UBRARY ANNEX 2 ALBERT R. MANN LIBRARY AT CORNELL UNIVERSITY Cornell University Library TR 146.E13 The Modern way in picture making :publis 3 1924 003 618 968 Cornell University Library The original of tiiis bool< is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924003618968 THE MODERN WAY IN PICTURE MAKING. PUBLISHED AS AN AID TO THE AAIATEUR PHOTOGRAPHER. Revised Eililion, June, IQO'J. Copyright, 1905. EASTMAN KODAK CO. ROCHESTER, N, Y. Index. American Aristo, - - - . . 1:4-115 American Platinum Taper, - - - - 122-124 Angelo Platinum Paper, - . - - 124-126 Amateur Portraiture by FlashliglU, - - 51-64 Animals. Photographing - . . . 157-15. , Aristo Self Toning, - . . . . 115-116 Azo Paper, ---.,- 105-106 Backgrounds, - - - - - - 50, 63 Birds. Photographing - - . - . 152-157 Blue Print Paper, ----- iis-ng Bromide Paper, - . . _ 127-140 Cameras, -------- -s^-g Camera, Choice of ------ 6-7 Carbon Printing, (Sinclaii) - - - . 17S-1S4 Clouds, ------- 2S, 165-16S Collodion Paper, ------ 114-1 in Combined Balh, ------ loS-iio Composition, ------- 25 Compjosition, Simplirily in (Stieglitz) - 161-164 Dark- Room De\'elo])nieTit , - - - - Si-n Defecti\-e NegaLi\'es, ----- s6-Sq Development, ------- 72-91 Developing \\'ith Tank, - _ - - 78-So Developer FonnuUc, - . - - . 77-7S Developing Bromide Paper, - - ,- - 134-135 Diaphragms, ------- 11-13 Drying Film Negatives, - - - - ^^o Enlarging OTi Bromide Paper, - - - 127-140 Exposure, 10, im, 50 Ferro Prussiale Paper, iiS-uq Fish, Photographing - - . - . 151:1-160 Fi.xing Film and Plates, . - . , -q F'ixing \'elox, ------ qg Flashlight Work, - 51-70 Flash Portraiture, ( Pitch I - - - - 51-64 Flowers, Photographing I rjugmore) - ■ 15C-152 Focusing, ,----- 14-16, 19 Focusing Scale, - - - - - - 17, 71 Fog, - Nq Gelatino Chloride Papers, - - - - 107-113 Gum-Bichromate Process, iDeniachy) - 1S5-190 Home Portraiture, 35-A'^ Intensification, - - - - - 44-Sg Interior Exposures, - - 19-20, 47, 4S, 65-69 Kodak Tank Developer, - - - 72-So Landscape Photograjilu', - - - - 27-2S; Lantern Slides, ------ 142-143 I-enses, -------- -^-6 Lighting,- - - - 19,26,36,40,41,43-46 Lighting, (Outdoor) ■ - - 26 Loading w ith I~ihn, - - S Loading with Plates, - . . - r, Measures ami Weights, - . - . ^-q Muunting, - ----- ] ,1 Nature with a Kodak, ----- 150-160 Outdoor Work, - . . - , 23-28,40-50 '1 )\'er-De\-elopment, ----- S7 ['iclr)rial Photograph)', - - - . 20-34 Plain Papers, (Aliieri) ----- 174-177 Platinum Printing, 120-126 Portrait -\ttaclnnents. ----- -i Portia it ure, - - - - - - - 35-4S Portraiture, Flash iRitchi - - - - 51-64 Portraiture, (Jutdoor ----- 40-50 Posing, ------- 36, 40-47 Piinting, ------ 92-140, 174-igo Printing-Out Pajiers, - - - - 107-1 19- 121 Reduction, - • - - - - - 43, S7 Relleclors, - - - - 37, 63, 69 Rising Front, ----- - - 21-22 Salted Papers, ------ 174-177 Self Toning Paper, ----- 115-115 Self Toning Collodion, . - - _ n^ Separate Bath, - 110-111 Sepia Paper, ------- ng Sepia Tones on Bromide Paper, - - - 130 Seiiia Tones on \'e!ox, ----- 101 Si^lio, --.----. 10--114 Stereoscopic Photograph)', - - - - 171-173 Stops, - - • - - - - - 11-13 Street Photograph)', ----- 25 Timing, -------- 39-42 Trimming, - - 169-170 Cnder-Developmetit, SS \'elox, - - - 92-105 Washing Film Xegati\es, - - - - So Water De\"elopnient Paper, - - - - 117-11S W. D. Platinum, - - - - - 117-iiS Weights and Measures, - - - - lyj Winter Photography, (F;ickeme\'er) - - 144-149 Preface. •^UR first obie6l in the publication of this book is to make photography ^<^ easier for the amateur. Our second is to show him the way to new pleasures in picture making. In its compilation we have endeavored to cover fully and clearly every point on which he should have information. With equal care we have avoided useless discussion of theory and have given no space to topics that would not appeal to those who take pictures for the love of it. Frankly, we have given the preference to work by the Kodak system. We could not do otherwise and be honest with ourselves or with the reader. We have built up this system because we believe in it, because to our mind it means success for the beginner and offers the greatest opportunities to the advanced worker. In its sixteen years of growth, the Kodak system has changed the photographic ideas and methods of the whole world and has made simple and easy a process that was once complex and uncertain. While we have given prominence to the Kodak method of work, we have nevertheless recognized the fact that there are those who, by choice or because they have other apparatus than ours, still cling to the use of glass plates, and we ha\'e accordingly applied the instrudtion to the whole broad field of amateur photography. In compiling the book we have not only availed ourselves of the ser- vices of our own experts, but have prevailed upon a number of authorities to contribute to our pages — aiming all the time, however, at simplicity. It has been our aim to so arrange the book that the instruction will coincide with the amateur's advancement. Thus we touch lightly upon such matters as composition, timing, etc., in the earlier pages, going more fully into these subjects after treating the simpler forms of technical work and con- cluding with the more complicated printing methods. Some of our previous books have proven successful as photographic educators. It is our hope that this, our most ambitious effort in the pub- lishing field, will give the world a still better understanding of photography. EASTMAN KODAK CO. I'lockton Harbor. n. M. lATP. The Camera. FILMS OR PLATES. Upon the seleftion of the first instrument much depends. And in advising- we must take into consideration the personahty, tastes and pocketbook of the beginner. Yet one rule can safely be laid down. Unless the camera is never to be taken more than a hundred feet from the dark room it must use film. In other words, an exclusively plate camera is all right for gallery work, but is a thing to be avoided by the amateur. Films in light-proof rolls weigh only one- twentieth as much as glass plates and the necessary plate holders ; they are non-breakable, are as easy to develop as plates, and in rapidity and quality equal the best plates made. For convenience it is well to have an instrument that will use plates as well as film, although the plate outfit will rarely be used in journeying but is desirable when one wishes to make an exposure or two in or about the house. LENSES. Lenses commonly used in hand cameras may be divided into three classes, " Single," composed of one piece of glass, " Single Combination " (sometimes also called simply "Single"), composed of crown and flint glass, and "Double Combination" (often called simply "Double"), consisting of two single combinations. SINGLE LENSES are made in two forms, meniscus and plano-convex. The meniscus form, giving the best definition, is always employed except in the cheapest class of cameras. These lenses are always mounted behind the diaphragm which controls the amount of light to be admitted through the lens. THE CAMERA. DOUBLE COMBINATION LENSES are usuallv of the form shown in the cut and consist of two meniscus A. Fr..i.tCMiiil.in,iti-n. H.Bact Dour,i-E Lens, lenses mounted with the diaphragm between. CORRECTED LENSES. All glass, when ground into lenses, has the quality of dispersing the different colored rays so that they will not focus at the same point. The B Xl'N-Achko> ACHRuMATIC. rays «-hich act on the sensiti\-e surface are those from the \-iolet end of the spectrum and are called the actinic or chemical rays. The \'isual rays are from the red end of the specirum, hence if these rays are separated by the lens the image \\-e see on the ground glass is not the one which will make the picture. Fortunatel)' flint and crown glass ha\'e different dispersiye powers and, therefore, one can be made to correct the aclion of the other. Hence if ^^'e assume that with a non-achromatic lens, such as shown in the cut, the \'isual focus woifld be at C, the chemical focus would be at A. Flint glass bends the chemical rays more than does crown glass, and so by combining a negati\'e lens of flint glass with a positive lens of crown glass, the chemical and yisual rays are brought into coincidence, /. c, are brought to focus in the same plane as at B. The lens is then called " achromatic." In a non-corrected lens e\'en the chemical rays do not all focus at one point, but in small lenses the dispersion may be so slight as to be impossible of detection in the picture by the naked eye. THE CAMERA. 5 The difficulties of lens making increase, one might say, in geometrical ratio to the size of the plate to be covered, and many forms of lenses other than those shown have been de\'ised to overcome these difficulties, some of which employ as many as six or eight pieces of glass, but these lenses have really no practical advantage over the simpler forms in such sizes as are commonly used in hand cameras and we shall, therefore, not consider them here. In very small cameras the best lens is the simplest ; for instance, the lens used in the original Pocket Kodak is a single meniscus non-achromatic, and probably no lens ever had higher encomiums showered upon it. The reason being that it was carefully made, rigidly inspected and tested, and not over-ta.xed. As a matter of facl, no double achromatic lens could be made that would surpass it in brilliancy or covering power. For larger sizes lenses must be corrected but there is no advantage in a double lens unless 3j<; X4'4 or 4 X 5, or larger, pictures are desired. Single lenses tend to slightly curve the marginal lines of the picture, but this is unnoticeable in small pi6tures and is unobjectionable in view work of any size unless the pictures contain architectural subjects. Double lenses can be worked with a larger stop opening than single lenses and are, therefore, quicker, especially in the larger sizes. They are almost essential for 5x7 and 4x5 snap- shot work and are preferable ior 2,/i ^ 4-!4< but below that the advantage disappears. Everything depends on the quality of the work put into a lens. Differences of curve or polish not to be detected except by an expert often constitute the difference between a good and poor lens and only those which have been through the most rigid inspedion and trial should be put in a camera by the manufa6turer. ••FIXED FOCUS" lenses are so often mentioned in catalogues and advertisements that the impression has gained ground that this is some distinft kind of lens, with the extraordinary power of focusing all objects near and far in one plane. There is no inherent quality in any lens that makes it " fixed focus " ; it is such when it is immovable and that is all. Any lens can, therefore, be made " fixed focus ", but the extent to which it will focus all obje6ts in one plane depends upon its length of focus and size of stop or diaphragm used, and upon that only. The reason for this is that the rays of light from near and far obje6ts do not focus at the same point. For instance, in the exaggerated diagram, page 6, we will assume that B is the point at which obje6ts 100 feet distant will focus and that A is where objetts 10 feet distant will focus. 6 THE CAMERA. Now the distance between A and B will vary in ratio to the focal length of the lens. In a lens of 3 inches focus it is ascertained mathematically to be j3j- of an inch and in one of 12 inches focus, 1 14^ inches. Hence if using a 3 inch focus lens the sensitive surface is placed between A and B, the objefl at 100 feet and beyond (all objects beyond 100 feet come practically within one focus) and objects 10 feet distant will none of them be more than -rf.t out of focus, which, with the size of stop ordinarily used for snap work, creates so slight a blurring of the image that it cannot be detected. Experience has shown that the limit of focus for a lens which is to be employed for snap-shot work with the focus fixed is under 5 inches ; in other words that a 3/^ X 3J-2 plate is about the largest that can be used to advantage under such circumstances. It is probably true that for cameras of this size and under, little can be gained by ha\'ing the focus adjustable and that, on the other hand, better a\erage results « ill be obtained with a fixed focus, owing to the fact that there is no adjustment that will allow the lens to be put out of focus by a mistake in measuring distances. THE CHOICE OF THE CAMERA. ^^'ith the products that exist to-day, the hand camera is pre-eminently the most desirable instrument for the amateur photographer, whether he be no\'ice or expert. When amateur photography first began, some twenty years ago, to be popular with the public, there was a general outcry from the small group of old enthusiasts against the " snap-shotter ", as he was termed. When, a little later, it came to be recognized that good pictures were possible with the hand cameras, the old-timers looked wise and said that "while admitting the utility of the hand camera, the novice should begin with a tripod camera and educate himself on the ground glass". These " old timers " having learned photography in that way felt that it was the only real way. But all that has been changed, this change ha\-ing come about partly through the overcoming of the old prejudices and partly through the per- fecting of the hand camera. Nearly all of the best work is to-day made THE CAMERA. ^ with hand cameras, 5x7 or smaller. 'Tis true that the work you see at the salon is often large, but get back of the pifture and you are very apt to find a small negative and most likely a film negative. On the question of focusing on the ground glass there is a marked difference of opinion. Some first-class workers are satisfied with the finder and scale ; others wish to see the image in its full size on the ground glass before they press the bulb ; still others work sometimes in one way and sometimes in the other, depending upon the conditions. As a matter of fad, the finders and focusing scales have been so perfected on the smaller instru- ments that the ground glass is not an essential, perfeft accuracy being secured by less troublesome means. Several styles of Kodaks provide for the use of either the scale or the ground glass for focusing. IVIost notable of these is the Screen Focus Kodak, which by an ingenious de\ice permits the use of the ground glass, although it takes the regular cartridge film. It will thus be seen that the ad\-antages of film photography may now be enjoyed even by those who feel that the ground glass is essential for some of their work. Up to a recent date the plate camera was the only instrument per- mitting the use of the ground glass. Against this the Kodak svstem offered : Lightness, daylight loading, machine development, and the superior orthochromatic and non-halation qualities of Kodak N. C. film. To-day the Film Pack Adapter gi\'es many of the ad\'antages of the Kodak system while permitting as free a use of the ground glass as the plate sys- tem, but with the Film Pack a dark-room is required for development. So far then as the choice of a camera is concerned, the novice should weigh tiie conditions and decide for himself, bearing in mind that film photography has been forging steadily ahead ; that the best workers no longer question the desirability of film for serious work ; that machine daylight development has been generally acknowledged as practically and theoretically corre6l. No matter then what the size may be, no matter what the lens and shutter equipment may be, no matter what the price may be, the instru- ment should be adapted to the use of film, and with the tremendous advan- tage of daylight development taken into consideration, the Kodak Car- tridge System should be given the first consideration. Outside of the question of film and plates and the method of focusing, the important point to be decided is that of lens and shutter equipment. The safe rule is to buy the best the purse will allow, bearing in mind, never- theless, that satisfactory pictures are made with even the cheapest cameras. 8 THE CAMERA. GET ACQUAINTED WITH THE CAMERA. ''Hoi.' shall I load it r' The camera obtained, that is the first question which will be asked by ninety-nine people out of one hundred, and our answer is: '' Don't load it ; at least, not until you fully understand its workings." Try the shutter first, working it se\'eral times for both time and instan- taneous exposures and making yourself perfectly familiar with its action. Also take careful note of the diaphragms or stops and observe hou' with the larger opening a greater quantity of light passes through the lens in a given time and you will then fully understand why we use the largest opening for snap-shots and the smaller ones for time exposures. ]Ta\'ing mastered the shutter and the focusing arrangement, if there is one on your camera, and ha\-ing obtained a slight idea of the conditions necessary for successful picture taking, the camera mav be loaded. LOADING THE CAMERA. On the supposition that }-ou ha\'e taken the ad\-ice gi\-en in the preA'ious pages and purchased a film camera, we will first gi\'e )'0u a few hints about loading \\'\\}\ film. WITH FILM. With a Kodak this operation is performed in daylight and ^^k is \-ery simple. The film is put up in light-tight rolls and extend- ^K^ ing the full length of the strip of film and se\"eral inches bevond ^^ each end is a strip of black paper, which, in connection with the IB flanges on the spool, forms a light-proof cartridge. ^^^B After inserting the spool and threading up the black paper ^^^ the camera is closed and the key turned until the black paper has c.ar'tkh'ge. been reeled off and the sensiti\-e film brought into place in the focal plane. The black paper runs with and behind the film, and at proper intervals is marked in «'hite with the number of the section of film, i, 2, 3, etc. In the back of the camera is a small red window through which the figures appear as the key is turned. Turn the key slowly to the left and watch the litde red celluloid window- at the back of the camera. When 15 to iS turns have been gi\en a hand Fig 1 . . "" pomtuig toward the first num- ber will appear, then turn slowl\- until the figure i is in front of the red window. Fig. i. THE CAMEA'A. 9 The warning hand appears only before No. i. These figures show just how far to turn the key and how many exposures have been made. After all the exposures have been made, a few extra turns of the key entirely covers the film with black paper and the camera may be unloaded in daylight. It is all as simple as threading a needle (simpler for a man) and with each camera is a manual telling plainly about each step. The amateur must bear constantly in mind, hoi\ever, that the black paper must be kept tightly rolled about the film all of the time until it is in place in the camera and the camera closed, for should the film be exposed to daylight for even a hundredth part of a second its ruin would be accomplished. In the 3J3 X 31^, 3'^ x 4'^ and 4x5 sizes Film Cartridges may now be obtained for " Double-Two," six or twelve exposures. 2>^i ^ iV- ™ay be had in "Double-Two," six and ten, and 4'/f x 6>^, and 5 x 7 in "Double-Two," and six exposure cartridges. The "Double-Two" car- tridges contain four exposures, so arranged, however, that two of them may be removed after exposure, or, if desired, the entire four exposures may be made before taking out cartridges. WITH PLATES. For loading with glass plates a dark-room is essential, that is, a room from which all white light has been excluded as described on page Si. Provide also a dark-room lamp, a camel's hair brush and a shelf or table on which to work. Remo\'e the dark slides from the plate holders and, having closed every avenue for the entrance of white light and lighted the dark-room lamp, open the box of plates. Take one of the plates from the box and put it in the holder face up, handling the plate by the edges. (The face is the dull side.) Dust with the camel's hair brush and insert the dark slide with the word " exposed " next the plate. Now turn the holder over, if it is a double holder, and load the other side in a similar manner. When all the plate holders ha\'e been filled close up the remaining plates in the box, wrap them up securely or put away in a dark drawer. THE FILM PACK. By use of the Premo Film Pack the ordinary plate camera is trans- formed into a daylight loading film cam.era with the advantage of focusing on the ground glass the same as when using plates. This pack consists of twelve flat cut films packed together in a light proof paper case. Attached to each film is a paper tab, the end of which is numbered, thus showing the operator just which film is in position for exposure. The method of using this pack is extrem.ely simple, as the only movement necessary in placing the film in position for the next exposure is to simply pull out a tab. Making the Exposures. SECTION 1. -EXPOSURE. At this stage of ^-our photographic career you should learn to properly expose the film, then to develop it. When you are proficient in these rudimentary principles, it will be time to take up the simpler methods of printing, after which you will be instructed in the more artistic side of the work. In speaking of glass plates one refers to the emulsion which is coated on the glass as the "film." In case of Eastman's Xon-Curling Film the entire product is so light that the whole substance is referred to as "film." In reality, howe\'er, there is a transparent base taking the place of the glass. Upon this the sensiti\"e emulsion is coated. We then ha\'e a prod- uct which is similar to a glass plate, except that it is light, thin, non-break- able and reliable. The emulsion is the same in each case, the difterence being entirely in the support. Cartridge Films, howe\er, on account of the black paper backing, do not reflect light from the back to the surface, and, therefore, are almost entirely free from halation, a defect which is found very largely in all glass plates unless they are specially prepared. This freedom from halation gives film a far greater latitude in exposure than can be given with plates, and especially adapts it to the conditions of harsh lighting under which the amateur ordinarily works. E\•er^•thing else being equal, films will, there- fore, ffWe better a\'erage results than can be secured on glass plates. A negative is made by the action of light on the silver salts in the emulsion with which the film is coated. Light colored obiects reflefl strong rays of light and they affect the sih'er salts the most. If there is a clear sky the rays of light from it «"ill make the sky in the negati\'e opaque or nearly so ; the rays reflected through the lens from a white house will be almost as strong as those from the sky ; the ravs from the red brick chimney will affect the negati\e much less, while so little light comes from the heavily shaded veranda that the negati\-e is hardly affec^ted in this part. We have in the negati\'e, therefore, a record of lights and shadows as we see them, but all re\'ersed. \\'hen these are again reversed by making the print, we ha\'e them as we see them, for, as in grammar, two negati\'es make an affirmati\-e, z. e., a positive. MAKIXG THE EXPOS L-RES. ii A certain amount of light must strike the fihn in order to make a neg- atl\'e of proper density. We make a snap-shot out of doors on a briglit day in one-fiftieth of a second. If we v isli to take a picture indoors on the same day, we must give from two seconds to several minutes, according to the amount of light coming through the windows and according to the color of the walls. If the latter are light in color, the exposure will be much shorter than if they are dark, because they retlecl; more light. You must have exposure enough, but not too much. You cannot make a snap-shot in-doors, neither can you give a long time exposure out-doors on a bright day without ruining the negative ; you must give approximately the correct exposure. But, fortunately, film is so made as to give quite a wide latitude of exposure. The length of exposure depends first of all upon the intensity of the light. STOPS. A ^'olume might be written on the subject of stops, but a few lines will suitlce to give the amateur an idea of why they are necessary, and how they should be used. The best part of a lens is its center, /. c. , those rays of light which pass through the lens at or near the center will be correctly refracted and will therefore give the image clear and sharp on the ground glass, while the rays which pass through the outer edges of the lens will not make such a clear lind distinct image. It can thus be seen that the smaller the stop opening the sharper the pifture, because the outside rays will be cut off. But we find also that with a small diaphragm or stop opening we cut down the light to a ^reat extent. It the beginner has a camera with focusing glass it will be well for him to focus on some object on the ground glass, using the laro-est diaphragm and carefully noting the lines to see if they are sharp. Then let him put a smaller stop in position, noting the increase in sharpness and the decrease in light. The better the lens the larger the stop opening which we can use successfully, and consequently the "faster" the lens. Suppose we have one lens of 8 inch focus and we find that in a given light we can make a clear, sharp picture in 5 seconds with a stop one inch in diameter, while with another lens of same focal length we must use a stop only one-half inch in diameter in order to get a sharp picture. How would they compare in speed? Nine people out of ten will jump at conclusions and say that we must give the lens with the half-inch opening 10 seconds. In this case the first impression is not correct. We must give four times the time or 20 seconds, because the area of the one inch stop is four times that of the half inch stop. We find that we can get a simple little rule from this and if we know the correcl; exposure with one stop we can figure for our- 12 MAA'IXG THE EXPOS rj^ES. sehes the correct exposure for the others : The time variation bclivcen tico steps is iirecrsclv as the scjuare of their eliameters. With our single lens cameras there are stop openings of three sizes, the largest, for ordinary snap shots, the second, (uhich has about -3 the diameter of the largest) for snap shots on the water and in tropical or semi- tropical climates or for time exposures indoors, and the smallest, ordinarily used for time exposures out of doors — ne\'er for snap shots. With the double lenses there is a greater number of stop openings and they are arranged upon what is known as the Uniform System, commonly abbrexiated to " U. S." Of course "when we say in a general wa\' that the speed of a lens depends upon the diameter of the stop opening we do not mean, for instance, that a Pocket Kodak stop opening must be as large as the diaphragm in the lens of an S x 10 camera in order to ha\'e the same speed, but it must be as large \n proportio)i, and that projiortion we find is based upon the length of focus (the distance bet«-een lens and plate) of the lens. The proportionate size or the "value" of the stop opening is designated by /", and is the quotient obtained by di\'iding the focal length of the lens bv the diameter of the stop. Taking, for instance, a lens of S inch focus with a stop one inch in diameter and we find that S -^ i ^ S. Hence, S is they value of the stop and would be designated : / S. Suppose our stop is j^ inch in diameter, we would then ha\-e S -;- ^'4 = /"32. For con\-enience the Uniform S>'stem of marking stop openings has been adopted by nearly all manufacturers of iris diaphragms and the follow- ing table will help the amateur to understand the meaning of these mark- ings by giying the_/yalue for each one : /' s y'11.3 /■i6 p 22.6 ./"45-2 The convenience of the U. S. system is at once apparent when we understand that each higher number stands for an opening having half the aj'ea of the preceding opening. Between each number, therefore, we simply double the time. For instance, the table gi\'en on page 20 is for use with stop Xo. S with the No. 4 Folding Pocket Kodak. If we use stop No. 16 we must gi\e twice, or if No. 32 four times the time of the table, while with stop No. 4 we would give only one-half the time of the table. Ordinarily the appended table is a good one to follow in the use of the stops with, a rapid rectilinear lens, but there are some exceptions : u s. 4 u. s. 8 u. s. 16 u. s. 3 - u. s. 64 u. s. 12S M.iKixG THE j:xrosrK/:s. 13 No. 4. — For instantaneous exposures in slightly cloudy weather and for portraits. Do not attempt instantaneous exposures on dark, cloudy days. No. 8. — For all ordiiiaty instantaneous exposiwes when the sun shines. No. 16. — For instantaneous exposures when the sunlight is unusually strong and there are no heavy shadows ; such as views on the seashore or on the water, or in tropical or semi-tropical climates ; also for interior time exposures. Nos. 32 and 64. — For interiors. Never for instantaneous exposures. No. 128. — For time exposures outdoors in cloudy weather. Never for instantaneous exposures. The time required for time exposures on cloudy days with smallest stop will range from J^ second to 5 seconds, according to the liglit. The smaller the stop the sharper the picture. To get "depth of focus", /. c, have all objects, both near and far, needle sharp, use the smallest stop. The No. 4 stop is not to be used when absolute sharpness is desired, as the opening is so large that few lenses will ha\"e a good "depth of focus " with it — /. e., only the objects at the exact distance focused will be sharp, those nearer by or farther away being more or less "out of focus." We find in the instruc'tion books for the fixed focus Kodaks having rapid reffilinear lenses that we are told to use the No. 16 stop for ordinary snap shots, while the abo\'e table says to use No. 8. The reason for this exception is easily explained, and to ax'oid confusion and apparent contra- diftion, should be given : You have, no doubt, often noticed that many photographs are more fully timed in the center than at the edges and, for instance, that you could mark out a place, say, 3 '2 x 3}^ inches in the middle of a 5 x 7 photograph that would be fully timed, while the outer edges were considerably under-timed. Now the lenses on the 3 '2 x 31^ Bulls-Eye Kodaks will in reality cover a 5 x 7 plate with the No. 16 opening, and so by using only the central portion where the greatest illumination occurs, we find it practical to make snap shots with this small opening. Sharpness is extremely desirable in a picture, but what we call "round- ness" and "atmosphere" is perhaps fully as important. What is meant by these rather vague terms is sometimes puzzling to the beginner and they are, perhaps, best explained as referring to that quality in a picture which gives the proper idea of both distance and perspecti\e — that quality which is the opposite of the silhouette ; which makes every object appear in proper relation to every other object and gives life and character to the pidture. "Atmosphere" and "roundness" we find by practical experience are somewhat lost by using too small a stop. We should, therefore, use the largest opening which will give us a sharp pi6ture. 14 MAKIXG THE EXPOSURES. FOCUSING. If your Kodak makes pictures 3 i^ x 4 '4 inches or larger, you must look to your focusing as well as to the matter of light and stops. The manual accompanying the instrument explains how to do this, but some- thing of the reasons for the necessity of it may be of \-alue to )-ou. It is our intention to make this book intensely practical, )-et a bit of theory often helps one in the accomplishment of practical ends. Suppose we wish to make a picture of an object six feet away ; the focusing point would be (with most lenses used in a 4 x 5 camera) se\"en inches from the lens. Xow again, should we wish to make a picture of an object 100 feet or more distant, we find that the focusing jioint will be six inches from the lens. So you can readilv see that, with a camera of that size, it would be impossible to ha\"e a lens always set at the same point or distance from the sensitive surface, for if the nearby objects were in focus (sharp) the distant ones n'ould be out of focus (not sharp), and z'ice I'crsa, and for that reason we ha\'e what is called an " adjustable focus " ; that is, the front of the camera * or that part which '^===^X~^~' " V\^^^^^i^ carries the lens is made ' -^^^Trrr^^~ — T*"^"^ so that it can be moved -"^ -^ ^"^""'p p'- i-^ocus 01 the ,-avs of 1, sin from object b. -h- rocLis 01 tlie ra>s lri,ini L>biect D. and the distance of the lens from the sensitive film or plate be increased or decreased. The variation of focus is shown, greatly exaggerated, in the above diagram. When we say that a camera is "in focus" it is equi\-alent to saving that the sensitive surface of the film or plate, when in the camera, will come in contaci; with the rays of light retlectecl from subject at this point or the point of focus. TO FOCUS. On the Adjustable Focus Kodaks will be found a little scale marked with figures ranging usually from six to one hundred, and indicating feet. (They are also marked for meters.) Vou will also find a little pointer that, as you mo\'e the lens back and forth, will pass o\X'r the scale. Now, should you wish to take a picture of an object, sa)- fifteen feet distant, you will mo\e the pointer until it rests o\'er the figure 15. This indicates that the lens has been brought to the proper distance from the focal plane (/. c, the surface of film or plate) for the focusing of objecls at a distance of fifteen feet. Objects nearer by, or farther away, will not be absolutely sharp, this, howe\'er, depending largel}' upon the size of stop which you are using. See page 13. MAKIXO THE EXPOSURES. 15 While the adjustable scale for all cameras up to and including 5x7 inches will, when carefully used, give one just as sharp pictures as can be obtained by focusing on the ground glass, there is some satisfadion to the student of photography in focusing his camera on the glass before he sets out on his photographic career. It shows him what his lens is doing and why it impresses an image on the sensitive film. When used with glass plates, the Screen Focus and the No. 3, 3A and 4 Folding Pocket Kodaks and the 4A Folding Kodak may be focused on the ground glass, there being a special Plate Adapter and Focusing Glass for this purpose. However, for the purposes of the study of this question of focus, it is not necessary to purchase an adapter, as the back of the camera may simply be removed and a piece of ground glass laid against the rollers over which the film passes and the pi6f:ure may be focused on this. Be careful, howe\'er, to ha\e the glass of such size that it may be placed in aftual contatl with the rollers ; otherwise, it will not be in the proper focal plane and the lesson « ill be lost. Note — The experiment of linikiTig at the image on the ground glass may be similarly tried with the fixed focus Kodaks and will [)ru\e extremely interesting and instructive to the beginner. To accomplish this, place the camera on a tripod, on the window sill or on a table. It will be better to focus on something outside of the house at first as the light will be stronger. Point the camera at some object, a tree, for instance ; put the ground glass in position, use the largest stop and open the shutter. With your head about one foot away and your eyes on a level with the camera, take a piece of black or dark cloth and place over your head and back jwrt of the camera, thus cutting off ail light except that entering through the lens. Do not try to look through the ground glass, but at it. In a few seconds, or when your eyes get accustomed to the dark- ness, you will see a |)icture on its surface. The picture or image you see will be just what you would get on the sensitive surface of your film or folate. You will, howe\'er, notice that the pitfture is inverted, or upside down. This may excite your curiosity but will explain itself by aid of the following diagram : The rays of light from "A" passing in a straight line through " B " until they are interrupted by "C," on which they strike, form an inverted image of the object "A." Let A rejiresent a tree. B the lens. Now mo\'e the C the ground glass or focusing screen, j^^^ .^^^^^j. ^^^^ j^^.^,^ D the camera. i6 MAk'IXG THE EXPOSURES. until the tree is sharply defined on the ground glass. When the lens is at just the proper distance from the ground glass, the object will be as " sharp as a needle" e\-en if the largest stop be used. Now focus on obiects at other distances. First, on an objec-t one hundred feet or more away and then on an objec't only eight feet auay. You will notice that the farther away the object, the nearer to the focal plane (ground glass) the lens must be in order to gi\'e a sharp picture, and \'ice \'ersa. And you will notice further, if ^-ou take the trouble to carefully measure the distances, that )'our ground glass tells the same tale as your focusing scale, — in other words, if you focus on an object 25 feet distant and get it sharp, that the pointer on the focusing scale will point at, or nearly at, 25. You ^dll also notice that all objects from 15 to 50 feet will be in good focus. Our factory methods of adjusting the focusing scale correspond closely to the foregoing paragrai:)h. To insure accurac)', the focusing scales are placed on Kodaks by actual focusing. The camera is placed beneath a hood, which seryes as a focusing cloth and cuts off all light except that entering through the lens. Incandescent lights are arranged at different distances, which correspond with the figures on the focusing scale. For instance, the camera is first focused on a light 15 feet away, regardless of the scale, which is then so placed on the camera that the 15 foot mark will come directly underneath the pointer. The scale is then fastened in position and tested at other distances, the image on the ground glass being examined with a magnifying glass. Before the camera is finally passed from his department, the inspector makes certain that the focusing scale cor- responds exactly with the ground glass at each distance. \\'hile the shutter is open and the ground glass is in position it will pro\'e interesting and instructi\'e to note also the effect of the stops. After focusing on some object with the largest diaphragm, put a smaller stop in position and note the decrease in light and the increase in sharpness o\'er the entire picture. There may be no marked increase in sharpness of the particular object on which you ha\-e focused, but nearer and further objects will be sharpened in a remarkable degree. Remember this point later. The aboye experiment with stops may also be tried with the iixed focus cameras. Haying now something of the theory of photography, you are pre- pared to make your first negatiyes. Read carefully the instructions on the making of snap shots and time exposures given in the following pages, hav- ing also read carefully the instructions for operating your camera, which are oi\-en in the manual accompanying it, you are ready to sally forth and undertake the work of exposure. We advise snap-shot work to begin with, but )-ou should be sure to pick out for your first work a day when the light is strong and brilliant, that >-our first batch of negati\-es may be fully timed. UfAKINc; THE KXPOSURES. SECTION 2. SNAP SHOTS. Instantaneous exposures, or " snap shots ", as they are more frequently called, are usually made while the camera is held in the hand and are about the first thing that the amateur attempts. Some learned writers deprecate this, but as snap shots are the simplest exposures to make and ordinarily the simplest to develop, because most likely to be correctly timed, we belie\'e the amateur should begin his photographic career witli this class of work. Before making an exposure, either time or instantaneous, be sure of four things ; First — That the shutter is set properly. (For time or instantaneous exposures as desired.) Second — That the proper stop is in position before the lens. Third — That an unexposed section of the film is turned into position, or that an unexposed plate is in position and that the dark slide has been remoxed. Fourth — Unless the camera has a fixed focus see that it is properh' focused on the principal object to be photographed. To take instantaneous pictures the object must be in the broad, open sunlight, but the camera should not be. The sun should Ise behind the back or o\er the shoulder of the operator. XiiTi; : — Effecti\"e pictures nia\' frcqueiitK" I'u inaile hy wirkiiii,' towaiil the sun, shadiiit^ the lens to keep ijut direct sunlight when so duiuL;, but the aniateiir should nut aUc-uijit such work ;it the stait. SET THE FOCUS. Set the focus by placing the pointer o\'er the figures on the index plate nearest the estimated distance of thu principal object to be photographed i)i feet. It is not necessary to estimate the distance with any more than approx- imate accuracy. For instance, if the focus is set at 25 feet (the usual distance for ordinary street work), the sliarpest part of the picture will be the objec'ts at that distance from the camera, but everything from 15 to 35 feet will be in good focus. For general street work the focus may be kept at 50 feet, but where the principal object is nearer or farther away the focus should be moved accordingly. USE THE PROPER STOP. ft is imperative that a large stop be used in making snap shots. With most cameras the largest stop must be used under ordinary conditions with i8 MAKING THE F.XI'OSURES. bright sunlight. This is the case with all of the single lens Kodaks. With the double lens Kodaks use No. S stop. See page 13. This size stop iiinst be used for snap shots except where the sunlight is iiniisuallv strong and there are no heavy shadows, such as views on the water, or in tropical or semi-tropical climates, when the next smaller stop may be used. The smallest stop must never be used for snap shots or absolute failure will result. LOCATE THE IMAGE. Holding the camera steadily, locate the image in the finder. The finder gives the exacl scope of view and shows on a reduced scale just what will be in the pitlure — no more, no less. HOLD IT LEVEL. The camera must be held level. If the operator attempts to pho- tograph a tall building, while stand ing near it, by pointing upward (thinking thereby to center it) the result will be similar to Fig. i. This was pointed too high. This building should ha\'e been taken from the middle story window of the building opposite. The operator should hold the camera levels after withdrawing to a proper distance, as indicated by the image shown in the finder. Some cameras are equipped with a rising and sliding front to assist in taking in the tops of tall buildings, etc. See page 21. All being in readiness Fig. I. Hold the Camera Steady, Hold it Level and Make the Exposure. iVAk'IXO THE I-SXPOSi 'R£S. 19 SECTION 3. TIME EXPOSURES INDOORS. Diagram SHO^\ixr, Position of Ca.mhka. First put the camera in position. The diagram shows the proper position for the camera. It should not be pointed directly at a window as the glare of light will blur the picture. If all the windows cannot be a-\'oided, pull down the shades of such as come within the range of the camera. To make a time exposure, place the camera on some firm support, like a table or tripod, focus carefully { this, of course, does not apply to fi,\ed focus cameras) on the principal objedl and locate the image in the finder. FOCUSING ON THE GROUND GLASS. When using plates, or cameras ha\'ing a removable roll holder, the focusing may be done on the ground glass if desired. The plate or roll holder being remo\'ed and the shutter opened, the image may be seen (reversed) upon the ground glass. Co\'er the head ^^ith a focusing cloth of some opaque material and look on the ground glass, not through it. Focus by moving the lens back and forward until the picture is sharp. Then close the shutter, insert plate or roll holder and proceed as before described. If the light is poor the focusing ma}' be done with the largest stop and a smaller one put in position afterward. Set the shutter and all being in readiness press bulb or lever, as the case may be, to open shutter. Give the proper time (using a watch if more than two seconds) then close the shutter. TIME NEEDED FOR INTERIOR EXPOSURES. The following table is an excellent guide for making interior exposures and is based upon the time needed for exposures with the stop ordinarily used for snap shots in single lens cameras, and \vith the No. 8 stop in all Rapid Rectilinear lenses. When a smaller stop is used the time must be increased proportionately. Where there are figures, greater softness will be obtained in the faces by somewhat increasing this time and the Steadman system of light measurement is recommended. See page 39. 