Evening star., 1950-10-29
BY Alexander J. Wedderburn
Curator of Photography
The Smithsonian institution

So many interesting things took
place at the annual convention of
the Photographic Society of
America in Baltimore that it
would take volumes to cover the
ground. Since we do not have
sufficient space. we will present a
brief review of the more important
highlights, plus few facts picked
up during the meetings that may
help you in your pursuit of the
Photographic image.
Many Of the great names in
modern photography were on
hand both to observe and to par
ticipate in the program. Hun
dreds of professional and amateur
photographers from one end of
the country to the other witnessed
the proceedings which by neces-
sity operated very much like a six
ring circus. No matter what spe-
cialized branch of photography
you followed you could always find
something going on to hold your
interest.
In one room color sessions were
in full swing while in others sub
jects ranging from photo journal
ism, amateur movies, pictorial
photography and the latest tech
nical advances held the attention
of their respective audiences. All
this, was supplemented by pic
torial and technical print salons
displaying the work of the Ma
tion's top photographers, half
day scenic boat trip for the entire
group and the annual banquet.
But what is more important to
you as photographer is the fact
that new advances in the practice
OF photography were brought to
the attention of the amateur.
Some of the more technical phases
of the subject would be of little
interest, but there were other
items on the agenda that we feel
will be of direct benefit to the
man who goes into photography
for pleasure and profit.
For instance, such simple
step in film and print processing
as the stop bath came under dis
cussion by R. w. Hem, a re-
search scientist of the Eastman
Kodak Co. Now I think we all
know how little regard is paid this
bit of procedure even by many
professional photographers-par-
ticularly when processing a batch
OF prints. The print is often
moved directly into the fixing
bath from the developing tray
without much regard for conse-
quences. A number of photog-
raphers will splash their prints
through a tray of water but too
few will even resort to this ex-
pedient.
Later on. the careless one will
moan IN anguish when spots show
up on the prints. Rather than
being "a not-too-necessary evil
Dr. HEM pointed out that the
stop bath is a highly important
element in good processing. 1t was
noted that in mass processing
such as we have in commercial
laboratories, as much as three
gallons of developer goes into the
stop bath in the emulsion of
every 1000 rolls of film. Propor-
tlonate amounts will be carried
over to your fixing bath if you
are not careful to use a potent
acetlc acid stop bath in between
the first and third steps.
DR.. Hem listed these basic re-
qulrements of a good stop bath.
1t should stop development. rap
IDLY and evenly, preventing fog
and streaks. 1t should prevent
formation OF scums and stains. IT.
should preserve the acidity of the
hxlng bath. He added the fur
ther pointer that successful stop
bath should not smell strongly
cause swelling or softening, or sui.
1urlze the flxer. 1t was recon-
mended that the film or print be
drained well after development;
that strongly acid sulfated bath
be used before fixing; that the