each studio, and which in addition has
produced better quality work than the ordinary process.
This machine automatically develops, fixes, washes and
dries each plate in an average time of approximately
fifteen minutes. Mr. Woolever 's success with this ma-
chine inspired him to pass on his idea to others with
the result that about five years ago he decided to make
a machine that would develop and handle films in a
similar manner which could be sold to the trade and in-
stalled in any studio. Several machines were built that
worked fairly well, but not until the summer of 191 8
was one produced which seemed to be satisfactory in all
respects. Machines of this perfected type have now
been built and are ready for the market, Mr. Woolever
has also completed a system for handling prints with a
minimum of labor , mistakes and spoiled work which is
based upon the use of his developing machine . The sys-
tem has fourteen years of practical adaptation back of
it, and, according to Air. Woolever, those who have seen
it thus far have only words of commendation for it.
The devices are one automatic developing machine
handhng films, packs and plates with equal facility;
one film drying reel for rapidly drying films; two im-
proved rapid film printers (the inventor claims that he
has printed and developed at the rate of $6 worth of
work per hour, day after day, from miscellaneous work
as received); one revolving hypo table for prints (this
is claimed to insure perfect fixation of every print, as
it automatically times the work placed in the baths);
one print washer (designed to insure perfect washing),
and one improved rapid print dryer.

PORTRAIT

The details of the system include methods of book-
ing in work, checking for errors and bad prints, and an
account of all business done. This is said to assure the
user and his customers of a minimum of mistakes and
to give them the benefit of everything pertaining to
good work and service.

Mr. Woolever claims that the automatic developing
machine will handle films, packs or plates at the rate
of one per minute, 60 per hour, 500 per ten hours,
allowing thirty minutes to clear the machine of films
placed therein.

The operation is said to be very simple, merely un-
rolling the film, inserting it in a ''carrier" and placing
the "carrier" in the machine. This operation is re-
peated until the films emerge, when the operator hangs
them up to dry. The films are inserted alternately in
the carrier so that the operation is continuous. The
development, fixing and washing operations are each
automatically timed.

The other devices of the system are said to be sim-
ple and easy to operate, especially the printer. The
operator may stand on both feet to operate the machine ,
and has both hands at liberty all the time to handle
paper, films and do his own print developing; or, if he
desires, he may operate the machine when seated, or
alternately sitting and standing, to make the work
easier. There is no lifting the foot all day and resting
the entire weight of the body on one foot when using
this machine.

We are informed by the inventor that he alone as
printer has produced over $6000 worth of work in
twelve months. Mr. Woolever claims that one outfit
with two printers will turn out work to the extent of
$100 per day (including enlarging).

What Mr. Woolever insists is the best claim for his
system is that all work received up to two hours before

PORTRAIT

closing time may be finished that same day. Three
hours is the minimum time of deUvery after receiving
films, and the work has been done a great many times
by the inventor without interfering with any of the
other work in progress. The idea is that one may do
rapid service or regular 24-hour service at his option
with this system without altering any part of the plant,
and to the inventor's knowledge with no other system
in use can this be accomphshed.

Mr. Woolever will gladly supply any further infor-
mation in regard to his perfected system upon receipt
of enquiries from persons interested.

All Roads Lead to Pittsburg

On the evening of January 14 at the Hotel Schen-
ley, Pittsburg, one hundred forty- three photographers
and their guests attended a "Booster Dinner," the
object of which was to plan for the success of the
Middle Atlantic States Convention, which is to be held
at the same hotel on March 18, 19 and 20, 1919.

In attendance at this dinner were the officers of the
P. A. of A., as well as those of the Middle Atlantic
States Association, representatives of several manu-
facturers and a large number of out-of-town photog-
raphers.

Judging from the tremendous enthusiasm which pre-
vailed at the meeting and banquet the M. A. S. Con-
vention has every prospect of being a record-breaker
for the Association and a rival of many meetings that
have been national in their scope.

Every photographer who wants to learn all about
whatever is new in the profession, and who desires to
have a wonderfully pleasant time among his brother
craftsmen will do well to arrange to go to Pittsburg
for the coming convention.

PORTRAIT

Making Pictures Abroad

Without any question the desire is strong in the
hearts of many photographers in this country to go to
Europe for the main purpose of taking pictures of those
places figuring in the recently made history of the
world.

Of course the big opportunity is right now — before
any very great amount of reconstruction work is done
to change the aspect of those portions of devastated
country. But going overseas now is not so easy as it
would seem. First, it is necessary to apply for a pass-
port to the Passport Bureau of the State Department
at Washington, by letter, stating clearly the object of
the trip decided upon and the camps one is desirous of
visiting. When the passport application for a photog-
rapher is approved by the State Department the case
is then referred to the Military Intelhgence Depart-
ment, which automatically issues a permit. After that
a response is awaited from General Pershing or the
commanding officer of the camp in which the visiting
photographer wishes to operate on the other side. It
is not known at this time the position General Pershing
takes in regard to this matter.

It is quite certain that until the middle of the sum-
mer there will be several hundred thousand troops in
France, and such lasting memoirs as may be made by
professional photographers under the existing circum-
stances will be more highly prized as time goes on.

Are we giving our best efforts to the country, or do we
think that because the war is over we can take life easy ?
Prosperity is up to us ! Keep the wheels turning !

— Wm. B. Wilson, Secretary, U.S. Dept. of Labor.

PORTRAIT

Cyko Portrait by Lee Brothers

PORTRAIT

Our Cover Portrait and the Hall of Fame

THE name of Lee Brothers has for more than
thirty years been associated with a business which
ranks first of its kind in a city of many top-notch
enterprises and industries, Minneapohs. For the past
seventeen years Thorwald Lee has been at the head of
the business, his brother Peter having retired from the
firm in 1901.

The studios, located at No. 527 Marquette Avenue,
right in the heart of the business district, occupy two
entire floors of the building. There are operating
rooms on each floor, a magnificent reception room and
model workrooms.

One of the finest tributes to the photographic talent
of the Lee Bros. Studio has been the work accompHshed
for the Minnesota State Historical Society. Chosen
by the State Historical Commission as its official
photographers, Lee Brothers set about preparing for
the State archives photographic memorials to every
pioneer and prominent citizen of Minnesota. The
prints for this work are of uniform size, 14 x 20 inch
enlargements, all on Cyko Professional Buff, toned
sepia. Each print is enclosed in a heavy buff folder,
on the outside of which complete personal historical
data is given.

It is said that the Minnesota historical records are
the most complete and comprehensive in this respect
of any state in the Union.

As photographers of men Lee Brothers have made a
wonderful reputation. Scarcely less is their reputation
along the general fines of photographic endeavor.

Thorwald Lee is a man of rare business genius, and
the marvelous business he has built stands as a re-
markable testimonial to his ability.

HAMMER PLATES

possess high speed and great latitude
in exposure. Their record is one of
unbroken successes. Purity of chem-
icals, perfection of emulsion and
manufacturing methods make them

ALWAYS DEPENDABLE

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

Hammer's little book

'A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29- 1 3 I West Twenty-second Street

New York City

The Gift of Gifts at -All Seasons

AnscoV-PNo. 2

O the soldiers of
the American Ex-
peditionary Forces
no gift can take
the place of a
camera — and
now that hostil-
ities haveceased
and the censorship
lifted , Ansco cam-
eras will be called
for more than
ever.

