d 3 c?2Z 
 
 SC-tti 
 
 Canjt WLHuX’i tV-' 
 
 
THE MODERN WAY 
 
 IN 
 
 PICTURE MAKING. 
 
 4 
 
 PUBLISHED AS AN AID TO THE 
 AMATEUR PHOTOGRAPHER. 
 
 Revised Edition, June , 1907. 
 
 Copyright, 1905. 
 
 EASTMAN KODAK CO. 
 
 ROCHESTER, N, Y. 
 
Index 
 
 American Aristo, - 
 
 
 - 
 
 - 114-115 
 
 Landscape Photography, 
 
 - 
 
 - 
 
 - 
 
 27-28 
 
 American Platinum Paper, 
 
 - 
 
 - 
 
 - I22-I24 
 
 Lantern Slides, 
 
 - 
 
 - 
 
 - 
 
 - 142-143 
 
 Angelo Platinum Paper, 
 
 - 
 
 * 
 
 - 124-126 
 
 Lenses, - 
 
 
 
 
 3-6 
 
 Amateur Portraiture by Flashlight, - 
 
 - 51-64 
 
 Lighting, - - - - 
 
 19, 26, 36, 40, 41, 43-46 
 
 Animals, Photographing 
 
 - 
 
 - 
 
 - 157-159 
 
 Lighting, (Outdoor) 
 
 - 
 
 - 
 
 
 26 
 
 Aristo Self Toning, 
 
 - 
 
 - - 
 
 - 115-116 
 
 Loading with Film, 
 
 
 
 
 8 
 
 Azo Paper, 
 
 
 - 
 
 IO5-IO6 
 
 Loading with Plates, 
 
 
 - 
 
 - 
 
 9 
 
 Backgrounds, 
 
 - 
 
 - 
 
 - 50. 6 3 
 
 Measures and Weights, 
 
 - 
 
 - 
 
 - 
 
 170 
 
 Birds, Photographing - 
 
 - 
 
 - 
 
 - 152-157 
 
 Mounting, 
 
 - 
 
 - 
 
 
 141 
 
 Blue Print Paper, - 
 
 - 
 
 - 
 
 118-119 
 
 Nature with a Kodak, - 
 
 
 
 - 
 
 - I5O-I6O 
 
 Bromide Paper, 
 
 - 
 
 
 ' 127-140 
 
 Outdoor Work, 
 
 
 - 
 
 - 
 
 23-28, 49-50 
 
 Cameras, - 
 
 
 
 3-9 
 
 Over-Development, 
 
 - 
 
 - 
 
 - 
 
 87 
 
 Camera, Choice of - 
 
 - 
 
 - 
 
 6-7 
 
 Pictorial Photography, 
 
 - 
 
 - 
 
 - 
 
 - 29-34 
 
 Carbon Printing, (Sinclair) 
 
 - 
 
 - 
 
 • 178-184 
 
 Plain Papers, (Alfieri) - 
 
 - 
 
 - 
 
 - 
 
 - 174-177 
 
 Clouds, - 
 
 - 
 
 - 
 
 28, 165-168 
 
 Platinum Printing, 
 
 - 
 
 - 
 
 - 
 
 - 120-126 
 
 Collodion Paper, - 
 
 - 
 
 - 
 
 - 114-116 
 
 Portrait Attachments, * 
 
 
 * 
 
 - 
 
 71 
 
 Combined Bath, 
 
 - 
 
 
 - 108-no 
 
 Portiaiture, 
 
 
 
 
 - 35-48 
 
 Composition, - 
 
 - 
 
 - 
 
 25 
 
 Portraiture, Flash (Ritch) 
 
 - 
 
 
 - 
 
 - 51-64 
 
 Composition, Simplicity in 
 
 (Stieglitz) 
 
 - 161-164 
 
 Portraiture, Outdoor 
 
 - 
 
 - 
 
 
 - 49-50 
 
 Dark-Room Development, 
 
 - 
 
 - 
 
 si-91 
 
 Posing, - 
 
 - 
 
 - 
 
 - 
 
 36, 40-47 
 
 Defective Negatives, 
 
 - 
 
 - 
 
 - S6-89 
 
 Printing, - - - - 
 
 - 
 
 * 
 
 92- 
 
 -140, 174-190 
 
 Development, - 
 
 - 
 
 - 
 
 - 72-91 
 
 Printing-Out Papers, 
 
 - 
 
 - 
 
 - 
 
 107-II9-I2I 
 
 Developing with Tank, 
 
 - 
 
 - 
 
 78-80 
 
 Reduction, ... 
 
 • 
 
 * 
 
 - 
 
 - 43. 87 
 
 Developer Formulae, 
 
 - 
 
 
 - 77-78 
 
 Reflectors, 
 
 * 
 
 - 
 
 
 37, 63, 69 
 
 Developing Bromide Paper, - 
 
 ■ 
 
 - 134-135 
 
 Rising Front, - 
 
 
 - 
 
 
 21-22 
 
 Diaphragms, - 
 
 - 
 
 - 
 
 - n-13 
 
 Salted Papers, 
 
 * 
 
 - 
 
 
 - 174-177 
 
 Drying Film Negatives, 
 
 - 
 
 - 
 
 80 
 
 Self Toning Paper, 
 
 - 
 
 - 
 
 - 
 
 - 115-H6 
 
 Enlarging on Bromide Paper, 
 
 - - 
 
 • 127-140 
 
 Self Toning Collodion, 
 
 
 - 
 
 - 
 
 115 
 
 Exposure, 
 
 - 
 
 - <•' 
 