20 .VAk'IXG THE EXPOS f 'A'ES. White walls and more than one nindow : bright sun outside, 2 seconds ; cloudy bright, 10 seconds ; hazy sun, 5 seconds ; cloudy dull, 20 seconds. White walls and only one window : bright sun outside, 3 seconds ; cloudy bright, 15 seconds ; hazy sun, S seconds ; cloudy dull, 30 seconds. Medium colored walls and hangings and more than one window : bright sun outside. 4 seconds ; cloudy bright, 20 seconds ; hazv sun, 10 seconds ; cloudy dull, 40 seconds. Medium colored walls and hangings and only one window ; bright sun outside, 6 seconds ; cloudy bright, 30 seconds ; hazy sun, 15 seconds ; cloudy dull, 60 seconds. Dark colored walls and hangings and more than one \^'indow : bright sun outside, 10 seconds ; cloudy bright, 40 seconds ; hazv sun, 20 seconds ; cloudy dull, i minute, 20 seconds. Darlc colored \\alls and hangings and only one window : bright sun outside, 20 seconds ; cloudy bright, So seconds ; hazy sun, 40 seconds ; cloudy dull, 2 minutes, 40 seconds. The foregoing is calculated for rooms whose uindous get the direct light from the sky and for hours from 3 hours after sunrise until 3 hours before sunset. If earlier or later the time required « ill be longer. As a general rule use a medium sized stop for time exposures indoors. SECTION 4. TIME EXPOSURES IN THE OPEN AIR. When the smallest stop is in the lens the light admitted is so much reduced that time exposures out of doors may be made the same as interi- ors but the exposure must be much shorter. ^\'!TH Sunshine — The shutter can hardly be opened and closed quickly enough to a\'oid o\'er-exposure. A\'iTH Lii;ht Clouds — From '2 to i second will be sufficient. With Huavv Cloups — From 2 to 5 seconds will be required. The above is c.ilculated for the same hours as mentioned abo\'e and for objects in the open air. For other hours or for objects in the shadow MAKIMG THE EXPOSURES. 21 under porches or under trees, no accurate directions can be given ; experi- ence only can teach the proper exposure to give. Time exposures cannot be made while the camera is held in the hand. Always place it upon some firm support, such as a tripod, chair or table. PRACTICAL HINTS. In the foregoing pages we have given a bare outline of how to make snap-shots and time exposures, and further on we shall give the details of de\'elopment. Before, howe\'er, taking up the chemical part of picture making, we propose to treat of some of the important details of exposure. The beginner should expose a roll of film or a few plates, taking both snap-shots and time exposures and developing them as per instructions on pages 72 to 91, before taking up the study of the \'arious methods of portraiture, etc. SECTION 5. THE RISING AND SLIDING FRONT. Occasionally in the taking of photographs of buildings or in landscape photography it is found that the subject cannot all be readily included except by tilting the camera, which would produce the undesirable results shown on page 18. To assist in cor- recting this fault some cameras are provided with a rising front, which may be utilized in cutting out an undesirable foreground or to assist in taking in the top of a high building, etc. To illus- trate this we take the Screen Focus Kodak, which is manipulated as follows: Fig. I shows how to raise or lower p^^ ^ the front. The rising front is controlled by rack and pinion operated by turning milled head, Fig. I. To raise or lower front, pull out on the milled head and it will turn easily. Letting go of the milled head allows pinion to spring back and front is locked. The front can be moved to the right or left (up and down when Kodak is placed on its side for vertical exposure) by turning to right lever MAKLXG THE EXPOSi'RES. I beneath the shutter, Fig. II., and sHd- ing front in either direction to the desired position. The front is locked in position by pushing le\'er to left. When through using, repeat operation shown in Fig. II. by sliding front to point in center where it catches and lock it. In order to make a sharp picture when using the rising front it will be Fig, II. better to use a small stop (No. 32 or 64) and as this in turn necessitates a time exposure, a tripod or other firm support must be pro\-ided. Experi- ence alone can teach the many ways in which the rising and sliding front may be used for composing artistic pictures. ^^- X. p. — Do not fail to center front before closing camera as otherwise there is danger of ruinii bellows when folding. On Out-Door Work. The foregoing sections have given you praftical instruflions in the manipulation of your Kodak, the selection of stop and exposure for the various lines of work. The cjuestion now arises in your mind "What shall I take?" Probably like most beginners you desire to make your first attempts out of doors. It is hardly necessary for one to leave the vicinity of his own home to find suitable subjects from which to make interesting pictures. This includes those living in the thickly populated cities as well as those of the rural distrifls, the former giving us as one of the most interesting subjects, "street life." This includes mostly moving objeiSts, the teams drawing heavy trucks, the cars loaded with their passengers, the little old woman who keeps the apple stand at the corner, strange and odd charaCT;ers frequently seen in most cities, and the newsboy who will nearly always " give you a chance " if you take him right. In the country we find the mill, the rustic bridge, the pond with its bordering rushes, the old boat drawn up on the bank of the creek, an occasional glimpse at a herd of cattle, all of which subjects are good material for artistic pictures and offer numerous opportu- nities for various compositions, and one to obtain the best results must necessarily have an attive sense of perception, a quick eye and hand. For all photographic work including rapid movement, sunlight is necessary. The nearer the object to be photographed is to the camera the more rapid must be the working of the shutter. If the reader is of an experimental turn, he has fully learned, from his experiences in development, the result of making a snap-shot on a cloudy day. PHOTOGRAPHING MOVING OBJECTS. In most instances where the beginner attempts the photographing of moving objects, the result will be disappointing, this is due solely to his lack of appreciation of the circumstances and the actual conditions confronting him. For example, he takes his camera to the race track to photograph a friendly brush between local trotters. 24 orr-Doof: uv/xk'. Securing a position just under the wire he \\aits for the iinish, and as the horses rush by at a 2.10 chp he snaps them broadside from a distance of ten feet, and fails to understand why the negati\-e should show nothing but a blur, for he will ha\-e nothing else. The reason for his failure is this ; if he has a double lens instrument with an F. P. K. automatic shutter it has worked in approximately J^ of a second, an apparently ^•ery short space of time, but we find on figuring it out that a horse covering a mile in 2.10 covers 40 feet and S inches in one second of time or o\'er nine inches in J,-,- of a second, the time the shutter is open — a sufficient distance to make a most decided blur. The distance the image will mo\'e on the plate during exposure is to the distance the object moves, as the focal length of the lens is to the distance from lens to object. In this case we will suppose the focus of the lens to be six inches, and we know the distance from lens to object to be ten feet (120 inches) and the distance the object moves approximately nine inches. A\'e \\\\\ let X stand for distance image mo\-es on plate and it gi\-es us the following equation : X ; 9 : : 6 : I20 = J-. It is obxious that if the object mo^•es -J^ of an inch on the plate the picture will be ruined. We find then that in order to take pictures of mo\-ing objects at right angles there are two factors of prime importance — the speed of the shutter and the distance from the object. In the ordinary amateur outfit the shutter speed cannot be materially increased and we must there- fore take the picture from further away. Experiment has pro\'en that in order to successfullv take pictures of rapidly moving horses, etc., from a position near by and at right angles the shutter must work in from ,iy, to yttVu of a second (Muybridge claimed to ha\'e used a shutter working in 75-77^- of a second) and this extreme speed necessitates a special camera and lens as well as a special shutter.-'- But there are tricks in all trades and satisfactory pictures of rapidly moving objects can be readilv made by photographing them from partly in front as well as from a reasonable distance. The accompanying picture of the Empire State E.\press. moving at full speed, shows plainly what can be done in this direction. It was made with a Pocket Kodak and is a good illustration of what can be accom- plished by taking the picture from a Mu iJH L point at a considerable distance from Ii»i;-u € ^tatr: E.vpi ' the object and also somewhat ahead of it. By acting on tlfis hint the amateur can soon learn to take pictures of rapidlv mo\'ing objects, and in such a manner as to largely a\-oid the disagreeable blurring. ■ For this special work we recommend tlie use of a Grallex Camera. OCT-DOOR ]IVRK. 25 STREET PHOTOGRAPHY. There are a few points that are essential to all those who are about to attempt street work, one of which is to work quickly, attracting as little attention as possible ; another is to be able to take in a pleasing and attractive situation at a glance. By combining these we are enabled to make exposures without the annoyance of useless and sometimes embarrass- ing questions and situations. This can easily be accomplished if one is familiar with all the workings of his camera, can le\'el it quickly and make the exposure the instant he has the obiecl in the right position in the finder. You will frecjuently notice upon the examination of pictures taken on the street that a number of people were looking at the camera when the exposure was made. For instance, take a group of boys interested in some game ; notice the action, the life and intensity of the scene, which is certainly one of the rare bits of street life. Now if you are a(fti\'e without being conspicuous you will be able to record that scene with all its life and reality; on the other hand, should they become aware of your presence they would undoubtedly lose interest in the game and you would find most of the little group staring at the camera. In that case the artistic value of your composition is entirely lost. Another important point and one that must not be overlooked is the holding of the camera during the exposure. Many pictures, and we must include those of all classes, show that the point of \iew from which they were taken was too low. The distance ujiward from the ground or objecl: upon which we stand to the level of the eyes, or the jjoint of view from which we see our subject will range, in most cases, from four and one-half to five and one-half feet. Now if we hold the camera say ten inches above our knees it can be readil)' seen that the point of \'iew is radically changed, and that the effeft produced upon the eye might be entirely lost if taken from that position. The proper place is against the chest, or as high as we can manage it and still see what is in the finder. COMPOSITION. The word "composition " as applied to photography may be summed up in two words, selection and arrangement. Promiscuous snap-shots are, in a way, dangerous, as one gets into a careless habit and is liable to " snap shot" everything within range regardless of composition and those points that go far towards making a picture, and the result is that he often wonders why his piftures lack interest. 26 OUT-DOOR ]VORK. One must necessarily study composition, select his subjects and if it is possible, arrange them in such a manner that they are pleasing to the eye. Should the^' be immo\-able, such as buildings, street lines, etc., thev can De arranged, in a sense, bv changing the point of \'ie\v and selecting that which gives the most satisfactory result. One is frequently able to make pleasing pictures from the most commonplace subjects by gi\'ing them attention and study. LIGHTING THE SUBJECT. The lighting of your subject is a matter of importance, ha\-ing much to do with the results obtained and enhancing the \'alue of the composition. Beginners, as a rule, when making exposures in the sunlight, should have the sun behind the back or o\"er the shoulder, but the ad\-ancement of the amateur warrants further information on the subject. Eftectixe pictures may frequently be made bv liaAing the sun to one side, and at \arious times the value of the picture is increased by its being a trifle to the front. Tin this case it is necessary to shade the lens to keep out direct sunlight «-hile mak- ing the exposure. ) I"or illustration xve will take a tree in the bright sunshine ; now if you will take the trouble to walk around it and closely obser\-e the different effects of light and shade j-ou will notice that when you face the tree and the sun is directlv back of you that the tree has the appearance of being flat ; as }'ou mo\"e graduallv to the right or left a'Ou will see that part of it is in shadow, and as vou arri\'e at an angle of 90 degrees with your first position you will find that one side is in the sunlight while the opposite side is in shadow, and that it stands out with the pleasing contrast of light and shade, thus gi\-ing depth and roundness to the composition of vour picture. The shadows are also to be studied. These should be transparent to a degree, alwavs containing detail. Hea\'v black shadows de\"oid of detail are al«"a^"S a detriment to the composition of your picture. A\'hen the sun is very bright and the lights aie strong while the shadows are black, the result with a snap shot would be too much contrast. This can be o\'ercome bv a \'erv, ^■ery short time exposure, resulting in a softening of the high lights and an added amount of detail to the shadows. A\'hen photographing boats, the point of \-iew to be obtained I'if possible) should be such that the shadow effects on the water are made to help the composition. The abo\-e gi\-e3 one an idea of lighting from which he can work, increasing or decreasing the light and shade according to his fancv. OCT-DOOR JVORA-. 27 LANDSCAPE PHOTOGRAPHY. The photographic study of nature will always remain a chief source of pleasure to the enthusiastic amateur, gi\ing as it does the opportunities, nowhere else obtained, to display his taste in choice of composition, and his ideas of that which is most pleasing to the eye. Care in selecting the best point of view from which to take a subject is of more importance than obtain- ing sharpness of detail. A question often asked is : " What is good composi- tion in landscape photogra|:)hy?" Another question supplemental to the above: "Are there any rules for composition ? " There are, and many, but frequently when we attempt to make use of them they do not fit the subjeft. (There are, ho\ve\'er, some that can be used with entire satisfaftion ; of those we shall speak later. ) So we would say that a good composition is one that is pleasing to the eye, one that leaves you with that feeling which is experienced when you are convinced that you have the best that can be made from the subject in hand, the feeling justified by the result obtained. Composition needs study, continual study, and to obtain the best results one must necessarily improve his knowledge of the beautiful in nature, that he may be able to selecl those "bits" which convey to him a feeling of entire satisfaction. To obtain the best results that feeling must necessarily be cultivated. Frequently one fails to see that which is essential to making a good piclure, or he fails to distinguish the essentials from the non-essen- tials ; he may have good ideas, but he fails to carry them out. Do not be discouraged because upon studying the composition of a piflure you have made, you exclaim, "Why, that is lop-sided! " or "Look where I have placed the tree! " but give it some thought, convince yourself that the same subjecT: taken from another point of view, perhaps taken at another time of day when the sunlight would certainly change the aspeft of the scene, must turn out far different results, then try again. It will frequently happen, there will exist little similarity between the two prints, although both were taken from the same subjecl, one gi\'ing entire satis- faction, the other none. A mistake often made by the amateur is that he tries to get too much into his piclure ; in other words, he covers too much field. For instance, he makes a piclure containing a bridge, a herd of cattle, a few trees, a small body of water ; while the distance may contain a range of mountainous country. A composition of this description in most cases might be divided to good advantage into four or five pictures ; the placing of all in one divides the piclure into sections, the result is that it fails to be interesting. One should selefl some one objefl for his piclure ; this should be the main point of interest, one that arrests the eye immediately the view is placed (3) 28 OCT-DOOR WORK. before him. \\'hen this has been selected all other features of the composi- tion should be of secondary consideration. If at times it is found necessary to include something that might be a detriment, it is often possible to put it slightly out of focus without destroying the principal objeft. The next point \s placing the main object of interest ; if it can be avoided do not locate it in the center, but rather at one side or the other. It may be the end of a road, perhaps a house in the distance, and to call attention to that fact the lines of your composition should converge towards it. You will often notice upon glancing at the picture of a landscape that the eye is drawn to one point. This is caused by the lines of the composition leading to that point, the objecl of interest, it having been studied to produce that effect. When taking the picture of a house do not get diredlly in front of it, but at one side, thereby showing it in perspective. This will also apply to street scenes ; do not take a view of the street from its center, but from one side. There are a few rules that can in most cases be followed with good results. The horizon line, which in most landscapes is the more conspicu- ous, should ne\er di\ide the picture into two equal parts, but should be either one-third from the top or one-third from the bottom. When one has subjects in the near foreground, the line should be about one-third from the top, while for broad, expansive \-iews it should be at the same distance from the bottom. With the latter one should have, if possible, a clouded sky, FIGURES. The introduction of figures into the landscape may increase its value ; it may also mar its effect. Figures, to help your composition, should be in action ; in other words, they should not be aware of the fact that they 'are being photographed. Many of the most beautiful landscape effects contain figures and when the pose is in harmony with the composition the result is always pleasing. CLOUDS. Clouds, when possible to obtain, are an advantage in the composition of a landscape, breaking up, as they do, the usual monotony of a blank sky, and adding much to the beauty and interest of the picture. A prettily clouded sky is often the redeeming feature of an other\vise poor composition. Two practical methods of getting good clouds in your prints are gi\'en in the special article on page ifi^. Pictorial Photography. Piftorial photography may be broadly divided into two classes ; land- scapes and figure studies. Either line is a study of itself, yet so much depends upon the personality of the operator that we can only indicate a few of the qualities, some at least of which are necessary in every real picture, whether photograph or painting. First of all there must be a ll'nnl Siorpt. H. W. KNinKI_D. motif, a reason for making the picture. This motif may be one of the fol- lowing : — to preserve a record of some interesting place or occasion, to pifture the beauty of some bit of landscape under certain conditions, to tell a story by means of a picture, or to produce a picture which shall appeal to the observer by its beauty of line or tone. A successful pifture may com- 30 PICTORIAL PHOTOGRAPHY. bine more than one of these qualities, but one is always dominant and there should never be any question as to the principal motif which caused its being. A picture «-hich may be made as a record of some place interesting to the photographer will be greatly enhanced if it gives e\-idence of good com- RusthaU I'uai H. P. Ki i|;1N^' >N. position and the correct rendering of beautiful tones. Such a result has been attained in " Rusthall Quarry" bv Mr. Robinson. Note the beauty of composition both in the lines and the masses of light and shade. This print is what may be termed a "record of fact", but it is ne\-ertheless a beautiful picture, one which would appeal to the observer for its own sake. PICTORIAL PHOTOGRAPHY. The T)amp uf JUuiy J'ffjt ture space (viz. all within the equal parts by straight lines, line is irregular as in "Wind Swept" much is gained. This is a picture which interests one largely because of the varying gradations, botli in the sky and foreground. Take note of the beautiful range of tone caused by the play of light upon the sand in the foreground. The sky is not one large expanse of white paper, but of delicate grey tones. Such a sky gives the real effect of luminosity. The introduction of animal life into the composition often gives us a story telling picture. This is well shown in "The Tramp of Many Feet" where the artist has not lost sight of the value of beauty in the com- position and the rendering of Much has been written about the study of the rules of composition but we would impress upon the reader that composi- tion is not an exact science to be learned like the multiplication table. A few of the elementary rules of composition which are principally in the form of " don'ts " will certainly help the novice but the study of beautiful pictures will be of far greater assistance to the ambitious beginner. Avoid dividing the pic- boundary lines of the composition) into If your subject is such that the horizon LLIA.\ S. OWEN. A ^ludy. LAL'kA ADAMS ARiMb-R. 32 PICTORIAL PHOTOGRAPHY. atmosphere. Here we have an effective example of contrasting hnes ; the strong vertical lines of the tree trunks in the left hand side of the picture echoed by the tree trunks in the distance upon the right are beautifully con- trasted \\ith the curving mass of sheep straggling up the hillside. And the sense of aerial perspecti\-e given by the haze over the roadway through which we just see the shejiherd and the hill away beyond is superb. Landscape pictures containing figures are of two kinds ; those in which the landscape is of greatest importance with the figures as accessories and those where the landscape furnishes the setting to a figure, a group of tigures. " Le Peintre " by M. M. Lailler is an excellent example of the latter class. The very positions of the two men at the left of the painter, so busy at his can\'as, denote absorbing interest. The single figure of the boy, who apparently would like to get a closer view of the can\-as, did he but dare, standing out so prominently against the shimmer of the water, ser\"es to balance the picture, Place your finger o\'er the figure of the boy and vou will at once see how one sided the composition would be without him. This picture and ' ' A little Lunch ' ' , show not only what can be accomplished PICTORIAL PHO TO GRA PHY. ii with the Kodak, but are pidures which could hardly be made with anything but a hand camera. Such piftures are sometimes said to be merely acci- dental, but in the truest sense this is not so. They may be accidental in their grouping and the combination of tone and atmosphere, but it was not accidental that the Kodaker grasped the opportunity nor that he was able to make negatives and prints giving such evidence of artistic feeling. In all nature, what is more beautiful than the human face and figure? Artists of every age and working in every medium have striven to give voice to that beauty. That such work is within the range of the Kodak is made evident in "A Study " by Laura Adams Armer. Such a piflure may not appeal to many people because it tells no story in a literal sense. But it does tell the story of Beauty. Beauty of Charafter is certainly shown in the face of the subjeft as well as beauty of line and tone in the print. The picture is decorative in its com- position. Note how effectively the oval lines of the mirror are con- trasted with the long severe and almost straight lines in the gown. There is also much to admire in the tonal qualities of the pifture. Again we would say if you wish to make beautiful pictures, study composition and study pictures. When you see a pidure that appeals to you, ask yourself the reason for its so doing. Learn to recognize the qualities that make a pi6lure successful. Remember the few following simple rules of composition : Do not divide your pidure space into equal parts by having the unbroken horizon line across the center. Always place your principal objeft either above or below and to one side of the center. Do not let your pifture be one sided by having a heavy mass of shadow or •A Little Lunch." MRS. HELEN T. GATCH. 34 PICTORIAL PHOTOGRAPHY. tone near one edge unless there is some smaller dark spot near the opposite end to balance the composition. Try to get atmosphere and correct tonal \-alues into your pic'ture, the first by working when the conditions of light are suitable, and the second by corrett exposure, development and printing. And finally aim for simplicity. Do not crowd your picture with meaning- less details. In this short article we have striven to give a few ideas which would start the novice in pictorial photography in the proper direction. Remember no matter how good the work you may do there is always room for improvement, and always something to learn in the making of pictures. Portraiture at Home. There is no more interesting branch of pifture making than portraiture, and the required accessories can be found in every home. To attain good resuhs it may take a little patience and study, but for all this, the amateur will be well repaid in the satisfaction brought by his first successes. Por- traits may be made either indoors or out, in the daytime by the light of the sun or by night by the aid of the flashlight. The following le6fures dealing with the subjecl thoroughly cover the ground and should be carefully studied by those desirous of making portraits. HOME PORTRAITURE. By FRANK MORRIS STEADMAN. The author of this article, in company with Mr. G. E. Trager, has practiced "Home Portraiture" with a Kodak for ele\'en years, with the most notable success. The wide difference in the light conditions in the various houses where the pictures have been made, rendered it necessary to have some accurate means of measuring the intensity of light, and after considerable experimenting, Eastman's Solio Paper used in connexion with simple tables, was adopted as the exposure meter, with such success that the proper timing of negati\'es ceased to be one of the questions in practice. During the last four years in which the Solio has been employed for measuring light, not a single failure has been made in exposure, unless per- haps through forgetfulness in placing the right diaphragm. Eastman's Transparent Film has been used entirely in this work, and during the winter of 1902-'^, which was spent in Merida, Yucatan, fully two thousand exposures were made and the negatives developed in the Kodak Developing Machine without the loss of a single one. The term " So/io T/'i/tc" used in this book expresses the aclinic inten- sity of an illumination, and it should be used just as other simple terms are used to express other quantities or conditions, as: "The Solio Time at this head is eight seconds." "The Solio Time of this landscape is one- half second." Just as one would say : "The length of this stick is four feet ;" or, " The temperature of this room is seventy degrees." The adoption and use of this term for the expression of aWinic values or intensities will do much to soh'e the problem of photographic exposure. 36 POR TRAITl 'RE A T HOJ/E. The " Solio Time ' ' at any subject being once known (by measurement with the Solio Paper) the exposure becomes simply some modification of that time according to the color and contrast character of that subjecft, and the selection of a certain diaphragm. To obtain the greatest universal good from the use of this unit expres- sion for actinic intensity, the photographic workers should use some method of counting exacl seconds, such as the one gi^-en in this article. The most delightful phase of photography is portraiture. If in the past it has been considered most difficult by the amateur, it has been because of a lack of clear and concise instructions how to proceed. Generally, the greatest difficulty in portraiture is the lighting of the subject and the timing of the exposure. The object of this book is to pre- sent a most simple, and at the same time accurate method of determining the right exposure to give ; and to oft'er suggestions as to lighting which will enable the amateur to make good portrait pictures. LIGHT IN PORTRAITURE. In home portraiture a window having a full \\e\\ of the sky should be selected if possible. It should preferably be on the shady side of the house so that the sunlight will not enter it. If the window is low, pin a dark cloth across it covering as high up as the subject's head, so that light will not come up from below on to the face and strike the lower part of the features and spoil the modulation. See that no brightly lighted part of the room, as a window or door, is in range of the lens. PLACING THE SUBJECT. Place the subject about the width of the window away from one of the casings. Turn the face exaftly toward the window and then have the sub- ject tiirn the head gradually away until one side of the nose is seen to become shaded and the shadow of the nose rests somewhere on the cheek. The light must strike a litde upon both eyes and both cheeks. The eyes should look in the same general direction that the face is pointed. This is the lighting with which at least ninety per cent, of all portraits, which are intended as likenesses, are made, whether in painting or photography. It is the light that best models all the features of the face, and there- fore best reproduces the likeness of the subject. Now place the Kodak so as to take in the view of the face that is desired. Reference to the accompanying diagrams will help you. Adjust the Kodak at the proper height. The lens should, for a bust portrait, be about on a level with the nose. FOR TRAirURE A T HOME. 37 DISTANCE AND SIZE OF PORTRAIT. Full figures are made at about 11 ft. Three-quarters figures are made at about 7 ft. Medium busts " " " " 4 ft. Large size busts " " " "z'z ft. If you have one of the small fi.xed focus Kodaks and are using it with a portrait attachment, the Kodak should always be set at exactly 3;^ ft. from subject ; otherwise, it will be out of focus. If you are using a No. 3, No. 3A or No. 4 Folding Pocket Kodak, No. 4A Folding Kodak or Cartridge Kodak, with the Portrait attachment, the directions furnished will enable you to place the Kodak at any distance desired away from the subject and obtain a portrait of any size you choose. THE STOP FOR PORTRAITURE. In portraiture, always use the largest diaphragm there is in the lens in order to diffuse the background and to gain speed in the e.xposure. With those Kodaks which have rapid rectilinear lenses and shutters with stop openings numbered on the U. S. System, use stop No. 4. With the other Kodaks use the largest stop. In the following pages are gi\en diagrams showing the position in which to place the subject with reference to the light, together with the proper location of camera and reflectors. A careful study of these diagrams and of the portraits accompanying them will be of the utmost advantage in home portraiture work. REFLECTORS. With the subjefl placed in the position desired it will be seen that the light on the window side of the face is much stronger than on the shadow side. The contrast must be lessened by the aid of one or more reflectors, marked "R" in the diagrams. White towels will answer the purpose well. In your first experimenting, move this reflector close to and then away from the face, noticing the absolute control it gives you over the strength of the shadows. In the "line" lighting and the " three-tjuarters " view it may be necessary to insert a dark cloth somewhat between the face and the window so as to reduce the strength of light on the front of the face. This should be done only after the reflectors are iti place and it is seen that the contrast is still too great. The reflectors and screens may be held in place by assistants. Look at the illustrations and see what a great number of different lightings may be obtained. Illustration No. 5 shows the subjed 38 FOR TRAITL 'RE A T HOME. Xo. I. pRCiNT \'IE\V. KODAH NEGATIN'E, W H ]\'. JI'. — IJ'iiidoic lashigs. ,/. — Subject. The pohiler indicates direc- tion in zclncli face is turned. R.— Reflector. C. — Camera. To ol'tain t/iis lighting place subject opposite one of the casings and about the width of zuindozi' azcay. Set eaino-a and reflector as indicated. Have the face turned so that the side of the nose away from the window is shaded, while the li'j^ht touches the check upon that side. See pages j6. J- and sg. Arrangement for No. i. FOR TRAITURE A T HO DIE. 39 against the casing, and Nos. 3 and 4 almost against the window glass. It is seen therefore that there need be no fear of having the subject close to the window. With children it is advisable to raise the lower part of the sash and place them against the side of the window farthest from the Kodak. Keep the direct light from the sky from shining into the lens. Never allow the lower edge of the reflector to drop lower than the lower part of the face ; otherwise, the reflected light coming up from below will "flatten" the cheek on the shady side. Also keep the reflector well forward. See that the position of the subject is natural and characteristic. Forced positions should be avoided. Vary slighdy the positions of head and body. When working with Cartridge Kodaks for busts, the Kodak cannot be aimed by looking in the finder but must be "sighted," The question of height can be easily determined by standing back a few feet so as to view both camera and sitter. To center the image stand behind the camera and sight over the top. A pencil laid over the top of the Kodak should point at the eyes. MEASURING THE LIGHT. TIMING THE EXPOSURE. Now comes a very important part of the work — measuring the light — in order to give the correct exposure. The system of measurement which the author herewith presents has been practiced by him with the very best results. The system is based upon the fact that Solio paper made by the Eastman Kodak Company is constant in its sensitiveness to light. To take the measurement of the light, expressible in seconds of time, proceed as follows : Provide a strip of thin cardboard or heavy opaque paper about two inches wide and si.\ or eight long. Fold this across the center so the card- board will resemble the co\'er of a small book and near the end of one flap cut a small square hole. Place a fresh strip of Solio, with the face up, under the hole and cover the opening with a coin. Hold this cardboard as near as possible to where the face of the subject is to be placed and so that the hole exacdy faces the light. Then remo\'e the coin, expose 32 seconds and replace ; now raise the cover and look at the tint on the Solio. It will probably be very pro- nounced. Pull the strip up slightly so as to bring it to a fresh place and give an exposure of 16 seconds. If the discoloration on the Solio is still very plainly visible, give another exposure of 8 seconds ; then one of 4 sec- onds ; then one of 2 seconds in order that you may discover the shortest 40 PORTRAITURE AT HOME. w w A c Arrangement Ft:>R Xi"> THREE-QUARTER \IE\V. To secure i/iis lii::h/ii!g;, plaee subject opposite one ot the casings, the icidtli of tlie window away. The position of the head is the same as in .\'o. /.front I'iew, the camera in this case heint;' farther from the window,- the rcttectoi occupying about the satne posi- tion as in ^'o. i. See page jS. ir. ir. — Window casings. A. — Subject. Tlie pointer indicates direction in -which face is turned. R.— Reflector. S. — Opaque screen to reduce slightly strength of direct light. C. — Camera. N^"). 2. THREE-Ql-ARrKR \'ll-AV. UNRETOUCHEn NEGATIVE. MADE WITH CARTRIDGE KODAK. DE\ELOri-:D IN KODAK DE\ELOFING MACHINE. PORTRAITURE AT HOME. 41 number of seconds that will give a just plainly discernible discoloration to the Solio. This is the " Solio Time." Therefore, the "Solio Time" of any light is the number of seconds it has taken to give a barely discernible tint to the Solio paper in that light. On account of the great latitude of Eastman film, sufficient accuracy will be obtained by taking the Solio Time in even seconds such as i, 2, 4, 8, 16, 32 seconds ; or I, 2, 4, 8, minutes, etc. COUNTING TIME. It is not always prac- tical to use a watch in counting seconds. After a little practice, however, one can learn to count seconds with great accuracy without a watch by counting in the following way : (Begin with naught. ) Naught one — half — and — one one — half — and — two one — half — and — three, etc. Practice counting bv the second hand on a watch, gi\ing the accent on the words, one, two, three, etc., so as to keep track of the number of seconds that have been counted. When the "Solio Time" at a certain point has been ascertained, it becomes very simple and certain to give the correct exposure by reference to the following tables : Table "A" is for use with the Kodaks having rapid rectilinear lenses and the numbered stop openings on the shutter. Table " B " is for the fixed focus Kodaks which will not work with so large an opening as the others and which will therefore require a longer exposure. No. 3. X'ariation of No. 5 (pa<";k 45). THE subject's head AGAINST THE WINUOW GLASS. KOD.'\K nel;.ati\'e. 42 FOR TRAITL 'RE A T HOME. TABLE "A". Stop U. S. 4 or/'-S for Cartridge Kodaks, Xo. 3, No. 3A, Xo. 4 Fold- ing Pocket, Xo. 4A Folding, and Xo. 4 Screen Focus Kodak. \'ery fair complexion, give _'s Solio time. Average " " V " " \'er}' dark " " )i " " For instance, if it has taken S seconds to create the standard tint on the Solio, the proper exposure for an a\"erage subject would be j( of that time, or 2 seconds. TABLE "B." Largest stop with Single Lens Kodaks. Flexo, No. 2 Bulls-Eve, Xo. 4 Bulls-Eye, Xo. 3B Quick Focus, Xo. o, Xo. i, Xo. lA Folding Pocket Kodaks, and the Brownie Cameras of all styles and sizes. \'ery fair comple.xion, give '+ Solio time. Average " " I , " \'erv " dark " Full •• " It will be found that by carefully ascertaining the Solio Time and giving accurately the exposure indicated, perfectly timed negatives will always be obtained. It is not difficult to give the exposure in just the number of seconds or fractions of seconds required by the table. Suppose the worker has a Kodak \\ith a shutter ha\ing pneumatic attachment. Set the le\-er at " B " and to make '3 of a second exposure, press and release the bulb as quickly as possible. To gi\e a quarter second, press and release the bulb while saying "quarter" at talking speed. For half a second say " Xaught — One-Half'', always pressing at the first and releasing at the last syllable ; and for one second, " Xaught — One-half and One ". With the fixed focus Kodaks and Brownies, \\ork the shutter le\"er of course instead of press- ing the bulb. Use a tripod or other firm support. DEVELOPMENT OF NEGATIVES. The most satisfactory results in development can be obtained by developing film in the Kodak Tank De\"eloper. De\-elop for ten or twenty minutes according to the instructions in the manual. If the negatives are generally too dense or too thin to suit the operator, vary the length of de\'elopment as desired. PORTRAITURE A T HOME. 43 REDUCTION. When either reducing or intensifying is to be done it is desirable to use a freshly mixed hypo bath for fixing— otherwise stains may result and the negatives are liable to fade after intensification. If any negative is more intense than is desirable for the paper that is to be employed, it may now be reduced to the desired point in the REDUCER, Ferri-Cyanide of Potassium, Hyposulphite of Soda, Water, - - . . Volume of a pea. 6 to lo times that volume. About a quarter of a glass. Flow this solution over the negative to be reduced until the desired intensity is reached, after which it should be washed and dried in the usual manner. If the bath works too fast with the quantity of water, add more water. Negatives may also be reduced locally by applying this solution (which should then be mixed with less water so as to work faster) to the part that is too intense, with a camel's hair brush or a tuft of absorbent cotton. To reduce locally, lay the negati\'e on a ground glass and have the light strike the glass from below so that the work may be done by transmitted light. No. 4. \'ariation of No. 2. THE HEAD RESTING AGAINST THE GLASS. KODAK NEGATIVE. A frame made to hold the glass will leave the hands free for the work. 14) 44 PORTRAITURE AT HOME. An incandescent electric light may be placed under the glass, or a mirror may be placed in the frame so as to reflect the light of a lamp up against the glass. By adding only a very little water to the reducing agents the re- duction may be made to act in a second or less and the worker, with a little practice, can obtain by the quantity of water added just the strength or speed of action that is desired. In reducing very small parts, ha\'e the sur- face of the part, as well as the brush, free from excess of liquid, so that the reducer will not flow or run to adjoining parts ; have some wet cotton in the left hand to pass over the part as soon as the right intensity is reached. If desired, a reduced negati\'e may be intensified, after it is washed in three or four clean waters. No. 5. \'ariatiox of Xo. i. THE subject's head AGAINST THE CASING. KOD.AK NEG.ATI\"E. INTENSIFICATION. If for any reason a negative is not suflicienth- intense or contrasted, it may be intensified, either generally or locally, in the following solution : Xo. I. 60 grains of Bi- Chloride of Mercury (Corrosive sublimate J Poison, in - - - - S oz. water. No. 2. 