That the Ansco
V-P No. % is the
choice of the boys
* ' over there' ' is well
shown by the fol-
lowing letter from
one of them:

Ansco Company. Somewhere in France

Binghamton, N. Y. October 4, 1918.

Gentlemen: — ^The enclosed cut of an Ansco Camera, together with Money Order for
$27.50 and Christmas package coupon, tells what's wanted — Ansco V-P No. 2, with F 6.3
lens. Stick the coupon on tight. No writing necessary. Sincerely,

EoGAR C. Athev.

ANSCO COMPANY, Binghamton, X. Y.

OUR BRANCH OFFICES, WTIOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street
New York City

ANSCO COMP.\NY

325 W. Jackson Boulevard, corner Market Street

Chicago, 111.

ANSCO COMPANY
920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY
1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY
347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PH0T0-:MATERIAL CO.
22 Central Avenue, Atlanta, Ga.

WOODARD, CLARKE & CO.
Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

No. 10

February, 1919

PORTRAIT

BINGHAMTON NV

M o n o m e t

The Developer of the Present

MONOMET IS THE ONLY DEVELOPING
AGENT IDENTICAL WITH METOL
IN RAPID, ENERGETIC ACTION

MONOMET develops in the same time as
Metol and gives the same characteristic rich-
ness and quahty — with a tendency to more
brilHancy. This fundamentally essential
point many are endeavoring to secure by the
addition of a caustic alkali, as an accelerator,
to developers of the paramidophenol class —
which addition always tends to rob the print
of the typical richness required in i)rints on
developing paper.

MONOMET has been tried out thoroughly in
comparison with other modern developers and its
results are unquestionably superior.

MONOMET sepias are identical with those pro-
duced from prints developed with Metol.

riUCE

One-pound container ^ii.SO

Half-pound container 1 1 .50

Quarter-pound container «{.()()

One-ounce container ---..... j ^o

ANSCO COMPANY Hinghamton. N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN- PHOTOGRAPHY. AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X February, 1919 No. 10

Ansco Professional Printing Machines

IN order that the large army of Cyko users might
obtain the best results by working with a depend-
able light source, we designed and have manufac-
tured for a number of years a printing machine which
has met with great favor wherever it has been used.

The trouble with former printing machines was, first,
the high price asked for them; second, the difficulty in
installing them owing to the fact that they used an arc
light requiring special wiring in the studio; third, the
great expense of maintenance inasmuch as the arc
light was burning continuously between exposures;
fourth, the unevenness of the light because of its being
an arc lamp. All these drawbacks have been eliminated
in the Ansco Printer. The price is within the reach of
everybody and the machine can be connected to an
ordinary electric-light socket.

The printer is equipped with a small ruby lamp and
four loo-watt nitrogen lamps placed in a horizontal
position , which arrangement gives an even illumination
and the greatest amount of light.

The Ansco 11x14 Printer, as the illustration shows,
is equipped with side extensions which are easily raised
to position or may be lowered to economize space. The
system of spring tension is such as to always insure con-
tact of the paper with the negative and give an equal
pressure to all parts of the negative . This is much as-
sisted by the special high-grade piano felt of exceptional

PORTRAIT

thickness with which the under side of the lift is covered .
The legs are removable for shipping.

One of the unique features of this useful printing
machine is the special side switch, the object of which
is to turn on the white lights when required for adjusting
the negative, or fixing the mask, and which can be used

Ansco II X 14 Professional Printing Machine

should any accident occur to the main switch. The ma-
chine will take any negative up to and including 11 x 14,
and make prints on paper up to 14 x 17 in size. It is
suppHed with plate glass one-quarter inch thick meas-
uring 13^x153/^, which gives a free light opening of
about 13 X isJ4- One ground glass is also supplied.

Because of danger of breakage in transportation, the
lamps are not generally supplied and are not included
in the price of the machine, as they may be purchased
locally from any dealer in electrical supplies.

In operation the red light is burning while the paper
is being adjusted to the negative. When the pressure
bar is brought down the red light goes out and the

PORTRAIT

white light comes on; when the pressure bar is re-
leased the white light goes out and the red light comes
on. This avoids the necessity of a complicated shutter
arrangement, and is also an economy in the use of elec-
trical current for the reason that the lamps are burning
only when the print is actually being exposed.

The price, exclusive of the lamps, is in the United
States $50.00; in Canada $55.00.

We will on request furnish the lamps with the machine
at an additional cost of $6.50.

ANSCO 8x10 PROFESSIONAL PRINTING MACHINE

■ The Ansco 8x10 Printing Machine as now furnished
is made in exact accordance with the Government model
and specifications. It was used by the Government in
large quantities during the war for field work in France .
The motor-lorries containing photographic darkrooms
were equipped with Ansco 8x10 Printing Machines after
very careful investigation by Government experts of all
printing machines regularly manufactured or especially
designed for the purpose. The Ansco machine withstood
all their tests and appealed to them because of its sim-
plicity, its ruggedness and its performance.

It will accomplish all that is claimed for the 11 x 14
Printing Machine except that it is a smaller size, being
limited to an 8 x 10 negative. Since it is designed to be
set upon a table it is not provided with legs, nor has
it the side extensions.

It is equipped with four forty-watt Mazda lamps
placed horizontally and a ruby lamp, all of which are
included in the price. , It has an automatic operating
switch and in addition a side switch to turn on the white
light when required for adjusting the negative and ar-
ranging the mask. The moment the current is turned
on the red lamp is lighted for the purpose of adjusting
the paper. When the pressure bar is brought down this
red light goes out and the white light comes on. When

PORTRAIT

pressure bar is released the white Hght goes out and
the red Hght comes on automatically, thus insuring the
best economy of current.

The machine is well ventilated to take care of the
heat and is built of seasoned lumber, mahogany finish.
It is furnished with a quarter-inch plate glass, measuring
8^2 X io>^, which gives a full free light opening of 8x lo.

^^^^^^^^^^^H[oj^^^^^^^^^H

a

y|Hip^v

Ansco 8x io Professional Printing Machine

One ground glass is also supplied. The attachment cord
which comes with the machine enables it to be con-
nected to an ordinary electric-light socket . The machine
is furnished complete with lamps, ready for use.
Price $30.00 in United States; $32.50 in Canada.

PORTRAIT
Pittsburg Convention

March, 18, 19, 20

First Grand Prize — Open to all photographers in
U. S. and Canada. Gold Medal. Exhibit to consist
of three portraits, which must be made from 8xio
plates, or larger. $2 must accompany entry, which
will pay for membership in organization for one year .

Class A — Open to all photographers in the Middle
Atlantic States. Three portraits to constitute ex-
hibit, the three having highest rating. First prize,
Gold Medal; second prize. Silver Medal. All prints
to be made from 8x10 plates or larger.

Class B — Open to photographers in cities of 40,000 to
100,000 inhabitants in the M. A. S. jurisdiction.
First prize. Silver Medal; second prize. Bronze.
Portraits to be from 8x10 plates.

Class C — Open to photographers in cities of 15,000 to
40,000 inhabitants in M. A. S. jurisdiction. First
prize, Silver Medal; second prize. Bronze. 8x10
plates or under.

