ilitoljlill '',\f"~:il i 1l'l|' 'I'M' I iW4ii«'i']iIli!ii|j[Ai 'il\ 'ij , ,ll)Ml iSiijilMfliLliiB^^ ©yv'itli (snmpliniEiitB nf © © © o o o o o iThE eKuthnrs, Cornell University Library 3 1924 031 215 548 olin.anx The original of tliis bool< is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031215548 THE D n TOGRAPHERS' ROOK PRAGtlGAb ==• •— FORMaLAE COMPILED BY W. D. HOLMES, Ph. B. E. P. GRISWOLD. NEW YORK : Percy A. McGeorge, Printer, 220 and 222 William St. ® COPVR[GHTED 1888. BY W. D. HOLMES AND E. P. GRISWOLD, DEDICATED TO THE PHOTOGRAPHERS OF AMERICA. PRKKACE. In presenting this work to the pubh'c the Editors desire to say that their chief aim has not been to procure new matter, so much as to compile all the old formulse now in successful daily use, and publish them in such form that they may be conveniently referred to. Through the courtesy of many eminent photog- raphers, amateur and professional, we are also enabled to provide many things new and useful. We believe that our efforts will be appreciated, reali- zing that we have accomplished a good work. WEIGHTS AND MEASURES, PART AND PER CENT. SOLUTIONS. BY W. D. H. In all photographic manipulations it is first necessary to understand most thoroughly the systems of weights and measures at present in vogue. More confusion has arisen from a lack of this knowledge, perhaps, than from anything else in the art of photography. We are unluckily cursed with four different systems of weights — ^Avoirdupois, Troy, Apothecaries' and the Metric system — and these are often used indiscriminately by authors and those who compound formulae, and the for- mulae generally given forth without stating which set of weights is to be taken as the standard. As a matter of course the metric system cannot be mistaken for any other ; so it is with the first three that we have to deal. While in general practice, the avoirdupois, Troy and Apothecaries' weights are nearly enough alike to cause no very serious error in compounding our chemicals, still there can be no accurate results reached by those who are desirous of working by strictly correct weights, and who have sufBcient chemical acumen to analyze their work, So far as we know, the writers who specify what weight shall be employed can be counted on ten fingers The makers of dry plates are also at fault, and we can "call to mind but one or two instances where a definite statement is made by them. It has been a matter of some thought to the editors of this book as to the best means of indicating what system is used, and whether the formulae be avoirdupois or apoth- ecaries' weight. Where necessary, and to avoid all ambiguity, it has been decided to precede the formula with the name of the sys- tem given in full, thus : avoirdupois or apothecaries' weight, in all cases where it is definitely known. As a matter of course the grain is the same in both systems. It has been thought best to omit the avoirdupois drachm, as tending to confuse, and whenever necessary to substi- tute grains. Troy weight is practically the same as apothecaries', the only difference being that the pennyweight is used. Of this weight we shall not treat, as but few use it, and only in weighing precious metals. The table is inserted in its proper place, but no reference to it will be found in any formula. There are numerous formulae, many of them valuable, which do not indicate the weight intended. Therefore we must leave these to the judgment of the reader. We presume it is generally understood that chemicals are sold by avoirdupois weight, so that in using, say, Pyro, remember that the ounce contains only about 437^ grains. Do not take it for granted that, if you purchase an ounce of anything, you will receive exactly 437^ grains. One of the editors weighed an ounce of hydro- quinone recently and found he had 463 grains. Could the photographers of America be induced to adopt the Metric system, it would greatly simplify the compounding of all chemicals. It is not employed in this work 'because we do not think the country is ripe for it. But it is very easy to familiarize one's self with it. There is a very excellent little scale sold by, we believe, the Fairbanks Co., which has two bars for the weights to slide upon. One is graduated in grains and drachms (apoth.) and the other in grammes. After taking the weight de- sired by apothecaries' weight, take it in grammes, and it will not be long before one system becomes as familiar as the other. By the tables in the Appendix, it is easy to change from one to another. One- fluid ounce of water at 62° Fahrenheit, 'in open air, weighs 437^ grains (437.481 exactly). Weighed at the same temperature in vacuum, 437.9grs. (437.94i95exactly.) So it will be noted that one fluid ounce of water corre- sponds with the avoirdupois ounce. But while this is theoretically the case, it is rarely so in practice, owing to the fact that all except distilled water is more or less charged with impurities. Graduates are rarely perfect. It is well to remember these facts when compounding part solutions. The English pint and the American pint differ to the ex- tent of four ounces. In England it is 20 fl. oz., and in America 16 fl. oz. Therefore an English gallon contains 160 fl. oz., unless wine measure is specified, while an American gallon contains 124 fl. oz. In using English formulae we shall designate them as such, and the American by the ordinary abbreviations only. Part solutions we regard as exceedingly troublesome things to compound, from the fact that unless otherwise expressly stated everything has to be done by weight, and the amount of trouble in calculating the tare of the various vessels employed is very great. For example, let us suppose that a formula directs us to prepare a solution thus : Water, 8 Parts. Alcohol, 2 " Pyro, • . I " To take 8 fl. oz. Water, 2 fl. oz. Alcohol, and i oz. Pyro would be obviously incorrect The 8 fl. ounces of water would be nearly right, but the z fl. ounces of alcohol would be in the neighborhood of 1.6 oz. real weight. Con- sequently we must weigh each of the three to arrive at an exact result. For these reasons we are opposed to part solutions, in photographic practice, at least. Few photog- raphers have such apparatus as will give you accurate results. Per cent, solutions have received a great deal of notice in several photographic journals recently. One of the editors of this work, in a spirit of curiosity, began an inquiry among chemists and ' druggists as to what in their view constituted a 10 per cent, solution. Very much to his astonishment seven different formulae were discovered in one day, varying as much as 43.5 grains to the ounce of solvent. He embodied these re- sults in a communication to the Photographic Times and succeeded in stirring up a veritable hornet's nest among photographers generally. Our modesty forbids us giving any especial formula for compounding & per cent, solution lest we be seized upon by some man, told what is the right thing, and tjiat there is no use to differ, as his result is final. Consequently we withdraw from that field, and trust by the time we have another work in prospect, abler minds than ours shall have solved the problem' and put it into such shape that our scissors can attach it. COLLODION BATH PLATES. SENSITIZING SOLUTION. Nitrate of Silver, . . . 430 grains. Water, distilled, . , . . 10 fl. oz. Potassium Iodide, .... 6 grains. Nitric Acid, C. P., . , . 3 drops. After all the ingredients are dissolved shake well and place in the sun for several hours. This will reduce any- organic matter that may have been in the water-filter, and it is ready for use. SENSITIZED COLLODION. Ether, Sulph Cone, . . . 5 fi. oz. Alcohol, 95 %■, . . . . 5 fl. oz. Pyroxyline, 70 grains. Ammonium Iodide, . . . 32 grains. Zinc Bromide, . . . .16 grains. Solution of Iodide and Bromide of Silver, 4 fl. drachms. To prepare Solution of Iodide and Bromide of Silver, No. I. Potassium Bromide, ... 20 grains. " Iodide, ... 20 grains. Water, i fl. oz. No. 2. Silver, Nitrate, .... 50 grains. Water, i fl. oz. After the salts are dissolved, add No. i to No. 2. Wash the resultant precipitate of Iodide and Bromide of Silver three times in water and three times in alcohol, draining each time. Then add to the precipitate — Alcohol, . . ... . . § fl; o^. Ammonium Iodide, . . .150 grains. Shake well and let it settle before use. PLAIN COLLODION. Ether, sulph., conci, . . . 5 fl. oz. Alcohol, 95%", 5 fl. 0^. Pyroxyline, ..... 7° grains. NORMAL DEVELOPER. Water, 10 fl. oz. Acetic Acid, No. 8, . . . i >^ fl. oz. Alum, ...... 100 grains. Protosulphate of Iron, . . 200 grains. Remarks upon the foregoing formulae. Sunning the silver bath reduces organic matter, which, if present, would produce fog. The silver solution is al-, ways benefitted by sunning after use. Collodion. — The iodide of ammonium and bromide of zinc being soluble in alcohol, led me to tise them in preference to those which needed water for their solution. In making up collodion, no more should be excited that is needed for immediate use, as it does not keep as well as the collodions excited by cadmium salts. I usually made the collodion plain as per the formula given, and excited one day in advance as wanted. The addition of the iodide and bromide of silver solution to the collodion gives to the plate creamy films, which are very favorable to receive impressions ; more so than the pale blue ones. I have always used it in collodion in my years of practice,' and fancied that I obtained results sur- passing all other collodions by its use. The color of the, collodion has its influence. If colorless (from the absence of free iodine), plates are apt to fog. If too dark colored, plates give clear negatives ; but the film ig less sensitive. By mixing old and newly sensitized col- lodion until a color about that of sherry wine is procured, it proves best. The temperature of the dark room and silver bath both exert great influence. 70° F. has been found' best The length of immersion in the silver bath also influences the result. If the plate be vs^ithdrawn too soon it will be less sensitive than one immersed the full time. At least five minutes should be given at the temperature mentioned, for the most sensitive films. Should ihe temperature be less than 40° F., ten minutes would be too short. When the collodion is over-excited streaks will appear^ Plain collodion should be added until this defect is over- come. The cotton used should have a solubility of seven grains to the ounce without making the collodion too thick. DEVELOPMENT OF THE EXPOSED PLATE. After having secured plates free from streaks, marks, etc., a correct development is of the highest importance. My practice is and was, to expose full time and regulate the developer to suit the exposure. First, take normal developer as given, and dilute it one- half by adding water, 10 fl. oz., acetic acid. No. 8, ij4 ft. oz. Flow the plate with this. , When the image is appear- ing pour this off and flow with normal developer, keeping it on until the negative is fully developed. The "knack" can only come by experience. I merely. outline the prac- tice. I have reduced the iron to five grains in the developer, following with the normal daveloper. This mode allows one to give the plate extra exposure for detaih If it were attempted to djevelope a plate thus exposed with a normal developer, the image would flash up and be beyond control, in consequence of which it would be lost. By commencing development with the weak solution, followed by the stronger, a harmonious negative results. 8 full of detail. Especially do large plates need this form of treatment. After development wash well and fix. FIXING BATH. Hyposulphite of Soda, ... 2 oz. Water, . . . . . 10 fl. oz. Wash well, drain, dry, varnish. WILLIAM BELL, Philadelphia, Pa. Photographer. COFFEE DRY PLATES. The silver bath is the same in this process as given for the wet plates. The collodion is the same also, with the addition of two grains Bromide of Zinc to each ounce of the sensitized collodion. This latter is best old and to have the color of dark brandy. To test the chemicals coat a plate and dip into the silver bath with movement. Keep it there five minutes with a temperature 70 F. of bath and dark room. Then remove from bath and inspect. If streaky, add plain collodion to the excited collodion until streaks are no longer produced on being immersed. All is now ready to produce a quantity of plates. Take glass coated with the following solution : Albumen, . . . . . . i fl. oz. . Water, 16 fl. oz. Acetic Acid, No. 8, . . . 10 drops. Chrome Alum, .... 5 grains. After coating dry the plates well. Flow with collodion and immerse in the silver bath, moving the plate from left to right for a time. Leave in the bath exactly five minutes by the watch. Then remove to a dish of distilled water and move plate about in this. After the excess silver is gone take out the plate and place under running water for, say, five minutes. Drain and flow with the following — * COrrEE PRESERVATIVE. White Sugar, .... 90 grains. Java Coffee, ..... 240 grains. Gum Arabic, .... 20 grains. Rock Candy, 20 grains. Water, distilled, . . . . 10 fl. oz. White of Egg, . . . . i fl. oz. Put all the ingredients together and heat to boiling point. Filter and add (if to be kept) five drops Carbolic Acid. Flow the plate in the same manner as with collodion. Throw away the first covering and flow again. Drain on blotters. Then put the plates into a drying box, which is well ventilated. They will dry in about eight hours. Should the door of the box be opened before the plates are entirely dry, drying marks will show on the plates. Box the well-dried plates and keep in a dry atmosphere. The exposure is from two to five times longer than for wet plates. They will keep one j^ear before exposure. The longest time that I have found they would keep be- tween exposure and development was ten months. Tan- nin plates submitted to the same test lost the first exposure entirely and were again exposed on new objects. For transparencies add 10 grains citric acid to the coffee preservative. DEVELOPMENT OF COFFEE DRY PLATES. Solution p. Pyrogallic Acid, . . . .12 grains. Alcohol, . . . . . I fl. drachm. ID Solution A. Saturated solution Carbonate Ammonium, 4 fl. ot. Potassium Bromide, ... 60 grains. Water, 8 fl. oz. Wet the exposed plate well and flow it with solution A, I fl. oz., to which has been added 5 drops of solution P. When all the detail is out wash the plate well and flow it once or twice with the following solution to neutralize any alkali that may be on the plate : Solution A. P. Pyrogallic Acid, Water, Citric Acid, .... Acetic Acid, .... 96 grains. 20 fl. oz. . 24 grains. I fl. oz. Then add four to six drops of — N. S. Solution. Nitrate of Silver, Nitric Acid, Water, ID grains. I drop. I fl. oz. Cover the plate with the mixed solutions and develop until the negative has the proper density. Wash well and fix in : Hyposulphite of Soda, . . . . 2 oz. Water, . . . . . . 10 fl. oz. Wash well and dry. For Lantern slides and Transparencies do not use the Alkaline development, but commence directly with the A. P. and N. S solutions. For positives by contact expose by diffused daylight two to four seconds. Next to albumen plates the coffee plates have given me the finest positives. Care and judgment are required in all the different operations, but I know of nothing in the It whole range of photography as enticing as making fine positives on glass. I here give the ALBUMEN PROCESS FOR POSITIVES. Albumen, 2 fli. oz. Syrup or Honey, . . . . i fl. oz. Potassium Iodide, . . . .45 grains. Potassium Bromide, . . 8 grains. Carbolic Acid, .... i drop. Dissolve the Iodide and Bromide of Potassium in as little water as possible and add to the Albiimen and Honey. Beat very thoroughly to a froth. When it is settled coat clean glass with it and dry over a spirit lamp or sponta- neously in a warm room. When dry, warm the glass moderately and dip it for from -20 to 60 seconds in the NITRATE OF SILVER BATH. Silver Nitrate, . . . . . ij4 oz. Water, distilled, . . . . 16 fl. oz. Acetic. Acid, . . . 6 fl. drachms. Wash the plate well after taking out of the bath and dry. Develop the same as given in the coffee dry process for transparencies. Fix in hypo. The Albumen plates are very slow ; twice as slow, at least, as Coffee plates. The appearance of the sensitized plate after removal from the silver bath is very transparent, totally unlike any other plate. They do not keep well for more, than a week, but the results are so superior that the enthusiast will not be deterred by the labor of production and cry out, "give me something easy." WILLIAM BELL, Philadelphia, Pa. Photographer. 12 MORA WET PLATE FORMULA. The following is the wet plate formula used by us in our portrait work : COLLODION. Ether, . 8 fl. ounces. Alcohol, .... . 8 Pyroxyline, .... 8o grains. Ammonium Iodide, . 40 " Cadmium " . 40 " Potassium Bromide, . 40 " DEVELOPER. Sul. Iron, 20 grains. Water, .... I fl. ounce. Acetic Acid, No. 8, y^ fi. drachm. NITRATE BATH. 40 grains to the ounce, slightly acid with nitric acid. Iodize the bath by coating a large plate with collo- dion and allow to remain in the silver solution over night. J. M. Mora. NOTES ON EMULSION MAKING. In making emulsions much is due to the character of the gelatine used. Suppose we say that six ounces is the quantity of the final emulsion. Well, after cooking and adding the unacted upon gelatine, cooking, squeezing, washing, draining, melting, etc., it will be found it is ten ounces instead of six. 1 hen it will be found that the plates will take a long time to set, and on drying have no body. 13 and of necessity very little valuable quality for negatives. Suppose that to rectify this plain gelatine is added to the ten ounces, say, sufficient to make it set rapidly, and the finished plate proves to have more body ; its negative qualities are better, but not what is sought for, nor what they would have been had the emulsion been but six ounces on melting, and without any further addition of gelatine. After first testing the gelatine to see how much water it takes up in the washing, the quantitiesof nitrate of silver and bromide should be so regulated that the final emulsion should be, at least, the product from 24 grains nitrate of silver to the ounce of finished emulsion, and 24 grains of gelatine to the finished ounce. If matters have been conducted aright there will result a plate full of bromide of silver, giving a negative of value. But should this be im- properly done, even if the proper amounts have been used, the bromide of silver will have aggregated into compact bodies, and when the emulsion is filtered it will remain in the filter. Of course, under these circumstances, the resulting plates are valueless, having but a thin body of bromide of silver. So you see that much depends upon how the operation is performed, and what different results come from different treatments. Until workers are better posted, the results from a 24-grain may not be any greater than from an ii-grain. In England they separate the coarse from the fine by centrifugal force, using only the fine. The coarse is produced by cooking too long in a thin solution of gelatine, and not adding the reserved gel- atine at the proper time, say, just before the arrival of the bromide of silver in it, its most sensitive state. If the re- served gelatine be added too soon, then the resulting emulsion will not be as sensitive as it should be. It seems impossible to put upon paper a clear statement as to the exact time when it is desirable to stop the heat 14 and when to add the reserved gelatine. It is from this cause that the varying results are had, when following out any known good formulae. WILLIAM BELL, Philadelphia, Pa. Photographer. FORMULAE AND DIRECTIONS FOR WORKING THE CRAMER LIGHTNING PLATES. [There is only one brand of these plates, but they are made in several degrees of sensitiveness, ranging from twenty to fifty times the rapidity of wet plates.] — Eds. Bear in mind that very rapid plates are sensitive to light of a>;y color. The safest light is a combination of a ruby and yellow, just strong enough to enable you to judge of intensity of negative and progress of development, and the plate should not be held close to the light for exam- ination for more than a few seconds. The following combinations make a safe light : — Orange-colored paper with ruby glass. Orange glass with cherry fabric. Ruby glass with canary fabric. Orange and ruby glass combined with ground glass. Green is ,not as non-actinic as ruby and yellow com- bined, and it has furthermore the disadvantage that, with it, the intensity of negative can not be judged so well as with the ruby light. To make sure the light is safe, make the following test : Cover one-half of a "lightning " plate with opaque paper and expose it to the light for about two minutes at the distance generally observed while developing. Develop, and if the unprotected part of plate shows fog, screen the light with additional paper or fabric until it is found pei^- fectly safe. DEVELOPER. {Avoirdupois Weight.) ALKALINE SOLUTION. Sulphite of Sodium crystals, . . . 6 oz. Carbonate of Sodium crystals (Sal Soda), i}^ " Water, 64 fl. " The Alkaline Solution, as well as the Sulphite of Sodium, must be kept in well-stoppered bottles. If old and decom- posed it will cause yellow stain. Tf dried or granular Sulphite of Sodium is used, 3 ounces will be found equal to 6 ounces in crystals. 12 drachms Carbonate of Sodium crystals (Sal Soda) are equivalent to 5 drachms Carbonate of Sodium dried or 6 drachms Carbonate of Potassium. PYEO SOLUTION. Distilled or pure ice water, .... 6 ounces. Sulphuric Acid 15 minims. Sulphite of Sodium crystals, . . . . i drachm. After this is dissolved— add Pyrogallic Acid, i ounce. The solution should have a bright yellow color and smell like burning sulphur, owing to the liberation of sul- phurous Acid, which preserves the Pyro. DEVELOPER. During cold weather use 8 ounces Alkalinp Solution and from 2 to 5 drachms Pyro Solution ; keep moderately warm (from 65 to 70 degrees Fahrenheit). In hot weather add to 4 ounces Alkaline Solution, 4 ounces cold water and from 2 to 4 drachms Pyro Solution and keep it cool (below 60 degrees, Fahrenheit). i6 Developer, which is too warm, or contains too much Carbonate of Soda, or Potassium, will work foggy. Three drachms Pyro Solution will generally be found sufficient for 8 ounces developer to produce good inten- sity, if the plates are not over-exposed and if the develop- ment is carried on far enough. The Developer can be used repeatedly. When fresh, it answers best for short exposures. After having been used once or twice it will work with more contrast and clearness. Therefore it is well to add a little old developer to the new. For over-exposed plates old developer should be used, and if much over- exposed, restrain by adding to the developer a few drops of Bromide Solution (i ounce Bromide of Potassium to lo ounces of water). An underexposed plate should be treated with diluted developer, weak in Pyro, for instance : 4 ounces Alkaline Solution, I drachm Pyro Solution and 8 ounces of water ; use plenty of Solution, 'keep it cool and change it several times if the exposure has been so short as to require pro- longed development. FIXING BATH. I pound Hyposulphite of Soda, I gallon of Water. Do not expose the plate to ■ light before it is fixed and leave it in the Bath a few minutes longer than apparently necessary, to insure thorough fixing. To prevent yellow staining of negatives it is of the ut- most importance to renew the Hypo Bath as soon as the solution turns dark. After fixing, place the negative in a dish containing cold Alum Solution ; let it remain about 15 minutes to harden the film ; then wash thoroughly. In hot weather, when there is danger of frilling, gr soft- ening of the film, use the following : 17 FIXING BATH FOR HOT WEATHER. Dissolve 2 pounds Hyposulphite of Soda ^ . „ i pound Bicarbonate of Soda t"' ? g^^"°"^ 2 pounds of powdered Alum ) °^ "^^^^^■ Allow to stand a couple of days until settled; then decant the clear solution for use. This Bath will fix somewhat slower than the plain Hypo Bath, but will pro- duce very clear negatives and will harden the film _so thoroughly as to allow- subsequent washing without the use of ice. It should be used in frCpical climates. If the Development was in harmony with the exposure, the negative will not need any intensifying or reducing. If too thin, from insufficient Developing, the negative should first be well washed to eliminate all traces of Hypo, and can then be strengthened with intensifying solution. INTENSIFYING SOLUTION. Prepare a saturated solution of Bichloride of Mercury in water and pour of .this a sufficient quantity gradually into a solution of i ^ ounce Iodide of Potassium in 6 ounces of water, until the point is reached when the forming red precipitate will no longer dissolve by shaking, but be careful not to add more mercury than just enough to make the solution very slightly turbid. Now add one ounce of Hyposulphite of Soda in crystals, dissolve and fill up with water to make 20 ounces solution. This should be di- luted with about three parts of water for use and strength- ened from the stock solution as required. If traces of Hypo are left in the film, the application of intensifying solution will prodiace yellow stains,, which may be re- moved by soaking the plate in weak Hypo (i Hypo to 20 Water). Be careful not to overdo the intensifying. Should it have gone too far the negative can be reduced again by placing in fixing bath for a short tirae. Intensifying should be avoided, as the desired results can be obtained by proper development. For Reducing Intensity. — Dissolve one ounce of Red Prussiate of Potash in a pint of water. Wrap the bottle in yellow wrapping paper, as the solution is affected by light and will not keep long. Immerse the negative in Hypo solution, I ounce Hypo to a pint of water, to which has been added a little of the above immediately before use. When reduced enough, wash thoroughly. The final washing should be a thorough one, as the chemicals, especially the Hypo, are more difficult to elim- inate from a gelatine film than from a collodion plate. To insure perfect washing, would recommend the use of a Washing Tank, with slanting grooves for the plates, which rest on strips placed about an inch above the bottorn of tank, allowing a free circulation of water underneath and around the plates. The water should enter at the bottom and overflow on top. Let the plates remain in the tank for at least half an hour in running water. If no hydrant is at hand, wash an hour by changing the water often. If through imperfect washing the Hypo has not been thoroughly eliminated, it will cause the negative to turn brown, and fade more or less rapidly, and sometimes show crystallization of the Hypo on the film when dry. After the washing of the negative is completed, pass a clean tuft of cotton or a soft camel's-hair brush over the surface, to remove any sediment from the water adhering to the film and set aside to dry without heat. After the negative is perfectly dry, it may be heated and varnished with any good negative varnish. FAILURES. Foggy Negatives — Caused by overexposure ; white light entering camera or dark room ; too much light during development ; decomposed Pyro ; introduction of Hypo 19 or Nitrate of Silver into the developing solution, from the fingers or from tablets used for vsret plates ; developer too warm or containing too much Carbonate of Soda or Po- tassium. Weak Negatives with Clear Shadows. — Under-development. Too Strong with Clear Shadows. — Under-exposure. Weak Negative with Plenty of Detail in the Shadows . — Want of intensity, caused by over-exposure. Shorter exposure with longer development will in most cases produce suffi- cient intensity, and an addition of more Pyro Stock solu- tion to the developer will seldom be necessary. Fine Transparent Lines. — Using too stiff a brush in dust- ing off the plates. Transparent Spots. — Dust on the plate, or air-bubbles while developing. Crystallizations on the Negative and Fading of Image. — Im- perfect elimination of the Hypo. Yellow Colored Negatives are caused by not using enough Sulphite of Sodium in developer, or if the article used is old and decomposed. Fellow Stains are caused by using old Hypo Bath, which has assumed a dark color, or by not leaving plate in Hypo Bath long enough. Mottled appearance of negative is caused by precipitation from Fixing Bath containing alum, if the solution becomes old or if it is turbid. HOW TO USE CARBUTT'S CONCENTRATED DEVELOPER. Dilute sufficient of stock solution No. 2 to meet the re- quirement for the day's work, or the number of plates to be developed, by adding to each 2 ounces, 8 ounces of water, and label "Dilute Soda Solution," 20 For Special Instantaneous Sen. 24 and 25, and Carbutt's "Eclipse" Plates Sen. 27, add i}i to 2j4 drachms of No. i to 3 ounces of dilute No. 2. These proportions will be found about right for normal or correct exposures in the studio, and will yield negatives of perfect Wet" Plate quality and quick printers. No yellowing or fogging need be apprehended, if due care is taken in protecting the "Eclipse" plate from too much light during develop- ment. For B Landscape Sen. 16, and Ortkochromatic Plates Sen. 20 and 22, use i^ to 2 drachms of No. i to 3 ounces of dilute No. 2 ; preferably the first at commencement, and add more No. i if deemed necessary to secure den- sity. Development should be continued until the image seems almost buried, then wash and place in the — HARDENING AND CLEARING- BATH. Chrome Alum, . . . . >^ ounce. Citric Acid, i^ " Water, 36 fl. " for not less than, two minutes ; then wash under the tap and place in — FIXING BATH. Hyposulphite of Soda, . . 8 ounces. Water, 4ofl. " Let remain two or three minutes after negative is cleared to all appearance of silver bromide ; then wash in running water for not less than . half an hour, to free from any trace of hypo solution ; swab the surface with a wad of vyet qotton, rinse and plage in rajQk to dry spontaneously. 21 INSTRUCTIONS AND FORMULA FOR CARBUTT'S KEYSTONE DRY PLATES. (Avoirdupois Weight.) Special Portrait and Instantaneous. Blue Label ; Sen- sJtometer 23 to 25. B. — Landscape and Copying. White Label ; Sens'r 16 to 20. A. — Gelatino-Albumen for Transparencies. Red Label ; Sens'r 12 to 14. Orthochromatic Plates, Normal Sens'r 20 and 25 ; Color Sens'r 30 and 40. NO. I. PYRO SOLUTION. Distilled or Ice Water, . . . 10 fl. ounces. Sulphite of Soda Crystals, . .4 " Dissolve and add slowly. Sulphuric Acid, . . .1 drachm. _ Pyrogallic Acid, Schering's, . 1 ounce. And Water to make 16 ounces fluid. NO. 2. ALKALINE SOLUTION. Water, Distilled, or Melted Ice, . . 10 fl. ounces. Granulated Carbonate of Soda, . . .2 " Granulated Carbonate of Potash, , . r " Yellow Prussiate of Potash, . . .1 " Dissolve ; add Water to make measure 16 ounces. [During hot weather, add to No. i, 20 grains Bromide of Potassium. ] Bromide Solution. — Bromide Potass i part, Water, 9 parts. TO DEVELOP. For Portraits on "Special Instantaneous," to 4 ounces of water add 3 drachms No. i, and 2 drachms No. 2, and if the plate has had proper exposure, the above developer will be found to yield a soft and rich printing negative. More of No. 2 to be added if under-exposed, and more of No. i with a few drops of Bromide Solution if over-exposed. For Landscapes and Interiors on "Specials," where the exposure may be uncertain, lay the exposed plate in the Pyro Solution for a minute or two ; then into the develop- ing glass put half the quantity of No. 2 as has been taken of No. I, and pour the Pyro Solution into it, and back on to the plate. By proceeding in this manner, adding more of No. 2 to bring out the image, or a few drops of a 10 per per cent, solution of Bromide to restrain, as may be required, much better results may be looked for than if a full quantity of No. i and No. 2 were mixed at once. For instantaneous views or very dark interiors, we recom- mend the following procedure : To 4 ounces water add I drachm No. 2, soak plate in this while preparing the following : water, 3 ounces, of Nos. i and 2 each 3 drachms, 5 drops Bromide Solution ; pour off the dilute alkali, and flow this strong developer over the plate ; be careful to expose the plate as little as possible to the light used to develop by, no matter how safe it may be consid- ered for ordinary development. Do not hurry by adding more No. 2 ; cover up the pan and give the developer time to act, when more of No. i or No. 2 may be added as required. For instantaneous marine views, it will be best to treat the plate the same as for landscapes, by soaking plate in Pyro Solution first For Landscapes, Machinery, Architecture, &c., on B plates, use ^ drachm each Nos. i and 2 to each ounce water, adding more of each as may be required ; No. i i3 giving density, No. 2 giving detail and hastening devel- opment. After washing off developer, immerse in the following — HARDENING AND CLEARING SOLUTION, . Water, . . . . . 36 fl. ounces. Chrome Alum, ... ^ " Citric Acid ]i three to five minutes ; then wash and place in the — FIXING SOLUTION. Hyposulphite of Soda, . . .8 ounces, Water, 40 fl. " Let remain a few minutes in the hypo solution after all bromide of silver appears to be dissolved out, then wash in running water for not less than one hour ; swab off the film with tuft of cotton, while water runs over it, then place away to dry spontaneously. Temperature of development has a great influence on the result. It should be kept if possible within a range of ten degrees ; betwen 60" and 70° F. is a good temperature to secure uniform results. Cold retards development ; heat accelerates and causes flatness ; therefore, in summer less No. 2 solution should be used, and in winter equal parts of Nos. i and 2 will be found about right. Over exposure, if known or suspected — commence devel- opment as directed under the head of Landscape and Interiors. Under-exposure can be remedied in a certain degree, but not entirely, by first soaking plate in water to which has been added i drachm No. 2 to 4 oz. water ; then use deve'oper composed of half drachm each Nos. i and 2 to I oz. water, and continue development slowly ; but the best remedy, when possible to adopt it, is to expose an- other plate, giving longer exposure. In very hot weather, we recommend the use of the alum bath before fixing and always afterwards. f^Intensificatio7i. — With correct exposure and development, intensification need never be resorted to. The following formula is, however, very effective : NO. I. Bichloride of Mercury, . . 240 grains. Chloride of Ammonia, . . 240 " Distilled Water, . . . * . 20 fl. ounces. NO. 2. Chloride of Ammonia, , . 480 grains. Water, 20 fl. ounces. NO. 3. Cyanide Potass (refined) . 120 grains. Water, . . . . . 16 fl. ounces. Nitrate Silver, . . . 100 grains. Water, . . . . . 4 fl. ounces. Add the Solution of Silver to the Solution of Cyanide, until a slight precipitate remains undissolved. Let the plate to be intensified wash for at least half an hour, then lay in alum solution for ten minutes,- and again wash thoroughly ; this is to insure the perfect elim- ination of the hypo. The least trace of yellowness after intensifying shows that the washing was not sufficient. Flow sufficient of No. i over the negative to cover it, and allow to either partially or entirely whiten ; the longer it is allowed to act the more intense will be the result ; pour off into the sink, then flow over No. 2, and allow to act one minute ; wash off, and pour over or immerse in No. 3 until changed entirely to a dark brown or black. No. 3 can be returned to its bottle, but Nos. i and 2 had better be thrown away. Wash thoroughly and dry. 25 Reduction. — In cases of error in development and the negative is too intense, the high lights may be safely re- duced by the method of Mr. Howard Farmer, viz. : Ferri- cyanide of Potassium (Red Prussiate of Potash), i oz. ; water, 1 6 fl. oz. ; Hyposulphite of Soda, i oz. ; water, 1 6 fl. oz. ; immerse the negative in sufficient hypo solution to cover it, to which have been added a few^ drops to each ounce of the above Ferricyanide solution ; the speed of reduction depends on the quantity of Ferricyanide present. When sufficiently reduced wash thoroughly. To reduce locally, apply the mixed solution to the wet negative with a camel's- hair brush to the parts requiring reducing. TRANSPARENCIES AND HOW TO MAKE THEM. Every photographer can add to his revenue, and assist in adorning the homes of the people who are constant in their patronage of our art science, by making transpa- rencies for the window. As will be noticed in the gen- eral instructions to follow, the manipulation is very simple and certain. Photographers can introduce and sell a great many of these beautiful ornaments, made from negatives they have, while orders can be secured from new sittings without any talking ; they sell themselves. Aside from portraiture, very many photographers have view negatives that can be used for making these elegant pictures, and which will find a ready sale among their patrons. We have recently introduced plates with a fine ground glass backing, reducing the cost of the finished picture, and rendering the image in right position. The requisites are, a deep printing-frame a size larger than the negative to be used, with a flat glass bottom clear and free from scratches ; crystal plate is best ; some thin red enamelled label paper for masks, a Carbutt Multum in Parvo Lantern, or other artificial light, and Keystone Gelatino - Albumen Plates, from Lantern Slide size up. 26 Transparencies can be made same size of negative by- contact and exposure to artificial light, or enlarged or reduced in the camera by daylight, with equal perfection in result. To make Lantern Slides by contact, place one of the Keystone thin crystal glass transparency plates over the negative in printing-frame, lay piece of dark soft material over it, close dovsrn the back, and expose to the clear light side of a Multum in Parvo Lantern, or other light, for ID to 15 seconds at a distance of 20 inches from the flame ; use the following developer : carbutt's improved developer for transparencies. A. Oxalate of Potash, . . 8 ounces. Water 30 fl. " Citric Acid, .... . 60 grains. Citrate of Ammonia Solution, . 2 ounces. B. Sulphate of Iron, 4 ounces. Water, . 32 fl, " Sulphuric Acid, . 16 drops. c. CITRATE OF AMMONIA SOLUTION. Dissolve I oz. citric acid in 5 oz. distilled water ; add liquor ammonia until a slip of litmus paper just loses the red color ; then add water to make the whole measure 8 oz. Developer. — Add one oz. of B to two of A, and y^ oz. of water, and 3 to 6 drops of bromide solution. Let the development continue until the blacks look quite strong, and detail plainly showing in the high lights ; wash off developer thoroughly before fixing ; use fresh hypo sol- ution ; when fully cleared, wash for half hour, then immerse five minutes in the Hardening Solution given on page 23 ; 27 afterwards wash for half hour ; then carefully go over the surface with a soft camel's-hair brush, or pledget of cotton, to remove any particles of dirt ; place in rack to dry. Then varnish with plain collodion ; COLLODION VARNISH. Alcohol, 4 oz. Pyroxyline, 30 to 40 grs. ' Sulphuric Ether, 4 oz. When, after shaking, the cotton is dissolved, filter and flow the plain Collodion over the dry transparency, the same as when using varnish ; when dry, cover with mat and a crystal cover glass, and bind with binding strip. Transparencies for window and door decorations should be made on plates somewhat larger than the negative, so that a suitable margin may surround the image. To do this, cut a mask with rectangular or other opening out of the thin red enameled paper ; for an 8x10 Transparency from a. 6)4 xSyi negative, take a piece of the mask paper 9x11 with two sides cut to right angle ; make a line with pencil and ruler i)^ inches from two sides ; from the side line measure 5^ inches, and from the cross line measure 7^ inches ; cut on these lines with a sharp knife through the paper laid on glass or zinc, and remove the blank ; make an x mark on left upper corner, to denote regis- ter corner; place this mask in a 10x12 deep printing- frame, let it register close in the left-hand upper corner; lay the negative film side up and under the mask ; adjust the negative so as to show in proper position through the opening ; over this place a Keystone A Transparency plate 8x10, letting it register in the same corner as the mask ; lay over a pad of black canton flannel, close the printing frame, expose to the lamp or gaslight 10 to 15 seconds, or more, according to density of negative. Develop as di- rected for Lantern Slides, and in every other respect pro- ceed the same. 28 The Tone, both of Lantern aad large Transparencies, can be varied from a warm brown to a velvety black. Increased exposure and weaker developer (adding water) with more bromide, gives warm, brown tones. Short ex- posure and stronger (undiluted) developer gives dark tones. The same solutions given for negative intensifica- tion can also be used for toning Transparencies. Caution. — To prevent softening and frilling when devel- oping during the summer months, we recommend first soaking the plate in the following solution for one or two minutes : Sulphate of Magnesia, ... 2 ounces. Water, . ... . . 