75 grains of Iodide of Potassium, in - - i oz. water. Xo. 3. I2C grains of H\po, in - - - i oz. water. Dissoh-e separately and combine Xo. i with Xo. 2, and ihe resulting mi.xture «ith Xo. 3. PORTRAITURE AT HOME. 45 No. 6 Link Lighting. KODAK NEGATIVE. DEVELOPED IN KODAK DEVELOPING MAGHINK. w w Arrangement for No. 6. line lighting. W. IV. — U'indo:v Casings. A. — Subject. The pointer indi- cates direction in ivhich face is turned. R.— Reflectors. S. — Opaque screen to slightly reduce strength of direct light. C. — Camera. For this lighting note exactly the position of head as sho~ion in above diagram. Be sure that the ~iOindow does not become part of the back- ground, as seen from camera. Two reflectors arc necessary, the camera focusing betiueen thou. And if the contrast of light on the face is still e.x'cesssive, the screen S must be used to diminish direct light. See page jy. A& PORTRAITURE AT HOME. No. -. Back Lighting. MADE WITH CARTRIDGE KODAK. DEN'ELOPED IN KODAK DK\'ELOPING MACHINE. ^ R Arrangement for Xo. 7. back lighting. W ]J'. ]]'. — U'indozv casings. A. — Subjec/. The point indicating direction in uliich face is turned. R.— Reflector. C. — Caniera. In tliis ligliting ttie subject is soinc- what fartlter a-eay from llie easing tlian the coidth of the icindoze. In ptacing the retii ctor, care shoutd be tahen not to liave it e.vaetly in front of the face or it might shoii' a reflection in tlie eves. PORTRAITURE AT HOME. 47 To dissolve the mercury easily, place it together with the water, slightly warmed, in a mortar and grind it. Guard the intensifier in a wide mouth glass stopper bottle and keep it in a secure place, as it is extremely poisonous. Before intensifying see that the films have been thorougly fixed in the fresh hypo bath as recommended, and then washed in four or five changes of water for at least five minutes. After intensification, wash and dry the films in the usual manner. To intensify negatives to too great a density is extremely disastrous in pro- ducing the disagreeable "black and white" effects, and should be carefully avoided. Negatives should be re- duced and intensified directly after fixation, as already described, as at that time the gelatine is softer and more evenly and surely acted upon by the solutions. If, howe\ er, it is desired to treat a negative that already has been dried, it may be done by previously soaking it for 20 minutes in water. Front \'ie\v. Same as No. i. madk \v1th cartridge kodak. developed in kodak dexeloping machine. INTERIORS. In taking the interiors of rooms be careful that no light, window or door, lies in front of the lens. See that the Kodak is set perpendicularly. The method of exposing by the " Solio Time" may be followed for interiors with just as satisfactory results as in portraiture. In interior work, however, it is necessary to use a smaller stop. Witli the Kodaks having the rapid rectilinear lenses and shutters with the numbered stop openings, 48 FOR TRAITL 'RE A T HOME. stop U. S. 32 (or/'. 22) is usually small enough. With the fixed focus Kodaks, use the medium stop. Then, having ascertained the "Solio Time" in the room, the time necessary for exposure may be easily found by refer- ence to the accompanying table : TABLE "C"— FOR INTERIORS. Stop No. 32 U. S. or/. 22. \Miite walls, Give ■< Solio Time. Medium walls, Give Full Solio Time. Dark walls and furnishings, - - Give Double Solio Time. TABLE "D." For medium stop with fixed focus Kodaks. White walls, Give ]2 Solio Time. Medium walls, - - - - - - Give Full Solio Time. Dark walls and furnishings, - - - Give Double Solio Time. In interior work measure the light or take the "Solio Time'' at some piece of furniture three or four steps from the \\indow or main source of light, or get the " Solio Time" in the following way, if the room is rather dark : Measure the distance from the window to the nearest piece of furniture, which should be placed not nearer than three or four steps from the window. Take the "Solio Time" at a point ^3 the distance from the window to the piece of furniture. Ten times that "Solio Time" will be the working "Solio Time'' for the room. Ha\'e no furniture closer than about three steps from the iens and set the distance pointer at 12 or 15 feet, «"hen the 'vhole room will be sharplv focused. OuT-OF-DooR Portraiture. Probably no branch of the photographic art is followed by more people than out-of-door portraiture. It seems to be the aim of almost every no\ice to make portraits of his friends or family, and on account of the abundance of light many beginners make their early attempts out of doors. There is, however, a great difference between a properly made portrait and the under-exposed snap shots made by so many beginners, and in fact by many who are no longer such. It is not a ditticult matter to succeed in this interesting work if one will but give a little time to the study of conditions and approach the subject in an intelligent manner. Three things must be carefully considered — light, exposure and background. Light is the first consideration. Intense sun- light should be a\'oided for it produces pictures with chalky highlights and unpleasant shadows. The light which you will obtain upon a shaded piazza is almost sure to be satisfactory. By placing your subject near one end of the piazza almost any effect of lighting may be obtained by shifting the camera and turning the subjects face to or from the light. If the house is painted a light color, sufficient light will usually be reflected upon the shadowed side of the face without the aid of a reflector. Should it be found necessary howexer, the reflector described on page 69 may be utilized to lighten up the shadows in precisely the same way as described in the article on Home Portraiture, pages 35-4S. Charming pictures may often be made in a garden or upon a lawn when the conditions of light are favorable. By working when the sun is hidden behind fleecy white clouds a very fast light is obtained and portraits may be made in any part of the garden or grounds without fear of harsh lightings. Such conditions are particularly desirable when photographing children, for a slow instantaneous exposure may be made while holding the camera in the hand. Often a picture of a child taken under such conditions is highly pleasing to the parents, for it shows the child amid the most familiar surroundings. Beau- tiful effects of lighting may sometimes be made by working in the direct sunlight when the sun is low in the latter part of the day. And in the numberless effects of lighting that may be obtained by the persistent worker lies one of the great charms of out-door portraiture. 50 OUT-OF-DOOR PORTRAITURE. EXPOSURE. Portraits, whether indoors or out, should ahvays be fully exposed. A full exposure with proper development insures a truthful rendering of the light and shade upon the subject. Chalky white faces and black shadows which under-exposure and forced de\'elopment always produce must be avoided. The method of determining proper exposure for indoor portraits described in Mr. Steadman's article (pages 35-48) may be employed to excellent advantage for out-door portraits as well. But whatever method you employ for determining exposure, remember that it is always better to over-expose than to under-expose. BACKGROUNDS. The beauty of a portrait always depends largely upon the selection of a background. Many otherwise fine pictures are completely spoiled by an ugly or inappropriate background. When working upon a piazza, a back- ground may be provided by stretching a sheet across the end. Or for a dark background a brown or red blanket may be used. A door opening into the house with the figure in the doorway makes a good combination. When working about the garden or grounds of a house a natural back- ground should ahvays be sought. Shrubbery, vines, dark shadows under the trees are but a few of the many possibilities. Avoid carefully such abominations as the clapboard side of a house and picket fences. In conclusion a word might be said in regard to development. Aim for gradation and softness in your negati\'es. If you use the Kodak Tank Developer or the De\'eloping Machine a little experience will tell you the length of time which gi\'es the most pleasing results. If you develop in the dark-room by hand it is well to use a rather dilute developer and be very careful not to carry development too far. Amateur Portraiture by Flashlight. BY W. S. RITCH. Publishers Note. — The reader may be struck by the fact tliat Mr. Ritch uses a considerably stronger flash than reconiniended b\' us on pages 'vs-69 ; this apparent discrepancy' is largely accounted for by the fact that in e\er\' case he recommends the use of a screen or filter between the li.ght and the subject. To say that the flash has decided advantages over dayhght for doing really serious work in portraiture would seem ridiculous to many people ; but it is a fact that any effect which can be had with day- light can also be made with the flash by the proper placing of the light and reflector. Most beautiful work has been done with the flash of late years both by professionals and amateurs, but the fact that the pictures were made by flashlight being unknown, the general public believe them to have been made with daylight, and the prevailing idea of a flashlight picture seems to be those soot and whitewash things of evening party groups. That the best work can be done with the flash is owing to the great superiority of lenses and flash material made in recent years over those of past times. By the use of the flash the subject can be seated anywhere in the room, which may be most convenient, and with the camera at the proper distance, the flash can be placed anywhere it is deemed neces- sary to make the desired lighting, portraits by this method, as no special apparatus is necessary and only a few simple rules must be observed. To use an Eastman Flash Sheet it NO. 1. ll'aH papf} , nirdimn dark, Flash Shed. 7 /,;l ,/is/aii/. turned toward /. Light at L. ceilinff tiffitt, No. J Stop No. 4. Face Diagram No. i. The merest beginner can make fine 52 AMATEUR PORTRAITURE BY FLASHLIGHT. Wall paper rather light. Xo. 3 Flash Sheet. Sfeet distant, in 01 del- to eover fitU figure and surroundings. Stop No. 8. Faee turned toward M, Light at J. ^Jl/A Tin -R POR TRAITi RE BY FLASHLIGHT. 53 is only necessary to obtain a strip of wood about eight feet long on which to pin the sheet. If this strip is tied to the back of a chair in an upright position, it can be moved about the room and placed in any position with- out inconvenience. The sheets are best to use whenever the subject is one who has enough self control to remain quiet during the burning of the sheet, which takes about one second ; but for nervous people and little children, it is necessary to use the cartridges as these are practically instantaneous, and by their use we can catch the little ones in their own No. 3. Wall paper . latJur light, So. 2 Flash ShciH, 6J\-t-t distant. Fact: lur?u'd toz^'ard L. Liglit at J. naturally graceful poses, at play, at work, resting or doing just as they please. It is only necessary for us to have a little patience and focus and arrange the light while they are interested in what they are doing. If you want to make beautiful piflures of children, do not have any pre- conceived idea of what you want ; simply do not disturb them ; they are making the pictures continually and it is only for you to catch them on your film. All flashlight cartridges should be handled with much care as the contents are explosi\'e not only by the application of heat but sometimes from friflion or concussion. If handled with proper precaution, however, there is very little danger. The writer uses this kind of flash a great deal 54 .^JL4 TEI R FOR TRAITl RE B } ' FLASHLIGHT. as he is fond of photographing children, and he has ne^"er yet had an accident of any kind. He begs lea\e to offer the following suggestion in regard to the use of the Eastman Spreader Cartridges in connection with the Pistol : Take a strip of wood about eight feet long and fasten the pistol to the end with a couple of nails or scre\\'s. Then by attaching a stout piece of picture wire to the trigger of the pistol and letting it run down the side to the other end of the pole, you have as handy a flash machine as can be made. The advantage of this machine o\-er holding the pistol in the hand is that you can now sit by your camera where you can watch the subjecl: from the same point of view as the lens and you can put the light in any position desired to make the proper lighting. Be careful, however, not to put it near lace curtains or other inflammable material as the light spreads out from the cartridge and might cause damage if placed too close. Besides a light, another re- quisite for doing good flash-light work is a plate or film which is rapid, orthochromatic and non- halation. Do not try to make a portrait with the flash on any plate not possessing every one of these qualities, and as these qualities are all combined in the N. C. Film, \\& ha\e here a medium which is ideal for this work. Of course, these qualities are a great advantage in all photographic work, but it is just such material as the flash sheet and N. C. Film which make flashlight work so much better than we ha\-e formerly seen of the soot and whitewash order. Xow for the modus operandi. W'e will presume that the work is being done in the evening. If in the daytime, do not have too much daylight in the room. Close the shutters and light the gas as if it were evening. When making the exposure do not turn down the gas, but leave it lighted Surroundings ratlusr dark. .Xo. 2 Flash Sluct, 6 feet distant. Stop S<0. S. Facr: turned toz^ardB. Lic'ht a I F. AMATECR PORTRAITURE BY FLASHLIGHT. 55 Xo. 5. Staroitndt>ti^s mrdiinii (t> dark. No. ,-' Flas/t Sheet. 7 feet distant. SlopSv.i. l-ai-r /uuud lo:caid H. Liglil at K'. 56 AMATEUR PORTRAITURE BY ELASHLIGHT. Xn. 6. Spreader Flask Cartridge. 6 feet distant. Steifi .\'o. S. Face tut Hed tozeai d F. Light at K. .-J J/. :/ TEl 'R FOR TRAITl RE JJ Y FLASHLIGHT. 57 and burning brightly. Plenty of gaslight in the room will do no harm and will prevent the eyes from having that stare so often seen in flashlight piflures. The color and size of the room is an important factor in the result, and I would much prefer a medium size room like the ordinary sitting room or dining room and one with light colored walls and ceilings. This will give an all around diffusion of the light which will help greatly in softening the effect. The first thing to be considered is the size of the flash sheet to be used and the placing of the light. Regarding the size of the sheet we must con- sider the color of the subjeft, the color of the room and the distance of the light from the subjecl. For example, it our subject is quite fair, with light hair and white dress, and the room is of the color and size before mentioned, a No. I sheet would be sufficient, placed at about six feet distance. For medium complexion use No. 2 sheet, and for very dark, a No. 3, or put the No. 2 sheet a little closer. A greater distance of the flash from the subjeft tends to make a softer lighting and a lesser distance a bolder and stronger ; but about six feet I would consider an average distance. If it is desired to place the light eight feet away, a larger sheet must be used — say a No. 3 instead of a No. 2, and if it is placed closer than six feet, a smaller sheet will be better. AMATECR PORTRAITCRE BY FLASHLIGHT. spread,-)- Flash Cartrid-^e, 6 feet dista-ttf. Slop .Vo. i6. Face turned toieard H. Light at K, .-I/)/. I TI'J 'R rOR TRAITl 'RE B Y FLASRILIU JIT. 59 The light can be placed anywhere except within immediate range of the lens. Diagram A, page 63, illustrates where it can be placed, but where it is to be placed for each subjecl will depend upon the wish of the operator, taking into consideration the features of the subjecl; and the style of lighting desired. There seems to be a general idea among amateurs that the light should never be placed anywhere except behind the camera, as it might cause a reflection in the lens ; but I place my light anywhere, ex- cept in the pitlure, and have never had any trouble from reflections of this kind. Another mistake I have noticed among amateurs is that they do not place the light high enough. If the light is six feet dis- tant from the subjedl, it should be about three feet higher than the head of the sitter so as to give roundness and modeling to the face. Of course, this is subjeft to excep- tions, as in the case of a subject with deep set eyes and hea\'3r eyebrows, or of a lady with a large hat where it is not desired that the hat should throu- a shadow on the face. In such case the light should be accordingly lower. The illustrations presented herewith give an idea of the wide variety of lightings that may be made. Each of them is lettered with direct reference to Diagram A, and a careful study of the pictures in connection with the diagram is well worth while. In making portraits liy the light No. 9. Sltirailri Flush Cull I ld-^,\Sf,,-t diiUuil. Slop I\',j. ./. Soft ikrlohy o/fool sociiiod hv ,(,7//;/,c/".".< of Kodak al 2K/,;'I. Sii/n',-,! bring s.-atod s /,',! Ji ion I, -us. Fa,:r tui }i,_-d loiL'ai-d H. Light at K (5) 6o ^JA-l TEi 'R Pi '>R TRAITL R-iE BY FLASHLIGHT. spreader Flciilt Cailrid^ze. 8 /eel Jislaiil. Sl,,p Xo. ,/. Fi:ce itiryied t,,z.eurd J.. Light ul I. AMATEl/R POlxTRAirUkF. BY ILASHLICHT. 6i from a window, the photographer cannot control his source of Hght to anj extent. He may move only his camera and his sitter — by the flashlight method he has all conditions under perfect control — an esjiecial advantage where one wishes to photograph tire subject with some particular surround- ings which happen to be in a part of the room where the window light is unsatisfactory, as in illustrations Nos. 2, 3 and 4. Important helps toward making good portraits with the flash are a reflector and a screen. It is perfectly evident that unless some steps are taken to equalize the lighting on the two sides of the face the contrast will be too violent and the ' ' chalk and soot effects that are so undesirable \\ill be likely to result. The use of a reflector to soften the contrast is perfectly simple. For a bust portrait where the subject is sitting down, a white towel thrown over the back of a high backed chair will answer admirably, the reflector must not be too low, however, as the reflected light coming up from below will have a tendency to "flatten" the shady side of the face. The reflector should also be kept somewhat forward of the sitter. Another excellent method of using the reflector, and one that is really necessary with standing figures in order to get it high enough, is to pin a small sheet or any light colored material over a drawing string of tape, that can be fastened across any part of the room with a couple of thumb tacks or Kodak Push Pins, so that it will occupy the desired position. The screen (or perhaps it should be called the light " filter") can be similarly arranged on another tape. This filter should be of cheesecloth, as nearly white as you can get it, and should be at least a yard square. Another method of using the filter is to tack it on a frame about a yard square and hold it in the left hand \^hile the flash is lighted with the right Spicadir Flash Caiiridge. 0J\-rl distant. Stop Xo. 10. Face /ill >nd tawai d caiarsia. Light at J. 62 AMATEr/^ PORTRAirr-RE BY FLASHLIGHT. No. 12. Sp-.eadcr Flash Carlruigc. 6 feet dislanl. Sl,-p Xo. v. Ladys/ac- turned toz^ard C. Child's face tinned ter.eaid J-. Light at B. AJL-l Th C 'A' J'OR TRAITI 'RE J-; \ " FLASIILJi.IIT. 63 O FITTER Cj' Q CAMERA fr; DlAGRA> — this latter method can hardly ^ BACkcr_ou\D ^, be used, howe^-er, where the 8 } \ foot stick suggested in the fore- b / \ m going pages is employeci as a flash machine. Diagram B shows one of the very many ways in which \ \ the tape method may be em- ^\ [^ ployed for fastening screen and \ reflector. JNIanv houses have \ folding doors between the rooms, with portieres which may be used as a back-ground, attaching one end of the re- flector and screen strings to each end of the curtain pole, while the other ends are tied to the chandelier which is generally in the middle of the room. Of course e\ery room has a number of window and door casings in the side of which a pin or tack may be driven without harm, and these offer every opportunity for making a variation of the arrangement shown in Diagram B, thereby obtaining the precise lighting that may be desired. E\-erything is now ready for the exposure. For a beginning, suppose we have the subjeci sit with his body facing "F" (Diagram A) and his face turned toward the camera. The light we will place at " K " about six feet distant and three feet higher than the head. This will make a light- ing like illustration No. 6. If you are using a flash sheet it is well to use a candle, or, better still, one of those gas lighters having a wax taper in the end of a holder. Now, open the shutter and quietly light the sheet ; as soon as the sheet is burned, close the shutter. There need be no hurry whatever, as the gas light is too yellow to make an impression on the plate in this short space of time e\'en if a minute or two should elapse between the opening and closing of shut- ter, especially if the lens is stopped down to No. S or No. 16, which are about the openings for general use. De\'elopnient of flashlight exposures is exaiftly the same as daylight. If you think your exposure has been a DINING FOOM JiirnNG ROOM Diagram B. 64 AJL-1 TE L 'R FOR TRAITL 'RE B J " FLASHLIGHT. little below the normal, dilute the de\-eloper considerably, gi\'ing the shadows time to come up before the high lights get too dense ; or if the light has been on the side of over-exposure, add a few drops of ten per cent, solution of Bromide of Potassium to hold back the shadows and gi\"e the negative the desired contrast. When using the Kodak Tank Developer, develop for ten or twentv minutes according to directions in manual, if speciallv soft effects are desired reduce the time for development to si.x or twelve minutes. If the Kodak ^lachine or Brownie Developing Box is used, develop for six minutes in the solution at a temperature of 65 degrees. The following summarv ot conditions necessary for making good por- traits mav be found useful for the serious worker, as each one of these con- ditions must be given its proper consideration to make a successful result. 1. GOOD LIGHTING. a. Position of the light. :. Distance of liglit from subject. b. Dinusion of light by screen. d. Placing of reflector. 2. CORRECT EXPOSURE. a. Size of flash. c. Color of subject. b. Color and size of room. d. Distance of light from subject 3. PROPER DEVELOPMENT. a. A good developing formula. b. Dilution of developer. t. Length of time of development. XOTE. The pictures illustrating thi; article \\-ere made on X. C. Film ^vith a Kodak. Xos. I to 5 inclusive, were made with Eastmans Flash Sheets and Xos. 6 to 12 w ith Eastman's Spreader Flash Cartridges. Interiors by Flashlight. The foregoing article by Mr. Ritch thoroughly co\'ers the ground of Flashlight Portraiture but we wish to follow it up with a few remarks upon flashlight work in a general way. Aside from the making of portraits there are many uses for the flash. Frequently it is desired to take a photograph of an interior \A'hich, by reason of a lack of illumination, or because some window, w hich cannot be co\'ered, comes within range of the camera, is impracticable by daylight. In such cases a flash light soh'es the problem. Again, it is desired to photo- graph a very large room which is lighted from only one side by daylight. To get a full time exposure in the darkest corner of the room would cause a decided over-exposure near the windows. A flash light, concealed from direct line with the lens by some article of furniture or by a screen, illumi- nates the dark corner and gi\'es a properly lighted exposure of the entire room. These are the ordinary uses of the flash light, and b}' following the simple rules laid down, the amateur can make pictures with as great an assurance of success as when making snap-shots out of doors. For the production of unusual effects, howe\er, one must study all the conditions, weighing carefully cause and effecT:, and must not yield to disappointment if success be not obtained at first. There are many ways in which the flash may be made to co-operate with other artificial light, or with daylight, to produce a unique or artistic effect, and to the serious worker it ofters another means to the end most desired by all photographic workers, pictorial effect. FLASH SHEETS. The Eastman Flash Sheets provide a simple and effe(51:i\'e method of producing the flash. Being of great aclinic power they impress the image upon the sensitive surface of film or plate quickly, although the flash is less blinding than that of ordinary powders. The fa6t that flash sheets burn slouly as compared with flash powder makes them far safer to use — the danger from explosion by careless hand- ling being reduced to a minimum. 66 IXTEK'IORS BY FLASHLIGHT. DIRECTIONS FOR USING FLASH SHEETS. Pin a flash sheet b}- one corner to a piece of cardboard which has pre- viously been fixed in a perpendicular position. If the cardboard is white it will act as a reflector and increase the strength of the picture. All being in readiness, open the camera shutter, stand at arm's length and touch a match to the lower corner of the flash sheet. Close the camera shutter. When two or more sheets are to be used they should be pinned to the cardboard, one abo^-e the other, the corners slightly o\-erlapping. As a matter of precaution, place a piece of cardboard beneath as well as one behind the flash sheet, so that in case a spark should fall it will do no injury. ARRANGEMENT OF THE LIGHT. The light should be placed two feet behind and two to three feet to one side of the camera. If placed in front of, or on a line with the front of camera, the flash would strike the lens and blur the picture. It should be placed at one side as well as behind, so as to throw a shadow and gi\"e a little relief in lighting. The flash should be at the same height or a little higher than the camera. TAKING THE PICTURE. Having the camera and flash sheets in position, set the camera shutter open, as for a time exposure, but using the stop ordinarily used for snap- shots. Touch a match to the lower corner of the flash sheet. A bright flash will follow, which \\\\\ impress the picture on the sensitive film. The shut- ter should be closed quick!)- after the fiash. Otherwise, unless the room is in total darkness, objects or lights would begin to impress themseh'es on the film even without the flash. STRENGTH OF THE FLASH. The number of flash sheets required to light a room varies with the distance of the object farthest from the camera, and the color of the walls and hangings. The larger the room, of course the greater \\\\\ be the strength of the flash required to co\'er it. \\'ith the flash sheets, the strength of light can easily be controlled, Simplv use as many of the sheets, pinned together in the manner above described, as are necessary. The following table will be found useful : /XT/-:A'/0RS B ) ■ FLASHLIGHT. 67 TABLE. For 10 feet distance and light walls and hangings use i Sheet. 10 " " " dark " " " "2 .Sheets. 15 •■ " " light ■' " " " 2 15 " " " dark " " " " 3 " 25 " " " light " " " " 3 25 " " " dark " " " " 4 The abo\'e table is for No. i Sheets. A smaUer number of the larger sheets may be tiseil if preferred. GROUPS. Arrange the chairs in the form of a semi-circle, facing the camera, so that each chair will be exactly the same distance from the camera. Half the persons composing the group should be seated and the rest should stand behind the chairs. In case any of the subjerts are seated on the floor the limbs should be drawn up close to the body, not extended towards the camera. If this is not done the feet will appear abnormally large in the pi6f;ure. It is better to lea\'e the room lighted in the regular way while mak- ing the flash. Arrange the persons composing the group so that no one's face will be shadowed by another's body or head. This can be done readily by looking at the group from where the flash is to be fired. Ha\'e the flash light high enough so that shadows of heads against the background will not be thrown up higher than the head. TAKING LARGE GROUPS. In taking large groups it is necessary to have the camera a considerable distance away. In such a case, to light the group sufficiently with the flash behind the camera, it would be necessary to burn a number of sheets. This may be obviated in cases where the camera can be placed in an adjoining room, where there are double parlors, for instance. Then set off the flash in the room where the group is, it being shielded from the lens by the projeding partition. This gets the light close to the subjedt. In this way one sheet will answer \\here three or four might have to be used other- wise. BACKGROUND. In making single portraits or groups, care should be taken to have a suitable background against which the figures will show in relief. A light background is better than a dark one, and often a single figure or two will 6S JXTERIORS BY FLASHLIGHT. show up well against a lace curtain. For larger groups a medium light wall will be suitable. The finder on the camera will help the operator to compose the group so as to get the best effect. In order to make the image visible in the finder, the room must be well lighted with ordinary lamplight, which may be left on while the picture is being made, pro\-ided none of the lights are so placed that they show in the finder. IN GENERAL. In portrait work it is always best to ha\-e the room well lighted when making the flash, if it can be done in such a way that none of the lights come within the range of the lens. If the room is darkened the sudden flash of the light so strains the eyes of the sitters that it almost in^■ariably gi\'es them a staring look, ^^hereas if the room is already well illuminated by gas or lamp-light the strain is not great and the eyes will have a natural expression. Of course when the room is brightl}- lighted the shutter should not be opened until the instant before the flash is made, and should be closed quickly after the flash is over. In making portraits b}- flash light, the camera should not be held in the hand, but should be supported as described on page 19. Before setting o'A the flash see that no articles of furniture in range of the lens are closer to the camera than the persons to be photographed. The nearer an object is to the lens, of course, the larger the picture. A chair placed too near the camera might appear in the picture bigger than everything else visible. Flash light work is usually regarded as of minor importance compared with daytime photography, which may be explained bv the fact that most people ha\-e not made themseh'es familiar with it. As a matter of fact it well repays considerable time and study, in \-iew of the results that are possible. Some photographers now are using the flash light extensively in their regular portrait work. When more than one flash light is to be taken, the windows should be opened and time allou'ed between each flash to free the room thoroughly from smoke, otherwise all of the pictures after the first one are liable to have a "foggy" effect. The Eastman Flash Sheets gi\-e a minimum of smoke, but the lens is e\-en keener than the eye, and what will seem to be but littie smoke in a room will oftentimes have a decided effecl upon the picture. When, for any reason, it is necessary that the shutter remain closed until the instant the flash is discharged and be closed again instandy after- ward, it is well to ha\e the flash sheet hanging near so that the shutter can be operated with one hand and the flash with the other and their action thus made simultaneous. FOR TRAITL 'RE HELPS. 69 NOT INSTANTANEOUS. In using the flash sheets it should be borne in mind that they are not instantaneous, and in portrait work the subjects should, therefore, be warned to remain still as if for a time exposure. The flash sheets do not produce a sudden flash when they are lighted, and a second or so is consumed in burning a single sheet. As compared with the ordinary flash powder they gi\'e a much broader source of light, which means that they do away with the harsh shadows that are so objeclionable in most flashlight work. The flash from the sheets is far less blinding than that from the ordinary powder, a decided advantage in giving pictures without the staring eftect to the eyes so often seen. THE REFLECTOR. In the various articles upon Portraiture is explained the use of the refledor. In practice it is often inconvenient or undesirable to secure an assistant for the pur- pose of holding the cloth to be used as a reflector. Fig. i shows a reflector which may easily be constructed and which will be found very convenient in use. Provide two pieces of wood about one inch wide by one-half an inch thick, one piece being about two feet and the other two feet six inches long. In one end of the longer piece insert a screw eye having a head about one half an inch in diameter. Cut an open- ing in the center of the second strip so that the head of the screw eye will fit it snugly. A small flat hook fastened to the strip com- pletes the joint. Procure a piece of white cotton cloth about two feet 70 PORTRAITURE HELPS. square and fasten it to the edge of the short strip with small tacks. A large elastic rubber band completes the apparatus. For use fasten the two strips together by the ioint and fasten the screen by the aid of the rubber band to the back of an ordinary chair. The cloth will then hang straight down and by mo\ing the chair about and changing the height of the screen by sliding the upright piece up or down the reflector may readily be placed in an^- desired position. PORTRAITURE HELPS. 71 KODAK PORTRAIT ATTACHMENTS. In order to gi\'e greater scope to the fixed focus Kodaks so that large bust portraits may be made with them we have de\ised our Portrait Attach- ment. This is a simple little device consisting of an extra lens so mounted that it may be instantly attached in front of the regular lens, and enabling the Kodaker to make sharp pictures with the fixed focus Kodaks at a distance of only three and one- half feet from the subjefl. With the 2>y-^ x 3}^ size this gives a head about the size that heads are usually made to occu- py in an ordinary mantello pho- tograph. The accompanying half-tone illustration is repro- duced in the exact size, from a negati\'e made with a Folding Pocket Kodak and Kodak Por- trait Attachment, This Portrait Attachment is for use at a distance of 3}^ feet from the subject only with the fixed focus Kodaks, and its effecl is to simply make the lens " cut sharp " pictures at this distance. It is to be used for Ijust portraiture only. Portrait Attachments are also made for the larger Kodaks which are fitted with focusing scale. With these instruments different sized heads or busts may be obtained by altering the focus and distance from the subject. B^" RUDOLPH ElCKE.\iE\ER, JR. Folding Pocket Kodak and Portrait Attachment. Development. Film photography oners two methods of de\'elopment. They are : The Kodak Tank De\-eloper Method. The Dark Room ?iIethod. The tank method is comparati\'ely new yet it has now proven its effi- ciency and has fully demonstrated that it is not only more convenient than the old method but gi\'e3 a larger percentage of perfect negatives. When, in the summer of 1902, the Kodak De\'eloping Machine was first placed upon the market it was freely criticised, but after it had been a few months in operation its marked success became apparent and the photo- graphic writers began to discover that it was correct in theory as well as in practice. The Kodak Tank De\-eloper works upon a similar principle so far as the winding up of the film inside a light proof flexible apron is con- cerned, but in the machine the film is kept constantly in motion during dex'elopment, while in the tank it is simply reversed a couple of times to prevent streaks. With the Kodak Tank method the dark-room is entirely eliminated. The Dark Room method of film development is simple. So far as the operations go it is as successful with film as with plates, especiall}' since the ad\"ent of the Eastman Xon-Curling film, yet aside from the mere question of con\-enience the Tank method is preferable because, as has been pro\-en, better results can be obtained by developing for a fixed time, in a fixed developer, than can be obtained under the old s}-stem of watching for the proper contrast and detail under the ravs of the deceitful dark-room lamp. The first question regarding tank development which will come to the mind of the skeptical photographer will assuredly be ; "When there are several unequal exposures on the same strip of film, how are all to be cor- rectly de\"eloped, there being no opportunity for indi\'idual treatment?" The manufacturers, before experimenting, felt that the tank might fail under these conditions, but the practical results show that within any reason- able limits it does not. The remarkable "latitude" which Kodak film allows in exposure, combined with the peculiarly active properties of the DE VEL OPMElXT. 73 Kodak developer powders and the entire absence of fog (ordinarily caused by tlie dark-room lamp) upset all theories. If the film is properly exposed the tank will develop it properly. If it is not properly exposed it will never make a good negative, no matter how much it be manipulated. Time and temperature are the two factors of importance that must be taken into consideration. With the temperature of the dexeloper at a specified point, development is to be continued for a certain length of time. When the de\'eloper is warm (it must ne\-er be abo\'e 70 degrees Falir. ) it acts rapidly ; if very cold it acts slowly. It can be readily understood, therefore, that the operator must always have a knowledge of the temper- ature of his de\'el(iper, and time development accordingly, if he expects to obtain the best results. As improvements calling for slight changes in the methods of manipu- lation are frequently made in all Kodak apparatus, the operator of a Kodak Tank Developer should read carefully the manual accompanying the par- ticular tank that he purchases. WITH THE KODAK TANK DEVELOPER. The Kodak Tank De\'eloper consists of a wooden box, a light-proof apron, a " transferring reel " and a metal " solution cup " in which the film is developed, and a hooked rod for remo\ing film from solution. There is also a dummy film cartridge with which one should experiment before using an exposed cartridge. The various parts of the outfit come packed in the box itself. SETTING UP THE TANK DEVELOPER. ~^ Take everything out of the box. Take red apron and transferring reel out of solution cup. Insert the axles marked C and D in the cut, in the holes in the front of box. The front will be toward you when the spool carrier in end of box is at your right. '■"'■'■ The axle "D" must be pushed through the hollow rod of the transferring reel, and axle "C" through 74 DErELOP-VEXT. the smaller apron carrier to hold same in position. The rlaiiges at each eiiil of the Transferrins: Reel are marked ■•Y" in the illustration. Attach one end of the apron to " C " by means of the metal hooks which are to be engaged with the lugs on the axle (^Fig. 2). The corrugated side of the rubber bands are to be beneath the apron when it is attached. Turn to left on axle " C " and wind entire apron onto axle, maintaining a slight ten- sion on apron in so doing b^' resting one hand on it. Insert film cartridtje spool carrier (Fig. 3), close up the mo\"able arm tight against end of spool. Ha\"e the black paper ( "B" in Fig. I ) lead from the top. IMPORTANT. Film to he used in the Kodak Tank Devel- oper must he fastened to the black paper at both ends. Just be/ore yoit a>'S r^ady to de'^-elop (hold- ing spool with the iinpriyttrrd ^\^^oi the black paper upi unroll the black paper carefully until you uncover the piece of gummed paper which is "fas- tened to end of film and is to be used as a means of fastening film to black paper. Moisten the gum- med side of sticker e^-enl\- for about an inch across the end and stick it down to blacl; paper, rubbing thoroughly to secure perfect adhesion, ^^'ind end of black paper on spool again and the cartridge is read}- to insert in transfer box. Break the sticker that holds down the end of black paper, thread the paper underneath wire guard on axle "D" (Fig. 4) and turn slowlv to right until the word "stop" appears on black paper. iXow hook apron to lugs on ni^rELOPJfENT. 75 axle "D" in precisely the same manner that you hooked the opposite end to axle "C" except that axle "D" turns to the right (Fig. 5)- Turn handle half a re\'olution, so that apron becomes firmly attached, and put on cover of box. Turn axle "D" slowly and steadily until black paper of cartridge, film and apron are rolled up together on axle "D". As soon as this is completed the handle will turn very freely. The developer should now be prepared and placed in the solution cup. (See page 76.) Now remove co\'er from box and draw out axle "D" ( Fig. 6 ), holding apron and black paper with other hand to keep end of apron from loosening. Remove entire transferring reel (which now contains apron (6) 76 DE I 'EL OPJIEXT. and black paper) which is freed by puUing out axle "D", and insert immediately in the previously prepared de\'eloper. FiG. o. lot be too 1 r USING THE SOLUTION CUP. Ha\'ing filled the solution cup as directed, lower Transferring Reel into cup, either end first (Fig, 7). Let reel slide down slowlv. The operation of removing reel from box can be done in the light of an ordinary room, but, of course, for safety it is well that the light should not be too bright. The total length of time for development is twenty min- utes. Allow development to proceed for about two minutes with cover of solution cup off ; then place the co\-er on the cup (Fig. S), putting lugs on cover into groo\'e3 and tighten cover down bv turning it to right. Now turn the entire cup end for end and place in a tray or saucer to catch any slight leak from the cup. After seven minutes re\'erse it so co\"er \\-\\\ be up. At fifteen min- utes again in\-ert the cup. Turning the solution cup allows the developer to act e\'enly and adds brilliancy and snap to the negati\-es. The wire lifting rod is to be used for lifting the reel out of the cup. Hook on to the cross bar in one end of reel. When the end of reel containing cross bar is at the bottom of cup, the lifting rod is just long enough to catch the cross bar. DErELOPjrEyr. 