Class D — Open to photographers in cities under 15,000.
First prize, Silver Medal; second prize, Bronze.

Class E — Home Portraiture, for three best portraits
not made in a studio. First prize, Gold Medal;
second prize. Silver.

Commercial Photography — Open to all photographers in
M. A. S. jurisdiction for the three best pictures of
commercial subjects. Contact prints. First prize,
Silver Medal; second prize. Bronze.

The Abel's Cup — A special prize offered by Abel's
Photographic Weekly, for the two best portraits, not
less than 5x8 inches, made entirely by an employee
working in any studio in the Middle Atlantic States
jurisdiction. No entry fee.

Bulletin of Photography Prize — $10 in gold for the best
picture exhibited by a member of the P. A. of M. A. S.
Picture can be entered in the classes or as an exhibit.

PORTRAIT

RULES GOVERNING AWARDS

Portraits may be framed or unframed.

Three portraits shall constitute an exhibit, except
special prizes; awards to be based on the highest rating
of the three portraits. No names or identification marks
to be on face of portraits. Enclose card or name and
address with exhibit, specifying the class in which they

PHOTOGRAPHERS

MIDDLE ATLANTIC STATES

H0TE15CHEHLEYPITTSBURGH.PA.
MARCHI8I9-20I9I9-

are entered, which will be placed with your exhibit
after they are judged and hung.

A fee of two dollars must accompany all exhibits for
the Grand Prize, which carries with it a membership in
the organization for one year.

Exhibitors in all other classes must be in good stand-
ing in the Association, except Special Classes.
6

PORTRAIT

^".

PORTRAIT

New Studies of the Mechanism of Composition

By Sadakichi Hartmanx

II. CONTRAST

IN LOOKING at a picture, whenever our eye is
startled and pleased by some note of animation, it
is almost always due to the introduction and proper
apphcation of contrast.

Contrast consists of a successful combination of
opposing elements, and is a familiar factor in all arts.
In painting it is produced by the juxtaposition of com-
plimentary colors as yellow and violet or red and green-
blue ; in
monoch-
rome by a
de cided
differen-
tiation of
dark and
light val-
ues.: It can
alsobe car-
ried out by
the oppo-
sition of
large and
small sha-
pes, of cur-
ved and
straigh t
lines, or
planes of
which one
is smooth
while the
others are ^. , ,

J J FiK. I Stiifly for "Joan d Arc

crowded Anonymous

PORTRAIT

with texture and detail. But the main vehicle of ex-
pression of contrast in monochrome is the juxtaposition
of black and white, as shown in the armor of Fig. i .

Contrast has a stimulating effect on the eye and con-
stitutes the most appropriate means to avoid or break
up tonal monotony. It accentuates the dark and light
passages and represents to our vision, if they are well
balanced, two sources of enjoyment at the same time.
The eye glides listlessly over a smooth uniform middle
tint, while the play of light and dark within a limited
area is certain of closer examination. It holds the
interest, even if only for the fraction of a second. And
our esthetic appreciation, involuntarily and uncon-
sciously, de-
pends on and
is influenced
considerably
by such min-
ute details.

It is a mis-
take, how-
ever, to com-
pose a picture
with contrast
as the leading
feature. This
was attempt-
ed in Fig. 2.
Contrastdoes
not lend itself
to the manip-
ulation of
large shapes.
The vase and
foliage in the
background

are not of Fig. 2 Marguerite Namara

Anonymous

PORTRAIT

sufficient strength to balance the figure, and the shape
and outhnes of the figure are too angular to be par-
ticularly pleasing to the eye. And the shape is so
large and so monotonous in values that the eye notices
nothing but the brightness of the figure. In Fig. i there
is real contrast, but it is repeated too frequently, and
the print in consequence looks spotty. Still, it is
curious how the face, despite all the spottiness that
surrounds it, has kept its importance. It has remained,
as it should, the leading point of interest. And this is
due to its flatness of tone. The face, although rendered
inmiddletint,
represents
the largest
light shape in
the composi-
tion, and for
that reason
looks more
prominen t
than any of
the smaller
though brigh-
ter shapes.

In the Nat-
tier portrait,
Fig. 3, we see
contrast em-
ployed in the
simplest fash-
ion possible.
The face and
bust repres-
ent one broad
effect of con-
trast. There- ^'°-^ "^"Bj^N-aS""

PORTRAIT

suit is very much like the Boucher portrait in the last
number of our publication, the lighted parts look forced
and have a chalky appearance . Large lighted planes that
are so bright as to show no subtle gradations of tone are
always dangerous material to handle. They are apt to
look bald and uninteresting, no matter how well, as
in this instance, the shadow parts may be modeled.
The effect, however, has one decided merit. The face
and the bust in themselves are of such pleasing shape
and so entirely controlled by the lighter parts (which
occupy almost four-fifths of the entire shape) that they
make a note of perfect contrast with the rest of the
picture,
the dress
and the
plain
b a c k-
ground.
From
this
V i e w -
point the
arrange-
ment re-
presents
a decided
improve-
ment on
either
Figs. I
or 2.

B u t
contrast
t o b e
truly ef-
fective

must be

Fig.

"Man with the Glove"
By Titian

PORTRAIT

handled much more judiciously. Titian's famous portrait
of the "Man with the Glove" is a noteworthy example. In
it contrast is produced in a twofold fashion. First, by
the three dominating shapes, the face and shirtfront
and the two hands, arranged in triangular fashion,
which make a perfect combination of contrast with the
dark gown and background. And second, of detail
effects of contrast in the three shapes themseh^es.
Notice the highlights in the eyes, on the nose, lips, and
forehead. They are so strong and precise that they
rise distinctly but not too conspicuously from the rather
dark tonality of the face. A still finer effect was accom-
plished by the ruffles around the neck and also around
the wrists. They give a wonderful vitality to the figure.
They really make the picture. They are the most im-
portant and dominant parts of the composition, and
they are so cleverly introduced, i. e., their shape of
narrow circular lines is so inconspicuous, that they are
after all mere accessories to the more important parts .

So it seems that contrast is truly harmonious only
when employed in a frugal manner, in small but distinct
shapes within a small area. It should never attract
too much attention and occupy the eye for too long a
time. No special deciphering (as in Figs, i and 2) should
be necessary; it should meet the eye in a natural
matter-of-fact manner — -the mechanism should never
be visible, for enjoyment in art does not want to be
bothered with technical explanations. They always
prove confusing to the layman and hinder him from
grasping the total effect, which after all is the principal
reason why a picture is made.

Contrast is a vehicle of great force, but it is rather an
embellishment than a main factor, merely a minor wheel
in the intricate mechanism of composition. And the
more delicately it is introduced the more satisfactory
will be the result.

PORTRAIT

Our Cover Portrait and the Hall of Fame

THE subject of this sketch, Wm. C. Parker, is prob-
ably so well known to the photographers of the East
as to need no further introduction. He has been a
constant attendant at the various conventions in the
eastern section of the country where he has exhibited
many notable specimens of his work, and has gained a
wide acquaintanceship among his fellow craftsmen.

