pin. A wise passer-by who knew a thing or two about photography noticed
the absence of the lens. "How do you think you are going to take a
picture without a lens?" he asked. "With a pin-hole," she replied. He
watched her with pitying interest. "She _thinks_ she is taking a
picture," he said to another expert, tapping his head significantly.

ANTOINETTE B. HERVEY.

THE LAST OF THE SQUARE RIGGERS

_See __The Last of the Square Riggers_

How to suggest something of the stately vigor and the triumph over the
mysteries of the seas of the old whaler, "Greyhound," home from her last
voyage after seventy-four years of service--her yards squared and bravely
dressed for the inspection which will condemn her to be broken up--was the
problem of the photographer.

The time was near noonday in early August, the air clear and the sun
bright. A Graflex camera was used with Seed L Ortho plates and a
three-times screen, and one-fortieth of a second exposure sufficed at F 8.
The plate was developed with Kalogen in tank rather softly and a contact
positive made of the negative. This positive was then used to make an
11x14 negative by enlargement. P. M. C. No. 8 paper, buff stock, was
selected, and in printing a piece of thin, even-grained paper was placed
between the negative and the print paper to gain a certain softness of
quality in the finished print. Finally when dry the print was waxed and
rubbed down several times to give extra life and richness, particularly in
the shadows. The camera carried a nine-inch Struss lens.

G. B. HOLLISTER.

AS TO CERTAIN SOFT FOCUS LENSES

_See __Still Life_

Answering your question, Do you like to work with the Graflex with a Smith
doublet, visual quality lens? I really believe it would be difficult to
find a more satisfactory outfit. It is a companion always ready and
willing to do everything that either comes your way or you go after.
Working at F 4.5, the lens gives you the opportunity of getting the
broadest effects in landscapes or the softest in portraits. As a rule
these are not pleasing to most people when enlarged. I therefore usually
work with the lens at F 6 or F 8, which gives a delightful image with
distinct contours and a definite softness to the outlines, making
beautiful enlargements which are shar