77 The fixing solution should be prepared while the film is developing. When development is completed pour out developer and fill cup with clear cold water and pour off, repeating this operation three times to wash the film. Then remove reel, separate film from black paper and place immediately in the previously prepared Fixing Bath. The film may be separated from black paper in light of an ordinary room, if the developer is thoroughly washed out. The operation of separating film and black paper should be done over a bowl or bath tub or sink. When the black paper does not free itself readily from back of film, split the paper where possible ; this will remove the hard outer surface of the paper, the remaining portion will soon become soaked and can then be removed easily by rubbing gently, while immersed, with the ball of the finger. This adhering of the black paper to the film is almost invariably caused by the use of a too warm developer. The operations of fixing, washing and drying are precisely the same as with dark room developed negatives. See pages 79 and 80. PREPARING THE DEVELOPING SOLUTION WITH KODAK TANK DEVELOPER POWDERS. Pour three or four ounces of lukewarm water into the Solution Cup. Open the package of powder and pour in the Sodas (contained in the larger package). Stir until dissolved. Now fill cup to ring with coUl water. Empty the contents of second package (Pyro) into the solution. Stir for a few seconds or until dissolved. De\eloper must always be pre- pared fresh for immediate use. Temperature 60° to 65° P'ahr. SHORT DEVELOPMENT. The length of development may be cut to ten minutes by the use of two powders. Of course in such case the operator will dissolve the sodas of both powders in the lukewarm water and will then fill the cup to ring with cold water and dissoh'e the two papers of pyro. For ten-minute development the film should be reversed at the end of one minute and at the end of seven minutes. FORMULAE. On account of their purity and the accuracy with which they are pre- pared, the Kodak Tank Developer Powders are recommended, but the operator may use the following if desired. 78 DE J 'EL OPJIEXT. In case vou make up your own solutions, use the following; formulae for 20 minute Tank Development : BROWNIE TANK. 10 grains Pyro. 30 grains Sulphite of Soda, anhydrous. 20 grains Carbonate of Soda, anliydrous. PiS5ol\-e the chemicals in order named in fi\-e or six ounces of lukewarm water, then add cold water to h\\ tank to embossed ring. THREE AND ONE-HALF INCH TANK. 22 grains Pyro. 66 grains Sulphite of Soda, anhydrous. 44 grains Carbonate of Soda, anhydrous. Dissolve the chemicals in order named in fi\-e or six ounces of lukewarm water, then add cold water to till tank to embossed ring. FIVE AND SEVEN INCH TANK. 30 grains Pyro. 90 grains Sulphite of Soda, anhydrous. 60 grains Carbonate of Soda, anhydrous. Dissol\"e the chemicals in order named in fi^■e or six ounces of lukewarm water, then add cold water to till tank h' embossed ring. Use the following formuke for Ten Minute Tank De\-elopment. BROWNIE TANK. 20 grains Pyro. 60 grains Sulphite of Soda, anhydrous. 40 grains Carbonate of Soda, anhydrous. Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold water to till tank to embossed ring. THREE AND ONE-HALF INCH TANK. 44 grains Pyro. 132 grains Sulphite of Soda, anhydrous. 8S grains Carbonate of Soda, anhydrous. Dissolve the chemicals in order named in five or six ounces of lukewarm \\ater, then add cold water to fill tank to embossed ring. FIVE AND SEVEN INCH TANK. 60 grains Pyro. 180 grains Sulphite of Soda, anhydrous. 120 grains Carbonate of Soda, anhydrous. Dissolve the chemicals in order named in fi\"e or six ounces of lukewarm water, then add cold water to fill tank to embossed ri.ig. Temperature of Developer. 65^ Fahr. DEVELOPING SEVERAL ROLLS OF FILM AT ONCE. Several rolls of film may be de\'eloped at the same time if the operator wishes. To do this it is necessary to ha^•e a "Duplicating Outfit" con- DE I 'EL OPMENT. 79 sisting of one Solution Cup, one Transferring Reel and one Apron for each additional roll of film to be developed. The extra rolls of film may then be wound onto Transferring Reels as previously described and immersed in the Solution Cup. If another roll of film is to be developed, wipe the apron thoroughly. If the Tank Developer is not to be used again immediately the apron and tank should be washed and wiped dry. The apron will dry very rapidly if immersed for a moment in very hot water. Keep apron wound on Transferring Reel when not in use. Never leave apron soaking in water. FIXING BATH. Use the Kodak Acid Fixing Bath or prepare an acid fixing bath in accordance with formula given below. Ha\'e plenty of fixing solution in a deep tray or earthen dish, so as to fully cover film, using four ounces of Fixing Powder to each pint of water. Fix for two or three minutes after all of the " milky " look has disappeared from negatives. If you use plain H\po with N. C. Film, fiillow fixiTi^^ bv snaking fur fi\e minutes in a satmrited siilution of common alum h> remo\'e stains. It Kui.lak Acul PixiuL; Powder is usei 1 this is unnecessary. Wash and clr\' as per directions on page ^o. Nothing now remains to be done except to wash the film, to free it from Hypo (fixing solution) ; wipe it with a soft cloth and j^in it up to dry. As soon as dry the negati\'es are cut apart and are ready for the print making to begin. ACID FIXING BATH. The Acid Fixing Bath may be prepared as follows if desired : Water, i6 ozs. Hyposulphite of Soda, - . . . 4 ozs. Sulphite of Soda (anhydrous), - - So grains. when fullv dissolved, add the following hardener : Powdered Alum, Vs 02. Citric Acid, - - - - - - ]-i oz. This bath may be made up at any time in advance and be used so long as it retains its strength, or is not sufficiently discolored by developer carried into it as to stain the negatives. WASHING AND DRYING. The methods of washing and drying remain the same, no matter what the methods of developing and fixing. So DE VEL O PMENT. WASHING. The film may be placed in a wash bowl of cold water and left to soak for five minutes each in five changes of cold water, moving it about occasionally to insure this water acting evenly upon it, or it may be given, say, two changes as above and then left for an hour in a wash bowl or tray with a very gentle stream of water running in and out. DRYING. When thoroughly washed, snap an Eastman Film Develop- ing Clip on each end of the strip and hang it up to dry, being sure it swings clear of the wall so that there will be no possibility of either side of the film coming in contact with the latter. In "^^Clip"'^" drying, N. C. Film should be cut up into strips of not viore than six exposures in length. If the film has been cut up, pin by one corner to the edge of a shelf or hang the negative on a stretched string by means of a bent pin, running the pin through the corner of film to the head, then hooking it over the string. Always keep finished negatives flat — do ?iot roll thon up. An Eastman Indexed Negati\'e Album keeps them in perfect order. WARNING. Do not let either surface of N. C. Film come in contact with anything while drying. Use an Acid Fixing Bath. If the black paper sticks to back of film and does not come off in the bath, rub gently with the ball of finger while the film is immersed. DE]'ELOPlVENT. 8i THE DARK-ROOM METHOD. The first essential is a dark-room. By a dark-room is meant one that is wholly dark — not a ray of light in it. Such a room can easily be secured at night almost anywhere. The reason a dark-room is required is that the film is extremely sensitixe to white light, either daylight or lamplight, and -would be spoiled if exposed to it even for a fraction of a second. If possible ha\'e running water, but if this is not a\'ailable provide a pitcher of cold water (ice water in summer), a shelf or table on which to work and (for use with film) a pair of shears. Also provide a De\-eloping and Printing Outfit i\hich should contain : I Dark-Room Lamp, 4 Developing Trays, I Glass Beaker, I Stirring Rod, Such an outfit need not cost more than one or two dollars and will be sufficiently elaborate for your first work. Package Developer Powders, I lb. Kodak Acid Fi.xing Powders, I Package Bromide Potassium, TO DEVELOP FILM. Film is handled in much the same manner as plates except, of course, that it must be cut up before printing. For all Kodak cartridge rolls, shorter than 4x5, 12 exposure, we recommend that develojiment be done in the strip, as this method removes the possibility of cutting through the negatix'es. The same method may be used with the larger sizes, but owing to their length is, perhaps, not quite so con\'enient as to cut up the film before development is started, as described on page 84. Having shut out all extraneous light from your dark-room and lighted the dark-room lamp. a. Unroll the film and detach the entire strip from the black paper. b. Pass the film through a tray of clean, cold water, as shown \ ^^W in the cut, holding one end in each hand. Pass through the water se\-eral times, that there may be no bubbles remaining on the film. When it is thoroughly wet, with S2 DEl'ELOPMEXT. no air bubbles, place the strip of film in a tray of water, immersing it fully but not folding tightly so as to crack it. c. Prepare the developer as described on page 83. d. Now pass the film through the de\'eloper in the same manner as described for wetting it, and shown in cut. Keep it constantly in motion, and in about one minute the high lights \\\Vi begin to darken and you will readily be able to distinguish the unexposed sections between the negati\'es, and in about two minutes will be able to distinguish objects in the picture. Complete development in the strip, gi\'ing sufficient length of de\-elopment to bring out \\-hat detail you can in the thinnest negati\'es. Keep the strip which is being de\'eloped constantly in motion, allowing the developer to act five to ten minutes. The progress of development may be watched by holding the negatives up to the lamp from time to time. When developing Eastman's N. C. Film, care must be taken not to hold it close to the lamp for any length of time. These films are very rapid and are orthochromatic, therefore liable to fog unless handled very carefully in the dark-room or developed in the Kodak Developing Machine or Tank. e. After completing development, cut the negatives apart with a pair of shears, transfer to the third tray, and rinse two or three times with clear, cold water. Now proceed according to paragraph 6, page 83. This method must always be followed with the Cartridge Roll Holder rolls, but thev may first be cut in two at point where perforations occur in the middle of strip. ANOTHER WAY. 1. Unroll the film and cut the ex- posures apart as shown in Fig. I. In unrolling the film preparatory to development, care must be taken that the end be not allowed to roll up over the paper. The exposures should be cut apart with the paper ox top. Fig. II shows a cartridge unrolled with the film on top. To correct this, simply turn back the film as indicated by the dotted lines, thus bringing the film under the paper. 2. Fill one of the trays nearly full of «-ater, and put into it the expos- ures, one by one, face dozen; put them in edgewise, to a\-oid air bells, and immerse them fully. DE I 'EL OPMENT. S3 Cover the tray with a bit of brown paper to keep out the hght from the lamp. 3. Open one of the developer pow- ders, then put the contents, (two chem- icals) into the beaker and pour in four ounces of water. Stir until dissolved with the stirring rod, and pour into second '"" ' tray. 4. Take one of the exposures from the water and immerse it, face down, in the second tray. Rock it back and forth to prevent streaks and air bubbles ; in about one minute the film will begin to darken in spots, representing the lights of the picture, and in about two minutes the operator will be able to distinguish objects in the picture. The developer should be allowed to atl five to ten minutes. 5. Transfer the developed film to the third tray, and rinse two or three times with water, leaving it to soak while the next film is being developed. KoTK. — Fi\'e or six \ x 5 ne^.'^ti\'es can be dcxulnyieil , one after the otlier, in one jiortion of de\'el- oper, made by use of Eastman's Special De\"eloper I'oXM.iers. then it shouM be thrown a\vay and a fresh portiur. Tnixed. Only one negati\'e should be de\eloped at a time until the operator becomes e.xpert. As each successive negative is developed, it should be put, with the preceding negatives, in the washing tray, and the water changed twice, to pre\ent the dexeloper remaining in the films from staining them. 6. Prepare in the fourth tray sufficient fixing bath to fully cover the negati\'es, use i ounce of Kodak Acid Fixing Powder to each 4 ounces of water. 7. Immerse the negatives one by one in the fixing bath until they are entirely clear of white spots and are transparent instead of milky by trans- mitted light. This (.vill require about ten minutes. 8. The yellow shade can be removed from the lamp as soon as all the exposures ha\'e been fixed. Wash and dry as per directions on page 80. The fixing solution must only be used in tray No. 4, and the negatives, after fixing, must not be put in either No. i or No. 2 trays. Neither must any of the fixing solution be allowed to touch the films, through the agency of the fingers, or otherwise, until they are ready to go into the fixing bath, otherwise, they will be spotted or blackened, so as to be useless. 84 DEl'ELOPMEXT. The trays and beaker should now be rinsed out and set away to drain and dry. A FEW REMARKS UPON DEVELOPMENT. The foregoing pages fully co\'er the subject of de\-elopment so far as telling the beginner exactly what to do is concerned. If the amateur fol- lows absolutely the directions therein gi\-en he will secure good results : but a word of the theor\- of de\"elopment will nevertheless prove interesting and instructi\'e. An exposed and unexposed film do not differ, so far as the eye can judge. It is necessary, therefore, to treat the exposed film with a solution containing certain chemicals to re\'eal the action of the sun's rays. This is called de\'elopment. The chemicals are the developer. The acti^■e or de\'eloping agent, such as Pyrogallic acid (commonly known as Pyro ) and Hydrochinon, affect the latent image by reducing to metallic sih'er those parts which have been affected by the light. In other words, it blackens them. But these agents require the use of another sub- stance to gi\'e them energy: ACCELERATOR. An alkali when mixed with the acti\'e developing agent gi\'es it a greater aflinitv for oxygen ; it therefore becomes more energetic as a reducer. This alkali is called an accelerator. The alkalies most commonly used are Carbonate of Soda (known as sal soda and washing soda) and Carbonate of Potassium. RESTRAINER. A restrainer is a substance that has the power to restrain or retard the action of development. Bromide of Potassium, most commonly used for that purpose, has the property of dissoh'ing a certain amount of Bromide of Siher from the tilm, thereby forming a double salt which is less easily reduced by the de\'eloper. This action ha\-ing taken place, the de\'elop- ment is much slower; hence the name, " restrainer." DE I -EL 0PM EXT. Sj PRESERVATIVE. The preservative is a substance that will keep the developer from discoloring and oxydizing when it is to be kept for future use. " Sulphite of Soda" is most commonly used for that purpose; it also has much to do with the color of the negative. If only a very small portion be used the negative will be brown, the quality being harsh and hard and one that will give you a print of much contrast, while the use of a greater portion gives a gray, soft negative with more detail. FIXING THE NEGATIVE. The fixing or clearing of a negative is due to the action of the " Hypo- sulphite of Soda" eating out the Bromide of Silver not acted upon by the light, and until this has been accomplished it is still sensitive. When the creamy appearance on the back of the negative disappears it may be called "fixed," and can then be taken from the bath and exposed to any light without fear of injury. S6 DEVELOPMEXT. DEFECTIVE NEGATIVES. Defective nega:i\'e3 mav be caused bv under or over exposure or by careless handling during de\"elopment and subsequent operations. Over or under-de\'elopment is usually occasioned by the fact that the inexperienced operator is unable to tell, under the dark-room light, whether he has carried the develop- ment far enough or not and he is extremely likely to err on the side of under-develop- ment. A properly exposed negati\'e should be de- veloped for h\'e minutes. If you feel that you have under-e.xposed the negati\'e no harm will come from developing up to eight minutes. The beginner will, as a rule, secure better results by timing de\-elop- ment by the watch than he will by trA'ing to judge the appearance of the negati\'e. Fig. I shows an under- exposed negati\-e clear in the dark parts or shadows with an entire absence of detail, the high lights or white parts of the subject being black, also lacking in detail. This fault is caused bv making snap shots indoors, or in the shade, or \\hen the light is weak, late in the day, or by closing the lens too soon on time exposures. Fig. 2 shows an over-exposed and over-de\"eloped negative, full of detail but tlat, lacking all contrast and brilliancy and at the same time it looks black or dense. Caused bv too much light. Negative develops evenly, shadows almost as fast as high lights. No contrast, and no deep shadows. If a negati\'e is known to be o\-er-exposed before development is begun, it can be largely o\-ercome by the addition of bromide of potassium to the DEVELOPMEXT. Sy developer, before de\'elopment begins, and a bottle containing Bromide of Potash, i oz. Water, - - lo ozs. should always be at hand when you are de\'eloping. Use I to 4 drops for each ounce of developer according to amount of o\er-exposure. After the Bromide has been added to the developer, it should not be used for another negative unless it is known to have been over-exposed. OVER-DEVELOP- MENT. Caused by leaving the negative too long in the de\'el- oper. ^^'IG. 3, In this case the negati\-e is very strong and intense by transmitted light and requires a very long time to print. The remedy is to reduce by the following method : REDUCER. First soak negative 20 minutes in water, then immerse in : Water, - - 6 ounces. Hypo-sulphite Soda, '2 ounce. Ferri Cyanide Pota,ssiuni, 20 drops (saturated solution). Rock tray gently back and forth until negative has been reduced to the desired density, then wash ten minutes in running water or in four changes of water. S8 DEVELOPMEXT. F1G.3B. Negatives may be reduced locally by applying the above solution to the dense parts with a camel's hair brush, rinsing off the reducer with clear water occasionally to pre- vent its running onto the parts of the negati\-e that do not require reducing. Fig. 3 shows a negative correctly timed and developed ; note the brilliancy, depth, and well-defined detail compared with Nos. I and 2. Fig. 3 B is a positive print from negative Xo. 3. Fig. 4 shows negative under-de\eloped, having plenty of detail but thin and with \-er)' slight contrast. UNDER-DEVELOP- MENT. Caused by remo\-al from the de\-eloper too soon. An under-de\'eloped nega- ti\-e differs from an under- exposed one, in that it is apt to be thin and full of detail, instead of harsh and lacking in detail. If the de\-elopment is carried on as before directed, this defect is not liable to occur. If a mistake has been made in de\-eIoping and the negative does not appear strong enough (this can be judged only by experience), the nega- ti\-e can be impro\ed by Fig. 4. DEVELOPMENT. Sg hdcnsification — Lay the film in one of the empty trays and pour over it sufficient Intensifier to fully cover it ; allow it to act until the film is all of one even color and then pour the Intensifier back into the bottle and wash the film in four or five changes of water for fifteen minutes Intensifier may be purchased already prepared or the amateur may put it up himself, using the following formula : INTENSIFIER. No. I, 75 Gr. Bi-chloride of Mercury (corrosive sublimate) Poison, - - - - 5 oz. Water. No. 2, 112 Gr. Iodide of Potassium, - 2'2 " " " 3, 150 " Hypo-sulphite i.if .Soda - 2'2 " " Dissolve separately and combine No. i with No. 2 and the resulting mi.xture with No. 3. LIGHT FOG. This is caused by the light coming in contaft with film other than that which comes through the lens during the proper exposure. Frequently it is caused by exposure to an unsafe light during development ; also by light entering the dark-room through the kej'-hole or a crack in the door. E.xamine your dark-room thoroughly before developing and see that all white light is excluded. Fog is often caused by the negative being exposed to light after development but before fixing.* E\en the colored light from a dark-room lamp will fog film or plate if they are exposed to it too long. Do not work unnecessarily close to the lamp and until after negatives are thoroughly " fixed " keep trays in which they are lying covered with brown paper to exclude all light. SPOTS, STREAKS, ETC. Air bells on the film in the developer or fixing bath are liable to cause spots, and strealvS are caused by allowing the film to remain uncovered in part by the various solutions while in them. White, milky spots are evidence that the negative has not been prop- erly fixed, and the negative should be put back into the fixing bath, and then rewashed. Sometimes after the negative is dry you will find a deposit of small crystals on its surface. This is Hyposulphite of Soda and indicates insuf- ficient washing. *If developer is thoroughly wcisheJ riut of filin, short exposure to weak li.i^ht will <\<^ no h:ii tu between development and fi.xing. 9C DEVELOPMEXT. TEMPERATURE. Keep your baths during use at a uniform temperature, about 65° Fahr. ;Much trouble is caused by the developer and fixing baths being too warm or too cold. When too warm the result is frequently a weak ' ' mealy ' ' negati\'e. It may cause the film to fog (the casting of a haze or \&\\ o-,-er the surface). The edges may frill or loosen from the support ; should the temperature reach 85° the film would soften. In hot, muggy weather keep the developer cool with a small piece of ice in the trav, or better still, set the developing tray in a trav of larger dimensions, filling the space between the sides and ends with chopped ice, WHAT DEVELOPER TO USE. It is well not to try too many developers at the beginning. To under- stand one thoroughly, or at the most two, «'ill gi\-e you results from which you will obtain more satisfaction than should you dabble \vith the \-arious formulas on the market to-day. Thoroughly master one before trying others. One may start with " Pyro " or " Hydrochinon," which are with- out doubt two of the best. Pyro, the most popular, has a decided tendency to stain the fingers. Should this be objected to, Hydrochinon (which is free from that objeclion) can be used with good results. Not every photographic beginner owns a pair of chemist's scales, which are a necessity should he wish to compound the formula himself. Rather than be uncertain as to correctness, we would ad\"ise the use of developing powders. Eastman's Special Dexeloper Powders are particularly desirable as they do not stain the fingers. If, how- e\'er, the amateur desires to mix his own developer, the following stock solution used as below will be found an excellent de\-eloper for either the dark-room or the Tank. PYRO DEVELOPING FORMULA. PYROGALLIC ACID SOLUTION. NTetric ■■ .\." .\\-oiRDL-pors. 5^STEM. Pyrogallic Acid, I 02. 30 grams. Sulphuric Acid, 20 minims. I c. c. Water, . - - . 2S ozs. 900 c. c. SODA SOLUTION. " E," A\ r>!Rr>upois. Metric System. *Carbonate Soda ( Anhydrous^ 2 ozs. 5o grams. ^Sulphite Soda (Anhydrous'', 3 ozs 90 grams. Wate,, - - ' - 2S oz^. 900 c. c. *If crystals are used, double Ihe quant i 'y- DEVELOPMENT. 91 For dark-room development take "A," - - - - - '2 02. ( 15 c. c.) " B," - - - - - ,'-, oz. ( 15 c. c. ) \\'ater, ----- 4 ozs. {120 c. c.) This de\-eloiiL*r will then conLaiu 1.36 grains Pyro per ounee. For 6 minute de\'elopment in Developing Machine or lo minute de\'elopment in Tank Developer use the following proportions : "A," - - - - - I oz. ( 30 c. c. ) " B," - - - - - I oz. ( 30 c. c. ) Water, ----- lo ozs. (300 c. c. ) This cie\eiO]>er will then contain 1.30 grains Pyro per ounce. For 20 minute development in Tank Developer use the following pro- portions : "A," - - - - - I oz. ( 30 c. c. ) " B," - - - - - I oz. ( 30 c. c. ) \\'ater, ----- 22 ozs. (660 c. c.) This de\'elopcr will then contain .65 grains P\'ro per i.iunce. DEVELOPING DRY PLATES. The foregoing directions apply to dry plates as well as films, the chemical treatment being the same, except that the preliminary wetting may be omitted with plates. Plates, howe\'er, must be handled in the solutions one at a time as they would scratch each other if a larger number were put into the trays simul- taneously. They should also be developed /(7(Y Jip. <7i PRINTING. Having developed the negatives, tiie final step in picture making is now in order — making the prints. For printing there are many papers — grouped under two general classes, "printing out" papers, where the image is visible after printing and " developing out " papers which require a de\-eloping solution to make the image visible. For the amateur there is no more satisfactory printing process than that offered by the use of \'elox. Prints made by this process give a rich, soft Platinum effect not excelled by any other pajjer. \'elox can be printed by either artificial light or daylight, and like an exposure on film the image is not \'isible and it must therefore be developed. The process is simple, but like all others it requires some skill and judgment, both of which can easily be acquired by strict adherence to the gi\'en rules and formula. ABOUT VELOX. \'elox is suitable for e\ery class of work, as is fully demonstrated under the heading of "Surfaces and Grades." \'elox should not be confused with Bromide or any other paper ; it has distincti\'e qualities of its own which ha\'e ne\er been successfully imitated. Many improvements ha\-e recently been made in its manufacture and to-day \'elox is the perfected product of years of experiment. The different surfaces and grades in which it is manufactured enable the user to produce good prints from almost any negative, suiting his taste as well as the peculiar requirements of the negati\'es. SURFACES AND GRADES. Velo-x is made in six different surfaces and divided broadly into two grades of papers, called " Regular" and " Special." As these trade terms ha\-e reference to speed and contrast and not surface, we could as well say "slow" and "fast" or "hard" and "soft." In each grade will be found a variety of surfaces. Choose the surface which best suits you and which PA'IN-JVyU. 93 will harmonize with the subjedi of your picture. Selefl your negatives, remembering that the " Regular " papers print slowly, but develop quickly, and are adapted for negatives lacking contrast, and known as "thin" or "weak" negati\es. "Special" papers require shorter exposure and longer development (as compared with the "Regular") and are for use with " contrasty " negatives. Such negatives are also referred to as being- strong, thick, dense or hard. Royal Velox differs from the other Velox papers in that it is coated on a stock having a cream tint, just a soft mellow tone that prevents harshness in the high lights. The stock is somewhat heavier than the usual Velox stock, about half-way between the single and the double weight. Royal V' elo.x prints are delightful when developed in the ordinary way, but to get their full value should be re-developed. See page loi. Royal Velox is furnished in both " Regular" and " Special." Any negatives which will produce good results with printing-out paper should be printed on Special, while Regular \'elo.x is adapted to negatives which are too soft for other photographic papers. To those familiar with Velox paper it is an easy matter to selefl the grade which is best suited for the results desired. The novice, however, is guided usually by the'ad\'ice of others and often is misled into using a wrong grade of \'elo.x, thereby failing to secure the results expe(ited, and is inclined to belie\e that the paper is at fault. The following table of grades and weights of \'elox should be an aid to those contemplating using this paper : SURFACES, WEIGHTS AND GRADES OF VELOX. GRADE SrkFACE SPEED c;raije SURFACE SPEED *Velvet Velox .Semi-Gloss Special •Rough Velox Matte Special *VeIvet Velox Semi-Gloss Regular Glossy Velox Enameled Regular ^Portrait Velox Smooth Matte Special Glossy Velox Enameled Special *Carbon Velox Matte Regular Royal Velox Matte Regular Carbon Velox Matte Special Royal Velox Matte Special *Furnished also in Double Weight Velox ; double weight papers require no mount and when -printed under a mask which will insure a white margin, afford a \ery artistic effect. MANIPULATION. Velox prints may be successfully made, using daylight for exposure. .Select a north window, if possible, as the light from this direction will be more uniform. Owing to its sensitiveness the paper should be handled in 94 PRIXTIXG. subdued light, otherwise it will be liable to fog. Proper precautions should be taken to pull down the window shades and darken the room suthciently during the manipulation. If the light is too strong for printing it should be subdued or diffused by the use of several thicknesses of white tissue paper. Owing to the \"arying intensity of daylight uniform results are not as certain as v.hen using artificial light. In tlie follouing instructions for manipulating A'clo;;, it must be understood that artificial light, preferable- gas with a "Wclsbach burner, will be the light used. A kerosene lamp, fitted with a round burner ('known as Rochester burner^, may be used, but owing to the decidedly yellow light this aft'ords, a considerably longer e.xposure will be necessary than when using a W'elsbach light. \'elox mav be safelv manipulated ten feet from the ordinary gas flame. The comr'arati\'e ex]iosure with Regular and Special \'elox with ^-arious urces of lioht is as follous : s .- -f. SFTXIAL VELCjX 4 X 5 or ^mallrr 7 inches lo Sec. 20 sec. 30 sec. 40 sec. REGULAR VELOX 4 X 5 or Miiallirr 7 inches 40 sec. So sec. 2 min. 3 niin. PRINTING REQUISITES. The absolute necessities for making \"elox prints are few in num.ber and simple in character. Either day light or artificial light are of course essential, also de\'eloping solutions and water for washmg the prints. The ordinarA" jjrinting frame is used in making exposures. The artistic possi- bilities of \'elox piake it worthy of the stud\- of all photographers and a convenient apparatus for measuring the distance from the light and for adjusting each negati\-e to the proper angle of exposure is of great assist- ance. As an aid, we recommend the \ elox Amateur Printer, not onlv to help those who are already making good \'elox prints, but to assist the beginner in mastering the delightful art of \'elo.x printing in the shortest possible time. The construc'tion of the \'elox printer is simple and it is furnished with attachments for use either w ith eras or electricitx". PA'ixr/xo\ 95 Aside from suitable light and work room, you will require : 3 travs, preferably enameled iron (a full size larger than the prints to be made). I printing frame and glass to fit, if films are to be printed. I 4-0Z. graduate. I bottle Nepera Solution. I bottle \'elo,x Licjuid Hardener I lb. Crystal or Granulated Hypo. I package each Regular antl Special Velo.x. Arrange the three travs before you on your work table in this order 2 02s. Xepera Clean Water. '^ 4 ozs. Hypo Solution :r 16 ozs. Water 4 ozs. \\'ater. 1 2 I oz. Hardener. 3 In the center of the abo\'e spaces we ha\'e indicated the solution which each tray should contain for de\'eloping Regular V'elo.x. If Sjiecial is used, double the quantity of water should be added to the developer (Tray No. l). Do not be too sparing of the amount of the solutions used, especially of your fixing bath (Tray No. 3); if making three or four dozen prints (4x5) use a full pint (see formula page 99 ; see, also, note regard- ing fixing bath for Royal Velox, page gg), and do not keep it after using, as a fresh bath will gi\'e best results. Proper temperature is important and for best results the developer should be 70 degrees Fahr, and the fi.xing bath and wash water 50 degrees Fahr. If the de^'eloper exceeds 70 degrees the prints are liable to fog and the emulsion soften. If too cold, chemical actii.m is retarded, resulting in flat, weak prints. PRINTING. You are now ready for exposure and the printing frame should be filled. Place the sensitized side of the sheet of Velox against the film side of the negative, the paper curls slightly, the seiisiti\-e side being conca\'e. An absolute test is to bite the corner of the sheet, the sensitive side will adhere to the teeth. Place the printing frame the correct distance from the artificial light 96 PRIXTIXG. used, holding the frame away from the burner a distance equal to the diagonal of the negative. To pro\ e that the light is evenly difiused at the point selected for exposure, take a piece of white cardboard, the size of the negati\'e, and mo^'e its position \x'\\h reference to the light until you find the shortest distance at which an e\'en illumination is secured. A few seconds exposure will be required when printing an a\'erage negative on Special \'elox. Regular \'elox needs from four to h\-e times as much exposure as Special, if in using both grades the printing frame is held at the same distance from the light. We suggest that before making the first exposure the cutting of a piece of \'elox paper into strips about an inch wide and placing one of them over an important part of the negati\'e, make the exposure, using vour best judgment as to the distance from the light and the time of printing. Develop it, and if not satisfactory try another strip, varying the time as indicated by the first result. When the desired effect is secured, vou can make any number of prints from the same nega- tive, and if the time of exposure, distance from light as well as the time of developing are identical, all the prints should be equally good. B}- com- paring 3-our other negatii'es with the one you ha\'e tested, vou will be able to make a fairlv accurate estimate of exposure recjuired bv anv negati^•e. After taking the exposed piece of paper from the printing frame, in a safe place previously selected, it is ready for de\-eIopment. The dry print should be immersed face up in the de\-eloper ( Tra)' Xo. i) and quickly and e\-enly co^•ered with the solution. Regular \'elox should be developed not to exceed fifteen seconds ; Special about twice as long. Xo exact time can be gi\'en as the strength of de\"eloper used would make a difference in the time. With our prepared liquid de\-elopers, the addition of Bromide of Potassium is unnecessary, the correct proportion being in the solution. As soon as the image has reached the desired depth remo\-e from the de\-eloper to the tray (Xo. 2) and rinse for a moment, turningthe print several times, then place it in the acid fixing bath (Trav Xo. 3), keeping the print mo\-ing for a few seconds, the same as was done when rinsing, so as to gi\-e even and thorough fixing, pre\-enting stains and other troubles. See page 99 for note regarding fixing bath for Royal \'elox. Lea\ e the print in this solution until thoroughly fixed ; this \\-ill take about fifteen minutes. When fixed, remo\-e from the fixing bath and wash thoroughly for about an hour in running water, then dry. After drying, prints may be trimmed and mounted. You should be systematic in working, remembering that cleanliness is essential in photography. Care must be taken to prevent the Hvpo in anv ay getting into the tray containing the developer. Have a clean towel when beginning the work and wipe your hands each time after you ha\-e handled prints in Hypo solution. w PRIXT/XC. 97 NOTES ON DEVELOPMENT. Various developing agents are used in the production of Velox prints and are marketed under different trade names, such as Amidol, Ortol, Edinol, Metol and Hydroquinone, etc. Amidol aftords a very blue-black tone, but owing to rapid oxidation, a fresh solution should be mixed each time prints are to be made. Ortol and Edinol afford very satisfactory results. It has been pro\ed, houe\'er, that Metol and Hydroquinone in combination yield the \'ery best results on \'elnx when used in the propor- tion given in our fc>rmula. Ou'ing to the difficulty many ha\'e in securing absolutely pure chemicals and the trouble and subsequent loss of material to those attempting to compound their own de\'elopers, we recommend the use of our liquid developers, N. A. Velox Licjuid Developer and Nepera Solution, for Velox papers. To those who prefer to pjrepare their own solution, we ad\'ise the following formula : M. 0. DEVELOPER. (Dissolve chemicals in the order named.) METRIC SYSTEM. Water, - lo ozs.^300 c. c. I\Iet(jl, 7 grains=^j^ gramme Hydroquinone, - - - - 30 grains^2 grammes Sulphite Soda (desiccated ) - - no grains^? grammes Carbonate Soda (desiccated) - 200 grains^i3 grammes 10 per cent, solution Bromide Potassium, 40 drops^40 drops This solution will keep indefinitely if placed in bottles filled to the neck and tightly corked. It should be used full strength for " Regular Velox," but can be diluted with equal parts of water when ' ' Special ' ' papers are developed. Note. — In England, Canada, or wherever the British Pharmacopceia is official, use 150 grains of desiccated sodium carbonate instead of 200. N. A. VELOX LIQUID DEVELOPER. This is an excellent ready to use, concentrated de\'eloper for Velox papers. LTnlike any other de\-eloper, it has certain qualities which make it unique in photographic work. N. A. (non-abrasion) means that all abrasion or friction marks, to which all glossy developing-out papers are particularly susceptible, will be pre\'ented by this solution. Another feature is the guide it gi\es to thorough fixing — the print is not absolutely fixed until the canary yellow color entirely disappears by fixing in a correctly prepared Acid Hypo Bath. This developer yields the softest possible gS PRLXriXG. prints when undiluted and it is well to remember that the st)'0)iger the developer, the softer the print. The following formula should be used for Special \'elox : X. A. \'elox Liquid Developer, - - - - i oz. Water ..--_.-.- 4 ozs. Developer for Regular \"elox : X. A. \'elox Liquid Developer, - - - - 2 ozs. Water, . - . 4 ozs. It is important that the temperature of the developing solution should be 70 degrees Fahr, In summer, if found necessary to cool the de\"eloper, do not place ice in the solution, as it will dilute it. Place the tray contain- ing developer into one of larger size, packing ice around it. X. A. Developer should not be used for de\-eloping plates or films. NEPERA SOLUTION. This is known as the "universal de\'eloper " because it may be used not onl}' for \'elox, but Azo, Bromide paper, films or plates. Like all Xepera liquids, it is a concentrated solution with the combination of purest chemicals which will gi\"e the best results. It differs from X. A. A'elox Liquid Developer in that it does not possess the non-abrasion and fixing- guide properties ; but on the other hand, v.dien used in combination with X'epera Capsules, four of «-hich accompany each 4-oz. bottle, it is excellent for films or plates, gi\"ing negatives of the quality best suited tor developing- out paper. For Regular \'elox use : Xepera Solution, .- = ... 2 ozs. Water, ---.---. 4 ozs. For Special \'elox use : Xepera Solution, --.-.. i oz. ■Water, -.-,_-.. 4 ozs. The temperature oi the bath should be 70 degrees Fahr. For film in Kodak Tank De\-eloperor Kodak De\-eloping ^Machine use : X'epera Solution, _---._ i, oz. Water, ---..... j, ozs. Contents "i one Xepera Capsule. De\"eiop I'.ir 20 minutes. '\\'ithout Tank or De\-eloping Machine, using factorial svstem, 10 is the factor, use : X'epera Solution, --.... i^ oz. Water, - - - 8 ozs. Contents of one Xepera Capsule. Temperature should be 60 degrees Fahr. PRJXTLyC. 99 FIXING. Sodium Hypo-Sulphite (or Hypo as commercially termed) may be obtained for use in either a granulatt-d or crystal form. Its purpose is to reduce the siher salts which ha\'e not been acted upon by light. The importance of this chemical is evident, but it is probable that no part or process of photography is more abused than that of correctly preparing a fixing bath and properly fixing prints. To secure permanency prints must be fixed in a fresh solution of Hypo. When Hypo is first dissolved in water, the temperature of the solution is materially reduced. It is impor- tant that the temperature of a fixing bath should be maintained as near to 50 degrees Fahr. as possible. Probably more prints fade from insufficient fixing than lack of washing, so these points should be gi\'en attention. Ha\-e plenty of solution strong enough to thoroughly fix prints in at least fifteen minutes. Always use the acid hardener in the bath as it will over- come the tendency of the fixing bath to cause blisters and stains. Our formula for preparing the Acid Hypo fixing bath is as follows : Water, --------- 64 ozs. Hyposulphite of Soda (crystal or granulated), - 16 ozs. \\'hen thoroughly dissolved, add the following hardening solution, dissolving the chemicals separately and in the order named : \'\'ater, 5 ozs. Sulphite of Soda (desiccated), - - - - ]i oz. Acetic Acid No. S (containing 25 per cent, pure acid), - 3 ozs. Powdered Alum, i oz. This solution will keep, and one pint of it will fix at least one-half gross of 4 X 5 prints. If sulphite and carbonate of soda in crystal form are substituted for desiccated, double the quantities mentioned should be used. The most accurate way of preparing a fixing bath is by using a hydrometer (silver actinometer), testing the specific gravity ; 70 being the correct degree. Amateurs will find it is advisable to use our prepared solutions and the concentrated Velox Liquitl Hardener is especially recommended. Water, . . - - ... j5 q^s. Hyposulphite of Soda, . . - - - 4 ozs. Velox Liquid Hardener, . - . . - i oz. Note — Royal Velox, unlike the other grades, should be fixed in a plain fixing batli. Hypo, - - - - - - - - - 3 ozs. Water, - - - - ■- - ■ - - 16 <.izs. loo PRIXTIXG. NOTES ON WASHING. The finished prints must be entirely free from Hvpo. To wash a batch of loo 4x5 prints, using two trays of suitable size and transferring each print separately from one tra)' to the other, changing the water at least twel\-e times, will take a full hour for the process. In running water ^vhere the prints can be kept constantly mo\'ing so that each indiyidual print has a thorough washing, from one-half to one hour, according to the number of prints, \\'\\\ be required. Prints do not wash if piled in a bunch in a tray and the water simply runs in at one end of the tray and out of the other. In some localities where there is an excessi\'e amount of iron or impurity in water, the whites in the prints may ha\-e a slight j'ellowish tone. Prints should not be allowed to wash for any length of time o\-er one hour and should ne\"er soak o\'er night in water as this tends to soften the gelatine film and entirely sjioil the print. The temperature of the water in winter should be kept as uniform as possible, as ice cold water will cause blistering. When running water is used for washing, the stream should not be allowed to fall directly on the prints, as it will cause breaks in the fiber of the paper, producing blisters. Place a tumbler or graduate in the washing tray and allow the water to oyerflow from it into the tray. To determine when the print is thoroughly free from h\'po, the following test formula may be successfully employed. Permanganate of Potash, - - - - S gr. Caustic Soda, - - - - - 7 gr. Water ( distilled ,), - . . . . S ozs. Fill a glass with pure water to which you ha\-e added 3 or 4 drops of the potash solution. Then take a cou|"jle of prints from the wash-water and allow the water from the prints to drip into the glass. If h\-po is present, the \-iolet color of the water in the glass will change to a slight greenish tint. In such case return prints to the wa?h-\\ater to remain until similar tests show that the h}-po has been entirely eliminated. DRYING. After prints haye been thoroughly washed, remoye from the wash- Avater and place on a clean glass in a pile face down and press out super- fluous water. Then lay out separately, face down on cheese-cloth stretchers. These may be constructed by making a frame work of light wood and tacking unbleached cheese-cloth tightly oyer it. Prints dried in this manner will curl but a trifle. Do not dry \'elo.