 10, 19, 50 
 
 Separate Bath, 
 
 - 
 
 - 
 
 - 
 
 - IIO-III 
 
 Ferro Prussiate Paper, - 
 
 - 
 
 - 
 
 - 118-119 
 
 Sepia Paper, - 
 
 - 
 
 
 
 119 
 
 Fish, Photographing 
 
 - 
 
 - 
 
 - 159-160 
 
 Sepia Tones on Bromide Paper, 
 
 * 
 
 - 
 
 139 
 
 Fixing Film and Plates, 
 
 - 
 
 - 
 
 79 
 
 Sepia Tones on Velox, - 
 
 - 
 
 “ 
 
 
 101 
 
 Fixing Velox, 
 
 - 
 
 - 
 
 99 
 
 Solio. - 
 
 
 
 
 
 Flashlight Work, - 
 
 - 
 
 - 
 
 - 51-70 
 
 Stereoscopic Photography, 
 
 - 
 
 - 
 
 * 
 
 - 171-173 
 
 Flash Portraiture, (Ritch) 
 
 - 
 
 - 
 
 - 51-64 
 
 Stops, - - - - 
 
 
 
 
 
 Flowers. Photographing (Dugmore) - 
 
 - 15C-152 
 
 Street Photography, 
 
 
 
 
 25 
 
 Focusing, 
 
 - 
 
 - 
 
 14-16, 19 
 
 Timing, - - - - 
 
 
 - 
 
 * 
 
 - 39-42 
 
 Focusing Scale, 
 
 - 
 
 - - 
 
 - 17,71 
 
 Trimming, 
 
 
 - 
 
 
 - 169-170 
 
 Fog, - - - 
 
 
 
 89 
 
 Under-Development, 
 
 
 - 
 
 
 88 
 
 Gelatino Chloride Papers, 
 
 - 
 
 - - 
 
 - 107-113 
 
 Velox, - - 
 
 * 
 
 - 
 
 - 
 
 ' 92-105 
 
 Gum-Bichromate Process, (Demachy) 
 
 - 185-190 
 
 Washing Film Negatives, 
 
 - 
 
 - 
 
 - 
 
 80 
 
 Home Portraiture, - 
 
 - 
 
 - 
 
 - 35-48 
 
 Water Development Paper, 
 
 - 
 
 
 
 - II7-II8 
 
 Intensification, 
 
 - 
 
 - 
 
 - 44-89 
 
 W. D. Platinum, 
 
 - 
 
 
 
 - 117-118 
 
 Interior Exposures, 
 
 - 
 
 19-20, 47, 48, 65-69 
 
 Weights and Measures, 
 
 * 
 
 - 
 
 - 
 
 170 
 
 Kodak Tank Developer, 
 
 - 
 
 - 
 
 72-80 
 
 Winter Photography, (Eickemeyer) 
 
 - 
 
 - 144-149 
 
Digitized by the Internet Archive 
 in 2019 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/modernwayinpictuOOunse 
 
Preface. 
 
 O UR first objedt in the publication of this book is to make photography 
 easier for the amateur. Our second is to show him the way to new 
 pleasures in picture making. 
 
 In its compilation we have endeavored to cover fully and clearly every 
 point on which he should have information. With equal care we have 
 avoided useless discussion of theory and have given no space to topics that 
 would not appeal to those who take pictures for the love of it. 
 
 Frankly, we have given the preference to work by the Kodak system. 
 We could not do otherwise and be honest with ourselves or with the reader. 
 We have built up this system because we believe in it, because to our mind 
 it means success for the beginner and offers the greatest opportunities to the 
 advanced worker. In its sixteen years of growth, the Kodak system has 
 changed the photographic ideas and methods of the whole world and has 
 made simple and easy a process that was once complex and uncertain. 
 
 While we have given prominence to the Kodak method of work, we 
 have nevertheless recognized the fadt that there are those who, by choice 
 or because they have other apparatus than ours, still cling to the use of 
 glass plates, and we have accordingly applied the instruction to the whole 
 broad field of amateur photography. 
 
 In compiling the book we have not only availed ourselves of the ser¬ 
 vices of our own experts, but have prevailed upon a number of authorities 
 to contribute to our pages—aiming all the time, however, at simplicity. 
 It has been our aim to so arrange the book that the instruction will coincide 
 with the amateur’s advancement. Thus we touch lightly upon such matters 
 as composition, timing, etc., in the earlier pages, going more fully into 
 these subjects after treating the simpler forms of technical work and con¬ 
 cluding with the more complicated printing methods. 
 
 Some of our previous books have proven successful as photographic 
 educators. It is our hope that this, our most ambitious effort in the pub¬ 
 lishing field, will give the world a still better understanding of photography. 
 
 EASTMAN KODAK CO. 
 
Plockton Harbor. 
 
The Camera. 
 
 FILMS OR PLATES. 
 
 Upon the sele&ion of the first instrument much depends. And in 
 advising we must take into consideration the personality, tastes and 
 pocketbook of the beginner. Yet one rule can safely be laid down. Unless 
 the camera is never to be taken more than a hundred feet from the dark 
 room it must use film. In other words, an exclusively plate camera is all 
 right for gallery work, but is a thing to be avoided by the amateur. 
 
 Films in light-proof rolls weigh only one-twentieth as much as glass 
 plates and the necessary plate holders ; they are non-breakable, are as easy 
 to develop as plates, and in rapidity and quality equal the best plates made. 
 
 For convenience it is well to have an instrument that will use plates as 
 well as film, although the plate outfit will rarely be used in journeying but 
 is desirable when one wishes to make an exposure or two in or about the 
 house. 
 