Mr. Parker was born on a farm at Perry, N. Y.
When he was twelve years old his father, who was then
in failing health, moved to California in the hope that
the warmer climate would prove beneficial, but after a
short sojourn on the Coast the family returned to Perry,
from where, a little later, the father went on a prospect-
ing trip and finally located in Morristown, N. J., where
he established the Parker Studio. WiUiam and his
brother Lewis helped their father in his work and when
the father died in 1898, the two sons continued the
business. That they have made a success is evidenced
by the beautiful building which now houses the Parker
Studio. This structure from an artistic viewpoint is
probably unsurpassed by any studio in this country;
all the architectural work was done by the Messrs.
Parker, and the outcome of their efforts is a highly
practical workshop of exceptional elegance.

Mr. Parker is a close student of photography and
his artistic ability has stood him in good stead as an
aid to getting results. He attributes the success of the
Parker Studio to strict attention to business, to an
earnest desire to make not only a picture but a portrait
which will give some idea of the real man or woman,
and to the genuine satisfaction in feeling that a patron
has been pleased a little more than he expected.

Mr. Parker's warm praise of Cyko and his con-
sistent use of it in his business point very clearly to one
element of his success. On the following pages are
shown some specimens of Mr .^Parker's art.

PORTRAIT

Cyko portrait by Wm. C. Parker

PORTRAIT

Cyko portrait by Wm. C. Parker

When it's hot in some parts of the world

it's cold in others. Whether hot or cold or

anywhere between,

HAMMER PLATES

are speedy and dependable. Their record

proves their worth. Note: special brands

for special needs.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic, and D. C.
Orthochromatic Plates for color values.

RES. TRADE MARK

Hammer's little book

'A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29- 1 3 I West Twenty-second Street

New York Citv

The Gift of Gifts at jill Seasons

AnscoV-PNo. 2

O the soldiers of
the American Ex-
peditionary Forces
no gift can take
the place of a
camera — and
now that hostil-
ities haveceased
and the censorship
lifted, Ansco cam-
eras will be called
for more than
ever.

That the Ansco
V-P No. 2 is the
choice of the boys
' ' over there" is well
shown by the fol-
lowing letter from
one of them:

Ansco Company, Someichere in France

Binghamton, N. Y. October 4, 1918.

Gentlemen: — ^The enclosed cut of an Ansco Camera, together with Money Order for
$27.50 and Christmas package coupon, tells what's wanted — Ansco V-P No. 2, with F6.3
lens. Stick the coupou on tight. No writing necessary. Sincerely,

Edgak C. Athey.

ANSCO COMPANY, Binghamton, N. Y.

OUR BRANCH OFFICES, \\'HOLES.\LE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twent3'-second Street

New York City

ANSCO COMPANY

325 W. Jackson Boulevard, corner Market Street

Chicago, III.

ANSCO COMPANY
920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY

1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY
347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERIAL CO.
22 Central Avenue, Atlanta, Ga.

WOODARD, CLARKE & CO.
Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

. X

March, 1919

PORTRAIT

II

i

BINGHAMTON, N. Y.

M o n o m e t

The Developer of the Present

MQNOMET IS THE ONLY DEVELOriNG
AGENT IDENTICAL WITH METOL
IN RAPID, ENERGETIC ACTION

MONOMET develops in the same time as
Metol and gives the same characteristic rich-
ness and quahty — with a tendency to more
brilhancy. This fundamentally essential
point many are endeavoring to secure by the
addition of a caustic alkali, as an accelerator,
to developers of the paramidophenol class —
which addition always tends to rob the print
of the typical richness required in j^rints on
developing paper.

MONOMET has been tried out thoroughly in
comparison with other modern developers and its
results are unquestionably superior.

MONOMET sepias are identical with those pro-
duced from prints developed with Metol.

PHK K

One-pound container $^.50

Half-pound container - 1 ] .50

Quarter-pound container (J.(Mt

One-ounce container 1 Jid

ANSCO COMPANY Hinshamton, X. V.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN- PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X March, 1919 No. 11

Ansco Enlarging Outfit

THE Ansco Enlarging Outfit is intended primarily
for use in professional studios and high-grade
commercial estabhshments where enlargements
up to 20 X 24 are desired from negatives 8 x 10 and
smaller. It was brought out by us in 191 5 as a demon-
stration outfit for use at the National Convention in
Indianapolis, with no idea of manufacturing it for re-
sale. The outfit met with such hearty approval by
the photographers who saw it there that we agreed to
make up a few for sale to those who wished them. Since
that time a large number of these outfits have been
made, all of which are in use with perfect satisfaction
in studios in various parts of the country.

The outfit is illustrated on page 3. It consists, as
will be seen, of an 8 x 10 Enlarging Camera equipped
with extension bellows, and provided with a negative
holder and opal glass carrier, copying board or easel,
and stand. The stand consists of a supporting table
30 inches high, covering a floor space 31 by 57 inches.
This table is fitted with two drawers each 19x25 inches
in size which can be used for storing paper, tinting
masks and other accessories that may be needed for use
when operating the outfit. The camera is fitted with
rising and sliding front for the purpose of centering the
subject, and an extension cone is furnished for use with
extra long focus lenses.

The cable controls for operating the camera and easel

PORTRAIT

are a special feature of the outfit. These enable the
operator to focus and adjust the size of the enlargement
at one operation without shifting his position from the
side of the outfit. The illustration shows the location
of the hand- wheels which operate the control cables.
Four spiral resistance springs are provided to take up
all vibrations and jarring so that, when an enlargement
is being exposed, diffusion or loss of focus will be
avoided. Two tension screws allow the taking up of
any slack in the cables.

The table on which the enlarging camera is mounted
is made of whitewood, finished in rich, dark mahogany,
and the camera is of mahogany and cherry, finished to
match the rest of the outfit. The outfit presents a hand-
some appearance, although it is built for service and
durabihty rather than beauty. The length of the entire
outfit is eight feet and its height at the easel is 67 inches.
There is nothing about the outfit to get out of order or
out of place. Every part is substantially made and
solidly fitted. The supporting table is rugged and
strong so that it is not easily jarred. The entire outfit
will last indefinitely and give the very best possible
service .

The copying board or easel is fitted with hinges so
that it can be dropped to a horizontal position, resting
solidly on the track JEor affixing the enlarging paper,
from which position it may be instantly swung to the
perpendicular for exposure.

With each outfit is included a ruled guide, which is
placed upon the easel to assist the operator in deter-
mining the exact size and focus of the projected print
without difficulty.

The Ansco Enlarging Outfit is designed for operation
with the Cooper Hewitt ^lercury \'apor Light. The
lamps, or "M tubes" as they are designated, may be
obtained for use with alternating current or for direct
current, whichever is specified. This light fulfills the

PORTRAIT

PORTRAIT

conditions demanded of an artificial printing light in
that it is steady, without flicker or variation, can be
used without condensing lenses or many dense mediums
to get diffusion, does not need constant trimming and
has a long useful life.

Complete light outfit mounted M-shaped Cooper Hewitt Tube in Ansco Outfit
on stand, showing auxiliary Auxihary not shown

PRICES ANSCO ENLARGING OUTFIT

Complete, without light, in U. S. A, . . . $120
Complete, without light, in Canada ... 150

PRICES ANSCO-COOPER HEWITT LIGHT OUTFITS

Ansco Outfit No. 54 for direct current . . $64.00
Outfit No. 64 for alternating current . . . . 71.50

Renewal tubes for either outfit 20.00

The quality of the light is such that it brings out the

PORTRAIT

roundness and the atmosphere of the negative and does
not accentuate any coarseness or retouching. It gives
a strong, perfectly even field with two sheets of opal
glass placed five-eighths of an inch apart.

