There are some would-be purists who assert that the addition of colour to monochrome prints is both unnecessary and inartistic. With this dictum no right-thinking photographer can possibly agree: unnecessary, perhaps! . . . inartistic, never ! What could be more attractive than a nicely coloured-up print of some loved one ... or a happy family group ... or something? Who, indeed, has not been struck at some time or another with a feeling of acute frustration when, in the course of a pleasant country ramble, armed only with a camera and a stand, one is confronted with some colourful and picturesque scenes such as I have recorded on pages 80 and 81.

No, I regret to have to say it, but the Anti-Colouring-Up Campaign that has swept through the photographic fraternity like a blight is nothing more or less than a vile attempt by vested interests - represented by a handful of unscrupulous R.A.'s - to confine the monopoly of the manufacture of coloured pictures to a small, privileged group. Photographers and the public generally would do well to ignore such obviously biased and defamatory criticism as is so assiduously fostered by this unprincipled and self-seeking minority.

Examples of Bottling the fascinating possibilities.

Examples of "Bottling" the fascinating possibilities of which have recently set the photographic world agog. For detailed comment the reader is referred to page 66 of this book and the Ency. Britt.

I will say most definitely that anybody - yes, anybody - who is capable of using his (or her -? Ed.) eyes and of making a few pencilled notes can decorate an ordinary photograph so effectively that it is quite worthy to rank, in artistic value, with the over-puffed productions of professional contemporary painters. The procedure is roughly as follows: First choose a scene the composition of which is completely in accord with one's finer feelings and the teachings of Mr. Ruskin, and proceed to photograph it in the usual manner. Then remove, develop and fix the plate in a Portable Collapsible Bag Tent (U.C.E.) of the type shown in the accompanying illustration.

Colouring Up And Lantern Slides UncleAlbertsManualOfPracticalPhotography 73

The fact that the uninitiated never know, and find it difficult to guess, what is going on inside the Bag-Tent, has led - we are sorry to say - to its widespread abuse. Dilletante photographers often impose on the credulous public and make a positive, if somewhat negative, nuisance of themselves by producing nothing but white rabbits and yards of coloured ribbon from its capacious depths.

This ingenuous adaptation of the Carlyle Cloak (for a description of which see section on Outdoor Photography), is specifically designed to enable the operator, whilst processing the plate, to peer from time to time at the scenery, etc., and thus facilitate the memorising of the various colours. Incidentally, the hands may be removed at will from the Bag Tent to enable brief notes regarding the colour to be jotted down on the washable celluloid cuffs and dickey without which the well-trained male photographer is seldom to be found. I will not presume to make suggestions to the lathes regarding appropriate places where they could jot down their notes.

A word of warning ! Never, when using the cuff-and-dickey method, use indelible pencil or ink: if a permanent record is essential it is far more conducive to domestic harmony if the notes are written lightly in pencil and transcribed into a suitable notebook on arrival at the studio. To give you the idea here is a facsimile of the original colour notes for my Salon Diploma-Winner, entitled "Les Land Girls" (see page 43).

Colouring Up And Lantern Slides UncleAlbertsManualOfPracticalPhotography 74

As you will observe, certain irrelevant scientific data appertaining to other studies happened to be already on the cuffs, but I took the precaution of crossing this out first, having been foxed on previous occasions by cryptic phrases such as ... "Any to come 5/- each way reclining figure with "red dress and red bonnet "... which misled me into losing ten shillings on a horse called Red Riding Hood.

By this time the plate is usually dry enough to be taken away and printed down in the normal way. A matt surfaced paper is the best for colouring as this will take almost any water, oil or spirit bound pigment without cockling, peeling, stretching, or shrinking excessively; needless to say, a little of all these qualities is a good thing, as they tend to impart that rugged hand-done appearance. so beloved of the connoisseur.

The Odiferous Oil Process.

The Odiferous-Oil Process. "Composition in Smells" is indeed an art in itself. Only after years of almost suffocating experiment was I able to achieve the mastery that was so apparent in my original photopainting entitled "Warm wether is on the whey." Here the characteristic odours of cow, goat, chicken and ducks were offset with just a touch of Jasmine, asafoetida and Icelandic Stoat to produce the haunting blend that was noticed by practically everyone without a cold at the crowded opening of last year's Salon. Unfortunately, the peculiar smell of this monochrome reproduction gives you no idea at all of the original.

Colouring Up And Lantern Slides UncleAlbertsManualOfPracticalPhotography 76Lantern Slides.

Lantern Slides. Success on this bye-way of the photographic art comes only after much experiment and practice. The two little ladies above would seem to be doing well enough - but wait until they get on the slope. The younger lad on the left has come a purler right at the start.

The type of colour used is a matter of individual preference - there are several brands of ready prepared Photo Tinting Liquids on the market, and I expect that most beginners will prefer to use one of these. For those who are a little more ambitious I would suggest the use of oil colours as these have more body and can be made to stand up in ridges just like real oil paintings. Another little discovery of mine (which had not previously occurred, even to Mr. Rimmel) is that if the pigments used are mixed with pleasantly odiferous media - such as lavender oil, frankincense or myrrh - the pictures can be made to smell like herbaceous borders, or an Old English Garden.