solved. Ordinarily when the image appears suddenly on an over exposed plate, development is stopped too soon, resulting in a very thin negative lacking in contrast, while if development had been continued for the normal time, a negative with good contrast might have been obtained.

From the preceding remarks I do not mean to infer that care should not be taken to make a correct exposure. On the contrary it is of course just as true of the time method as any other that the nearer correct the exposure the more perfect the

negative, and as an aid to correct exposure, I believe a good exposure meter to be of much value, especially to an occasional worker.

In regard to the developer, I do not wish to convey the idea that it must always be of the same strength, or the time of development the same, as for certain subjects both may be modified with advantage. For example, if a subject has very strong contrast the time of development may be shortened, or where a plate is known to be very much under exposed, more water may be added, and development continued longer,

generally in the same proportion to the dilution of the developer, i. e., if the developer is diluted with an equal amount of water the time of development may be doubled. And I may say here, that it is not necessary to mix a fresh solution for each plate, as the same developer can be used for several plates with uniform results.

The question of what developer to use, is of small importance so long as it is made of the same strength each time, and the solution is of fairly even temperature during development, 65 deg. Fahr. is good, but a variation of a few degrees either way does not appear to affect the result. If one has a favorite developer it is only necessary to make one or two tests to determine the correct time for developing a properly exposed plate, and then stick to it.

For those who wish definite formulæ, I give two which have proven satisfactory for all around use:

No bromide is required with either. Both formulæ are for four minute development.

In closing I give a few notes regarding the exposure and development of the negatives, from which the accompanying illustrations were made, and while everything I have said applies to ordinary dark room development, I may perhaps be allowed to say that the negatives mentioned were developed in daylight, by the timing method, in my daylight developing machine for plates.

"Resting," exposure 1/5 second, stop f/8, Ideal Ray filter on lens, Stanley plate. Developed four minutes with edinol.

"Caught Napping," taken on a cloudy winter day by light of south window. Exposure four seconds, stop f/11, Cramer "Crown" plate. Developed four minutes with pyro.

Both the developers mentioned were mixed by the formulæ previously given.

1

CHURCH INTERIORS.

By ROBERT W. TEBBS.

HILE for the past two years I have had the pleasure of writing for the ANNUAL on the subject of sporting photography, by the edict issued early this spring by the sporting editors of the various New York papers that "Our Cartoonist will cover the pictorial end of sports this year," I found that I should have to look to other fields for a livelihood. And so with the kind permission of the editor I will tell something of my experience in photographing for builders and architects.

When I mentioned interior work to my friends a lot of them immediately recommended such and such a time exposure meter; books by so and so; but profiting by snap shot experiences I decided to give one month to timing, not by meter, but by actual experience. Over-exposure was my main fault at first. When I thought I had learned the rudiments of the game, I looked around for a job and soon found a church to photograph.

The first picture I took there has been so far the most difficult one I have had. It was the accompanying piece of stucco work. No elevation of the camera could reach it from the ground. I finally borrowed two plasterers' ladders, and by placing a board across the top of them and an old barrel on top of that I managed to get my camera on a level with the stucco work. But there was no room for me on this shaky platform and I was forced to bring into requisition a third ladder. This I placed back of the camera and proceeded to focus. Then I decided to stop my lens down. So down I climbed off the ladder and moved to the front of the camera. Then another move to the back to put in my plate holder. Then I found that if I attempted to remove the cap of the lens from the back I should shake the camera, so another move was necessary. But I got a beautiful negative although I quit work for the day when I had taken it.