The light outfit has a special holder and reflector
adapted to use with the Ansco Enlarging Camera.
It comprises one M-shaped automatic starting tube,
with white porcelain enameled reflector, and an ad-
justable iron stand, together with the special Ansco
lamp holder with adapter.

When ordering for direct current the voltage to be
used should be specified. When ordering for alternat-
ing current it is necessary to specify the voltage to be
used and in addition thereto the number of cycles.

Light outfits will not be supplied by us for the Cana-
dian trade, but must be ordered direct from Cooper
Hewitt Electric Company, Hoboken, N.J.

To Correct a Misleading Announcement

OUR attention has been called to the possibility
of our having created a misleading impression
through the publication of an announcement of
the Pacific School of Photography, Los Angeles, which
appeared in the December, 19 18, number of Portrait.
The announcement appears to have our editorial sanc-
tion, whereas it was published practically verbatim, by
request, on behalf of the school itself. Neither
Portrait nor Ansco Company desires to be placed
in the position of endorsing the above mentioned
school, which, upon investigation, has been found to
be closed at present.

Portrait stands ready at all times to assist any
worthy enterprise, but it cannot assume any responsi-
bility, and persons interested in any school of photog-
raphy should make careful personal investigations of
such institutions before arriving at a definite decision.

PORTRAIT

BENJAMIN WALLACE DOUGLASS

HICKORY HILL

TREVLAC, INDIAN,

The book, dramatic and film
HICKORY HILL rights to this manuscript are

reserved by the author

Ansco Company,

Binghamton, N. Y.
Gentlemen:

I grew up with a camera in my
hand, so when I write to criticise
your advertisements I speak with
nearly thirty years of photographic
experience "behind me.

Your statements in regard to Mon-
omet are so misleading that they might
"be said to "be essentially untrue.

. I have used Metol on hoth plates
and papers ever since it first came
into prominence. I have made thou-
sands of negatives with it and more
thousands of prints. I feel that I
know Metol forward and "backward.

My supply of Metol ran out ahout
a year ago. I never expect to use it
again. Monomet produces results
superior in every way to the loest re-
sults ohtainable with Metol, and at ,
dou'ble the price is more economical
than the latter.

It is for this reason that 1
complain a"bout the inaccuracy in your

advertisements.

Sincerely,

""^f^iu^^^^^^^^

^-*-<^

February 14, 191^

PORTRAIT

New Studies of the Mechanism of Composition

By Sadakichi Hartmann

III. TONE

ONLY in the most recent art expressions tone has
been neglected for other pictorial qualities.
Hitherto tone reigned supreme. It was the one
attribute that nobody cared to dispense with. At least
it was so decreed by painters as well as photographers,
and the educated public seemed to show a decided
preference for the same.

And there is no gainsay, a complete tonaUty is a
quahty that readily meets with approval, as it is so
easily appreciated. There are no jarring notes to dis-
turb our vision, and the eye takes in the smooth and
harmonious surface almost at one glance. Of the details
one becomes only gradually conscious, while the first im-
pression, on which so much depends, is a favorable one.

The portrait of the two children by Drouais, Fig. i,
is overcrowded with detail. It is a real jumble of forms
and objects put together without any special line feeling
or light and shade division, yet as a tone arrangement
no fault can be found with it. The total effect is a
pleasant one. Deep blacks as well as crude highlights
have been avoided. It is all a matter of deUcate grada-
tions in middletints. In photography tone is apt to
swallow up most of the details, and it is really rare to
see such an elaborate arrangement carried out as a
successful tonality.

Most tonal compositions in painting are carried out in
middletints. Let us imagine that the line of the
diagram represents the entire tonal range from^ pure
white, point W, to pure black, point B, with point M
as the middletint (an equal mixture of black and white) .
AppKang this scale to even the most casual study of
paintings we will readily discover that the majority of
tonal compositions fall within the range of points 4 and

PORTRAIT

lo, avoiding the deepest blacks and the tints that are
nearest to pure white, as displayed to such good ad-

W

M

vantage in Fig. i . The photographers, on the other hand,
favor the range from 5 to B , which render many of their

Fig. I Charles and Marie- Adelaide de Frar

by Drouais

productions too dark. Such at least is my personal
contention. It made the shadows too opaque and de-
stroyed frequently the play of subtler gradations.

PORTRAIT

Of course, tone is not necessarily dark. Satisfactory
tonalities can be just as easily produced in the range of
2 to 9. Furman's painting "In the Garden," Fig. 2,
is an experiment in that direction. Dress, hat, table-
cloth and tableware furnish a motif of Hght gray within

Fig.

"In the Garden"
by Frederick F. Furman

light gray of which Whistler was so fond in the earlier
period of his career. But the background, at least in
the reproduction, as light as it is, is still too dark for
the figure. The division is too distinct and produces
something like a silhouette effect, which was not the
original intention. A resemblance of light tonahty was

PORTRAIT

procured only by the introduction of the two blurred
figures in the distance. And yet the task could have
been so easily accompUshed. If the lawn in the fore-
ground and middle distance and the foliage in the dis-

Fig.3

tance had been rendered just a trifle lighter, the tonaHty
would have been perfect.

Rare skill, as far as tonality is concerned, is displayed
in Nattier's "Madame Sophie," Fig. 3. Although the

PORTRAIT

dress is full of detail, the variations of tints employed
are extremely limited. Everything is concentrated to

PORTRAIT

produce a soft, pleasing effect to the eye. The range
counting in the few high lights is about 3 to 9 . The
absence of darker passages is surprising. Apparently
depth can be achieved without the deeper shades. Only
the pupils of the eyes are really dark in this picture.

Even huge compositions Hke Veronese's "Marriage
at Cana," Fig. 4, are frequently composed within a
rather limited scale. In my photographic writings, as
many of my readers must have noticed, I have always
refrained from using as examples paintings that are
impossible to photography, or at least not applicable
to portraiture and limited figure composition. If I use
one in this instance, it is merely to point out how in-
tricate a study composition can really be. The Veronese
painting is one of the largest ever executed, the canvas
depicts nearly a hundred separate figures and most of
them are life size. A tremendous undertaking, and
yet the original, as I have seen it in the Louvre, rep-
resents at the first glance an absolute tonality. Veronese
was a great colorist and the canvas exploits nearly the
whole gamut of the solar spectrum. Still the total
effect is one of harmony. It would be difffcult to cut
out any section of the canvas, and to say here we have
an isolated or disconnected part, as can be done so
often with other pictorial compositions. In this elab-
orate arrangement everything seems to hang together,
and it is not so much line that does it as a fine sense of
proportion and tone. The range is about 3 to 11, and
with exception of the vista of the sky about evenly
distributed throughout the picture. Only two figures
and some of the upper columns are taken in a higher
key, the rest are all the result of the sensitive juxta-
position of minor local values, welded together by a
master's hand, or rather more correctly expressed by a
masterly vision, a gift of perception that sees every-
thing as a harmonious entity. And it is this which
constitutes tonal feeling.

