Harper's Round Table, September 3, 1895 Part 9

Recognizing the value of the work being done by the L. A. W., The Editor will be pleased to furnish subscribers with members.h.i.+p blanks and information so far as possible.

[Ill.u.s.tration: Copyright, 1895, by Harper & Brothers.]

Another pleasant ride out of Philadelphia into New Jersey is to the town of Vineland by way of Salem. The entire distance is sixty-two miles, and the run can, of course, be made in one day, with a stop at Salem for dinner. It is pleasanter, however, to make a two-days trip out of it. If the weather is good and you still want to ride, a run can be made from Vineland to Philadelphia direct on the third day, though the roads are not in either good condition or well made originally over the direct route. The first stage will carry us to Salem, thirty-two miles from Philadelphia. Leaving the city at Market Street, cross to Camden and run down to Gloucester, or cross at the South Street Ferry, if you choose, direct to Gloucester. Thence turning to the right at the end of the Ferry Street, follow a direct road to Westville, which you enter just after crossing the track. The road is macadamized, is very level, and in pretty fair condition. From this point to Woodbury is direct by the same macadamized road, the track being again crossed a little over half-way to the latter place. The distance from Gloucester to Woodbury is about four miles.

On leaving Woodbury, take the right fork at the break in the roads just outside of the village and run direct to Berkley, which is to the westward of you, pa.s.sing through Clarksboro, where the end of the macadam is readied and a gravel road begins. The road is not uncertain anywhere along the route, but from Clarksboro to Swedesboro it is as nearly straight as a road could well be. The railroad runs along on the western side half a mile or more away, pa.s.sing through Mickletown and Wolferts. Just after crossing the road which runs into Wolferts station you will come to a hill which is somewhat difficult, owing partly to the condition of the roadbed and partly to the steepness of the hill itself.

It is best to keep on the main road, even if you dismount and walk over the hill itself.

At Swedesboro a stop can be made for dinner or lunch at Ford's Hotel.

You have now ridden fifteen miles and covered about half the distance.

Leaving Ford's after a rest, keep to the left instead of crossing the track, and run along close by the rails seven miles to Woodstown. A number of roads come together as you enter, and to reach the centre of the village itself you should keep to the left fork and run along into the central square. If you do not mean to stop, keep to the right fork after crossing the railroad, and run direct to Salem, ten miles away. A rider can keep always to the left forks if he chooses on leaving Woodstown until he has gone about two miles out, when he should turn to the right at a fork and meet the main bicycle road five or six miles from Woodstown. On the whole, it is better to keep to the straight turnpike. The whole route to Salem is remarkably level as country roads go, and while the bed is gravel beyond Clarksboro, it is nevertheless in reasonably good condition all the way. At Salem the Nelson House is a good place to stop for the night.

NOTE.--Map of New York city asphalted streets in No. 809. Map of route from New York to Tarrytown in No. 810. New York to Stamford, Connecticut, in No. 811. New York to Staten Island in No. 812. New Jersey from Hoboken to Pine Brook in No. 813. Brooklyn in No. 814.

Brooklyn to Babylon in No. 815. Brooklyn to Northport in No. 816.

Tarrytown to Poughkeepsie in No. 817. Poughkeepsie to Hudson in No. 818. Hudson to Albany in No. 819. Tottenville to Trenton in 820. Trenton to Philadelphia in 821. Philadelphia in No. 822.

Philadelphia-Wissahickon Route in No. 823. Philadelphia to West Chester in No. 824. Philadelphia to Atlantic City--First Stage in No. 825; Second Stage in No. 826.

[Ill.u.s.tration: THE CAMERA CLUB]

Any questions in regard to photograph matters will be willingly answered by the Editor of this column, and we should be glad to hear from any of our club who can make helpful suggestions.

WATERSCAPES.

The amateur who lives inland, and has made a success of landscapes, is usually quite disappointed with his pictures of waterscapes when he takes his summer outing at the sea or lake sh.o.r.e. The photographs are for the most part thin and flat, and, while detail is not lacking, there is no contrast between light and shadow.