16 fl. " Use at temperature not over 60° ; rinse off and develop as usual. FORMULAE AND INSTRUCTIONS FOR WORKING CARBUTT'S "ECLIPSE" PORTRAIT PLATES, Sen. 27, AND "KEYSTONE SPECIAL," Sen. 24 AND 25. The extreme sensitiveness of the '■' Eclipse Plates " ren- ders it necessary to use extra care in having a suitable light by which to develop them in. We recommend the Venetian Ruby (as now supplied in Carbutt's Lantern) covered with one or two thicknesses of Dennison's Orange Tissue Paper, and during the developing of the plate cover the pan with a cardboard, except when .necessary to examine. The following Stock Solutions should be prepared with care from pure materials, especially the water. Do not use cistern rain water — it contains too much organic matter. 29 NO. I. PYRO STOCK SOLUTION. Distilled or Ice Water, . . lo fl ounces. Sulphuric Acid, . . . }i " drachm. Sulphite of Soda, Crystals, . 2 ounces. When dissolved test with blue litmus paper ; if it does not turn red, add a few drops more acid until it does. Then add Schering's Resublimed Pyro i ounce, and water to make i6 fluid ounces. NO. 2. STOCK SODA SOLUTION. Water, 10 fl. ounces. Soda Sulphite Crystals, , . 4 ounces. Soda Carbonate Crystals (or dry gran- ular I ounce), . . . .2 " Dissolve and add water to make measure of 1 6 fluid oun ces. For large galleries dilute with water to make 80 fluid ounces, and label "Dilute Soda Solution." NO. 3. BROMIDE SOLUTION. Bromide of Sodium or Potassium, J^ ounce. Water, . . . . . 5 fl. ounces. DEVELOPER. Dilute sufficient of No. 2 to meet the requirement for the day's work, or the number of plates to be developed, by adding 8 ounces of water to 2 ounces of stock No. 2. To J ounces of dilute No. 2 add i]4 to 2}i drachms of No. i . The rnore pyro the denser the negative, and vice versa. 1}^ drachms No. i to above quantity of No. 2 diluted, has been found to yield portrait negatives of perfect Wet Plate quality, and quick printers. For Instaqtaiieous Exposures take for a 5 3f 8 or 6% x 8}^ plate 3 ounces of dilute No. 2. Lay the plate to soak in this, apd cover pan. Put 2 drachms of No. i into the 30 graduate and two drops of bromide solution. Pour the soda solution off of the plate into the pyro and back over the plate ; let development proceed, and examine occa- sionally. Keep solution in gentle motion over the plate. - A very short exposure may take ten minutes to fully develop. If the image is not fully brought out in this time add to developer in pan three times its bulk of water, and let plate lay in it covered over for half an hour or more if necessary, until full development is attained ; then wash and proceed as directed under head of Developer. HYDROKINONE DEVELOPER. FOR TRANSPARENCIES AND PHOTO-ENGRAVERS NEGATIVES. No. I. Soda Carbonate, .... 400 grains. Water, 8 fl. ounces. No. 2. Hydrokinone. .... 96 grains. Soda Sulphite, . . . 480 " Water, 8 fl. ounces. DEVELOPER. , No. I, 2 drachms. No. 2, 4 " Water, 2 fl. ounces. One or two drops^^io per cent, solution Bromide Potass. We recommend theabove Developer for Lantern Slide Transparencies, and the making of very intense negatives from black and white drawings or engravings, for photo- engravers' use. Jno. Carbutt, Wayne Junction, Philadelphia. 31 DIRECTIONS FOR USING THE STANDARD DRY PLATES. (Avoirdupois Weight.) SODA DEVELOPJER. No. I. Pyro, ..... I ounce. Sulphite of Soda, crystals, . 6 ounces. Sulphuric Acid, C. P., . . 20 to 30 drops. Water, . . . . . 72 fl. ounces. No. 2. Carbonate Soda, .... 6 ounces: Water, 72 fl. " If more contrast is desired add ^ to ^ oz. Pyro to No. i. Prepare a 50-grain solution of Brom. Potass., and if a greater contrast is desired add cautiously until the desired effect is obtained. For use mix equal parts of No. i and No. 2. Bromide of Potass, gives more contrast ; clearer in the shadow. FIXING BATH. Hypo, 2 pounds. Pulverized Alum, . ... 2 ounces. Water, 4 fl. quarts. The Alum hardens the film and prevents frilling and blistering. This plate will work with any good devel- oper. Developers should be kept slightly warm in cold weather and cool in warm weather, at a temperature of about 60 degrees Fahrenheit. These plates are extremely sensitive. Great care should be taken in regard to opening or exposing to white light until they are fixed in the Hypo bath . These plates have great latitude in developmen-t, work clear, fine and del- icate in the shadows with plenty of detail. With proper lighting and care the most beautiful effects can be ob- tained. 32 DIRECTIONS FOR DEVELOPING THE HUB BRAND OF DRY PLATES. (Avoirdupois Weight.) SODA DEVELOPER. Stock Solution, No. i. Pyrogallic Acid, . . . i.J^ ounce. Sulphite of Sodium Crystals, 6 ounces. , Sulphuric Acid, C. P., . . 20 to 30 drops. Water .... 80 fl. ounces. Stock Solution, No. 2. Carbonate of Sodium, ... 6 ounces. Water, 80 fl. " Bromide of Potassium, . . . 15 grains. Filter both solutions and keep in corked bottles. When ready for use, mix equal parts No. i and No. 2, using for a 5x8 plate about 4 ounces of the mixed solution. Larger and smaller size pro ratio ; enough to cover the plate fully is always required. FIXING BATH. Hyposulphite of Soda, . . 2 lbs. Pulverized Alum, .... 2 ounces. Water, 4 fl. quarts. For lesser quantity use proportionately. Use about 6 ounces of above solution for 5x8 plate. Notes. — A larger portion of pyrogallic acid in the devel- oper increases the density of the negative ; a lesser portion decreases the density. The effect of bromide of potassium is to give clear shadows, thus rendering greater contrasts ; therefore to increase or decrease this effect use a lesser or greater quantity of the salt (bromide potassium- ) 33 It is well to keep ready at hand a solution made as fol- lows : Bromide of Potassium, . . loo grains. Water, ..... 2 ounces. Which can be more easily applied to the developer by drops than by grains from the salt. Alum in the fixing bath hardens the film and prevents frilling and blister- ing. A lesser quantity than given in formula will be required in cold weather. Use cold water (iced if possible) in summer for washing purposes, and keep the solution cool. These plates being extremely sensitive great care should be taken to avoid accidental exposure to white light until after developed and fixed. DEVELOPER FOR THE SEED DRY PLATE. (Avoirdupois Weight.) PYRO STOCK SOLUTION. Sulphite soda crystals, . . .6 ounces. (Or granulated, 4 ozs.) Pyrogallic acid, . . . . i " Water, (ice or distilled), . . . i6fl. " SAL SODA STOCK SOLUTION. *Sal Soda, ..... 4 ounces. (Or carbonate of potassium, 8 ounces.) Water, i6fl. " TO DEVELOP. Just before development, add to six, eight or ten ounceg of water, one ounce ofpyro solution and one ounce of sal soda solution, or the same of carbonate of potassium solu^ tion. See *. *For instantaneous exposures, use instead of ?9^1 soda, carbonate of potassium, 34 Note.— The amount of water used depends upon its temperature. If ice water is used, 6 ounces will be right. If the water is over 60 degrees, 8 ounces should be used. If over 80 degrees, 10 ounces. We prefer cool develop- ment, as it gives the finest effect. This developer may be used repeatedly, but will work slower and with more intensity when old. Therefore the fresh developer is best for short exposure, and the old is better if the plate has been fully timed. In using the sal soda developer it is very important to carry the develop- ment far enough, until the lights have sufficient intensity when examining the plate by transmitted light. The quantity of pyro must be according to the density of the negative wanted. If the negative is too strong, use less pyro. If not strong enough, more. FIXING BATH. Alum, y-i ounce. Hyposulphite of soda, . . • 5 " Water, 16 fl. ounces. Filter. Leave the plates a few mirmtes longer in the bath than they require for fixing. This is important, as the perma- nency of the negative depends upon it. N. B. — The sensitometer number on the box indicates the rapidity of the plate. For instance, if you give one second for No. 22, No. 21 will require one and a half seconds ; No. 20, two seconds. DEFECTS IN DRY PLATE NEGATIVES AND THEIR REMEDIES. Want of detail in lights and shadows. — It is generally supposed to be due to under-exposure, but this is not always the case. For instance, I expose a plate four sec- onds. It develops in from one to two and a half minutes, and th§ result is with the above defect- It is a proof that 35 I have used more pyro than the plate required. Now I will try again. I take a plate out of the same box, give three seconds' exposure, use only half the amount of pyro stock solution to the usual amount of sal soda stock solu- tion, and the negative will develop in three or three and a half minutes ; result, a fine negative in definitions and brilliancy. On the other hand, a negative may have pre- cisely the same appearance as the foregoing one, but it took from five to ten minutes to develop. Try another and you double the amount of exposure. Granularity of negative. — This defect generally appears during the warm weather. There are two causes — one the result of insufficient mixing of the developer before pouring over the plate, especially if too strong and too high temper- ature. Remedy. — Dilute the developer with water one- third, or use ice water without the dilution. Another cause is the fixing bath being too milky, through containing too much alum. Remedy. — Never use a fixing bath which is muddy. Filter it. Flatness or want of high lights in negatives. — This generally is due to over-timing. The more rapid the plate, the less lati- tude you have in time of exposure. A slower plate always gives a wider range. Too much sal soda produces flatness, also a developer weak in pyro. Small, round, sharply defined transparent spots. — Some photographers wef their plates before applying the devel- oper. If this is not thoroughly done, air-bubbles will be formed on the surface, and hence cause the spots above referred to. With our plates wetting is unnecessary. Another cause of similar spots is using water for the developer which contains vegetable matter, causing it to bubble more or less while pouring it on the plates. Rem- edy. — Use only ice or distilled water. On account of the extreme rapidity of our plates, great 36 care should be taken that they are developed in a suitable light. Test. — Expose one-half of a plate three minutes to your light in the developing room and develop. If the part exposed is as clear as the unexposed part your light is safe. A simple, and to many photographers, very satisfactory way of using the Seed Developer is as follows : Take of pyro stock solution i ounce ; add lo ounces water ; now pour in another graduate i ounce sal soda stock solution.; of this take j4 ounce and add to the water and pyro. Pour this solution over your negative, and if the exposure was correct continue the development until the high lights appear; then add the remainder {}4 oz. ) of the sal soda. If the exposure was too short, and the high lights are tardy in making their appearance, don't wait, but immedi- ately add the remainder of the soda. On the other hand, if the high lights appear quickly, leave out the remaining soda. The results of this method in all the above cases will be full detail and brilliancy combined. Caution. — When using plates as rapid as sensitometer 24, 25 and 26, we would respectfully call the attention of photographers to the fact that greater care as to light, de- velopment and time of exposure is necessary. To prevent fog during development, the plate must be kept from the light as much as possible, especially the first part of the development. The developer itself must be made with the greatest exactness, and of the purest of chemicals, as any variation in its strength or quality affects to a greater extent a very rapid plate, where a slow one would not be so affected. The temperature also of the development should not be lower than 75° F. in winter, nor higherthan 85 in summer; the more uniform the temperature of the developing room, the more uniformly good will be the resulting negatives. 37 Perhaps the cause of the greatest variation in development is due to the differences in strength of sal soda, which, when perfectly dry, is twice as strong as when fresh ; the same also applies to sulphite of soda crystals, though not to the same extent. We would therefore propose the fol- lowing method : Get some fresh sal soda, weigh 4 oz. (Troy) to 16 oz. water ; now get your hydrometer, make it heavier by wrapping it above the figures with rubber bands, until it is sufficiently heavy to indicate 20 when put in the sal soda solution at about 75° F. Then weigh 6 oz. crystals sulphite of soda to 16 oz. water. When perfectly dissolved test with the same hydrometer — see what* it will indicate and note the same. All that is now necessary is to have two saturated solutions, one of sal soda and one of sulphite of soda ; then dilute until the proper numbers are indicated on the hydrometer, and when the pyro (one ounce) has been added to the sulphite of soda solution, they are both ready for use, always uniform in strength and more readily made up than by weighing. M. A. Seed. THE STANLEY SODA DEVELOPER. (Apothecaries' Weight.) This developer is recommended for the Stanley plates, Soak the plate thoroughly in water before development. No. I. Sulphite of soda (crystals), 6 ounces. Water, 80 fl. " Sulphuric acid, C. P. . I drachm. Pyro, I ounce. No. 2. Carbonate of soda, . • . 6 ounces. Water, 80 fl. ozs. 38 Mix in equal parts for ordinary exposures. After mixing the two solutions will keep for several hours. This developer can be used for three or four plates, but works more intense after the first plate, therefore for under- exposure use fresh developer ; for over-exposure use old developer, i. e. , developer that has been used before. This developer works best when kept at a temperature of 70^" to 85° F. FIXING BATH. Hypo., 2 lbs. Pulverized Alum, 2 ozs. Water, 4 qts. The alum in fixing bath hardens the film so that more heat can be used in drying the negative and prevents fril- ling and blisters. These plates are practically ten times as sensitive as a wet plate. These plates will work well with almost any of the developers in common use. Employ usual methods for intensifying and reducing intensity, if required. FORMULA AND DEVELOPER FOR WORKING THE EAGLE LIGHTNING PLATE. (Avoirdupois Weight.) These plates can be successfully worked with any good developer. For producing the finest negatives with short- est possible exposure we recommend the following "Sal Soda'' Developer. PYRO STOCK SOLUTION. Water, 6 fl. ounces. Pyrogallic acid, ... i ounce. Sulphuric acid, C. P., . . 5 drops. 39 SODA STOCK SOLUTION. Water, 60 fl. ounces. Sulphite of soda, granular, . i ounce. (Or crystals, i^ ounce.) Sal soda (crystals), . . . i ounce. DEVELOPER. To 8 ounces of " soda solution" add from 2 to 4 drachms of "pyro stock solution," considering that more or less pyro produces more or less intensity. Three drachms will generally answer best. This developer may be used repeatedly as long as it remains clear, but will work slower and with more inten- sity when old. Therefore the fresh developer is best for short exposures, and the old is better if the plate has been full timed. In using the sal soda developer, it is very im- portant to carry the development far enough, until the lights have sufficient intensity when examining the plate by transmitted light. Over-exposure is corrected by adding to each ounce of developer from two to four drops of the following solution : Bromide of ammonium i ounce to 10 ounces of water, or by putting the plate into a weak solution of bromide of ammonium (i to 50 water), before the development has proceeded too far, and then returning it to the developer, to gain sufficient intensity. If under-exposure is noticed, take the plate out of devel- oper, and without draining put into "soda solution ;" sufficient developer will remain in the film to develop the shadows, the lights being prevented from gaining too much density in this way. FIXING BATH. To a saturated solution of hyposulphite of soda add citric acid, i ounce to 100 ounces. Let it remain in a dish to settle and, after settling, filter. 40 This fixing bath cannot be excelled ; you will always get a clear and brilliant «egative, no yellow stains, a good printing color, and the plate will fix in considerable less time. After fixing, place the negative in a dish contdning a lo per cent, cold alum solution ; let it remain a few minutes to harden the film, then wash thoroughly. In tropical climates putting the plates in the alum solu- tion, before fixing, is recommended. GENERAL RULES. These being extremely sensitive, great care should be taken to guard them against injury by improper light and should remain in the bath until all the particles of white bromide of silver have dissolved. Dark room, camera and tablet should be carefully examined. Two thick- nesses of glass, one ruby and one orange color, should be used for developing and the window should be provided with a red curtain to be used in case the sun shines on it. Short exposure and long development produce contrast and intensity. Long exposure — want of intensity and contrast. Be careful to rinse the plate well after fixing, as it is diffi- cult to eliminate the hypo from the gelatine film. Wash in a dish (with the water running into it, or with frequent changes of water), from one-half to one hour. We would recommend the use of a washing tank, with slanting grooves for the plates, which rests on strips placed about an inch above the bottom of tank, thus allowing a free circulation of water underneath and around the plates. The water should enter at the bottom and overflow on top. Crystallizations on the negative, and fading, are caused by imperfect washing. 41 DIRECTIONS FOR DEVELOPING EASTMAN'S PEER- LESS DRY PLATES. (Avoirdupois Weight.) These plates are made by a new formula, and are equally adapted for development by either the ammonia, soda or potash developers. In the formulae given below, the same pyrogallic acid solution is used for each developer, quantity only being varied. FORUVLM. STANDARD PYROGALLIC ACID SOLUTION. Pyrogallic acid, . . . . i ounce. Nitrous or sulphuric acid, . . 20 minims. Water, . . . . . . 32 fl. ounces. AMMONIA SOLUTION. Ammonia, stronger {900), . . i fl. ounce. Bromide of potash, ... i drachm. Water, 32 fl. ounces. SODA SOLUTION. Carbonate of soda (crystals), . 4 ounces. Sulphite of " " . . 4 " Water, 32 A- ounces. POTASH SOLUTION. Carbonate of potash, ... 3 ounces. Sulphite of soda, . . . 4 " Water, 32 A- ounces. For the ammonia developer, use ^ ounce each pyro and ammonia solutions and 3 ounces of water. For the soda developer use i ounce each pyro and soda solutions and 2 ounces of water. For the potash developer use i ounce each of the pyro and potash solutions and 2 ounces of water. 42 For the potash and soda developer, use y^ ounce each soda and potash solutions and i ounce pyro solution and 2 ounces of water. RESTRAINER. Bromide of potash, ... i ounce. Water, 6 fl. " The restrainer is to be used only in case of over-exposure. FIXING SOLUTION. Hyposulphite soda, ... 4 ounces. Water 16 fl. " CLEARING SOLUTION. Alum, ...... 4 ounces. Water, 32 fl. " To be used after fixing. The ammonia developer we found to work unusually well with these plates. Owing to the small proportion of gelatine used to the silver in the film, there is very little liability to stain. DEVELOPMENT OF THE PHENIX DRY PLATES. The Phenix Plate Co. would earnestly request all who use their plates to adopt their formulas for development. By so doing far better results will be secured. Not because their developer is any better of itself than other developers, but because it suits their plate. The proportions have been established after repeated trials have shown them to be the best. The active agents in all developers are alike. They consist of Pyro, Alkali, Bromide (when a restrainer is needed). By varying the proportions in which these three ingredients are mixed, all variations in developers are pro- duced. There are hardly any two brands of gelatine plates that are alike, or admit of the same proportions 43 being used in the developer— ,some requiring more alkali than others, some less ; this is especially true of the Pyro. Some brands of plates require an amount of Pyro for suc- cessful development that would utterly ruin others. From these remarks they think it vsrill be apparent that they have good reasons for requesting that their developer be used. PYRO AND POTASH DEVELOPER. (.Avoirdupois Weight.) Stock Solutions. No. i. Sulphite Soda (Crystals), . . 3 ozs. Citric Acid, 60 grains. Bromide Ammonium, . . . 30 " Pyrogallic Acid, . . . . i oz. Water to make the whole measure 10 fl. ozs. No. 2. Sulphite Soda (Crystals), . . . 2 oz. Carbonate Potash, . . . . • 3 " Water to make the whole measure 10 fl. ozs. To develop a properly exposed 5x7 plate, take of No. I, one dram. No. 2, one drarfi, and water two ounces. For extreme softness and delicacy, use one dram No. i, one dram No. 2, water four ounces. For strong contrasts, use one dram No. i and one dram No. 2 to each ounce of developer. For instantaneous or under-exposed plates, commence development with the developer mixed as above for extreme softness and delicacy. When the detail is about half out, pour it off, and complete development with the mixture for strong contrasts. PYRO AND SODA DEVELOPER. Stock Solutions. No. i. Sulphite of Soda (Crystals). . . 6 ozs. Dissolve in about 10 ozs. hot water. 44 When cool, add — Citric Acid, 60 grains. Bromide Ammonium, . . 3° " Pyro, I oz. Add enough cold water to make the whole measure 20 fluid ounces. No. 2. Carbonate of Soda, .... 6 ozs. (The ordinary Sal Soda of the shops is the best. ) Dissolve in enough water to make the whole measure 20 fluid ounces. For use, take ^ fluid ounce each of No. i and No. 2 and three fluid ounces water. FIXING BATH. Hypo, I pound. Water, 64 fl. ounces. It is important to leave the plates in the bath several minutes after they appear to be fixed. The permanency of the negative depends upon it. FERROUS OXALATE DEVELOPER. There are some who have a preference for Iron and Oxalate for developing negatives. To such we would say, these plates work equally as well with Oxalate as with Pyro development. YELLOW PRUSSIATE DEVELOPER. (Avoirdupois Weight.) CRAMERS FORMULA. No. I. Sulphite Soda, Granular, ... 5 ozs. Water, 40 fl. ozs. 45 No. 2. Yellow Prussiate of Potash, Sal Soda, .... Carbonate Potash, Granular Water, i^ ozs. 15 fl. " DEVELOPER. No. I, .... Water, No. 2, .... . 6 ozs. 9 fl. ozs. 5 ounces. PYRO SOLUTION. Pyro, .... Water, To four ounces of Developer use Solution. I oz. 6 fl. ozs. two drachms of Pyro FORMULA FOR DEVELOPING ST. LOUIS LIGHT- NING PLATES. (Avoirdupois Weight.) No. I. Alkaline Solution : Sulphite of Soda Crystals, 4 ounces, (or Granular) .... 2 ounces. Sal Soda, Crystals, . . . . % " Carbonate Potassium. . . • 5^ " Water, 60 fl. " The Sulphite of Soda should be fresh and must be kept in well-stoppered bottles. No. 2. Pyro Solution. Water, 6 fl. ozs. Sulphuric Acid, . . . . 10 minims. Pyrogallic Acid, . . . . i oz. 46 No; 3. Bromide Solution. Bromide of Potassium, . . . i oz. Water, . . . ' . . . 10 fl. ozs. DEVELOPER. To eight ounces of No. i, add from two to four drachms of No. 2. More or less of No. 2 produces more or less intensity. FIXING BATH. Hyposulphite of Soda, . . .1 pound. Water, 8 pints. Saturated Solution of Alum, . . 4 ounces. Do not expose plate to white light until thoroughly fixed. CRAMER'S ONE SOLUTION DEVELOPER. (Troy Weight.) STOCK SOLUTION. Sulphite of Soda (Crystals), . . 3 ozs. J:'romide of Ammonium, . . /^ '' Bromide of Potassium, . . . ij^ " Pyrogallic Acid, . . . . 2 " Dissolve thoroughly in pure rain, distilled or ice water, . . 32 fl. ozs. . Add Sulphuric Acid, c. p. . . 20 minims. Finally strongest Aqua Ammonia, 3 fl. ozs. And water to make up bulk to 40 fl. ozs. Be careful to measure the Sulphuric Acid and the Aqua Ammonia very exactly, and keep the latter in a cool place, well stoppered, so that it will retain its full strength. 47 (Instead of three ounces Crystals, two ounces granular Sulphite of Soda may be substituted to produce the same effect.) The solution assumes a bright ruby color, and will keep a long time if kept in a bottle with a tight-fitting india- rubber stopper. Dilute sufficient for one day's use as follows : For ordinary purposes, i oz. to ii ozs. water. For very short exposures, use i oz. with 3 or 6 ozs. water. For over-exposed plates, or in all cases where great intensity and contrast is desirable, i oz. to 20 ozs. water. In developing a plate which was over-exposed, the shadows will appear too soon. In this case add as quick- ly as possible more water to retard the development and to produce more intensity. If the shadows appear too slowly (from under-exposure) add more stock solution, as the stronger developer will produce more detail in the shadows and less intensity in the lights. The additional stock solution should be poured in the corner of the developing dish, as it would cause stains if applied directly to the plate. Always develop until the shadows have sufficient detail. Wash well before fixing and prepare the fixing bath as follows : First dissolve half-pound powdered Alum in one third gallon of water ; then dissolve one pound Hypo in two-thirds gallon of water. After both are dissolved pour the Alum solution into the Hypo. The alkaline pyro. and sulphite of soda developer can be used repeatedly as long as it remains clear, if the solution is always returned to the pouring bottle, which should be provided with a tight-fitting india-rubber stopper to prevent evaporation. If the mixed developer has been standing a while, §hak§ before using and wait a few seconds until the 48 air-bubbles have disappeared. As long as the solution remains transparent it is all right, but when it looks muddy- its use should be discontinued. FORMULA FOR WORKING PASSAVANT'S DRY PLATES. (Apothecaries' Weight^ H. L. for ordinary studio work and landscapes. C. L P. specially for portraiture and instantaneous views requiring one-half the time of other Dry Plates, working with great softness and delicacy. PYRO DEVELOPER. Solution No. i. Distilled water, . . . . 8 fl. oz. Sulphite Soda, ..... 2 oz. Citric Acid, ..... 60 grains. Pyrogallic Acid, . . . . i oz. Solution No. 2. Carbonate Potash, C. P. . . . 8 oz. Sulphite Soda, ... 2 ounces. Distilled Water, . . . . 16 fl. oz. For use take for 8 x 10 plate. Water, 5 fl. oz. Solution I, I fl. drachm. Solution 2, I fl. drachp. With over-exposed negatives add 6 to 10 drops of Bromide Potassium Solution (50 grains to the fluid ounce of water). With under-exposed negatives add more of Solution 2. Before fixing immerse the plate in an Alum Bath (sat- 49 urated solution) for one to two minutes, which will take out the yellow stain. Do not put Instantaneous Views in the Alum Bath, as they have a tendency to come out thin, and the stain gives them better printing qualities. The longer the plate is washed after fixing, the intenser the greenish-yellow stain will become. This developer requires less exposure than any other. The negatives will never need intensifying. I can recom- mend it for the C. I. P. plates as well as for the H. L. plates. DIRECTIONS FOR USING THE SANTA BARBARA DRY PLATE. (Apothecaries' Weight.) SODA DEVELOPER. No. I. Pyro, I ounce. Sulphite of Soda, crystals, . 6 " Sulphuric Acid, C. P., . . . 20 to 30 min. Water, 72 fi. ounces. No. 2. Carbonate Soda, ... 6 ounces. Water, 72 fl. ounces. If more contrast is desired add ){ to }4 oz. Pyro to No. I. Prepare a 50-grain solution of Bromide Potass. , and if a greater contrast is desired add cautiously until the re- quired effect is obtained. For use mix equal parts of No. i and No. 2. Bromide of Potass, gives rnore contrast ; clearer in \he shado-yy. 50 FIXING BATH. Hypo, 2 pounds. Pulverized Alum, .... 2 ounces. Water, . . ... .4 quarts. The Alum hardens the film and prevents frilling and blistering. This plate will work with any good developer. Developers should be kept slightly warm in cold weather and cool in warm weather, at a temperature of about 60 degrees Fahrenheit. These Plates are extremely sensitive ; great care should be taken in regard to opening or exposing to white light until they are fixed in the Hypo bath. They also have great latjtude in development; work clear, fine and delicate in the shadows, with plenty of detail. With proper lighting and care the most beautiful effects can be obtained. FORMULA TO BE USED WITH THE WILLIAMS & GREGORY PLATE. (Avoirdupois Weight.) A. B. Water, . . Sulphite Soda, Citric Acid, Pyrogallic Acid, Water, Carbonate Potash, j4 gallon. I ounce. 15 grains. 120 " }4 gallon. 2 ounces. To use, mix equal parts ; should the plate work too in- tense, dilute with water or use two parts of B to one of A, and the reverse if the plates work thin, 51 FORMULA AND DIRECTIONS FOR USING HAR- VARD DRY PLATES. (Avoirdupois Weight.) These plates can be successfully worked with any good developer ; the following Pyro and Potash Developer will give good results : No. I. Distilled Water, Sulphite of Soda crystals, Citric Acid, .... Bromide of Ammonium, Pyrogallic Acid, Dissolve separately, mix in order named and filter. No. 2. Distilled Water, Sulphite of Soda (crystals), . Carbonate of Potash, Dissolve separately, mix and filter. The stock solutions must be kept in well-stoppered bot- tles. The Pyro stock solution will remain clear and in good order for about a month. It should not be used after it has turned dark and muddy from age. To develop, mix No. i, i drachm; No. 2, 1 drachm; Water, 2 ounces. For detail, add more water ; for contrast, more No. i ; for density, more of each No. i and No. 2. For instanta- neous or short exposures, use double the quantity of water (4 oz. ) to begin with ; pour off when about half devel- oped, and finish with developer, full strength. After development and before fixing it is well to flow the negative with a saturate solution of alum. Rinse and fljf in the following solution ; 12 li. ozs, 2 ozs. 60 grs. 25 It I oz. anc 1 filter. 12 fl. ozs. 2 ozs. 4 ozs. 52 Hyposulphite of Soda, . . . . i lb. Water, 2 qts. Many prefer to add alum to the fixing solution (about I ounce to the above), to which there is no serious objec- tion, provided alvirays it is filtered occasionally. Be sure the plates are thoroughly fixed before removing from the Hypo. Any discoloration from repeated use of developer or fixing bath can be readily removed by apply- ing a 10 to 20 per cent, solution of citric acid and alum. With chemicals reasonably fresh, however, no clearing solution will be necessary. To insure good results keep solutions fresh and carefully filtered. The final washing should be a thorough one, as the chemicals, especially the Hypo, are more difBcult to eliminate from the gelatine film than from a collodion plate. To insure perfect washing, would recommend the use of a washing tank made especially for the purpose and sold by any stock dealer. If through imperfect wash- ing the Hypo has not been thoroughly eliminated, it will cause the negative to turn brown and fade. They should be dried without heat. FAILURES. Weak and foggy negatives, caused by over-exposure ; white light entering camera or dark room ; too much light during development ; decomposed Pyro ; introduction of Hypo or Nitrate of Silver into the developing solution, from the fingers or from other sources. Weak Negatives with clear Shadows, under-develop- ment. Too Strong, with clear Shadows, under-exposure. Transparent Spots, from dust on the plate or air-bubbles while developing. On account of the extreme rapidity of these plates, grfeat care should be taken that they are developed in a suitable place, and opened only in a dark room. 53 HOOVER'S POTASH DEVELOPER. (Avoirdupois Y^'eight.) No. I Stock. Water, 12 fl. ozs. Sulphite of Soda crystals, . . 2 ozs. Citric Acid, . , , , .60 grs. Bromide Ammonium, . . . 20 " Pyrogallie Acid, , , . . i oz. No. ? Stock, Water, 12 fl. ozs, Sulphite of Soda crystals, . . 2 ozs. Carbonate of Potash, . , • 3 " To develop a 5x7 plate, take water 2 ozs.; No. i, I drachm ; No. 2, i drachm. To gain density use more of both No. I and No. 2. More of No. i will restrain, more of No. 2 will accelerate. Immerse plate in a saturated solution of Alum for a moment after fixing and washing to give negative a grey, wet plate color. This excellent developer is simple and will be found to give the finest possible results, with a short exposure. RICHARDSON'S FORMULA. (Avoirdupois Weight.) I take pleasure in sending you the following formula for Ferrous Oxalate developer. In my hands it has pro- duced better results than any form of Pyrogallie Acid developer. 54 STOCK SOLUTIONS, No. I. — Make a solution of oxalic acid in water; ten grains of oxalic acid to every ounce of water (hydrometer test). No. 2. — Make a saturated solution of oxalate of potash in water. No. 3. — Take 3 lbs. of protosulphate of iron and i lb. of double sulphate of iron and ammonia, and make a saturated solution of them in water, putting them both together in the same bottle. (Before adding the water put two drops of Sulphuric Acid to every ounce of it.) All these solutions (Nos. i, 2 and 3) are to be kept in separate bottles. DEVELOPER MIXED FOR USE : No. I, I fl. oz. "2, 5 fl. ozs. "3, I fl. oz. When solutions are very cold use j4 oz. of No. i or you will have a crystalline deposit. The reason I do not make the stock solution of oxalate of potash acid with oxalic acid is, that it has a tendency to go back to the neutral point ; in fact, it will change considerably in twenty-four hours ; and the ireason I do not make the oxalic acid solution saturated is this : I find in cold weather it will test between 10 and 14 degrees, and in hot weather between 20 and 24 degrees (hydrometer test). If negatives are under-timed use more of the oxalate of pot- ash solution, and if over-timed use the following : Bromide of potash, I oz. ; water, 10 or 12 ozs. Notwithstanding what has been said about making an under-timed or over-timed negative as good as one rightly timed, I have never yet succeeded in doing so. R. D. Richardson, 55 THE MARX DEVELOPER. (Apothecaries' Weight.) No. I. Sulphite Sodium, cryst., . . 8 ounces. Water, 32 fl. " Pyro, I ounce. No. 2. Sal Soda, i ounce. Water, 64 fl. ounces. Proportions. No. I, 2 fl. ounces. No. 2, 3 fl. " Water, (in winter) . . . 2^ fl. " In summer use twice the quantity of water, Plainfield, N. J. Ernest Marx. FORMULA GENERALLY USED BY MEMBERS OF THE ST. LOUIS CAMERA CLUB. Stock Solution. Dried Carbonate of Soda, . i ounce.' Dried Sulphite of Soda, . .1^ " Water, 64 fl. ounces. To make normal developer, take of stock solution 6 fluid ounces and add 10 grains of dry pyrogallic acid. This will work well on any brand of plate and is weak enough to' give time for dealing with improperly exposed plates. If the plate is over-exposed, add to the developer 5 to ID drops of the following bromide solution : — Potassium Bromide. . . .1 ounce. Water, 8 fl. ounces. If the plate is under-exposed, pour off all but i ounce of the developer and add 5 fl. ounces of water. Then cover 5(5 up the tray and give It time to act. When the details are out pour off the weak developer and replace with the nor- mal strength developer and carry development far enough to insure contrast. W. M. Butler, Secretary St. Louis Camera Club. MINNEAPOLIS PHOTOGRAPHIC SOCIETY DEVELOPER. No. I. Sulphite of Soda, granular, Citric Acid, .... Bromide of Sodium, Ice or Distilled_Water, No. 2. Sulphite of Soda, granular. Carbonate of Potassium, Ferrocyanide of Potassium, Ice or Distilled Water, When ready for use add to i fl. drachm of each. J. W. COMO, Of Minneapolis Society. 2 ounces. 6o grains. 40 It 12 fl. ounces. 2 ounces. 3 (t 2 tt 12 fl. 11 ounce of water. A PYRO AND POTASH DEVELOPER. Potassium carbonate, granular, . . i oz. Sodium carbonate, ..... 3 ozs. Sodium sulphite, crystals, ... 6 ozs. Reduce to a fine powder and thoroughly mix. One ounce being a tenth 6i the whole, dissolved in a pint of water, forms the alkaline portion of my own developer. I add dry pyro as wanted for use, say two grains to each fluid ounce. I find no difficulty in measuring the pyro in 57 a wooden mustard spoon, the capacity of which I have tested with accurate scales. I find it better to divide the mixed salts into ten parts at once, and to put each ounce into a separate bottle, well corked. A larger bulk has a way of caking-, and so throwing a doubt upon the even- ness of the mixture. With one or two one-ounce bottles of these dry salts, another bottle of dry pyro, and a few of Wyeth's Com- pressed Tablets of Bromide of Potassium, 5 grains each, to be had of any city druggist, the travelling amateur is amply provided, while he need have no worry lest his bottles leak. Worcester, Mass. George E. Francis. HYPO IN THE FERROUS OXALATE DEVELOPER. One of the most powerful developers known is that which is formed by adding a few drops of hyposulphite of soda solution to the ordinary ferrous oxalate developer. The effect is very remarkable; the lights of the picture almost instantly appearing, and the negative generally gaining strength quite rapidly. Care must be taken not to put in too much of the hypo, as an excess will cause a scum to form on the surface of the plate. This scum can be rubbed off while the plate is wet, by the ball of the thumb or finger, but slight scratches may result and of course it had better be avoided. One drop of the fixing solution to three ounces of de- veloper will be found, as a rule, amply sufficient for the best effects. It would seem, however, better to take some of the fixing solution and dilute it, say, with five times its quantity of water. Two drops of this to the ounce of developer would then seem to be enough, but the quan- tity could be somewhat increased without danger. The 58 fixing solution is supposed, in what has been just said, to have as much hypo as it will dissolve. ItseeAis to be better to take part of a fixing solution which has been used rather than make a fresh solution of hypo for the purpose. It is of course necessary in this process,- as always with ferrous oxalate, to have the developer unmistakably acid ; enough so to turn litmus paper to a distinct red. Little harm will be done by an excess of acid, but the slightest alkaline taint will utterly prevent satisfactory work. The hypo should of course be well mixed with the developer, but a shake or two will possibly suffice. If the above precautions are observed, instantaneous negatives of unsurpassable crispness and detail can be produced ; the effect seems to be to reduce the exposure at least four times, and to give a remarkably satisfactory character to the plate, making it print nearly or quite as quick as one made with collodion. G. M. Searls. PYRO-AMMONIA DEVELOPER. No. I. Pyro, 240 grains. Sulphite soda solution, ... 4 ozs. Water, 26 " No. 2. Bromide potassium, . . . . i oz. Water, 9 fl. ozs. No. 3. Liquid ammonia cone, . . . i fl. oz. Water, 9 " ozs. The sulphite soda solution is made as follows : Sulphite soda, granular, . . . . i oz. Water, 12 fl. ozs. 59 Add citric acid, little by little, until blue litmus paper Jturns red. To develop take as follows : No. I, I oz. Water, ..... 3 ozs. No. 2, . . . . . .40 minims. No. 3, 60 " H. W. G. WRATTEN & WAIN WRIGHT'S DEVELOPING FORMULAE. (English.') ORDINARY. A.-Pyroacid . 2 grains, | ^^^^^^ ^,^^^ Water (ordmary), i ounce, ) B.— Bromide of potassium, . . 15 grains. Water .... i ounce. C. — Liquor ammonia, . . . i drachm. Water, i ounce. Development. — Lay the exposed plate in the dish in. cold water (hard, not soft, water) for one minute, during which time pour into the developing cup one ounce of A. Pour off the water and apply the A, leaving it also upon the film about one minute. Now drop into the cup (say) three minims or drops each of B and C, return A from the plate to the cup, and a perfect admixture will result. Reapply, and in about thirty seconds or so the image will begin to appear, and will gradually progress until the power of the developer is exhausted. INSTANTANEOUS. — STOCK SOLUTION A*; Ammonia liquor fort, . . ■ i ounce. Potass, bromide, ... 60 grains. Water, 3 ounces. 6o DEVELOPER. Pyrogallic acid, .... 3 grains. Stock solution A* ... 20 drops. Water, ...... 2 ounces. Lay the exposed plate in a dish of cold water to soak while the pyrogallic acid is mixed. For each plate use at least three grains of pyro, dilute with two ounces of water. First pour off the water from the plate and apply the pyro solution ; then add five drops of stock solution A*, and keep this weak developer on the plate until the highest lights are pretty well visible. Then add from fifteen to twenty drops more of A* to finish development. swan's Alkaline Pyrogallic Acid Development. — For Alkaline pyro- gallic acid development we recommend as a good basis, to be modified according to the judgment and experience of the operator, the following : — NO. I SOLUTION. Pyrogallic acid. Water, ..... NO. 2 SOLUTION. Liquor ammonia (880 s. g. ), Bromide of ammonium, Water, These two solutions are to be used in proportion of one or two drops of No. 2 to each drachm of No. i. A grad- uated dropping-tube with india-rubber cap is the most con- venient means of measuring No. 2 solution. 1 hose who dislike the use of the dropping-tube and prefer to employ solutions which can be mixed in equal proportions, may adopt the following formula: NO. I SOLUTION. Pyrogallic acid, . . . .30 grains. Water, 10 ounces. 