PORTRAIT

Our Cover Portrait and the Hall of Fame

THOUGH the rugged hills of West Virginia have
not had the honor of contributing a president to
the United States, they have, nevertheless,
harbored a great many men who, in all walks of life,
have left their mark upon the pages of fame , and among
those who are making great strides in their chosen
field is George J. Kossuth of Wheeling, W. Va., who is
making a name for himself in the field of photography.

In 1 900 Mr. Kossuth started his professional career
in the studio of J. E. Griffin in Wheeling, where he con-
tinued until 1908, when he launched into the game for
himself.

He has made a close study of his profession, and as a
result success has been his lot. Nothing new per-
taining to photography is overlooked by him, and he is
quick to grasp the merits of a better method of doing
things and to apply them to his own work.

The Kossuth studio is splendidly arranged, and
contains the best procurable apparatus for handling all
kinds of photographic work . Mr. Kossuth states that he
considers the recently installed Ansco Enlarging Outfit
the best investment in his place .

Though Mr. Kossuth has made many excellent por-
traits of women and children his reputation seems to be
founded on the successful portrayal of men, for most of
his exhibits which have received commendable praise
have been of the masculine gender. On the following
pages will be seen reproductions of some of his recent
work. Mr. K^ossuth is a consistent user of Cyko and
believes its capabilities really wonderful.

He firmly believes in association work and conven-
tions, claiming these are the only and great factors in
reaching the trade, both intellectually and photographi-
cally, as they afford the occasion of learning how the
other fellow overcomes difficulties which seem dis-
heartening to oneself.

PORTRAIT

Cyku purtrail by Geo. J. Kui::ulh

PORTRAIT

Cyko portrait by Geo. J. Kossuth

HAMMER PLATES

have won distinction by merit alone !

Purity of chemicals, extreme care in

manufacture and rigid inspection

give them preference over all.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic and D. C.
Orthochromatic Plates for color values.

^NiMif<J,^H«i'fe)

RE6. TRADE MARK

Hammer's little book

"A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

I 29-131 West Twenty-second Street

New York Citv

The Gift of Gifts at jill Seasons

AnscoV-PNo. 2

nnO the soldiers of
-*- the American Ex-
peditionary Forces
no gift can take
the place of a
camera — and
now that hostil-
ities haveceased
and the censorship
lifted, Ansco cam-
eras will be called
for more than
ever.

That the Ansco
V-P No. % is the
choice of the boys
*' over there" is well
shown by the fol-
lowing letter from
one of them:

Someichere in France

October 4. 1918.

Ansco Company,

Binghamton, N. Y.

Gentlemen: — ^The enclosed cut of an Ansco Camera, together with Money Order for
$27.50 and Christmas package coupon, tells what's wanted— Ansco V-P No. 2, with F 6.S
lens. Stick the coupon on tight. No writing necessary. Sincerely,

Edgar C, Athky.

ANSCO COMPANY, Binghamton, N. Y.

OUR BRANCH OFFICES, WHOLESALE

DISTRIBUTORS

AND WHERE LOCATED

ANSCO COMPANY

Ansco Bldg., 1 29-131 W. Twenty-second Street

New York City

ANSCO COMPANY

325 W. Jackson Boulevard, corner Market Street
Chicago, 111.

ANSCO COMPANY

920-922 Grand Avenue, Kansas City, Mo.

ANSCO COMPANY
1 71-173 Second Street, San Francisco, Cal.

ANSCO COMPANY

347 Adelaide Street, West, Toronto, Ont.

SOUTHERN PHOTO-MATERIAL CO.

22 Central Avenue, Atlanta, Ga.

WOODARD, CLARKE & CO.
Portland, Oregon

ANSCO LIMITED

143-149 Great Portland Street

London, W., England

No. 12

April, 1919

PORTRAIT

BINGHAMTON. N. Y.

M o n o m e t

The Developer of the Present

MONOMET IS THE ONLY DEVELOPING
AGENT IDENTICAL WITH METOL
IN RAPID, ENERGETIC ACTION

MONOMET de\^elops in the same time as
Metol and gives the same characteristic rich-
ness and quahty — with a tendency to more
briUiancy. This fundamentally essential
point many are endeavoring to secure by the
addition of a caustic alkali, as an accelerator,
to developers of the paramidophenol class —
which addition always tends to rob the print
of the typical richness required in prints on
developing paper.

MONOMET has been tried out thoroughly in
comparison with other modern developers and its
results are unquestionably superior.

MONOMET sepias are identical with those pro-
duced from prints developed with Metol.

PRICE

One-pound container -------- $22.50

Half-pound container 11.50

Quarter-pound container 6.00

One-ounce container -- 1.50

ANSCO COMPANY Binghaniton, N. Y.

PORTRAIT

A MAGAZINE DEVOTED TO ART IN PORTRAITURE, ALSO PROFIT-
IN -PHOTOGRAPHY, AND COMMITTED TO A "SQUARE DEAL"

PUBLISHED MONTHLY BY CYKO USERS, EDITED BY

PHOTOGRAPHERS, DEMONSTRATORS AND

SALESMEN AT THE EXPENSE OF

ANSCO COMPANY, Binghamton, N. Y.
Vol. X April, 1919 No. 12

Watch the Stock Peddlers

READERS: Get the names and addresses of
all persons and companies offering you spec-
ulative, doubtful stocks and securities, par-
ticularly if in exchange for your Liberty Bonds
and War Savings Stamps, with copies of the ''lit-
erature." Mail them promptly for investigation
to the

Federal Trade Commission
Washington, D. C.

HELP THE VICTORY LIBERTY LOAN

Upon receipt of such information the Federal
Trade Commission will call for full reports in
proper cases. The Federal Trade Commission
Act provides a penalty of a fine and (or) im-
prisonment for those who fail or falsely report to
the Commission. It may make public so much
of the information obtained as may be in the pub-
lic interest and it can prevent unfair methods of
competition and misrepresentations in commerce.

PORTRAIT

The M-A-S Convention a Gratifying
Success

THE Fourth Annual Convention of the Middle
Atlantic States Association was held at the Hotel
Schenley, Pittsburg, March i8, 19 and 20,
1 91 9, and was attended by a larger number of photog-
raphers and their guests than any meeting previously
held by the Association.

The program consisted of demonstrations and talks
by a selected list of successful photographers. One of
the most interesting of these talks was given by Mr.
W . H . Towles of Washington , D . C . He demonstrated
manv practical lighting effects.

The talk by Mr. Herbert G. Stokes of the W. O.
Breckon Studio of Pittsburg was of great interest.
His method of transposing negatives is told on pages
10 to 13.

The banquet held on the evening of ^larch 20 was
enjoyed by 537 people. Among the speakers were
Rev. R. Emory Beetham, lately returned from service
in France, who gave a very interesting outline of his
experiences. Captain Ed. Cooper of the Air Service
spoke at the dinner and was also given a full evening
on the convention program in which to describe the
work of the Signal Corps in France and the wonderful
progress of photography therein.

The photographers' exhibits were of an unusually
high order, and the complimentary displays of W. C.
Noetzel of Newton Center, Mass., Dr. Arnold Genthe
of New York City, and Jos. Strickler of Pittsburg, were
greatly admired.