\ prints bttzceeri blotters. They are likely to stick and cause much annoyance. PRIXT/XG. loi ENAMELED SURFACE PAPER. Glossy, Special Glossy or Veh-et Velox prints can be burnished or squeegeed. Take prints from the wash-water and place face down on a ferrotype tin, squeegee into absolute contaft and allow to become bonedr}', when they will peel oft with the desired luster. If the tin has been in use for some time, portions of prints may stick; ; to prevent this, prepare the tins as follows : Dissolve ten grains of beeswax in one ounce of benzine ; allow this to stand for a few hours, in which time a precipitate will be formed. The clear solution should be used for polishing' the tins, applying to the surface of the ferrotype plate with a soft cloth (canton flannel). When the surface of the tin has been thoroughly covered with this preparation, the tin should be polished ^vith a piece of dry canton flannel to remove as much of the beeswax as possible. As beeswax varies in its composition to a certain extent, the solution may vary somewhat in consistency so that an addition of benzine may be necessary to permit polishing the tins easily. SEPIA TONES ON VELOX. There are occasions when it is desirable to modify the tone of Velox prints, in order to secure some effect more in keeping with the subject than the original color produced by development only. The sepia tone is permanent and may be secured in various ways, but we will describe only two of these ; the first known as the hypo-alum process, and the second, Velox Re-development. The hypo- alum process is a slow and somewhat uncertain way of obtaining good results and consists of a solution of hypo and powdered alum in boiling water, into which, when cooled, the prints are immersed and left until the desired tone has been reached. The pro- cess requires from one to tweh'e hours and is uncertain in exatt results. The Velox Re-de\'elopment process will gi\'e the best results in a much shorter time, yielding equally pleasing and permanent tones. Prints on any grade or surface of Velox afford most pleasing tones when re-de\'eloped, but re-development is perhaps specially ad\-antageous for prints on Royal Velox, as the process brings out and accentuates the full value of the soft, creamy stock upon which Royal Velox is coated ; the finished prints pos- sessing an almost indescribable softness and delicacy. Velox prints of any grade or surface which have been e\'enly and thoroughly fixed and washed will gi\'e desirable results with the Re-de- veloper, but some subjects, such as marines and snow scenes, are best rendered in the black and white. Landscapes, autumn scenes and portraits I02 PRIXTIXG. are gi\"en greater artistic values by the warmth of tone which the Re-de- \-eloper affords. A package of Re-developer consists of a box of 14 capsules and a bottle of solution. Each capsule contains chemicals which require only the addition of a certain quantity of water and a few drops pure aqua ammonia to make a bleaching bath for the reduction of the print before re-development. The liquid contained in the bottle is highly concentrated and should be used carefully, the entire contents of a 4 oz. bottle being sufficient to re-develop about four hundred 4x5 \'elox prints. It is important that the prints should have been thoroughly washed so that no trace of hypo remains. Placing the black and white print in the bleaching solution, let it remain until the deepest shadows ha\-e almost disappeared ; it should then be remo\-ed and rinsed thoroughly in fresh water, then placed in the re-de\-eloping solution, where the faint image immediately changes to a warm brown tone, gradually deepening until all its former brilliancy returns, but changed to a sepia tone instead of black and white. A final washing is then gi\-en the print, the whole process requiring only a short time, so the ad\-antage3 of using this oxtr the hypo-alum process are quite e\'ident. \'elox Re-de\-eloper will also produce excellent sepia tones on any Bromide or gas-light paper ; the age of the print does not seemingly make any difference in the tones obtainable. Best results are obtained from prints which have a good bluish black tone, rather than a green or oli\-e tone, such as is produced by the use of too much bromide. Both the bleaching and re-developing baths will retain their strength for some time, if kept in well stoppered bottles. If the prints show a tendency to blister, it doubt- less comes from not having u.^ed sufficient hardener in the fixing bath when making the black and white prints. Too strong a solution of Re-developer or too long immersion in this solution will also cause blisters. A salt bath after bleaching mav be used if blistering is exce5si^■e, but should not be necessary if prints, when first made, are properly fixed in a fresh acid hypo bath. The use of pure aqua ammonia is recommended and tlie ordinary household ammonia should be avoided. This chemical clears the ^^"hites and does not change the tone unless an excessive amount is used. HOW TO MAKE PRINTS FROM WET NEGATIVES. The negati\'e must be thoroughly washed and freed from any trace of hypo. Immerse a piece of \"elox paper in clear water for a few seconds, then placing it on the film side of the wet negative squeegee it carefully so as not J'RJXTJXG. 103 to break the film. Expose without the use of a printing frame. After expos- ure place both negati\e and paper in water, allowing them to soak for a moment before trying to separate them. De\'elop and fix the print in the usual way. TO REMOVE FRICTION MARKS FROM GLOSSY VELOX PRINTS. Rub the surface of the dr}' print with a tuft of cotton wet with wood- alcohol. Do not rub hard enough to break the surface of the iihn and be careful to ha\-e the print on some le\'el surface, such as a piece of glass. N. A. \^elox Liquid De\'eli")per entirely prevents abrasion marks. After a careful perusal of the instructions given in this \^elox Book you should be able to produce satisfacT;ory results on any grade of \'elo.x paper. CAUSES OF NON-SUCCESS. Prints are too Black — Xegati\'e too weak or thin. Over-exposure. 0\'er-de\eIopment. Insufficient Bromide of Potassium. Perhaps wrong grade of pa[)er used, try Regular \'el\'et \'elox. Prints are too Light, Lack Detail — Lhider-exposure. Negati\'e too dense for Regular paper. Use Special VeK-et, or Special Portrait \'elox. Grayish Whites THRorcHorT Entire Print — Chemical or light fog. InsufScient Bromide of I-'otassiiun in developer. Old paper. Grayish IMottlep or Granulated Appearance of Euges or Entire Print — Under-exposure, forced development. Old paper. Paper kept in damp place. Moisture. Chemical fumes. Ammonia, etc. Illuminating or coal gas. Greenish or Brownish Tones Sometimes ^Iottled — De\'eloper too old or too weak. Excess of Bromide of Potassium. C)\'er-exposure. Greenish Yellow Tones Noticed When N. A. A'elox Lkiuid De\'eloper Has Been L'sed — Under-exposure and forcing ; will fix out if left long enough in a fresh acid Hypo bath. Canary Yelloiv Tones Produced When N. A. V. L. D. Has Been L'sED — Fixes out entirely in correctly prepared acid Hypo bath. (See page 104 for formula). The entire disappearance of this color insures correct fixing. 104 PRIXTIXG. Browx or Red Stains — Old or oxidized developer. ("Xever use de\-ehiper after it is much discolored or muddv. ) Imperfect fixing. Developer too warm. Fi.xing bath lacks sutticient acid and prints were not kept moving to allow e\"en fi.xing. Purple Tones (Not Frequent) — \'elox paper has been used as a printing-uut paper. Incomplete fixing. Round White Spots — Air-bells on the surface of the paper. To a\-oid, de\"elop prints face up. Round or Irregular Dark Spots — Caused by air-bells forming on the surface of print when placed face down in fixing bath, and failing to keep prints in motion. White Deposits All Over Surface of Prints — ^lilky Hypo bath. If print is thoroughly washed and deposit remo\'ed before drying, it does no harm. Correct fixing bath by adding more Xo. S Acetic Acid. Picture Good, But Surface Covered With Black ^Iarks — Abrasion marks. (See page 103. ) Blisters — Prints ha\-e been creased or broken while washing. Do not allow water from the tap to fall directly on the prints. Too strong acetic acid used in Hardener. Too great difference between tempera- ture of solution and wash-water. Fixing bath lacks sufficient hardener. Xe\'er use a plain Hypo fixing bath (except for Royal X'elox, see page 104), ahvays acidify with \'elox Liquid Hardener. Blisters Occurring During Re-Development — (See page 102.) Fre.'VKS — Picture develops irregularly and appears to be covered with greasy streaks and finger marks and gi\'es the impression that there are spots on the paper that ha\-e never been coated. Of all complaints recei\-ed regarding \'elox paper, none are caused by any condition more annoying than this "freak" trouble. It is annoying to the photographer because he feels sure the fault is in the paper, and annoving to us because \\e know thai the fault lies in incorrect solu- tions. We publish herewith a half-tone 01 this curious effect. It is in warm weather when the humiditv is great that these" freaks " most frequently occur. L ndoubtedly the paper absorbs moisture une^•enly and in certain spots becomes repellant to the action of an incorrect developer. In making up a developing solution it is absolutely essen- tial that pure chemicals be used, and as \'elox requires a bath which contains nearly tuice as much Carbonate of Soda as Sulphite of Soda, it is easy to see that any mistake made in the proportion of either chem'cal would be apt to cause trouble. The remedy for "freaks" is to throw out your de\-eloper and mix a fresh solution, and if neces- sary use it stronger. (See illustrations page 105, ) Yellowish Whites When Other Than X. A. Has Been Used — Stain all over prints is result of under-exposure and forcing. Too weak developer. Insufficient washing after fixing. Iron in wash-water — may come from rust in water piipes. Sea air will affect \'elox, caus- rj^jXTJXC 105 Developed in M O . ha!/ a^ slro'is: as that advised in ni.^di nciion shett. D.-vclo/u-d in .1/. Q , slirngtli <; in insti lu'tion slie^'t. ing yellow whites, so packages should not be left open and prints should be de\eloped immediately after exposure. Permanency — The permanency of Velox prints has never been questioned. Permanency of any Velox print depends upon the thoroughness of manipulation. It is beyond question that with correct developer freshly prepared and with thorough fixing and washing, Velox prints will be absolutely permanent. Many dealers have sample prints which were sent them years ago and have exposed them continually to e\ery conceivable atmospheric condition. This is an unanswerable argument in favor of Velox permanency. AZO PAPER. Azo may be exposed the same as Velox. After taking prints from the printing frame, soak them for a few seconds in clear cold water. This softens the paper and allows the devel- oper to act freely and e\enly o\er the surface of the print. Place the print in the developer tray and pour on the developer. If it has been properly timed or exposed, it will develop rapidly. When it is fully developed, or has reached the required density, // slioitld be dipped in icatcr for a second, to remove the greater part of the developer, then immediately transferred to the Acid Fixing Bath. It is necessary at this stage to keep the print mov- ing for a few seconds, or until the fixing has started to act evenly o\'er the surface. io6 PRIXTIXG. DEVELOPER. For your developer make iiri a stock solution as follows : Amidol, - ... - So grains. Sulphite Soda ( crystals I, ... - 200 grains. Water, . . . - . 10 ozs. To de\'elop take : .Stock .Solution, - - - - - i '2 oz. \\'atrr, ..... - ozs. 10 per cent. Solution Bromide of Potassium, 3 to 5 drops. ANOTHER DEVELOPER. The following formula mav be substituted for the Amidol formula recommended above when desired and will be found to gi\-e most excellent results : HYDRO-METOL DEVELOPER. Water, - - - - - - 12 ozs. Metol, - - - - - 7 '2 grains. Hydrochinon, - - - - - 30 grains. Sodium Sulphite, crystals pure, - - 21S grains. Sodium Carbonate ( Crys. ), - - - 163 grains. Dissolve and add about 25 drops of a solution composed of Bromide of Potas- sium, '2 oz., water, 5 ozs. This solution is to be used without diluting. 01i\"e green tones ma^- be obtained b)' diluting de\'eloper with two or three ounces of water and adding 12 to 15 drops of the Bromide of Potassium. FIXING. Prints should be fixed for fifteen minutes in the following' bath : HYPO BATH. Hypo-sulphite Soda, - - - - i oz. Acetic Acid (or Alum '4 oz.,) - - 4 drops. \\'ater, ------ 5 ozs. After thev are fi.xed thev nia\- be washed and dried the same as \'elox. PRIXTIXG. 107 PRINTING-OUT PAPERS. Printing-out papers are so called because, unlike a negative, the image appears without development, and they require only toning and fix- ing. Printing-out papers are simple to handle, and are popular with both professionals and amateurs. Indeed, nearly all of the paper used by pro- fessional photographers in the United States is a printing-out paper of the brands which this booklet will instruct you in using. Solio and Kloro are Gelatino-Chloride papers. Aristo Platino and Aristo Self-Toning are Collodio- Chloride. With the former the siher- chloride and other salts are held in position in gelatine, while with the latter they are held in position in collodion. Of the many papers offered, one of the most desirable, for the beginner at any rate, is a gelatino-chloride (chloride of siher in an emulsion of gela- tine) printing-out paper. In the printing-out paper the image " prints-out " at once. Before it is toned and fixed it is in the same condition as a proof received from the photographer. The chemical aclion clears the high lights and shadows, gives the proper tone and " fixes" the print, /. c, makes it permanent. The process of toning and fixing may be combined in one bath or may be done separately. For con\enience we recommend the combined bath to the amateur, but care should be exercised not to overwork the bath. This bath will continue to gi\'e satisfactory tones long after the gold has been exhausted. This toning without gold, howe\'er, is not permanent and no attempt to economize by overworking the toning bath should be made, as disappointment will be the inevitable result. THE PAPER. Keep your paper in a dry place. Do not expose it to moisture or the fumes of coal gas, it being \'ery sensitive to either. UNTONED PRINTS. When you have taken the print from the printing frame it is still sen- sitive, containing, as it does, most of the original silver chloride, and should you expose it to the light it would soon blacken all over. Keep your prints, after removing from the printing frame, in a dark box until you are ready to tone. Handle as little as possible and do not allow the fingers to come in contact with the surface of the paper. (8) io8 PRIXTIXG. METHOD OF PRINTING. The Printing Frame. Open the printing frame and lay the negative back down upon the glass* (the back is the shiny side). Place upon this a piece of Solio paper, face down. Replace the back of the frame and secure the springs. The back is hinged to permit of unco\-ering part of the print at a time to inspect it without destroying its register with the negati\-e. The operation of putting in the sensitive paper must be performed in a sub- dued light, that is to say, in an ordinary room, as far as possible from any window. The paper not used must be kept co\'ered in its envelope. The printing frame, when filled as directed, is to be laid glass side up in the strongest light possible (sunlight preferred) until the light, passing through the negati\'e into the sensiti\'e paper, has impressed the image sufficiently upon it. The progress of the printing can be examined from time to time bv remo\'ing the frame from the strong light and opening one- half of the hinged back, keeping the other half fastened to hold the paper from shifting. The printing should be continued until the print is a littie darker tint than the finished print should be. As soon as the print is finished place it in a drawer or box where it will be protected from the light until your batch of prints is ready for toning. HOW DEEP TO PRINT. For the combined bath the printing should be carried about two shades deeper than vou desire the finished prints to be as they will lose considerable in toning and fixing. For the separate bath about one shade deeper. Prints will keep three or four days before toning, providing they are stored in a dark box. TONING WITH THE COMBINED BATH. For one just starting to tone prints, we would recommend the combined bath. This will be by far the most simple in manipulation (the toning and fixing being done in one bath) and with proper attention to the instructions you should be able to secure prints of a soft, rich tone, ranging in color from a warm Sepia to a dark purple. Solio Combined Toning and Fixing Solution may be had of any Kodak dealer. *\\'hen printing from glass plate negatives no glass is needed in the printing frame, the plate itseli fitting into rabbet of frame. PRiyriNG. ^°9 Place prints without previous washing in the following combined toning and fixing bath. 2 ozs. Solio Toning Solution. 4 ozs. co/d water. Pour the toning solution into a suitable tray and immerse the prints one after the other. Five or six prints can be toned together if they are kept in motion and not allowed to lie in contacff. Turn the prints all face down and then face up and repeat this all the time they are toning. The prints will begin to change color almost immediately from reddish brown to reddish yellow, then to brown and finally to purple. The change will be gradual from one shade to another and the toning should be stopped when the print gets the shade desired. Six ounces of the diluted toning solution will tone two dozen 4x5 prints ; after that a new solution should be made same as before. When the proper shade has been attained in toning bath the prints should be transferred for fi\e minutes to the following salt solution to stop the toning : Salt, - - • - - - I oz. Water, - - - - - - 32 ozs. Then transfer the prints to the washing tray and wash one hour in running water, or in sixteen changes of water. The prints are then ready for mounting or they can be laid out and dried between blotting papers. If desired the amateur can mix his own toning bath, but in so doing should exercise great care in getting pure chemicals and using exactly the proper proportions. STOCK SOLUTION. A Hypo-sulphite of Soda, - - - - Alum (crystals, ) - - - - Sugar (granulated), - - - - Water, _ . _ . . Dissolve above in cold -a'atci-, and When dissolved add Bora.x, Dissolve in hot water. Let stand over night and decant clear liquid. STOCK SOLUTION. B Pure Chloride of Gold, - - - 7/4 grains.* Acetate of Lead (Sugar of Lead), - - 64 grains. Water, _ _ . . - s ozs. Solution B should be shaken up before using and not filtered. s ozs. 6 ozs. 2 ozs. 80 ozs. 2 ozs. S ozs. »0r double the quantity of chloride of gold and sodium. no PRIXTIXG. To tone fifteen 4x5 prints take ; Stock Solution A, - . - - S ozs. Stock Solution B, - - - - - i oz. Place prints without previous washing into tlie abo\-e. Tone to desired color and immerse prints for 15 minutes in following Salt Solution to stop the toning : Salt, - - - - ... I oz. Water, ------ 32 ozs. The e.xtra fixing bath should be used to ensure thorough fixhig. After the salt bath, give one change of cold water and fix for 10 minutes in the EXTRA FIXING BATH. Hypo-sulphite of Soda, - - - - 1 oz. Sulphite of Soda I, crystals), - - - 60 grains. Borax, -----_ i^ q^. Water, ------ 20 ozs. Wash one hour in running cold water or in si.xteen changes of cold water, when prints mav be mounted. The combined bath must be started cold, not above 50" Fahr, , and must not be allowed to rise to temperature abo\'e 60° Fahr. This condition can be obtained by placing a piece of ice in the bath when toning. If the bath is too warm, you will get yellow prints with a greenish cast in the half-trmes. Use a thermometer and keep it in toning bath all the time. The combined bath is an acid solution. The borax neutralizes only ihe: excess oi acid in the alum. Any attempt to neutralize the bath will precipitate the alum. The combined bath should not be used a second time. If troubled with white spots or blotches on prints, clean trays with nitric acid or sulphuric acid and water. TONING WITH THE SEPARATE BATH. WASHING THE PRINTS. After taking the prints from the print frame, immerse them one at a time in a tray of running water. (When washing and toning prints use trays that ha\-e never come in contact with Hypo, as the least trace of that chemical will cause dark brown stains that cannot be gotten rid of. ) Keep them moving so that all shall receive an equal amount of washing. When you place a print in the water the soluble silver, or that portion not used to form the image, dissoh'es and is \\-ashed out ; this forms with PRINTING. I" other substances in the water a new combination which can easily be detected by its white, milky appearance. Prints to be properly washed should remain in the running water until this has entirely disappeared. Should you not have running water, they can be washed by using two trays and transferring the prints (one at a time) from one to the other, changing the water each time. This should be done quickly at first but after you have washed out most of the free silver, the changes may be made five minutes apart. The temperature of the water should be as near 60° Fahr. as possible. THE TONING BATH. Tone in a plain gold bath, using about i gr. of gold to 4S ozs. of water. Neutralize by adding a saturated solution of borax, bi-carbonate of soda or sal soda. This should be made up at least one-half hour before using ; this gives the chemicals a chance to harmonize. When making the toning bath, first measure the water and pour into the tray or dish you are to use, then add the gold. Now take a piece of red Litmus paper (this is very sensiti\e to acid or alkali) and place in the solution. Then add the bora.\ solution drop by drop (this is a strong alkali and should be kept in a bottle, the cork of which has a small slit in it allow ing the solution to drop, not run out) just enough to turn the Litmus paper blue in five minutes. This will make the bath almost neutral, /. c, slightly alkaline. The bath is now ready for use. Should the prints tone fast in the high lights, or light parts of the prints, leaving the shadows, or dark parts, very red, and when finished have a muddy (not clear) appearance, that indicates that )-ou have used too much borax or alkali. On the other hand, had the Litmus paper remained its original color (red) that would indicate that the bath was acid and that you had not used sufficient alkali. With the bath in that condition your prints would not tone but bleach, lose their brilliancy and become flat. When toned, immerse prints in running water where they may remain until all are ready for the fi.xing. If running water cannot be had put prints into SHORT STOP: Salt, - - - - - - I oz. Water, ------ i gal. If there is a large batch of prints to be toned do not allow prints to lie in short stop solution, but put them into a tray containing clear water where they may remain until all are ready for the fixing. 112 PRIXTIXG. FIXING BATHS. Fix twenty minutes in ^\"ater, ------ i gal. Hypo, - _ _ _ - 13 ,jzs. Solio Hardener, - - - - - '2 oz. To mix «-ith H\-drometer, take water i gal, add sufficient Hypo to test 25 gr. to the oz. and add ;■< oz. of Solio Hardener. On account of its simplicity and cheapness, we ad\'ise the Solio Hard- ener Fixing Bath, but give the alum fixing bath for the benefit of those who prefer it. ALUM FIXING BATH: Hypo-sulphite of Soda, - - - - 6 ozs. Alum (Crystals), - - - - 2 '-2 ozs. Sulphite of Soda (Crystals), - - - ;'s oz. \\ ater, ------ 70 ozs. When dissolved add V oz. of borax dissolved in 10 ozs. hot water, This fixing bath must he made about 10 hours before use. As it keeps indefinitely before use it may be made up in large quantities. After fixing in one of the foregoing baths, wash i hour in running cold water or in 16 changes of cold water, keeping prints separated so the water may ha\'e a chance to eliminate the chemicals. DETAILS. The toning bath should tone in 6 or 7 minutes. Tone by transmitted light for the high lights and half tones onlv, pay- ing no attention \\"hate\'er to the shadows. We recommend a neutral bath and ad\-ise the use of Squibb's red litmus to test with. If the bath tones une\-en or streakv, add water until it tones in S or 10 minutes, and make it slightlv alkaline. One gallon of fixing bath is sufficient for one gross 4x5 size Solio or its equi\'alent. Prints allo«-ed to stand o\"er night in water are liable to turn yellow ; they should therefore be mounted as soon as washed. To make Solio Hardener : Chloride of Aluminum, " ■ - - 3 ozs, Bi-Sulphite of .Soda, - - - - 2'2 0zs. Cold Water, - - - - - 12 ozs. Put both chemicals in the water and shake until dissolved. PRJNTLYG. "3 GLOSSY PRINTS. Few amateurs care to go to the expense or trouble of burnishing- their own prints, but they can readily obtain a beautiful glace finish in a simple manner by drying prints on ferrotype plate in the following manner: 1. Clean the ferrotype plate with hot water each time it is used. Polish with a soft doth until plate is absolutely free from dirt or specks of any description. Swab with a tuft of soft cloth or cotton batting, wet with a solution composed of benzine i oz. , paraffine lo grs. Rub dry with a clean cloth, and polish «'ith a chamois skin or very soft cloth. Use a soft brush to remove particles of dust from plate. 2. Lay the wet print on the ferrotype plate. It must be in perfeft contaft to produce a uniform glossy surface. This contatl is better secured by avoiding air bells in laying the print down than by endeavoring to expel them by heavy pressure — light rolling with a print roller (with cloth between) is all that is required — heavy pressure being liable to make prints stick in spots. 3. When surface is dry brush over the back of the print (while still on the plate) with a thin solution of white glue. 4. When ' ' bone ' ' dry strip the print from the plate and lay the print on a mount, the face of which has been well moistened with a wet sponge. 5. Rub down with a dry blotter, then dry face up, free from dust. 6. The latest and best method of mounting with Kodak Dry Mount- ing Tissue is described on page 141. NoTK.— Prints fini^^hed by the abu\e process can be kept \ery nicely unmounted if so desired, the glue on the backs pre\enting curling. "4 PRJXTLXG. PRINTING ON MATTE COLLODION PAPER. AMERICAN ARISTO. PRINTING. Print deep or until the high lights are well tinted. Pay no attention to the shadows no matter how much they bronze. That will tone out. Note. — Thin negatives should be printed in the shade, while those that are dense and ha\-e much contrast can be printed in the sun. WASHING. Place prints in the water, one at a time, face down, pressing each print to the bottom of the tray ; not in a pile, but in an irregular manner, partly covering one another. This will stop all tendency of the paper to curl. Should you use running water, prints should be handled o\-er con- tinually. If prints are to be washed by hand they should go through si.x changes of clear water, taking- about fr\-e minutes for each change. During that time prints must be handled same as in running water. To tone properly they must be washed thoroughly. The best results are obtained when water is from 65' to 75° Fahr. TONING. The toning of matte collodion paper is usually accomplished bv the aid of two separate baths, the gold and platinum; but should one prefer a single bath, producing similar results, we recommend the "Aristo Single Toner,'' a toning agent combining in one the action of both the gold and platinum. A print xery slightly toned in the gold bath and toned long in the platinum bath takes a greenish or oli\-e black tone, while a print toned to a purple in the gold bath and slightly toned in the platinum will gi\-e a pure black. Prints require a thorough washing when coming from the gold bath, as gold precipitates platinum, and unless all the free gold is washed from the prints, the platinum will be precipitated to the bottom of the trav and not on the prints. GOLD B.A.TH. Chloride of Gold and Sodium, - - - V gr. Water, ---.., s ozs. Add bora.Y to make bath slightly alkaline. Test 7cith red litmus paper. When bath is sujficiently alkaline the litmus paper 7eill turn blue sloiclv. Tone until purple, then wash in 3 changes cold water. j'K/yriXG. ^ -^ PLATINUM SOLUTION. Make up solution consisting of I'latino-Potassiuni, - - - - 15 grs. Pliosphoric Acid, U. S. P., - - - - i( oz. Water, - - - - - - 15 ozs. PLATINUM BATH. To tone, take Platinum Solution, - . _ . i, dram. Water, ..._.. g qzs. Tone until proper shade is reached. Wasli in 4 changes and immerse ten minutes in FIXING BATH. Saturated Solution Ilypo-sulpliite Soda, - '2 oz. Water, - - - - - - S ozs. Wash I '2 hours in running water or in i."-; changes of water, not less than five minutes in each change. Note. — rio not use ttie s.^me Lra\- fc:ir tiinlli i^'ild .itnl platinum baths H[i\e one \'\r eaeh. I'riuts must be thoiLiughl>' waslleil alter cnminjj lianu jilatiunru bath ami betore Ilxintc. JMatiumu is very acid, and it is necessary to entireh' eliminate this iiom the juiiits. otherwise \'on carr\- it into the Hypo bath, producing sulphitrization and yellow spots. WASHING AFTER FIXING. Prints are better if washed by hand through ten or tweh'e changes of water, about five minutes for each change. Handle the prints well during that time. Do not let them mat together. When prints are washed they are ready to mount. ARISTO SELF-TONING PAPER. This paper is a glossy collodion paper, and as its name implies, requires no toning or de\eloping solutions, all chemicals required beiirg embodied in the sensiti\'e emulsion with which the paper is coated. PRINTING. Print a very little darker than you wish the finished print to be. WASHING. After printing, place prints one at a time, face down, in the following bath : Table salt, . _ . . . i, oz. ^\'ater, - - - - - - 32 ozs. The above is for a small number of prints. For a gross of cabinet size ii6 PRIXT/XG. paper you would require one gallon (128 ounces) of solution. Allow prints to remain in this bath about fi\'e minutes or until the desired tone is obtained. See that prints are well separated by handling them o\'er four or fi\e times and flatten them each time by pressing them to the bottom of the tray. As prints are toned transfer them to a tray of clear water. When all are toned place them in a solution of carbonate of soda, ^ dram of carbonate of soda to 32 ounces of water. This will prevent bleaching and will also neutralize the prints. Handle them over for about five minutes in this bath ; they are then ready for the Hypo or fixing bath. Fix and wash same as for American Aristo, page 115. FRLXTJXG. "7 WATER DEVELOPMENT PAPERS. W. D. PLATINUM. E\'ery amateur who has limited facilities and time will especially appreciate a paper which requires nothing but water and acid for the entire process of developing and clearing. In W. D. (water de\'elopment) Platinum one has a paper giving pure platinum tones and producing efiecfls equal to any photographic process. PRINTING. Place paper face to face with negati\'e (the face of paper is the 3-ellow side) and print in sunlight until shadows are a deep canary color, and the high lights are slightly visible. In watching the progress of printing, care should be taken not to expose to strong light, as this paper is \'ery rapid, and there is danger of fogging high lights unless due caution is obser\'ed. DEVELOPING. When printed to proper depth, immerse print in hot water (no degrees Fahr. ) face up, sliding it in edgewise to avoid air bells. De\'elop- ment will require but a few seconds, after which the print is to be plunged into the CLEARING BATH. Cold Water, ----- 15 ozs. Muriatic Acid, c. p., - - - - • ,'+ oz Soak print face down for five minutes each in two changes of clearing bath. Wash for fifteen minutes in running water or five changes of clear water, five minutes in each change. Paper should be developed as soon as possible after printing, never later than the same day. THE NEGATIVE. The foregoing directions apply where print is made from negatives of normal density. If an under-timed or weak negative is to be printed from, strength can be gained by printing under blue glass. The best results are obtained by the use of perfedly timed and fully developed, but not "harsh" negatives. iiS PJUXTIXG. KEEP THE PAPER DRY. N'nTR —To prevent injury from moisture, Eastman's ^^'ate^ De^'elopment Platinum Paper is packed in air-tight tubes, eacli tube containing a lump of preserati\"e. \\'hen printing, remove only as much paper as is to be immediately- used, keeping the balance of paper in the tube with the preser\-ative, tightly closing tube with sealing tape. During hot weather, keep the paper (in the sealed tube) in an ice box. Always keep the paper in a cool, dry place. Keep the printing frame pads dry. On days when the atmosphere is over-charged with moisture, especially in summer, this paper will print out very rapidly in the shadows; printing should, nevertheless, be continued until outlines begin to appear in the high lights. HINTS. A no\'el but good method of de\-elopment is to hold print over steam- ing water until de\'elopment is nearly completed, and then immerse for a few seconds in hot water. This method gives particularly rich, brilliant prints. Do not use what is known as " Commercial Muriatic Acid." The acid must be chemically pure, and should be colorless. Use a fresh acid bath for each batch of prints. Weak print? are caused by too cold developer, weak negatives or damp paper. Dry by remo\'ing surface water and laying prints between blotters. ;\Iount in usual manner with any good starch paste and bring into contact with print roller. FERRO-PRUSSIATE OR BLUE PAPER. For certain subjects the " Blue Print" will give much satisfaction ; for instance, negatives in which clouds predominate, certain classes of interiors, winter scenes, etc. With negati\es of this description the finished prints will present a richness of eftett seldom equaled. Apart from those qualities it possesses abundant capacity for gi\ing detail and a wide range of tone, from light to dark. It is also a ready means for making finished proofs when one's time is limited. PRINTING. Print until the shadows commence to bronze, a condition which will be readilv observed after a few trials. After printing, immerse in a tray of clean water. Change the water every five minutes for half an hour or until PRIXr/XG. 119 the whites are clear. The prints can then be dried between blotters. When dry they will have obtained much brilliancy. When washing prints, should they appear light or wash off the paper, it is the sign of under exposure. Over printing should be a\'oided as it has a tendency to flatness and loss of detail. EASTMAN'S SEPIA PAPER. The rich, soft sepia tones obtained on this paper, together with the simple process necessary for de\'elopment make it one of the most pleasing of "water de\'eloping " papers to handle. For negatives containing bold, sketchy effefts, and those having a tendency to harshness, it is particularly adapted. PRINTING. This paper is about three times as rapid as blue paper, and should be under rather than o\er printed. This can easily be determined after one or two trials. DEVELOPMENT. Prints should be thoroughly washed in si.x changes of water and then fixed for fi\e minutes in a \-ery weak solution of Hyposulphite of Soda. Hypo, - - - . . i; grains. Water, - - - - - - 10 ounces. Note. — Short fixidg gi^'es red tones. Loiisjer fixiiiL; produces a brown tone. After fixing, prints should be washed thoroughly. Dry by removing surface water and laving prints between blotters. To secure brilliant prints, paper should be washed immediately after printing. This paper is put up in tubes and should be kept in a cool, dry place, as it is liable to deteriorate upon contact with moisture. Keep tubes sealed. SPOTTING PRINTS. Small spots showing white on the prints can be filled in or " spotted" with equal parts of Indian red or India ink mixed with a little water and applied with a small camel's hair brush, or one can use the ready prepared " Aristo Spotting Colors." Platinum Papers. The simplicity of platinum printing will prove a revelation to the amateur photographer \\ho imagines that the process must be difficult because so much employed by advanced workers. As a matter of fact, platinum printing presents no more difficulties than the ordinary blue print process so familiar to the novice. With the exception of carbon, where any colored pigment may be used, no printing process affords so wide a range in tone value, from a pure velvety black down through all the intervening tones to a shade scarcely darker than the pure white of the paper support. It is this ability to preserve the most delicate half tones that affords the charming atmospheric effect so e\-ident in all good platinum prints. Platinum prints are absolutely permanent, consisting of a deposit of metallic platinum on a pure paper support, and a properly manipulated print will retain its quality so long as the paper support itself exists. Platinum paper does not demand a negative of special qualities, a negative that will yield a good print on any paper will answer equally well for platinum. The fact that platinum paper is a semi-developing out paper, and that the image is only partially visible when printing is complete, has lead many to believe that much experience is necessary to judge of the proper printing depth. As a matter of fact, a few trial exposures with negatives of varying density will afford all the experience necessary and the making of prints of proper and uniform quality becomes a simple matter. All platinum papers are exceedingly sensiti\e to dampness and for this reason are packed by the manufacturers in sealed cans or tubes, each package containing a small piece of asbestos saturated with calcium chloride to absorb any moisture in the tube. Platinum paper will keep for months in a cool dry place, and in warm climates, if not for immediate use, is best kept in a refrigerator. As platinum paper is capable of rendering the slightest half tone it is naturally quite sensitive to light, much more so than the gelatine and collodion printing out papers, and should be handled in a subdued light, not out of doors or close to a window. When printing, remove only sufficient paper from the tube to fill the frames in immediate use, packing away the remainder as received and placing the co\er on the can or tube. PI. A TJA V ;]/ / >R h\ TIXG. ' - ^ In printing, the paper is placed in contact with the negati\'e in the printing frame in the ordinary manner and exposed to daylight, direct sun- light will do no harm and is preferred to shade printing by many prominent workers. The back of the frame may be opened to note the progress of printing, but in so doing turn your back to the window to avoid sunning the print. Moisture must be guarded against as it is the greatest enemy of plati- num paper, and to secure clear brilliant prints, the paper, printing frame and negatives must be absolutely dry. In taking up platinum printing, follow the manufacturer's instructions exactly. When the manipulation has been fully mastered, certain modifications will suggest themselves for special purposes. The temperature of the developing bath has a decided influence on both the tonality and the color of the image. Generally speaking, the colder the bath, the colder the image, and the warmer the bath, the warmer the image, all this of course, within reasonable limits as a bath exceedingly cold or hot will be apt to produce mealy flat prints. Damp paper will yield a print of a brownish black color, with a tendency to mealiness. Platinum prints may be toned in various ways. The most common is the " Uranium " which changes the color to a rich-brown or red-brown. The ordinary uranium intensifier may be used for this purpose, the print simply being immersed in it for a time. An excellent method for uranium toning is given by A. Horsley Hinton: SOLUTION 1. Uranium Nitrate, - - - - - 4? Tains. Glacial Acetic Acid, - - - - 4S minims. Water, ---... j q^. SOLUTION 2. Potassium p'erricyanide, - - - 48 grains. Water, - - - - - - i oz. SOLUTION 3. Ammonium Sulphocyanide, - - - /i oz. Water, ...... j q^. For use take }^ oz. of each, Nos. i, 2 and 3, and 25 ounces water. A finished unmounted platinotype print, thoroughly cleared from all iron salts, is placed in a flat dish and flooded with the above solution and the dish rocked continuously. The color of the print will gradually change, the toning should be T-22 PLA TIXL'M PRIXTIXG. carried on a little further than when the desired tint has been reached, as the picture will drv out a little colder in color than it appears in the toning bath. It is now brought into a dish of water containing a few drops of glacial acetic acid. The water must not be alkaline, as it would dissohe the uranium compounds deposited on the print and thus change its color again. This property of alkaline