15 grams. 10 ounces. I ounce. I " y^ " 6i I drachm. NO. 2 SOLUTION. Liquor ammonia (-880 s.g.), Bromide of ammonium, . . i " Water, 10 ounces. If two ounces of developing mixture be required for developing a certain plate, then in using the second for- mula one ounce of each — No. i and No. 2 solutions— is taken. nelson's. Make two stock solutions, and label them No. i and No. 2. No. I. Pyrogallic acid, Methylated spirit, Distilled water, White sugar, .... No. 2. Strong liquid ammonia, 880, Water, Bromide of ammonium, White sugar, .... Have your developing cup and a four-ounce graduated measure quite clean, also an ebonite or wooden dish var- nished with shellac, slightly larger than the plate being used and two two-drachm minim measures, one of which is kept for No. i, and the other for No. 2. To develop (say) a half-plate, put half a drachm of No. i into the develop- ing glass, then put half a drachm of No. 2 into the gradu- ated measure and add one and a half ounces of water. Now lay the plate face upwards in the dish, pour the con- tents of the graduated measure into the developing cup, and flow the mixture steadily over the surface, avoiding air-bubbles ; but should any adhere to the film at once remove them with the finger or clean camel's-hair brush. Gently rock the dish until the details are well out, which, I ounce. 7 " 3 " I " 4 ounces. 2 " I 62 if the exposure has been well timed, should be in about thirty seconds. This answers equally for the ordinary and extra-rapid plates. Edwards's. No. I. Pyrogallic Acid, . . . . i ounce. Glycerine, . . . . i " Methylated alcohol, . . . 6 fl. " Mix the glycerine and spirit and add the pyro. No. 2. Bromide of potassium (or ammonium), 6o grains. Liquor ammonia, '880 ... i ounce. Glycerine, i ounce. Water, 6 fl. ozs. The above stock solutions will keep any length of time. To make the developer, add one part of No. i to fifteen parts of water, and label this bottle D (developer). In another bottle mix one ounce of No. 2 with fifteen ounces of water, and label it A (accelerator.) For use mix equal parts of D and A. For under-exposure increase the proportion of A, and vica versa. Thomas's. The Development. — Prepare the following solutions : A, p. Acid pyrogallic, ... 40 grains, Distilled water, . . . . 20 fl. ounces. A. P. must be freshly prepared, A. B, Liquor ammonia, s.g. -880, . J^ fl. ounce. Ammoniun bromide, . .100 grains. Distilled water, , , . . 20 fl. ounces. A, 8. will keep ^eyer^l months, 63 Just a moment before development mix equal parts of the above solutions in sufficient quantity ; one ounce of each will be ample for a plate 8j4 x 6)4 inches. Pass a broad camel's-hair brush over the plate to remove the slightest particle of dust, place it in a flat porcelain, glass, or ebonite, tray, and flood it dexterously with the devel- oper. The image quickly appears, and, if the correct exposure has been given, attains its full density in about a minute or a minute and a half; then wash freely with water. Note. — In case of under or over-exposure, the develop- rhent may be considerably modified by the judicious application of the A. P. and A. B. solutions. In case of over-exposure add more of A. P. ; for under-exposure more of A. B. A. P. gives density ; A. B. brings out half-tone. rough's. Make the following solutions : — A. Pyrogallic acid, ... 60 grains. Nitric acid, . . . 3 to 5 minims. Water, 20 fl. ounces. B. Liquor ammonia, "880, . . i fl. ounce. Bromide of potassium, . . 2 drachms. Water, 2 fl- ounces. The solution B should be kept in an ordinary dropping- bottle. The object of nitric acid in the pyro solution is to give it keeping properties ; it may be omitted where only a small quantity of solution is made for immediate use. beach's potash developer. Pyro solution : Warm distilled water, . . . 5 fl. ozs. Sulphite of soda (pure), , , 2 ozs, 64 When cold, add : Sulphurous acid, . . . . 3j^ fl. ozs. Pyrogallic acid, . . . . i oz. Potash solution : Carbonate of potash (pure), . . 3 ozs. Sulphite of soda . . . . 2 " Water, 7 fl. ozs. Dissolvie the salts separately and mix. For a plate hav- ing the normal exposure, mix the pyro and potash solu- tions in equal proportions. For under-exposure use more of the potash solution, and vice versa. FORMUL.* FOR INTENSIFICATION — EDWARDS's. Saturated solution of bichloride of mercury, 10 ounces. Iodide of potassium, . . . .10 drachms. Dissolve the iodide of potassium in ten ounces of water, and pour gradually into the mercurial solution until the precipitate thrown down is nearly redissolved. Add one ounce of hyposulphite of soda in crystals. ANOTHER. Mercury bichloride, . 60 grs. in 4 ozs. water. Iodide of Potassium, 90 " 2 '' '' Hypo, . . . 120 " 2 " " Mix. England's. Mercuric chloride. . 20 grains. Ammonium chloride. 20 Water, .... , I ounce. Wash the negative thoroughly after fixing, and apply the above until the film acquires a uniformly grey tint. Wash again, and apply a very weak solution of ammonia — ten drops of the latter to an ounce of water. 65 FO^ SILVER INTENSIFICATION. Pyrogallic solution : Pyro, 15 grains. Water, 10 ounces. Sjlver solution : Nitrate of silver, . . . . ^o grains. Citric acid, . . . , . 3Q ■' Nitric acid, 30 niinims. Watei", z ounces. - To each ounce of the pyro solution add ten or fifteen minims of the acid silver, having previously thoroughly removed the hypo from the plate by prolonged washing, or by the use of the alum and hydrochloric solution. Should the shadows of the negative become stained during intensification, the solution of alum and acid vs'ill sub- sequently clear them almost instantaneously, unless the stain be due to the imperfect removal of the hypo. It must be borne in mind that the density increases greatly on drying the negative. radcliffe's. Sulphate of iron and ammonia, . i ounce. Lump sugar, . . . ■ i " Glacial acetic acid, .... 2 ounces. Albumen, i ounce. Distilled water, . . . .20 ounces. Add the albumen last. A few drops of a twenty-grain solution of silver nitrate are added at the time of using. WRATTEN AND WAINWRIGHt's. A. Protosulphate of Iron, . . . 15 grains. Gelatino Acetic Acid solution (as de- scribed below, ) . . . .40 drops. Water, i ounce. 66 Nitrate of Silver, . . , , to grains. Glacial Acetic Acid, . . . lo drops. Water, i ounce. The gelatine acetic acid solution is compounded as under: — Gelatine, . . . , -15 grains. Glacial acetic acid, ... 3 drachms. Water, . . . , . 5 " It is well to prepare a stock of this and also of A, as they are both better for keeping. First flood the plate with water, and then with a solu- tion of iodine and iodide of potassium of the color of pale sherry for one minute ; rinse it off and apply enough of A to cover the plate for the same time. Now drop into the cup a drachm of B, and bring the A back from the plate to the cup to mix them together. Reapply and keep mov- ing over the surface until density is sufficient. If any air- bells should occur they must be kept moving and thejj they will do no harm. abney's method for increasing the sensitiveness of the ferrous oxalate developer. Add ID to 40 drops, according to requirement, of a 25- grain solution of hyposulphite to each 3 ounces of de- veloper. Edwards' clearing solution. Alum, I ounce. Citric Acid, i " Sulphate of Iron, .... 3 ounces. Water, 20 fl. " This should be freshly mixed. 67 to intensify gelatine negatives with mercury (ammonia method), Bichloride of mercury, saturated solution in cold water, (The negative should be placed in alum for a short time before treatment ) Well w^ash the negative, and immedi- ately pour on mercury solution ; do not keep it on too long unless the negative is very thin. Wash virell and immerse in bath of — Water, . . . . . .10 ounces. Ammonia, . . . . .10 drops. Leave the plate in this solution until it blackens quite through the Elm. Well wash. If the mercury solution makes the negative too dense dilute with water. SCOLIk's method of MERCURIAL INTENSIFICATION. The fixed and well washed negative is allowed to re- main in the following mercuric chloride bath until the film is thoroughly whitened : — Mercuric Chloride, ... i ounce. Potassium Bromide, . . . i " Water, 50 fl. ounces. The bleaching^ being complete the mercuric solution is rinsed off, and the negative is immersed in a mixture of equal parts of saturated solution of sodium sulphite and water; the darkening action will be seen to take place steadily and slowly, just as when ammonia is used. Wash away the excess of sulphite. METHOD FOR QUICKLY DRYING GELATINE NEGATIVES. After well washing place plate in a bath of methylated spirit for two or three minutes. Afterwards flow two or three times with common methylated sulphuric ether. The negative will dry in a current of air in two or three minutes. ...... 68 TO PREVENT FRILLING. Soak plate before development in saturated solution of Spsom salts. Wash and develop as usual or use w^ater containing a little Epsom salts, half an ounce or more to a pail of water. JASTRZEMBSKl's. No. I. Gallic acid, . . I part. Alcohol, . 10 parts. No. 2. Nitrate of silver, . I part. Water, 1 6 parts. Acetic acid. • % to }4 oia. part. Both solutions are stable. Before using, mix one part of solution No. i with about four parts of distilled water, and then add a few drops of solution No. 2. TO RESTORE FADED NEGATIVES. Mr. W. E. Debenham recommends the following solu- tion for the purpose of restoring printing force to negatives which have faded after mercurial intensification : — Schlippe's Salt, . . . . lo grains. Water, ...... i ounce. Wet the film thoroughly by soaking in a dish of water, and immerse in the restoring solution until the desired effect is obtained. USUAL PYRO DEVELOPER. No. I. Strong liquid Ammonia, . . i ^ fl. ounces. Bromide Potassium, . . 200 grains. Water, . . . . . . 80 fl. ounces. 69 No. 2. Pyrogallic Acid, . . . -30 grains. Water, 10 fl. ounces. In case of an ordinary exposure, mix equal volumes. Bedford's developer for plates giving green fog. No. I. Pyrogallic Acid, .... 4 grains. Sodium Bisulphite, . . . 12 " Distilled Water, . . . . i fl. ounce. No. 2. Sodium Carbonate Cryst, . , 96 grains. Water, . . . . . . i fl. ounce. The bisulphite of soda should be first dissolved in the water, and the pyro then added. Both solutions may be ma'de up in quantity, as they will keep for some weeks ; and for a normal developer they are mixed in equal parts, or the proportions may be varied to suit exposure. If any restrainer is required, use potassium, not ammonium bromide. One grain to each ounce considerably retards development. A SULPHITE DEVELOPER. Water, ..... 2 fl ounces. Citric Acid, ..... i ounce. When dissolved this produces three ounces of solution. PYRO SOLUTION. No. I. Citric Acid solution as above, . 40 grains. Pyrogallic Acid, . . , . i .ounce. Water, 12 fl. ounces. No. 2. Sulphite of Soda, (crystals) . . 4 ounces. Carbonate of Potash, . . . 4 " Water, 20 fl. ounces. . 7° The developer is made as follows : — No. I, i>^ fl. drachm. No. 2, I fl. Water, . . . . . 3j^ fl. ounces. If the picture comes out too slowly, increase the amount of No. 2 a little at a time. eder's soda developer with addition of ammonia. Prepared as follows : , A. Distilled Water, . . 1,500 cubic cents. Neutral Sulphite of Soda, . 100 grammes. Pyrogallic Acid; .• . . 15 " B. Distilled Water, . . 500 cubic cents. Pure Crystallized Carbonate of , Soda, . . . . 50 grammes. Strong Ammonia Solution . 2^ cubic cents. Both solutions are to be kept in well-stoppered bottles. A will keep good for two or three weeks ; B for several months. For use, one mixes 100 parts of A with 20 parts of B, and as this mixed developer will keep for a day in a well- stoppered bottle, sufficient for a whole batch of plates may be mixed at once. In this developer the image should appear in ten to fifteen seconds if the exposure has been correct, and the development should be completed in four to six minutes. If over-exposure is feared, the developer is diluted with half its bulk of water, or a commencement should be made with some of the developer which has been used for previous plates. If, on the other hand, it is desired to force the develop- ment, there is added to each 100 cubic centimeters of the developer two to five, drops of the foljowing solution (C): 71 C. — (accelerator. ) Strong Ammonia solution, . 50 cubic cents. Water, .... 150 " The developer may also be made more active by increas- ing the proportion of B. EGLI AND SPILLER's HYDROXYLAMINE DEVELOPER. Hydoxylamine Hydrochlor, . . 32 grains. Citric Acid, 15 " Potassium Bromide, . . , . 20 " Water, ...... i ounce. B. Caustic Soda, , . .1 drachm (60 grs. ) Water, . . . . i ounce. To develop, take i drachm of A, 3^^ ounces of water, and to begin with 40 drops of B; then, as the opera- tion proceeds, another 20 or so are added, if necessary. cowan's solution of pyrogallic acid ready for use, Pyrogallic Acid, . . . . i ounce, Citric Acid, 60 grains. Water, . . . . . . 109 fl.. ounces, Dissolve the citric acid in water, and add the pyrogallic- The solution will contain 4 grains of pyrogallic to the ounce of water, and will keep good for months. For convenience, half the quantity of water may be used, when the strength will be 8 grains per ounce. In using it, dilut? according to formula employed. 72 WHICH FORMULA IS THE BEST? Enough is plenty, and one is generally enough in con- nection with photographic formulae. It is interesting to read the various recipes as published from time to time, and doubtless some are much better than others, but the unfortunate one who attempts to apply them all in the course of his regular profession is to be condoled with. One of the evils of the photographic world to-day is the plethora of formute. Every manufacturer of dry plates recommends particular receipts for development ; the journals are full of them, while scarcely ten men in one photographic society make use of the same formula. What is the result .? You converse in an " unknown tongue " when comparing experiences with others. You are in- vited by a friend to enter his dark room and develop a plate, or you ask the privilege of doing so from some obliging photographer in the course of your summer's jaunt. His stock solutions, very nicely prepared, are upon the shelf and ready for use ; but what are they .? Entirely different from those to which you are accus- tomed, . and very probably the owner himself will be obliged to refer to his note-book to acquaint you with their strength. Select one formula and adhere to it ; judgment and ex- perience in use thereof are the only sure roads to excel- lence in technical manipulation. Adopt any formula that appears desirable. Calculate the number of grains of alkali and of pyrogallic acid to the fluid ounce in your stock solution, remember it, and you will never be at a loss. Then if a friend enters your dark room to develop a plate you can acquaint him with the strength of your solutions and he is at once able to proceed with confi- dence. You may lose your note-book and yet prepare your solutions in any quantity at any time. 73 I still use the same developer that I did when I com- menced dry-plate photography, and I see no reason for change ; yet any other may be as good. It is as folloM's : No. I. Acid pyrogallic, . . 437^ grains (i oz ) Acid citric, . . . 60 " Sodium sulphite, crystals, . 4 ozs. Water, . . . . 16 fl. ozs. No 2. Sodium carbonate, . . . .24 ozs. Sodium sulphite, crystals, . . 4 " Acid citric, ..... 240 grains. Water, 80 fl. ozs. My No. I solution contains about 26 grains of pyro- gallic acid in one ounce, and No. 2 about 100 grains of alkali in one ounce. With i}4 fluid drachms of No. i and 2 fluid drachms of No. 2, 10 drops of a solution of bromide of potassium (45 grains in one fluid ounce of water) and water to make 8 fluid ounces, I commence developing any 6% x 8^ plate that I may have exposed. I then regu- late the development with additions of No. i or No. 2 solutions or bromide of potassium ; at this juncture expe- rience and judgment must be at command. For the same reason that I think best to adhere to one formula for developers, I adhere to one make of plates (Carbutt's), purchasing in the spring a sufificient number made fiom the same emulsion to meet my demands for a year. Upon a photographic trip, when a large number of plates are to be exposed without the opportunity of trial development, it is my custom to err upon the safe side and give ample exposure, indeed what I think to be o»er-exposure. If the plate proves to have been over- exposed I immerse it in a plain solution of bromide of potassium and water previous to development, varying 74 the strength and period of immersion according to amount of over-exposure ; I can generally procure a negative full of detail, and density sufficient for good printing quality. It will be observed that I use carbonate of soda as the alkali. I prefer it to carbonate of potash, as I believe it almost universally conduces to a softer effect in the nega- tives developed with it. It is difficult to judge of the printing quality of a nega- tive by its appearance in the hand. I have seen very dense, dark negatives which produced beautiful prints, and on the other hand, very beautiful negatives which produced very unsatisfactory prints. Plates developed with carbonate .ot potash are very clean and pretty when held before the light, but prints from them are apt to be disappointing. A slight yellow stain is not at all a serious cause for objection in the plate, as it generally renders its printing qualities soft. The various manufacturers of dry plates appear to de- sire to publish formulae differing from one another in some features. Would it not conduce very much to the simpli- fication of the many varied methods now suggested to their customers if they would all agree upon one strength for stock solutions 1 The proper amount of dilution of these solutions as best adapted to any particular brand of plate could be printed upon the label. The adoption of some such method is necessary to our relief in the present state of confusion from redundancy and complexity of formulae. Philapelphc/*, John G, Bullock. 75 TO MAKE ORTHOCHROMATIC PLATES. THE SENSITIZING PROCESS. The dried silver bromide gelatine plates are first dusted with a camel's-hair brush, to avoid soiling the bath by means of dirty plates. I. SOFTENING BATH. 200 c. c, (7 fl. oz., I dr., 36 minims) Water. 2 c. c, (34 minims) Ammonia. The plate is left soaking tvs^o minutes in this bath ; this prepares the plate to receive the color uniformly, and increases the general sensitiveness. The plate is w^ell drained, and then bathed in the follovsring : 2. COLORING BATH. 25 c. c, (6 fl. dr., 8 minims), erythrosin solution : — (i pure Erythrosin, 1,000 Water); 4 c. c, (i fl. dr., 8 minims) Ammonia; 175 (6 fl. oz., 2 fl. dr., 4 minims) Water. The plates should be left only from i to i ^ minutes in this bath, as they acquire an intense color if they remain longer, which later on, if not exactly injurious, is at least unpleasant, apart from the fact of its diminishing the sensitiveness. The two baths may be used for a dozen plates, but at the seventh or eighth, a c. c. (17 minims) of ammonia must be added to each bath. While the plates are in the bath the liquid must be kept in motion. The bathed plates must be drained on filter paper and then dried in a dark room. . Working with these sensitized plates requires^ a"certain amount of care as regards the quality of the light. A (Jark ruby-red light must be used, so placed that the ira- 76 mersion in the bath takes place as far as possible in dark- ness. In placing in the dark slide, as well as in all future operations, the precautions recommended for all Ortho- chromatic plates must be observed. As developer only, the alkaline pyrogallic developer can be used, fog always resulting from the use of ferrous oxalate.' Soda, as well as Edwards' pyrogallic glycerine developer, may be used ; but the potash developer is preferable, since it is more energetic. We use Eder's so-called normal potash developer. The operation of development must take place in dark red light, and the trays must be kept covered over. The foregoing sensi- tizing formula holds good for eosin (bluish) and Bengal red; these coloring matters may be used of the same strengths. AMMONIACAL ERYTHROSIN IN THE EMULSION. We shall only give the names of the emulsions, used by us, presupposing that the receipts for them are generally well known. They are the modified Monckhoven emulsions, with subsequent ammonia digestion, and Henderson's emulsion. After washing, we leave the emulsions for some time (two to three weeks) in alcohol before we filter them, because thereby a purer and more sensitive product is obtained, and also because the preparation of the plates is facilitated, as compared with emulsions recently made and taken into use at once. We have made some interesting experiments upon ripening in ammonical alcohol, which will shortly be published. Ammoniacal erythrosin, mixed with the emulsion before filtration, gives Orthochromatic plates of extraordinary qualities, which, as regards their sensitiveness to the 77 yellow, yellowish-green and orange, equal trade products, even if they do not surpass them, but do not touch the sensitiveness of the bath plates. The following propor- tions gave us the best results ; — i,oo3 c. c. emulsion, 20.30 c. c. erythrosin solution, (i : 1,000) 10.15 c. c. ammonia. If less erythrosin be used, the yellow sensitiveness is comparatively weak ; if a greater quantity than 30 c. c. the total sensitiveness is somewhat retarded. We again emphasize the need of faint red light in the process of preparation, and of perfect darkness in the drying of the plates. For all other operations the directions given for bath or Orthochromatic plates must be observed. Mr. E. Bierstadt, to whom we are indebted for supplying the above, says : I will only add that I have used distilled water and have carefully filtered all solutions before using. The neglect of this has caused failures by parties whom I have given the formula to. After the plates are perfectly dry, pack them up care- fully with clean, dry paper between them, so as to exclude air and they will keep well for months. As to your idea of using grains instead of grammes, I must disapprove of. But in the printed formulae you may leave out the c. c. if you wish, and use instead grains, minims, oz., lbs., pints, quarts, or barrels, if you like this better ; but to any one who has gumption enough to weigh and measure at all, the printed way is the most simple. The erythrosin which I have found best is sold by Pickhardt & Kuttroff, 92 Liberty street, and is the ery- throsin B. E. Bierstadt. .78 TO REMOVE THE LAST TRACES OF HYPO FROM THE FILM. HYDROXVI,. Peroxyde of hydrogen (twenty vols,), i drachm. Water, . . . . . . 5 fl. ounces. After washing the negative well it is immersed for a couple of minutes in the solution and again rinsed in water, when the intensification with silver can at once be proceeded with. ANOTHER. Where peroxide of hydrogen is not obtainable the following may be used as a substitute, the solution con- taining that substance in combinatiori with others. Barium dioxide, . . . . i ounce. Glacial acetic acid, . . . . i " Water, ...... 4 ounces. Reduce the barium dioxide to a fine powder and add it gradually to the acid and water, shaking until dissolved. A few minutes' immersion in this solution will effectually remove or destroy the last traces of hypo. ALUM. A simple plan brought forward by Captain Abney for this specific purpose consists in employing a saturated so- lution of alum in place of the solution of hydroxyl or peroxide of hydrogen. EAU DE JAVELLE. Dry chloride of lime (hypochlorite of lime), 2 ozs. Carbonate of potash, . , . . 4 " Water, 40 " 79 Mix the chloride of lime with thirty ounces of the water; dissolve the carbonate of potash in the remainder. Mix, boil, and filter. labarraque's solution. Chloride of lime, ... .3 ounces. Carbonate of soda, . , . 4 " Water, .... . . 40 " Mix the chloride of lime with thirty ounces of the water, and dissolve the carbonate of soda in the remainder. Mix, boil, and filter. CLEARING SOLUTIONS FOR GELATINE NEGATIVES. COWELL S. Alum, ...... 2 ounces. Citric acid, . . . . .1 ounce. Water, ...... 10 ounces. Wash moderately after fixing, and immerse the negative in the above. ANOTHER. Saturated solution of alum, . . 20 ounces. Hydrochloric acid (commercial), . i ounce. Immerse the negative after fixing, having previously washed it for two or thrfee minutes under the tap ; wash well after removal frotnthe alunl and. acid. ferrous' citro-oxalate developer. No. I. Potassium citrate, , • . • ■ 700 grains. Potassium o?:alate,, . . . , . 200 " Water, .,..•.• • , Z^z ounces. go No. 2. Ferrous sulphate, . . . 300 grainy. Water, ^}4 ounce?. Mix in equal parts. FORMULA FOR NEGATIVE VARNISH. No. I. Sandarac, 4 ounces. Alcohol, 28 " Oil of lavender, . . . • 3 " Chloroform, .... 5 drachms. No. 2. White hard varnish, . . . 15 ounces. Methylated alcohol, . . . 25 ounces. This will be found a good and cheap varnish if durability is not required, as it is easily rubbed up for retouching upon and easily cleaned off. Very suitable for enlarged negatives that are not to be retained. ^_,, No. 3. Tough, hard and durable : — Shellac, .... Mastic, Oil of turpentine, Sandarac, .... Venice turpentine, . . Camphor, .... Alcohol .... No. 4. Sandarac, .... Turpentine, . , , Oil of lavender, Alcohol, .... i}( ounce X " 'A " 1% " % " 10 grains. 20 fl. ounces. 90 ounces. 36 " ID " " 500 " 8i No. 5. This one may be rubbed down with powdered resin, and gives a splendid surface for retouching : — Sandarac, ..... 2 ounces. Seed lac, . , . . . i to i^ ounce. Castor oil, 3 drachma. Oil of lavender, . . . , 1% drachm. Alcohol, 18 fl. ounces. No. 6. Best orange shellac, . . ■ i-% ounce. Methylated alcohol, . . . . i pint. Keep in a warm place until dissolved ; then add a large teaspoonful of whiting or prepared chalk ; set aside to clear, and then decant. This is especially recommended for gelatine negatives. NEGATIVE RETOUCHING VARNISH. Sandarac, ..... i ounce. Castor oil, ..... 80 grains. Alcohol, ..... 6 ounces. First dissolve the sandarac in the alcohol, and then add the oil. GROUND-GLASS VARNISH. Sandarac, ..... 90 grains. Mastic, 20 " Ether, .... . . 2 ounces. Benzole, . . . . % io 1% " The proportion of the benzole added determines the nature of the matt obtained. 82 ENGLISH PRINTING FORMULA. SELECTED TONING FORMULA. No. I. ' Chloride of gold, . . . . i grain. Acetate of soda, 30 grains. Water, 8 ounces. This must not be used until one day after preparation. It keeps well, and gives warm, rich tones. No. 2. Chloride of gold, . . . . i grain. Bicarbonate of soda, ... 4 grains. Water, 8 ounces. This is ready for immediate use after preparation, but it will not keep. No. 3. Chloride of gold, . . . . i grain. Phosphate of soda, . . . 20 grains. Water, ...... 8 ounces. This gives rich tones of a deep purple nature, but must be used soon after preparation. No. 4. Gold solution, . . . .10 drachms. Acetate of lime, ... 20 grains. Chloride of lime, . . . . i grain. Tepid water, .... 20 ounces. The "gold solution " before mentioned is prepared by neutralizing as much as is required of a one-grain solution of chloride of gold by shaking it up with a little prepared chalk, then allowing it to settle, and filtering off the clear liquid. This toning bath improves by keeping. To use, add two ounces of it to eight ounces of tepid water, which will prove sufficient to tone a full-sized sheet of paper. No. 5. Chloride of gold, . . . -15 grains. Water, ..... 5 ounces. Neutralize with lime water, make up to fifteen ounces with water, and add two drachms of chloride of calcium. This stock solution will keep for a long time for use. Dilute one ounce with ten ounces of water. No. 6. TONING AND FIXING IN ONE BATH. Chloride of gold, . . . . i grain, Phosphate of soda, . . . 15 grains. Sulphocyanide of ammonium, . -25 " Hyposulphite of soda, . . 240 " Water, ...... 2 ounces. Dissolve the gold separately in a small quantity of water, and add it to the other solution. SOLUTION FOR MOUNTING PRINTS WITHOUT THEIR COCKLING. Nelson's No. i photographic gelatine, 4 ounces. Water, 16 " Glycerine, •....! ounce. Methylated alcohol, ... 5 ounces. Dissolve the gelatine in the water, then add the glyce- rine, and lastly the spirit ESCAUSTIC PASTE. Pure wax, .... . 500 parts. Gum elemi, . . , . 10 " Benzole, .■ . 200 " Essence of lavender, 300 " Oil of spike, .. * « .. .. 15 " 84 SENSITIZING SOLUTION FOR CARBON TlgStlE. Bichromate of potash, . . .1 ounces. Water, ..... 20 ounces. Liquor ammonia, . . . . 6 minims. WAXING SOLUTION FOR CARBON PRINTS, OR FOR REMOVING COL- LODION FILMS. No. I. Beeswax, . . . . .20 grains. Benzole rect. No. i, . . . 4 ounces. FOR FLEXIBLE SUPPORTS (AutOtype). No. 2. Yellow resin, .... 3 drachms. Yellow beeswax, . . . . i drachm? Rectified spirits of turpentine, . 10 ounces. THE "DUSTING-ON' PROCESS. No. I. Saturated solution of bichromate of ammonia. . 5 drachms. Honey, .... 3 " Albumen, • 3 Distilled water, . 20 to 30 " INO. 2. Dextrine, .... . yi ounce. Grape sugar. . . % •' Bichromate, . . y^ " Water, .... j4 pint. No. 3. Gum arable, .... . 6 parts. Bichromate of potash, 2.5 " Grape sugar. . 4 " Water, . 72 " 85 No. 4. Honey, .... . 4 drachms. Glucose, .... 8 Albumen, . 6 Dextrine, .... • 3 " Bichromate of potash. . 8 Water, 20 ounces. MISCELLANEOUS FORMULA. — SOLUTIONS FOR SILVERING GLASS MIRRORS. Nitrate of silver. Distilled water, . Nitrate of ammonia. Distilled water. B. 175 grams. 10 ounces. 262 grains. 10 ounces. Pure caustic potash, Distilled water. I ounce (avoirdupois). ID ounces. Pure sugar candy. Distilled water, Dissolve and add : Tartaric acid. •^ ounce (avoirdupois.) 5 ounces. 50 grains. Boil in a flask for ten minutes, and when cool add : Alcohol, ...... I ounce. Distilled water, quant, suff. to make up to 10 ounces. 86 For use take equal parts of A and B. Mix together also equal parts of C and D, and mix in another measure. Then mix both these mixtures together in the silvering vessel, and suspend the mirror face downward in the solution. No. I. Nitrate of silver. Distilled water, BURTON s. 25 grains. I ounce. No. 2. Potash (pure), Distilled water, 25 grams. I ounce. Solution I. ) Solution 2. I Ammonia, Solution I . equal parts. to just dissolve the precipitate, to just cause a discoloration. B. Loaf sugar, Distilled water, Nitric acid. Alcohol (strong), . Distilled water to make. 2,700 grains. 20 ounces. 2 drachms, ID ounces. 80 " For use : Solution A, Solution B, I ounce. I drachm. Solution A is subject to slow decomposition ; Solution B, on the contrary, improves by keeping. 87 WORTLEY'S COLLO-RESTRAINER. Gelatine, . . ... 3 drachms. Soak in water for twenty-four hours ; drain off water thoroughly, and add — Sulphuric acid, .... 7 drachms. When cold add water seven ounces. Neutralize with liquor ammonia (it will take about two ounces), and then add— Glycerine, . . . . . A}i ounces. CHROMOGRAPH MIXTURES. Make a zinc tray about a quarter of an inch in depth, and pour into it a warm solution made as follows : — Water, ...... 4 ounces. Sulphate of baryta, . . . 2% " ' Sugar, ...... I ounce. Gelatine, i " Glycerine, . . . . .6 ounces. Write whatever is required to be printed upon a sheet of white paper, using instead of ordinary ink the aniline color known as " violet of methylaniline ; " as soon as the writing is pretty dry, lay it upon the gelatine surface, and rub the back of the paper with the palm of the hand. The ink will be absorbed by the gelatinous product. All that is to be done in order to obtain a facsimile of the writing is to lay a sheet of paper upon the writing on the gelatine and rub the back with the hand. From forty to fifty can thus be drawn off in a few minutes. INK FOR RUBBER STAMPS. Aniline red (violet), ... 90 grains, Boiling distilled water, . . . i ounce. Glycerine, . . . half a teaspoonful. Treacle . . half as much as glycerine. THE WET COLLODION PROCESS. IODIZED COLLODION (fOR NEGATIVES). (Ens:lish.) Ether, s.g. 725, 10 fl. ounces Alcohol, s.g. 805, 8 Pyroxylin e, .... 120 grains. Iodide of ammonium, 12 " " cadmium 20 " BROMO-IODIZED COLLODION (fOR NEGATIVES). Ether, s.g. 725, . . . 10 fl. ounces. Alcohol, s.g. '805, . . . 10 " Pyroxyline, . . . . 120 grains. Iodide of ammonium, . . 40 " " cadmium, . . 40 " Bromide of " . . . 20 " BROMO-IODIZED COLLODION (fOR POSITIVES OR FERROTYPES. ) Ether, s.g. 725, . . . 10 fl. ounces. Alcohol s g. '805, . . . 10 " Pyroxyline, .... 100 grains. Iodide of cadmium, . . 50 grains. Bromide of ammonium, . . 20 grains. THE NITRATE BATH (fOR NEGATIVES). Nitrate of silver (recrystallized) . 6 ounces. Distilled water, . . . . 80 fl. '^ Nitric acid (pure), . . . .IP minims, Saturate vi^ith iodide of silver and filter, (for POSITIVES OR FERROTYPES. ) Nitrate of silver (recrystallized), 5 ounces, Distilled water. . . . 80 fl, ounces. Nitric acid (pure) . . .12 minims. Saturate with iodide of silver and filter, 89 DEVELOPER (fOR NEGATIVES). No. I. Protosulphate of iron, . % ounce. .Glacial acetic acid, Ya. " ' Alcohol, .... ■ • Y " Water, .... 8 ounces. No. 2. Protosulphate of iron, . 15 grains. Acetate of soda. • 15 " Glacial acetic acid. 30 minims. Alcohol .... ■ 30 " Water, .... I ounce. No. 3. Protosulphate of iron, I ounce. Glacial acetic acid, . I " Citric acid. ^ drachm. Water, .... . I pint. No. 4. Ammonio-sulphate of iron. 75 grains. Glacial acetic acid. 75 " Sulphate of copper, • 7 " Water, . . . ; 3 ounces. No. 5. Protosulphate of iron, 7 drachms. Water, .... 20 ounces. Collocine, 2 small drops. Alcohol, .... quant, suff. This developer can ^IsQ be used for glass positives and ferrotjrpes. 90 (for collodion positives or ferrotypes.) Protosulphate of iron, . . • i >^ ounce. Ijfitrate of baryta, ... i " Water, i pint. Alcohol, I ounce. Nitric acid, .... 40 drops. for collodion transfers. Pyrogallic acid, Citric acid, Acetic acid. Water, Alcohol, . 5 grains. 3 " 45 minims. I ounce. quant, suff. intensifying solution. A. — Pyrogallic acid, .... 3 grains. Water, ..... i ounce. B. — Nitrate of silver,- . . . .10 grains. Citric acid, . . . . . 20 " Acetic acid, i drachm. Water, ..... i ounce. For use mix a few drops of B with enough of A to cover the surface of the plate. DRY COLLODION PROCESSES.— PYROXYLINE. for collodio-bromide or unwashed emulsion. Nitric acid, s. g. 1.45, • 2 fluid ounces. Sulphuric acid, s. g. 1.845, ■ 4 " Water i " Cotton (cleaned and carded), 100 grains. Temperature, . . . 150° Fahr. Time of immersion, . , 10 minutes, 91 FOR WASHED EMULSION. No. I. Nitric acid, s. g. 1.45, . 2 fluid ounces. Sulphuric acid, s. g. 1.845, 6 Water, .... . I Cotton (cleaned and carded). 100 grains. Temperature, 140" Fahr. Time of immersion. 10 minutes. No. 2. Nitric acid, s. g. 1.45, 2 fluid ounces, Sulphuric acid, s. g. 1.845, 3 " White blotting-paper. • 145 grains. Temperature, 100° Fahr. Time of immersion. . 30 minutes. COLLODION. FOR COLLODIO-BROMIDE. Ether, s. g. .720, . . . 5 fluid ounces. Alcohol, s. g. .820, . . 3 " Pyroxyline, . . . .50 grains. Bromide of cadmium and ammo- nium, or Bromide of zinc. 80 76 Sensitize by adding to each ounce fifteen grains of ni- trate of silver, dissolved in a few drops of water and one drachm of boiling alcohol. This is suitable for slow land- gcape work or for transparencies. * FOR WASHED EMULSION (fOR LANDSCAPES). No. I. Ether, s. g. .720, . Alcohol, s. g. .820, 4 fluid ounces 2^ " 92 Pyroxyline, ... 40 grains. Castile soap (dissolved in alcohol)30 ' ' Bromide of ammonium and cad- mium, . . . . 84 " Sensitize with one hundred grains of nitrate of silver dissolved in one ounce of boiling alcohol ; and after standing ten days, add a further twenty grains of silver dissolved as before in two drachms of alcohol. * NO. 2 (rapid). Ether, s. g. . 720, 4 fluid ounces. Alcohol, s. g. .820, i}i " Pyroxyline, .... 40 grains. Castile soap, 30 " Bromide of ammonium and cad mium, 56 " Sensitize with 125 grains of nitrate of silver, dissolved, as before, in one ounce of alcohol with the aid of heat. In twelve hours' time add thirty grains more of the double bromide of ammonium and cadmium dissolved in half an ounce of alcohol. * FOR WASHED EMULSION (fOR TRANSPARENCIES). Ether, s. g. 720, Alcohol, s. g. .820, Pyroxyline or papyroxyline, . Bromide of cadmium and am- 5 3 60 fluid ounces, It grains. monium, or Bromide of zinc. Hydrochloric acid, s. g. 1.2, 100 96 8 minims. Sensitize with twenty grains of nitrate of silver to each ounce, dissolved in a minirhum of water with two drachms of boiling alcohol. Allow to stand for two or three days. 93 * N. B — In the three last formulae, the emulsion, after being allowed to ripen for the time stated, should be poured into a dish and allowed to become thoroughly dry. The mass of dry emulsion is then washed, to remove all the soluble salts, and is then again dried and redissolved in equal parts of ether and alcohol, at the rate of from twenty to twenty-four grains to the ounce of solvents. ORGANIFIERS (fOR UNWASHED EMULSIONS). No. I. — For Landscape Work : Tannin, . . . . }i ounce. Gallic acid, ... 60 grains. Water, ..... 20 fluid ounces. No. 2. Tannin, .... 300 grains. Water, .... 20 fluid ounces. No. 3. — For Landscapes or Transparencies (warm brown tone) : Freshly-ground coffee, . . .1 ounce. Boiling water, . . . . i pint. No. 4. — For Transparencies (brownish-black tone) : Tannin, . . . . -30 grains. Pyrogallic acid, . . . 60 " Water, . . . . . 20 fluid ounces. DEVELOPING SOLUTIONS FOR COLLODION EMULSION. A. Pyrogallic acid, . . .96 grains. Alcohol, .... I fluid ounce. B. Bromide of potassium, . . 10 grains. Water, i fluid ounce. 94 c. Liquor ammonia, s. g. .880, . I fluid drachm. Water, .... 15 OR D. Carbonate of ammonia,. . 2 grains. Water, .... I fluid ounce, For each drachm of developer take, for a normal ex- posure, five minims of A, one or two minims of B, and one or two minims of C, or, if D be used, add the above quantities of A, B and C, to one drachm of D. When the details of the image are out, add double the quantities of B and C. INTENSIFYING SOLUTIONS FOR COLLODION EMULSION. Nitrate of silver, . . . .60 grains. Citric acid, . . . . . 30 " Nitric acid, 30 minims. Water, ...... 2 ounces. To each drachm of a three-grain solution of pyrogallic acid add two or three minims of the above, and apply until sufficient density is attained. HYDROXYLAMINE HYDROQUINONE AS DEVELOP- ING AGENTS. Much attention has lately been directed to the peculiar properties of hydroxylamine and hydroquinone as develop- ing agents. It appears that they possess properties differing from the ordinary adopted methods of alkaline and ferrous oxalate development. Having made a few experiments in this direction, it is my intention to give the result of these together with the formulae and remarks of other ex- perimenters. First of all we will treat of — . 95 HYDROXYLAMINE. The idea of developing with hydroxylamine is by no means a new one. Some years ago Messrs. Egli and Spiller published some very interesting experiments with this product, but owing to its costliness the idea of ever using it commercially was soon abandoned. Recently, however, a German firm of manufacturing chemists have discovered a method of producing it at one quarter the price. Hydroxylamine, NH. 3 O, was first ob- tained by the chemist. Lessen, while examining the inter- mediary products in the reduction of nitric acid to ammonia by means of metals. It is generally considered as ammonia, of which one atom of hydrogen is replaced by the radical OH. It is now, however, manufactured in tlie state of chlorhydrate of hydroxylamine, which is found to be perfectly well adapted for photographic purposes. Messrs. Egli and Spiller recommend the following for bro- mide of silver emulsion. Two solutions are made '. Alcohol, . . . . . -15 parts. Chlorhydrate of hydroxylamine, . i part. B. Water, ...... 8 parts. Caustic soda, ..... i part. For use add to 60 parts of water from three to five parts of solution A, and five parts of solution B. In making several experiments with the above developer, I found that the variation was very great with the different makes of dry plates. While with some the developer acted admirably and gave good results, for others it was utterly unsuitable. Without knowing the composition of these dry plates it was impossible to find out to what this variation was due, but after some time I succeeded in 96 producing a modification of the above formula, which, in my opinion, is a great improvement, for with it I was able to produce good images upon every kind of bromide emulsion plate. I take A. Alcohol, 4 ounces. Chlorhydrate of hydroxylamine, . 2 drachms. B. Water, 4 ounces. Caustic soda, .... 4 drachms, c. Bromide of potassium, . . 50 grains. Water, ...... 3 ounces. In using I mix one drachm of A, one drachm of B, and half a drachm of C with one ounce of water. Care must be taken that it is well mixed. Fill the dish so as to well cover the plate and plunge directly into the solution. With the amount of water given, the development — provided, of course, that the plate is properly exposed — should be com- pleted in five minutes. By those who prefer slower work- ing a larger quantity must be used. With this method of development the following advan- tages are claimed : Wide latitude of exposure, freedom from stains, and non-deterioration of the solution from external sources. With good dry plates I have obtained exceedingly well- graduated and vigorous negatives, having every appearance of a wet collo'dion plate. It is noteworthy that with this developer it is possible to develop more plates than with any other. The following will give an idea of the com- parative cost : Ferrous oxalate developer costs per litre, 5d. ^ 10 cts. Hydroxylamine developer costs, . 