At first glance, this camera resembles most late 19th-century cameras, but upon closer observation, it becomes apparent that it is different. The frame system is specific and entirely incompatible with other cameras. The frames were manufactured to accommodate the flexible plates and light-sensitive paper developed by Georges Balagny. A small plate affixed to the front of the camera clearly indicates this.

The camera is made of mahogany. The assembly of the woodworking pieces is particularly meticulous. The angles of the joints are rounded, which is unusual. The bellows, integrated into the rear part, is swiveling, allowing the switch from a horizontal to a vertical image without moving the entire camera. Two spirit levels, built into the base, aid in adjusting the vertical alignment. The extension of the bellows is adjusted by moving the back. It has small pegs that fit into one of the three sets of holes located on the base. Focusing and maximum extension are achieved using the wheel at the rear, which operates a rack where the rear part is fixed. The lens of this particular model is a Derogy. The absence of a shutter indicates usage with a lens cap.

Georges Balagny, a photographer and member of the Société Française de Photographie, was a versatile figure in the field of photography. He held patents in photography and authored works such as "Traité de photographie par les procédés pelliculaires" and "La Photocollographie." It is in the former, published in 1889, that he likely explains the uniqueness of his system.

Loading the frames with film papers.

Everything we have mentioned on this subject regarding loading flexible plates should be applied to film papers.

All the methods mentioned are suitable.

Naturally, we will always recommend, preferably above all other systems, the single curtain frame, which is certainly the best option. We have succeeded in constructing extremely thin frames made of wood and canvas with a mahogany blade curtain. These blades are placed next to each other on canvas and glued together with marine glue. When everything is dry, a second, very strong cross canvas is glued behind the first canvas, designed to prevent light from passing between the blades and also to prevent the blades from separating from each other due to prolonged use, which frequently happened in older curtain frames. This is the reason that led to the abandonment of this excellent system. The curtain frame is, as they say, old but well-improved; because it is no longer collodion that needs to be used with it, but extremely sensitive plates that require it to be perfectly sealed and not allow any light leaks. That is the improvement achieved. And not only is the frame itself well-sealed, but it is also so well-fitted to the darkroom, similar to the one we described at the beginning of this book, that you can work with this darkroom in full sunlight without using a black cloth, as is usually done. We don't need to emphasize the convenience of such a system. How many times have we regretted having to pull a shutter outside the darkroom! You have to reach under the cloth, find the hook, and once you reach the shutter, pull it and bend it behind the frame, then replace the black cloth, make sure everything is well-joined to avoid light leaks! It's safe to say, it never ends. Whereas with the curtain, you only have to worry about one thing, the sun; because, above all, you must not let your instrument deteriorate: so if it's sunny, you put it under a cloth, just as a precaution. If you are in the shade, you open your frame in broad daylight without a cloth over the darkroom, and this is done even if you are in the sun, in windy conditions, or in any situation where you might be prevented from doing otherwise. Have you ever worked at the end of a pier during a strong storm, with the sea crashing loudly beneath your feet? You are there behind your instrument, only concerned about one thing, seeing your darkroom being carried away by the sea; you want to take a picture, you pull the curtain of the frame to open it. The wind inflates your black cloth, you pull it back onto your face; and that's not all, when the curtain is pulled, it's also the shutter that moves and stands above the frame's opening. It goes without saying that during this operation, the cloth lifts despite your efforts, and the sun, or at least the light leak, enters without hindrance through the slit in the shutter and exposes your plate. It is rare that a picture taken in such conditions is not entirely lost. With the curtain frame, none of this happens. You secure your tripod to the ground, attach your darkroom, focus, and remove your ground glass. Indeed, you should never have a hinged ground glass after your darkroom. To attach the ground glass to the darkroom, you have to create two notches, and that's exactly where the light passes. The hinged system was invented to give darkrooms a nice appearance, but it comes at the expense of many advantages. In a well-made darkroom, the ground glass must be extremely thin and mounted on copper; after focusing, it should be placed on the part of the broken tail that is below the bellows, between the front and rear bodies of the darkroom. This way, it doesn't obstruct the operator, and during gusts of wind, it doesn't flap down, risking breaking with the cloth on the frame. According to us, this arrangement is the only one to adopt.
Among the methods of loading papers that we will also recommend, we will place the hinged metal frame in second place. Our readers already know what it consists of. We have also indicated how to use it. For paper, the same method must be used as for flexible plates. But we believe we should add here, for those who are far from Paris, abroad, for example, how to make them themselves. First, you will need sheets of zinc, about 0.5 mm thick, measuring exactly the size you want, 18 cm by 24 cm, for example. With a ruler, draw a line 5 mm from the edges, creating a sort of border around the zinc plate. Then, using a sharp cardboard cutting point and a steel ruler, remove the entire middle part, so that only a 5 mm wide frame of 18 by 24 remains. You can varnish this frame with good black Japanese varnish. Allow this varnish to dry well, which will take barely an hour.
On the other hand, you will cut a piece of black cardboard exactly measuring 18 by 24. This cardboard should be as strong as those used for attaching album cards. Then, you will need to attach the zinc frame to the cardboard using a hinge. You will create this hinge from black canvas or even black calico. For an 18 by 24 frame, measure a piece of fabric that is 14 by 10 cm. Coat one side of this fabric entirely with strong liquid glue, then wrap 5 cm of the fabric around one of the short sides of the zinc frame, right in the middle, leaving 5 cm of coated fabric to be glued directly onto the cardboard. Allow the entire system to dry flat, as shown in the figure above.
So, there's no need to buy this item; everyone can make it with a good point, a good ruler, and a steel square.
One more observation before finishing this chapter: when you receive film papers, you must keep them flat and under pressure. The paper used in these preparations is extremely thin, and the collodionized gelatin layer on top has a tendency to make it curl, especially if you store the packets in a room that is too warm. To eliminate this drawback, store the papers in a cool place. Leave them outside overnight if you are in a hot climate. If you are traveling in hot countries, press them firmly between two wooden boards, as much as possible, in a trunk or bag, shielded from direct sunlight.


(Picture Société Française de Photographie)