 LENSES. 
 
 Lenses commonly used in hand cameras may be divided into three 
 classes, “ Single,” composed of one piece of glass, “ Single Combination ” 
 (sometimes also called simply “Single”), composed of crown and flint 
 glass, and “Double Combination” (often called simply “Double”), 
 consisting of two single combinations. 
 
 SINGLE LENSES 
 
 are made in two forms, meniscus and plano-convex. The 
 meniscus form, giving the best definition, is always 
 employed except in the cheapest class of cameras. These 
 lenses are always mounted behind the diaphragm which 
 
 controls the amount of light to be admitted through the 
 
 , Meniscus 
 
 lens. 
 
4 
 
 THE CAMERA. 
 
 DOUBLE COMBINATION LENSES 
 are usually of the form shown in the cut and consist of two meniscus 
 
 A C R 
 
 A, Front Combination. B, Back 
 Combination. C. Stops. 
 
 Double Lens. 
 
 lenses mounted with the diaphragm between. 
 
 CORRECTED LENSES. 
 
 All glass, when ground into lenses, has the quality of dispersing the 
 different colored rays so that they will not focus at the same point. The 
 
 Non-Achromatic. 
 
 rays which aft on the sensitive surface are those from the violet end of the 
 spectrum and are called the adtinic or chemical rays. The visual rays are 
 from the red end of the spe6trum, hence if these rays are separated by the 
 lens the image we see on the ground glass is not the one which will make 
 the picture. Fortunately flint and crown glass have different dispersive 
 powers and, therefore, one can be made to corredt the abtion of the other. 
 Hence if we assume that with a non-achromatic lens, such as shown in the 
 cut, the visual focus would be at C, the chemical focus would be at A. 
 Flint glass bends the chemical rays more than does crown glass, and so by 
 combining a negative lens of flint glass with a positive lens of crown glass, 
 the chemical and visual rays are brought into coincidence, i. <?., are brought 
 to focus in the same plane as at B. The lens is then called “ achromatic.” 
 
 In a non-corrected lens even the chemical rays do not all focus at one 
 point, but in small lenses the dispersion may be so slight as to be impossible 
 of detection in the picture by the naked eye. 
 
THE CAMERA. 
 
 5 
 
 The difficulties of lens making increase, one might say, in geometrical 
 ratio to the size of the plate to be covered, and many forms of lenses other 
 than those shown have been devised to overcome these difficulties, some of 
 which employ as many as six or eight pieces of glass, but these lenses have 
 really no practical advantage over the simpler forms in such sizes as are 
 commonly used in hand cameras and we shall, therefore, not consider them 
 here. 
 
 In very small cameras the best lens is the simplest ; for instance, the 
 lens used in the original Pocket Kodak is a single meniscus non-achromatic, 
 and probably no lens ever had higher encomiums showered upon it. The 
 reason being that it was carefully made, rigidly inspected and tested, and 
 not over-taxed. As a matter of faCt, no double achromatic lens could be 
 made that would surpass it in brilliancy or covering power. For larger sizes 
 lenses must be corrected but there is no advantage in a double lens unless 
 y/ x X4or 4 x 5, or larger, pictures are desired. Single lenses tend to 
 slightly curve the marginal lines of the picture, but this is unnoticeable in 
 small pictures and is unobjectionable in view work of any size unless the 
 pictures contain architectural subjects. Double lenses can be worked with a 
 larger stop opening than single lenses and are, therefore, quicker, especially 
 in the larger sizes. They are almost essential for 5 x 7 and 4x5 snap¬ 
 shot work and are preferable for 3^ x 4^, but below that the advantage 
 disappears. 
 
 Everything depends on the quality of the work put into a lens. 
 Differences of curve or polish not to be detected except by an expert often 
 constitute the difference between a good and poor lens and only those 
 which have been through the most rigid inspection and trial should be put 
 in a camera by the manufacturer. 
 
 “FIXED FOCUS” 
 
 lenses are so often mentioned in catalogues and advertisements that the 
 impression has gained ground that this is some distinCt kind of lens, with 
 the extraordinary power of focusing all objects near and far in one plane. 
 There is no inherent quality in any lens that makes it “fixed focus” ; it is 
 such when it is immovable and that is all. Any lens can, therefore, be 
 made “fixed focus”, but the extent to which it will focus all objeCts in one 
 plane depends upon its length of focus and size of stop or diaphragm used, 
 and upon that only. 
 
 The reason for this is that the rays of light from near and far objeCts 
 do not focus at the same point. For instance, in the exaggerated diagram, 
 page 6, we will assume that B is the point at which objects 100 feet 
 distant will focus and that A is where obje&s 10 feet distant will focus. 
 
6 
 
 THE CAMERA. 
 
 Now the distance between A and B will vary in ratio to the focal length of 
 the lens. In a lens of 3 inches focus it is ascertained mathematically to be 
 T 3 g- of an inch and in one of 12 inches focus, 1 % inches. Hence if using a 
 
 3 inch focus lens the sensitive surface is placed between A and B, the obje< 5 l 
 at 100 feet and beyond (all objefls beyond 100 feet come practically within 
 one focus) and objedts 10 feet distant will none of them be more than out 
 of focus, which, with the size of stop ordinarily used for snap work, creates 
 so slight a blurring of the image that it cannot be detected. Experience 
 has shown that the limit of focus for a lens which is to be employed for 
 snap-shot work with the focus fixed is under 5 inches ; in other words that 
 a 3/^ x plate is about the largest that can be used to advantage under 
 such circumstances. It is probably true that for cameras of this size and 
 under, little can be gained by having the focus adjustable and that, on the 
 other hand, better average results will be obtained with a fixed focus, owing 
 to the fa6I that there is no adjustment that will allow the lens to be put out 
 of focus by a mistake in measuring distances. 
 