3^d.= yets. Pyrogallic acid developer costs, . 2%&.= 5 cts. 97 But if we take into consideration the number of plates that can be developed with each litre, it will be found that the hydroxylamine is less costly than the pyrogallic developer. This developer is also admirably adapted for the develop- ment of chloride of silver gelatine emulsion plates with the following formula ; A. Alcohol, I fl. ounce. Chlorhydrate of hydroxylamine, 15 grains. B. Water, . . • > • . . i fl. ounce. Carbonate of potash, ... 6 drachms, c. Water, . . . . . . i fl. ounce. Ammonia "880, . . . . i fl. drachm. For development take half a drachm of solution A, 40 minims of solution B, and one ounce of water. This gives sepia tones. To obtain a beautiful chocolate-brown color one minim of solution C must be added to the above mixture. To ob- tain the dichloric tones expose the plate five times longer, and develop with half a drachm of solution A and 6 min- ims of solution B to one ounce of water. One of the principal advantages of this developer consists in the whites remaining perfectly pure and free from all discoloration. And now with regard to HYDROQUINONE. Hydroquinone, or hydrochinon, is a derivative of chinon; it is a hydrocarbon of the composition (Ce, H^, 40 : 2) similar to that of pyrogallic acid (Ce, H3, 40 : 3) and its properties bear a very strong resemblance to the well- known deodorizer. 98 The developing action of hydroquinone is much slower than pyro, and on account of the great constancy of its reducing power, marvellously effective. Besides these recommendations its keeping qualities are excellent, and the tones of its deposit are unlike any other dry plate developer, of a fine velvety black, wonderfully clean in the shadows. In 1880, Capt. Abney suggested its use in the place of pyrogallic acid, and when its merits were announced it was generally believed that it would eventually supersede the latter. Its high price per ounce may probably have prevented this, although when one takes into consideration the fact that a very small quantity indeed is required, and that the same developer can be used for half a dozen or more plates, it becomes as cheap as any developer in use at present. It does its work rapidly and cleanly. It does not discolor during the process of development so much as pyro, and the alum bath and intensification are dispensed with; I think I have said enough as to its merits to cause photographers to take some interest in the matter, and I will therefore give one or two of the formulae that have been already published, with a few remarks upon the same. Mr. Howard Farmer recommended the following : No. I. Hydroquinone, .... 5 grains. Water, ..... 4 fl. ounces. No. 2. Ammonia, ..... i drachm. Water, . . . . . 9 fl. drachms. For use take four ounces No. i and thirty minims No. 2. Herr C. E. Von Sothen, at the Chicago Convention, gave the following formula, and stated that he was of opin- 99 ion that this developer was the best he had ever met with. With six ounces of the developer containing thirty-six grains of hydroquinone he had developed sixteen plates, after which the mixture was bottled and served as an ex- cellent starter for subsequent exposures : No. I. Soda carbonate, .... 60 grains. Water, . . ... i fl, ounce. No. 2. Hydroquinone, . . . .12 grains. Sulphite of soda, ... 60 grains. Water, i fl. ounce. For use mix : No. I, ...... I ounce. No. 2, ..... . 2 ounces. Water, ...... i fl. ounce. The water is added either warm or iced, according to the season. Upon a properly exposed plate the image will make its appearance in two or three minutes, but when once started development will proceed rapidly and pro- gressively until the finest detail is attained, to any required density. Dr. ,H. L. Vercoe, writing upon the subject, says: "I have been trying hydroquinone (^ grains to the ounce) for ordinary Wratten and Wainwright plates. I exposed fifteen seconds to the north sky (clear) with stop (f/42). Soaked one minute in water and one minute in yi grains hydroquinone to ounce, and then added ^ drachm am- monia to ounce. In six minutes a faint image appears ; in ten minutes I recognize picture; in 14 minutes details are very faint, and in 21 minutes intense enough for trans- parency. Fixed. Result, yellowish-green fog not re- movable. " lOO The solution of hydroquinone in alkaline sulphites, on the contrary, remains perfectly pure and white. In lOO parts of a solution of soda, lo to loo, dissolve one part of hydroquinone, steep the exposed plate two or three min- utes in the bath, and plunge directly into an ordinary ammonia pyrogallic developer without sulphite. Beautiful negatives are obtained. At a recent meeting of the French Photographic Society M. Balagny spoke of the immense advantages to be gained by the use of this developer, and recommended the following formula : No. I. Sulphite of soda. Water, 250 grammes. I litre. No. 2. Carbonate of soda (cryst. ), Water, 250 grammes. I litre. No. 3. Hydroquinone, Alcohol 40", .... 10 grammes. 100 c.c.m. For use it is necessary to mix togethi Solution I, .... Solution 2, . . , ST — 100 c.c.m. 200 " and add to it 20 c.c.m. of solution No. 3. When first mixed the solution is exceedingly energetic, but after several negatives have been developed it is necessary to strengthen it by adding a few cubic centi- metres of solution 3. When freshly mixed it is • admirably adapted for the development of instantaneously produced images. The developer is, after use, placed in a glass vessel and the ferrous matter formed allowed to settle ; when this has lOI occurred the clean solution is decanted, and the developer with a slight addition of No. 3 solution is again ready for use. No bromide of potash restrainer is necessary. In a recent number of L Amateur Photographic, M. Ernest Boivin writes upon this subject. He is delighted with the results he has obtained, and recommends the following formula : Distilled or rain water, . .70 c c. m. Solutionof sulphite of soda 30 per ct., 20 " Solutionof carbonate of soda 30 " 3 to 5 " Hydroquinone 10 per ct. in alcohol, 5 to 10 " Citric or tartaric acid (sat. sol. ) a few drops. For transparencies and photo-engravers' negatives, John Carbutt uses : No. I. Soda carbonate, . . . 400 grains. Water, 8 fl. ounces. No. 2. Hydroquinone, . . . .96 grains. Soda sulphite, ... i ounce. Water , 8 fl. ounces. Developer No. i, two drachms ; No. 2, four drachms ; water, two ounces. This developer is also suited for lantern slide transparencies, and for very intense neg- atives. Besides the numerous advantages of this developer already enumerated, it will be "found that the film will never become stained, and in consequence of the strong tanning action of the hydroquinone, frilling, even by the use of warm solutions, is comparatively rare. I will finish by adding one more formula, /. e., Ingall's : 102 Hydroquinone Tartaric acid. Alcohol, . Glycerine, 80 grains. 80 7 fl. ounces. I fl. ounce. Carbonate of potash," Water, . Filter twice and take of Solution A, Solutiori B, Water, . 8 ounces. 32 fl. " I drachm. 4 drachms. . 4 to 5 fl. ounces. This solution I have tried as well as the others, and have obtained such uniforrn, results — have found the developer to clean the plate so free from fog, frilling, and all the other evils the ordinary plate is gifted with — that I have resolved on using no other. Specially would I recommend this developer to photo- mechanical printers who require hard, dense negatives in line work; and to the professional photographer I say, give it a trial. You will find it a fine thing for portraits. I prefer a developer that has already developed a few plates. It then gives softer effects. All who fairly try its powers will not, I feel sure, regret having used hydro- quinone, or hydrochinon, or hydrokinone, or quinone (for it is known by each of these names) as a developing agent. Walter E. Woodbury. I03 HYDROQUINONE DEVELOPERS. THE ORIGINAL PIFFARD DEVELOPER. Hydroquinone (Merck's), 100 grains. Carbonate of Potash, 300 Sulphite of soda (crystals), . 400 Water, .... 20 fl. ounces. After mixing and filtering it is ready for use. After development it may be returned to the bottle for future use. DR.. PIFFARD S LATEST FORMULA. Sulphite of soda (crystals). Carbonate of soda. 30 grains. . 60 " Hydroquinone, Water, .... 6 " I fl. ounce. '" ANOTHER. Sulphite of soda (crystals), Carbonate of soda. 20 grains. • 15 " Hydroquinone, Water, .... 5 " I fl. ounce. ANOTHER. Sulphite of soda (crystals). Carbonate of soda, Pyrogallic acid, Hydroquinone, Water, 40 grains. ■ 15 " 3 " • 3 " I fl. ounce. ANOTHER. 0. I. Hydroquinone, Sulphite of soda (crystals), . Water, . . . . 15 grains. . 60 " I fl. ounce. 104 No. 2. Carbonate of soda (crystals), Water, To develop. — Mix equal parts of Nos. i and 2 the mixed solution to a bottle for future use. 30 grams. I fl. ounce. Return ANOTHER. No. I. Carbonate of soda, ... 62 grains. Water, i fl. ounce. No. 2. Hydroquinone, . . . 108 grains. Sulphite of soda, . . . 62 " Water, i fl. ounce. To develop. — Take water, i fl. oz. ; No. i, i fl. oz. ; No. 2, 2 fl. oz. (Source unknown).' No. I. Carbonate of soda, . . . i ounce. Water, 8 fl, ounces. No. 2. Sulphite of soda (crystals), . i ounce. Hydroquinone, . . . .96 grains. Water, 8 fl. ounce. To develop use : No I, No. 2, . Water, I fl. ounce. The same conditions that govern pyro development, with regard to intensity and detail, hold good in the case of this reducing agent ; an iricrease of hydroquinone giving strength and dilution producing detail. 105 The amount of alkali in this formula being already large, it is not advisable to increase it with a view to forcing up detail ; the best plan being to obtain proper intensity first. and then, if necessary, finishing up for fine details in water made slightly alkaline with soda carbonate, into which the plate is transferred without washing. ANOTHER. No. Contributed by Mr. Walmsley. Hydroquinone, Sulphite of soda (dried), Phosphate of soda, Distilled water. I GO grains. 480 " 160 " 8 fl. ounces. No. 2. Carbonate of soda (crystals) . 480 grains. Phosphate of soda, . . 160 " Distilled Water, . , . 8 fl. ounce. To develop use equal parts of Nos. i and 2. Filter the used developer into another bottle and employ it for un- determined results. ANOTHER. Attributed to Mr. ShuU. (Apothecaries' Weight.) No. I. Hydroquinone, Sulphite of soda, (crystals) Water, .... No. 2. Sulphite of soda, (crystals) Carbonate of potash, Water, .... To develop. Water, i fl. ounce ; No. i, ^ fl. ounce ; No. 2, 2 fl. ounces. 120 grains. 600 " . 10 fl. ounces. 2 ounces. 8 fl. ounces. io6 HARDENING AND BLEACHING SOLUTIONS. Under this head will be found several good formulae, which may be employed with good results. It often happens in warm weather, or in a warm, dark room, that plates show a tendency to frill. To this end a solution must be at hand which will check the frilling. Alum and chrome alum are the two agents mostly em- ployed to effect this. In addition to this they are both excellent dischargers of any little color that may have been imparted by the pyro and soda developer. The first formula which is appended is one of the very best we know of and is used largely by some of the' most successful professionals and amateurs. A. — Saturated solution chrome alum. B. — Solution A, . . . . i fl. ounce. Water lo " After the negative is developed, wash and immerse in solution B for three or four minutes ; then wash and fix. Should any further trouble ensue after fixing, wash well and again immerse in solution B. The alum in all cases has a tendency to eliminate the hypo. This solution may be used for many negatives. MR. CARBUTt's formula. After washing off developer, immerse in following hardening and clearin'g solution — Water, . . . . . 36 fl. ounces. Chrome alum, ■ • ■ • }4 ounce. Citric acid, . . . . ]4 " three to five minutes ; then wash and place in the fixing solution. I07 Mr. G. Cramer says : Before fixing it is well to flow tfie plate with saturated solution of alum. Do not return solution to bottle, but throw off; then rinse and fix. After fixing, place the negative in dish containing alum solution, to harden the film ; then wash thoroughly. CHAUTAUQUA CLEARING SOLUTION. Alum, Water, Citric acid, I ounce. 15 fl. ounces. % ounce. Edwards' clearing solution. Alum, Citric acid, .... Protosulphate of iron. Water, ..... This should be freshly mixed. I ounce. , I 3 " 20fl. " COWELLS SOLUTION. Alum, ...... 2 ounces. Citric acid, i " Water, lofl. " Wash moderately after fixing, and immerse the negative, in above solution. ANOTHER. Saturated solution of alum, . 20 fl. ounces. Hydrochloric acid (commercial), i " " Immerse the negative after fixing, having previously washed it for two or three minutes under the tap. Wash ■yvell after removal from the alum and acid. io8 THE NEGATIVE FIXING BATH. The simpler the composition of the fixing bath the more satisfactory will be the result. While a few formulae advocate the introduction of alum or chrome alum into the bath, we can see no benefit to be derived therefrom, and it is very apt to lead to complica- tions. Certain it is that a precipitate is formed, and if this is not allowed a sufficient time to settle and the clear solution decanted off a deposit will remain on the face of the negative, which only hard rubbing with a piece of cot- ton will remove. . If it be necessary to employ alum, do so in separate solution. Under the head of Hardening Solution will be found sev- eral excellent ones, notably the first. The strength of the hypo bath may vary without any detriment to the resulting negative, but it is to be remem- bered that a very strong solution and a very weak solution will each fix slowly. As good a formula as any is the proportion : Hyposulphite of soda, . . . i ounce. Water, 5 fl. ounces. One ounce of hypo will be dissolved by about one fluid ounce of moderately pure water. Therefore, if a saturated solution of hypo be made one ounce of it may be added to, say, four fluid ounces water to form the bath. This is a very convenient method and saves considerable time when a new bath is needed. Another advantage of this method is, that it avoids the constant droppings of small crystals of hypo on the floor, etc. , where they are pretty sure to grind into dust and cause trouble. We believe that the majority of negatives which turn yellow after a few months do so from \va.^&xiQci fixing and 109 not from imperfect washing. To avoid this use two fixing baths. In the first, place the developed negative and allow it to remain until entirely clear ; then after rinsing off the hypo under the top, place it in the second bath for the same length of time and wash as usual. If this be followed out no after-staining need be feared, as the plate \s perfectly fixed. Instead of fixing in a flat tray, do so in an upright glass bath or a grooved box, or else make a V-shaped trough and fix face down. Use plenty of hypo solution and renew it often. It is cheap, and in the end the greater economy to do so. W. D. H. PHOTOGRAPHIC CHEMICALS. The great number of manufactories, and the different methods used in them, doubtless cause variation in the attributes of the rnany reagents used in photography. This assurance can be relied on, that the products of the old established chemical laboratories of this country, where photographic reagents have been produced for many years, can be used with a certainty of good results. It is well, therefore, in ordering quantities to insist on the packages bearing the labels of the manufacturers and not be content with those manifestly put up by irresponsible dealers, who often are ignorant of the properties of the reagents and thereby endanger their decomposition or deterioration, Pyrogallic acid, for instance, is distinctly deteriorated by age and exposure to air and moisture, so that when a dealer buys it in large quantities and puts in paper parcels to put on the stock shelves, keeping it for weeks, the photographic requirements are nearly sure to be modified. The pyro is not improved by being labelled "resublimed" no as that is only a fiction. So also with protosulphate ot iron, which should be in bluish green crystals, free from brownish stains arid white efflorescence, which show the presence of peroxide salts or the loss of water of crystal- lization, and therefore the loss of the valuable working properties for bromide paper and wet plate work. Neutral oxalate should not be charged with carbonate or chlorides of the alkalies ; excess of carbonate will cause turbidity by precipitating the protosulphate of iron, and chlorides act as restrainers. Hyposulphite of soda should be as fresh as possible, for by long keeping and exposure to moisture and atmospheric influences it is gradually converted into salts that do not dissolve the silver salts when used in "fixing" plates and prints. Alum should be in good, clean crystals and not too acid and sulphite of soda should be almost free from carbonate or, when mixed with pyro, a reddish mixture will surely re- sult. Granulated sulphite of soda is not to be recommended ■for use in photography for the process of granulating the salt is apt to cause decomposition and loss of valuable chemical properties. Acetic acid should be free from pyro- ligneous or tarry products and mineral acids, and should be clear and free from tarry or disagreeable smell. Acetate of soda should be as free from alkali as possible and not deliquesced. Bichloride of mercury for strengthening is generally of sufficient purity for use, but great care must be observed in • handling it as it is intensely poisonous. So with cyanide of potash, which, too, must be of recent manufacture, as by keeping it deteriorates very decidedly. Carbonate of soda comes in clear crystals, losing water of crystallization by exposure and very apt to be contam- inated. Therefore, in using carbonate of soda or potash, the crystals of the former and the granules of the latter should be dry and clean. As carbonate of potash is free from water of crystallization, one part of it is equal to three or four of carbonate of soda in making developers. Bromide of potassium should be in well defined crystals, showing only a trace of carbonate and must be kept dry and away from the air. Bromides of soda and ammonia are richer in bromine than the potash salt and must, there- fore, be used accordingly. There are two chlorides of gold, Au. CI., and Au. CI. 3 ; the former is the protochloride, and the latter the ter- chloride. The terchloride is the salt used in photography ; it comes in crystals, and the amorphous state, probably the best for toning purposes. This salt must be dry and free from iron and other impurities and should be ordered always in original vials with the reliable manufacturers' label at- tached, for these give the assurance of the purity of the salt. Nitrate of silver should be in clear, translucent, white crys- tals, free from efflorescence and reddish or blackish color and not acid. Those using nitrate of silver in large quantities should always seek the source of preparation to be assured of good results. By exposure to light, moisture and atmospheric influences, the crystals and solutions of nitrate of silver are very readily deteriorated, and any common salt or other chlorides, vapor of ammonia, and any of the many reagents used in the developing room must be kept away. Where the mineral acids are needed it is always advis- able to use chemically pure acids, as sulphuric acid or oil of vitriol of commerce contains lead and other impurities, nitric acid contains traces of sulphuric and hydrochloric acid and some of the other nitrogen acids that may be hurtful. Hydrochloric acid of commerce is often colored with iron, contains traces of sulphuric acid and organic matter. Sulphide of potassium should be fresh and of a liver or 113 yellow liver color and not greenish white, and must not be kept in open bottles or packages, near any place where dry plates or sensitized paper are used. Iodides of potas- sium and ammonia are intensely susceptible to decom- position by moisture and air, and should always be kept in tight and stoppered bottles. Caustic soda or potash are not to be recommended in developing, as ordered by some formulas, for they pro- duce frilling, and care must even be used in employing ammonia for this purpose. Aqua ammonia should be chemically pure, free from tarry odor and colorless, and not be contaminated with chlorides or sulphates. Gun cotton should be white and perfectly soluble in ether and alcohol, and to insure this should be of recent manufacture, as it deteriorates in time and becomes insoluble. Ether should be a transparent, colorless liquid and comes of different strengths, that of the United States Pharma- copoeia containing a large percentage of alcohol. Care must be observed with the water used in all photo- graphic processes, for no doubt many difficulties can be traced to impure water, either organic or mineral. There- fore it will be advisable to use distilled water, reasonably fresh in making up developers, preparing baths for silver- ing paper and dissolving hypo and alum. Distilled water will not keep ; a short exposure to air starts an organic growth of organisms which soon predominate and make a palpable impurity. Hydrochinon is a new reagent which will give much pleasure to those who try it from the fact that it does not stain dry plates as readily as pyro, and being slow in its action produces detail to a greater extent. Muriate of hydroxylamine has been recommended as a developer, but must appear in dry, clear, colorless crystals, resembling very much in appearance those of nitrate of 113 silver. Thus far it has been used mostly in connection with pyro, and as far as heard from gives good effects in dry plate lantern-slide work. A desire to be concise naturally results in anything- but satisfying descriptions of the many salts and mixtures used in photography and possibly cause a tendency to. beginners to despair because they do not get good results in their work, and these hints as to the attributes of photo- graphic chemicals must not lead them to think the reagents are at fault. The great secrets of success in photographic work are cleanliness and accuracy : cleanliness in mixing reagents and ensuring their purity by using good reagents and water, and properly labelling and corking the clean con- tainers, and accuracy in measuring quantities and using them in accordance with directions given by plate makers and experts. The strong cautionary directions given in all manuals of photography not to splash your pyro into the hypo or the alum into ether are warranted in the fullest manner, for many a good plate or print is spoiled by a drop of mis- placed reagent ; so with mixtures, always bear in mind the importance of absolute cleanliness and care to keep each isolated and ready for use. The careful maker of chemicals, knowing the necessity of pure reagents, bears this in mind always, and unless he does will soon be caught up by photographic experts and roundly hauled over the coals. Therefore, when practic- able it is best to order your reagents from those who are conscientious enough to sell them in original parcels, and thereby know their original source. The great flaming advertisers are not generally the representatives of those most qualified to satisfy your wants. Frank H. Rosengarten. 114 DEVELOPMENT OF EASTMAN'S AMERICAN FILMS. (Avoirdupois Weight.) Note. — Eastman's American Film may be used as neg- ative paper and printed without stripping if required. If it is afterwards desired to strip the paper off it may be done by soaking the negative thoroughly, squeegeeing it down to the prepared glass and proceeding the same as if it had just been developed. In case translucine has been used on the negative it must be used with benzine before stripping. The stripping is not quite so certain, however, after the negative has once thoroughly dried The American Film consists of a film of insoluble sen- sitive gelatine emulsion attached to a paper support by means of a layer of soluble plain gelatine. The paper serves as a temporary support during the operations of exposure, developing, fixing and washing. After which the film is laid down on a prepared sheet of glass, the paper is removed by warm water, which dissolves the sol- uble, gelatine layer and leaves the film on the glass; the paper is then replaced by a "skin" of gelatine and the whole stripped from the glass ready for printing. Full details of the operations outlined are given further on. This process gives a clear, transparent, flexible negative of superior printing quality, having all the advantages of glass, but neither its weight nor its fragility. A film negative is about one-twentieth the weight of an ordinary glass negative of the same size. EXPOSURE. To expose the American Films in the camera, the film must be supported either by a " film carrier," which holds a single cut sheet and occupies the space of an ordinary glass plate in the regular dry-plate holder or dark slide, or, the film can be exposed in the roll by means of the 115 Eastman-Walker roll holder, which can be fitted for any camera and holds a spool having a band of film wound thereon sufficient for 24 or 48 exposures. The sensitiveness of the American Films runs from 1 8 to 22 Warnerke's sensitometer, and, being supported in the camera by one of the means above described, the exposure is made in the same manner as a glass dry plate. DEVELOPMENT. No. I. Sulphite sodium, pure (recrystallized), 6 ounces. Distilled or boiling water, . . 32 fl. " Pyrogallic acid, ... i ounce. Dissolve the sulphite in the water first and then add the Pyro. Stand until cold. No. 2. Carbonate s'oda, pure (recrystallized, not anhydrous or bicarbonate) . ^ pound. Water, . . . . . 32 fl. ounces. To develop pour into a clean tray the following : No. !,......! ounce. No. 2, I " Cold water, . . . . . 2 fl. ounces. Restrainer, .... 20 minims. Immerse the exposed film in a tray of clean, cold water, and with a soft camel's-hair brush gently remove the air- bells that cling to the surface of the film. As soon as limp remove the film to the tray containing the developer and proceed with the development the same as with a dry plate. The image should commence to appear in 20 to 40 seconds. If the lights come slowly and with no detail in the shadows, add not to exceed one ounce of No. 2. If the image appears too quickly, add 10 to 20 drops more of — ii6 RESTRAINER. Bromide potassium, . . . i ounce. Water, 6 fl. ounces. Keep this in a dropping bottle, consisting of an ordinary- bottle, having two notches ciit lengthwise in the cork on opposite sides. The film may be examined from time to time by trans- mitted light by holding it up by the corners. When suf- ficient density* is obtained wash the film in three or four changes of cold water and then immerse in the — CLEARING SOLUTION. Acetic acid, . . . . . i drachm. Water, . . . . .325. ounces. The clearing solution is used to remove any possible discoloration caused by the pyro, and gives clear, grey negatives (it can be dispensed with if warmer toned neg- atives are preferred) ; after one minute rinse well and im- merse in the — FIXING BATH. Hyposulphite sodium, . . .4 ounces. Water, . . . . . i6fl. ounces. Mix fresh fixing bath for each batch of negatives. Use no alum in the fixing bath. The negative should be put in the fixing bath film side up, and kept moving while fixing. Films fix quicker than glass dry plates and the comple- tion of the operation can be ascertained by the even, translucent appearance as seen from the back, while lying in the bath, or by examination by transmitted light. OXALATE DEVELOPER. The oxalate of iron developer can be used with East- man's American Films, but we do not recommend it. * American Film negatives must be developed stronger than the glass neg- atives, as they lose in apparent density when the paper is stripped. 117 No. I. Oxalate potash, . . . . i pound. Hot water, .... 48 fl. ounces. Acetic acid, 3 fl. drachms. No. 2. Protosulphate of iron, . . i pound. Hot water, 32 fl. ounces. Acetic acid (or citric acid, % ounce), ^ fl. drachm. No. 3. Bromide potassium, . . . i ounce. Water, . . . . i quart, (32 fl. ozs.) These solutions keep separately, but must be mixed only for immediate use. To develop. — Take No. i, 6 ounces; No. 2, i ounce; No. 3, 10 drops. Mix in the order given ; use cold. After exposure soak the paper in water until limp, then immerse in the developer. The image should appear slowly and should develop strong, clear and brilliant. When the lights are sufficiently developed, and before washing, immerse in the clearing solution as given for the pyro development ; then wash and fix. After fixing, wash in three or four changes of cold water for five or ten minutes, and the film is then ready for trans- ferring. When the oxalate developer is used it is sometimes ad- visable to use alum in the fixing bath to prevent frilling, but after using it the paper must be stripped as quickly as possible after squeegeeing to the glass ; that is to say, after standing 30 minutes under pressure and before it becomes entirely dry, otherwise the eubetratum will become insoluble. TRANSFERRING THE FILM. Coat a clean glass plate, half an inch larger than the film all around, with the following — RUBBER SOLUTION. Masticated india rubber, . , . 2 grains. Rectified benzine, . . . i fl. ounce. OR, Rubber cement, . . . . i ounce. Benzine, . . . . . . 9 fl. ounces. Note. — The above rubber cement is such as is sold at the rubber stores in half-pound cans, and is a mixture of pure rubber and benzine. This article should not be mistaken for the bisulphide of carbon and rubber cement used by shoemakers. Allow the rubber to dry until "dead," say five or ten minutes ; then flow with plain collodion made as follows : .« COLLODION. Ether, . . ... . . i fl. ounce. Alcohol, (methylated splfit), . . i fl. ounce. Pyroxyline (soluble gun cotton), . 1 2 grains. As soon as set, wash under tap until greasy lines disap- pear ; then slide the prepared glass into a tray of water, face lip, slide the fixed and washed American film negative into the water over the plate, face down, grasp together by the edges and draw plate and negative out of the water, allowing to drain from one end. Carefully squeegee into contact, first protecting the back of the negative by laying on a sheet of rubber, cloth or strong paper ; examine from front for air-bells ; place under blotter and weight to dry for thirty minutes only ; then slide plate supporting the negative into pan of water about i20° to 140° Fahr., raise 119 corner of paper with a pin and pull it off, or slide the paper off from the glass sideways, using gentle pressure, leaving the negative film on the glass. Brush gently with camel's- hair brush dipped in warm water, transfer plate, negative side up, to a tray containing the following — SOAKING SOLUTION. Glycerine, J^ fl. ounce. Alcohol (or methylated spirit), or wood alcohol, . . . . i6 fl. ounces. Ammonia, . . . . . ^ fi. ounce. Water, cold, . . . . i6 fl. ounces. Note. — The ammonia is used to insure adhesion between film and. gelatine skin. The glycerine prevents the film from drying brittle. This solution will keep and may be used repeatedly. The alcohol makes the skin dry quickly. , Slide a gelatine skin of the proper size into solution over negative, rough side up ; allow skin to soak half a minute, then grasp together with plate and lift out of so- lution, squeegee into contact, and stand to dry. When thoroughly dry, flow with plain collodion. When dry cut around edges and peel off the glass, remove adhering rub- ber from face of negative by rubbing with palm of the hand, or tuft of cotton moistened with benzine. This method gives a film negative varnished on both sides, with a film of plain collodion, which enables it to with- stand climatic changes without cracking or softening. The collodion can be dispensed with and the transfer made directly upon the rubber-coated glass if preferred ; but the collodion is desirable for reasons above stated. The pur- pose of the rubber solution is to allow the finished negative to be stripped off the glass when dry. If it were not for this, it would stick to the glass. If the gelatine skin is soaked too long before squeegee- ing to the negative, it loses' the glycerine that keeps it I20 pliable, and will dry hard and brittle ; to prevent this soak only half a minute. If it dries too brittle, use more glyce- rine in the soaking solution. Keep film negatives under pressure in printing-frame. PRINTING. The printing of a film negative may be done from either side if required ; but the side that was next to the glass in stripping is the correct side. The film should be laid smoothest side up on a piece of clear glass in the printing- frame, but should not be fastened to it. The sensitive paper is then laid on and clamped, and the printing done the same as with a glass negative. INTENSIFICATION. This operation, if required, should be performed as soon as the paper is stripped from the negative, and before the gelatine skin is put on. Jniensifier. — Soak the plate in a saturated solution of bichloride of mercury, until the image turns a dull gray color ; wash thoroughly and apply a weak solution of ammonia, say — Strong water ammonia, . . lo drops. Water, . . . . . . i fl. ounce. The plate may now be dried and proofs taken, or re- touching done ; or it may, without drying, be immediately prepared for stripping from the glass, as before described. Solutions used in developing the films should not exceed 70° Fahr., and to prevent softening of the soluble gelatine layer that holds the film on the paper, the hands should only touch the film, at the corners while wet. It has been found that when the ammonia developer is used, or if the proportion of the sulphite in the formula given is jngre^sedj there is a liability of the pyrogallic acid 121 attacking the soluble gelatine layer and rendering it in- soluble. The Company guarantee the stripping of the films only when the pryo developer is used and is mixed accord- ing to their formula and their directions are strictly followed. To get the best effects in film negatives, give full expos- ure and use plenty of restrainer in the developer. EASTMAN'S GELATINE SKINS. FOR USE WITH AMERICAN FILM. Directions : — Coat a clean glass plate, half an inch larger than the film, all around, with the following — RUBBER SOLUTION. Masticated india rubber, . . 2 grains. Rectified benzine, . . . . i fl. ounce. OR, Rubber cement, . . . . i ounce. Benzine, 9 fl. ounces. Note. — The above rubber cement is such as is sold at the rubber stores in half-pound cans, and is a mixture of pure rubber and benzine. This article should not be mistaken for the bisulphide of carbon and rubber cement used by shoemakers. Allow the rubber to dry until "dead," say five or ten minutes, then flow with plain collodion made as follows : COLLODION. Ether, i fl. ounce. Alcohol, or methylated spirit, . . i fl. ounce. Pyroxyline (soluble gun cotton), , 10 grains. 122 The operation of coating a glass plate evenly with col- lodion or rubber solution is performed as follows : Grasp the plate with the left hand, as shown in Fig. i, allowing the thumb only to touch the upper side of the plate, anti that only at the extreme corner ; hold the plate level and pour a pool of the liquid on the plate near corner No I ; continue pouring until the pool fills the corner up to the first dotted line ; stop pouring and tilt the plate slightly toward corner No. 2 ; then lower corners 3 and 4, causing the liquid to flow in a broad wave toward the operator. A slight inclination toward Corner No, 3 will 123 cause the liquid to fill the plate to the thumb ; then tilt the plate to corner No. 4, under which the mouth of the bottle should be held. Raise the plate very slowly and allow it to drain from corner No. 4, at the same time rocking the plate gently back and forth as shown by the dotted lines in figure 2, to prevent cr^py lines, which might be caused by draining in one direction only. The operation is a very simple one and requires only a little "knack, " easily acquired. The main point to be ob- served is not to hurry by tipping the plate unduly, but allow the liquid time to flow in a broad, unbroken wave across the plate. As soon as set, in about two minutes, or when the col- lodion will bear the touch of the finger at the edge without breaking the film, wash well in cold water until the water runs from the surface without any appearance of greasi- ness ; then place the collodion-varnished plate face up- wards ill a dish of .cold water, and bring into contact with it under water, the paper negative, film side downwards ; grasp, the. plate and Jilm by one edge with the finger and thumb, and lift the glass with the film attached, slowly allowing the water to drain from the opposite side. Lay the plate upon a table and place upon the back of the neg- ative the smooth side of an india-rubber "cloth, "/larger than glass), and remove all surplus water by the action of a squeegee. The squeegee should be used firmly, but without violence, the motion being in all directions ; remove the rubber cloth, lay the plate with the film upwards on a table, and place upon the film a double thickness of stout, clean blotting-paper ; place aboard or other flat surface over the blotting-paper, and on the board the weight of a few pounds. Proceed in like manner with all the washed films, always piling the last plate on the top of the blotting-paper covering the previous plate, and always place on top the blotting-paper, the board and the weight. In thirty min- 124 utes the first plate will be ready to strip, but a much longer period may elapse if desired, provided the paper is not permitted to dry. The films will, however, strip perfectly after a lapse of several hours, if kept as directed. Into a flat dish put water at about 120° to 200" Fahr., and, face upwards, in this immerse the first (or bottom) plate. Rock the dish slightly, and in a minute or two the paper will be found, wholly or partly floating in the water. Remove it entirely with care. Remove from the film with warm water and gentle friction with a soft camel's-hair brush, or tuft of cotton, any of the soluble gelatine that may remain attached to it. The temperature of water required to strip the paper varies somewhat according to the length of development, sample of pyro used, etc. The safest way is to commence at 110° on the first negative and gradually raise the temper- ature by addition of hot water, until the paper blisters, or until the corner can be raised with a pin and the paper pulled off easily. Next, transfer the plate, negative side up, to a tray containing the following — SOAKING SOLUTION : Glycerine, . . . . . j^ fl. ounce. Alcohol (or methylated spirit), or wood alcohol, . . . 16 fl. ounces. Ammonia, .... /^ fl- ounce. Water, cold, . . . . 16 fl. ounces. Note. — The ammonia is used to insure adhesion between film and gelatine skin. The glycerine prevents the film from drying brittle. This solution will keep and may be used repeatedly. The alcohol makes the skin dry quickly. Slide a gelatine skin of proper size into solution over negative, rough side up, taking care to wet the skin evenly as it slides into the solution, and that no air-bells get un- der it. 125 Allow skin to soak one-half minute, then grasp together with plate and lift out of solution. Squeegee into contact, and stand to dry. When thoroughly dry, flow with plain collodion. When dry cut around edges and peel off the glass, remove adhering rubber from face of negative by rubbing with palm of hand, or tuft of cotton moist with benzine. This method gives a film negative varnished on loth sides with a film of plain collodion, which enables it to with- stand climatic changes without cracking or softening. The collodion can be dispensed with and the transfer made directly upon the rubber-coated glass if preferred, but the collodion is desirable, because it protects the film from climatic changes, as above stated. The purpose of the rubber solution is to allow the fin- ished negative to be stripped off the glass when dry. If it were not for this, it would stick to the glass. If the gelatine skin is soaked too long before squeegee- ing on to the negative, it loses the glycerine that keeps it pliable, and will dry hard and brittle. To prevent this, soak only half a minute. If it dries too brittle, use more glycerine in the soaking solution. Keep the film negatives flat, preferably under pressure in a printing-frame. Hints. — If the films curl in the wash water and refuse to lie down on the plate, they can be "coaxed" by sliding the blotter on top, taking care that the film does not get creased or bent. After a few minutes' pressure the film will stay in place all right. If the finished negatives wrinkle, it indicates that they were hot allowed to dry thoroughly on the glass. 