water may be made use of in case the desired color of the toned print is unsatisfactor}', and one wishes to get it back into its original condition. It has, as yet, not been conclusi^■ely proven that platinum prints treated with uranium are permanent. It is possible to control this image during development and to make various changes in the \-arious tones of the picture. This can be accomplished by using the glycerine method, referred to in the platinotype instructions. It consists essentially of painting the image by means of the oxalate solution, using a brush for the purpose, the paper ha\'ing first been exposed to light under the negati\'e in the ordinary way. The method is so full of latitude, that prints have been produced by its means that look like fine wash drawings. In short, it will be seen by the various matters referred to in this short resume of the platinotype process, that it is beyond doubt the printing method t>ar excellence for the amateur. AMERICAN PLATINUM PAPER. In the production of the American Platinum Paper two very serious defects in the platinum paper heretofore manufactured have been overcome. First, solarizing in shadows; second, the fuzzing or abrading of surface by handling. The manipulation of this paper is very simple, and with a reason- able amount of care there should be no difificulty in obtaining good results. The instructions, although simple, must be followed in e\-ery detail if the best results are desired. This paper will keep in good condition for a long time if not exposed to heat or dampness. The unprinted paper should be stored in a cool, dry place. '\\'hen paper is removed from the tube see that the sheets not intended for immediate use are returned to the tube with the package of preser\'ati\'e, and the tube carefully sealed with the tape. If the tube is allowed to remain open, or the paper remo\'ed from the tube several hours before using, the effect of damnpess will be noticed in the lack of strength and brilliancy in the prints. Dampness will also cause high lights to develop gra\- instead of pure white. PL A TINi M PRIA'TiyC. PRINTING. Although not absokitely necessary, it is advisable to use thin rubber pads in the backs of printing frames, especially in those sections of the country where the atmosphere is full of moisture. See that negatives and pads used in printing frames are perfectly dry, or the result will be the same as when paper is exposed to dampness before printing. In handling paper, care should be taken not to expose it to strong light Put paper on nega- tives and examine prints in weak daylight or artificial light. Care should always be taken not to touch the sensitized surface of the paper with the fingers. This is very important where the hands perspire freely. Print until the image is visible in all parts, although weak and only faintly outlined in the stronger portions of the negative. The exact depth of printing can only be determined by a little experience. When printing in bright sunlight, use one thickness of tissue or ground glass over the negative. Print weak negatix'cs in the shade or use several sheets of tissue over the frames. If prints are not to be de\'eloped immediately after printing ]ilace them in a tube with a package of preservati\-e and seal the tube carefully. DEVELOPING. The de\'eloper is simpily neutral oxalate of potash and water; three ounces of neutral oxalate of potash dissolved in twelve lluid ounces of water. If tones more on the blue-black are desired, use the following developer: Water, ten ounces; oxalate of potash, one ounce; phosphate of potash, one-half ounce. In preparing de\'eloper containing phosphate of potash, always use warm water, as this chemical does not dissolve freely in cold water. Any amount of the developer may be made up and set aside for future use, but should be kefit in a well-stoppered bottle. Use sufficient developer to co\'er the bottom of the tray at least one-half inch deep. De\'elop prints face up. By sliding jirints under developer face up, air-bells are avoided and the development may be closely watched from the start. De\'eIopment, as a rule, only requires from twenty to thirty seconds, but it will do no harm to leave a properly exposed print in the developer a full minute. Prints from strong negatixes are very often improved in the half tones by prolonging the development a few seconds. Development should be carried on in a weak light. The temperature of developer must not be below 60° F. Keep up strength of de\'eloper by adding fresh stock solution from time to time. A developer which has become overcharged (9) 124 PLATIXUM PRIXTIXG. with chemicals from the paper \\ill produce poor results. The de\-elopment should therefore be watched carefulh- when using old de\eloper, and if any change is noticed in the quality of prints, a new bath should be tried. Weak, granular prints mav result irom the use of weak or too cold developer. Rock the tray or stir the developer between the de\-elopment of prints to pre\-ent markings caused by scum, which forms on the surface of the solu- tion. A print which is known to be slightlv under-exposed mav be sa\'ed bv ^^■arming the developer to lOO" or lio" F, De\-eloper \^"hich has been used should not be returned to the bottle of stock solution. Ha\'e a sepa- rate bottle for old de\"eloper and do not allow it to stand in a strong light. \\'hen using old de\-eloper, pour off the clearing solution carefully, so as not to disturb the sediment which settles to the bottom of bottle. CLEARING BATH. As soon as prints are iullv de\'eloped thev are placed face don'n, directlv into a clearing bath of muriatic acid and water; one ounce of muriatic acid C. P., to sixty ounces of water. The qualit}- of acid used is of much importance. It should be chemically pure, as ordinary* commercial acid will cause vellow prints. Prints should have from three to four changes of acid clearing bath, allo«'ing them to remain in each bath eight to ten minutes and keeping them separated. The last acid bath should be as clear as pure water, showing no ^-ellow tint. This clearing of prints is very important, as permanent results depend on removing all the unacted-on chemicals from the paper. A properlv treated platinum print consists of nothing but metallic platinum and paper. After clearing, prints are washed about one-half hour in running water. If not con\'enient to wash prints in running water, gi\"e them eight to ten changes in a trav, separating them well each chang-e. ANGELO SEPIA PLATINUM PAPERS. DIRECTIONS. PRINTING. Angelo Sepia Platinum Paper, like all pure Platinum papers, is a semi- de\'eloping-out paper, the image being only partially ^-isible \\"hen printed. The full depth and brilliance is attained bv immersion in the Angelo Sepia De\'eloping Solution, Place paper in printing frame with the sensitive vellow side in contact with the negative. PL. I 7YA7 w j'Riyrixc. 125 Print in sunlight until the half tones are \'isible. Print deep for the highlights, pay no attention to the shadows. As the paper is quite sensitive, it should be loaded into the frame and inspected during printing in a sub- dued light. The image will come up stronger, more like the ordinary printing-out paper than most platinum jtapers, but development is slower ; this is an advantage, as it affords much greater control during de\'elopment. Good results can be obtained from any good ax'erage negati\'e. DEVELOPING. Immerse print face up in the (-o/d de\eloping bath prepared as follow s : Dissoh'e the contents of the package of Angelo Sepia Salts in the amount of boiling water indicated on the package. For the true Sepi.a. tone add one ounce of Angelo Sejiia Solution to each ten ounces of the abo\'e bath. For redder tones add more of the Sepia Solution. After the Sepia Solution has been added to the de\'eloper, allow the mixture to boil for a few muments. When cold, the bath is ready for use. Allow the prints to remain in the bath until full strength and brilliance has been attained. It is obvious that an under-e.xposed print will not de\'elop full strength and that an o\er-exposed one will de\'elop too dark. Retain the de\'e!oping solution for future use, allowing the solution to settle, and making use of the clear portion only. When the greater portion of the old de\-eloper has been used, prepare a fresh solution in the usual manner and add to the old one. It is not necessarv to filter the bath, so long as onlv the clear portion is used. CLEARING BATH. When the print is fully de\eloped, immerse face down in the clearing bath prepared as follou's : Water, ------ So ozs. Muriatic Acid, c. p., - - - - - 2 drams. The prints must go through two clearing baths, prepared as above, remaining for at least ii\'e minutes in each bath. Separate prints each time they are changed. Be careful not to carry any of the acid bath on your fingers into the de\-eloping bath. 126 PL A TINL 'M PRIX TIXG. WASHING. After the prints ha\'e been fully cleared, wash for one-half hour in run- ning water, or in six changes of water, separating them one by one in each change. DRYING. Prints may be suspended by one corner to dry, or they may be placed between blotters to remo\'e the greater part of the moisture, and then replaced between clean dry blotters to dry under light pressure. A\-oid the use of the ordinary and colored blotters, use only those specially made for photographic use. NOTE. The following are the most important points in connection with the manipulation of Platinum paper and should recei\'e careful attention. Keep paper dry at all times before development. When placing paper on negatives or examining prints, do not expose to strong light; weak daylight or gaslight \\'ill answer. Keep up strength of developer, and do not use it too cold. Slide prints under developer, face up, to pre\ent the formation of air bells. Place prints directly from the de\-eloper into the acid clearing bath without previous washing. See that clearing of prints is thorough. The last clearing bath should be free from any A-ellowness. Use chemically pure muriatic acid for clearing bath. If de\'eloper crvstalizes on surface of prints, causing numerous fine, dark spots to appear during dex'elopment, reduce the strength of solution by adding from one to two ounces of water to tweh'e ounces of de\'eloper. Enlarging on Bromide Paper With THE Kodak. Most amateurs are aware that beautiful enlargements of almost any size can be made from Kodak or any small negatives, but are possessed of the idea that the process of enlarging is intricate and requires a great deal' of apparatus and technical skill. As a matter of fa61 'the making of an en- largement is simple and requires practically no apparatus beyond the Kodak. In the following pages we clearly describe the charafteristics and uses of bromide papers and demonstrate how the Kodak and many of the other hand cameras may be utilized for the making of enlargements. No attempt is made to describe the more intricate and costly apparatus demanded by the professional, but we confine ourseh'es to the demands of the average amateur. BROMIDE PAPER. Bromide paper is a pure photographic paper coated with a sensitive compound composed principally of pure bromide of sih er and white gela- tine and similar to the emulsion of the ordinary dry plate or film, only of much less rapidity, permitting manipulation by a stronger light than would be safe for plates. Bromide of silver gives a pure black tone when exposed to the light and then developed, the unexposed portions of the paper coated with this emulsion remains perfeiftly white except with Royal bromide paper which is coated on a delicate cream stock. If the beginner will consider the sheet of bromide paper as praftically the same as a slow dry plate, and that a positive image is produced by pho- tographing through the negative on to the sheet of bromide paper with the negati\'e and sheet of paper some distance apart instead of in contaft as in making an ordinary print, a clearer understanding of the process will be afforded. Bromide paper has remarkable keeping qualities both before and after exposure, and the de\'eloped print when carefully fixed and vi'ashed is as permanent as the paper support itself. WHAT IS AN ENLARGEMENT? An enlargement, in the usual sense, is a positive image or picture ob- tained by permitting rays of light to pass through a negatix'e, then through 128 EXLARGIXG OX BROMIDE PAPER. a lens and focusing on a sheet of sensitive bromide paper ; the size of the projected image depending upon the distance between lens and paper, the further the paper is from the lens the greater the enlargement, which will be readily understood by reference to diagram below. An enlarged negati\'e can also be made in the same manner by using a small positu-e, the projected image focusing on a dry plate instead of on bromide paper. UTILIZING THE KODAK FOR ENLARGING. Most of the present models of the Kodak can be utilized for enlarging, excepting only those models not permitting the removal of the back and the racking back and forth of the lens. The use of Kodaks such as the Xo. 2 Fle.xo and Xo. 2 Bulls-Eye for enlarging is limited, as the distance between the focal plane and the lens is fixed and prevents the making of enlargements beyond a certain size. The Folding Pocket Kodaks (except the Xo. i and Xo. i-A), the 4-A, and the Cartridge Kodaks, including the Screen Focus Kodak, lend themselves particularly \\t\\ to enlarging. The method of utilizing these instruments is shown in the following : In enlarging by daylight with the Kodak all that is required is a room, with a north window preferred, through which the light can enter without obstruc- tion from trees or near- by buildings, A room with one window is preferable as this of course lessens the difficulty in exclud- ing the white light. It must be remember- ed that although Bro- mide paper is much less sensiti\"e than a dry plate, an instant's exposure to white light will ruin it. The window should be blocked up to exclude white light by means of a closely fitting wooden shutter, or any perfectly opaque substance such as I I a. !:;_ < < Q- -- uj 1^,' Q h: Z V 'Ji C ri] CD i-j 1 EyLARCJXG ON BROMIDE PAPER. 129 heavy card or press board fastened in place with small nails or Kodak push pins. An opening nill of course have to be made in this shutter to recei\'e the Kodak holding frame as will appear in the following diagrams : Figure i illustrates the frame for holding the Kodak when used as an enlarging camera. This frame is sim- ply a shelf with a projec'tion to hold the Kodak and negati\'e firmly in position, and can easily be construcled with the simplest tools. The shutter to exclude light from __ the window, and to which the holding frame is attached need be of wood only where the frame is attached, the re- mainder of the window may be blocked up with hea\'y press board or opaque cloth held in position with Kodak push pins. This will lessen the expense and also and removal of the frame. from, between the glasses, binding ends of facilitate the putting in place Figure 2 shows the Kodak and hold- ing frame in profile and illustrates method of holding Kodak in po- sition with rubber bands. To place neg- ative in position for enlarging, procure two pieces of plain glass, the same size as the negative, or that will fit opening A in the holding frame; see that the glasses are without flaws and perfectly clean, place the nega- ti\-e to be enlarged glasses with a small piece of 130 EXS^ARGIXG OX BROMIDE PAPER. adhesive binding paper to ensure the negative lying fiat. Then insert glasses in groove A, with the negative upside down and with the dull side facing into the room. Next remove the bacl: from the Kodak (as it will not be used while enlarging), and place the Kodak in the holding frame as shown in Figure 3, securing the Kodak to the frame with heavy rubber bands as shown ; by using rubber bands the Kodak is held firmly in position and without dan- ger of marring or scratching the leather covering. Fig. 3. AVhen it is the intention to use one of the Folding Pocket Kodaks the holding frame should be constructed so as to allow a distance of three inches between negati\e and back of Kodak, as this will, with the Kodak Portrait attachment in place, increase the focal capacity of the Kodak sufficiendy to permit the making of two time enlargements from the whole negati\'e. In many instances the actual picture is contained in a comparati\ely small portion of the negative, and in such cases all unused portions of the negati\'e may be co\-ered ^^•ith a mask of post office or black paper. If any light enters from between the Kodak and the holding frame it may be excluded by throwing an opaque cloth over the frame. A\\7.AJ?<;/XC ox UROMIDE PAPI^K. 131 The Cartridge Kodaks and the Screen Focus Kodak ma^- be utilized in practically the same manner as will appear by referring to Figure 4. The Kodak is easily held firmly in place by the use of Kodak Push Fins as shown in the diagram. Any Plate Camera of the so-called cycle type may be used for enlarging by making use of the holding frame. The negative in such cases is best secured in position by utilizing an old plate holder with the center septum and dark slides removed, insert the negative in the plate holder upside down and with the dull side toward the lens, placing the holder in the back of the camera in the usual manner. If ground glass in the back of the camera inter- cepts too much light it should be removed. Unless the window you intend to use com- mands an unobstructed view of the horizon, a piece of heavy white cardboard about 15 inches long and 12 inches wide or larger should be placed just out- side the window, at an angle of 45° to reilecl; the light from the sky. (See Fig. 2.) To ascertain if the reflecftor is in the proper position, place a sheet of ground glass o\er the opening in the holding frame. If properly placed the ground glass will be evenly illuminated. No harm will result if the sun shines on the ground glass and reflector, pro- vided it strikes evenly ; if the light is too strong the lens can be stopped down. The easel or copy-board for holding the bromide paper may be con- strucfed as shown in Figure 3 or it may be modified to suit individual needs or conditions. In cases where the window is some distance from the floor, or the window surface is exceedingly large, the Kodak holding frame may be placed directly on the lower sill and the light excluded by covering the balance of the window as previously suggested. The whole apparatus is so exceedingly simple that modifications to suit individual requirements can easily be made. Care must be observed to keep the easel front exactly parallel with the negative. The best negative for enlarging from is one not too dense or too weak but with good detail in the shadow s and transparent in the high lights. Fig. 4. 132 £XL.rIJ^C/.yO ox BROMIDE PAPER. THE SIZE OF THE ENLARGEMENT depends upon the focus of the lens and the distance of the easel or copy board from the negati\-e. E\'en when using the Xo. 4- A Folding Kodak with its lens of S>^ inch equi\^alent focus a six times enlargement will only require a distance of five feet from the lens to the bromide paper, so it will be seen that only a small space is necessary for all ordinary requirements. THE LENS. Any lens that will make a good negative may be used for enlarging. The proper size (focal length) of the lens depends entirely upon the size of the negati\-e to be enlarged from and not at all upon the size of the enlarge- ment to be made. The lens that made the negative will be suitable for enlarging from that negati\e. If the lens will cover the negatix'e it will make an enlargement from it of any size. Any Kodak lens is suitable for enlarging from nega- ti\-es made with the Kodak to which it is fitted. MAKING THE EXPOSURE. Ha\ing placed the negati^■e in position, and taking care that the pack- age of bromide paper is well protected, set the shutter for time and press the release to open same, an image more or less blurred will appear on the easel, now mo\'e the easel back and forth until the desired size of the enlarge- ment is secured, then focus the image sharply by racking the lens back and forth. The nearer the lens is placed to the negative the greater the size of the enlargement and the copy board will have to be moved back correspond- ingly to obtain sharp focus. Focus with the lens fully open, then stop down to at least stop .16. This not only insures good definition but by lengthening the time of expos- ure permits greater control during exposure, attording time to shade or locally increase the exposure on any portion of the image. After ha\-ing obtained the desired size and correct focus close the shut- ter and place the sheet of bromide paper in position on the easel or copy board. Before capping the lens or closing the shutter the correct position for placing the sheet of bromide paper should be marked on the copy board. A deep colored ray screen may be utilized as a lens cap, as the light coming through this screen will not affect the bromide paper for a few minutes, and the operator can by this means see just where to fasten the EN/.ARGiyu ON IIROMIDE PAPJIR. 133 sheet of bromide. It is perhaps unnecessary to state that the coated or emulsion side of the paper should be out. (The coated side is slightly concave). Before opening the package of Bromide paper see that no white light enters the room. It is well to provide a good sized box with a hinged, light tight cover to keep the Bromide paper in until needed, with also a compart- ment to hold the exposed sheets when making a number of enlargements to be developed later. TEST EXPOSURES. After the correfl size and focus have been obtained the next step is the exposure. Provision should ha^-e been made for a non-actinic yellow or orange dark-room lamp, or a small window opening outside covered with several thicknesses of yellow or post office paper. In first attempting the making of enlargements, test strips for deter- mining the accuracy of focus and proper duration of the exposure should be employed. A strip one or two inches wide and long enough to extend diagonally across the focused image \^ill be sufficient. Correft exposure depends on sexeral fafl ors ; the intensity of the light, density of the negative, size of the enlargement, and aperture of lens. The first test exposure will be purely arbitrary ; if the light be good and the negati\'e of a\erage density, say ten seconds. Cover up two-thirds of the strip with a piece of cardboard, and expose for fi\'e seconds, mo\'e the cardboard and gi\'e the next portion five seconds, making ten for the first, then remo\'e the cardboard entirely and expose the remainder of the strip five seconds, the fully exposed strip will now contain three difterent exposures, one of five seconds, one of ten and one of fifteen seconds. While the exa6t time for the developement of a corre(5tly exposed bro- mide enlargement cannot be gi\en, the proper exposure may be readily de- termined by ap[)earance as the image will appear gradually, developing brilliantly and attaining full strength in about one minute. Develop this test strip (see page 134 for directions.) If these test exposures are all very much over or under exposed make another set of test exposures, being guided as to time by the first strip. If the image comes up rapidly but dull and full of detail in the highlights it has been o\'er-exposed ; if weak and without detail, it is under-timed. Under different conditions the time required for exposure \'aries from fi\'e seconds to fi\'e or ten minutes, according to the light, density of the negative, etc. However, a few trials 134 EXLARGIXG OX BROMIDE PAPER. will narrow the exercise of judgment down to the intensity of the light, and the making of correct exposures becomes a simple matter. In making enlargements of difierent sizes it must be remembered that light intensity decreases as the easel is moved further away from the lens. As an example : If an enlargement eight by ten in size requires ten sec- onds, one sixteen by twenty (which is four times as great in area) would require four times ten or forty seconds exposure. Do not attempt to count seconds ; use a watch or clock. No printing process affords so many opportunities for modifying in the print the characteristics of the original negati\'e as bromide enlarging. Stop do«-n the lens so as to afford plenty of time during the exposure, and we can shade a little here, gi\'e a little longer exposure there and ob- tain just the result desired, bringing out detail in the shadows or softening a highlight at will. In shading any portion during exposure, hold the shade nearer the lens than the copy board to a\"oid sharp lines and obtain the proper diffusion. DEVELOPMENT. After the exposure has been made the next step is deyelopment, which is accomjjlished in practically the same manner as in the de\'elopment of a plate or film. Pro\'ide a ruby or orange lamp, graduate, stirring rod and three trays, preferably of hard rubber, or rubber lined, at least an inch larger each way then your sheets of bromide paper, to facilitate handling. A rubber lined tray of an}- size is easily constructed by glueing a sheet of gossamer rubber cloth into a wooden box or tray. As the bromide paper is not as sensiti\-e to light as a dry plate or film a stronger light may be employed for de\-elo] dng. A small window opening outside, co\-ered with two thicknesses of yellou- post office paper will ser\'e, or the ruby glass may be remo\-ed from the dark room lamp. The remain- ing orange glass will be ample protection against fog and allow the process of de\'elopment to be obser\-ed wilh greater ease. Use de\-eloper at a temperature of about 70° Fahr. After exposure, soak the pajier in i^-ater until limp and brush lightly o\-er the surface while \\-et, with a tuft of cotton and flow de^■eloper o\-er the print. The image should appear slowly and should develop up strons;, clear, and bnlliivit. When the shadows are sufficiently black, pour off the devel- oper and rinse the print thoroughly with pure water. Increasino- the amounts of Bromide of I^iitassium gi\-en in our formula; is sometimes neces- sary to pre\'ent grayish high-lights. EyLARCJNG ON BROMIJiI-: I'AJ'ER. 135 After de\-elopment is complete the print should be placed in clean water for a few seconds and then immersed in the fixing bath. Do not attempt to develop too many prints in one portion of developer. After five or six have been de\eloped mix up a fresh portion. There are a number of developers that will produce good results on Bromide papers, when used by experienced hands, understanding their limitations. The professional photographer enlarges from a uniform quality of negati\'e and for a certain effect ; on the other hand, the amateur, from the wide diversity of his attempts, finds his negatives varying in density and quality, and the best developer for him to use is the one affording the great- est latitude in exposure and development, and one that keeps well in solution. Without question Nepera Solution is the best developer for this pur- pose. Nepera Solution is known as the universal developer, as it may also be used for plates, films and Velox papers. For use with Bromide paper, take Nepera Soiutiun, ------ i ounce. Water, ---------6 ounces. Do not add Bromide of Potassium, as the correct amount is contained in the solution. The capsules accompanying each package should not be used for developing Bromide paper, as they are intended for use with films and plates. Six ounces of the prepared solution will de\-elop twehe fi\e by seven prints or their equi\'alent, after which a fresh solution should be pre- pared. When Nepera Solution is not obtainable, the following formula should be used : METOL HYDRO DEVELOPER. Hot Water, - 8 ounces. Sulphite of Soda, - 264 grains. Metol, - - - 20 grains. Carbonate of Soda, - 437 grains. Hydrochinon, - 72 grains. Bromide of Potassium, 10 grains. The abo\'e formula should be prepared with Mallinckrodt's desiccated sodas ; if crystals are used, double the quantity of both sulphite and car- bonate of soda. This concentrated developer will keep indefinitely in full bottles well stoppered. TO DEVELOP. Take in a suitable tray — Concentrated Solution, i ounce. | Water, - - 6 ounces. This amount is sufficient to develop twelve 5x7 prints or their equivalent. 13b ENLARGING ON BROMIDE PAPER. FIXING. If Bromide prints are fixed in the fixing bath prepared according to the following formula, there will be no evidence of blisters or frilling. Hyposulphite of Soda, i '^ ounces. | Water, - t6 ounces. A fresh fixing bath made up as above, should fix twelve 5x7 prints or their equivalent, after which the bath should be discarded. The prints should remain in the fixing bath for at least fifteen minutes, and should be mo\ed one over the other occasionally to insure e\'en fixing and to avoid staining. After all prints have remained in the fixing bath for a few minutes, the yellow shade may be removed from the light and the balance of the oper- ation continued by ordinary light. Before permitting white light to enter, be sure that an}' unexposed or unde\eloped sheets of the bromide paper have been carefully protected from the light. After fixing, immerse prints for about ten minutes in a hardening bath composed of water, 16 ozs. ; Alum, i oz. When removed from hardening bath, the prints should be washed for at least one hour in running water, or in at least tweh'e changes of water, in a tray sufficiently large to permit the water to reach all portions of each print. Move the prints one o\-er the other occasionally to ensure the full eli- mination of the fixing solution, DRYING. After the prints ha\-e been thoroughh' washed, they may be suspended by means of Kodak Push Pins from the edge of a table or shelf. Upon remo\'al, when dry, they will curl but slightly and can be made to lie per- fectly flat when required, by moistening the back only and re-drying between blotters under hea\-y pressure. Do not use the ordinary commercial blotter as it usually contains a large percentage of hypo and other injurious chemicals. A\'oid also the use of colored blotters and those containing printed matter as both the coloring and printers' ink are apt to impress themselves unpleasantly on the print. e\l,irl:ix(; ox bromide j\A]'er. 137 HINTS. Mealy jNIottled Prints— Over-exposure and short development. Greenish Tones are obtained by o\-er-exposure and too much bromide. Face of Peraianent Bromide Paper can always be distinguished by its curling in. Convex side is always the back. Fixing — The operator can tell w hen a bromide print is fixed by look- ing through it or upon it in a good light ; unfixed portions will be a green- ish yellow. Yellow Prints — Prolonged development will cause yellow prints. The exposure must be correct so as to allow of qinck de\eloi)ment. Forcing De\'elopment does not give good results for the abo\-e reason. Running Water is not so sure a means for washing prints as chang- ing them from one tray to another, allowing them to soak at least ten minutes in each fresh water ; twelve changes are sufficient ; no less. Retouching Negati\'es — Coarse grinding for retouching should be a\'oided and the retouching " burned in " to the \'arnish over a spirit lamp to a\'oid having the scratches shou' in the enlargement. DON'T. Don't use old h"\'po for fixing. Don't use the developing dish for fixing. Don't put the prints between blotters to drv, unless they have been five minutes in a solution of alum, 4 ounces. ; Water, i quart. Don't fail to rock the tray well while de\'eloping. Don't rock in one direction only, unless you want streaky prints. Don't let a jet of water play on the paper while washing ; it will cause blisters. Don't use old de\'eloper on large prints for the sake of economv ; use it fresh ever\- time. Don't say you can't work Bromide paper because you fail to get a good result the first time. Perse\erance in all things. Don't e.xpect that the light reflected from a red brick wall will be sufficient for enlarging. L'nless your enlarging window" has an unbroken horizon use a reflector. Don't suppose that a Permanent Bromide print is liable to fade because the paper turns yellow. All paper will become yellow after exposure to light and air. For example, see any old engra\'ing or etcliing. This yellowing or mellowing of the paper has nothing w hate\er to do w ith fading-. EXLARuIXG OX £R0JIIIJE PAPER. WHAT PAPER TO USE. VELVET BROMIDE. Suited to negatives ha\-ing broad shadows, tlie slight sheen of the semi- gloss surface giving to enlargements from such negati\'es a life and brilliancy which is highly pleasing. Velvet Bromide is especially appreciated by those who enlarge from amateur or landscape negatives. ROYAL BROMIDE PAPER is particularly recommended for use where 14 x 17 or larger prints are to be made. When enlarged through bolting cloth and sepia toned, prints on this paper have the breadth and softness of rare old etchings. This paper is not adapted for use when vignetted prints are wanted, but gives a richness obtainable on no other paper when used with negati\-es having dark, sketchy backgrounds, deep shadows and snappy high lights. When using bolting cloth screen, the time of exposure should be increased about one-third. STANDARD BROMIDE PAPER is a natural surface Bromide paper, which is especially adapted to all kinds of enlargements, particularly copies on which crayon or pastel work is to be done. The emulsion is coated on three different weights of paper — A, thin smooth — B, hea\'y smooth — C, heavy rough. PLATINO-BROMIDE PAPER. Platino-Bromide is a new argentic bromide paper, gi\-ing soft, rich effects, veh'ety blacks, absolutely pure whites, and having a dead surface like platinum. Lnlike platinum paper, however, it will keep before and after exposure, and can be printed by lamplight. Pictures made on it are permanent as the paper itself. ENAMELED BROMIDE PAPER. Prints on Enameled Bromide paper when untoned combine the soft effects of a platinum or bromide tone with a highly enameled surface. This paper has a slightly pink tint which especially commends itself to those who object to the coldness of an ordinary bromide tone. Prints on enameled Bromide paper when toned with the hvpo toning bath gi\-en further on, and dried on ferrotvpe plates, are in no wise inferior to the best aristo prints in richness of tone and depth of detail and gloss, hence enlargements made in this way from good negatives are fully equal to contact prints and require no finishing. Ey/..-lRCL\G OX HKOMIDE TAPER. ^39 MATTE-ENAMEL BROMIDE PAPER. This paper combines the brilhancy of an enameled paper with rich carbon blacks. Like the enameled, it is lent warmth by its slightly pink tint and is capable ot taking a beautiful sepia tone. SEPIA TONES WITH ROYAL, VELVET, ENAMELED, MATTE-ENAMEL, OR PLATINO BROMIDE PAPER. By using the following formula rich brown and sepia tones can be readily obtained \\\\}a. prints on Roval, Enameled, IMatte-Knamel or F-'latino Bromide paper after they ha\'e been de\eloped and fixed. The tones produced are permanent and not subject to the bronzing in the shadows which occur in bromides toned in Uranium. FORMULA. Hyposulphite of Soda, ------ 20 ozs. Ground Alum, ------- 4 ozs. Hot Water, 2 gals. Dissolve the Hypo in the water first, then add the alum slowly ; when all is dissolved the solution should be milk white. Allow it to settle, then decant the clear solution and use cold. TO TONE. After prints are developed and fi.\ed wash in three or four changes of water and then immerse in the cold toning bath, being careful to remo\'e all air bells. The print or prints should be handled o\'er occasionally during the first four or fi\ e hours and may then be left in the bath o\'er night or until the desired tone is acquired. After toning wash thoroughly two hours and hang up to dry. DETAILS. Be sure and fi.x thoroughly before toning. Prints should be toned face up. Solution may be used repeatedly by adding fresh bath occasionally. A number of pjrints can be toned in the same bath at the same time. Spots or unevenness in the tone will disappear if print is left in the bath and occasionally mo\ed. The toning takes from 15 to 20 hours. (10) EXLAHGING OX ISROMIDE PAPER. SEPIA TONES WITH ROYAL RE-DEVELOPING SOLUTION. Bromide enlargements may be toned with Royal Re-De\-eloping solution. Prints on Matte-Enamel or Platino Bromide paper attain a much better color with this method than with the Hypo Alum bath. Prints on Royal Bromide toned in this way are considerably w^armer in color than when toned in the Hypo Alum bath. Bromide prints should be handled in the same manner as described for \'elox on page loi. GLOSSY PRINTS WITHOUT A BURNISHER. Beautiful glossv prints mav be made on Enameled Bromide paper by following directions gi\en for using Ferrotype plates with Solio paper on page 113. ANOTHER METHOD. A fine gloss may be gi\'en Enameled Bromide Prints by coating the mounted print with a solution of gum arable i oz. , water 4 ozs. ; filter through chamois skin each time before using. Apply smoothly with a camel's hair brush. If too thick to spread smoothly, thin with water to proper consistency. CLEANING THE PRINTS. The surface of Enameled Bromide Paper is extremely delicate and liable to abrasion, which shows in hair-like lines like pencil marks after de\-elopment. Fortunately they can be easily removed from the dry print before mounting by rubbing with a tuft of wet cotton. Mounting. Tissui-: TO Mount, The most satisfactory method for mounting prints of any size is by the use of Kodak Dry Mounting Tissue, as by the use of this tissue the print lies perfectly flat in absolute contact even on the thinnest mount, and absolutely without curl. The tissue comes in flat sheets, dry, not sticky, and easy to handle, and being water-proof, protects the print from any impurities in the mount stock. The process of mounting is as follows : Lay the print on its face and tack to tlie back a piece of the tissue of the same size as the print by applying the point of a hot flatiron to small spots at ojjposite ends. Turn the print face up and trim to size desired, place in proper position on the mount, co\er the print with a piece of smooth paper and press the whole surface with a hot flatiron. — Prrss, do//' / r/(h. The iron should be just hot enough to siss when touched with the wet finger. If the iron is too hot the tissue \\\\\ stick to the mount and not to the print, if too cold the tissue will stick to the print and not to the mount. Remedy : Lower or raise ttie temperature of the iron and apply again. WITH PASTE. After prints are trimmed, immerse them in a tray of clean water, allow- ing them to soak long enough to become thoroughly limp. Renio\'e to a good sized pjiece of clean glass, placing them in a pile face down. Co\'er with a piece of clean blotting paper and with a roller squeegee press all the superfluous water from the pile. Then with a good bristle paste brush apply a thin even coating of starch paste. Raise the print by taking hold of the two opposite corners and turning it o\er, [ilace in position on the mount. Lay a clean dry blotter o\er the print and with a roller press into contact. Any lint or fuzz from the blotter or any paste on the surface of the print should be immediately remo\'ed with a soft sponge or damjjened cloth. When dry, shape the mounted print by running it through a cold burnisher. Any imperfections in the finished print may be corrected by spotting, using a fine sable brush and spotting color or India ink. Care should be exercised to select mounts which harmonize with the tone of the print. If Sepia prints are to be mounted, any shade of brown or some of the deeper reds may be used, but these same mounts would not be suitable for black and white tones. For the black and white prints any shade of gray, carbon black, buff or cream color may be successfully used. Making Lantern Slides. There is no pleasanter part of the art photographic than the making of lantern shdes. Permanent Bromide lantern slide plates are coated with an emulsion similar to that used on Bromide paper and are de^'eloped in exactly the same manner. Lantern slides can be made by contact printing from 3^x4^ or smaller negatives, and from 4x5 negatives, except when it is necessary to retain e\"ervthing shown clear up to the edges of the orig- inal negati\e. From larger negatives the lantern slides are made by reduction, a process similar to that of enlarging except that the Bromide slide plate must be nearer the lens than the negati\'e — the re\'erse of the enlarging process where the further from the lens the paper is, the greater the enlargement. By either the contact or enlarging process the operation of slide making is \'ery simple. If the operator is pro\'ided with a de\-elop- ing and printing outfit, the only extras required for contact printing will be I doz. Permanent Bromide Transparency Plates, I doz. Co\'er Glasses with Masks. TO PREPARE THE NEGATIVES. Take a negati\"e and fasten it in position o\"er the paper mask bv means of a bit of gummed paper, and lay the mask with the negative on the clean glass plate in the printing frame with the negative between the mask and the glass. Lay one of the plates coated side down, on the negative in the frame, fasten the back of frame and expose as directed in the following paragraph. EXPOSURE. The exposure \-aries with the intensity of the negati\-e, and the quality and intensity of the light, but may be approximately stated to be, using as thin a glass or transparent film negative as will make a good print, one- quarter second by diffused daylight, or ten seconds at a distance of one foot from a number two kerosene burner. Very thin negati\-es should be printed by weak yellow light, like that obtained from a kerosene lamp turned down a little below the normal intensity. In this way a strong, vigorous slide may be obtained from a negati\-e that would otherwise be too thin and flat. Strong, intense negati\-es are best printed by davlight. MAKING LANTERN SLIDES. 143 DEVELOPING THE SLIDE. Take the plate out of the frame and lay it on one of the trays, and cover it with either of the developers recommended for bromide paper on page 135. The image will appear in a few seconds. The development should be continued until the black parts begin to get opaque bv transmitted light, or about one or two minutes, then the developer should be poured off and the plate flooded with clean, cold water. After rinsing it three or four times it should be put into another tray and covered with the FIXING BATH. Hypo-snlphite Soda, --.-._ 4 02s. Water, --_.----- 16 o/s. This should be allowed to act for fi\'e minutes, or until the i)late is clear and free from milkiness. Then the ]:ilate should be soaked in four changes clean Mater for twenty minutes and stood upon edge to dry, when it will be ready for mounting. Notes. — The otiIv cxperieiui,' iieedci"! \< > niiike- .l;i:" id laiileni slides h\ this ]) roc ess, is In Itnrn just how long to expose ill the pnniing^ Iraiiie. Xe,L;;Ui\es \;iry Si.