 THE CHOICE OF THE CAMERA. 
 
 With the products that exist to-day, the hand camera is pre-eminently 
 the most desirable instrument for the amateur photographer, whether he be 
 novice or expert. When amateur photography first began, some twenty 
 years ago, to be popular with the public, there was a general outcry from 
 the small group of old enthusiasts against the “ snap-shotter ”, as he was 
 termed. When, a little later, it came to be recognized that good pictures 
 were possible with the hand cameras, the old-timers looked wise and said 
 that “while admitting the utility of the hand camera, the novice should 
 begin with a tripod camera and educate himself on the ground glass”. 
 These “old timers” having learned photography in that way felt that it 
 was the only real way. 
 
 But all that has been changed, this change having come about partly 
 through the overcoming of the old prejudices and partly through the per¬ 
 fecting of the hand camera. Nearly all of the best work is to-day made 
 
THE CAMERA. 
 
 7 
 
 with hand cameras, 5 x 7 or smaller. ’Tis true that the work you see at 
 the salon is often large, but get back of the picture and you are very apt to 
 find a small negative and most likely a film negative. 
 
 On the question of focusing on the ground glass there is a marked 
 difference of opinion. Some first-class workers are satisfied with the finder 
 and scale ; others wish to see the image in its full size on the ground glass 
 before they press the bulb ; still others work sometimes in one way and 
 sometimes in the other, depending upon the conditions. As a matter of fad, 
 the finders and focusing scales have been so perfected on the smaller instru¬ 
 ments that the ground glass is not an essential, perfeft accuracy being 
 secured by less troublesome means. 
 
 Several styles of Kodaks provide for the use of either the scale 
 or the ground glass for focusing. Most notable of these is the Screen 
 Focus Kodak, which by an ingenious device permits the use of the 
 ground glass, although it takes the regular cartridge film. It will 
 thus be seen that the advantages of film photography may now be 
 enjoyed even by those who feel that the ground glass is essential for 
 some of their work. 
 
 Up to a recent date the plate camera was the only instrument per¬ 
 mitting the use of the ground glass. Against this the Kodak system 
 offered : Lightness, daylight loading, machine development, and the 
 superior orthochromatic and non-halation qualities of Kodak N. C. film. 
 To-day the Film Pack Adapter gives many of the advantages of the Kodak 
 system while permitting as free a use of the ground glass as the plate sys¬ 
 tem, but with the Film Pack a dark-room is required for development. So 
 far then as the choice of a camera is concerned, the novice should weigh 
 the conditions and decide for himself, bearing in mind that film photography 
 has been forging steadily ahead ; that the best workers no longer question 
 the desirability of film for serious work ; that machine daylight development 
 has been generally acknowledged as pra&ically and theoretically correct. 
 
 No matter then what the size may be, no matter what the lens and 
 shutter equipment may be, no matter what the price may be, the instru¬ 
 ment should be adapted to the use of film, and with the tremendous advan¬ 
 tage of daylight development taken into consideration, the Kodak Car¬ 
 tridge System should be given the first consideration. 
 
 Outside of the question of film and plates and the method of focusing, 
 the important point to be decided is that of lens and shutter equipment. 
 The safe rule is to buy the best the purse will allow, bearing in mind, never¬ 
 theless, that satisfactory pictures are made with even the cheapest cameras. 
 
8 
 
 THE CAMERA. 
 
 GET ACQUAINTED WITH THE CAMERA. 
 
 ‘ * How shall I load it ? ' ’ 
 
 The camera, obtained, that is the first question which will be asked by 
 ninety-nine people out of one hundred, and our answer is: “ Don’t load it ; 
 at least, not until you fully understand its workings.” 
 
 Try the shutter first, working it several times for both time and instan¬ 
 taneous exposures and making yourself perfectly familiar with its action. 
 Also take careful note of the diaphragms or stops and observe how with 
 the larger opening a greater quantity of light passes through the lens in a 
 given time and you will then fully understand why we use the largest 
 opening for snap-shots and the smaller ones for time exposures. 
 
 Having mastered the shutter and the focusing arrangement, if there is 
 one on your camera, and having obtained a slight idea of the conditions 
 necessary for successful pi&ure taking, the camera may be loaded. 
 
 LOADING THE CAMERA. 
 
 On the supposition that you have taken the advice given in the 
 previous pages and purchased a film camera, we will first give you a few 
 hints about loading with film. 
 
 WITH FILM. 
 
 With a Kodak this operation is performed in daylight and 
 is very simple. The film is put up in light-tight rolls and extend¬ 
 ing the full length of the strip of film and several inches beyond 
 each end is a strip of black paper, which, in connection with the 
 flanges on the spool, forms a light-proof cartridge. 
 
 After inserting the spool and threading up the black paper 
 the camera is closed and the key turned until the black paper has cartridge. 
 been reeled off and the sensitive film brought into place in the 
 focal plane. The black paper runs with and behind the film, and at proper 
 intervals is marked in white with the number of the section of film, i, 2, 3, 
 etc. In the back of the camera is a small red window through which the 
 
 figures appear as the key is 
 turned. Turn the key slowly 
 to the left and watch the little 
 red celluloid window at the back 
 of the camera. When 15 to 18 
 turns have been given a hand 
 pointing toward the first num¬ 
 ber will appear, then turn slowly until the figure 1 is in front of the red 
 window. Fig. 1. 
 