The officers elected were: President, J. B. Schriever,
Scranton, Pa.; Vice-President, J. W. Scott, Baltimore,
Md.; Secretary, Geo. J. Kossuth, Wheeling, W. Va.;
Treasurer, W. J. Goldman, Reading, Pa. State
Vice-Presidents: Pennsylvania, O. C. Henry; New-
Jersey, G. H. Walters; Maryland, N. Levisohn;

PORTRAIT

Delaware, J. Sherrill Ellis; District of Columbia,
W. H. Towles; West Virginia, W. R. Hook; Virginia,
I. W. Cole; North Carolina, L. L. Higgason; South
Carolina, W. D. Clark.

Atlantic City was recommended by the committee
of location of the next convention as the most favorable
place for the 1920 meeting. The final decision as to
location rests with the new Board.

The Middle Atlantic States Association demon-
strated at the Pittsburg meeting that it is in the most
flourishing condition it has ever been. Too much
credit cannot be given to President Diehl for his great
efforts and accomplishments in behalf of the Associa-
tion.

A wonderful spirit of harmony prevailed throughout
the meeting. Everyone had a good time^ and all
present consider that the Pittsburg meeting has set
the pace for the national convention at Cedar Point
in July.

With the hearty co-operation of the amalgamated
associations the national convention this year promises
to offer an exceptional treat to all who are privileged
to attend.

New Headquarters of the P. A. of A. Organ

We have been asked to announce that the business
and editorial offices of the Photographers^ Association
News, the official organ of the P. A. of A., have been
moved from Washington to Cleveland, Ohio. Commu-
nications intended for the Association News should be
addressed to the secretary and editor, Mr. J. C. Abel,
401 Caxton Building.

Mr. Chas. J. Columbus' resignation as general sec-
retary of the P. A. of A. took effect March ist.
3

PORTRAIT

New Studies of the Mechanism of Composition

By Sadakichi Hartmaxx

IV. THE POSE

GRANTED that the character of the tonality
^ produces the first impression as we look at a
print, I beUeve it is safe to state that the par-
ticular pose of the sitter comes second in the scale of
appreciation. A natural and graceful pose is easily
noticed and understood; and it is in most cases the
general effect of the figure as it is placed in the picture
area — the flow of outlines against the background, and
any pecuhar twist or expression in the body or face of
the depicted person — which produces the impression.

Fig. I is pleasant to look at. It is a graceful and at
the same time characteristic attitude, which people
familiar with the ways and habitual movements of the
sitter would readily recognize. But it is little more
than a pose. Everything else has been sacrificed.
The large pattern and the large space the shawl occu-
pies demanded some turn of the body which would
make the bulky form agreeable to the eye.

An entirely different proposition confronts us in
Fig. 2, which looks very much like an experiment to
avoid all conventional themes and to invent some odd
and novel arrangement. Comparatively few sitters
would adapt themselves to such a crouching attitude,
but this lady is a violinist leaning on her instrument,
at a moment of rest and gazing at her audience. The
violin explains the pose which is natural enough in
itself. Still it depends entirely on the introduction of the
instrument, and might be called a "professional" pose.

Simple poses are not necessarily the most desirable
ones. There is always something snapshot ty about an
absolutely natural and unembellished pose. In art we
want a little more, some concentrated effort that brings
out qualities of grace and refinement and eliminates
awkward and abrupt lines. In painting as well as in

PORTRAIT

photography the individuahty of the sitter must sug-
gest the theme. One can easily lose sight of the
peculiarities of individual movements and endow
persons with attributes they do not possess, a method
of procedure which may result in excellent pictorial
arrangements but not in attitudes that would pass as

specially convincing or as one of the most favorable
poses possible to the subject.

In painting the sitter merely suggests the motif, the
artist can elaborate upon it at leisure, any way he
pleases. The model furnishes only the facts which will
inspire the painter to assert his peculiar ideas of elimina-
tion and idealization . In photography a good deal more

PORTRAIT

has to be left to the sitter. In Figs, i and 2 the ladies
had actually to make the pose. The photographer can
do little more than to select the most favorable pose of
various poses, and to assist, by suggestion and manipu-
lation with his own hands, as well as by the arrange-
ment of light and accessories, to make it more artistic.

.\n()nynH)U>

It almost seems that a well studied pose is never
quite free of artificiality. Neither the portrait of
Mme. Seriziat by David nor the Rosa Bonheur by
Dubufe is above that criticism. Fig. 3 is a very poor
composition. It lacks balance, and would be better
without the child. But the pose of the woman is ex-
cellent. It has the flavor of intimacy, of ease and
6

PORTRAIT

spontaneity, just as if the sitter had returned from a
walk and had sat down in a natural carefree fashion,
unmindful whether she assumed a graceful pose or not.
Still, the principal merit of this character delineation
is not its lifelikeness, but its precise drawing that left no
fold or shade unrecorded. Despite the instantaneous-

Fig. 3

Portrait of Mme. Seriziat
By David

ness of the original pose the representation has become
rigid. As it is so often the case in art, the method of
execution did not harmonize with the inspiration.

In Fig. 4 everything is artificiality. It is an exag-
gerated ideaUzation of a public idol. The artist
apparently thought it indispensable to make the great
woman painter look like a young girl, to dress her up

PORTRAIT

in some studio garb that is more fit to be worn at a
masquerade ball than at work before an easel, and
furthermore to leave not the slightest doubt as to her
profession and specialty by introducing a young steer
andja sketching map. The pose in itself, if one can
excuse its theatricality, serves its purpose well enough.

It possesses a certain dignity, the air of an exceptional
personahty, and is well placed in the picture area.
But is this canvas by Dubufe really so exceptionally
artificial? Can not some Old Master portraits be criti-
cised in the same manner, for instance our illustration
of Raphael's "Jeanne of Aragon," Fig. 5. Surely, the
young woman is seated in a most rigid fashion, and

PORTRAIT

her hands (though rarely beautiful in design) are placed
in positions that impress one as being the extreme of
artifice. This is true enough, but examine how it is
done. In this picture every line, shape, and detail is
beautiful and in perfect harmony with every other
part. The painter, as it were, invented his own style

Jeanne d'Aragon
By Raphael

of representation to suit his individual conception of
beauty. In Fig. 3 the handling is accurate, in Fig. 4
ordinarily graceful, while in the Raphael it is masterly
throughout. Neither strength nor delicacy, or ex-
quisite refinement is lacking. The artificiality, if such
it is, is truly felt. Besides, the sitter was a princess,
subject to stiff costumes and ceremonious ways.

PORTRAIT
Blending Negatives

The following article contains the substance of an address
given at the recent convention of the ]Mid-Atlantic States Pho-
tographers' Association by Mr. Herbert G. Stokes of the W. O.
Breckon Studio, Pittsburg, The subject was of such great in-
terest to all who heard jMr. Stokes that we are giving it here for
the benefit of the readers of Portrait.

THE photographic business has a great many
"trade tricks" or stunts, some of which are con-
stantly turning up. For example, sometimes a
photographer is called upon to produce a perfect print
from two unsatisfactory negatives. The case herein-
after described is one of these. In this instance a
satisfactory print seemed almost impossible. The
illustrations show how it was accompUshed. Prints
from the two original negatives are shown as No. i and
No. 2. It will be noted that these two negatives have
the same background and accessories, yet it would
have been just as easy to print two entirely different
negatives as they can be blended together at any point.
The two negatives from which we show illustrations
are of different quality, one taking 20 seconds exposure to
print, the other 25 seconds. In explaining this method
we will refer to the two original negatives as No. i and
No. 2; the two masks we will refer to as A and B.