126 CONTACT PRINTING WITH PERMANENT BROMIDE PAPER. Light. — In contact printing with permanent bromide paper, the exposure is preferably made by artificial light, to insure uniformity and to avoid over-exposure. - The Dark Room. — Yellow post-office paper is the best medium for filtering the light through for working perma- nent bromide paper ; two thicknesses should be used for daylight and one for gas or kerosene. Sensitiveness. — Permanent bromide paper is about one- half as sensitive as a collodion wet plate, or one-twentieth as sensitive as a good dry plate, and should be exposed accordingly. Exposure. — The exposure varies with the intensity of the negative and the quality and intensity of the light, but may be approximately stated to be, using as thin a glass or American 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 ; with an oiled paper negative it requires twice as much, and with an unoiled paper negative about three to five times as much exposure. Very thin negatives 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 print may be obtained from a negative that would otherwise be too thin and flat. Strong, intense negatives are best printed by daylight. THE DEVELOPER. No. I. Oxalate of potash, . . . i pound. Hot water, . . . . 48 fl. ounces. Acetic acid, . . , . 3 fl. drachms. 127 No. 2. Protosulphate of iron, . . i pound. Hot water, . . . . 32 fl.. ounces. ' Acetic acid (or citric acid, J^ oz.), ^ fl. drachm. No. 3. Bromide potassium, . . . . i ounce. Water, i quart. These solutions keep separately, but must be mixed only for immediate use. To Develop. — Take in a suitable tray. No. i, 6 ounces; No. 2, I ounce ; No. 3, ^ drachm. Soak the exposed print in clean water until limp ; then pour off the water and flood with the developer, taking care to avoid bubbles. The image should appear slowly, and should develop strong, clear and brilliant. When the shadows are sufficiently black, pour off the developer and flood the print with the — CLEARI.NG SOLUTION. Acetic acid, . . . . i fl. drachm. Water, 32 fl. ounces. Do not wash the print after pouring off the developer and before applying the clearing solution. Use a sufficient quantity to flow over the print, say, two ounces for an 8 x 10. Allow it to act for one minute and then pour it off and apply a fresh portion ; repeat the operation a third time, then rinse in four changes of pure water and immerse for ten minutes in the — FIXING BATH. Hyposulphite soda, . . . 3 ounces. Water, 16 fl. " 128 After fixing, wash thoroughly two hours, in at least twelve changes of water, and hang up to dry. Use fresh developer for each batch of prints. With a glass-bottomed tray, seven ounces of developer are sufficient for a 25 x 30 print. Object of Clearing Solution. — The object of the clearing solution is to prevent the precipitation of the iron from the developer in the fibre of the paper. This can only be done by keeping the paper acid while washing out the developer. Citric acid may be used instead of acetic in the clearing solution, in which case use one-eighth of an ounce to the quart of water. Citric acid is less liable to cause blisters. Blisters sometimes appear in bromide paper, and may be avoided by using a little common salt in the first wash- ing water , after fixing. The hypo must not be stronger than three ounces to the pint of water. No Toning Required. — With Eastman's permanent bro- mide paper the final tones are obtained entirely by devel- opment, and range from a soft gray to a rich, velvety black, depending somewhat upon the density of the neg- ative and the quality of the light used in printing. Clean Dishes, Clean Hands. — The faintest trace of hypo- sulphite of soda or of pyrogallic acid is fatal to good re- sults with bromide paper, and the operator cannot be too careful to avoid any contamination. The tray used for developing with oxalate should never be used for anything else. To avoid yellow prints four things are absolutely neces- sary. First — The developer must be acid. Second — The clearing solution must be used as directed. 129 Third — Fresh hypo solution is required for fixing each batch of prints. Fourth — The washing must be thorough after fixing. Mounting on Card. — Permanent bromide prints may be mounted wet or dry ; the prints should not be dried be- tween blotters like albumenized paper, but should be hung over a line, or laid back down upon glass or clean paper. To mount, brush over the back with thin starch paste, lay the print on the mount and rub into contact with a soft cloth. Prints on A or B paper may be rolled or burnished. For burnishing, the print must be quite dry, and a dry lubricator used, castile soap answering for that purpose. C paper is intended to retain its rough surface and should not be rolled. Enamelling. — Prints on smooth paper (A or B) may be given a beautiful, polished surface, superior to that obtained by burnishing, in the following manner : Sprinkle the sur- face of a glass plate with powdered French chalk, rub it evenly over the surface with a tuft of cotton-wool, con- tinuing to lightly rub it until the chalk is all removed ; then coat the glass with the following— COLLODION. Soluble gun cotton, . . .48 grains. Alcohol, . . . . . 4 fl. ounces. Sulphuric ether, . . . . 4 fl. " As soon as the collodion is well set, wash until all greasiness disappears ; then slide the plate face up into a tray of water, in which is floating, face down, the per- manent bromide print, which has just been fixed and washed ; grasp the 'plate and print by one end and lift together from the water, avoiding bubbles and draining the water from the opposite end ; squeegee the print into 130 contact with the plate and set away to dry. Before the print is quite dry apply a coat of starch paste to the back. After drying, the print can be peeled off from the glass by cutting through to the star, near the margin of the paper, all round, and, lifting one corner, the face will present a polish almost as high as the surface of the glass from which it has been removed. The print is then ready to mount, as follows : Moisten the face of the mount with a damp sponge and lay upon it the print ; rub down with a soft cloth and put under pressure to dry. The addition of five per cent, of glycerine to the paste will prevent the print peeling off the glass as it dries. Another Method. — Squeegee the wet print, face down, on a polished piece of hard rubber or ebonite ; when dry, the print will peel off with a fine, polished surface. The print should be slipped on to the rubber plate under water to avoid air-bells. This method will answer where prints are not to be mounted. Flexible Prints. — Permanent bromide prints soaked in a mixture of glycerine, five ounces, and water twenty-five ounces, and dried, will not curl, and may be used for book illustrations unmounted. The heavier papers, B and C, are especially adapted Tor this purpose. Straightening Unmounted Prints. — After drying, prints may be straightened by the scraping action of a sharp- edged ruler applied to the back ; the corner behind the ruler being lifted as the ruler is passed along. Mealy Mottled Prints. — Over-exposure and short devel- opment. Greenish tones are obtained by over-exposure and too much bromide. »3i Forcing development does not give good results for the above reason. Face of permanent bromide paper can always be distin- guished by its curling in. Convex side is always the back. Fixing. — The operator can tell when a bromide print is fixed by looking through it or upon it in a good light ; un- fixed portions will be greenish-yellow. Yellow Prints. — ^Prolonged development will cause yel- low prints by depositing iron in the paper. The exposure must be correct, so as to allow of quick development. Running water is not so sure a means for washing prints as changing 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 Negatives. — Coarse grinding, for retouching, should be avoided, and the retouching "burned in " to the varnish over a spirit lamp to avoid having the scratches show in the enlargement. don't. Don't use old hypo for fixing. Don't use the developing dish for fixing. Don't put the prints between blotters to dry. Don't fail to rock the tray well while developing. Don't rock in one direction only, unless you want streaky prints. Don't fail to lift the print up and turn it over in the clear- ing solution. Don't let a jet of water play on the paper while washing ; it will cause blisters. Don't use old developer on large prints for the sake of economy ; use it fresh every time. 132 Don't use twice as much acid as directed in the devel- oper or clearing solution ; enough is enough. Don't say you can't work permanent bromide paper be- cause you fail to get a good result the first time. Perseverance in all things. Don't expect that the light reflected from a red brick will be sufficient for enlarging. 'Unless your en- larging window has an unbroken horizon use a reflector. Don't suppose that a permanent bromide print is liable io fade because the paper turns yellow. All paper will become yellow after exposure to light and air. For example, see any old engraving or etching. This yellowing or mellowing of the paper has nothing whatever to do with fading. DIRECTIONS FOR USING EASTMAN'S TRANSFERO- TYPE PAPER. No. I. Oxalate of potash, . . . i lb. Hot water, . . . . 48 fl. ounces. Acetic acid, . . . . 3 fi. drachms. No. 2. Protosulphate of iron, . . i lb. Hot water, 32 fl. ounces. Acetic acid (or Citric acid ^ ounce) yi fl. drachm. No. 3. Bromide potassium, . . . i ounce. Water, 32 fl. ounces. These solutions keep separately, but must be mixed only for immediate use. Use cold. 133 The paper must be manipulated only in yellow or ruby light, the same as slow dry plate. The exposure may be made by contact or in the copy- ing or enlarging camera, as circumstances require. In contact printing use gas or kerosene light for the exposure, and place the printing-frame 1 8 inches or two feet distant. The exposure will vary according to the intensity of light and strength of negative. A few trials with small pieces of paper will give the operator a general idea as to the exposure required. With a No. 2 kerosene burner and a good, quick-printing negative two feet distant the ex- posure will be from 1 5 to 30 seconds. If the exposure is made in the camera, use an Eastman carrier in an ordinary dark slide and reverse the negative so as to get a non-reversed transfer, (contact prints will be reversed unless double transfer is resorted to.) The time of exposure can be determined by a few trials with small pieces of paper. TO DEVELOP. Take in a suitable tray — No. i, 6 ounces ; No. 2, i ounce ; No. 3, J^ drachm. Mix in the order given ; use cold. After exposure, soak the paper in water until limp ; then immerse in the devoloper. The image should appear slowly, and should develop strong, clear and brilliant. When the shadows are sufficiently black, pour off the developer and flood the print with the — ■ CLEARING SOLUTION. Acetic acid, . . . . . i fl. drachm. Water, . . . . . 32 fl. ounces. Do not wash the print after pouring off the developer and before applying the clearing solution. 134 Use a sufficient quantity to flow over the print, say, two ounces for an 8 x lo. Allow it to act for one minute and then pour it off and apply a fresh portion ; repeat the operation a third time, then rinse in pure water and im- merse for 10 minutes in the — FIXING BATH. Hyposulphite soda, ... 3 ounces. Water, 16 fl. " Alum must not be used in the fixing bath, as it will pre- vent the transferring of the print. After fixing, wash thoroughly for half an hour in six or eight changes of water. The print is then ready for — TRANSFERRING. Lay the wet print face down upon the object to which it is desired to transfer the image. The surface may be polished or ground glass, porcelain, wood, prepared can- vas, ivory or any substance which will withstand the action of hot water and' allow the image to adhere. It must be perfectly clean and free from grease or oil. Squeegee the wet print carefully into contact with the sur- face, and put it under a blotter and weight to dry. When dry pour hot water upon the back of the picture until the paper blisters, then run a pin under one corner of the paper and pull it gently away. After removing the paper gently rub the surface of the picture with a tuft of cotton moistened with warm water and set away out of reach of dust to dry. The paper may be stripped any time after it has been thirty minutes under the blotter, but it is safer to allow it to thoroughly dry. The proper temperature for the hot water depends greatly upon whether the paper is dry or not ; if dry it should be about 160° to 180° Fahr.; if only thirty minutes has elapsed after squeegeeing down, the w&ter should be 135 about I io° Fahr. and the temperature gradually raised by the addition of boiling water until the paper blisters. Thirty minutes is the least time that should be allowed for drying, otherwise there is danger of the picture leaving the support. Clean dishes. Clean hands. — The faintest trace of hypo- sulphite of soda or of pyrogallic acid is fatal to good results in developing transferotype paper, and the opera- tor cannot be too careful to avoid any contamination. The tray used for developing with oxalate should never be used for anything else. Glace prints. — Contact prints made on transferotype paper have a brilliant, glossy surface and may be mounted and used as ordinary bromide prints without burnishing. Lantern slides may be printed by contact, using lamp or gas light, or in the camera, using daylight. If made in the camera the transferotype paper should be supported by an Eastman carrier (which can be obtained in any standard size of any stock dealer). Prints intended for transparencies should be developed further than prints that are to be viewed by reflected light ; in the former case the progress of .development must be examined by looking through the print, and in the latter by looking down upon it as it lies in the tray. Many photographers have a large amount of lantern- slide glass remaining from failures in making slides on dry plates; this glass can be made use of in this process. Transparencies made with transferotype sometimes show the grain of the paper by reflected light and some operators have been deceived, thinking the grain would show on the screen. Such is not the case ; neither does the grain show in window transparencies backed with ground glass. Transpiarencies may be varnished with collodion if desired. 136 Window transparencies. — Enlarged or contact prints should be transferred to a clear glass and backed up by a piece of ground glass. Opals for framing or for window transparencies are easily made by transferring the picture to the ground sur- face of opal glass. Opals made by this process are much richer and more brilliant than when the emulsion is coated directly on the glass ; they are also more permanent, as the washing is more thorough, owing to the hot water used in the transfer. Plaques, tiles, lamp shades, and various articles, may be easily and cheaply decorated, either as a basis for water-color work or simply for the photographic effect; such articles when given a coat of dammar varnish and heated in an ordinary oven will bear washing. Enlargements on canvas, for oil painting, made by this process are said to be superior to those made by any other. The canvas undergoes none of the photographic opera- tions, and cannot therefore become contaminated with hypo or iron. As the canvas requires a special prepara- tion, it is recommended that the print be made and finished at the Eastman factory, where the work can be skillfully done. WARM TONES WITH TRANSFEROTYPE. Warm tones, running from a rich brown to brilliant red, may be easily obtained after fixing and transfer (the image will not transfer after toning) as follows : No. I. Potassium ferricyanide not (ferro- cyanide), 100 grains. Water, 24 fl. ounces. 137 No. 2. Uranium nitrate, . . , . loo grains. Water, . . . . . 24 fl. ounces. These solutions Iceep separately, but must be mixed only for immediate use. Take equal parts of No. i and No. 2 and immerse the image therein until the desired tone is obtained ; then wash thoroughly and immerse for five minutes in a fresh fixing bath. Hyposulphite of soda, ... 3 ounces. Water, 16 fl. " Wash thoroughly. The darker the print the deeper the tone. As this pro- cess intensifies the print, medium light prints give the best results. The above formula gives w^arm, red tones. Rich browns are best secured by leaving the print in the toning solution only until it commences to turn, and then immersing in a weak solution of common alum ; then wash and fix as above. MODIFIED RIPLEY FORMULA. (Troy Weight.) PYROGALLOL. No. Sodium Sulphite, crystallized and fresh, . . . 2^ozs. (1080 grs.) Citric acid, fresh, . . 45 grs. Ammonium bromide, . .22 grs. Pyrogallol, Schering's, . 6 drachms (360 grs. ) Water, distilled to make 8 fluid ounces. 138 No. 2. ALKALINE SOLUTION. Sodium sulphite, crystallized and fresh, . . . i>^ oz. ( 720 grs.) Potassium carbonate, granu- lar, c. p., . . . 2^ ozs. (loSogrs.) Sodium carbonate, dry c. p. i}i ozs. (540 grs.) Water, distilled, to make 8 fluid ounces. No. 3. RESTRAINKR. Sodium sulphite, crystallized and fresh, . . . 2^ ozs. (1080 grs.) Citric acid, fresh, . . 45 grs. Potassium bromide, . . 30 grs. Water, distilled, to make 8 fluid ounces. For an ordinarily exposed snap shot, say, f-i6 and me- dium speed of ordinary shutter on a Seed 23 or Carbutt 25, the scene being a fairly lit street, take one drachm of No. I, half a drachm of No. 3 and two ounces of cool water, adding No. 2 slowly, not to exceed three-quarters of a drachm. (A Seed 22 may need one drachm or even more of No. 2.) For an under-exposure, say, f-22 or a very rapid tension of the shutter, take one and three-quarter drachm of No. I, one drachm of No. 2, and two ounces cool water. When the details are well up, treat for printing density by adding half a drachm of No. 3. For an over-exposure, such as a brightly lit sea view with f-ii and slow shutter, take one drachm of No. i, one drachm of No. 3, and two and one-half ounces of cold water. Add half drachm of No. 2, and let the picture come up slowly. But I generally prefer the hydroquinone development, according to Carbutt or Piffard lantern-slide formula, where there is reason to believe that a shutter view has been over-lighted. A. A. Adee.. 139 MORA DRY PLATE FORMULA. I use in dry plate development the most simple formulae, as follows : NO. I. PYRO STOCK SOLUTION. Take i6 ozs. of sulphite of soda solution, 75 grs. to oz., (hydrometer test) strong, to which add i oz. of pyrogallic acid. NO. 2. SAL SODA STOCK SOLUTION. 16 OZS. of sal soda solution, 75 grs. to oz., hydro- meter test. To use for 8x10 plate, take half an ounce each of No. I and 2 to three ounces of water and two or three drops of a 48-grain solution of bromide of potass. I use the hydrometer to test the strength of both solutions. I am aware of the fact that this is not a true test when put down in figures ; but I claim that I can rely on my solution being of same strength always, and the most simple from the fact that I keep saturated solutions on hand, and when required have but to reduce to suit my requirements. J. M. Mora. FORMULA AND DIRECTIONS FOR USING THE SMITH & HARRISON LIGHTNING DRY PLATES. (Avoirdupois Weight.) NO. I. PYRO STOCK SOLUTION. Water, . . . . . . 16 fl. ounces. Sulphite soda — crystals, . . 6 ounces. Or, granulated, . . . . 4 " Sulphuric acid, .... 10 drops. Pyro acid, I ounce. 140 NO. 2. STOCK. Carbonate soda, .... 4 ounces. Water, i6 fl. " TO DEVELOP. Take eight ounces of water, one ounce of pyro solution and one ounce soda solution. The developer may be used repeatedly, but vv^ill v^Ork slower and with more intensity when old. Therefore, the fresh developer is best for short exposure, and the old is better if the plate has been fully timed. In using the soda developer, it is very important to carry the develop- ment far enough, until the lights have sufficient intensity when examining the plate by transmitted light. The quantity of pyro must be according to the density of the negative wanted. If the negative is too strong, use less pyro ; if not strong enough, more. FIXING BATH. Hyposulphite of soda, . . . lo ounces. Water, i quart. Leave the plates a few minutes longer in the bath than they require for fixing. This is important, as the permanency of the negative depends upon it. If the time of exposure was about right, the proportions given above will produce fine results ; but if you have reason to believe the plate has been o»er-timed, start developing with only one-half the given quantity of No. 2 (soda solution), adding the remainder, if necessary, to bring out detail in the darkest shadows. If you think the plate is under-\xra.Q.6., begin developing with only one-half the given quantity of both Nos. i and 2. When the detail is well out, pour off the. weak developer and finish with normal developer, fresh and of full strength. 141 If the plates work thin, without sufficient contrast, and the instructions above have been carefully followed, it is evident they have been o»er-timed. Always keep a ten per cent, solution bromide of potassium in water at hand ; and in such cases add a few drops to the developer, which will give greater density and brilliancy to the negative. Bear in mind that very rapid plates are sensitive to light of any color. The safest light is a combination of ruby and yellow, just strong enough to enable you to judge of intensity of negative and progress of develop- ment, and the plate should not be held close to the light for examination for more than a few seconds. In cold weather, it is very important that the rooms in which the plates are kept, exposed and developed, be comfortably warm, and the developing solution not colder than 70 degrees F. , and in hot weather no warmer than 60 degrees F. During warm weather, keep a bottle of cold water at hand, and in cold weather a bottle of warm, with which to mix the developer ; by this means, the temperature can be easily regulated. See that the Hypo, solution is fresh and strong enough to fix quickly. WANT OF DETAIL IN LIGHTS AND SHADOWS. It is generally supposed to be due to under-exposure, but this is not always the case. For instance, I expose a plate four seconds. It develops from one to two and a half seconds, and the result is with the above defect. It is a proof that I have used more pyro than the plate re- quired. Now I will try again. I take a plate out of the same box, give three seconds' exposure, use only half the amount of pyro stock solution to the usual amount of sal soda stock solution, and the negative will develop in three or three and a half minutes ; result, a fine negative, in definition and brilliancy. On the other hand, a negative may have precisely the same appearance as the foregoing 142 one, but it took from five to ten minutes to develop. Try another, and you double the amount of exposure. GRANULARITY OF NEGATIVE. This defect generally appears during the warm weather. There are two causes — one the result of insufficient mixing of the developer before pouring over the plate, especially if too strong and too high in temperature. Remedy — Dilute the developer with water one-third, or use ice-water without the dilution. THE PRINCIPAL CAUSES OF FAILURE IN WORKING THE LIGHTNING PLATES ARE : 1. Cold solutions and cold rooms. 2. Over-exposure. 3. Use of too much sal soda or carbonate of potassium in the developer. This is the most frequent, and is almost always the cause of thin negatives. 4. Use of impure sulphite of soda, or such as is too old and decomposed by contact with air. 5. Introduction of impurities into developer. 6. Traces of white light entering camera, tablet or dark room through holes in wall, underneath, or on side of door, etc. 7. Exposing plates to white light while fixing, or before they are thoroughly fixed. 8. Use of too strong light for developing, whether the light is green, yellow or red. 143 ANTHONY'S BROMIDE PAPER FOR CONTACT PRINTING AND ENLARGEMENT. DEVELOPER. A— Oxalate potash, .... 8 ounces. Hot water, .... 24 fl. ounces. Make acid with acetic acid No. 8. Test with blue litmus. B— Protosulphate of Iron, . . 8 o.unces. Hot water, . . . . 16 fl. ounces. Sulphuric acid, C. P., . .10 minims. C— Bromide potassium, . . . i ounce. Water, . . . . . 32 fl. ounces. Note.— The dry measure above quoted is based on 437 grains to the ounce. Keep these solutions separate ; they must be mixed when required for development. TO DEVELOP. A, . . . . . . .3 ounces. B, ...... ^2 ounce. C, . . . . . . .10 minims. Avte. — This solution should present a brilliant ruby color after combination. Solutions A and B should be allowed to settle clear before using, and a developer should never be placed on a print while warm. Immerse the exposed sheet in water in a tray or dish of suitable size ; after thorough saturation, make sure that you have the paper film side up, and then drain the water off slowly, allowing the sheet to sink gradually into close contact with the 144 bottom of the tray. This will prevent ridges being formed by bubbles of air between the dish and print, and is very important. With an even sweep of the graduate flow on the developer, as with a plate. If the exposure is correct, the image should appear somewhat slower than with a well exposed plate. Continue until the shadows are suffi- ciently strong and high lights present the expected detail ; at this stage pour off the developer quickly and as com- pletely as possible (do not throw away your old devel- oper ; with this paper it may be used for three or four prints, with the effect of increased brilliancy. In fact it is always best to combine about one-third old developer to two-thirds- new, old means, say, twenty-four hours), and without rinsing flood the print with the — CLEARING SOLUTION. Acetic acid . . . . . i fi. drachm. Water ...... i quart. This should be repeatedly applied, say three or four times at least, in sufficient quantity to cover the print, allowing half a minute between each application to admit of the thorough action of the acid. In the case of large prints' a final ten minutes' soaking in a fresh batch of the clearing solution is strongly advised. After a careful wash of not less than half a minute in running water, or three changes during the minute if water supply is short, transfer to the— FIXING BATH. Hypo, 8 ounces. Water 40 fl. " . Be sure and submerge the print in the fixing solution, and see that there are no air-bubbles to prevent fixation. Fix for five minutes, after which remove directly to a dish containing — 145 Common salt, .... 8 ounces. Water, 64 fl. ounces. The time the print remans in the salt and water is not material. • After a lapse'lfof 'riot less than one minute, remove and ■vyash in pure' wale'r. Let the washing be as thorough as your conveniences will allow. MOUNTING. First. — For large work provide a smooth table a little larger than the size of the largest print you intend to make, and on this lay a piece of rubber-cloth sufficient to cover and overlap. Second. — Next get a good sheet of plate or French glass of proper size. If glass cannot be obtained of suitable size, a smooth board covered with rubber-cloth will answer perfectly. Third. — The board should be well stayed at the back so as to prevent warping, as that would be very troublesome and unsatisfactory.- Fourth. — A flat bristle paste brush four inches wide; five inches is better. Fifth. — Make your paste of good starch; it will be found to stick better if the boiling is stopped just before it becomes translucent. Sixth. — A lo-inch rubber squeegee. Arrange the piece of plate grass or board on a slight incline, with the lower end towards your print washer. Raise a print carefully, and, laying it face down on the glass, with the squeegee remove all surplus water. Paste smoothly from end to end, and crosswise, and, if a stretcher is used paste the muslin also. Raise the print and centre it over the mount ; bring the two in contact squarely in the usual manner; then turn the mounted 10 146 picture face down on the rubber-covered table, and with a wad of cotton-flannel rub down from the back, taking care to avoid touching the gides of the frame, as that would make a paste line that itgivould be difficult to get rid of afterwards. After ruEbipg from the back, raise one end of the rubber cloth, and with it the stretcher ; grasp the stretcher and drop the cloth, which will fall easily from the surface of the print. With the palm of the hand dampened rub the air-bubbles towards the edges on the surface, and when smooth hang up to dry. If a card- board mount is used follow the above directions, except in pasting the mount ; and instead of laying the mounted print face down to rub, put the print on the table face up and lay the rubber-cloth over it. A few strong sweeps of the squeegee will assure perfect contact Prints may be dried and afterwards wet and mounted when convenient. The treatment of small prints is exactly similar on a reduced scale. CONTACT PRINTING. Adjust a negative in a printing-frame as for ordinary silver printing. In a room lighted with a safe yellow light open the package, and, taking a sheet, lay it care- fully in contact with the film side to the negative ; pad and clamp down the back of the printing-frame. Expo-, sure may then be made to the flame of a kerosene lamp or a gas burner. The time must be determined by the intensity of the negative and the brilliancy of the illu- mination. With a negative of the best quality and a light of the ordinary house burner type, the exposure should average about ten to twenty-five seconds four feet from the burner. Reducing the distance decreases the time, but it is liable to increase contrast. Daylight may also be used, but,, both on account of its variable character and the sensitiveness of the paper, it is not recommended 147 as it is unmanageable except in the hands of an expert. Vignetting can be easily accomplished, the only thing to be determined being the proper aperture of vignette to suit the distance from the source of light, after which once fixed always fixed. PROOF FROM WET NEGATIVES. With this paper a proof may be shown to a sitter within ten minutes after the negative is developed. After devel- opment, fix and wash the negative well under the tap for about three minutes ; wet a piece of the Reliable Paper and squeegee in contact with the negative ; a piece of pasteboard held against the paper at the back will protect from light — expose and develop as directed. Proofs or prints not intended for mounting should be dried by squeegeeing face down on a piece of polished rubber. When dry they peel off with a beautiful enamel. BURNISHING. If you wish to burnish contact prints don't attempt it until they are perfectly dry, and use dry Castile soap as a lubricator. Only the heavy and light smooth papers should be burnished, the grained paper cannot be so treated. ENAMELLING. Rub the surface of a piece of clean plate glass with a tuft of cotton-wool and French chalk until it has been evenly treated all over ; then carefully remove all trace of dust, and coat with a plain collodion composed of soluble cotton, 50 grains ; alcohol, 5 ounces ; ether, 5 ounces. Allow this to set, and immerse in a dish of clean water till all the oily lines disappear. The print may then be placed in the same dish, film down, and brought into con- tact with the collodionized plate under water; this pre- vents the possibility of air-bubbles. Carefully remove 148 the glass from the water, and with a squeegee press out all moisture as completely as possible. When thoroughly- dry, rule with the point of a knife and a straight edge through the paper to the glass ; on lifting one edge with a gentle pull the whole will come off with a magnificent enamel, equal to the finest carbon print. REASONS WHY. The developer must be acid ; if not the prints will be foggy and measly. A clearing solution must be used, because oxalate of iron cannot be washed from paper unless the washing water is acid, and if it is not so washed, you will have yellow prints. Please remember this, as it is very important. Don't increase the propor- tion of acid. It isn't necessary. Quantum suff. A salt solution should always be used as a preventive to blister. " Prevention is better than cure." See. Your hands and dishes, etc., must be clean anyhow if you want to do good work of any kind, laut when you begin this process if you have any job lot of untidy habits left, "relegate them to the limbo of obscurity." At any rate never touch a piece of paper either to expose or develop while there is the slightest suspicion of hypo on your hands. Avoid handling dry pyro or the com- pounding of a pyro developer in the room where you ex- pect to make prints. Don't use your hypo for more than two days' pri-nts, supposing you make at least ten 30-inch prints per day. Four gallons of the solution of the strength mentioned here should fix twenty-four 30x40 prints and no more. The cost isn't more than 2 5 cents to change, and the old solution is full of silver ; so 'there is no loss, and clear, white prints are assured. You should either combine your developer twenty min- utes before use and allow it to stand in a flat dish till 149 wanted, or commence development with one-third devel- oper that has been used two or three times and two-thirds new, because new developer alone has a tendency to give flat, measly prints, while the mixture of old and new increases contrast and brilliancy. FORMULA FOR WORKING BROWN'S "I XL" BROMIDE PAPER. (Avoirdupois Weight.) No. I. Water, 48 fl. ounces. Oxalate of potash, . . . 16 • ' Acetic acid, . . . . i^ fl. ounce. No. 2. Water, . . . . . 16 fl. ounces. Sulphate of iron, . . . 8 " Acetic acid, . . . >^ fl. ounce. Place the paper in water until it lies flat. To develop use of No. i, 8 ounces, of No. 2, i ounce. Rinse the plate three or four times with acetic acid water, viz. : ^4 ounce of acetic acid to 40 ounces of water. Wash well before fixing. Fix in strong hyposulphite of soda solution — 7 or 8 ounces of hypo to 32 ounces of water. See that the print is thoroughly fixed, and well washed thereafter. Change the water frequently. ARGENTIC PRINTS. (Avoirdupois Weight.) For the production of Argentic prints suitable for fram- ing as a finished picture, one thing is absolutely necessary, viz., a correct exposure. A great deal is claimed by the ISO manufacturers of bromide paper for the latitude admissible in the exposure and development of it, but I must say that this is not my experience. When I get a print over-ex- posed but a very little, the development must be stopped before its full action has been obtained, and consequently the print will lack that rich tone of color so desirable to a finished print. If the developer be modified in any way to counteract the over-exposure, by weakening or restraining with bro- mide, etc. , the only thing that it will do will be to prolong the development, as it would seem that the best color is never reached until the full power of the developer has been spent upon the amount of light the paper has re- ceived. It will therefore be seen that to get the finest results, the exact exposure to make the print the depth of color required that will allow the normal developer to act all it can before it (the print) has become too dark, will be necessary. Of course, such nicety is not absolutely re- quired when prints have to be finished in ink or crayon, etc., but even then the nearer the exposure is correct, the less work will have to be done afterward. The formula by which I get very fine results is the following : Instead of buying oxalate of potash I make; it very much cheaper. To do this take — Carbonate potash, . . . i^ pounds. Water, (hot) .... 30 fl. ounces. In another vessel dissolve — Oxalic acid, i pound. Water, (hot) . . . . 90 fl. ounces. Pour the acid solution gently into the potash, stirring all the time. Be careful not to pour too fast, as it will be apt to flow over the top. This will not need to be changed in any way, either with acid or potash. 151 To develop, take of this six ounces and add to it one ounce of a saturated iron solution. Now I am in no way- fastidious as to whether this solution be saturated at a temperature of 40° or 80°, as all the difference to the developer will be, it will be a little quicker or slower in its action. After the paper is exposed, it is laid into water until it lies flat ; the water poured off and the de- veloper flown over it. When fully developed pour off the developer and flow over it before washing a very- weak acid water : Acetic acid, . . . . J^ fl, ounce. Water, 40 fl. ounces. Give it three changes of this water, then wash pretty well and fix in a solution of — Hyposulphite of soda, . .. . 6 ounces. Water, 20 fl. " Allow it to remain in the soda about five minutes, then wash for about two hours, changing the water frequently. The keeping quality or permanency of Argentic or Bro- mide prints depends more upon thorough fixing than any other one thing, and therefore a strong solution is recom- mended. To obtain a clean, white print it is necessary that sufficient acid water be used, as otherwise the print will be of a dirty color in the whites when dried. The manipulation for the Ingligraph is precisely the same as for the Argentic, until it is mounted and dried, when it should then be flowed over with a plain collo- dion made of — Ether, i fl ounce. Alcohol, I fl. " Gun cotton, . . . . 10 grains. When dried they are to be burnished in the same way as an Albumen print, care being taken not to- have the burnisher too hot. Prints on this paper, either contact or 152 enlargements, are as brilliant and strong as upon albumen. This being the case it will be seen what an advantage it will be to make a picture of any size from a 4x5 or 5x8 negative equal in brilliancy to a large contact print. Jas. Inglis. FORMULA FOR USING THE HARVARD PHOTO- CHLORIDE PAPER. (Avoirdupois Weight.) No. I. Oxalate of Potash, . . . i lb. Hot water, . . . . 48 fl. ounces. Acetic acid, 3 A- drachms. No. 2. Proto-sulphate of iron, . . i lb. Hot Water, 32 fl. ounces. Acetic acid, . . . . J^ fl. drachm. No. 3. Bromide of potassium, . . i ounce. Water, i quart. (Citric acid can be used in place of acetic, but more will be required. Both No. i and No. 2 should test acid with blue litmus paper. ) DEVELOPER. Take of No. i, 6 ounces; take of No. 2, i ounce ; take of No. 3 (if desired), 5 to 20 drops. (Always add No. 2 to No. I.) No. 3 will change the tone of the print from a dark gray to a beautiful sepia brown, according tq the amount used, and the development will be much slower. 153 The above quantity will be sufficient to develop an i8x 22 print. In mixing larger or smaller quantities of the developer, the same proportions should be observed ; after the expo- sure soak the paper in water until thoroughly wet, then pour off and flow on the developer as evenly as possible. If no bromide has been put in the developer the print will appear at once, when the developer must be poured off quickly and the development stopped with a few ounces of the following — • CLEARING SOLUTION. Acetic Acid, . . . . . i fl. drachm. Water, ..... i quart. Two or three rinsings with the acid water will be suffi- cient ; then rinse with clean water and immerse for five minutes in the — FIXING BATH. Hyposulphite of soda, . . .4 ounces. Water, i quart. Drain the print thoroughly, wash in ten changes of water for 30 minutes or more and hang up to dry. Be careful to keep the fingers, developing trays and graduates free from every trace of hyposulphite of soda or pyro. The developing tray should be used for nothing else. A few trials with' the test pieces found in each box will give the correct time of exposure for enlarging, with the light to be used, after the negative is in and focussed on the easel ready for the large paper. In the proper time of exposure lies the secret of success. For enlarging, the negatives should be well timed but thin and clear, 154 The exposure will vary according to the intensity of the negative and the quality of the light. For contact printing, a thin over-exposed negative should be printed by a weak light, and a negative with strong contrasts, by a powerful light. An exposure of one or two seconds by diffused daylight will be sufficient, or ten to thirty seconds at one foot from a strong oil lamp or gas. Prints on the smooth paper may be mounted dry by pasting the backs with thin starch paste ; then rub into contact with a piece of clean paper. In a few minutes they may be burnished like ordinary albumen prints, if desired. The Harvard Photo-Chloride Paper is put up in three grades — No. I. Smooth Surface for contact printing No. 2. Rough Surface for enlarging or positive print- ing, and may be worked upon in the same manner as ordinary platinum or solar prints with crayon, ink, water colors, or oil. No. 3. Same as No. 2, but more rapid and having less density of color, to be used especially for enlarging where a light print is desired, full of half tones, that can- not be told when finished from a free-hand drawing. TO REDUCE INTENSE NEGATIVES. No. I. Red Prussiate Potash, . . . 240 grains. Water, 16 fl. ounces. No. 2. Hyposulphite Soda, . . .240 grains. Water, 16 fl. ounces. 