THE CAMERA. 
 
 9 
 
 The warning hand appears only before No. i. These figures show just 
 how far to turn the key and how many exposures have been made. After 
 all the exposures have been made, a few extra turns of the key entirely 
 covers the film with black paper and the camera may be unloaded in daylight. 
 
 It is all as simple as threading a needle (simpler for a man) and with 
 each camera is a manual telling plainly about each step. The amateur 
 must bear constantly in mind, however, that the black paper must be kept 
 tightly rolled about the film all of the time until it is in place in the camera 
 and the camera closed, for should the film be exposed to daylight for even 
 a hundredth part of a second its ruin would be accomplished. 
 
 In the 3)4 x 3 ) 4 , 3# x 4# and 4 x 5 sizes Film Cartridges may now 
 be obtained for “ Double-Two,” six or twelve exposures. 3/^t x 5)4 may 
 be had in “Double-Two,” six and ten, and x 6 ) 4 , and 5 x 7 in 
 “Double-Two,” and six exposure cartridges. The “Double-Two” car¬ 
 tridges contain four exposures, so arranged, however, that two of them may 
 be removed after exposure, or, if desired, the entire four exposures may be 
 made before taking out cartridges. 
 
 WITH PLATES. 
 
 For loading with glass plates a dark-room is essential, that is, a room 
 from which all white light has been excluded as described on page 81. 
 Provide also a dark-room lamp, a camel’s hair brush and a shelf or table 
 on which to work. Remove the dark slides from the plate holders and, 
 having closed every avenue for the entrance of white light and iighted the 
 dark-room lamp, open the box of plates. 
 
 Take one of the plates from the box and put it in the holder face up, 
 handling the plate by the edges. (The face is the dull side.) Dust with 
 the camel’s hair brush and insert the dark slide with the word “exposed” 
 next the plate. Now turn the holder over, if it is a double holder, and load 
 the other side in a similar manner. When all the plate holders have been 
 filled close up the remaining plates in the box, wrap them up securely or 
 put away in a dark drawer. 
 
 THE FILM PACK. 
 
 By use of the Premo Film Pack the ordinary plate camera is trans¬ 
 formed into a daylight loading film camera with the advantage of focusing 
 on the ground glass the same as when using plates. This pack consists of 
 twelve flat cut films packed together in a light proof paper case. Attached 
 to each film is a paper tab, the end of which is numbered, thus showing the 
 operator just which film is in position for exposure. The method of using 
 this pack is extremely simple, as the only movement necessary in placing 
 the film in position for the next exposure is to simply pull out a tab. 
 
Making the Exposures. 
 
 SECTION 1.—EXPOSURE. 
 
 At this stage of your photographic career you should learn to properly 
 expose the film, then to develop it. When you are proficient in these 
 rudimentary principles, it will be time to take up the simpler methods of 
 printing, after which you will be instructed in the more artistic side of the 
 work. 
 
 In speaking of glass plates one refers to the emulsion which is coated 
 on the glass as the “film.” In case of Eastman’s Non-Curling Film the 
 entire product is so light that the whole substance is referred to as “film.” 
 In reality, however, there is a transparent base taking the place of the 
 glass. Upon this the sensitive emulsion is coated. We then have a prod¬ 
 uct which is similar to a glass plate, except that it is light, thin, non-break- 
 able and Tollable. The emulsion is the same in each case, the difference 
 being entirely in the support. 
 
 Cartridge Films, however, on account of the black paper backing, do 
 not reflect light from the back to the surface, and, therefore, are almost 
 entirely free from halation, a defedl which is found very largely in all glass 
 plates unless they are specially prepared. This freedom from halation 
 gives film a far greater latitude in exposure than can be given with plates, 
 and especially adapts it to the conditions of harsh lighting under which the 
 amateur ordinarily works. Everything else being equal, films will, there¬ 
 fore, give better average results than can be secured on glass plates. 
 
 A negative is made by the ablion of light on the silver salts in the 
 emulsion with which the film is coated. Light colored objedls reflect strong 
 rays of light and they affebl the silver salts the most. If there is a clear 
 sky the rays of light from it will make the sky in the negative opaque or 
 nearly so ; the rays reflected through the lens from a white house will be 
 almost as strong as those from the sky ; the rays from the red brick chimney 
 will affebl the negative much less, while so little light comes from the 
 heavily shaded veranda that the negative is hardly affecled in this part. We 
 have in the negative, therefore, a record of lights and shadows as we see 
 them, but all reversed. When these are again reversed by making the print, 
 we have them as we see them, for, as in grammar, two negatives make an 
 affirmative, i. <?., a positive. 
 
MAKING THE EXPOSURES. 
 
 II 
 
 A certain amount of light must strike the film in order to make a neg¬ 
 ative of proper density. We make a snap-shot out of doors on a bright 
 day in one-fiftieth of a second. If we wish to take a pidture indoors on the 
 same day, we must give from two seconds to several minutes, according to 
 the amount of light coming through the windows and according to the color 
 of the walls. If the latter are light in color, the exposure will be much 
 shorter than if they are dark, because they reflect more light. You must 
 have exposure enough, but not too much. You cannot make a snap-shot 
 in-doors, neither can you give a long time exposure out-doors on a bright 
 day without ruining the negative ; you must give approximately the corredt 
 exposure. But, fortunately, film is so made as to give quite a wide latitude 
 of exposure. The length of exposure depends first of all upon the intensity 
 of the light. 
 
 STOPS. 
 
 A volume might be written on the subject of stops, but a few lines will 
 suffice to give the amateur an idea of why they are necessary, and how they 
 should be used. 
 