>iiie\\hat in deiisit\-, and the liine,!:i:i\eii wi the directions is for tiie a\'erage deii.sit\". Tliicker negati\"es require more, and thinner less time. KTiou.L:h time must be ,e:iven for i.lie light tu strikt througli aM but the densest parts of the negati\-es. A few trials with a good slide for a guide will enable the learner to judge correctly what time to gi\-e the tlit^erenl negati\es. The de\eloper should he used fresh injxei.i for each shde. Enough (.if the hxing hath bhoidd be used to fill the tra> luilf full ; it should be thr(_i\\ ii awa\ at the end of the e\'ening's operations. MOUNTING THE SLIDE. \\'hen drv, lay the slide face down on one side of the prepared covers having the mask on it, so as to ha\'e it come between the glasses. Then moisten the gummed edges and fold them over the slide. PREPARED COVER GLASSES. Eastman's prepared co\'er glasses ha\e mats and gummed binders attached, and will be found a ei'eat con\'enience. Some Practical Hints on Winter Photography. BY RUDOLF EICKEMEYER, JR. -M'i Serving as iudge at the \-arious photographic exhibitions and competi- tions — as it has quite often been my lot — it has ah\-ays excited my wonder ; why the majority of amateurs so utterly fail to comprehend the beauties of a season which has al«^ays seemed the lo\-eliest one to me. Xo other season lends itself so well to pictorial interpretations as that of the " inverted vear. " In the months of spring the scenes of nature are so tender and fragile, that they nearly always elude the grasp of the camera. Who for in- stance has ever suc- ceeded in gi\'ing a true depiction of the burst of tree blossoms in early spring? Summer with its hea\'y foliage, its dense light and shadow has proven a despair to manv a pictorialist. And autumn with its intense coloring cannot be re- corded accurately as its charm d e p e n d s t o o much on color values, which are exceedingly diiticult to render in toned gradations. Also the sterner aspects of nature, rain and storm in their mani- fold phases and varia- V'^ ■..'*fc '-'---?.,.«;^--^;a^ ^^0>h^^ "^J,' ifc-'.'i ^^- -^■l ^_. v.^^P SBkfc.- r i-Mi -^sbI • r- •*«^;3 ^H^^mI t - ^|H|,. ''f. v^^i^HK^^^H^^^ Tt.:^ ■1 Vr ■v^gH SOJ//i /'K.ICTICA/, /ilXTS OX WINTER I'HOTOC R AT] n . 145 tions can only under rare circumstances be successfully treated during these seasons. But in winter e\-ery difficulty seems to fade away. From the time :\'hen the first snowtiakes flutter noiselessly to the ground, to the last thaw, when the hepatica timidly blooms amidst patches of melting snow, e\ery wood, every change of atmosphere, every \agary of form which the snow- covered earth is subjec'ted to, can be held by the camera. It is the season for realistic interpretations. True realism always enhances the pictorial and aesthetic qualities as well, and by aesthetic interpretations I mean a combination of all those elements which change the ordinary photograph into a re\'elation of pictorial beauty. Gulden Rud. ^ kL.\II'.\ I'.R, jK. In winter, nature appears to the experienced eye like a delightful composi- tion in monochrome. The «-hoie gamut of tones is there, from jiurest white to deepest black, imperceptibly blended into each other, e\'en those where the contrasts are strongest. And it is for this reason that the rendering of winter scenes, in m)' opinion, can be handled u ith equal skill and success by the photograplier as by the colorist, or the illustrator who uses black and white as a medium. The fault of amateurs, on the whole, is that they stri\-e too much for extraordinary effects, they insist on strange snow formations and ([ueerlv shaped icicles, and depict rather the idiosyncrasies than the poetical moods of winter. And yet beautA* is lurking everywhere in all of winter's multitudinous phases. Nearlv all my pictures were taken in the vic;nif\' of mv own home. 14-5 soj/i: rRAcricAi. hixts ox irixTEH photography. The simplest scene, when the ground is only covered by a light snowfall, has its intrinsic pictorial \ alue. The white snow cover blends everything into a perfect harmony. Look for instance at the path through the sheep pasture after the first snowfall. You hardly recognize the old familiar scenes. And yet every detail has been preser\'ed. The snow has fallen e\'enly all o\'er the landscape and not obliterated a single feature. Everv undulation can be traced, but everything is softened, as seen through a \'eil. The twigs and branches are still bare, but e\-en while deprived of all their emerald glow, they are not lacking in beauty, and their structural forms are now seen to their best advantage and the long exaggerated sil- houettes of their shad- ows lend a peculiar weird and primiti\'e character to the scene. Those who are fond of broad effects, will find ample material after a hea"\"y snowfall. As soon as the snow is deep, all details practic- ally \'anisli and e\'ery- thing is seen in masses, which enable the pictor- ial ist to suggest desola- tion and immensity more easily than thro u g h a n ^" other medium. Some of my most successful pictures ha\-e been taken in ]iea\'y snow storms, and under \-er}' trying circumstances. M.jre than once I ha\-e been obliged to brush the snow tlakcs out of the lens before setting the shutter and drawing tlie slide. But all these little incon\-eniences turn into a delight if we consider how fa\-orable the conditions really are for making a good negative. The luminosity of the atmosphere is remarkable. E\en to one experienced in such matters I tlnd it a ne«- souixe of wo)ider each time I \-enture out on a snowy winler's day. The whole landscape mav be Th,- SImdozcs :>ftli,- Trres. RUDOLF t.iCKi:^rEM-:K, JR. SOJ/A' PRACTICAL HIXTS OX WIXTl-R PI lOTOC RAPIIY 147 obscured by snow flakes and the sun invisible and yet it is possible to tal<;e snapsliots, even with a lens of moderate speed. But for the amateur in quest of pictorial beauties it is not absolutely necessary to bra\e ihe inclemency of the winter's storms. The play of sun- light, of the w inter landscape, and these efforts can be studied on a quiet day when it is only moderatel}' cold. How clear e\'ery stem and stalk is outlined against the sno«-. Ne\-er was there a greater opportunity to study the structural forms of trees and shrubbery. E\'erything seems to be crowded with detail, e\'en the simplest weeds gain a pictorial significance, and the golden rod, mere fragments of their former beauty, charm e\ery student of nature by their white, flowery appearance. What is most neces- sary to make a success- ful picture is to select a view a\ hich does not embrace too wide a fieUl, and so run the chance of being o\'er-cro\\ded with detail. " The Shadows of the Trees ' ' depicts a favorite spot near my home. It is beautiful at all times of the year, but ne\-er more so than in winter. And it is during the late after- noon hours when it is seen to the best ad\'an- tage. The picturesque formations of snow at the edge of the brook, the slanting shadows, and the cluster of the trees in the distance, with the reflection in the water, would appeal to e\ery nature lo\'er. I show this picture to impress the reader with the fact that in winter, as in the other seasons, there is a time of day when a landscaj^e apjiears at its best, and to successfullv interpret it one should be there at that time. Beautiful things can be found e\'en at one's \'ery door. I only need to den. I^L"LiC>l-b blLKEMh^ hK, JR. I4S i^OJ/E PRACTICAL HIXTS OX U'lXTER PHOTOGRAPHY. step into my garden. Even there the activity of winter has been in full play, and changed it into a fairy land. Each branch is encased in a sheet of pure crystal, w hich glows and glistens in the early morning sun. Skies are usually one of the greatest difficulties the beginner has to encounter and are usually lost in developing, in the effort to bring out the rest of the landscape. In his winter negati\'es, however, he will be generally agreeably surprised at the truthful rendering of his skies. This is easy enough to explain. In summer, on account of increased actinic activity, the sky requires only a fraction of the exposure which the foreground and obje6ls demand. But in winter, sky and snow are for all practical purposes of the same actinic quality, and their relative values are therefore compara- tively easy to express. As to the technical methods to be pursued in snow photography, a few words will be gladly accepted by all beginners. The first ciualification is to be comfortably clothed. My attire is such that I can, if necessary, go into the wet places and come home dry shod. Aly camera is S x lo in size, which I have used with admirable success, always with a tripod. The camera, plate holder and tripod are of leather, to protect them from moisture. As an additional safeguard, the plate holders are encased in felt co\'ers. Occasion- ally I have made use of a No. 3 Kodak, and found it a \-ery handy instru- ment, especially in stormy weather ; the results were all that could be desired, and w ere it not that my photographs are largely for exhibition and book and magazine illustrations, I should not burden myself with any other apparatus. It answers all practical purposes, and is capable of producing any effect possible with a larger camera. I ha\-e found the films backed with paper a decided advantage, espe- cially w hen photographing toward the sun. I am frequently asked what de\-eloper I use to produce my effefts. My de\'eloper is a simple Pyro-Soda solution. In nine out of ten cases wdien a negative is faulty, it is not the fault of the developer. It is gener- ally a case of under-exposure or the fact that the plate has been over- exposed and not carried far enough in de\-elopment. I have also used one- solution developers, and after becoming acquainted with their peculiarities, have found them practically as good as the one I am in the habit of using. School yourself to time your exposures properly, then your normal devel- oper will gi\e you good results. But I cannot repeat often enough. Don't imagine that everything depends on the lens or developer. Remember what Emerson, the Eather of Pictorial Photography, has so pertinently said, " that we were born blind and we must educate ourseI\-es to see." I am prone to believe that he has uttered a great truth in these simple words. Among the thousands of photographs that ha\-e jiassed through my hands, I have seen many that SOJ//; PRACTICAL HIXTS i>X IlVXT/i'A' PI lOTOC RAPHY. 149. failed in becoming good compositions, merely because the photographer had just missed the proper point of view, which would have eliminated some objeftionable objett. Therefore educate yoursehes to sec, and you will suddenly discover the beauties inherent in the amplest winter scene. And no matter what weather you experience, nor how small the patch of ground may be to « hich you are confined, you will always find more than ample material to make a good piclure. h:lil /gnj, f'y Hnrf,:r il- /■> Nature With A Kodak. BY A. RADCLYFFE DUGMORE. PART I. FLOWERS, CUT AND GROWING. CUT FLOWERS. Perhaps few branches of photography are more neglected than the picturing of cut flowers. Why it should be so is not easy to say. The difficulties are not so \'ery great and e\ery owner of a Kodak can be sure of success after a little careful experimenting. With 34x5 Kodak, pictures suitable for lantern slides can readily be made. In few ways can the work of the camera be made more delightful than by means of the lantern slide, and certainly flowers better than any other subject lend themselves to slides, especially when they are to be c<.ilored. The accessories necessary in photographing cut flowers are, first, se\'eral backgrounds of suitable shades ranging from \'ery dark green to white. An absolutely black background is not to be recommended as it makes the contrast too strong. Second, a few well shaped vases for the more slender plants. Third, a flat dish about one or two inches deep, «'ith a few strips of lead, one inch wide and four or fi\'e inches long. Tliese bent in zig-zag form can be used to suppo-'t manv kinds of flowers that ha\'e fairly rigid stems, by sinrply pressing the lead against the stem, and allow of very decorative arrangement. It will be found extremely difficult to support such delicate flowers as anemones, and I would advise the use of a piece of glass laid at a slight incline so that the flou-er will rest on it. Then the camera may be tipped until at right angles to the glass. The background can be placed at a distance of not less than 18 inches back of the flou'ers. \'ery dark backgrounds will show reflections cast on the glass, so they cannot be recommended. Should you wish a dark effect it may be procured by using a fairly light non-actinic color such as orange. In selecting backgrounds be sure they are free from noticeable texture so far as possible, and to render them still softer in quality place them at considerable distance from the subject, that is, entirely out of focus, remembering that the further they are from the subject upon which the camera is focused, tine daiker they will appear in the picture. XATi'KE WITH A KODAK: 151 The ray filter or color screen is occasionally advisable e\en with films which ha\'e orthochromatic qualities. Probably no part of the amateur's outfit is less understood than the ray filter, so let me say that when photo- graphing an orange flower with dark green leaves, the filter is absolutely unnecessary ; it simply prolongs the exposure without accomplishing any- thing, but when the subject is a white flower of delicate form and texture with dark lea\'es, then use the lemon colored filter in order to hold back the white, which would otherwise be o\'er-exposed if the green lea\es secured their correct exposure ; in other words, only use the ray filter when there are extreme diilerences in color. Blue flowers will appear lighter than they really are unless the color screen is used. In placing the flowers do not be afraid of trying different effects of light. Even sunlight may be used at times w i t h pleasing results. White flowers should seldom ha\'e the light from the direction of the camera, whereas rich red or orange ones need all the light they can get. Bear in mind that flowers of nearly all kinds tremble at the least mo\-ement of air or vibration, so stand absolutely still during the exposure and ha\e all the windows closed. These precautions will sa\'e many failures. In gathering wild flowers for photographic use place them in a cool cellar o^'er night either in water or in a box containing wet cloth or paper, and cover w ith some wet material which should not be in contact with the flowers. Don't use cotton batting, as small particles adhere to the plants and show with starding clearness in the picture. RADCL^"FFE DUG.MORE. NATCRE WITH A KODAK. GROWING FLOWERS. In order to be successful in photographing growing flowers, it is absolutely essential to choose onh' days when there is no wind. The slightest breeze makes the work unsatisfactory, if not impossible. Clear sunlight or cloudy days are both good for the work, the latter giving in most cases the best results. In nearly all cases where growing flowers are to be photographed, it is necessary to use a small diaphragm, owing to the nearness of the subject and to the fact that so great a range has to be in focus. This particularly applies to flowers growing near the ground, such as violets, hepatica, anemones, etc. Any ordinary good lens will answer for this work almost as \^-ell as the newest lens of wonderful speed. Depth of focus is what is w anted, and the more rapid the lens the less its depth of focus, so that it has to be stopped down until it works at the same speed as the cheaper lens. This fact is mentioned simply because the writer has been frequentl)- asked " Whether pictures of growing flowers can be made with the regular lens supplied with the Kodaks. ' ' Snap shots at growing flowers are usually out of the question, a time exposure being necessary in nearh' e\'ery case, therefore it will be seen that for this branch of work the tripod is necessary to support the camera, or it may be adx'isable to use stones or other con\-enient support so that the lens will be about \&\A with the middle of the plant. In cases of this kind it may be found desirable to emplo}' a background. For this purpose use a roll of gray cloth supported by two sticks, which may be gathered when needed, or better still ha\e two light rods fitted with metal points. It is occasionall)- necessar\' to accentuate the fact that the flower is near the ground, as in the case of the trailing arbutus. For this purpose an acorn or chestnut placed in an unobtrusi\'e position will answer, and the picture will gi\-e the correct idea of the flower's form of growth, \^hich, after ail, is the object in photographing flowers in situ. Large plants will be found easier to photograph than small ones, as the camera does not have to be so near, and consequently the depth of the focus is greater. PART II. BIRDS. With the growing interests in birds, there is the desire by many camera owners to go in for bird photography, and we see the results of this fasci- nating work throughout the country. For the beginner I would not advise NATURE WITH A KODAK. 153 launching directly into photographing the wild birds, but start at the easiest part, which is the nest, first without the young birds, and gradually work up to taking the parent birds feeding their young in the nest, and so on from that to picturing the adult birds in their wild state away from the nest. The road is a long one and will require great patience and perseverance. These few hints are the result of many years of really hard work on the part of the writer, and are ofiered u ith the hope that they ma}- shorten the beginner's road of experience. THE NEST. For nest photography a tripod is in nearly all cases necessary, other- wise you have under-exjiosed films through trying to make snap shots when a time exposure is demanded. In selecting your point of view, place the camera so that if possible the eggs are just visible. Do not, howe^-er, move the eggs to suit your convenience, and do not try to get a full \'iew of e\'ery egg and all the nest. Let the photograph show decidedly the environ- ments of the nest, e\'en if you have to introduce something to accentuate it. Just as with the low growing flowers, the fact that a ground nest is on the ground is made e^'ident by the introduction of a chestnut burr or some such object. If the nest is in a very low bush, perhaps within tweh'e or fourteen inches of the ground, then a daisy (if the nest is in the open) will make this fact clear. A\'oid cutting away vegetation alwut the nest, as it will expose it to possible thiex'es as well as the elements. iJend such twigs as are in your way. \\'hen the nest to be jihotographed is abo\e the reach of a tripod you may find it necessary to secure the camera to a branch, to do which a ball and socket clamj) de\ ice is most con\'enient. We frequently find nests placed towards the outward end of a branch just be}'ond the height of the camera. If the branch is not too stiff it may be drawn down by means of a cord, but as this has the eftect of tilting the nest to an unnatural angle, it is well to prop up the branch with a forked stick placed between the nest and \\here the cord is fastened. Always be careful to notice whether the wind sways the branch containing the nest. If it does, secure the branch in one position, either by cord or prop, before focusing. To make a successful picture of a ground nest, let the camera be very near the ground, within a foot if necessary. NESTS CONTAINING YOUNG BIRDS. From the nest with its motionless contents of eggs, we turn to portray- ing the fledglings, and here we ha\'e a suggestion of what troubles are before us. The constant mo\'ement of t'.e young birds (due to their rapid respiration) makes it necessary to gi\'e a very short exposure. This sounds 154 yATURE WITH A A'OBAK. easy enough until yen realize that nests are usually in well shaded places \vhere e\-en with the lens wide open a time exposure would be needed. It does not do to bend back the surrounding foliage in order to admit sunlight, because the young birds cannot endure the heat of the sun, and even though they are half grown they would scamper out of the nest, and frequently refuse to remain in it after being replaced, with the result that they n"Ould probably die. Have e^■e^^■thing entirely ready, then at the moment of making the exposure, try to get some light on the nest by bending back the o\"ershading twigs for just an instant. By using white cloth reflectors beneath the nests the dense shadows may be somewhat softened. If you find you can get enough light to allow of an instantaneous exposure, it is interesting to photograph the fledgdings with their heads raised. This can usually be effected by making a note more or less like the parent bird's, though frequently the mere moving of a twig will be sufficient to cause the youngsters to open their mouths and raise their heads in anticipation of food. Be sure to focus on the birds that are nearest the camera, so they, at least, will be sharply defined. THE PARENT BIRD ON THE NEST. Here we ha\-e a phase of bird photography in which the actual photo- graphic skill needed is not so very great, that is, there are not great photographic difficulties to o\"ercome, but one's success depends almost entirely upon the will of the bird. Some birds (either individual or species) are afraid of the camera and others are not. Those that are afraid of it will sometimes abandon their young rather than approach the nest while the camera is near. 1 ha\-e de\'0ted a whole week in unsuccessful endea\-or to secure a [ihotograph of a tou-hee on its nest. E\'en if the camera is care- fully concealed \\ ith leaves and a long tube used for the shutter, the chance of getting the picture must still depend on the bird's disposition. Taking a bird of average tameness, the easie-t way is to still hunt with the camera, approaching \-ery gendy and making no certain mo\-ements. In this way I ha\-e taken a 6'; xS'; camera on its tripod to within three feet of the bird and secured the picture. Do not attempt to make instantaneous exposures, as they are unnecessary, and e\-en if light is suiticiently clear to allow an exposure of a quarter or half a second, it is better to use a smaller diaphragm and a much longer exposure, because at the click of the shutter the bird will usually move its head. This movement would show in half second exposure, but not in one of say ten seconds. At the moment of taking the picture, attract the bird's attention by holding a handkerchief or some conspicuous object perfecdy still in such a position that the bird can see it. NATCRE WITH A KOJDAK. i55 YOUNG AND OLD BIRDS TOGETHER. It is at this stage in bird photography that one's troubles really begin. And yet to make one success gives so much satisfaction that the cost of failures is easily forgotten. When the young birds are in their nest they are of course entirely dependent upon their parents for food, and the parents, according to their natural instinct, will usually face almost any danger rather than let their young starve (though some individual birds will never visit their nests in the presence of a person or even a camera). Taking advantage of this well known fact, we can usually count on seeing the old and young together about the nest at frequent intervals during the day, but to see them and photograph them are two very different things. The difficulties are many, so many indeed, that only the enthusiast braves them after the first few attempts. Owing to the constant movement of the birds, both old and young, only the shortest exposure may be given, and as the nests are almost always in shaded places, the result is under-exposure. Once the birds have become accustomed to your presence, they will not be easily frightened, and will allow the use of white cloths as reflectors or even as backgrounds, thus avoiding the splotchy black and white backgrounds that one usually sees in bird pictures. Certain writers advocate mo\'ing the nest containing the young to a well lighted place where instantaneous exposures can be made. This method would lead to the destruction of so much bird life that under no condition should it be done for the mere pleasure of getting pictures, or b)r persons not thoroughly conversant with the ways of the birds. Rather than risk injuring the birds, accept the situation as it is, and do the best you can, for there can be no satisfaction in securing even really good pictures if it is done at the cost of the lives of the birds. If you intend to give anything o\'er one-tenth of a second's exposure, it is a good plan to make a clicking noise, rather louder than that made by the shutter, for many seconds before making the actual exposure. By this means the birds will become accustomed to the noise and will not be so apt to make a quick movement when the shutter is released. BIRDS ON THE WING. If you would gain the greatest pleasure to be found in nature photog- raphy, try coaxing the wild birds on to your hand, and then secure photo- graphs of them. It is not so difficult as it sounds. First, get the birds accustomed to you. Then when the young are about to leave their nests, take one or more on your hand, and you will be surprised how soon the parents will come to feed them. If you are alone, focus your camera on some object about where you e.xpect to place your hand, then at the moment when the bird is in the position you wish, release the shutter by means of a 156 NATURE ]VITH A KODAK. long rubber tube. In this, as in all other bird photography, the individuality of the bird counts for a great deal. I ha\-e always found that chickadees, chi|":ping sparrows and blue winged warblers would always come with a little coaxing, while towhees, chats and Maryland )-ellow throats and many others have never shown the slightest confidence. OLD AND YOUNG AWAY FROM THE NEST. Once the young ha\'e left their nest, there are about two days before they learn to fly well enough to keep out of one's reach. This is the ideal time for getting photographs of them, as they are just as dependent on their parents for food as thev were while in the nest. The first thing to do is to catch one (or more if you can) of the brood. Let him fly if he wishes until he is tired ; then place him on a suitable t\\-ig and after you ha\-e your camera ready, call the parents. Sometimes they will come and sometimes they won't, but after the}' ha\-e once come you may make pictures to }-our heart's content. They will, as I have often seen them, perch on the camera without the slightest fear, e\'en on one's shoulder or hand while in motion. Be sure in arranging the camera to ha\'e plenty of room on either side of the )-oungsters for the adult bird. It is better to have too much than too little room. JMake a mark on the tu ig to show just how much the camera covers, bearing in mind that in feeding the young the bird frequently perches abo\'e the tnig upon which are her fledglings, if there is any pos- sible perching place. "While A'ou have the young in your power is a good time to make portraits of the parents alone, using the young as the lure, of course. Select a place where there is but little brush and no conspicuous twig except the one on which you have placed the young birds. Then place a twig a few feet away from them, and the chances are that the parent bird in coming with food will stop each time for a moment or so on this perching place. If vou would make still more sure of her hesitating, stand or arrange the camera quite near the young birds. This frequently has the effect of pre\'enting the parent bird from coming too readily. Focus the camera on the part of the twig on which she most frequently alights and watch your chance. When I say focus on the twig I mean on a point an inch or so nearer than the twig. This will allow for the size of the bird, whose head will project at least that distance. BIRDS IN CAPTIVITY. Strange as it may seem a bird in capti\-ity is seldom an easy subject for the camera ; little less difficult in fact than the bird in its wild state. A pet blue bird which I once owned was absolutely tame and would go to sleep in NATURE WITH A KODAK. 157 my partly-closed hand, and yet after he was six weeks old, I was never able to get a good photograph of the little rascal during the two years that I kept him. After ha\ing tried various schemes I tliink the most satisfactory one (though very far from perfect) is a long cone-shaped cage made of mosquito netting or bobbinnet, the bottom and laiger end being of wood. This wooden end is for the background. At the other or smaller end the netting is attached to the lens by means of a tape or rubber band. There must be an opening at one side of the netting so that yo\x can arrange the necessary perch with the t\\ig and manipulate the bird. The whole con- trivance can be supported on two wooden horses and placed so that the sun will come from any desired direction. Cool Coiit/oi I. A. RADCL\I' I' t: DUU.MURK. PART III. ANIMALS. As a sport, wild animal j)hotography should enjoy a far greater popu- larity than it does, for anything more exciting tlian stalking a wild animal with the camera is hard to imagine. I'sually it is impossible to apijroach as near as one wishes to animals in their native haunts, and it is astonishing 15S X-rlTf'K£ ]]'ITH A KODAK. how close one needs to be to a deer for instance, with the lens of ordinary focal length, in order to secure an image of appreciable size. Every year hundreds, almost thousands, of Kodak photographs of deer are made, and in nearly every instance the owner of the camera is surprised, often disgusted, at the insignificance of the animal, frequently a magnifying glass being necessary before its whereabouts can be discovered, so the first thing to remember is, not to press the button too soon. Wait until you are near enough to have a picture of the animal. Before going oft to the woods KorAK. day Squi}-}€l. A. RADCLM l-~E DVGMORE. make a few experimental pictures of a calf at different distances and notice the results. Then you will ha\-e an idea of what vou mav expect when photographing a deer. The hand camera telephoto lens can be used when conditions are favorable, that is to say when there is plenty of light, for they are \-ery slow, and instantaneous exposures can only be made under most fa\-orable conditions. Practically speaking, it is not possible to make instantaneous exposures with a telephoto, giving a magnification of more than four diameters. In using a telephoto for hand camera work it is of the utmost importance that the lens should be extremely rapid, nothing slower than /I 6.S being of any real use. NATURE WITH A KODAK. 159 In all wild animal photography, the cam- era has to be kept in complete readiness, fre- quently for many hours at a time, sometimes for an entire day, therefore it is advisable to keep the camera sheltered from the sun as much as possible, and as a further precaution, the lens should be capped until you are about to make the exposure. Do not be tempted to make instantaneous exposures of animals in the woods, especially if there is much foliage. E\en in winter, when the ground is covered with snow, snap shots in hea\ily timbered woods are not as a rule satisfactory. Small animals, such as squirrels, mice, rabbits and others are all inter- esting subjects for the camera, but to gi\'e any idea of the methods employed, would be to give a life history of each animal. Experience alone must be the teacher. KOI'AK. Snapptni; Tin lie. A. RADCL\M-K DLL..MORE. PART nil. FISH. Here we have the easiest branch of nature photography. Beautiful fish pictures can be made by any one having ordinary skill with the Kodak. All that is necessary is an aquarium which may be made in the form of a box with one glass side and a movable glass partition set in groo\es of about three, four and six inches from the front glass. This allows you to keep the fish near the front so that it will be in focus. It also prevents the back- ground of vegetation being disturbed by the rapid movements of the fish when it is first placed in the restricted space. This \egetation should, of course, be selected according to the habitat of the fish you wish to photo- i6o KATCRE WITH A KODAK. graph, surface fish requiring nothing in the way of accessories, while those that live among the aquatic plants should have plants as accessories. The aquarium should be white inside, a lining of white oil cloth being about the most satisfactory material, as it reflects a great deal of light and is easily cleaned. Good pictures can only be obtained by using absolutely clear water, ha\-ing plenty of sunlight, and by keeping the glass clean and dry. The slightest moisture on the glass (due to condensation) will com- pletely spoil the picture. The water in the aquarium must be kept con- stantly changed or aerated by vegetation, or the fish will die. The tempera- ture of the water also is ver)- important. With fish such as trout, accustomed to cold water, ice should be used so that the temperature will not be over 45 degrees. Avoid handling the fish more than is absolutely necessary. If you have to take them in your hand, grasp them firmly with both hands so that they cannot wriggle, but the better way is to use a small landing net, Place your camera exactly at right angles to the glass, and if you have bright sunlight, gi^'e short exposures, y'^^'o o^ ^ second being sufficient with an ordinary flat lens, unless the vegetation is very dark. Simplicity in Composition. BY ALFRED STIEGLITZ. The request of the publishers of this book to write for them an article of fifteen hundred words upon Simplicity in Composition, reminds me of the college professor who was accustomed to call upon his students for extempore dissertations upon subjetls which he would suddenly propound. Unconscious of the humor of his demand, he one day called upon one of his favorite scholars in the following terms : " Mr. Thompson," he said, "your time will be fi\'e minutes and your subjefl, 'The Immortality of the Soul.' " I, too, can sympathize with the feelings of Mr. Thompson, for the subjeft of Simplicity in Composition is as difTlcult and complex as is often the most simple appearing piflorial composition. The popular conception of a simple picfforial composition is apparently not one in which the elements are reduced to the fewest possible terms, but one in which such elements are so subtly arranged as to impress the beholder so directly and forcibly with the central or dominant idea of the picture that everything else, e\'en though covering a goodly portion of the pi6lure area, is so subordinated as to appear of but little moment. To achieve such a result, presents to the artist a problem which becomes more complex in proportion to the so-called simplicity of the composition. In fa6l, one can truthfully say that the ratio of diiSculty varies dire6Hy as the square of the simplicity. Just as in music we find that the simpler the theme, the more thorough must be the knowledge of the musician in order to compose acceptable variations thereon. So, in fact, in every art this rule obtains, and the simpler the apparent result — assuming, of course, that such result is really beautiful — the greater are the care, knowledge and taste required. The problem that is presented is practically one of elimination. To include all that is necessary for the elucidation of the composition and to exclude cvervlhiiig that is unessential to a clear statement of the dominant underlying idea, taxes the abilities of even the best artists to their utmost. I must not be misunderstood to say that every great work of art must necessarily be simple in its composition, for many of the great master- pieces in painting are built up upon very complex geometric lines. In fact, the nature of the composition is largely dependent upon the subjccl; and the manner in which it is intended to be represented. I am now alluding mainly to linear compositions, there being also tonal compositions, mass compositions, color compositions and combinations of all these. This holds true in varying degree in photography as well as in painting. Those i62 SIMPLICITY IX COMPOSITION. modern pictorial photographs which have attracted so much attention, especially in Europe, because of their composition and tonal treatment, nave been subjected in their development to the same influences that have afledted the modern painter generally. Their keynote is simplicity in arrangement and the true rendering of tonal \'alues. The one element absolutely essential in e^-ery composition is balance, without which no picture can ever be satisf)'ing. Lacking this, a pic'ture becomes restless and irritating and the beholder turns from it with a sense of relief. No formula can be drawn up for the simplification of the course of study necessar}' to an understanding of what constitutes good composi- tion. To a natural taste must be added a careful and understanding study of the best accepted work of all forms of art, old and new. In photography this is even more essential, if possible, than in painting, for the photog- rapher, usually working in monochrome, has not the resource of color upon which the painter can draw. Consequently, the only advice is to study the best pictures in all media — from painting to photography — and to study them again and again, analyze them, steep yourself in them until they unconsciously become part of your esthetic being. Then, if there be any trace of originalit)- within you, you will intuitively adapt what you have thus made a part of yourself, and tinctured by your personality you will e\'olve that which is called style. The ultimate result of the before-mentioned elimination will bring us to a representation in which there appears one single, simple objecl which the average photographer would say was incapable of composition because it stood in no relation to anything else. In this he is woefully mistaken. It first of all stands in relation to the boundary lines of his print ; and in the position it occupies, it divides the surface into spaces. This relation con- stitutes space composition. Next it stands in relation to its background and here ends the problem of aerial composition. Again it must be illumi- nated from some source of light and this brings in the problem of light and shade or chiaroscuro. Gi\en a single subject, to produce with these elements alone a truly big picture calls for the display of the greatest art. So apparently simple and yet important are the elements that a slight error in any one particular assumes the proportion of a gigantic fault and the whole composition falls to pieces. Herein lies one of the fascinations of Steichen's photographs. In his direct and simple handling of light and shade and spacing there is a subdety of which even the a\-erage photog- rapher is conscious «-ithout being able to analyze why. This lack of understanding is often due to all lack of art schooling and above all to his want of proper association. Nothing educates and refines more than proper association. SIMPLICITY IX COMPOSITION. 163 Taking now our single, simple object and introducing another simple object into the composition, there immediately springs up a more complex sense of relation. The newly introduced object must now be studied not only in its relation to the three factors previously enumerated and to object No. I, but its relation to each one of the three factors operating upon our first object. This becomes thus a geometric progressive and so ad infhiitum. The more involved these relations become, the less important are errors in these minor relations — yet should all these relations be harmonious the The Hand of Man. ALKUliD STIliGLITZ. result, though seemingly simple, is wonderfully fascinating to the nature student of composition. An instance of this can be found in Whistler's " Piano Room ". I have often been told that one of the main characteristicts of my own photographs lay in their simplicity of composition, and ' ' The Hand of Man is frequently instanced as an example of this quality. As the lines of composition in this picture are anything but simple, I have come to the conclusion that the average person confounds simplicity and directness of subject with the totally different quality of simplicity in composition. 1 64 SIMPLICITY IX COMPOSIIIOy. Had " Gossip- Katwyk " been instanced as a picture showing simplicity in composition, it would ha\"e been nearer the truth — vet this picture presented to me in its composition one of the hardest nuts I e\"er tried to crack. Given a homelike, e\-er\-day subject presenting familiar objects, the tendency is to cry : How charmingly simple in its composition ! Unconscious of the fact that the subject appeals to us and not its linear or e\-en pictorial treatment. And now I must return to my anecdote with which I began. So com- plex is the simple subject " Simplicity in Composition " that these stray and random thoughts have not begun even to outline it. There is one piece of Gossip'Kdt-^yk. ALFRED STIEGLITZ. simple and direct advice which I wish to iterate and re-iterate — for I believe this is written for one who has mastered the A B C of the technique of photography and is about ready to di\-e into the mysterious deep of art : Observe the work of recognized artists — I do not mean look at it, but observe it — make it your own. Then study the appearance of nature more closely than ever h&iox^—eicryichcre. And there is also one simple and direct warning I would like to give : Avoid books on composition as you would the plague, lest they destroy in your mind all other considerations than the formula which they lay down. If you must be taught bv others, not being able to teach yourself, seek out a broad-minded teacher, but guard your originality as the one precious possession which mav sa^-e you from turning out machine-made «-ork. Clouds and the Landscape. The subjeft of clouds in photography is one that, although given some thought by advanced amateurs, has not been given the attention which it deserves. It is not alone an interesting study, but it is necessary that one understand how to produce clouds in his pictures when he is unable to obtain them directly in the negative. Frequently we pick up a landscape ; both the composition and lighting are good but there is something lacking in order to give that harmony which is so essential in landscape work. Above the landscape we see a blank white space and a second thought sug- gests that a cloudy sky would have given a finish to the pifture that could be obtained in no other way. There are two methods of obtaining clouds : First, to photograph the landscape when there are clouds in the sky ; second, to obtain the clouds by the printing-in process. Both have their advantages. With the former the great difficulty lies in being able to give an exposure that will allow of obtaining a negative having a sky and foreground of proper relative print- ing densities. In most cases we e.xpose for detail in the foreground and by so doing we over-expose the sky, and the result is that that portion of the negative is strong or dense and lacks almost entirely in detail. If we expose for the clouds, we under-time the foreground. Kodoid Plates and N. C. Film are particularly adapted to this class of work because of their orthochromatic qualities, which make it possible to obtain better color values. This results in a negative having more even density. We may also use the color screen, or filter, which in a large degree compensates for the want of agreement between the sensitiveness of film or plate and the sensitiveness of the eye relative to color. The best results, however, are obtained by the combination of Kodoid Plates or N. C. Film and the color screen. Occasionally, even when using orthochromatic film or plates in connexion with a color screen, we obtain a dense sky, due to over-exposure and sometimes to over-development. It then becomes necessary to reduce the strength of that portion of the negative if we would obtain detail in our prints. The following formula for reducing will be found to give very satis- factory results if the instruttions are properly carried out : To I oz. of Red Prussiate of Potash add i6 ozs. of water. Dissolve and keep from the light in a tightly corked bottle. Then make a separate i66 CLOUDS AXD THE LAXDSCAPE. solution composed of i oz. of Hypo-Sulphite of Soda to 12 ozs. of water, to be kept in a separate bottle. With the abo\'e solutions, a couple of trays, plenty of water and several tufts of absorbent cotton you are pre- pared to do the work. After placing 4 ozs, of the Hypo solution in a tray, add about 60 drops, or one teaspoonful of the Potassium solution. This is known as the reducer. If, after a trial, this is found to be too weak, add more of the Potassium ; if too strong, add water. After thoroughly washing your film or plate, place it against a sheet of ground glass (sky down) which has been inclined at an angle of 45 degrees, over a tray that will catch the drip, and before a light that will enable you to see through the negative. Now take a tuft of cotton soaked in the solution and gently rub that portion of the negative that you wish to reduce. You should also go over the surface every three or four minutes with a second tuft of cotton kept saturated with clear water in order that the negati\'e reduce e\-enly. Be sure to keep the reducer of! any portion of the negative that you do not wish it to acl upon. Watch the action of the solution closely so that it does not go too far. When the negative is reduced to the proper density, place it in running water for an hour or so in order to stop all action of the reducer. THE PRINTING-IN METHOD. Before attempting to add clouds to your landscapes by the printing-in process, it would be well to obtain a collection of cloud negatives in order that you may be able to select one that will fit each case, for it must be remembered that the clouded sky needed in each instance depends almost entirely upon the conditions existing at the time the landscape negative was obtained. For instance, should you picture a landscape when the sun is directly back of the camera and then print-in from a negati^-e, the clouds of which ha\-e recei\"ed their illumination from immediately in front of the instrument, you can readily imagine the result, due to cross lights through- out the picture. Then again, if the landscape is illuminated from the left, see that the clouds in the negative used are illuminated from the same point. Do not combine clouds taken on a sunless, lowry day with a landscape taken when iUuminated by the direcl rays of the sun, or \-ice versa. Cloud negatives that are to be used for printing-in should be thin. They should, howe\'er, have sufficient strength to gi^-e brilliancy to the print. There are se\-eral ad\'antages in using a cloud negati\'e which is more or less transparent, as you can see through it and better judge as to its adjustment o\er the print to which you propose to add the clouds. CLOUDS AXD THE LANDSCAPE. 