Mr. Latimer Expresses His Views Somewhat at Length

See In an Italian Village

In the olden days I used to lug around big cameras. I even went so far as to have 14×17 hand camera, made to take to sea with me to make large direct marines. In the days of the old Boston Camera Club it was called “the dog-house.” But I soon found out that it was “too much pork for a shilling.” Now I use small cameras and enlarge. My small cameras are mostly of the stereo-panoram variety, and [pg 13] a pocket Ansco, all fitted with fast lenses and with direct vision finders, which I consider much more practicable than the old style finders. For instance, I was on a steamer a few months ago, waiting to leave the dock, and a lot of gulls were flying around. I said to myself, “Here's a good opportunity to test my shutter and finder, and see if I can stop them,” so I used up one roll of film on them. I made direct hits and stops on every one.

My picture “In an Italian Village” was made with my Voigtlander 45×107 mm. stereo camera. I was on an auto trip in Italy; had nearly used up my three months allowed by the Italian Government, and had three days to get out or lose my deposit for duty on my car. I was on my way to the French frontier, and ran through this Italian village—Todi I think the name was. When I saw this picturesque old wall with some of the villagers, I said, “I've got to get this whether I lose my deposit or not.” So I stopped the car, got out my stereo, stood up in the car, leaned on the windshield, and shot before they woke up to what I was doing. Then what happened? The whole village seemed to want to get into the plate, and I had a mob instead of a picture. I made several more shots, but the first one was the best. In nine cases out of ten in like conditions I find the first shot the best. Shoot quick and don't give 'em time to pose. I suppose if I had trained movie models, though, it might be different. I've tried studio work, but I prefer the small camera and the quick snapshot. Luck counts, I admit, but when it is good, the snapshot seems to me more spontaneous than anything I can do in the studio.

My usual method of enlarging from small camera shots is this. I enlarge a transparency (positive) up to 6½×8½ or 8×10. “In an Italian Village” was an 8×10 positive, sharp lens. Then, either with a soft focus or a sharp focus lens, I enlarge to whatever size I want and whatever effect I'm after. The advantage of enlarging the positive is that you can do any faking you want to better advantage, and when your enlarged negative is done you can print in any medium you wish, so I always make enlarged negatives. I don't think I've made a bromide enlargement in twenty years. “In an Italian Village” was enlarged from a part of a 45×107 mm. stereo, a little larger than my thumb-nail. The enlarged negative is 11×14. It was printed in multiple gum, four printings, pigment 50-50 lampblack and indigo.

Night Pictures in the Streets

See Crow's Nest Restaurant, also The Arch of Jewels, New York City—Mr. Alcock's picture was made under similar conditions.

Picturing New York with a camera after dark is perhaps one of the most interesting phases of pictorial photography. After spending several evenings prowling about for subjects that will lend themselves for night pictures you start out one evening to transfer these mental images to the plate. A little patience, endurance, and a great deal of enthusiasm will do wonders. It is not the easiest thing in the world to start out with an 8×10 view camera, a good substantial tripod, and several plate-holders. A strong tripod is absolutely necessary on account of winds, jars, vibrations, etc. To avoid halation use portrait film, take the view where there are no glaring lights, and develop with Azol. Judge your time according to the amount of light (two to ten minutes). Capping the lens each time a lighted moving vehicle comes along helps the picture. For night pictures probably the best medium is gum palladium, because it lends itself to the mellow evening lights.

How to “Work Up” a Negative

See Along the Canal

“Along the Canal” was taken about mid-day in July in bright sunlight, Graflex 4×5, Cooke lens working at one-twentieth of a second, F 11, on Seed 26x plate, Pyro (Kodak powders) developer. In working up, first make Solio print and enlarge by photographing up to 6×8. On this negative sky and some trees were painted out, using glass side to work on. From this negative print was made on American platinum paper, first the foreground, then the sky printed from negative which will suit subject. Retouching can be done on this print with carbon pencil. You then have a print which can be enlarged to any size, using Smith lens. This print is on Spanish hand-made paper, hand-coated with platinum.

An Experience with a Railway Detective

See The Railway Station

I wandered into the Grand Central Station in New York City with a new camera—a Speedex 2¼×3¼. It had been given me as a present by my partner in photographic and other joys, who was tired of seeing me lug around an 8×10 view camera and plates. I thought the light looked interesting in the big station and opened my little box. Appeared on the scene the station detective. “Not allowed to make photographs without a permit.” “Where do I apply for it?” “At the stationmaster's room.” I walked half a mile and interviewed a pretty stenographer. She said, when I showed her the tiny camera, “Certainly you can make snapshots with that little thing. What we don't like is putting up a big camera on a tripod.” I went back in triumph, showed my permit, and shot. F4.8 Zeiss lens, wide open, one second exposure. Enlarged on P. M. C. No. 5, to 11×14 with Smith lens.

From a “Bathroom” Expert

See The Hour of Twilight

I never at any time have had a regular dark room, practically always changing my plates and reloading holders at night in total darkness. When developing plates or enlargements, I take possession of the bathroom, place a wide board across the tub on which are placed the necessary trays, see that the room is absolutely dark, and go ahead. I usually tank my plates and films and use Azol for developing, sometimes Pyro.

Most of my exposures are made with an Adams Minex Reflex camera, quarter plate size. This camera cost about three hundred dollars before the war, and I have found it well worth the expenditure. It has a Ross Zeiss Tessar lens, which I seldom use, being quite content with the work of my Smith single F 4.5 lens, which I carry in the camera all the time with a three-times light filter attached. My only other camera, which I use a great deal, is a Newman & Guardia “Baby Sybil” with Carl Zeiss Tessar F 4.5 lens, taking a picture 4.5 x 6 cm. This does wonderful work, the negatives easily enlarging to 11×14 and over. I use the Standard Orthonon plate and Premo speed film pack, always giving a full exposure. My favorite printing processes are multiple gum and bromoil, three or four printings in the former, nearly always from enlarged paper negatives up to 11×14 from either camera.

“The Hour of Twilight” is a triple printing in gum, and was made with the Adams Minex on a Standard Orthonon plate, using a Smith single lens.

Mr. White's Method with Children