 The best part of a lens is its center, i. e., those rays of light which pass 
 through the lens at or near the center will be correctly refradted and will 
 therefore give the image clear and sharp on the ground glass, while the rays 
 which pass through the outer edges of the lens will not make such a clear 
 and distindl image. It can thus be seen that the smaller the stop opening 
 the sharper the pidture, because the outside rays will be cut off. But we 
 find also that with a small diaphragm or stop opening we cut down the light 
 to a great extent. If the beginner has a camera with focusing glass it will 
 be well for him to focus on some objedt on the ground glass, using the 
 largest diaphragm and carefully noting the lines to see if they are sharp. 
 Then let him put a smaller stop in position, noting the increase in sharpness 
 and the decrease in light. The better the lens the larger the stop opening 
 which we can use successfully, and consequently the “faster” the lens. 
 Suppose we have one lens of 8 inch focus and we find that in a given light 
 we can make a clear, sharp pidture in 5 seconds with a stop one inch in 
 diameter, while with another lens of same focal length we must use a stop 
 only one-half inch in diameter in order to get a sharp pidture. How would 
 they compare in speed? Nine people out of ten will jump at conclusions 
 and say that we must give the lens with the half-inch opening 10 seconds. 
 In this case the first impression is not corredt. We must give four times the 
 time or 20 seconds, because the area of the one inch stop is four times that 
 of the half inch stop. We find that we can get a simple little rule from this 
 and if we know the corredt exposure with one stop we can figure for our- 
 
 (*) 
 
12 
 
 MAKING THE EXPOSURES. 
 
 selves the correct exposure for the others : The time variation between 
 two stops is inversely as the square of their diameters. 
 
 With our single lens cameras there are stop openings of three sizes, the 
 largest, for ordinary snap shots, the second, (which has about fs the 
 diameter of the largest) for snap shots on the water and in tropical or semi- 
 tropical climates or for time exposures indoors, and the smallest, ordinarily 
 used for time exposures out of doors—never for snap shots. 
 
 With the double lenses there is a greater number of stop openings and 
 they are arranged upon what is known as the Uniform System, commonly 
 abbreviated to “ U. S.” 
 
 Of course when we say in a general way that the speed of a lens 
 depends upon the diameter of the stop opening we do not mean, for instance, 
 that a Pocket Kodak stop opening must be as large as the diaphragm in the 
 lens of an 8 x io camera in order to have the same speed, but it must be as 
 large in proportion, and that proportion we find is based upon the length of 
 focus (the distance between lens and plate) of the lens. The proportionate 
 size or the “value” of the stop opening is designated by f, and is the 
 quotient obtained by dividing the focal length of the lens by the diameter 
 of the stop. Taking, for instance, a lens of 8 inch focus with a stop one 
 inch in diameter and we find that 8 ~ i = 8. Hence, 8 is the f value of 
 the stop and would be designated : f 8. Suppose our stop is % inch in 
 diameter, we would then have 8 -f- — f 32. 
 
 For convenience the Uniform System of marking stop openings has 
 been adopted by nearly all manufacturers of iris diaphragms and the follow¬ 
 ing table will help the amateur to understand the meaning of these mark¬ 
 ings by giving the f value for each one : 
 
 U. S. 4 =/ 8 
 U. S. 8=/11.3 
 U. S. 16 —f 16 
 U. S. 32 =/22.6 
 U. S. 64=/32 
 U. S. 128 = f 45.2 
 
 The convenience of the U. S. system is at once apparent when we 
 understand that each higher number stands for an opening having half the 
 area of the preceding opening. Between each number, therefore, we 
 simply double the time. For instance, the table given on page 20 is for 
 use with stop No. 8 with the No. 4 Folding Pocket Kodak. If we use stop 
 No. 16 we must give twice, or if No. 32 four times the time of the table, 
 while with stop No. 4 we would give only one-half the time of the table. 
 
 Ordinarily the appended table is a good one to follow in the use of the 
 stops with a rapid rectilinear lens, but there are some exceptions : 
 
MAKING THE EXPOSURES. 
 
 13 
 
 No. 4.—For instantaneous exposures in slightly cloudy weather and 
 for portraits. Do not attempt instantaneous exposures on dark, cloudy 
 days. 
 
 No. 8.—For all ordinary instantaneous exposures when the sun shines. 
 
 No. 16.—For instantaneous exposures when the sunlight is unusually 
 strong and there are no heavy shadows ; such as views on the seashore or 
 on the water, or in tropical or semi-tropical climates ; also for interior time 
 exposures. 
 
 Nos. 32 and 64.—For interiors. Never for instantaneous exposures. 
 
 No. 128.—For time exposures outdoors in cloudy weather. Never for 
 instantaneous exposures. The time required for time exposures on cloudy 
 days with smallest stop will range from second to 5 seconds, according 
 to the light. The smaller the stop the sharper the picture. 
 
 To get “ depth of focus ”, i. <?., have all objects, both near and far, 
 needle sharp, use the smallest stop. 
 
 The No. 4 stop is not to be used when absolute sharpness is desired, as 
 the opening is so large that few lenses will have a good “depth of focus ’’ 
 with it— i. e., only the objeCts at the exaCt distance focused will be sharp, 
 those nearer by or farther away being more or less “out of focus.’’ 
 
