This section is from the "Studio light a magazine of information for the profession 1923" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1923.
The man who must wear glasses to focus his camera is at a distinct disadvantage. If he wears glasses for close vision he must change them when he has finished focusing. And for every change of his camera he must change back to his close vision glasses to properly focus his image. Unless, as you will probably say, he uses bifocals.
Bifocals, as we are told by those who use them, are very fine but the disadvantage to the man with his head under a focusing cloth is that the small portion of the lens which is used for close vision is at the bottom.
As a result, the man who is bending over his camera with his head bent forward must be something of a contortionist to tip his head back far enough to see every portion of the ground glass through the lower portion of his glasses.
Mr. Paul Engstrom of Lewiston, Idaho, like many other photographers, is compelled to wear glasses and his solution of this difficulty has proved so satisfactory in his own case that he has offered the suggestion for the benefit of Studio Light readers.
Mr. Engstrom had his optometrist make him a pair of glasses for distant vision with segments for close vision at the top of the lenses instead of the bottom as is the usual custom.
PORTRAIT FILM NEGATIVE, VITAVA PRINT
By Fernand de Gueldre Chicago, III.
When focusing, his head is naturally tipped forward so it is easy for him to look through these top segments, while with the head held upright the entire lower portion of the glasses is available for the study of his sitter, posing and general arrangement of the sitting. Such an arrangement also gives a man a better carriage while performing his work, makes it less tiresome and does not necessitate a constant changing of glasses. The suggestion seems to be a good one and may be of real use to any person who is entirely dependent upon glasses for working back of the camera. And anything that makes a man's work easier and more pleasant should be worth the cost of a new pair of glasses.
Our illustrations show a very simple loading or storage box which one of our demonstrators devised for one of his customers. It is merely a light tight box with a moulding around the inside and cross pieces on which No. 4 Film Developing Hangers will rest as shown in the second illustration. The idea of this box is to save handling of the films between exposing and developing. The photographer finishes a sitting on which he has exposed a number of films and retires to the dark-room to reload his holders.
As the films are taken from the holders they are usually placed in a box and developed later on. It is just about as easy to slip them into developing hangers as fast as they are removed from the holders as it is to store them away in a box and load them into the developing hangers later on. But there has been no place to store the loaded developing hangers.
This is where the convenience of the loading box comes in. The box we illustrate was made to take 150, 5x7 developing hangers. But, as will be seen by the first illustration, it is divided by a cross piece which makes it possible to use either one or two of the four sections for 8 x 10 hangers. Our illustration shows three sections filled with 5x7 and one with 8 x 10 hangers.
When it comes time to develop there is no delay. All of the loading has been done between sittings and the films are in a light tight box ready to transfer to the developing tanks.If this economy of time appeals to you, the box will he found quite simple to make.