155 Take three ounces of No. 2, to which add from one to four drachms of No. i according to the intensity of the negative. S. S. Sandfoed. A LOCAL REDUCER. Saturated solution, chloride of lime, i fl. ounce. Water, 4 fl. ounces. Pour this over the negative in a tray. After it has soaked two or three minutes, rub the spot to be reduced gently with the finger until you have the desired intensity. Wai^h for five minutes and dry. In warm weather ice water should be used for the above operation. St. Louis, Mo. M. A. Seed. CAUSE OF OLD NEGATIVES TURNING YELLOW. This defect is supposed by many to be due to imperfect washing. This is a mistake ; it is a proof of imperfect fixing. I do not consider a negative thoroughly fixed until it has remained twice as long in the hypo as it takes to clear it of the bromide of silver. It takes much longer to eliminate the pyro than the silver bromide ; hence if the negative is in only long enough to dissolve the latter, some of the former still remains on the glass side of the film, which no amount of subsequent washing will re- move. Consequently this pyro is sure in a longer or shorter time to turn the negative yellow. St. Louis, Mo. M. A. Seed. 156 RETARDING LOCAL DEVELOPMENT. I have found it useful in many instances to retard de- velopment locally, as in the case of a landscape in which the distant horizon was in danger of becoming obliterated before the foreground was developed properly, or a white house, or white dress, or anything similar, becoming too dense, by the following means : I keep on hand a bottle of saturated solution of citric acid, and before beginning to develop I take a small glass measure and put into it one-half drachm of the citric acid solution, with one-half ounce of water. I then take a soft quill camel's-hair brush which I dip into the diluted citric acid and use on those parts of the plate which it is desi- rable to keep back while it lies in the developing solution, which, of course, should be kept in motion. The accele- rator may be used in a similar manner, with another brush, on the parts which require bringing out, fore^ ground, etc. Results can be had by this method unattainable by any other that I know of. New York. J. G. Johnston. TO REDUCE INTENSITY LOCALLY. Moisten a soft rag with alcohol and rub the dense parts until the required intensity is produced. ' Unknown Source. TO IMPROVE THE PRINTING QUALITIES OF A NEGATIVE. Put the negative in a retouching frame and go over the strongest high lights with tube Chinese white, thinned as occasion requires with turpentine. 157 This may be used with especial advantage when the negative prints flat. It may be employed even with good negatives to touch up the shadows and to break a plain sky. In this latter case use a wad of cotton. William Bell. TO CLEAN GLA.SS. One box or pound of crude potash ; sold in groceries. Dissolve this in one gallon of water. Bring to a boil. Dip the old gelatine plates in this, in a dipping rack that will keep them apart. Dip with movement and when the film is gone remove the rack and glass into another vessel of warm water, and then wash well in running water. Take them, one at a time, and rub with rag covered with pulverized cuttle-fisTi bone. Put them in a rack to dry and then pack away for use. When the plates are to be used polish off the fish bone and dust with a piece of soft linen. HOW TO FIX A NEGATIVE. smimw""f. I I I I'll' I'll',! I I I I' I i|i ij'i/ ii'i'' I III ii''i'''i'"ii", I Negatives should never be fixed in a flat tray film side up, on account of dirt settling on the surface, which should never be allowed, especially during the summer months. A better way is to have a grooved box, as per sketch. 158 A strip running the length of the box on the bottom, is for the plates to rest upon. This prevents a stirring up of the sediment on the bottom. I have used one of these boxes for a year and never have had occasion to change my fixing bath once, and it is to-day almost as clear as well water, although I have nearly two inches of sediment on the bottom. The negatives come out free from scum or dirt on the surface. For large plates a trough of the following shape is good. It will take any size plate. Put plates in film side down. lift To make these dishes perfectly water-tight, saturate them with hot parraflfine ; first make sure that they are per- fectly dry and warm. A little alum in the fixing bath precipitates organic matter and keeps it clear. St. Louis, Mo. M. A. Seed. 159 MISCELLANEOUS. AN EXCELLENT CLEARING SOLUTION FOR PYRO NEGATIVES. (Avoirdupois Weight.) Alum, ..... I ounce. Hydrochloric acid, . . . i fl. ounce. Boracic acid, .... ^ " Water, i6 fl. ounces. The solution can be used over and over again for a year or more. It will do its full work in half a minute by the watch, and in this time will do all that any clearing solu- tion will do. Tender gelatine in warm weather ought not to have a longer immersion, but a gelatine that will stand this or any acid solution can be left in for half an hour, if so desired, without danger of producing any thing of the image such as other clearing solutions are credited with. A good washing should follow. (English source, J. Hay Taylor.) THE FARMER REDUCER. (Avoirdupois Weight.) Hyposulphite of soda, . . i ounce, Water, . . . . . 15 fl. ounces. Red prussiate of potash (ferricyanide of potassium) is added to color lemon yellow, more or less as required, and the plate is flowed over with the mixed solution until desired reduction has taken place. The red prussiate can be kept in a solution of one drachm to the ounce of i6o water, protected from strong light and will keep for six months or more. The mixed reducer keeps only for half an hour ; should therefore be mixed fresh as wanted and then thrown away. A clean (not discolored) fixing bath, diluted, answers in place of a hypo stock solution, and a freshly fixed negative requires only a slight rinse before being treated. Any slight yellowing that may occur can be completely removed, after thorough washing, by a clearing solution. Gelatine positives are fit subjects for this reducer, and it can be used on negatives to clear shadows before intensifying. THE MONCKHOVEN INTENSIFIER. No. I. Bichloride of mercury, . . 120 grains. Bromide of potassium, . . 120 " Water, . . . . . 12 fl.. ounces. The plate, thoroughly washed, is put into this solution until whitened ; the more thoroughly this is accomplished the more the subsequent intensification. In place of bro- mide of potassium, an equal weight of chloride of am- monium or bromide of ammonium is often recommended. The difference in result is hardly appreciable. As much can be said of an increase of the bichloride of mercury and the other ingredients ; but an increase of contrast is brought about by giving the whitened plate a slight washing and then immersing for a minute in a stock solu- tion of chloride of ammonium, twenty-five grains to the ounce ; after this a thorough washing of at least fifteen minutes under a brisk stream of water is required. No. 2. Nitrate of silver, . . .120 grains. Water, 12 fl. ounces. i6i Reserve one ounce of the water and dissolve in it 120 grains of cyanide of potassium. Add this little by little to the silver solution, shaking well after each addition and going very slowly after six drachms have been added. A white precipitate forms which dissolves with the shak- ing, and only enough of the cyanide solution must be added to leave a little of this precipitate undissolved. If by accident all is dissolved enough. more of a silver solu- tion must be added to form it again. Not necessary to filter. Thus there is formed a water solution of double potassium and silver cyanide with no free cyanide of potassium. The plate whitened and washed as above, is immersed in a dish of this solution and kept in motion until it has acted through to the back of the plate. Prepared according to the original directions as here given, there is no danger of the density going back, even after an hour's immersion. All these solutions can be used over and over again. This intensifier is applicable to collodion, albumen and gelatine negatives and posi- tives ; with gelatine lantern slides of landscapes and similar subjects, it gives an opaque density not generally admired, however ; a thorough' washing is required after the silver bath. There are formulae extant requiring an " excess of cyanide " of potassium and at the same time warning against a reduction of density by long immer- sion, as might be expected. (Ellerslie Wallace, Jr., has repeatedly published the formulae in this latter form. ) SILVER INTENSIFIER FOR COLLODION AND SIMILAR PLATES. The following citric acid stock solution has been kept unchanged for three years and is excellent : 11 l62 No. I. Citric acid, .... 6 drachms. Salicylic acid, . . . lo grains. Water, i>^ fl. ounce. Dissolve the citric acid in the water, add the salicylic acid, shake well for a minute and filter. No. 2. Nitrate of silver, ... 20 grains. Water, i fl. ounce. One ounce of water, ten drops of No. i, and three grains of pyro flowed over the plate, afterwards adding six to twenty drops of No. 2, makes an intensifier that stays clear for a considerable time and works nicely. (Simplified from ^. / Almanac, 1879, p. 69, George Kemp, M. D.) THE METRIC SYSTEM. Keeping in mind the simple relation of the gramme to the cubic centimeter, and that the gramme taken at fifteen and a half grains is practically accurate enough, the values of the metric system might become familiar with little effort. A set of gramme weights from ten grammes down is very inexpensive. For fluid measure the measuring glasses after the ounce and drachm system can be obtained with the additional metric scale without extra cost. This makes comparison easy and is a great aid in becoming accustomed to the actual bulks of the so-called new method. In most published explanations needless complexity is introduced by giving the complete decimal scale, while in practice the prefixes hecto., deca., and even deci. seldom occur, whereas kilo., centi. and milli. are all that are needed and can be kept readily in mind, with the rest pigeon-holed for reference. 163 CHEMICALS. It might be worth while to draw attention to the fact that for chemicals that ' ' come true to name, " the experi- mentalist in photography is obliged to apply to such firms as make it a specialty to supply schools, colleges and scientists generally, say Eimer & Amend as a type of many such. Their published lists quote both commercial and chemically pure (c. p. ) chemicals at their appropriate prices, undisguised by a mere trade-mark. The ordinary run of photo, dealers' chemicals and also of the medicinal standard are good enough for general work, but not pure enough by far for delicate and original photographic ex- perimenting, or for verifying the results of others who have strictly pure chemicals at their command. In gelatine emulsion formulas a frequent omission is the stating of the bulk of the finished emulsion ; also the amount intended to be used for each plate. Density and quality depend upon this, and therefore success with any special formula. Neither have I ever seen any attempt made to reconcile such extremes as thirty-three and, say, eleven grains of silver nitrate to each ounce of finished emulsion, unless there is a larger difference in the amount of plate surface each is intended to cover. * Erik, Pa. Ottomar Jarecki. ODDS AND ENDS. Lenses — Although I have nothing new to offer, yet I will comply with your request and write what I know. All makers at present claim superiority, yet, in my humble judgment the Steinheil is a very reliable lens, and offers many varieties at reasonable prices. * See article on Gelatine Emulsions, by Wm. Bell, on page 12. 1 64 The Eastman Company's interchangeable camera boxes are simple and very accurately made and are strong ^nd light. Plates are nearly all good — Cramer's, Seed's, &c. I am now using Carbutt's. His new No. 27 plate is very rapid and works clear. Developers are numerous. I am still using the old formula of Cramer's — i oz. pyro, 10 fl. ozs. water, 10 drops sulphuric acid ; and the soda solution of sal soda and sul- phite soda, equal parts. Stanley's formula is similar, and Carbutt's latest almost also. I believe a great many Ger- man artists use it about the same way. I have used others, but this is simple. In shutters, I give the Benster shutter the first place for studio work ; you can, by its use, get a softer negative and yet keep the sharpness by merely opening and closing during exposure. It requires care ; ought to be cleaned and oiled with watch or clock oil every three or four months. Posing is an art and depends very much on what subjects you have, and in what condition your health is. We blot all our paper when it is taken off the silver solu- tion ; keep that about 50 grs. strong ; add a little alcohol at timfes, I fl. ounce to a quart of solution ; cut all paper before printing to the exact size ; we have done that for eighteen years. In printing vignettes we use wood vignettes and use the ordinary iron clamps to hold them to the frames. This is simple and saves a great deal of trouble. I never saw anybody else use those clamps. You can buy them at $1.00 per dozen, or less ; get the heavier patterns. To make them hold easier and more secure we drive a wire nail in the frame and file it to a point opposite to where we put the clamps . We also mark the back by driving in little round head nails opposite in frame and i65 back ; vary the distance about half an inch for each other frame. I believe you will understand it. We tone in sal soda bath, adding a little bicarbonate of soda to the gold; tone in about twenty minutes and tone our whole batch at the same time. We find that we can secure an even tone that way. I hardly believe that we differ much from any other gallery, but there is always some individual way of working even with the same formula. We wash prints either on glass, each print alone, by letting the full force of hydrant spray over it, or wash over-night. We use the Goldsmith preservative for paper with success. Use the best paper we can get, the Three Crown just now. Geo. C. Mueller. PRINTS ON JAPANESE PAPER. Being somewhat given to experiments in photography, I have made a series of them to determine the adaptability of thin Japanese paper, so much used for high-class photo- gravures and engravings, to photographic printing. I have finally worked out a method which gives surpassingly beautiful results of a high order of artistic excellence, and which I now, for the first time, make known to the photo- graphic fraternity. The only novelty about the process is the use of Japan- ese paper, which being somewhat thin is not easily floated on the silver bath, and is best salted and sensitized by laying it smoothly down on sheets of pure, clean blot- ting-paper and applying the saltifig solution with a clean camel's-hair brush. The sheets are then suspended over clean glass rods, and when dry are again spread out on blotters and sensitized by applying the silver solution with a clean brush used only for this purpose and well washed after being used. They are then hung up as before to dry ; i66 then fumed until they print blue, printing rather deeply ; washed in three or four changes of water ; toned lightly in any good bath; fixed and washed as usual. Prints on Japanese paper should be mounted by the corners only, and the results, if all goes well, will be a surprise and a delight to the eye. The following formulee have given me uniformly good results : No. I. SALTING SOLUTION. Chloride of ammonium, . . loo grains. Gelatine, . . . . . lo " Water lo fl. ounces. No. 2. SILVER SOLUTION. Nitrate of Silver, . ... 50 grains. Nitrate of Ammonium, . . . 50 grains. Water, i fl. ounce. This solution is to be kept alkaline by the occasional ad- dition of a few drops of a solution of carbonate of sodium. No. 3. TONING BATH. Acetate of sodium. Chloride of sodium, Chloride of gold. Nitrate of uranium. Water, 50 grains. . 60 " 4 " . 4 " 32 fl. ounces, The gold and uranium are first dissolved separately in a little water and the solutions neutralized with bicarbonate of sodium. The bath will keep, but more gold must be added from time to time. 167 Owing to the porosity of the paper the prints tone very rapidly, light tones of sepia and brown being produced by very short immersion. The tones of the finished prints can be varied by bearing in mind the relation existing between printing and toning. Deep printing and quick toning give sepias and browns ; deep printing and long toning, purples and blacks ; light printing and short toning produces light sepia tones ; and light printing with long toning will give cool grays. I hope that what I have written will induce some of our exhibition loving amateurs to try the process and submit the results to the judges at the next exhibition. Brunswick, Mk. Rev. W. H. Burbank. A PRACTICAL EXPEDIENT AND SIMPLE TONING BATH. There are quite a number of formulae for toning baths, all of which I have tried, but none yield the results, in my hands, to be obtained by this one. Having used it for a number of years, doing some printing almost every day, I have had an opportunity to test it thoroughly, under almost all conditions, and having given the same formula to about fifty amiateurs and all having used it with success, I feel warranted in submitting it as thoroughly practical. FORMULA. No. I. Chloride of gold, (pure) . . 15 grains. Water, 7)4 A- ounces. No. 2. Saturated solution of sal soda. i68 FOR BATH. Take of No. i, (gold solution) . i fl. ounce. Take of No. 2, (soda solution) . 24 minims. Water, 8 fl. ounces. I have found the above proportions .correct, but always test with litmus paperl:o ascertain if neutral ; and, if not, add a few drops more of the soda solution until the litmus paper does not change in color. The above quantity is sufficient to tone two full sheets of paper, (18 x 22) giving a rich, dark purple tone. After toning fix as usual. The above bath can be used immediately after mixing, or will keep for some time. I have -frequently used the same bath day after day, or until the gold was entirely exhausted by the toning process. Pittsburgh. . W. S. Bell. DIRECT PLATINOTYPE PROCESS. In my last published article on the direct platinotype process I remarked that apparently the double salts of ferric oxalate might also turn out to be, suitable for this process. Since that time I have continued my work in this direction, and have made more minute experiments, both with ferric double salts prepared by myself and with some furnished by the firm of Schuchardt, of Gorlitz. The results I have obtained must be considered very satis- factory. The method leaves nothing to be desired as far as simplicity goes, and now there is no longer any hin- derance to the much more extensive employment of the process, 169 Of all the double salts examined and experimented with, the sodium ferric oxalate is the most suitable. The cor- responding potassium double salt is not sensitive enough ; the ammonium double salt is certainly very sensitive, but then it gives less brilliant prints than the sodium salt, and also tends to give a colder, bluer tone. It might, how- ever, perhaps, be employed for very hard negatives, and in dilute solutions for the reproduction of pencil drawings. The sensitive paper may be prepared in various ways, the results of all modes of preparation being so much the same that the choice of one or other of them may be left to the taste of the person preparing them. I subjoin the three meth- ods, with the addition of iron, which I find most con- venient FIRST METHOD. Preparation of the Paper. — Prepare some arrowroot paste with two parts of arrowroot and 100 parts of water, and when it is cold coat the paper with it by means of a small sponge ; one may calculate upon four to five drachms of paste per sheet. When the paste has been well distrib- uted with the sponge it is equalized by means of a badger- brush, and the sheet is hung up to dry. After drying, this procedure is repeated and the sheet again allowed to dry. With a little practice this work proceeds with rapid- ity, and each coating does not last more than five minutes. Until required for use the dried sheet should be carefully stored in a dry place. Sensitizing of the Paper. — For this the following solu- tions are used : — Potassium chloro-platinite, . . i part. Distilled water, . , . . .6 parts. 170 B. Sodium ferric oxalate, ... 40 parts. Sodium oxalate solution (3 parts to the 100), 100 " Glycerine, . . . . . 3 " In preparing the solution B, the solution of sodium oxalate is warmed to about 140 degrees, Fahrenheit, and the sodium ferric oxalate is dissolved in it. The addition of glycerine to this and other solutions mentioned is only necessary and advisable in very dry w^eather. On cooling a little sodium oxalate is thrown off, and therefore the solution must be filtered. The solution of sodium oxalate may be kept in stock in large quantities. c. Iron solution (B) 100 parts. Potassium chlorate, . . . . 0.4 ", Mercuric chloride solution, (5 parts to the 100); ..... 20 parts. Sodium oxalate solution, (3 parts to the 100), 40 " Glycerine, . . . . . 1.8 " For black pictures, and for negatives of medium density, mix shortly before sensitizing in the following proportions for each sheet of the usual size, (say, about 35 x 45 inches): — Platinum solution (A), . , . 75 grains. Iron solution (B), . . . . go " Chlorate of iron solution (C), , 30 " 171 For harder negatives lessen the quantity of the chlorate solution (C), and increase by the same amount the quantity of the iron solution (B). For soft negatives re- verse this proceeding. For brown pictures mix : — Platinum solution (A), ... 75 grains. Chlorate solution (C), . . . 60 " Mercuric chloride solution (D), . 60 " The tint of the pictures obtained with the immediately foregoing is sepia brow^n. The intermediate tints from black to brown may be obtained by increasing the propor- tion of the chlorate of iron (C), and correspondingly de- creasing the proportion of the mercuric chloride solution. The quantity per sheet of each solution, as given above, was not arbitrarily fixed, but was fixed upon as the best after a long series of experiments. The mixed sensitizing solutions are best applied by means of a brush (one not mounted in tin is preferable), and in order to get equal films, both in this and in the two following methods, it is absolutely necessary to go over the surface with the softening brush. After being coated and smoothed the sheet is dried at a temperature of from 85 to 104 degrees Fahrenheit, as in the usual platino- type process, either beside a stove or in a drying-box. SECOND METHOD. In this method the developing substance, namely, the sodium oxalate, is not added to the iron solution, but to the preparatory solution. In this case then the arrowroot paste has the following composition : — Arrowroot, 2 parts. Sodium oxalate solution (3 parts to the 100), 100 " 172 The method of coating the paper with the paste is the same as already described in the first method. The Sensitizing of the Paper. — The solutions have the same concentration as given in the first method, only in the iron solution (B), distilled water replaces the sodium oxalate solution. In order to prevent mistakes I give them below : — Potassium chloro-platinite, I part. Distilled water, . 6 parts. B 2. Sodium ferric oxalate. 40 parts. Distilled water. 100 " Glycerine, .... • 3 " C 2. Iron solution (B 2), 100 parts. Potassium chlorate, . 0.4 part. Mercuric chloride solution (5 parts to the 100), 20 parts. Potassium oxalate solution (3 parts to the 100), 40 " Glycerine, . . . . . 1.8 " The mixing proportions and quantities per sheet are identical with those given under the heading of the first method. THIRD METHOD. In this method the preparation of the paper is done away with, as the thickening material is added directly to the sensitizing solution. For sensitizing one requires ; — 173 A3- Potassium chloro-platinite, . I part. Distilled water, .... 6 parts. B3- Sodium ferric oxalate, 40 parts. Powdered gum arable, 40 " Solution of sodium oxalate (3 parts to the 100,) 100 " Glycerine, ■ . . . 3 " The sodium oxalate solution is warmed to about 105 to 120° Fahr., and then the ferric salt and the glycerine are dissolved in it, after which the warm solution is gradually added, being constantly stirred, to the powdered gum arable, which was previously ground down and left in a mortar. The whole is then well stirred and afterwards allowed to stand for some hours in order to allow any small particles of gum still undissolved to have time to be- come completely dissolved. The solution is then strained through a clean cloth into a wide-mouthed bottle. The thickish solution is rather turbid and greenish in color. C3- Gum and iron solution (B3), . Potassium chlorate, D 3- Mercuric chloride solution (5 to 100), Sodium oxalate solution (3 to 100), . Powdered gum arabic. Glycerine, Solution D 3 is prepared like solution B 3. The propor- tion in which the solutions A3, B 3, C 3, and D 3 are to be mixed are analogous to those given for the first method. 100 parts . 0, .4 part. 20 parts. 40 n 24 1 1 I. 8 " 174 The proportions under ordinary conditions for black pic- tures are — Platinum solution (A 3), . . . 75 grains. Gum and iron solution B 3, . 90 " Gum and chlorate iron soluton (C 3), 30 " For sepia brown pictures mix — Platinum solution (A 3), . . -75 grains. Gum and chlorate iron solution (C 3), 60 " Gum and mercuric chloride solu- tion (D 3), . . . . . 60 " The mixture is applied to the paper with a brush, as in the two former methods, but the presence of the addition of gum gives rise to a number of small bubbles. These are of no importance whatever, as they disappear com- pletely when the surface is lightly gone over by the soft- ener with a circular motion. The drying proceeds in the usual way, and the dry paper exhibits a slight gloss prepared by the gum. This method appears to me to be the most worthy of recommendation of the three. After drying, the paper should be kept in a box con- taining chloride of calcium, though it seems to be less liable to alteration than paper prepared by the older pro- cesses, as samples kept for ten days without any special precautions gave as good prints as those sheets which had been kept in the chloride of calcium box did. The printing offers no particular difference from all other direct printing processes, that is, print until the picture has the appearance it is intended to have at last (that is, do not over-print), and when a sufficient number of prints are ready lay them, as usual, in a solution of — Hydrochloric acid, . . . . i part. Water, 81 parts. >> >>^ 175 The^ solution is changed two or three times until the yellow color no longer shows ; then the pictures are to be washed in two or three changes of water. Dry as usual. The development of under-printed pictures may be com- pleted, as already described, by placing them in a cold solution of potassium oxalate or sodium oxalate, or in a solution of common soda five parts to the 100. A contin- uation of the printing action, once it is started, also takes place to some extent in the dark in the case of this paper directly prepared with the double salts, but warm, moist air seems to be necessary for this continuation, while in the cold, dry air of winter this continuating action is less rapid than in the warmer seasons, in which I made my first experiments in direct platinotype printing. CONCLUDING REMARKS. The objection made by some to the platinotype process that its tones are too cold is no longer applicable, as it is quite in one's power to obtain any brown tone desired down to sepia. Whether this or that tint be preferred is a mere matter of taste ; I, myself, prefer the sepia tones to the black tones. Papers prepared for the former tones are also more sensitive and give softer images than those for black tones, if the ordinary iron solution be substituted for the chlorate iron solution, though for negatives of medium density the latter solution is preferable. Finally, I may remark that the iron salts, both in the solid form and in solution, and also the mercuric chloride sodium oxalate solution, being sensitive to light, must be kept in the dark, but that is not necessary in the case of the platinum solution, as it resists the action of light. QaPT. G. PlZZIGHELLl, in Photographische Correspondenz. 176 PRINTING ON UNFUMED PAPER. For several years I have not used the fuming box in my printing and the results secured are so satisfactory that I have permanently abandoned it. I append my regular printing routine and trust that those who try it will find it all I claim. Silver bath, 70 grains nitrate of silver to the fluid ounce of distilled water. Add to this a few drops of a saturated solution of bicarbonate of soda and let it settle over night. Decant off what is needed for use Float the paper three minutes. Drain in any way you please and dry. The writer drains slightly; then places between blotters, and after this dries in Kuhn's stretching frames, which he finds are most admirable for the purpose. When the paper is dry, (but not horny), cut up and print. It will be found that it takes longer to print than fumed paper. The resultant prints are redder in tone than fumed ones, and may be printed deeper without bronzing. After the prints are trimmed throw them one after an- other into luke warm water. Move them about in this for a few minutes, then put in — Hot water, So^-po", . . .1 quart. Salt, . . • . . . 2 ounces. Avoir. for, say, three minutes. Finally rinse them in a large dish of water at, say, 90°-ioo° F. After this they are ready for the toning bath. I am indebted to Mr. Ellerslie Wallace for a formula which I copy from his valuable little work. The Amateur Photographer : Water, 96 fl. ounces. Chloride of Gold, ... 15 grains. Acetate of Soda, . . . 450 grains. 177 This solution should be made up twenty-four hours before use, in cold weather ; in summer it may be mixed in the morning to use in the afternoon. Acetate toning baths give much warmer tones than those simply neutralized with soda bicarbonate. The toning bath should be heated to the same tempera- ture as the last wash water. I use a porcelain tray and place it over a gas stove while toning. A good chemical thermometer is an invaluable dark room assistant and should be used in all these operations. The warm wash waters will cause the prints to turn blood red and there will be no difficulty in judging of the proper tone. I am satisfied that an evener action of the toning solution takes place when it is warm. It is diffi- cult to say just how far to tone. It is entirely a matter of individual taste. As a matter of course, short toning gives red to brown tones, and long toning slate blue. I generally tone until the redness is nearly out of the shadows. After toning throw the prints into water a trifle cooler than the toning bath and wash. Repeat this once or twice, lowering the temperature of the water each time. Then fix in the following, which should be luke warm : — Hyposulphite of soda, . . 8 ounces. Avoir. Aqua Ammonia, . . . . 2 fl. dr. Wa'ter, 32 fl. ounces. I use two fixing baths of equal strength. After the prints are apparently fixed, I remove them from the first bath to the second and allow them to remain the same length of time. I throw away the first bath and save the second for the next day's work, when I use it as the first. After fixing pass through a dish of moderately warm water, and then imm.erse for five minutes in the following : — Common salt, .... 3 ounces. Avoir. Alum, J << << Warm v\^ater, . . . . 20 fl. ounces. 178 Wash the prints well after removing from the solution. The last wash water may be as follows, when the prints are to be kept some time before mounting : — Water, . . '. . . 10 fl. ounces. *Glycerine, i " This will keep the prints from becomiiig horny, and they will not crack or tear. I invariably soak my prints for four or five minutes in a dilute solution of Eau de Javelle, to remove all traces of hypo. This, together with the double fixing bath, makes prints which are practically un- alterable. For those who care to use the Eau de Javelle the formula is here given :— , Dry hypochlorite of lime, . 2 ounces. Avoir. Carbonate of Potash, . . . 4 " Water, 40 fl. ounces. Mix the hypochlorite of lime with 30 fl. ounces of the water ; dissolve the carbonate of potash in the remainder. Mix, boil and filter. For use add to 20 fl. ounces of water one fl. ounce Eau de Javelle. Wash the prints well after soaking in the Eau de Javelle. This constitutes my routine of printing. I believe that I am borne out in my views, as to the value of unfumed paper, by several em- inent American photographers. Mr. David Cooper expresses himself strongly upon the subject in the Photographic Times Almanac for 1887 (see page 221). There are certain cases where such procedure might prove undesirable ; but these are few.' It is not so econom- ical a method, either in consumption of silver and gold or in time, as the usual one of fuming. But has it ever oc- curred to the readers that fuming is a modern affair, resorted to by professionals to shorten the time of printing and to save gold? It will take almost two grains of gold for unfumed paper, where one grain is sufficient in the other * In fact, glycerine should always be added. , 179 way ; but, if this is so, does not the greater quantity of gold absorbed add to the tone ? And as it takes, say, two grains of gold to the sheet of paper, a 15-grain bottle Tvill tone say seven sheets, so the added expense is not very great. Among Continental photographers it is very largely the practice to omit fuming. In conclusion, let me say that during the summer it is not necessary to use solutions as warm as in the cooler months. W. D. H. PYRO AND POTASH DEVELOPER FOR THE RIPLEY PLATE. (Apothecaries' Weight.) No. I. Sulphite of soda (crystals), . . 3 ounces. Citric acid, 60 grains. Bromide of ammonium, . . -30 grains. Pyrogallic acid, .... i ounce. Dissolve in the order named in enough distilled water to make the whole measure ten fluid ounces. No. 2. Sulphite of soda (crystals), . . 2 ounces. Carbonate of potash, . . . 3 " Water to make the whole measure ten fluid ounces DEVELOPER, Mix one drachm each of No. i and No. 2 with enough water to make two fluid ounces. i8o This developer does not become muddy, and can be used repeatedly if kept in a well-stoppered bottle. To obtain great softness and delicacy, add two fluid ounces more water. For strong contrasts, double the quantity of both Nos. i and 2. For very short or under-exposure, commence develop- ment with No. I, I drachm ; No. 2, i drachm ; water, 4 fluid ounces. When detail is out, apply the mixture above directed for strong contrasts. For transparencies add one drachm of the following solu- tion to developer as above compounded : Sulphite of soda (crystals). . . 3 ounces. Bromide of ammonium, . . 30 grains. Citric acid, . ' . . . . 60 " Dissolved in enough water to make solution measure ten fluid ounces. The development of the photographic image so as to produce in every instance the most perfect result, is an art, it may be said, that has never been perfectly acquired by any one, so ever varying are the conditions. But with the exercise of attentive care and by always remembering that the pyro is the developer, the alkali is the motive power, the bromide restrains or holds the two in check (pyro in large excess is also a restrainer) and that a com- bination of pyro and bromide adds density, it will be pos- sible to so adapt the developer to the special conditions in hand as to approach, at least, the ever sought for perfect negative. After rinsing off developer, immerse in a strong solution of common alum. Wash and fix in solution of hyposul- phite of soda prepared as follows : Hyposulphite of soda, . . .1 pound. Water, 31/^ gallon. Should the film be discolored, immerse for a few min- utes in the following clearing solution : Saturated solution of common alum, 20 fi. ounces. Sulphuric acid, . . . . i fl. drachm. Wash most thoroughly and dry spontaneously. INTENSIFYING. No. I. Bichloride of mercury, . . 120 grains. Chloride of ammonium, . 120 " Water, i2}4 H. ounces. Dissolve separately and mix. No. 2. Chloride of ammonium, . . ^ ounce. Water, 12^ fl. ounces. No. 3. j Nitrate of silver, . . .120 grains. I Water, ..... 6^ fl. ounces, j Cyanide of potassium (pure), . 120 grains. { Water, ' 6^ fl. ounces. Mix by adding the silver solution to the potash solution gradually and with thorough agitation. Just a trace of silver cyanide should remain undissolved. Add, drop by drop, enough more of one or the other solution as may be needed to attain this result. To Intensify. — This can be done immediately after fix- ing and thoroughly washing, or after the negative has been allowed to dry ; but in the latter case it must be thoroughly wet before proceeding. Pour at a sweep a sufficient quantity of No. i upon the negative, keep it flowing and the image will gradually become white ; rinse under the tap, immerse in No. 2, where it may remain one or two minutes. After washing flood the negative l82 with No. 3. All the white will assume a deep brown pur- ple, and the shadows become beautifully clear, when it must be washed at once, as a longer immersion will de- stroy fine detail. Do not return the mercurial solution to the stock ; it is cheap, and will spoil the rest. No. 3 can be used repeatedly. Precautions. — Thoroughly fix, thoroughly wash, before intensifying. NOTES ON EASTMAN STRIPPING FILMS. Provide yourself with several extra reels. Unless a long trip is contemplated and films are not to be devel- oped until return, use 24 exposures to the roll instead of 48. If you have to cut off the exposed films before the roll is exhausted, you will lose considerable paper in fastening the remainder to the reel. Don't touch the face of the film with your fingers, espe- cially in warm weather. After an exposure, reel a new film into place before removing roll holder from camera ; then you will not forget it. The latitude of exposure, with films, is something won- derful. I have a lot of rolls from emulsion No. 100, made May, 1886. It tests between 17 and 18 in Anthony's sensitometer. I give a generous exposure to each subject and have found that if five seconds is right time, as much as fifteen to thirty seconds may be given and, by judi- cious development, a negative produced, which cannot be detected from a rightly timed one. The ferrous oxalate developer, as given by the Eastman Company for their bromide paper, is, in my hands, much more satisfactory than pyro and soda. 1 83 Follow out the routine prescribed for developing bro- mides, even to the clearing solution, and you will be suc- cessful. Pyro is too apt to tan the substratum, and for this rea- son ferrous oxalate is to be preferred. When about to develop, place the film in a yfc/ bottomed tray. Do not use trays with ridges on the bottom as they often cause creases in the films. Put the tray under the tap and flood the film with water. When it is thor- oughly wet and limp pour off the water and your film will be flat on the bottom of the tray ; then pour on the developer. Never take your eyes off the film until it is developed ; it has a way of floating and leaving certain spots exposed to the air, which will give you an uneven negative ; there- fore, I say, watch it. Develop until the image has sunk into the film and can hardly be seen. The white paper backing of the films makes every detail visible long before the required inten- sity is reached. Those of you who use white porcelain trays in which to develop plates will confirm this. Strip your films as soon as the hypo is washed out ; if you do not, much hotter water will be required and failure often result. Increase the temperature of the water grad- ually. Start with 90° or 100° Fahr., and see if that is not sufficient. Too much heat will cause frilling at the edges. Be sure to collodionize both sides of films as directed. For some reason the films are more susceptible to silver stains than ordinary dry plates. Possibly this is caused by the moistness given by the glycerine in the gelatine skins. The writer recently lost several valuable negatives from carelessness in this particular. No collodionized film in his possession has ever stained. Use the Soaking solution as directed. If is absolutely- necessary. 1 84 Print in the shade as much as possible. Films show a tendency to expand in the heat of the sun. In con- sequence, when the printing-frame is opened to observe progress, the pressure being released, the film expands a trifle and causes double printing. For this reason I would advise fumed paper. It is a good thing to dust powdered talc over the clear glasses used to support the films in the printing-frames. Wipe it off gently. Before applying the squeegee to press the gelatine skin on the film dip it in water ; then, after each stroke of the squeegee, wipe it off on a dry cloth. Any streaks of moisture left on the skin will show when dry. The object of wiping off with the squeegee is to remove these. W. D. H. PRINTING AND TONING FORMUL.^. A PLAIN SILVER BATH. Dissolve nitrate of silver in water until the hydrometer indicates 45 or 50 grains to the ounce. The sensitizing room should be at sixty degrees Fahrenheit. The time of silvering will be one minute and the fuming ten to fifteen. Increase the strength of bath and time of floating in winter. Keep the bath neutral or slightly acid. Dry well before fuming If the silvering and fuming are correct, the prints should leave the frames a rich purple color. - If the prints are too red, a little more fuming is necessary ; if too blue, then less fuming. The first washing for prints before toning should be made slightly acid with acetic acid, and then the prints have five more changes in plain water. i85 TONING BATH. No. I. Keep on hand a gold stock solution of four grains to ounce. To tone take 40 ounces water, and add about 30 grains of ordinary table salt. Use of the stock solution of gold enough to do the toning, and neutralize with bicar- bonate or carbonate of soda. After the first toning pour into a jar and keep for future use. By using bath from jar and gold from stock solu- tion, neutralized as above, you may repeat many times and get any tone you wish. Take the prints out when the desired tone is reached. No. 2. Chloride of gold, . . . .1 grain. Precipitated chalk, ... 