167 THE NEGATIVE. When obtaining negatives for printing-in, it is necessary to make very short exposures because if we over-expose, even very slightly, we destroy the delicate contrasts that exist between the high-lights and shadows and thereby flatten the negative. For instance, if we make an exposure of ^jV of a second with stop U. S, 8 for an ordinary landscape fully illuminated by the direc!:!; rays of the sun, we in most cases properly time the foreground but overtime the sky, destroying its beauty, and for that reason, when exposing for the sky alone, -^V or even ^\^ of a second with stop U. S. 32 will in most cases give perfect detail. An exposure thus obtained should be carefully developed, too much contrast avoided and development stopped the moment that full detail appears. You will then ha\e a negative that will print rapidly and give you all the gradations of light and shade that were impressed upon the eye at the time the exposure was made. It would be well to add that if a light color screen is used, it will improve your negative somewhat but will increase the length of the exposure required. THE PROCESS. In the first place, it is necessary, when printing the foreground, to obtain a white sky. In order to do so you must mask that portion of the negati\'e in order that the light may not penetrate the film and affeft that part of the print underneath it. First, take a sheet of thin strawboard and roughly sketch across its surface (about midway between the top and bottom) a mark to correspond as nearly as possible with the sky line of your negative ; then cut your board along this line. Save both halves because you will need them later. Now procure a print frame (containing a sheet of glass) somewhat larger than the negati\-e you are to print from and after locating said negati\'e in the proper position, fasten it to the glass with small stickers, then tack the upper half of tlie cardboard to the face of the frame so that only that portion of the negative which you wish to print from will show. Now cover the entire face of the frame with tissue paper and you are ready to print. After removing the print from the frame, if you use printing-out paper, you will find a properly printed foreground with a pure, \\'hite sky. Now place your cloud negative in the print-frame and properly locate the print over it, using the lower half of the cardboard to cover up the fore- ground so that the light will reach the sky only. It should be borne in i6S CLOL'DS AXD THE LAXDSCAPE. mind that the cardboard (which we will call a mask, or vignetter) when tacked on the frame should be raised up from the glass about one-quarter of an inch, so that, n'hen printing, the light will diffuse and not produce a sharp line on your print. When using Velox, as the image does not show before de\-elopment, it will be necessary to mark the paper at the edge in order to tell just where the sky line comes : otherwise you will be unable to properly locate your cloud negati\e. When using de\-eloping papers it would be well to paste two or three thicknesses of tissue paper o\-er your frame. Fig. I. Trim, Trim, Trim. Trim your prints niercilesbh-. It is safe to say that three pictures out of every four can be impro\'ed by a judicious use of the shears. One picture has too mucli sky, another too mucli foreground and another one a whole side with nothing in it worth keeping. When a portion of a picture has nothing in it that is interesting or necessary to tlie bakuice of the picture Fig. II. lyo TRIM, TRIM, TRIM. cut it out, Xote, if you please, the improvement made by cutting off the foreground in the accompanying illustration. Left untrimmed, as in Fig. I, the picture has little to recommend it, but \vith a snip of the shears we have cut out the flat and uninteresting foreground and have secured a pic- ture of far more than the usual interest and beauty (Fig. 2). Take two cards and experiment with your photographs if you ha\-e not the heart to attack them with the shears, laying the cards on them in such a way as to cut out from view what seem to be undesirable parts. An experiment of this kind will soon satisfy you that the shears can be used to advantage. HELPFUL HINTS. Don't use your hypo tray for anything but h)'po. Look on your ground glass, not through it. Keep films, plates and paper in a cool, dry place. Label your chemical bottles and keep them well stoppered. Always dust out your plate holders and dust plates well before loading. A speck of dirt on the plate will lea\'e a transparent spot which will in turn leave a black spot on the print. Film cartridges are dirt as well as light proof and so the film requires no dusting. Dust will, however, sometimes settle on the sections of film in place in the focal plane inside the camera if a long time elapses between winding the film into position and making the exposure. A famous lecturer and photographer overcomes this difficulty when cycling over ^■ery dusty roads by not turning the key until he sees a picture he wants to take— a very good lA'i'B. proinded you doii' t forget to turn the key. Dust on the film after exposure does little harm as it cuts oft no light. When in doubt, over-expose. It is easier to restrain than to force development. Do not develop in warm water as it is likely to cause frillino-. The developer should be about 60° Fahr. A Saturated Solution is one in \^-hich the liquid has taken ud all of the solid which it will. USEFUL TABLES. AVOIRDI-POIS WEIGHT. LIQUID MEASURE. 27.34 Grain5=i Eiram = :7.34 Grains. 60 Minims=i Dram. 16 Drams=i Ounce=437.5 ( , rains. S Drams=i ounce. 16 Ounces=i pound=7ooo Grains. ]6 Ounces=i pint. In purchasing or weighing chemicals it is always safe to use grains as the standard of weight, as they are alike in Avoirdupois, Troy and Apothe- caries' tables, while the other terms vary. Stereoscopic Photography. The stereoscope is an optical instrument for gi\'ing to pictures the appearand^ of sohd form as seen in nature. In other words, it combines in one, through a blending of the rays of light, two pictures taken for the purpose from two points of \'iew. We might say that all objects seen with both eyes are \'iewed stcreoscopicall)', as each eye sees the subject from different points, but these two views blend as one on the mind's eye. In order to produce pictures that are stereoscopic, we must first have a camera \\ ith two lenses placed at from 3 to 3J2 inches apart. We can then make two negati\'es of the same subject, side by side, differing slightly as to point of view just exactly as our t\\ o eyes differ as to point of view. Now if we make a print from the negati\'es at they are obtained in the camera and view them in the stereoscope, they would ajipear blurred to the eye, because the right eye «"ould view the subject as taken by the lens at the left of the camera and "'I'fe vc/'sa. This is due to the picture being taken upside down. It, therefore, becomes necessarv to transpose the\'iews (re\'erse their position) in order that they appear as if coming from an intermediate point. Thus thev impress themseh'es upon the eye as one and gi\'e the idea of solidity and perspecti\'e. When making the exposures, be sure that the camera is held le\'el ; otherwise the two jiictures will not be on the same horizontal plane. TRANSPOSING NEGATIVES. If you wish to make a quantity of prints from one set of negatives, it would be advisable to transpose the negatives themseh-es in order that the prints therefrom be identical. A Stereo Kodak Cutting Guide is furnished with each stereoscopic Kodak. This guide ma)' be used to trim both negati\'es and prints. If the camera produces negati\'es three inches or more in width, it would be necessary to trim the prints exactly three inches wide, which with one or two exceptions is the width of a single stereoscopic print. In order to obtain prints which are perfectly stereo- scopic, it is first necessary to select some particular point of interest near the center of each negati\'e. For instance, place the film on an easel in contact with a sheet of glass in such a manner that you will be able to \iew it by transmitted light, the film side toward you. Place the guide on the 172 srEr^£OSCor/c I'HOtocraphy. right hand neg£ti\e, the straight edge in the center over some particular point of interest in the middle distance. If margins remain on both sides, trim the negative at the right of the guide. It may then be remo\'ed to the left hand negative, the straight edge in the center being placed o\-er the same point of interest as was selected in the right hand exposure. When in this position, trim the negative on the left. Tire negatives should then be separated and transposed, the cut edges brought together so that they will be e\ en at top and bottom and fastened to a sheet of glass (which will fit in 3"our frame) by means of small stickers. A^'hen using glass plates, they may be marked and then cut and transposed the same as films, the tuo halves being supported upon an e.xtra sheet of glass. The negati\'es are then in a condition to print from. When printing, it would be ad\'isable to use Solio, Kloro or Glossy \'elo.\, which may be obtained the [iroper size for ordinary stereoscoiiic ^■ie\\■s. If the center of the sheet of paper is placed directly o\'er that point where the films are matched together, after the print has been toned and washed, it may be mounted on the regular 3^< x 7 stereoscopic mount without further trimming. If only a few sets of prints are to be made from the negatives and you do not care to go to unnecessary trouble, prints may be obtained from the negati\'es without cutting them and after being toned and dried may be trimmed and transposed. When- making prints from the negati\'es before they are transposed, it would be necessary to mark each print so that there would be no chance of getting them mi.xed before mounting. To trim prints recjuires care. The same guide used for trimming the film may be used for the prints by simply selecting the same point of interest in each l^rint and then trimming on both sides. A very slight difference would ruin your picture, so be \'ery particular in locating the guide. Pay no attention to the difference in the appearance of objects at each side of the print ; as they will differ owing to the tuo negati\-es having been made from different points of view. When trimming the bottom and top of the prints, select some prominent object in the foreground and place the edge of the guide across the bottom of the print, trimming at right angles with the upright line. After the bottoms of both prints have been trimmed at exactly the same point, then trim the top so as to bring the print to the proper size, 3 >^ 3/i- Prints must be identical in size and must be trimmed by measure- ment from a common point at or near their centers, otherwise they will not be stereoscopic A\'hen trimming and transposing .Stereo-Brownie* negatives, the above instructions may be followed, but due to the fact that the camera is of different size, the Cutting Guide is a trifle smaller and it is, therefore, *XoTE.— There is now manufactured in tlie Xo. 2 Stereo Brownie size an .Automatic Stereo printing Frame b> means of which the prints are transposed with absolute accuracy without cutting. STJIA'/iOSCi n'lC PHO TOGR.IPHV. 173 necessary to separate the [irints after tliey lia\e been properly trimmed and mount them /■; of an inch apart in order to obtain the proper stereoscopic effect. This may be easily accomplished by marking the mount in the center and placing each print at an eijual distance from it. For the benefit of those who are not in possession of a Stereo guide we would suggest, as a substitute, a sheet of glass of the proper width with an upright mark drawn through its center. THE SUBJECT. In obtaining the best stereoscopic effect, much depends upon the choice of the subject. When all objects in your picture are at a distance, the view appears flat. As we judge distance by perspective, it is necessary to have rather a strong foreground, some figures or a tree or two will answer this purpose nicely. To thoroughly understand this, look at a distant landscape devoid of foreground, first with one eye and then with the other ; both appear the same. Now place a figure of some kind directly ahead of you, say ID feet, then view the same subject with the left eye closed, and you will see more of the view on the right hand side of the figure. Then close the right eye and note the difference. When we bring together in the stereoscope the two views made from different points, we find perspective and solidity of form, just as we do when we view it with both eyes. The Sensitizing and Use of Plain Papers. BERNARD ALFIERI. When I say plain papers I mean, of course, papers without a superficial coating of gelatine or albumen. In the choice of these for salting and sensitizing there is no restriction except that of chemical purity, and no difficulties in manipulation greater than will be met with in any other printing-out process. Bromide "matt" papers do not come under this heading, since the gelatine surface is only made "matt," or free from glaze, bj- the use of starch, resin or other admixture in the coating of the paper. Platinotype is a typical example of a "plain" paper, and similar results may be obtained by the use of siher salts instead of platinum, ^\ith the additional advantage of a far wider range of color and texture than is possible in that process. CHOICE OF PAPERS. Your paper should be chemically pure and particular!)- free from iron spots (which, when the paper is sensitized, will spread out like asterisks, J and at the same time it should be selected with your ultimate aim as to effect \\ell in xiew. The purest I ha^e found, next to " Rives," on which platinotype is coated, and for the matter of that most sil\-er papers, too, is Whatman, \\hich is sold in three grades, viz.: H. P., hot pressed or smooth ; X., not, and R., rough, and then come Arnold, Harding and HoUingworth, all of which may be obtained from the principal Artists' Colormen without any difficulty and in ^'arious sizes. " Ro}'al " measures 24 x 20 in. and Imperial 31 x 22 in.; and costs from 3d. to 6d. a sheet, according to its weight. These sheets can be cut up to the sizes you wish to print, allowing a little margin to handle them b)- in salting and sensitizing. SALTING AND SIZING. Ha\-ing decided upon the paper you wish to use, a salting bath is made up as follows ; Common Salt, - - - 50 to ico grains. Gelatine, - . . _ . 10 grains. \\ ater, - - - - 10 ounces. rilE SEySITlZING AXD CSE OF PLAIN PAPERS. 175 But this again is a \ariable quantity, soft and porous papers requiring more gelatine to size them than hard, rough surfaces will take up. The bath should be used hot, so that it is thoroughly absorbed. The exact time of immersion — for the paper is put in bodily, not floated — does not matter, and it will be often found necessary to let the first sizing dry and then to give a second bath later on, that the pores of the paper may be well filled up. You can salt half a dozen or more sheets at once, turning them over from time to time and then hanging them up by American or other wood clips to dry. At this stage the paper will keep indefinitely, but it is as well to keep it under pressure that it may be easier to manipulate in the subsecjuent process of sensitizing. The stronger the salting the weaker may be the sensitizing, and there is room for considerable variation in both according to the character of the negative you are going to print from and the result you want to get. The paper is now ready for sensitizing, and this is done on any of the ordinary silver baths used for albumenized papers, the standard being 60 grains Nitrate of Silver, to I oz. of \\'ater(preferably distilled) and 15 grains (.)f Citric Acid. This, with occasional strengthening, will last for a long time kept in a dark place in a stoppered bottle. SENSITIZING. Take your salted paper by the right hand corner and float it on the bath, using gentle pressure at the same time to e.xclude air bubbles, (which would come out as insensitive spots in printing), leave it floating for 2 or 3 minutes, then hang up to dry in a moderately dark room until it is ready for use. I have found it always better to sensitize paper slightly damp, since one can get a more even coating, and tlie edges do not curl up in the provoking manner common to papers when dry, but care should be exercised to avoid the sensitizing solution coming on to tlie back of the paper. PRINTING. This is done in the ordinary manner in a pressure frame, but the image may be taken rather darker than with ordinary albumenized papers to com- pensate for subsequent loss in toning and fixing. But be sure to varnish (12) 176 THE SEXSITIZIXG AXB USE OF PLALX PAEEKS. your negati\-es before printing, to a\'oid staining them. I cannot explain it, but the fact remains that although I have ne\-er had staining occur with albumenized papers, «"ith the use of strongly salted and sensitized drawing papers, such an occurrence has been frequent, and although there are sex'eral reputed cures for such staining, I never 3'et fo-und a satisfactory one. TONING. Any bath that will tone albumenized prints ^^"ill act perfectly well with plain salted pajiers, but to obtain a rich red brown with what are called "juicy" de])ths in the shadows and undegraded whites in the high lights, use the following stock solution : 15 grains Chloro-platinite of Potassium in '2 oz. of Water. Then, when you have prints to tone, take from it one dram mixed with 4 oz. of water with a few drops, sa\' 5 or 6, of Xitric Acid. This bath will be found to tone very rapidly and it will keep fairly well. Toning being completed, wash for a minute or two and neutralize your prints in a weak bath of Carbonate of Soda, they are then ready for fixing in the usual way. FIXING. Hypo-Sulphite of Soda, - - - - 4 oz. Water, - - - - - - 20 oz. I look upon thorough fixing as necessary to ensure permanency as is thorough washing in running water afterwards, and prints should be left in the fixing bath for at least 15 minutes before the}' are put in the washing trough, where they remain for at least a couple of hours. I came across a print on plain " Saxe " paper done by my father at least 30 years ago and it is as fresh and bright as on the day it was made. It was a point with him to dab each separate print with a sponge under running water, back and front, for a considerable length of time, and I ha\-e ne\-er seen such littie change in color of silver prints as are to be noticed in his. When your prints are well washed, I take it that you have got as near to permanency as that unstable metal, silver, will allow, and although the directions for the manipulation of plain paper seem formidable enough, they are not really more so than would be required for the intelligent use and practice of any other printing-out process. Still, for those who do not want the bother of preparing their own THE SEXsrnzixG and lse oe plaex papers. 177 paper, there is one very much of the same grain and texture as platinotype, sold under the title of the " Blackfriars Matt." I mention it with diffidence, since I am interested in it to some slight, extent, but, as a matter of fact, I know of no other on the market, as that prepared by my old friend, X'alentine Blanchard, has been withdrawn for some years, and anotlier, known as " Mezzotype " whicli was issued by the Carlotype Co., has suffered a similar fate. With this paper, which is a chemically pure one of French manufacture, any tone, from warm red to black, can be obtained by the use of the platinum bath, and its approximate permanency is tolerably certain. There is another method of obtaining prints on plain paper, which has been duly laid down by Lyonel Clark in his contributions to the Qtuicia Club Journal oi a. few j'ears ago, by de\'eloping an under- printed picture with a saturated solution of Gallic Acid or Pyrogallol Solution acidified with Acetic Acid. Mr. Clark also recommends the use of Arnold's pure unbleached paper in preference to any other. This is made of linen fibre instead of cotton rags and is free from chlorine or bleach in any form. Besides "Arnold" there is imitation "Creswick," which is rather more expensive, but of a fine color and texture for this kind of work. Being a heavy and thick paper ( 1 10 lbs. to the ream Royal) it requires considerably more gelatine in the sizing than Whatman, and I have sometimes found double sensitizing advantageous in obtaining strong prints. There are again Joynson, Michallet and Ingres papers, all of which are suitable for salting, and some of the latter being in delicate tints open up new ground for photographic workers. Carbon Printing. JAMES A. SINCLAIR. It is very doubtful -whether any process so completely fills the require- ments of the artistic photographer as does the carbon process. Its long scale, reproducing perfectly e\'ery gradation of the original negative, its permanence, its great variety of color, its wonderful transparency in the deepest shadows, and its adaptability to any surface, all combine to render it the most perfect of photographic printing methods. Sometimes, indeed, its very perfection is a barrier to its use. If we have to print from a flat, thin negative in carbon, we shall certainly obtain a flat, thin result, but for a negati^'e with a \ery full scale of gradation, especially large and enlarged negatives, it is the process par excellence. Year by year it gains steadily in favor, and our exhibitions have greatlv impro\'ed in general appearance by the variety of color it has given to their walls. In this short article it is my intention to gi\'e a brief outline of the process, embodying the salient points, which, if followed by the tyro, should ensure his success, but at the same time I would recommend him, after he has mastered the initial difficulties, to read some text book and make himself thoroughly acquainted with all the details and higher branches of the subject. Carbon Printing, as we know it to-day, is based on the fact that a mixture of gelatine with a chromic salt is gradually hardened and rendered insoluble on exposure to light. If, therefore, paper is coated with such a mixture of sensitized gelatine, containing any permanent pigment — Carbon was originall}' used, hence the name of the process — and if this paper is placed underneath a negati\-e and exposed to actinic light, we shall have a positi\e image formed, consisting of soluble and insoluble gelatine; insoluble in exact proportion as the light has reached the surface of the pigmented compound. De\-elop- ment consists in washing away with hot n'ater those portions of gelatine \\hich the light has not attected sufficiently to render insoluble. Now, without going more minutely into details at this stage, and perhaps frighten- ing the beginner with imaginary difficulties, I would assure him that the process only needs care, cleanliness and exactness at e\'erv stage in order to ensure success. To those taking up Carbon Printing for the first time, a start should be made with the " Single Transfer Process ". This is the simplest form and CARBON PRINTING. 179 has some advantages o\'er the " double transfer" because less manipulation is required, and, moreover, it is easier to produce prints on rough drawing papers by its means. The only objection to it is that everything becomes reversed; what was on the right hand side of the original is now on the left hand side of the print, but this is of little moment for purely artist'c work. Of course, where enlarged negatives are required, specially for Carbon Printing, they are usually made re\'ersed, and such will gi\'e a true result after printing by the single transfer process. Eastman films may be printed through the film itself, i. e. , with the celluloid side in contact with the "tissue" — as the pigmented printing paper is technically called — and the resulting print will render the picture in its correct aspect. REQUIREMENTS FOR THE SINGLE TRANSFER PROCESS. Carbon Tissue, Thermometer. Black Varnish or Lantern .SHde Binders, Alum. Single Transfer Paper, a little larger than Actinometer. the negative. Blotting Paper. A Flat Squeegee— not roller. 3 Dishes (2 for cold water and one for Squeegeeing Board. Alum Solution). Bichromate of Potash. i Developing Tank or large basin to hold Camel's Hair Mop Brush. hot water. SENSITIZING THE CARBON TISSUE. Carbon Tissue is the name given to the paper coated with pigmented gelatine and may be purchased from the photographic stock dealers in almost any desired color. When insensitive, it will keep in a dry place almost indefinitely. Should the beginner be able to purchase it ready sensi- tized, he is ad\-ised to do so, because tissue sensitized in the making is usually manufactured from softer gelatine and consequently development is easier and quicker. Sensitizing is, however, a very simple operation, and if done at night the tissue is ready for use when dry the following morning and \\\\\ keep in good condition for about a fortnight, although, when preserved in a calcium tin, such as is used for platinotype paper, its longevity is very greatly prolonged. The sensitizing solution is made as follows: Potassium bichromate, ------- i oz. Water, ---.--.-- 20 ozs. Ammonia, -------- 5 drops. The temperature of this solution should not be over 65°F. In summer it may be necessary to cool it with ice. A dish, somewhat larger than the tissue, should be filled to the depth of about one inch with solution. The tissue is now immersed in it, care being taken to avoid air bubbles as much as possible; but, should they occur, either on the back or front of the tissue, iSo CAI^BOX FJ^LXTIXG. thev must be quickly removed by lightly brushing the surface with the camel's hair mop. The usual time for immersion is about three minutes, but this \'aries greatly according to the temperature of the solution. A good plan is to remove the tissue immediately it becomes limp, placing it surface side downwards on a squeegeeing board — a plain board co^'ered with sheet zinc — and then remo\"ing the surplus moisture with a stroke of the squeegee. Should a squeegeeing board not be available, a sheet of plate glass forms an efficient substitute. The tissue is now raised from the board and hung up to drv by means of clips. The tissue does not become sensitive till nearly dry. ' DRYING THE TISSUE. The greatest care must be taken that this operation is carried out under suitable conditions, for after success depends very largely upon it. It is ad\"isable to drv the tissue as quicklv as possible and in an atmosphere free from all impurities. A properly constructed drying cupboard is very useful for the purpose, although an ordinary room in which the fire has been burn- ing during the day and which has been darkened to pre\'ent the entrance of white light, will do iust as well, and tissue left there at night will be ready for use the following morning. Care should be taken not to expose the tissue to e\'en the weakest actinic light, because it is more sensiti\'e than sih"er paper, and, moreo\-er, any light action set up, continues when the tissue is placed in a dark place. The tissue being quite drj', it is stored in a pressure box ready for use. PREPARING THE NEGATIVE. Xegati^■e5 for carbon printing should be \-igorous and full of gradation. Do not attempt your first print from a flat, thin negati\'e. Each negati\-e must be pro\-ided with what is termed a " safe edge." This is made by painting round the edge of the negati\-e with black varnish, or bv sticking a strip of black or yellow paper round the negati\-e on the glass side. Commercial lantern slide binders are \'ery con\-enient for this purpose because they can be affixed in a few moments. Without this safe edge there is great danger of the insoluble gelatine picture lea\-ing its support during de\-elopment. PRINTING-THE ACTINOMETER. The negati\-e being prepared we ha\'e only to place it in a printing frame, with a piece of the sensitized tissue in contact, and expose to dav- light as in any ordinary printing process. Now as we are printing on a dark CARBON J'R/yriyG. iSi colored surface it is evident that we must have some means for calculating the necessary exposure. Instruments for this purpose are known as Actinometers, and any of the commercial forms will be found quite simple in use after one or two trials. An alternati\'e to their use is to take a nega- tive of equal density to that we are printing in carbon, and, placing it in a frame with a small strip of Solio paper, expose the frames simultaneously to daylight. When the strip of Solio paper is printed to the " pretty " stage, i e. , lighter than it would be for toning, we may consider our carbon print is finished and readv for development. If we pause for a moment to think of what has taken place during printing, we shall see that the image of insoluble gelatine lies on the surface of the pigmented film instead of in contact with the paper supporting it. It follows, therefore, that if «-e place the " tissue " in hot water, the gelatine between the image and the paper will be dissolved and the insoluble film forming the picture will float away and be lost. Of course this difficulty might be overcome by printing through the paper, but this procedure would give rise to other troubles. The grain of the paper, the long time taken in printing — e\en when the paper is oiled as suggested by l\Ir. Blanchard — and the loss in definition, are serious obstacles to the success of this method. The difficulty has been met in a simple manner. If the printed tissue is placed in water for a few moments and then brought into contact with a flat surface excluding air, it will adhere during development. We, therefore, prepare wood, paper or other material on which we desire to transfer our image, by coating it with a layer of insoluble gelatine. Single transfer papers, smooth or rough, white or tinted, may be obtained ready for use, but probably the ideas of the photographer lead him to sometimes require something different to the commercial article and lie will prefer to prepare his own. For this purpose take : Nelson's No. i Gelatine, _____ j q^. Water, __.._.__ 2 ozs. and after letting it soak for some hours, dissoh'e by gentle heat. Add to this solution very gradually Chrome Alum, - 20 grains dissolved in 2 ozs. water, stirring vigorously all the time. With a s°tiff brush or sponge the chromated gelatine is applied to the surface of the wood or paper and allowed to dry. Ordinary papers require two coats, but Whatman and other rough drawing papers should ha\e three. Should Nelson's Gelatine not be procurable, any other make may be used in its place, but if they are harder the alum must be greatly reduced. Should Heinrich's Hard Gelatine be used, about four grains of Alum would be sufficient. A larger quantity might cause coagulation during mixing. i82 CARBOX PRIXTIXG. DEVELOPMENT. The print being ready for development, we prepare two dishes of cold water, one dish of five per cent. Alum Solution, a tank or basin of hot water about ioo° F. , a squeegee and squeegeeing board. Taking a piece of the single transfer paper, rather larger than the print, we immerse it in one of the dishes of cold water for a few minutes. (Whatman and other rough drawing papers should soak for hours, or else be placed in the hot water developing tank for half an hour before use. ) The printed tissue is taken from the frame and placed in the dish of cold water which contains the transfer paper, bubbles being carefully avoided. It usually commences to curl up and then gradually unfolds itself again. When nearly unfolded it should be brought into position, film downwards into contact with the prepared surface of the transfer paper. Lifting both tissue and transfer paper by the one edge, drag them out of the water over the end of the dish and lay them "tissue" side uppermost on the squeegeeing board. Now apply the squeegee vigorously to the back of the tissue in order to expel all the water between the two surfaces. The transfer paper with the adhering tissue is now gently lifted and placed between blotting boards and kept under slight pressure for about twenty minutes. At the end of this time, the transfer paper with the adhering tissue is placed in the tank of hot water at ioo° F. In a few minutes we shall see small quantities of soluble gelatine exuding round the edges of the tissue. We now take one corner of the tissue and lift it right away from the transfer paper. Unless it comes quite easily and without force, it should be allowed to soak longer. The tissue being removed, a dirty mass is seen on the single transfer paper. All \\-e have to do is to lea\'e this mass with the hot water till de\-elopment is complete. It is \\A\ to have a sheet of zinc or glass on which to support the picture during this operation, or the paper support may get damaged. Errors of exposure may be partially compensated at this point. Over- exposed prints may be reduced by raising the temperature of the hot water to 120° or I30°F ; while under-e.xposed ones should be left to automatically develop, face downwards, at a temperature of 90° F. When the print is developed, it only requires a rinse in cold water, immersion in the 5^ Alum Solution for 10 minutes to harden the film and remove the bichromate salt, a final wash to remove the alum, and the print is then hung up to dry bv means of clips. When dry the prints ma)- be mounted with any good mountant or starch paste. c:iA'j/(jx PA'j.yj'jxG 183 DOUBLE TRANSFER PROCESS. As pointed out earlier in this article, the foregoint^- method reverses the picture unless a negati\e has been S[)ecially made for single transfer m the first instance. For direct prints where reversal would be objectionable, we must use the double transfer process, which is fjuite as easy to work as the single transfer, but involves one more operation. The additional materials required are, Temporary Support, Final Support, Waxing Solution. With this process the procedure is exactly the same as regards the printing and de\'elopment, the only difference being that a temporary support takes the place of the single transfer paper. A flexible temporary support is manufactured specially for this purpose. If it cannot be pro- cured, a sheet of finely ground opal will ser\e the purpose equally well, provided the print is to be finallv transfeired to paper or other flexible surface. Whichever is used, the surface must be first prepared with waxing solution. This is composed of : Yellow resin, .---... t^(, grains. Pure bees-wax, ------ 12 trains. Etlier, -------- 2 ozs. After melting the wax, add the resin and thoroughly mix, remove from the fire and add the Ether. A small pool of the waxing solution must be poured in the center of the opal or flexible temjjorary sup[)ort, and this is then rubbed all over the surface with a piece of clean flannel. Allow to stand for a few minutes and then lightly polish with another piece of flannel. Directly the smell of the Ether has gone, the support is ready for use and may be kept in this condition. The print being developed, alumed, washed and dried, on the temporary support, is ready for the final operation. We cut a piece of the final support, a paper somewhat similar to single transfer paper, but coated with a thicker couch of more soluble gelatine, and place it in a 2',' Alum Solution about an hour before required fi>r use. The print on its teniporar}' support is now immersed in tepid water, 7o°E.; the final support is withdrawn from the Alum Solution, lowered into the tepid water, avoiding bubbles, so that the gelatinous side comes in contact with the print. The temporary and final supports are now withdrawn from the water together, placed on the squeegeeing board, the final support being uppermost, and brought into perfect contact by the \igorous action of the squeegee. When perfectly' dry, the print will lea\'e the temporary support \\ ithout difficulty, indeed if dried in a warm current of air it will probably fall off without our aid. 1 84 CAHBOX PRIXTIXG. Where opal is used, it may be necessary to insert a knife at tlie edge of the print. The temporary supports are not damaged by these operations and may be used for a large number of times, if waxed after each time of using. In conclusion, I would urge every serious photographer to master this fascinating process, for, till he has done so, he must be unaware of many of the possibilities of his art. The Gum-Bichromate Process. ROBERT DEMACHY. When a photographer has had the courage to go through some technical article on the working of a new printing process, he feels the joyous conviction that on following closely the author's instructions he will be able to produce a good print by the process as described ; at any rate he knows beforehand what qualities this standard print ought to have. I do not see the way to produce this happy confidence in the present case, for although I think I am capable of gi\ing a definition of what a good albumen or gelatine-chloride print ought to be, by comparison with a bad one, I am quite unable to define the good gum-bichromate print, and no instructions of mine will enable e\en an ardent worker to produce what a true artist will call a good gum-bichromate print. All that I can do is to enable him to produce a sheet of coated paper, the coating of which will dissolve and disappear in the places where light has not caused insolubility, while in other parts this coating will remain more or less adherent, according to the quantity of light admitted. This is the definition of the process in a nut-shell : What we want is a film — a colored coating w hich, after exposure to light under a negati\'e, will give us a surface quite soluble in some parts, partly soluble in others, totally insoluble in the rest. If « e succeed in manufacturing this sheet of coated paper we shall ha\e in our hands the foundation of a good gum- bichromate print — it rests with us to make a picture out of this, or a daub, or simply a common-place, faithful, photographic print. For in the gimi-bichromate process we cannot work with the same standards as in other processes. For example, in the silver printing process, under-exposure gi\'es a very bad print of a dirty color without strength or contrast. With gum-bichromate, considerable under-exposure means total absence of image. One cannot say that the print is a bad one, for in this case there is no print whatever, all the coating will disappear in the developing. Similar with great o\er-exposure ; in this case the paper remains just as it was before printing — a dull surface of black, brown or red. But whenever an image has been developed and has remained on the paper the resulting print may be good, for it can be made into a picture, and a fine picture, too, if the man who works at it is an artist and knows what he is about. iS6 TH!Z GUM- BICHROMATE FRO CESS. Mv meaning is that if the color used for coating is «'ell chosen and sufficiently deep, its nature will not be affected subsequently as it is by toning or de\'eloping from white to black in other printing processes, so most of the conditions which cause failure in sih'er chloride, bromide or in platinum papers are not to be taken into account \\'\\\\ this special method, for color and depth of color have both been chosen before printing and de\"elopment. In other words, as we work from dark to light, the condi- tions of ordinary printing are naturally reversed. \\ hat we aim at is to keep the color that we ha\"e already applied instead of stri\"ing to build it up. The materials are simple : Gum Arabic, Bichromate of Potash, and the cheapest of all pigments — earths. The gum need not be pure white gum, the ordinary red Gum Arabic works just as well as the purer samples, I have tried both and found no difference whate\'er in the results. Bichro- mate of Potash can be had of any druggist. Any sort of paper is suitable pro\'ided it is sized : all drawing and water- color papers are good, so are most writing papers, but highly glazed paper is most difficult to coat properly, though it works \\