It is gratifying to remember that the modern (sic. 1890 - Ed.) Art of Indoor Photography has its feet very firmly planted on the pictorial achievement of the past. The very phrase "Necks please!" - beloved of the busy commercial photographer - is a quaint survival that can be traced right back to where the Pre-Raphaelites started from. An appreciation of this historic fact has prompted the keen photographic Artist to affect the velvety looseness of dress and abundance of hair that is to-day recognised as the distinctive uniform of pictorial genius. However, the hair should not be worn so long that it hangs over the camera lens as well as the collar: it has been found that only the very best photographers have that innate flair for composition which enables them to work strands of hair into the subjects in a natural sort of way

Apropos of Indoor Photography, and particularly Portraiture, I cannot entirely agree with W. J. Loftie who, in his book "A Plea for Art in the House," says: ..."Photography is of little use for portraiture. I mean that large pictures "of landscapes in photography are much more common and more pleasing than "large likenesses. The vulgar staring portraits produced by many photographers "do not bear enlargement. . . ." To this type of irresponsible criticism one can only respond that the vulgar staring is an attribute of the subject and not of the photographer, who usually prefers peep discreetly from underneath a black cloth. Photographers, like their brothers in Art. cannot always be choosers, and one might with equal justification indict Rembrandt for picturing the vulgar staring Syndics of the Cloth Guild. Anyway the point can be avoided by concentrating on profiles and using a nice soft focus lens. Indeed, in this way it is possible to satisfy both of Mr. Loftie's objections as I have myself by these methods produced portraits which, from a short distance, are quite indistinguishable from landscapes of the popular "Mist in the Highlands" genre. Double-subject photography of this type - combining, as it does, the universal charm of landscape with the strong personal appeal of portraiture - is worthy of the attention of all progressive photographers.

An Outstanding Example Of Indoor Exposure.

An Outstanding Example Of Indoor Exposure.

In this informal get-together a new student is shown toasting senior members of my Anti-Under-Development Class." The appearance of spontaneous gaiety is entirely illusory, since this particular exposure went on for about four hours (not including two ten-minute intervals) and both toaster and toastees had to ease their elastic boots several times.

Necessary Equipment

Nowadays the virtues of both the Hand-Camera and the Stand-Camera have been combined in a popular all-purpose or "Hand-Stand" Model. Lest this description should tend to mislead the unwary amateur I hasten to assure him (or her-? Ed.) that the phrase "Hand-Stand" is usually regarded as applying to the Camera and not to the attitude to be adopted by the photographer, or, except under special circumstances, of the subject. It has been found, however, that if the subject flatly refuses to respond to the usual invitation to "Watch "for the Dickey," {see chapter on "Exposure") the photographer can, as a last resort, usually command some degree of attention if he (or she -? Ed.), suddenly stands on the hands (presumably on his, or her, own hands - Ed.), or, better still, hangs upside down from a trapeze, gasolier, or other convenient swinging fixture. I recently came across some interesting if rather involved statistics on the subject, which, boiled down, prove that, all things being equal, the degree of attention commanded by the photographer reversing his usual position varies in inverse ratio with the age, sex, blood pressure, underwear and general susceptibility of both the photographer and his (or her - Ed.) subject. In passing it is interesting to remember that the standard Camera Tripod was designed by the ingenious inventor of the common or garden (or park or beach - Ed.) Folding deck chair, and suffers from many of the whimsical aberrations of its prototype. Once the contraption is opened up, and the wounds on the fingers have healed, it is better to forget that it is possible - at risk of limb, temper and time - to make it fold up again into a neat {see maker's catalogue) bundle only about four-fifths the size of the fully extended tripod.

Necessary Equipment UncleAlbertsManualOfPracticalPhotography 7Necessary Equipment UncleAlbertsManualOfPracticalPhotography 8

If you must use a tripod the model shown here, although practically useless, has the advantage of folding up into a convenient bundle about the size of an umbrella; I prefer to carry an umbrella.

Apropos of Double subject photography.

Apropos of Double-subject photography . . . what do you think of this photopicture entitled "Washer girls! How arc you?" In a sense this is a multiple subject, for, in addition to the figurative interest of the foreground, the rather uninspiring mass of foliage in the background is cleverly broken up with gay little patches of undies. The fact that somebody's mother isn't using a well-known patent washing powder is also rather obvious.

However, it is only fair to say that the best indoor work is done on the stand and not with the hand camera. Supplementary equipment should include a large aspidestra or two, a few plain and fluted columns with removable bases and capitals (it is the practice, presumably to avoid the risk of contravening the Law of Copyright, always to combine the Four Orders of Architecture in single composite columns for photographic purposes - the calibre of an Indoor Photographer can to a large extent be measured by the ingenuity with which he does this). A Jacobean Jardiniere, several hundred yards of hard-wearing drapes. .1 painted backcloth showing the interior of the Main Banqueting Hall at the Palace of Varieties (Versailes-? Ed.) an assortment of false moustaches and toupees, and a glass of water, complete the standard studio equipment.