2 grains. Water, . . i fl. ounce. Shake well and let stand one day before using. Dilute each ounce with 12 or 15 ounces water. This bath tones much like No. i, giving brown, purple or black tones. No. 3. Chlorde of gold, ... 2^ grains. Acetate of sodium, . . .120 " Water, . . . . . 20 fl. ounces. ' This bath gives warm, purple shades that cannot be excelled. It should be mixed with warm water and left to stand a short time before using. FIXING SOLUTION Use one ounce of hyposulphite of soda to 10 ounces of water. This should be mixed twenty-four hours before using. When the prints are fixed immerse in a strong .solution ^f salt and water, then wash in clear water. i86 Always decant silver solution from bottle into silvering dish, being careful to preserve the sediment that accumu- lates, as it is the best possible materal for keeping the bath from discoloring. Rochester, N. Y. A. M. Brown. BLUE PRINTS. No. I. Citrate of iron and ammonia, . 4 ounces, Add water to .... i6fl. " No. 2. Red prussiate of potash, 2^2 ounces. Add water to . i6fl. Mix equal parts Nos. i and 2 and filter ; coat the paper carefully with swan's or camel's-hair brush ; don't let it soak in. Thoroughly clean a glass plate, dust it over with pul- verized talc, rub it well and blow off the surplus. Flow the plate with collodion. In a few minutes pour on a solution of gelatine, set in a level position and let it dry. Immerse in water. Float on it a wet blue print and raise from the water. Squeegee the water out and let it dry. It will then peel off easily when started on the edge with a knife and will have a brilliant gloss. COLLODION. Alcohol, Ether, Gun .cotton, 2 fl. ounces. 3fl. 25 grains, i87 GELATINE. Dry gelatine (any make), . . 20 grains. Water, i fl. ounce. A NEW METHOD OF PRINTING IN CLOUDS. The negative is placed in the frame and printed in the usual manner until almost ready to be taken out. Then take a large magnifying glass, say six inches in diameter, and with it condense the sun's rays on the sky of the nega- tive. Move the glass slowly around until clouds are pro- duced of the required shape and intensity. This can be done in such a very artistic manner by an adept that it will deceive an expert. By condensing the rays to a moderately fine point, smoke may be made to appear from the chimney of a house in the picture, and by slowly describing circles, which grow larger and larger, and drawing the lens further and further away from the negative, the smoke will fade away into the sky. (This is said to be the method of Mr. Hoffmann, of the Minneapolis Amateur Photographers' Society. — Eds,) TO MOUNT PRINTS ON LARGE CARDS ACCURATELY AND QUICKLY. Take a large piece of plain paper (a large blotter is as good as anything) lay your mount upon it and mark clear aroupd it with a lead pencil. i88 Now take a piece of cardboard the size of the prints to be mounted, lay it down inside the outline already made, adjust it to the position you desire the prints to occupy on the mount and draw a line around it. You now have a marked outline of the size of the board, and within it another outline of the size of the print. Now paste your print; lay it face down in the place marked out for it. Take your mount and lay it down upon the print and within its outline. Rub the mount slightly and the print will adhere. Turn over and rub down to expel air-bells in the usual manner. Prints can be mounted on boards of any size in this manner, and will all occupy the same relative position on the mount. W. J. Hickmott. MR. WILLIAM BELL'S SYSTEM OF MOUNTING PRINTS. It is substantially the same as that employed by Mr. Hickmott. Mr. Bell recommends the use of blotting- paper on which to lay the prints, for the reason that it blots the print without smirching with paste, as when done in the usual way on glass. His mounting paste is as follows : Starch, 2 ounces. Water, cold, to wet it. Then pour on boiling water, stopping when the paste is at its thickest. Then thin down to the proper consistency with glycerine. The above amount of starch requires about three fi. ounces of glycerine. The boards curl a little on drying but are very flexible. After burnishing they remain perfectly flat. This paste will keep for several days. Mr. Bell informs 189 us that this is the most satisfactory means of mounting that he has ever employed. (Use great care in making or it will be unsuccessful. — Eds,) TONING FORMULA. Water, 32 fl. ounces. Sodium acetate, . . . .60 grains. Chloride of gold, C. P. (dry), . 8 grains. " " uranium, ... 6 grains. Neutralize the gold and the uranium separately with bi- carbonate of soda. Dissolve the acetate in thirty ounces of the water, the uranium in one ounce, and the gold in the remaining ounce. Add the uranium, shake well, and then add the gold. This bath will keep indefinitely, only requiring the addition of a little gold as required, giving tones ranging from warm brown to purple black. E. P. G. FORMULA FOR USING READY SENSITIZED ALBU- MEN PAPER. PRINTING. Lay the printing frarhe on the table face down. Remove the back of same and lay negative in the frame, with film side up. On the negative lay a piece of the paper, with the sensitized surface against the negative film. Then lay several thicknesses of newspaper* behind the paper, replace * Blotting-paper or felt pads are better. — Eds. 1 90 the back and fasten it down by the springs. Now place the printing-frame in the sun and print until the white places of the print begin to show a slight discoloration. This can be seen by opening one-half the back and exam- ining the print from time to time. After all the prints have been made, soak them for lo minutes in — Water, . 6 fl. ounces. Solution B, ■ 1-3 fl. ounce. tiey are now ready for the TONING. he toning bath is made up of Water, . 5 fl. ounces. Solution A, . I fl. ounce. " B, . . I " " c, ■ . • . I " " D, . y " (Add solution A just before you wish to use the toning bath). Test this with the blue litmus paper. If the paper turns red, add solution B, until it returns to its blue color. Warm the toning bath until it feels slightly tepid. Immerse the prints in the toning bath until they assume a rich, warm color, as desired, or until they become of a bluish tone. Then wash them in one change of water and immerse in the— FIXING BATH. Water, . . . . . 8 fl. ounces. Hypo, soda, . , . . i ounce. They will first assume a reddish brown color ; but keep them in the solution until they resume the original tone, which will be lighter than when they left the toning bath. 191 They must then be washed in several changes of water to perfectly eliminate the hyposulphite of soda from the paper. If any remains, it causes fading and yellow spots. Then dry and mount them. Caution. — The sensitized paper must be kept in a dark place. The cutting of same to the desired size can be done in a weak light, by candle or gaslight. All can be cut at once and stored in a dark box until wanted. After the print is made and removed from the printing-frame, put it in a dark box until it is desired to tone, which can be done when you have a batch ready. In removing prints from the toning bath put them in a dish of clean water as finished and, when all are toned, wash in one change of water. Now place the dish con- taining the toned prints on the right hand, and the fixing bath, composed of hyposulphite of soda and water, on the left. Raise a print from the water with the right hand, transfer it to the left hand, and immerse it in the fixing bath. Continue thus until all have been transferred, and place the empty dish where it cannot possibly receive a trace of the hyposulphite of soda. Use the same dishes for the same solutions at all times, and never change them. More failures result from care- lessness in carrying the hyposulphite of soda in to the va- rious dishes than from all other causes. Solution A. Water, 7>^ fl. ounces. Chloride of gold, . . -15 grains. Solution B. Water, 8 fl. ounces. Bicarbonate of soda, . . . i ounce. 192 Solution C. Water, 8 fl. ounces. Acetate of soda, .... 400 grains. Solution D. Water, 4 A. ounces. Chloride of sodium, . . 160 grains. SUPPLEMENTAL INSTRUCTIONS FOR TONING READY SENSITIZED AL- BUMEN PAPER. As there is generally free nitrate ,of silver present in the paper, which, if in excess, may interfere with the proper action of the toning bath, it would be best to convert such free nitrate into an organic salt of silver, which, instead of being prejudicial, will be of benefit in the toning. To do this, instead of soaking the prints in the mixture of water and solution B, as directed, place them in a solution of either acetate of soda, citrate of soda, tartrate of soda, of oxalate of soda, or oxalate of potash. The effect of this is to convert the free nitrate into respectively acetate of silver, citrate of silver, tartrate of silver, or oxalate of silver. The strength of each solution of these salts above 30 grains to the ounce of water is not material, provided the prints are washed in one or two changes of water before they are ■ placed in the toning bath. In other respects follow the printed directions. The change of the nitrate of silver into the organic salt' of silver will be apparent by the solution becoming slightly milky. It takes about fifteen minutes for this change to take place. The prints will then have become quite red in their appearance. Wash them once or twice and put in the toning bath. The toning may be continued as may be desired until the prints become quite black in the shadows. '93 As most amateurs have the oxalate of potash among their chemicals, they are informed that that salt can be used for this purpose with the best effect. H. T. Anthony. KARL KLAUSER'S TONING FORMULA. The toning of ready sensitized paper seems to give many amateurs great trouble. My formula for the toning of im- ported French paper is exceedingly simple. Immerse the prints in plain water (lukewarm) for fifteen minutes, shifting their position once in a while, to dislodge any air-bubbles that may form. Empty this water, which is rich in silver, into your waste tank for further recovery. Renew the washing four or five times and the prints will be ready for toning. STOCK SOLUTION OF GOLD. Pure chloride of gold, . . 15 grains. Water, 7/^fl- ounces. TONING BATH. Water (lukewarm), . . . 20 fl. ounces. Bicarbonate of soda, . . 6 grains. Gold stock solution, . . . i^ fl. ounces. My toning formula is an old one and can be used within five minutes. This will tone two to three sheets of ready sensitized paper. This toning bath gives warm, purple tones ; in fact, a variety from sepia to slate color. It has not only the advantage that it can be used at once, but I found by ex- perience that it can be used over and over again, for many 13 194 months, by adding half an ounce of the stock gold solution, made alkaline with six drops, one by one, of saturated solution of bicarbonate of soda, for each sheet of paper to be toned. Karl Klauser. TO SAVE THE GOLD FROM A PRECIPITATED TONING BATH. ■ Evaporate the solution to dryness and add water to dis- solve the soda salts, etc. Filter out the gold. It will remain in the filter in a fine state of division. Wash it well by pouring water over the filter several times. Then dissolve the gold in muriatic acid, 4 drachms ; nitric acid, i drachm ; water, 4 fl. ounces. After solution, filter and evaporate to dryness. TO MAKE A NON-ACTINIC GLASS. No. I. Gelatine (Heinrich's) . . 150 grains. Water, . . . . . . 6 fl. ounces. ■ Ammonium chloride, . . 3 grains. No. 2. Silver nitrate, .... 30 grains. Water, ^ fl. ounce; Soak the gelatine in No. i about one hour, and if not then dissolved apply a little heat. Add No. 2 to No. i, drop by drop, stirring with a rod to produce a very fine precipitate of chloride of silver. Filter through flannel at a temperature of 100° F. and coat clean, warm glass using one ounce of the emulsion to each 10x12 195 glass. Cool the coated plates on a leveled slab. When dry expose to sunlight. A deep orange color results, the depth of which will vary according to the thickness of emulsion on the plates. All the operations can be car- ried on in daylight. William Bell, Philadelphia, Pa. Photographer. THE DETECTIVE CAMERA. The detective camera is no longer a toy, but a useful, serviceable, and most portable camera, which the amateur may carry with him on many a pleasant outing, and into places where more cumbersome apparatus would be un- wieldy, while two-thirds of the pleasure of picture making would be taken away by the necessary labor of dragging after one an outfit of another character. Plates and materials are small, easily handled and inex- pensive, in comparison to those required in the work with larger outfits. The writer is now using one making nega- tives 3^x4^ inches, and is in every way satisfied with this very small photographic size. The prints look well either mounted on cards or in albums, and as negatives from which to make positives suitable for the magic lantern, they are exactly the thing. In this connection, I would call attention to this fact, viz. , that.a very delightful enter- tainment for one's friends may be provided after the return from a trip overland, or from a more extended one over seas. From the platform of a moving car or the deck of a steamer snaps may be made, and negatives obtained which will yield slides for the home lantern, to be shown and explained by the returned traveller and manipulator. 196 A pleasant evening may thus be spent and the beauties and interest of such trips greatly enjoyed, not only by. one's self, but by all, for pleasure is not often obtained by self- ish indulgence ; it only becomes truly such when shared by others. Pictures will be made with a detective camera that would not otherwise be taken, for the putting together of apparatus with legs, etc., consumes more time than is usually available on a train while stopping at stations on a journey. But those who are the happy possessors of a "detective" may stand on the platform of a car, or jump off, and while the conductor is calling "all aboard" get one or more pictures of the station, the- street, or a group of natives ; and as the train swings out of the depot or town, still standing on the platform of the car, may make shot after shot at the passing landscape with the smallest stop and highest speed. I have been an amateur photographer for sixteen years and have gone through the work of making pictures when all was done by wet plates. Truly this little machine will be appreciated by all who, like myself, have had to take a dark room with them, besides more cumbrous apparatus. The instrument I am now using is one patented by Mr. Walter Clark, of New York City, a member of the New York Society of Amateur Photographers. It is by far the most convenient of any that I have ever used or seen. Having had four different ones, and seen almost every other, I feel safe in recommending this as decidedly the best for all purposes for which it is designed. By an ingenious arrangement of a mirror the image is seen on a ground glass, the same size as that of the plate used, after a correct focus has been obtained, up to the instant the exposure is made. You may run with it after a moving object and when all is ready touch the trigger, without moving either hand. Sharp pictures are always the result. 197 I would recommend the following developer, which I know is suited for this class of work. Provide yourself with the following : Two half-gallon bottles ; a one ounce bottle, with a medicine dropper placed through the cork so that it will reach almost to the bottom of the bottle ; a wooden mustard spoon ; one pound each of sulphite and carbonate of soda (crystals); one ounce each of pyrogallic acid and bromide of potassium. Into one of the half-gal- lon bottles put the sulphite, and into the other the carbo- nate of soda ; into the one ounce bottle the bromide of potassium ; fill all with water. Weigh out eight grains of dry pyrogallic acid ; then pack it carefully and well in the mustard spoon ; now trim the edge of the spoon to a level with the pyro. To mix. — 3^ ounces of the sulphite solu- tion, % ounce of the carbonate solution, i spoon measure of dry pyrogallic acid. Divide this into two equal parts and dilute one half with its bulk of water, adding two drops of the bromide solution. This is now the weaker solution and should be used to start with, as well as to to finish, if it will bring out all detail ; if not, then force the development with the other half of the originally mixed solution. If from over-exposure the negative should come up too quickly and develop thin in the weak solution, add a greater amount of the bromide than that given above. Don't be afraid to use small stops and high speed ; you will have many over-exposures if you fail to follow this advice. Cut, with a knife, a small nick in the top of the slides and on the side on which the "exposed" mark is placed. This will enable you to see at a glance which plate is exposed without taking the holder from the camera and help you while changing plates without ttte use of a lantern or light of any kind. Pittsburgh, Pa. A. S. Murray. 198 THINGS I HA VE USED. I have used the above described developer for three years and have found none simpler, better, nor cheaper. I have used it on the plates of eleven different makers vi^ith equally fine results in each case. I have used no scales in preparing it. I have used as a sensitizing bath for albumen paper water, i ounce ; nitrate of silver, 29 grains ; nitrate of am- monia, II grains. I have used to strengthen the above, for each sheet of paper sensitized, 32 grains of nitrate of silver added to bath. I have always used one-half gallon of above, and kept this quantity always in the bath. I have used the following toning bath : No. i, saturated solution of bicarbonate of soda No. 2, acetate of soda, 3 ounces ; water, 1 2 fl. ounces. No. 3, chloride of sodium, 2 ounces; water, 12 fl. ounces ; chloride of gold, 15 grains ; water, 7jS4 A- ounces. Make bath : No. i, i ounce ; No. 2, I ounce ; No 3, % ounce ; No. 4, i ounce ; water, 5 fluid ounces. I have used for each batch of prints a new bath, and precipitated the gold left by the addition of a solution of sulphate of iron ; the black powder is then filtered out and sent to refiner, who returns chloride of gold. I have used salt to precipitate the silver from the milky washings from prints and obtained chloride of silver, for which the refiner returns nitrate of silver; I have used this intensifier, given by J. E. Thompson, for gelatine negatives, viz. : No. I. Bichloride of mercury, . . 100 grains. Chloride of ammonium, . 100 " Water, 10 fl. ounces. 199 No. 2. Cyanide of potassium, . . . i ounce. Water, . . . . . 24 fl. ounces. Nitrate of silver, ... J^ ounce. Water, . . . . . 3 fl. ounces. Add silver solution to cyanide solution. First bleach negative in No. i and blacken, after washing well, in No. 2. I have used as a developer, for lantern slides, an oxalate of potash solution made as follows, viz. : Make saturated solution of oxalic acid, using warm water ; add carbonate of potash, very slowly, until effervescence ceases ; then acidulate with citric acid. Take of this seven ounces and add to it one ounce of a saturated solution of sulphate of iron ; dilute with two ounces of water and fi.ve drops of a saturated solution of bromide of potassium. This with a generous exposure will give warm tones. I have used all my spare time and money in "riding my hobby" and enjoyed the recreation more than lean describe. Pittsburgh, Pa. A. S. Murray. NITRIC OXIDE GAS FLASH LIGHT. (Although this gas has been used for years as an exper- iment before classes in chemistry. Prof. Bolton, of Cleve- land, was probably the first to use it for photographic purposes and found it to be very rich in actinic qualities and the flash of extremely short duration. ) We will give the process of making and using, aud try to make it so simple that those having no knowledge of chemistry can use it. 200 For making the gas, procure a one-ounce pyro bottle for generator, a two-quart wide-mouth bottle for reser- voir, two or three feet of one-quarter inch rubber tubing, a one-quarter inch glass tube and a tray or other dish to hold the water as it is displaced from the reservoir, some scrap copper, nitric acid and carbon bisulphide. Now get a large cork to fit the pyro bottle, bore a hole through it and insert the glass tube, letting it project on either end of the cork, fitting tightly ; if not air-tight melt some wax around with a hot iron ; then slip the rubber tubing on the outside end of the glass tube and you have the gen- erator complete ; put some scrap copper cut in small pieces in the generator, with a small quantity of water, then add nitric acid, say, one-half to one ounce, pushing in the cork tightly. Having previously filled the reser- voir with water, and covered it with a flat piece of glass, invert it in the tray having some water in it, place the end of the rubber tube under the mouth of the reservoir, and as soon as the action of the nitric acid on the copper begins the bubbles of gas will ascend in the reservoir dis- placing the water. When completely filled with gas (when all the water is displaced) slip the flat cover glass over the mouth (under the water) and set the reservoir upright ; then take twenty minims of carbon bisulphide, slide cover glass to one side and quickly pour in the bi- sulphide, being careful not to let the gas escape or come in contact with the air. Shake well and let stand for a few minutes and it is ready to ignite. When ready to expose light a match, slip the cover glass off, and holding the match over the mouth of reservoir— hand to one side — will give a brilliant, instantaneous flash. As soon as the reservoir is full of gas pour the acid off the copper to prevent further action. Don't let the gas escape in the room, as the fumes are very suffocating when they come in contact with the air. 201 For portraits use the light from four to six feet above the head of the sitter, and at an angle of forty-five degrees to the side, writh a looking-glass or white screen on the opposite side as a reflector to soften the shadows. The gas can be compressed in cylinders and stored for use. It is safe to handle, and emits no smell if not brought in contact with the air. Cleveland, O. John W. Rusk. [Mr. Rusk kindly volunteers to answer any questions relative to the above. — Eds. J A CHEAP METHOD FOR MAKING LARGE TRAYS. Now, when enlargements claim so much of the atten- tion of the amateur photographer, the question of large dishes is one of importance. I have, found the following method of making them inexpensive and absolutely suc- cessful : Make a tray of pine wood the required size, the bot- tom of one-quarter inch thickness, the sides one inch thick and as deep as you wish your tray. It may be tightly nailed together without dovetailing, mitreing or other close-fitting methods, as the eflSciency of the tray does not depend upon the accuracy of the wood-work. When it is made it should be varnished inside and outside with three coats of shellac dissolved in methylated spirit. When thoroughly dry take a sheet of double thick window-glass, which will drop comfortably into the bottom of the tray, and pin it there with brads or little wooden pegs. Now fill the angles made by the bottom and sides, and those of the corners with the following cement, extending the 202 same about three-quarters of an inch on the bottom and up the sides : Mix thoroughly, in powder, one part of calcined plaster, one part well washed sand, one part litharge and one-half part pulverized rosin. When thoroughly mixed make into a paste with boiled linseed oil and apply at once to the tray. It hardens very rapidly and in a couple of hours will be ready to be varnished, which should be done with several coats. A dish thus made is light, durable, un- affected by any usual solutions and is capable of being made absolutely clean. Baltimore, Md. George W. Dobbin. A GLACE LUBRICATOR. For those who desire a greater polish than can be pro- duced with the ordinary soap and alcohol lubricator, the following will prove all that could be desired. It is equal to any of the so-called glac6 lubricators in the market : Alcohol, absolute, . . . 8 fl. ounces Castile soap, white, ... 50 grains. Spermaceti, . . . . . 50 " Dissolve by heat, then add chloroform, 2 fluid ounces. The chloroform is to hold the spermaceti in solution. Apply in the usual manner. When thoroughly dry remove all traces of the lubricator with a piece of Canton flannel. This is important and must be thoroughly done. Burnish as usual, having the burnisher quite hot. In cold weather warm the liquid until it becomes clear before applying. After the prints are cool it adds to their finish to go over them with a silk handkerchief. Newport, Indiana. J. R. Swain. 203 LAMPS AND FOCUSSING SCREENS. The dealers offer lamps of various kinds but all more or less costly, or, if cheap, inefficient. I have been using lately the following with great suc- cess for Passavant's C. I. P. plates, which are as rapid as any made, and Eastman's extra quick films. Take an old five-gallon coal oil tin, cut out panels on two sides leaving two inches margin at bottom and about three-quarters of an inch on other edges. Punch several holes near the bottom on these two sides Leave suffi- cient of panel near bottom to turn down over these holes so as to trap them and yet leave plenty of room for air. In third side cut a door large enough to admit a candle or small lamp: If cut on three sides only, the fourth side will be a sufficient hinge ; rivet a couple of little buttons on to hold the door closed If this side is turned to the wall it will be found sufficiently light-tight. Cut ventilators in the top and trap them with pieces of tin rivetted over. Take three pieces of wood one inch square, just long enough to fit into the corners inside ; a tight fit is best. Cut two pieces of glass, 8 by 1 2 inches, an easy fit for the inside. Cut the bottoms of these irregularly, as then the air can pass. For non-actinic medium I adopt a plan advised in the Philadelphia Photographer by a foreigner, whose name I do not recall. To make this, take a piece of stout manila paper, and flow with a solution of picric acid in alcohol. See that the solution, is a good sunflower color when held to a light in a test tube. Let the paper dry. Put it on a warm stove and iron in paraffine until thoroughly translucent. Put the yellow paper inside of the lamp, insert the glasses behind it, then jam in the pieces of wood to hold the 304 screens firm and nail them through the top and bottom at the corners. This with a candle gives a lovely light and is fireproof. With ordinary care the most rapid plate can be worked in safety. I suppose the cost would not exceed twenty-five cents, and is practically nothing, as picric acid is the only thing not likely to be at hand. GROUND GLASS. Being a careless person I became tired of continually buying new glasses. I wrote to the Celluloid Manufac- turing Co. of New Jersey and for seventy-five cents they sent me a sheet of flat, transparent celluloid, about 1 3 by 18 inches. This was a little too transparent for ordinary work, although fine for interiors. I coated this with a thin solution of bleached lac in alcohol, and then ground it slightly with a fine powder and the end of my finger. Now, with roll holder and strippers, and an indestructible focussing screen, I am happy. Cheap trays for enlargements are a great desideratum for amateurs. I have found nothing better than a light frame of wood one and one-half inches deep, to which a bottom of stout cardboard is firmly nailed and a couple of light strips of wood nailed across below to prevent sag- ging. Coat the card with hot paraffine and then line the tray with paraffined manila paper folded over the edge of tray and secured with little clips of zinc or copper. The japanned iron trays are a fraud. After a time, even where the greatest care is used, they will rust out, and when the rust is once there nothing will clean it. I have tried asphaltum and paraffine paint baked on but they proved useless. Edm, L, Woods, 205 MOUNTING LANTERN SLIDES. Knowing that many amateurs have some difficulty in properly mounting slides, and having had some expe- rience in mounting them and what is also very important, in using them, I think I can give a few hints. Let us first consider a perfect slide. Jt is $}^ X4 inches in size and }i inch thick, or as near that as possible, and should never be much thicker. The picture is perpendicular to the 4-inch side. The mat is the standard gilt-bordered one, made of black paper, and the opening will be what- ever shape is most suitable for the picture, but is never over 3 inches either in height or breadth, nor over 4}i inches in diagonal measurement. The gilt border of the mat forms a frame for the picture as seen correctly when it is properly placed, which is with the gilt side next the cover glass. The slide is bound with black needle paper, }i inch in width. There is a label giving the name of the subject, etc., on the right-hand side of the picture; on the opposite side of the slide from the gilt border of the mat, and in the lower left-hand corner of the mat side is a numbered label, that serves as a guide in inserting it in slide holder, always bearing in mind that time-honored phrase among lantern operators : "To the top and toward condensers. " When such a slide is handled by a lantern operator, it is with a smile of satisfaction, but let any of these rules be departed from, and he is annoyed. If it is too thick, it refuses to enter the slide holder ; if the name-label is on the mat side it tends to confuse him, for, notwithstanding the rules of the International Slide Exchange, there is not a single professional slide-maker who puts the name-label on the inat side, with the exception of the English slide- makers who label on the edge, and a Scotch maker who 206 writes it in white ink on the mat. I am not discussing which is liie better plan ; I only state the fact. Now, as to the way to mount. First select a mat with suitable opening ; the standard 3x2^ inches cushion- shaped opening and the 3-inch circle will suit the majority of subjects ; but where they will not do, if you have pro- vided yourself with a stock of uncut mats, by means of a knife, or better, a Robinson trimmer and set of guides, you can cut any shape of opening you may desire. Now select a thin crystal cover glass of exactly the size of the unmounted slide, and having cleaned one side of the cover and carefully dusted the film side of the slide, lay the mat on the film side, gilt border uppermost, and lay the cover upon it, clean side next the mat. After having selected the mats and covers for all the slides, we are ready to bind them. Get a moderately stiff, flat, bristle brush, such as artists use, about one-half inch wide, a pot of "parlor" or "pearl" paste (starch or flour paste will answer, but not mucilage), and a lot of binding strips, ^ inch wide, and of suitable length, about 16 inches, made of black needle paper ; the dead, or mat surface is preferable to the glazed needle paper, as it holds the paste better. Now lay a strip on a piece of glass and saturate the back of it with paste ; then, as a finishing touch, run the brush the entire length of the strip, brushing off the superfluous paste. Take up the strip, lay it face up on the table and, holding the slide and cover, etc., firmly together, roll it edgewise along the binding strip, commencing near the middle of one of the ends of the slide. Now take it up, snip off a V-shaped piece from each of the eight corners of the bind- ing strip and then fold the strip firmly over the edges. Next attach a name-label on the right hand of the reverse side, and a numbering tag (Dennison's Perforated Con- secutive numbers are very handy), on the lower left-hand corner of the mat side. 207 When dry, clean the slide and the operation is finished. A little practice will enable the maker to attach the binding strip neatly, always remembering to put enough paste on to make it limp, and have it wet enough to pre- vent it drying before the slide is completely bound — that is the great secret. S. L. Walkliy. INDOOR PORTRAITURE FOR AMATEURS. To those amateurs not possessed of a skylight, the question of how to obtain a good indoor portrait is very puzzling, and has led to the spoiling of a great many plates and to the production of some hideous looking faces, struck by lightning on one side and by midnight on the other. I propose in this article to give such directions as will enable any one who is skillful in outdoor pho- tography to make a better portrait in any ordinary room than can be made in the open air. In fact there is no reason why as perfect a portrait cannot be made in an or- dinary room as in a "gallery," except the lack of skill on ihe part of the operator. TO MAKE A BUST, CABINET, OR HALF LENGTH. LIGHT. The first attempt is generally made in the room having the largest number of windows, all of which are opened to their fullest capacity, which only results in complete failure. The room preferable, is one on the second floor or higher, and on the light side of the house. Close the blinds or lower the shades in such a way as to exclude the light from all windows but one. This window should be selected in such part of the room as will allow working space on both sides of it. A corner window with the side wall close to it is objectionable, for the reason that a 2o8 background wc uld be so near to the sitter that a shadow of the figure would be made upon it. Now having the window open and the shade rolled all the way up, if there is sunlight or even a strong light upon it, darken the low- er half by unhanging the shade (if convenient) and placing the roller upon the top of the lower sash. Allow the shade to fall to the sill, or hang anything over the lower sash that will exclude the light. If the subject is of very dark complexion, a piece of muslin would answer better than something opaque, as it would diffuse light over the face in addition to that obtained from above. If the clothing or drapery is very dark, it is well to obstruct the light from the lower sash just opposite the face, and let it pass through below, so as to light up from the neck down ; this will in- sure detail in the drapery. Never allow sunlight to fall upon any part of the sitter. If the sunlight is very strong at the upper part of the window, a piece of cheese cloth or such light material may be placed over it, but not any- thing heavier. Now place a chair for posing the sitte about eighteen inches from the window, and so that the front of the seat is about one foot back of the line of the side of the window ; this will bring the knees on a line with the side of the window. Having seated the person, look at the head, and you will find the light falling strongest on the top, and at an angle of about forty-five degrees, i.e., striking the forehead on the side toward the window and passing down toward the lower opposite side of the face, throwing the shadow of the nose upon the side of the upper lip ; thus you have the skylight effect. When the eye becomes a little practiced you will know'whether a better effect is produced by mov- ing the sitter a little forward or back, a little closer to the window or away from it. If a three-quarter face is to be made, the light may be strongest on the small side of the face by having it turned a little away from the window ; 209 this would be a •'Rembrandt." If the light is wanted upon the larger side of a three-quarter face,' then let it be turned a little toward the window. Always have the eyes look- ing straight ahead — not to one side. Place the sitter as far back on the seat of the chair as possible, then make a small roll of clothing, or take a thick book and place be- tween the back of the chair and the back of the sitter, be- hind the shoulder blades. This will throw the chest and shoulders forward. Don't be deceived by the notion that a person must sit comfortably and "naturally" to make a good portrait. Of course, make him as comfortable as possible under the circumstances. Be sure to have the chin high enough and the line of the face (as shown against the background) perpendicular. Use a head rest or not, as you like ; I never do, and seldom suffer for it. No. one likes the sensation of having it against the head. If you are making a three-quarter face, let the body be square with the camera ; if a full face, turn the body — preferably toward the window ; if a profile, place the chest, shoulder, or even back, toward the camera. All that I have said may be varied according to the taste and judgment of the operator. If the side of the face away from the win- dow is too dark (which is almost always the case) place a sheet, or anything white, and about one yard square, in such a way (not nearer than three feet) as to reflect a light upon this side of the face. The danger is of throwing too much light upon this side, making the face flat and destroying all contrast. Be careful to have the sheet held or placed in such a manner as not to be reflected in a large white spot upon the eye of the sitter. POSITION OF CAMERA. The camera should, of course, be placed close to that side of the room in which the window is located, so that a line from the lens to the sitter would be parallel with the' wall in which the window is. iib Raise the tripod so that the bottom of the camera is oti a line with the top of the sitter's he d, then incline the camera-front toward the subject so that the face on the ■ground glass is below a line drawn horizontally across the middle of the glass ; the line should cross under the Chin or lower. Upon looking at the presentation upon the ground glass it will be readily seen whether there is a good light upon the sitter or not. Focus upon the eye, the eye- lashes if possible. Use about the medium-sized diaphragm, or f to f, according to light. BACKGROUND. The most suitable background is something of a drab, or light slate color, placed as already referred to, so far back as to prevent the possibility of a shadow of the sitter being thrown upon it. A window-shade of the light color makes a good background, or a piece of muslin coated with whitewash, to which a little lamp-black and glue have been added. Mix the lamp-black separately before adding to the whitewash. The more rapid the plate the better ; expose from three to six times as long as outdoor, according to light; along exposure followed by a slow development gives the best results. GROUPS . Groups of from three to eight persons may be made successfully in an ordinary room. Select a large window with the sun upon it, raise the shade, and place an ordi- nary sheet over the whole window. Place the group in the diffused light. If the light is not strong enough, open one more window and throw a small sheet upon the floor where the sun will fall upon it, but ordinarily it is better to use only one window. Use a little smaller diaphragm than for a portrait, and expose a "Diamond" or "Special" ill piate twenty seconds. Don't hurry the development. No background is necessary, but if the side of the room back of the group is of a light appearance, it is better than dark colors. With the above instructions the operator should reach success by a short route and with less study and at less expense than it has cost the writer. I have not given reasons for all the suggestions above, as they would con- sume too much space. My experience has satisfied me that these directions followed with judgment will result in pleasing effects and open a new field to many amateurs. L. P. Ferris. STANDARD FORMULA. PRESERVATIVE BOOK FOR SENSITIZED PAPER.. Soak thick blotting-paper in a saturated solution of bi- carbonate of soda, and when this is dry, make a book of it. Keep the sensitive paper between the leaves of this book : the sheets being kept in pairs, face to face. ashman's durable PAPER. Immediately after sensitizing, float the paper, back downwards, on the following for five minutes. On re- moval, dry as quickly as possible. * Water, . . ... . . loo parts. Gum arable, . . . • . 3 " Hydrochloric acid, . . . 2 " Citric acid, 2. " Tartaric acid, .... 2 " 212 ASHMAN AND OFFORd's CITRO-CHLORIDE PAPKR AS A SUBSTITUTE FOR ALBUMENIZED PAPER. Prepare as follows : — A. Citric acid 20 grains. Water, ..... 100 minims. Liquor ammonia sufficient to nearly neutralize, but to leave the solution distinctly acid. Gelatine (white, hard), . . 45 grains. Water, . . . . . . i fl. ounce. Mix A and B. Gelatine, 45 grains. Water, ij^ fl. ounces. Soak and dissolve by a gentle heat. D. Silver nitrate, . . . . 40 grains. Water, , . . . . . 