The reason is that one is not prepared for the intense light with which the whole scene is flooded, and consequently the plate is exposed too long. The reflection from the water almost doubles the intensity of the light. This may be noticed when focussing the image. Every part of the scene reflected on the ground-gla.s.s is so well illuminated that there are none of those dark ma.s.ses of shadows which appear on inland pictures. This the amateur at first thinks is an advantage. In one respect it is, for it enables one to get a sharp focus much more easily.

This seeming advantage is really a great disadvantage. The strong light on every object renders the developed negative flat and without contrast.

One way to bring out the contrast is to use a small diaphragm. Focus with a larger diaphragm and then put in a small one. The change in the image on the ground-gla.s.s will be at once noticed. Instead of being evenly lighted, the shadows are softened, and if a quick exposure is made, and the negative carefully developed, a picture will be obtained with as artistic gradations between the lights and shadows as in those of a landscape.

In developing instantaneous pictures taken at the sea-sh.o.r.e a great deal of judgment must be exercised. In the first place, as the light to which the plate has been exposed is very strong, the picture must be put in the developer in a very dim light, not allowing any of the direct rays from the red light to strike the plate. As soon as the plate is covered with the developer put a cover over the tray, and do not expose to the light till time for the picture to begin to appear. If it comes up too quickly, take it at once from the tray and put it in a dish of clear water. Mix a fresh weak developer, or dilute the same developer and add a few drops of bromide of pota.s.sium.

A weak solution of developer should be used to start the development.

Let the picture come up rather slowly, and after detail is well out take the plate from the developer, rinse in clear water, and put it in a stronger solution of developer till it has attained the right density.

Examine by holding to the light, and do not depend on the image on the back of the plate as a guide to density. If the picture lacks in detail, add a few drops of bicarbonate of soda to the developer; if lacking in density, a few drops of solution of bromide of pota.s.sium should be used.

Fog, which one would naturally suppose would obscure or deaden the light, has instead great illuminating power. Instantaneous pictures taken on a foggy day are often the most beautiful of waterscapes.

A good rule when taking pictures at the sea-sh.o.r.e is to use a small stop, and the quickest exposure of the shutter provided with the hand camera.

Remember that the light is more than double the strength on the sea than on the land, and that the water reflects the light instead of absorbing it.

SIR KNIGHT RAYMOND J. SPOONER would like to know how to mount prints on paper so that they will lie smooth. He intends to use drawing-paper 8 x 10 for 4 x 5 prints and then have them bound.

Make a rather thin paste of laundry starch. Soak the prints in water for a few minutes, and then lay them one by one face down on some hard smooth surface, like a pane of gla.s.s or the bottom of a porcelain toning-tray. Blot each one as it is taken out of the water, removing all the superfluous moisture. Have the sheet of drawing-paper ready, and moisten the place where the print is to be placed very slightly with a damp sponge. Paste the back of the print, using only enough paste to cover it, lift the corner with the point of a knife, and lay it pasted side down on the mount. Lay a piece of tissue-paper over the face of the mount and roll the print smooth with a squeegee. A smooth gla.s.s bottle can be used if one has no squeegee, or a new wooden rolling-pin answers every purpose. Lay the print when mounted between two pieces of clean blotting-paper and put a weight on it; as the prints are mounted they can be laid one on top of the other with blotting-paper between. Be very careful that no paste is on the face of the print.

The object in moistening the mount is that the print may not make it shrink; drawing-paper, being lighter weight than a card-mount, is apt to do this unless it is first moistened as directed.

ANSWERS TO QUERIES.--SIR KNIGHT A. SMITH wishes to know what will keep films from curling when in the developer The films should be soaked in water till they become limp before they are placed in the developer. To keep them from curling after development they should be placed before drying in a solution of glycerine and water, composed of glycerine 1/4 oz., water 8 oz.

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[Ill.u.s.tration]

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