 We find in the instruction books for the fixed focus Kodaks having 
 rapid rectilinear lenses that we are told to use the No. 16 stop for ordinary 
 snap shots, while the above table says to use No. 8. The reason for this 
 exception is easily explained, and to avoid confusion and apparent contra¬ 
 diction, should be given : You have, no doubt, often noticed that many 
 photographs are more fully timed in the center than at the edges and, for 
 instance, that you could mark out a place, say, 3^ x 3^ inches in the 
 middle of a 5 x 7 photograph that would be fully timed, while the outer 
 edges were considerably under-timed. Now the lenses on the 3^ x 3^ 
 Bulls-Eye Kodaks will in reality cover a 5 x 7 plate with the No. 
 16 opening, and so by using only the central portion where the greatest 
 illumination occurs, we find it practical to make snap shots with this 
 small opening. 
 
 Sharpness is extremely desirable in a picture, but what we call “round¬ 
 ness” and “atmosphere” is perhaps fully as important. What is meant 
 by these rather vague terms is sometimes puzzling to the beginner and they 
 are, perhaps, best explained as referring to that quality in a picture which 
 gives the proper idea of both distance and perspective—that quality which 
 is the opposite of the silhouette ; which makes every objeCt appear in proper 
 relation to every other objeCt and gives life and character to the picture. 
 “Atmosphere” and “roundness” we find by practical experience are 
 somewhat lost by using too small a stop. We should, therefore, use the 
 largest opening which will give us a sharp picture. 
 
i4 
 
 MAKING THE EXPOSURES. 
 
 FOCUSING. 
 
 If your Kodak makes pictures 3^ x 4inches or larger, you must 
 look to your focusing as well as to the matter of light and stops. The 
 manual accompanying the instrument explains how to do this, but some¬ 
 thing of the reasons for the necessity of it may be of value to you. It is 
 our intention to make this book intensely practical, yet a bit of theory 
 often helps one in the accomplishment of practical ends. 
 
 Suppose we wish to make a picture of an objebt six feet away ; the 
 focusing point would be (with most lenses used in a 4 x 5 camera) seven 
 inches from the lens. Now again, should we wish to make a piblure of an 
 objebl 100 feet or more distant, we find that the focusing point will be six 
 inches from the lens. So you can readily see that, with a camera of that 
 size, it would be impossible to have a lens always set at the same point or 
 distance from the sensitive surface, for if the nearby objebis were in focus 
 (sharp) the distant ones would be out of focus (not sharp), and vice versa , 
 and for that reason we have what is called an “ adjustable focus” ; that is, 
 the front of the camera A 
 
 or that part which <■> .. l\ —c 
 
 carries the lens is made 
 so that it can be moved 
 and the distance of the 
 lens from the sensitive film or plate be increased or decreased. 
 
 The variation of focus is shown, greatly exaggerated, in the above 
 diagram. 
 
 When we say that a camera is “ in focus” it is equivalent to saying 
 that the sensitive surface of the film or plate, when in the camera, will come 
 in contabt with the rays of light reflected from subjebt at this point or the 
 point of focus. 
 
 TO FOCUS. 
 
 A A Lens. 
 
 E 
 
 C Focus of the rays of light from object B. 
 Focus of the rays from object D. 
 
 On the Adjustable Focus Kodaks will be found a little scale marked 
 with figures ranging usually from six to one hundred, and indicating feet. 
 (They are also marked for meters.) You will also find a little pointer that, 
 as you move the lens back and forth, will pass over the scale. Now, 
 should you wish to take a pibture of an objebl, say fifteen feet distant, you 
 will move the pointer until it rests over the figure 15. This indicates that 
 the lens has been brought to the proper distance from the focal plane ( i. e ., 
 the surface of film or plate) for the focusing of objebts at a distance of fifteen 
 feet. Objebts nearer by, or farther away, will not be absolutely sharp, this, 
 however, depending largely upon the size of stop which you are using. 
 See page 13. 
 
MAKING THE EXPOSURES. 
 
 15 
 
 While the adjustable scale for all cameras up to and including 5x7 
 inches will, when carefully used, give one just as sharp pictures as can be 
 obtained by focusing on the ground glass, there is some satisfaction to the 
 student of photography in focusing his camera on the glass before he sets 
 out on his photographic career. It shows him what his lens is doing and 
 why it impresses an image on the sensitive film. 
 
 When used with glass plates, the Screen Focus and the No. 3, 3A and 4 
 Folding Pocket Kodaks and the 4A Folding Kodak may be focused on the 
 ground glass, there being a special Plate Adapter and Focusing Glass 
 for this purpose. However, for the purposes of the study of this question 
 of focus, it is not necessary to purchase an adapter, as the back of the 
 camera may simply be removed and a piece of ground glass laid against the 
 rollers over which the film passes and the picture may be focused on this. 
 Be careful, however, to have the glass of such size that it may be placed in 
 adual contact with the rollers ; otherwise, it will not be in the proper focal 
 plane and the lesson will be lost. 
 
 Note —The experiment of looking at the image on the ground glass may be similarly tried with the 
 fixed focus Kodaks and will prove extremely interesting and instructive to the beginner. 
 
 To accomplish this, place the camera on a tripod, on the window sill 
 or on a table. It will be better to focus on something outside of the house 
 at first as the light will be stronger. Point the camera at some objeH, a 
 tree, for instance ; put the ground glass in position, use the largest stop and 
 open the shutter. With your head about one foot away and your eyes on 
 a level with the camera, take a piece of black or dark cloth and place over 
 your head and back part of the camera, thus cutting off all light except that 
 entering through the lens. Do not try to look through the ground glass, 
 but at it. In a few seconds, or when your eyes get accustomed to the dark¬ 
 ness, you will see a piCIure on its surface. The piCIure or image you see 
 will be just what you would get on the sensitive surface of your film or plate. 
 You will, however, notice that the piCIure is inverted, or upside down. 
 This may excite your curiosity but will explain itself by aid of the following 
 diagram : 
 
 Let A represent a tree. 
 