3 fl. drachms. Mix C and D, then all altogether at lowest possible tem- perature. Set, wash in three changes of water for five minutes, rinse in methylated spirit, then melt, and coat the paper, print, tone, and fix as usual with albumenized paper. werge's gold toning bath. No. I. Borax, i ounce. Dissolved in hot water ; wh^n all dissolved, dilute lb 80 ounces. Keep thi§ in Winchester quart as stock solu- tion. To tone, take for each grain of gold 8 ounces of above solution ; mix., Tl^e bath is ready for work at once. 213 No. Chloride of gold, Acetate of soda, Water, I grain. 20 grains. ounces. Sfl. LIME TONING BATH. No. 3. Chloride of gold, .... i grain. Whiting, 20 grains. Pour on eight ounces of boiling water, and stir. Now add one drop of saturated chloride of lime solution. When cool, bath is ready for use. No. 4. Chloride of gold. Bicarbonate of soda, Water, . . . . I grain. . 3 grains. 8 fl. ounces. To be used at once. No. 5. Chloride of gold, Phosphate of soda, Water, .... I grain. . 30 grains. 8 fl. ounces. TUNGSTATE OF SODA TONING BATH. Tungstate of soda, Chloride of gold. Boiling water. 20 grains. I grain. 8 fl. ounces. As soon as cold it is ready for use. Can be used again by merely adding gold enough for the day's toning a few minutes before required for work. With each grain- of gold add a grain or two of tungstate of soda. 214 CHLORIDE OF LIME TONING BATH Chloride of gold, .... 2 grains. And add — Precipitated chalk, . . . .20 grains. Saturated solution chloride of lime, 2 drops. Boiling water, . . . . 16 fl. ounces. It may be used as soon as cool ; but better results are obtained after ten to twenty-four hours. TO PREVENT BLISTERS. Immediately after toning immerse in a mixture of four parts methylated spirit and one of water. COLLODION ENLARGEMENTS. — CROUGHTOn's METHOD. Soak polished flatted crown glass in soda for some time. After well washing, immerse in weak sulphuric or hydro- chloric acid, say one ounce to quart of water. Rinse well, and dry with clean cloth. Polish with wash-leather. Well wax polished side of glass with waxing solution made as follows : — Yellow beeswax, . . . i drachm. Benzole, . . . . . . 3 fl. ounces. Use weak acid bath of nitrate of silver. Develop with iron as follows : — , Protosulphate of iron, ... 6 drachms. Glacial acetic acid, . . . . 2 fl. ounces. Citric acid, . . . . 60 to 80 grains. Sugar-candy, . . . . . 30 " Water, 20 fl. ounces. Fix in hyposulphite of soda 4 ounces to pint of water. Well wash For transfer, use Autotype double transfer paper. 215 Soak twenty minutes in cold water. Now place paper in hot water till surface feels slimy. Place face down on the wet collodion surface, and gently squeegee. When dry, the picture will come from glass. PRINTING ON FABRIC. Remove all dressing from fabric by boiling in water containing a little potash ; dry^ and albumenize with am- monium chloride 2 grammes, water 250 cubic centimetres, and the white of 2 eggs, all being well beaten together. A 70-grain silver bath is used, and the remaining opera- tions are as for paper. COLLODIO-CHLORIDE PROCESS. i6-gr. alcoholic solution nitrate silver i oz. (by pound- ing silver salt with methylated spirit in a mortar). Sulphuric ether, . . . . i fl. ounce. Pyroxyline, . . . 12 to 14 grains. When dissolved, add \}i drachm i6-grain alcoholic solution chloride calcium ; shake well, and keep carefully from light. A sizing of arrowroot should be applied to paper before pouring on collodio-chloride. CARBON TISSUE AND TRANSFER PAPERS. Make a jelly as follows : — Nelson's transparent sheet gelatine, . 10 parts. White sugar, . . . . . 4 " Water, 25 " Soak the gelatine in the water until soft, then gradually raise the temperature until the gelatine is dissolved, add the sugar, and well agitate. When set, turn the jelly out, and cut off the bottom portion so as to get rid of any grit that may have settled down, and the jelly is ready. 2l6 For a tissue giving a good photographic purple brown take — Vegetable black, .... 72 grains. Alizarine lake, . * . . . 60 " Indigo, 13 " Grind these with about four ounces of melted jelly, using muller and slab or cone paint mill, add to 6 pounds of the above-mentioned plain jelly, and mix well. The ready- ground water-colors sold in tubes may be used, but it is difficult to ensure making one tissue of definite composi- tion. In ordinary cases one may estimate the tube colors to contain about half their weight of color. Black tissue — Jelly, ...... 2 pounds. Paris black pigment, . . .50 grains. Red or Bartolozzi tissue — Jelly, 2 pounds. Venetian red, . . . . .3 ounces. Indian ink, 8 grains. Transparency tissue — Jelly, 2 pounds. Indian ink, ..... 200 grains. The tissue compound being made, it is strained through muslin into a dish, this standing in a larger dish contain- ing hot water. The paper to be coated is now rolled up tightly face outwards, and the roll is laid upon the- surface of the tissue compound, the loose end being gradually raised, when the surface of the paper will gather up a thin and even coat of pigmented gelatine. The length of paper being coated, it is placed over a stick and allowed to dry. 217 For making double transfer paper, take of — Hard gelatine, . . . . i pound. Fine sulphate of baryta or permanent white, . . .... 8 ounces. Water 5 pints. Mix these thoroughly, and stir into the mixture a solu- tion of 50 grains of chrome alum in four ounces of water. For a single transfer paper take — Hard gelatine. .... I'pound. Water 5 pints. When dissolved, add 300 grains of chrome alum dis- solved in a pint of water ; this will make the liquid some- what thick and ropy, but sufficient acetic acid must be added to restore it to its original fluidity. Paper is coated with either of these two compounds in the same way as in the tissue compound. SENSITIZING BATH FOR CARBON TISSUE. Bichromate of potash, . . i^ ounce. Methylated spirit, . . . 4 A- ounces. Ammonia, . . . . J fl. drachm. Water, . . . . . . 30 fl. ounces. The ammonia helps to keep the tissue soluble. The spirit enables it to be dried at a higher temperature. burton's method of SENSITIZING CARBON FROM BACK. Bichromate solution : Water, ..... 20 fl. ounces. Liquid ammonia, . . . . i fl. ounce. Bichromate of potash, . . 4 ounces. Cut up tissue some time before use and place under a weight to flatten. When ready for use place face down- ward and spreaci §o}u^ion wjtb a sponge, or, better still, zi8 a Blanchard brush. Take care it is uniformly wet, say for three minutes, and then pin up to dry. This method is very useful where large sheets are wanted. PRINTING ON THE WOOD-BLOCK. Mix a solution of nitrate of silver with one of potas- sium oxalate, and collect the white precipitate on a paper filter, wash a few times with water, after which shake the precip tate up with a 2c-grain solution of silver nitrate. Now collect and dry the precipitate without washing, and next rub the white powder on the block and expose. All the above operations must be done in the dark-room. The image is fixed (against moderate exposure to light) by pressing against it a piece of blotting-paper moistened with a saturated solution of common salt, to each ounce of which 30 drops of hydrochloric acid have been added. ENLARGED PAPER PRINTS BY THE POWDER PROCESS. Make an enlarged transparency and varnish it ; work up as much as necessary with lead pencil. Now take clean glass plate of the same size. Rub well with French chalk, slightly dust Coat with plain collodion (iodized collodion will do if plain collodion is not ready to hand. ) When dry, coat with one of the sensitive mixtures for powder process given above. Dry perfectly over gas stove or spirit lamp in dark-room. While still warm, print under the transparency, about three to ten minutes, according to light. The image will be faintly visible. Dust on, with large camel's-hair brush, finely powdered ivory black with a little Indian red or any other color according to taste. When fully developed, cover with collodion and place in dish with sliglitly acid water. When all the yellow is washed away let the plate dry. To transfer, take a piece of Autotype double transfer paper, 219 soak in warm water till slimy. Wet the plate and apply paper. Squeegee and let dry. If all has gone well it should leave the glass readily. These prints are of course permanent PLATINOTYPE PROCESS. Expose the sensitized paper under a negative as usual ; time about one-third for ordinary albumenized paper Print may be examined in feeble light ; a faint image will be visible. To develop, take a solution of potassic oxalate and heat upto 170° or 180° Fahr. in glazed iron dish. Potassic oxalate solution to be as follows : Potassic oxalate, . . . 130 grains. Water, 1 fl. ounce Draw print face downwards slowly over the above hot solution, taking care to avoid air-bubbles. For over-ex- posed prints, lower the temperature of bath to 80° Fahr. For under-exposed prints, increase temperature to 190°. Great latitude of temperature is possible according to requirements After developing, the print is immersed in weak solution of hydrochloric acid as follows : Hydrochloric acid, . . . i fl- ounce. Water, 80 fl. ounces. Prints to remain in acid bath ten minutes, and after- wards washed in three or four changes of water during half an hour. VARNISHES. VARNISH FOR WET PLATE NEGATIVES. Methylated spirit, . . • 12 fl. ounces. Light amber shellac, . . i}i " Sandarac, . . ■ ■ i/4 " Canada balsam, ... >^ fl. drachm. Oil of lavender, . • • >^ A- ounce. 220 ASHMAN S VARNISH FOR DRY PLATES. Commercial "Japanners' gold size," . i part. Refined benzole, i " The plate should be thoroughly dry but not warm ; drain off the excess of varnish, and allow the plate to dry during the night. If benzoline or turpentine is used instead of refined benzole, the result is less satisfactory, and a longer time is required for drying. In warm, bright weather the above varnish will often dry in half an hour. FRITZ LUCKARDT's RETOUCHING VARNISH. Alcohol, ..... 300 parts. Sandarac, . . . . . 50 " Camphor, . . . . . 5 " Castor oil, . . . . . 10 " Venetian turpentine, . . . 5 " VARNISH TO IMITATE GROUND GLASS. Sandarac, . . . . . 18 parts. Mastic, 4 " Ether, 200 " Benzole, . . . . 80 to 100 " BLACK VARNISH. Benzole, . . . . . 10 fl. ounces. Oil of turpentine i fl. ounce. Masticated rubber heated until it fuses, . . . . .100 grains. Dissolve and add crushed asphaltum, four ounces. VARIOUS. WATER-TIGHT PREPARATION FOR WOODEN DISHES. Common brown resin, . . yi, pound. Beeswajc, 2 ounces. 221 Melt together in tin pan (preserved-meat tin will do) ; when quite fluid run solution rapidly all over where re- quired. Wood must be perfectly dry and warm. A COLOR FOR COATING MACHINERY PREVIOUS TO PHOTOGRAPHING. Dry white lead, .... 5 pounds. Lamp black. . . . 2 to 5 ounces. Gold size, ..... i pint. Turpentine, . . . . i^ pints. The amount of lamp-black is varied to suit machine or lighting. This paint is easily removed with turpentine. WATERPROOF GLUE FOR WOODEN DISHES. Soak half a pound of best glue in cold water until quite soft; melt in glue kettle. When quite dissolved pour in one ounce of hot saturated solution of bichromate of potash, and well stir. It is now ready for use; apply with brush. Put the article so treated to dry in full day- light for a day or two, and then apply strong alum solu- tion. The vessel is now ready for use, but must be washed first. TO CLEAN NEGATIVES STAINED BY SILVER. Take a plug of cotton-wool and well wet it with a weak solution of cyanide of potassium ; rub gently all over the negative, using a little more force on the stained parts. Well wash. Dry on blotting-paper. If necessary to re- varnish, flood the plate once or twice with methylated spirit. Let dry, and then varnish in the ordinary way. MOUNTING SOLUTION FOR PRINTS, SCRAP BOOKS, ETC. Soak half a pound best glue in cold water until soft. Melt the glue in kettle or earthen jar standing in a sauce- pin. When quite thin, pour in gradually methylated spirit. stirring well between each addition until quite clear. Strain through course muslin into bottles. Well cork, and store away for use. When wanted, stand bottle in hot water until glue is melted. This is especially adapted for mounting photographs on thin mounts. A GOOD MOUNTING PREPARATION FOR GENERAL USE. Arrowroot, 4 ounces ; mix with 4 fl. ounces of water, and pour in 20 more fl. ounces of water with constant stirring. When cold, add one ounce of gelatine, and as soon as this is swelled, set the vessel in hot water and boil the water in the outer vessel until a uniform mixture is obtained. Finally add — Alcohol, 4 fl. ounces. Carbolic acid, . . . . . i fl. drachm. Ammonia, . . . . . i fl. " ADAM Salomon's method of reducing over-printed proofs. Immerse for a short time in a solution made as below — Cyanide of potassium, . . .5 grains. Liquid ammonia, ... 5 drops. Water, i pint. Carefully watch the prints and well wash afterwards. ADAM Salomon's encaustic paste. Pure virgin wax, .... 500 parts. Gum elemi, .... 10 " Benzole, ..... 200 " Essence of lavender, . . . 300 " Oil of spike . . . . . 15 " 223 ENCAUSTIC PASTE. Best white wax (cut in shreds) . i ounce. Turpentine, 5 tl. ounces. Dissolve with gentle heat, and pour out in pomatum pot. If too hard when cold, add a little more turpentine. TO FILL CRACKS IN VARNISHED NEGATIVES. Take finely powdered lamp-black, and rub gently, with circular motion, all over the negative. Use the finger or soft piece of wash-leather for the purpose. If properly done, the cracks will almost disappear. TO GIVE A MATT SURFACE TO PRINTS ON ALBUMENIZED PAPER. Mount the print in the ordinary way, but be careful to avoid any lumps. Well roll, and then sift on finely-ground pumice powder. Rub gently with palm of the hand, using circular motion. Examine from time to time. Continue operation until the proper surface is obtained. BACKING PLATES TO PREVENT HALATION. A solution, of bitumen in coal tar naptha, Brunswick black, or the black varnish described above. TO CLAN A TARNISHED DAGUERREOTYPE. Take a 3 per cent, solution of cyanide of potassium, and after well washing silver plate, pour it on gently, and keep it in motion. Do not keep solution long on plate, but pour off and well wash. Should the tarnish still remain, pour on more of the solution, and repeat operation until the plate is clean ; finally, wash with distilled water, and dry over gas flame or spirit lamp, blowing on plate all the time to drive off the water evenly. 224 HOW TO PRINT A CRACKED NEGATIVE. Either put printing-frame at the bottom of a narrow box, two feet deep, with blackened sides, dropping- a sheet of light tissue paper over the frame ; or suspend from a roasting-jack a board upon which a printing-frame can rest, the roasting-jack acting all the time of printing. No trace of crack should then be on the print. FOl's backing SHEETS FOR DRY PLATES. Gelatine, i part. Water, ...... 2 parts. Glycerine, i part. Indian ink, ... a small addition. Make a paste, and coat strong paper or shirting ; place the prepared material, face downwards, on waxed glass to set. Press to back of plate before putting into dark slide. AN EASY WAY TO DISSOLVE OXALATE. Take a wide-mouth bottle or jar containing' the amount of cold water required. Put the oxalate of potash into a piece of muslin or cheese-cloth and suspend inside the bottle so that the crystals will be held just under the sur- face of the water. In this manner oxalate can be dis- solved in cold water as quickly as in hot, by the ordinary method. H. S. Bellsmith. APPENBIX. Herewith we append various tables which will serve a useful purpose in connection with the matter of our book. The Editors. 15 226 T. S. Standard Measures and Weiglits. 12 inches = z foot. 3 feet =. I yard. 5.S yards _ i rod. 40 rods -= I furlong. 8 furlongs — i mile. 144 sq. ins. — i sq. ft. 9 sq. ft. — I sq. yd. 30.25 sq. yds. =— 1 sq. rod. 40 sq. rods.' .= i sq. rood. 4 sq. roods =< 1 acre. 640 acres =» 1 sq. mile. LINEAR. Inches. 12 = 36- 198 = 7,920 = Feet. Yards. Rods. Furlong. 3 i6-5 = 5-5 660 0= 220 .= 40 63,360 = 5,280 — 1,760 — 320 — 8 SURFACE — LAND. Yds. Rods. Roods. Acres. Ft. 9 — I 271-75— .S0.25— I 10,890—, 1,210 ■= 40-= 1 43,560 = 4,840 = 160 = 4 == I 27,878,400 B= 3,097,600 — 102,400 = 2,560 ^= 640 VO LUME — LIQUID. 4 gills — I pint. 2 pints = 1 quart. 4 quarts — 1 gallon. Gills. 8 32 Pints. Cub. In. — 8 — 231 Gallon. Pints. 8 — Ounces. 128 — 16 — FLUID, Drams.' 1,024 128 8 Minims. — 61,440 - 7,680 = 480 = 60 16 ounces, or a pint, sometimes called a pound. Cubic Centimetres. I43,9°4- 35,488 2,957 369 Pound. Ounces. 12 -=■ TROY WEIGHT. Pennyweights. 240 — Grains. 5.760 480 24 Grams. 373-24 31.10 I-5S Pound. Ounces. 12 — APOTHECARIES WEIGHT. Drams. 96 24 3 Scruples. 288 — 8 — Grains. 5,760 480 60 15K - The pound, ounce and grain are the same as in Troy weight. Grams. 373-24 31.10 3-88 1.29 -o& 1.00 Pound. 1 AVOIRDUPOIS WEIGHT. Ounces. Dranis. 16 — 256 — = I 16 — 1 — ' Grains. Grams. 7,000 437-5 27-34 = 453-59 — 28.35 — 1-77 227 H]iiglisti Standard Fluid Measure. 60 minims 8 drachms 20 ounces 8 pints I fluid drachm. I ounce. I imperial pint. I gallon. English formula are given by this and Apothecaries* Weight. An Eng;Iish wine pint is equal to 16 fluid ounces and weighs one pound avoirdupois. An imperial pint weighs i^ pounds avoirdupois. I cubic inch of water in air at 62° Fahr. weighs 252.456 grains. 1 '* " "a vacuum at 62" Fahr. weighs 252.722 grains. The Metric System of United States Measures and Weights. According to Act of 1866 (From Haswell.) MEASURES of LENGTH. Denominations and Values. Myriameter Kilometer. . Hectometer, Dekameter Meter Decimeter , Centimeter. Millimeter . 10,000 meters. 1,000 meters. 100 meters. 10 meters. I meter, i-ioth of a meter. i-iooth of a meter. i-ioooth of a meter. Equivalents IN Use. 6.Z137 miles. .62137 mile, or 3 280 ft. 10 ins 328. feet and i inch. 393-7 inches. 39-37 inches. 3-937 inches. ■3937 inch. -0394 inch. MEASURES OF SURFACE. Denominations and Values. Equivalents in Use. 10,000 square meters. 100 square meters. I square meter. 2.471 acres. 119.6 square yards. 1,550. square inches. Are MEASURES OF VOLUME. Denominations and Values. Equivalents in Use. Names. No. of Liters Cubic Meas. Dry Measure. Liquid orWine Measure. Kiloliter or slere. Hectoliter Dekaliter Liter 1,000 100 10 I I-IO I-IOO Iniooo I cubic meter, i-ioth cubic meter. 10 cubic deci. I cubic deci. i-ioth cubic deci. 10 cubic centi. I cubic centi. 1.308 cubic yds. 2 bu. and 3.35 pecks. 9.08 quarts. .908 quart. 6.1022 cubic ins. .6102 cubic ins. .061 cubic in. 264.17 gals. 26.417 gals. 2.6417 gals. .10567 gals. .845 gill. .338 fl.oz. .27 fl.drm Deciliter Centiliter Milliliter tiS WEIGHTS. Denominations and Values. Equivalents IN Use. Names. No. OF Grams. 1,000,000 100,000 10,000 1,000 100 10 I I-IO I-lOO I-IOOO Weight of Volume of Water at its Maximum Density. Avoirdupois Weight. Millier or Tonneau. Quintal I cubic meter. I hectoliter. 10 liters. I liter. 1 deciliter. 10 cubic centimeters. I cubic centimeter. i-ioth of a cubic centimeter. 10 cubic millimeters. I cubic millimeter. 2204.6 pounds. 220.46 pounds. 22.046 pounds. 2.2046 pounds. 3.5274 ounces. .3527 ounce. i';.4'^2 p-rains. Myriagram Kilogram or Kilo. . Hectogram Dekagram Gram Centigram Milligram .1543 grain. .0154 gram. I<'or measuring surfaces, the square dekaraeter is used under the term of ARE ; the hectare, or 100 ares, is equal to about two acres. The unit of capa- city is the cubic decimeter or LITER, and the series of measures is formed in the same way as in the case of the table of lengths. The cubic meter is the unit of measure for solid bodies, and is termed STERE. The unit of weight is the GRAMME, which is the weight of one cubic centimeter of pure water weighed in a vacuum at the temperature of 40 deg. Cent, or 39.2 deg. Fahr., which is about its temperature of maximum density. In practice, the term cubic centimeter, abbreviated c; c. , is used insteaci of milliliter, and cubic meter instead of kiloliter. Factors. By J. H. Stebbins. Jr., S. B., M. S. WEIGHT EQUIVALENTS. To convert grains into grammes multiply by 0.065 " grammes into grains multiply by 15.5 " drachms into grammes multiply by - 3.9 ' ' ounces avoirdupois into grammes multiply by 28.4 " pounds avoidupois into grammes multiply by 453.6 MEASURE EQUIVALENTS. To convert cubic centimeters into grains multiply by - 15.5 " " " drachms multiply by - 0.26 " " " ounces avoirdupois multiply by 0.036 ' ' pints into cubic centimeters multiply by - 473. " liters into ounces avoirdupois multiply by - 35.3 " gallons into liters multiply by - - - 3.8 FRENCH FLUID MEASURES. The cubic centimeter, usually represented by 'c. c.,' is the unit of the. French measurement for liquids. It contains nearly seventeen minims of water ; in reality, it contains 16.896 minims. The weight of this quantity of water is one gramme. Hence it will be seen that the cubic centimeter and the gramme 229 bear to each other the same relation as our drachm for soHds and the drachm for Suids, or as the minim and the grain. The following table will prove to be sufficiently accurate for photographic purposes : — 1 cubic centimeter =- 2 cubic centimeters = 17 .34 minims (as near as possible.) 3 " = 4 " = SI 68 or I drachm 8 minims. S " = 85 I " z.? " 6 '■ _ 102 I 42 7 " = 8 " =. 1.16 I 2 drachms 16 (I 9 " — IS3 2 " 33 " lo " __ 170 2 *' SO *' 20 '* = 30 " _ 40 " _= 340 Sio 680 S I I ounce 40 3 drachm drachms 30 minimst zo " SO " _ 8,so I " 6 *' 10 " 60 " _ 1020 2 ounces I " *' 70 " = 80 " — iigo 1360 2 2 11 I it SO " 40 " 90 " _ 1530 3 " I " 30 " 100 " ^ 1700 3 4 20 " THE CONVERSION OF FRENCH INTO ENGLISH DRACHMS AND GRAINS. Although a gramme is equal to 15.4346 grains, the decimal is one which can never be used by photographers ; hence in the following table it is assumed to be 15 2-5 grains, which is the nearest approach that can be made to practical accuracy : I gramme _ isl 2 grammes = 3O5 3 — 4^5 4 — wa S — 77^ 6 ^= 92B 1075 7 ^ 8 = i23i 9 _ '3^1 10 = 1.54, 11 = 1695 1845 12 = 13 = 2005 14 = 2I5f IS ^_ 231, i6 e^ 246* 17 ,= 26li 18 — Z775 19 — 20 e= 308 .30 =- 462 40 =- 616 5-5 = 770 60 = 924 70 — 1078 «o = 1232 go = 1380 100 — IS40 grains. r I drachm If grain. " I " 17. grams. " I " " 1 " ' 2 drachms 325 47t 3s 1 2 " 18J " " 2 " I 2 " 34 " 49 ' 3 " 3 4A 2oi " ' 3 35a " ' 3 " SI " 4 6i " " 4 " 2l| " " 4 37 J " 4 ^oi !! " S gS u " 7 42 " 10 " 16 " 12 " 50 " IS 24 " 17 58 "20 *' 32 " 23 6 " 2S 40 »3° Dr. Meymott Tidy's Tables. /. To reduce Grammes to Grains. Log. grammes -[- 1. 188433 — log. grains. //. To reduce Cubic Centimeters to Cubic Inches. Log. cubic centimeters -(- ( — 2.7855007) — log. cubic inches. ///. To reduce Millimeters to Inches. Log. millimeters -f- (—2.5951663) — log. inches. IV. To convert Grains into Grammes. Log. grains -j- ( — 2. 81 15680) =— log. grammes. V. To convert Cubic Inches into Cubic Centimeters. Log. cubic inches -j- 1.2144993 = log. cubic centimeters. VI. To convert Inches into Millimeters, Log. inches -f- 1.4048337 — log. millimeters. Freezing Mixtures. REDUCING THE TEMPERATURE. PARTS BY WEIGHT. 3 Nitrate of Sodium + 4 water 9 Phosphate of Sodium + 4 dilute Nitric Acid . . 3 Sulphate of Sodium + 2 dilute Nitric Acid. . . I Nitrate of Sodium -)- 4 Water I Chloride of Potassium + 4 water I Nitrate of Ammonia + i water 8 Sulphate of Sodium + 5 cone. Sulphuric Acid, I Sulphocyanate of Potassium + i water I Chloride of Sodium + 3 snow I Sal Ammoniac + i Saltpeter + i water 3 Cryst. Chloride of Calcium + i snow I snow + I dilute Sulphuric Acid From Degs. Fahr 55-76 SO. 50. SO. SO. 64.4 46.4 23- To Degs. Fahr. 23 IS 14, 12. 10 4 I — 5 — 5 — II —32. —41 46-5-3 8 92 76 I 4 Sizes of Glass, Mounts, Paper, Etc. Petite cards 1 5-8x3 1-8 One-ninth plate 2 X2j^ One-sixth plate 2 ?^ '^zyi One-fourth plate Z% MM Half plate ^lyiy&^A and4 % xsj^ Half plate (English) 4 K x6J^ Whole plate (4-4) 6 J4 x8>i Extra 4-4 8 x 10 Other sizes are expressed by inches. SIZES OF MOUNTS. Stereoscopic 3j^x7, 4x7, 4j N I M o o\ Oyoo t>- r-\o eom^'tf^n n m o oS o\oo c^ t^vo lo lo ■* rol? Tt- 1^ w ID o* f^ t^z: ioo\^or^w in o\rn r^Q 'S-oo w vo o ^oo « vo O OOi-twMNNHc^rOT-^iom ovd t^oo (>0 h N ro ^ »nvO t^oo 6sO I' t- ►- 00 0\0 H pi ro ■* uivd t^oo osC B c b n .a a 9h o d o o 00 Ti-Qvo NOD ^oovlcio -^M i>.r^CMOH r-fiO CTiiOM r*r• r-'O o »o lOjQ ■*'3-'!t-rofONNMH^oooO\ o»oo 00 00 r^ji OOvO\OnO\0»0>CTi Ofls OiOO^OiOiOOiO 0»V cji C^ 0\M 00 00 00 00 00 /* 1 : I : I : I : l« I : I : I : I : I o' I : I : I : I : 1 "^ O\00' t^O lO ■^ rO N H O (1j\00* C^\0 »0 -t to W m O 6\Oo' !>«£) m 4 M «* H O S 2>°2.0O r^-OvQ iO»0 ■<;hS2 fOg. H H O g^ ONOO 00 ^ vO ^0 lO ^ -t CO row M IQ lOvO v© r^ C^ t^OO 00 Oifl) ONOOhmhMN COjq fO -^ ^ »0 lO "TO "O t> ►^ r^r^i>.r^c^[>.r^i>. r^^J oo' oo' oo* oo' oo* oo" oo* oo od (■i\ oo* oo' oo' oo* oo* oo' oo* oo' oo* '^l : I : I : i : I « : I : I :" : I :«! :| : I : I : I O M «* CO 4 »o«o t->30 ChO H «' fo 4 lovo* r--oo' ctO m m n -^ tovo r--oo" on Q H'-<'-'W'-''-''-''-''-'h5;|cinci«nn«nn ^^ fc^ t^ - OMHc^r3^0T^lo >oS ^O t^-oo oo Q^o qm (N?'(T>rO'*io tovo r^ i>>oo S5 woo -& 0<:> NOO ■*05P MOO '^Q'Q fOOMO>^t* fOOMOw l>.fOOMOHr* lO^t-'J-'^-fOfON « Nh*^ O OqO^ O^OO 00 00 It* t^vO ^ vO lO to -^ -d- '^t'lj} I : I :| :[ ■■\'^\ ■ \ : I :| :|« : I : I :T : I :« Q\CQ l>.>0 lO '*■ CO « H O (>00* t^\o' U^ tJ- ro Cfl h O O\Q0* r^\0 lO ^ ro N* h O &. Ov ON C> On 0» On C^ On OS CO 00 00 W 00 00.00 OOOOQ^ t>E^t>-t>-C^I>C^t^ r^|:» ntB Tt-COfO««HOQON low CO r^ O -d-oo N NO g ^X « no o ^oo w no o fo »Ou5 HD NO I-^ t-- r^oo 00 On On,^ OOHH.-i«OIfOfO . jh uj vj u/ uj UJ uj u^ u/ u^ ^K u^ uj uj uj uj u^ u; uj uj . flK ^4_/ ^^j ^j ^^ «^^ ^^ y^^ ^^ 14 « I : I :| :| : l« I : I :| :| -.[^ I : I : I : I : © H «' CO ^ lONo' t^oo' OnO m n fO 4 lONO* t^od On© h m r* ^ Th^'^^'*'^^^ ^»0 I0i0>0i0i0i0i0l0 lO^ NO NO NO : I J I i^ 00 OnOnO lo M r^ TT M w o O o^ 8M N « f02^ ^ 10 loyD t^ I>00 On On^L O m « M CO ^ <* »OnO nO PJOO -^WnO NCO TfQNO «00 ^" r-COON>OH t--.fOONiO o ON Onoo 00 g^ i> c^no \o \o m 10 tj- -^.^ rocownciMHOO I.N !,"< 1^ (.'i i.^ w « w w j;: vt IN i.^ IN w CT CT « vv >i; I I : I : I : I : I «< I •• : I : I : I :« dNOO ^No lio «i- (^ n H w (5\oo t^NO lo ^ co «' h © o»qo t^NO cotocococorofoco cOjjj wwnMnNNnnc^'^*-*'-''-' « n H © i\a 10 ■* CO « M* © iH M H H H^ © 233 Table Showing the Comparison of the Readings of Thermometers. Celsius or Centigbade (C),. Reamur (R). Fahrenheit (F). c. R. F. G. . R. F. —30 — 24.0 — 22,0 23 18.4 73-4 —25 — 20.0 —13.0 24 19.2 75-2 — 30 — 16.0 — 4.0 25 20.0 77.0 —15 — 12,0 + S.O 26 20.8 78.8 — 10 — 8.0 14.0 27 21.6 80.6 — 5 — 4.0 23.0 28 22.4 82.4 — 4 — 3.2 24.8 29 23.2 84. 2 — 3 — 2.4 26.6 30 24.0 - 86.0 — 2 — 1.6 28.4 31 24.8 87.8 — I — 0.8 30.2 32 25.6 89.6 33 26.4 91.4 Freezing point of water. .34 27.2 93.2 35 28.0 95. 0.0 32.0 36 28.8 96.8 I 0.8 33.S 37 29.6 98.6 £ 1.6 3S.6 38 30-4 IC0.4 3 2.4 37-4 39 31. z 102. 2 4 3-2 39a 40 32.0 104.0 5 4.0 41.0 41 32.8 105.8 6 4.8 42.8 42 33.6 107.6 7 5-6 44.6 43 34.4 109.4 8 6.4 46.4 44 35.2 III. 2 9 7.2 48.2 45 36.0 113. 10 8.0 50.0 50 40.0 122.0 II 8.8 SI. 8 55 44.0 131. 12 9.6 S3. 6 60 48.0 140.0 13 10.4 55.4 65 52.0 149.0 14 II. 2 57.2 70 56.0 158.0 IS 12.0 59. 75 60,0 167.0 16 12.8 60.8 80 64.0 176.0 17 13.6 62.6 8S 68.0 185.0 18 14.4 64.4 90 72.0 194.0 19 152 66.2 95 76.0 203.0 20 16.0 68.0 100 80.0 212.0 2r 16.8 69.8 22 17.6 71.6 Boilii ig point of w Iter. Readings on one scale can be changed into another by the following formute, in which C indicates degrees of temperature : Reau. to Fahr. {f4 + 32° —fY Reau. to Cent. -e R -= <° c 4 Cent, to Fahr. + 32° - /° F Cent, to R6au. |?.c} -^° C = <° R Fahr. to Cent. t° C Fahr. to Reau. /° F - 32 J|.-32=} = Fahr. to Re£ -|/°F-32l =t-^ 234 a ■ O a a ,d o 2 ^-i .15 o" 1*1 SJZ •• Oat ■w o S> 2 " ^ " 5 :; 5 ^ o g « s s .- ®l = O en ja (3 . u) uj ta 01 (/) .S.S tt-S B-S.S.2 E.S.9.S adg.S g g.S.S g..S g O..S.S O..S.S dg g g > io>o t^ ■♦low .*Q, »ooNn« roio Hcn^ouiMuiuiu) i,^MMdHM«6df;fo4ioMc3ww o"^ d ^- j; d d « m d c « ;; ^" ;; ^' ^ lOm cooooiAiAuiro h*0(nooi-*«oi I o M \o N ■* ^ (0 1-1 g >■ > >.S.5 > o.g >• g-g E s; g..S > g i-'.S.S ftg.S E-S.S g g g >.! ' > > >'0 > f>'a > ' • m 00 « < 00 nvo O O O m ■«- 5 \0 tfi u] u] 00 oUOO aJ rt e /. ra S t; .3 Zg '<«2-oSg'9'S S £.8 :ii u S^'3 t; M V 235 o ■d d (9 a o O o H m la n a a SB :s B-o •3 >^ " 5 in ^ bo H MS « « ^ nl 5 & S 3 2 o II V u a a ll -— in O a B-o .S-o as =3 ■§ •g a Ti ti- ed O " I, ■s a l-BS 3 Etw U 9 - " ° ^ a B^-SSfS E— • m c4 U o-S.SeB y ^!. 13 •a o- a t'll'.ia •> a»& S o-SK S^ a >i B a y-H o rt ? u^; •o-d c a o o, ^B ■a .5 n S'S 5.2 a • in E u a J= B E o u] S o u B = in ^^ .2% |(«3 O O aj H " .a B.g "a- Sa iSIS-g-o-o '^ o 8l°isS-5,g. a - a* a.s mt3 -I si ii I « g.S o a u "lAa 5.-si||i3S:S o.gj3.a g « M »- < u £ in S 5 » - E tU) u .3 2 ■E 2 s « 'S E (n c O B fc rt Has §1 In. 9 V nil M •o'l s S d S * •Si (A ^^ >, 1) EC o a a B.2 «l o.S U V cd (4 2"s|sS •d 41 ■"'d, I S g;S'3 II S E tijn u E C U 3 rt aS-o a ■- aJS.2 a V rt u "* K-alE *j^ a a ^ «■■ in >• ? CI u m <: y K h Q u Veeptable Caustic Acids. Alltalies, Metallic Salts. Concentrated Mineral Acids. »3<5 OS o »} H s s n c3 i 8 a b O oi U S- z 3 s o H U tn w tn O z § o H X h z < o H-. pq o H h o w o z « moo -p ^^ IJ vo •» «2 S? ri 2 ■" IT'" to "^ O f*' o r ^2 N M §2 S.1 ln^O en- 00 n N m M "" M " vo ■»■ 5 ^ 3^2 ^^ 00 ■" ^2 N«5 to H to- •** W u^« 00 m 2" ^'^^ *2 ^«» VO "^ r. CO H Ti « ^ M *' 2>^ o ■? 32 r4 H ■11 VO-O ^2" !>? hi ■V* O 1^ -^ 00 ■*• ON"! O -n 52 M V N H ir>oo O fO Q (n 2 ■" 2"° o T 9 * %l Q <9 Q-O 3^2 1? 1? r^ 00 m ■«■ N ■* kK U-) |2 00 "^ S2 \0 00 00 J, N M d O^ ui O vo* vo 'f ■rf-.n 2- J- =§1 00 "O N 2 W 00 o "V* M 00 J, o,o' o\-<- vo ■" rO>o O-o ^2 ^S 82 CO o» m « -I- oo „ 0^^ « ■" 00 >" MM*" o >:■ - 2 \0 '^ N 00 ^ H 8? n ^ O t" ^2 in CO O H O ? 00 N M M M M 2>" O t ^T 00 '7 « « 0>t^ M CO 2 °' M H 11 Yi " 5-2 •V* >0 .„ t^,o t^oo 2'2 ^ H %:^ ov» 2''2 1 a •*4 M M b ■» N m Tt-»o VO ** 00 ,; OVoi 11 2 2 n vo f; 1 M 00 <^ 00 ^o' H h o t^ I^ 00 M t-.;oo„i „ M H M 2" ?? ?^ mvn 4) o\ CO "r O 00 O txt I^r; OOoi O o> sS 2? bi 00 M H 00 O " C3\„ 2^ VO 00 2 ;? inov o >:■ 00 ? «3 „ ■*"• vn" vo i. o ■«■ 00 « §§:• \0 «^ osj, 2? 2^2 O - 2 E- ^ J^"^^- Ov « vo f^ o ":■ M ^s OVj, 00 ■*> Ov,o" 2? i s,-^^ ^) ^ 00 "o ■^00 ^ d^ ""2 v§2 s • 00 VO M a^ ^2 ^s M *? >Sy irv tn VOvg o « in» 8^3-» 00 rn C4 t^ « o, "o m2 ^4 M "^^ \0 t- H >g8 « « li « "• « 8 « S a^ ro,o "ft^ Ovm ^J urn :l 2g 2- *3- "'2 §8 Ss S-J ^^ "8-8 S.8. •SU3T; 3q 1 JO ir% vo t^ 00 o\ d M rri ■* 237 J 5t ^»: ■*co OC<> vo M ^ M 00 o> 1^ !>- II CO U-jOO 8" in C7> <> 1^ I'" «l 00 t^ N =0 VO 00 ii^ \^ li 00 »> 5-^ 3? il \^ m" lo « N CO CO H CO H 00 o* 1^ ^.^ I, 00 -^ m 01 O " CO ^ 00 o» CO ° - is' CO « m 01 in '^ a^ %l CO H CO Vi o ^ i^ ^1 roch 3-°' S- CO N -^i row 00 c; CO -1 vo ^ in^ 00 o» °^ •*- •* coS cOn 00 p; PO (N \0 w ■5hco o >? fr>2 f^ \l CO « C^ O coS COc< li-J ^ CO M s? "^^ vn-O >0 M \l S,8 cOn VO ■* « "1 CO« 00 "> CO? 00 J, COB II ^6 u-i ft %l 00 o 8: COi, CO^ con io>o CO« O cj CO « CO N 1^ ao ■" 5?^ eg;- N 3 °^ N c<> CO? CO .A CO N O i^ 00 c* Mvo" 11 ^1 %l S- Vi 1^ CO CO 11 O C7* ^o 57 al Sv"°- 5? CO" C4 m -A Ti 8i? "S - S " 00 to HI N v8 ■ ^" vo ". M « 00 vcJ ov,; li «5 M 2S o ^ 5^ ^" m « 'S.^ 9 t O o §- vo « cO,o ?2 &a ^8 \OP 00„ -s CI §« in fo "1 lOCO 8s. in f^ « CO « 2^ ?i? ^5 w'S -I S^^ »o - 2s "^t M >0 •"if 5;? &%. vo „• « s $\ Ji-. \n"i as. SS ^-s. ■2,00 'O'S, %% ^5t ?? "%% '^". S.0 to M 00 IH M i w « M to C4 S- lO tt ^ o ■% SI a vt fn a. X V 0) ^ U J3 o hn ^ AGE Photographic Chemicals 109 Permanent Bromide Paper, Eastman's , 126 Paper, Transferotype, " 132 " Anthony's Bromide 143 " Brown's " IXL " Bromide 149 " Argentic 149 " Harvard Photo-Chloride 152 " Japanese, Prints on 165 Platinotype Process 168 Pizzighelli, Capt. G 168 Printing on Unfumed Paper 179 Printing and Toning Formulae 184 Prints, Blue 186 Printing_in Clouds : a New Method 187 Prints, To Mount Accurately 187 " To Mount, (Bell's System) 188 Paper, Ready Sensitized, Formula for Using 189 Portraiture, Indoor, for Amateurs 207 Paper, Preservative, Book for 211 ' ' Ashman's Durable 211 " Albmenized, Ashman & Offord's Substitute for 212 r Printing on Fabric 215 " " Wood 218 Prints Enlarged by Powder Process 218 Platinotype Process 219 Paste, Encaustic , 222, 223 R. Richardson, R. D S3 Rosengarten, Frank H 109 Rusk, John W 199 Reducing Over-printed Proofs 222 s. Searle, G. M 57 Sanford, S. S , 154 Seed, M. A i5S-i57 Swain, J. R 202 T. Toning Solutions 82 Transferotype Paper, Eastman's 132 Toning Bath, a Practical, etc 167 Toning Formula 189 " " (Klauser) 193 To Save Gold from a Precipitated Toning Bath 194 Index:. vi PAGE Things I Have Used i . . , i ; 198 Trays, a Cheap Method for Making 201 Toning Bath, Werge's 212 " *' Lime 213, 214 " " Tungstate Soda 214 Tables, U.S. Measures and Weights 226 ' ' English Standard Fluid Measure 227 " The Metric System of United States Measures and Weights 227 " Factors 228 " Dr. Meymott Tidy's Tables 230 " • Freezing Mixtures 230 " Sizes of Glass, Mounts, Paper, Etc 230 * ' Symbols and Atomic Weights of the Elements 231 " Conversion of French Barometer Measurements into English 232 ' ' Showing the Comparison of the Readings of Thermometers 233 " Dr. Janeway's Table of the Solubility of Photographic Chemicals, 234 ' ' Elsden's Table of Poisons and Antidotes 23s * ' For Enlargement and Reduction 236 V. Varnish, Negative 80 " Retouching 81 " Ground Glass 81, 220 " For Wet Plates 219 " Ashman's 220 ' ' Luckardt's Retouching 220 " Black 220 w. Weights and Measures i Wet Plate Formula 12 Whish Formula is Best ? (Bullock) 72 Wortley's Collo-Restrainer 87 Woodbury, Walter E 94 Walmsley, W. H 105 Woods, Edm. L 203 Walkley, S. L 205 Water-tight Wooden Dishes 220 Waterproof Glue for Wooden Dishes 221 WILLIAM C, CULLEN. JLCSEJITT FOK Perken, Son 8z: Rayment's CELEBRATED ePTinaS LENSES. Cameras, Magic Lanterns, &c., • FOSS &ENSES, » ALL KINDS OF DRY PLATES. Pure Chemicals, and Supplies of all kinds. 62 WILLIAM ST mpw vni^K. The Gramer Plates UNEQUALLED FOR SPEED* AND* FINE'* QUALITIES FOR RANBSGAPE. PORTRAIT. —>• :=^ AND^^^— »- INSTANTANEOUS WORK. Full and Comprehensive Instructions for Working in Each Package. I'Oii S.A.X.E3 BTT Ajz^n, ipe:a.lb:rs. G. GRAMER DRY PLATE WORKS, ST. LOUIS, MO., U. S. A. Eagiman'g pBPmanent BJomide papep. The only Paperthat will give Brilliant Printsfrom ordinary negatives. Especially adapted for Daylight Enlarging, Acknowledged to be-the Standard in all Countries. ^^ t- O u u z < I- oc taO u 1 1 o U Z o - 2d < a. ic H 0) (0 H 3) z H o o o n (0 o z U) ■n O X H I H 0) o m > c H ■n _ c H r S o > n z ^ Eastman 's Roll Holders. Eastman's American Films. Inseparably connected with the only PRACTICAL system of Film Photography ever devised. Send for circular free. Sample Film Negative, 4 cents in stamps EASTMAN'S TRANSFEROTYPE PAPER. The New Photographic Paper for Decorative Purposes ; can be transferred to almost anything. Circular free. Sample Print ready to transfer, 6 centsin stamps. Tk Eastman Dry Plate and Film Co., Rochester, N, Y. BRANCH WAREHOUSE, 115 OXFORD ST., LOKPON, The Eastman Dry Plate and Film Co. Branch, 1 1 5 Oxford Street, London. Having completed the installation of our new Wholesale and Retail Warehouse, under the charge of our Mr. W. H. Walker, at 115 Oxford Street, London, we cordially invite our American friends to make it their photographic headquarters while travelling in Europe. The entire four story and basement brick building having been fitted up especially for our requirements, we have unusual dark-room facilities which are freely placed at the disposal of our customers. In addition to a large stock of our own well known Specialties such as ROLL HOLDERS, CAMERAS, AMERICAN FILMS, PERMANENT BROMIDE AND TRANSFEROTYPE PAPERS, we carry a full line of Photographic Goods adapted to the wants of both amateurs and professionals. Special attention will be given to the wants of tourists and every assistance rendered to those who wish to overhaul or replenish their photographic outfits while travelling abroad. THE EASTMAN DRY PLATE AND FILM CO., FACTORY AT 115 OXFORD STREET, LONDON. The New Acme Fine Heating Photo Bnrnisher. Patented Jan. 26, 1876. Patented Jan. 18, 1886. Patented Teb. 28, 1888. Also pats, for Europe and Canada 21 AND 26 Inch New Acme. THIS IS NOT A QUADRUPLEX, DUPLEX, COMPLEX, OR PER- PLEXING MACHINE. IT IS SIMPLICITY ITSELF. TO SEE IT IS TO BUY IT. Very Latest Burnisher Out. The Handsomest Finish. Most Economical. Best Results. No Moisture on Feed Roll or BirnisMDg Tool. IT CAN BE HEATED IN FIVE MINUTES. For S3l»,hj all Stock Houses in the United States, Canada and Europe. 11 AND 15 Inch New Acme. Perfect Combustion. No soot to be heated over and over again. No disagreeable smell. Heat gauged by thermometer, .and held at one point by turning vsrick up or down. SEND FOR DESCRIPTIVE CIRCUIjARS. EVERY MACHIKE WARRANTED. 1 l-inch Roll, wit! &as or Oil Heater, $25. oo 2 1-incli Roll, witli &as or Oil Heater, $55.00 15-incli " " " " 35.00 26-incli " " " " 65.00 MANUFACTURED BY THE ACME BURNISHER CO., PATENTEESlAND SOLE OWNERS. OFFICE AND FACTORY, Corner Wat?r and Grape Streets, SYRACUSE, H. Y. ■BEAGLE » STOCK « HSaSE^' ESTABLISHED 1878. HEADQUARTERS FOR Eagle Ferro. Collodion, New Sulphite Soda, Cryst, The Dry Plate Negative and Retouching Varnish, The Eagle Ground Glass Varnish, The Florentine Water Colors, The Stoddard Print Roller, The Anchor Brand Alb. Paper, The Van Sickel Shutter, The Green Compound Shutter, White's Head Screens, White's Side Screens, White's Posing Apparatus, The Endean Posing (.hair. The Adt Printing Frames, The Adt Photo Clips, The Adt Manipulator, The Imperial Negative Reducer, The Seed Developer, The Moreno Developer, The Seed Vignetters, The Higgins Pat. Duplex Finder, The Toning and Fixing Compound, The Chloro-Bromo Paper, Van Wagner's Retouching Fluid, Bordeaux's French Retouching Solution. The Seed Dry Plates, Nos. 22, 23, 24, 25, 26, all grades from Medium to Quickest. The Eagle Rectilinear Lens, from 4x 5 to 18 x 22. The Eagle Wide Angle Lens. The Imperial Rectilinear Lens. The Hermagis Rectilinear Lens. The Hermagis Wide Angle Lens. GEORGE MURPHY, No. 2 Bond Street, NEW YORK. E. & H. T. ANTHONY & CO. 591 BROADWAY, NEW YORK. Manufacturers and Importers of Photographic Supplies of Every Description. LENSES. DALLMEYER, ARIST05C0PE, PLATYSCOPE, E. A. CAMERAS. PHANTOM, FAIRY, NOVELETTE, CLIMAX, BIJOU. DETECTIVE CAMERAS. SATCHEL, CLIMAX, SCHMID. TBIPOnS. FAIRY, TRIPLEX, CLIMAX, TELESCOPIC SHUTTERS. HADDEN, CLIMAX, GRUNOW, INSTANTANEOUS DROP. HOLDERS. NOVELETTE, FAIRY, ECLIPSE, NOVEL AND 2YPHYR. TRAYS. RUBBER, GLASS, PORCELAIN AND CLIMAX. LAMPS. HELIOS, CLIMAX, H. W. G., STANDARD, TISDELL, ETC., ANTHONY'S RELIABLE BROMIDE PAPER, ANTHONY'S UNIVERSAL ROLL HOLDER. ANTHONY'S UNIVERSAL FINDER. COOPER'S ENLARGING LANTERN. ANTHONY'S RELIABLE BROMIDE PAPER. BROMIDE! BROMIDE!! BROMIDE!!! QUICK FOE AKTIFICIAL LIGHT, - IN YELLOW WRAPPER. SLOW FOR DAYLIGHT, ■ - - IN BLUE WRAPPER. Grades, H. G., H. S., L. S. Our Stock embraces every requisite for Studio and Field and is replete with all the Latest Novelties. ANTHONY'S PHANTOM CAMERA. Camera when closed. Camera when fully drawn out The Champion Light Weight Camera of the World. Anthony's Universal Roll Holder. F. l\n -^ Fig. I. J''K- 2- The only one made that shows "what has been exposed" and "what is to be." COOPER'S ENLARGING LANTERN For ARTIFICIAL or daylight enlarging in connection with ANTHONY'S RELIABLE BROMIDE PAPER. E. & H. T. ANTHONY & CO., 591 Broadway, N. Y. R. H. MORAN, —IN— 245 CENTRE STREET, BAI^GAINS in feMBI^AS /^ BfiHEfllNS IN LEMJ Siargaini) irj ©ry BARGAINS IN TRIPODS Bargains in Drop Shut- ;;?'' ers, Bargains in ^.,;^=\c\y«'^.,wi'^" EVERYTHING FOR t>hut- ;;?• ^ /.:.-i Plate Holders -:.■■■■ ^.j^S^ ..;-"' T-'l^'^'' PHOTOGRAPHERS /yf^J^ AMATEUR OR PROFESSIONAL ^y J:'-'SSI!TX> FOR OT7R CATAX.OGT7B, Iv. M. PRINCE & BRO., MANUFACTURERS AND IMPORTERS OF Photographic Instruments, APPARATUS AND .SUPPLIES OP EVERY DESCRIPTION. CAMERAS, LENSES, STANDS, PRINTING FRAMES,|DRY PLATES, SENSITIZED AND ALBUMENIZED PAPERS, CHEMICALS, ETC. Amateur Outfits in great variety from $8.00 upwards. Regarding this now method of PHOTOGRAPHY, anybody can make good photographs with the Dry Plate Outfits, No pre- vious knowledge of the art necessary. Business suitable for everybody. Process simple and sure. Catalogue of 180 pages, with complete instructions of How to make Pictures, sent on receipt of 20 cents to pay for postage. Address, L. M. PRINCE :& BRO., 148 "West Pourtli Street, Cincinnati, Ohio- \OBIO AGENTS FOR THE BLAIR CAjMERA. .^ 220 «& 222 WILLIA/n STREET^c^v. T^ s^^ ^K,^^ :j^^^^' ^ ^ ^ ^ ^""^^ NEW YORK GITY, RICHARD H. MORAN, ^mporfer anil ^o'6'6er OF P HOTOGRAPHIC * # M ATERIALS, Albumenized Papers. Porcelain Trays. Glass Baths. Hydrochinon. Paper Mache Trays. Pyrogallic Acid. • — p©ex Lcenses. — » AIVIATEUR OUTFITS. ^H CRAMER PLATES. CARD STOCK. CHEMICALS. H APPARATUS. 245 Centre Street, New York. RICHARD H. MORAN, Rubber Trays, Jmperial Developer, Challenge Varnish, ttypo, ^gate Trays, Ruby Lanterns, ©ry Plates, . H' ■♦■ '♦■ ■•■ ■ HYDKQffiETEK: Manipulators, ©il Stoves, Xloll Holders, iileeessories, jVegative Racks. 245 CENTRE ST., NEW YORK CITY. RAPID. RECTILINEAR. Apex Lzenses These Lenses are noted for their superior- ity aver all other makes, in respect to Rapid- ity, Depth of Focus and Flatness of Field. Our aim has been to secure a lens having all the above qualities, combined with a low price to the consumer. 3. Size of Plate. Back Focus. Price. I 4x 5 4^ inches. $12 GO 2 5x8 8 . " 18 00 3 6x8 io>i " 25 00 4 8 X 10 ii>^ "■ 30 GO 5 10 X 12 16 36 OG 6 12 X 16 20>^ " 5G 00 7 17 X 20 24j^ " 75 00 EVERY LENS GUARANTEED. SOLE AGENT, 245 Centre Street, NEW YORK. nn '' ill il f,l! pill 111 P 1 I 3 J, T ^ . lliiiVii'i,''i v!l^'•^'hMl'llWll|f,i'^'l•llilMwvi iililljll (III III liWI I ll Mill ij I r I I II I I I 1 |if| ' « \