Negative No. i was placed in the printing machine.
Over it was then placed a piece of post office (orange)
paper cut the exact size of the negative (8x10),
having the top and left side of the paper exactly flush
with the edges of the negative. Holding the paper
firmly on the negative, by the transmitted light from
the printing machine a penciled hne was traced on the
orange paper showing just where the second print
should be joined to the first. The darkest shadows
were followed, running in at the side of the negative,
around the figure of the girl, across the boy's sleeve
and on around the darkest cloud in the background.
The reason for this was that it produced a broader

PORTRAIT

blend in the shadows than it would in the high lights,
and the longer the blend the easier it is to match the
prints together. The negative was then removed from
the printing machine, and with a sharp knife the orange
paper was cut along the traced line.

The next procedure was to paste each piece of paper on
the far side of an 8xio sheet of glass. In doing this the
same principle was observed as in making a tinted bor-
der, having the two pieces of glass and the mask register
accurately with the top and left edge of the glass. We

Print from Negative No. i

Print from Negative No. 2

will now designate the glass with the smaller piece of
paper on it Mask A; the other we will call Mask B.

With passe-partout tape Mask A was then fastened to
the glass side of negative No. i. This allowed for the
printing of the negative showing the three girls and the
objectionable image of the boy, as shown in print No. 3,
was eliminated. Mask B by the same method was placed
on negative No. 2. This obliterated the image of the
group of girls and allowed the image of the boy to print,
which was the desired image, as shown in print No. 4.

PORTRAIT

When this was completed and the mask registered
exactly with the top and edge of the negative, as a
guide, it was only a matter of first putting the paper
on the one negative and exposing it, then on the other,
and with the correct time on both negatives a perfect
match was the result, as shown in No. 5.

The order called for a dozen finished photographs,
and in order to take no chances with the mask being a
''little off" in registration and to be absolutely certain

n

Print Xo. 3. (Mask A)

Print Xo. 4. (Mask B)

the mask was outlined on the back of the piece of
printing paper with a pencil when the paper was
placed on the negative for the first exposure, so that
when it was placed on the second negative the printer
was doubly sure that it was right.

There are times when most studios can use this
process to advantage, especially when it is impossible
to photograph the entire group the second time. As
it means extra work and time it is only fair that an
additional price be asked.

PORTRAIT

Print No. 5 Showing a perfect print without a line

PORTRAIT

Fight the
Foes of
Humanity

Feed the Hungry^ Clothe the Ragged — House the
Homeless — Clean the Unclean — Give Comfort where
Comfort is Needed and Hope to the Hopeless.

Keep men, women and children, humans Hke your-
self, from going on the rocks. Turn hopeless lives into
lives of hope.

Be a human, be a Christian, remember

A Man May Be Down
But He's Never Out

Fight the foes of humanity. Help those that are
down to get up. Support the Salvation Army that is
battling in the trenches of poverty.

During the week of May 19 the Salvation Army,
which has survived the acid test of war, and emerged
stronger, more efficient and more determined to ac-
complish its great purpose than ever, will ask the sup-
port of the Nation. It will ask you for money only
this once this year. Give all you can.

Because fifty per cent of the time of Salvation Army
workers has been taken in the collection of change, a
national campaign for $12,000,000 has been determined
upon and will replace the tambourine system.

Help those who have dedicated their lives to the
helping of others.

National Headquarters, Salvation Army,
120 West 14th Street, New York City.

PORTRAIT

Our Cover Portrait and the Hall of Fame

AFTER following various lines of business as a
salesman, Mr. H. I. Smith, some four years
^ ago, decided to embark in the photographic
business . With the late Mr . Laurie , who was an expert
photographer, he opened a studio on East Seventh
Street, one of the busiest streets in St. Paul. The
Nelson Studio, as they christened it, was a success
from the start, and Mr. Smith is now, after continuous
hustling for business, employing seven persons besides
himself. Mr. Smith can lay claim to a thorough
knowledge of the business end of the work connected
with the studio. As he himself says, "It does not take
a photographer to make the studio a success, but it
does require a lot of business sense." He aims to give
his patrons full value for every dollar spent across his
counter by using the best of everything.

Mr. Smith is a firm believer in extensive advertising.
The real problem, he believes, is to get the people into
the studio. That accomplished, it is comparatively
easy to convince them that his goods, workmanship
and service are the best that can be procured. He
attributes the success of the Nelson studio to constant
personal application to business behind the desk. He
makes it a point that all customers shall leave his
studio satisfied and with a smile on their faces. Cyko
has always been his standard of quahty, and has been
used exclusively since the studio was first opened for
business; in fact, his stock of Cyko is never allowed to
dwindle. It is stacked up high in his private ofiice
where it can be plainly seen from the reception-room.
If any discussion comes up in regard to photographic
paper, Mr. Smith glances up at the numerous brown
labels of professional Cyko and remarks, "We use
Cyko and never have any trouble convincing our cus-
tomers that we produce the best photographs."

Negatives made on

HAMMER PLATES

are notable for the luminous qualities of
their shadows, the sparkle and crispness of
their high lights and the fullness of detail
in their middle tone. For speed and uni-
formity Hammer Plates are unsurpassed.

Hammer's Special Extra Fast (red label)
and Extra Fast (blue label) Plates for
field and studio work; and Hammer's
Extra Fast Orthochromatic and D. C.
Orthochromatic Plates for color values.

^TT;ur!IJj.l;i'i-JI:SfJffl^

ADE fv^ARK

Hammer's little book

'A Short Talk on Negative Making"

mailed free

Hammer Dry Plate Company

Ansco Building

129-131 West Twenty-second Street

New York Citv

The drift of Gifts at ^11 Seasons

AnscoV-PNo. 2

O the soldiers of
the American Ex-
peditionary Forces
no gift can take
the place of a
camera — and
now that hostil-
ities haveceased
and the censorship
lifted, Ansco cam-
eras will be called
for more than
ever.

That the Ansco
V-P No. 2 is the
choice of the boys
"over there" is well
shown by the fol-
lowing letter from
one of them:

Ansco Company. Somewhere in France

Binghamton, N. Y. October 4, 1918.

Gentlemen: — The enclosed cut of an Ansco Camera, together with Money Order for
$27.50 and Christmas package coupon, tells what's wanted — ^Ansco V-P No. 2, with F 6.3
lens. Stick the coupon on tight. No writing necessary. Sincerely,

Edgar C. Athey.

ANSCO COMPANY, Binghamton, N. Y.

Closing Remarks on the
Victory Liberty Loan

'< /^/^ E are asked to pay for things that
f/V were never used; we are asked to pay
for shells that never were fired; for
cannon that never reached the battlefront ;
but we are asked to pay for those things
that helped in a major way to bring this war
to an end in 1918 instead of 1919. And the
bringing of this war to an end twelve
months before we could logically look for
it means that we are asked to pay for sav-
ing the lives of 100,000 or 200,000 Ameri-
can boys who would have died on foreign
soil had the war continued another year."

Extract from a speech by Hon. Lewis B. Franklin,

{

\

Director War Loan Organization, U. S. Treasury Dept. |

Victory Liberty Loan