The proper kind of a darkroom or work-room sink for a photographer to build is always more or less of a problem. If you have a good sink you have nothing to worry about, but if you need new sinks and contemplate building them, probably the following suggestions and the plan we submit will be of interest to you.

Size is a matter that depends entirely on the requirements of your studio or the space which you have in your work-rooms. It is much better whenever possible to have ample sink room rather than to be crowded for room.

The >ink shown in our drawing is 8 feet long, 2 1/2 feet wide. 26' inches wide inside, 8 3/4 inches deep at the ends and one inch deeper in the center to allow for the slope from each end to the center where the drain is located.

The top of the sink is 36 inches from the floor and the sloping splash boards at each end and the back are nine inches high. These splash boards are very convenient because the fixing and washing tanks are usually placed at the end of the sink and a splash board keeps chemicals off the floor.

It is very important to keep the floor of the dark-room clean because chemicals spilled on it dry up and walking on the floor stirs up this dust and causes all sorts of spots on sensitive material.

As it is never advisable to use the bottom of a sink for trays or developing, fixing or washing tanks, we show a rack in our sink which is made of heavy strips of wood set about one inch apart and beveled off at the top edges. This prevents much of the splashing that would be caused by strips with flat tops.

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DIAGRAM OF SERVICEABLE WASH-ROOM SINK

This rack may be made in two or four sections and may easily be removed when it is necessary to clean the sink. Because of the slope from each end, however, the supports at the center should be higher to make the sink rack perfectly level.

Almost any well seasoned, inexpensive lumber may be used for the frame work of this sink as we suggest that it be lined with sheet lead. The bottom can be made of 2 1/2 foot boards and as the construction does not need to be tight, the frame work will be fairly inexpensive.

The lead lining is unusually satisfactory because it will wear a lifetime and will not be affected by any of the chemicals that you will have occasion to use in it. Also, there is practically no danger from leaks and if you should, by any chance, puncture the lining, it is the most simple thing to repair.

We would also suggest that the sink be placed a sufficient distance from the wall so that a narrow shelf can be built from the top of the back splash board to the wall. This shelf can have a very slight title towards the sink so that if a graduate has been washed and set on the shelf any water from it will drain into the sink.

Such a shelf is convenient for bottles of developer, graduates, a Negative Comparator, reducing and intensifying solutions, etc. A Safelight Lamp, however, should be considerably higher and may be attached to the wall.

As our diagram, (page 5) shows there are one hot water and three cold water taps above the sink. It is very convenient to have hot and cold water in the center where the developer is most likely to be mixed and to have cold water at each end of the sink where connections may be made with washing tanks. Such an arrangement costs much less if installed at the time the plumbing work is done on the sink than later on.

If the above type of sink, which we have had in use for a considerable time and recommend, appeals to you, you can be sure of its long life and exceptional serviceability. If you have no use for a new sink at the present time, file this information for future reference.

Ordinary service has no commercial value today. It is that individual, rare service, rich in personal interest and human appeal that attracts and holds customers selected

A Serviceable Work Room Or Dark Room Sink StudioLightMagazine1923 59

PORTRAIT FILM NEGATIVE, VITAVA PRINT

By Fernand de Gueldre Chicago, III.

The Man Who Made The Pictures

It is often said that photography is not an art, and in itself possibly it is not, but it is a medium of expression which, in the hands of the artist, yields results that are just as artistic as many other forms of art produced with other mediums of expression.

It is our understanding that Mr. Fernand de Gueldre was led to become a photographer because he had the need for photographs of some of his artist associates and was unable to find some one at hand who could put his ideas into these portraits. So he took it upon himself to do the work.

It is a fact that the artist himself is the only one who can satisfactorily put his ideas into definite form and create a portrait that is pleasing to himself. And whether or not we are properly informed, we do know that Mr. de Gueldre became a very successful photographer and has built up an excellent business, including among his patrons many notable professional artists.

When asked why he uses Portrait Films, Mr. de Gueldre replied: "The reason I use films in preference to plates is the film itself. The advantages its very existence offer are so many that I cannot, and never could, see why anyone should not prefer the film to the old-fashioned glass plate.

"Invariably when questioned at conventions or other gatherings about the use of films I have been unable to understand why there are photographers who still fail to appreciate the wonderful medium put at their disposal.

"Considering that all technical points were equal in both products, not to mention the infinitely superior delicacy of film rendering over the plates, the material advantages would be sufficient to substitute,without further argument, the former for the latter.

"The only time when I was obliged to use plates was through the purchase of a new home portrait camera to which the back had not yet been changed to the adaptation of films.

"I made during that very short period a very considerable number of studies, all of which were broken in moving my studio, though I thought I had taken special precautions to guard them from this fate. Of those studies which had been made on films and backed by ground glass, none were harmed though the glass had been totally pulverized.

"One would think that a single incident as mentioned above would more than convince one of the greater advantage of films." Our illustrations are excellent examples of Mr. de Gueldre's work.

The Man Who Made The Pictures StudioLightMagazine1923 61

PORTRAIT FILM NEGATIVE, VITAVA PRINT

By Fernand de Gueldre Chicago, III.