 B the lens. 
 
 C the ground glass or focusing screen. 
 D the camera. 
 
 The rays of light 
 from “A” passing in a 
 straight line through 
 “B” until they are 
 interrupted by “C,” 
 on which they strike, 
 form an inverted image 
 of the object “A.” 
 
 Now move the 
 lens back and forth 
 
i6 
 
 MAKING THE EXPOSURES. 
 
 until the tree is sharply defined on the ground glass. When the lens is at 
 just the proper distance from the ground glass, the object will be as “sharp 
 as a needle’’ even if the largest stop be used. Now focus on objects at 
 other distances. First, on an object one hundred feet or more away and 
 then on an object only eight feet away. You will notice that the farther 
 away the object, the nearer to the focal plane (ground glass) the lens must 
 be in order to give a sharp picture, and vice versa. And you will notice 
 further, if you take the trouble to carefully measure the distances, that your 
 ground glass tells the same tale as your focusing scale,—in other words, if 
 you focus on an object 25 feet distant and get it sharp, that the pointer on 
 the focusing scale will point at, or nearly at, 25. You will also notice that 
 all objects from 15 to 50 feet will be in good focus. 
 
 Our factory methods of adjusting the focusing scale correspond closely 
 to the foregoing paragraph. To insure accuracy, the focusing scales are 
 placed on Kodaks by adlual focusing. The camera is placed beneath a 
 hood, which serves as a focusing cloth and cuts off all light except that 
 entering through the lens. Incandescent lights are arranged at different 
 distances, which correspond with the figures on the focusing scale. For 
 instance, the camera is first focused on a light 15 feet away, regardless of 
 the scale, which is then so placed on the camera that the 15 foot mark will 
 come directly underneath the pointer. The scale is then fastened in 
 position and tested at other distances, the image on the ground glass being 
 examined with a magnifying glass. Before the camera is finally passed from 
 his department, the inspector makes certain that the focusing scale cor¬ 
 responds exactly with the ground glass at each distance. 
 
 While the shutter is open and the ground glass is in position it will 
 prove interesting and instructive to note also the effect of the stops. After 
 focusing on some object with the largest diaphragm, put a smaller stop in 
 position and note the decrease in light and the increase in sharpness over 
 the entire picture. There may be no marked increase in sharpness of the 
 particular object on which you have focused, but nearer and further objects 
 will be sharpened in a remarkable degree. Remember this point later. 
 The above experiment with stops may also be tried with the fixed focus 
 cameras. 
 
 Flaving now something of the theory of photography, you are pre¬ 
 pared to make your first negatives. Read carefully the instructions on the 
 making of snap shots and time exposures given in the following pages, hav¬ 
 ing also read carefully the instructions for operating your camera, which are 
 given in the manual accompanying it, you are ready to sally forth and 
 undertake the work of exposure. We advise snap-shot work to begin with, 
 but you should be sure to pick out for your first work a day when the light 
 is strong and brilliant, that your first batch of negatives may be fully timed. 
 
MAKING THE EXPOSURES. 
 
 17 
 
 SECTION 2.-SNAP SHOTS. 
 
 Instantaneous exposures, or “ snap shots ”, as they are more frequently 
 called, are usually made while the camera is held in the hand and are about 
 the first thing that the amateur attempts. Some learned writers deprecate 
 this, but as snap shots are the simplest exposures to make and ordinarily 
 the simplest to develop, because most likely to be correctly timed, we 
 believe the amateur should begin his photographic career with this class 
 of work. 
 
 Before making an exposure, either time or instantaneous, be sure of 
 four things: 
 
 First —That the shutter is set properly. (For time or instantaneous 
 exposures as desired.) 
 
 Second —That the proper stop is in position before the lens. 
 
 Third —That an unexposed section of the film is turned into position, 
 or that an unexposed plate is in position and that the dark slide has been 
 removed. 
 
 Fourth —Unless the camera has a fixed focus see that it is properly 
 focused on the principal object to be photographed. 
 
 To take instantaneous pictures the object must be in the broad, open 
 sunlight, but the camera should not be. The sun should be behind the 
 back or over the shoulder of the operator. 
 
 Note Effective pictures may frequently be made by working toward the sun, shading the lens to 
 keep out direct sunlight when so doing, but the amateur should not attempt such work at the start. 
 
 SET THE FOCUS. 
 
 Set the focus by placing the pointer over the figures on the index plate 
 nearest the estimated distance of the principal object to be photographed in 
 feet. 
 
 It is not necessary to estimate the distance with any more than approx¬ 
 imate accuracy. For instance, if the focus is set at 25 feet (the usual 
 distance for ordinary street work), the sharpest part of the pidture will be 
 the objedfs at that distance from the camera, but everything from 15 to 35 
 feet will be in good focus. For general street work the focus may be kept 
 at 50 feet, but where the principal object is nearer or farther away the focus 
 should be moved accordingly. 
 
 USE THE PROPER STOP. 
 
 It is imperative that a large stop be used in making snap shots. With 
 most cameras the largest stop must be used under ordinary conditions with 
 
i8 
 
 MAKING THE EXPOSURES. 
 
 bright sunlight. This is the case with all of the single lens Kodaks. With 
 the double lens Kodaks use No. 8 stop. See page 13. 
 
 This size stop must be used for snap shots except where the sunlight is 
 umisually strong and there are no heavy shadows, such as views on the 
 water, or in tropical or semi-tropical climates, when the next smaller stop 
 may be used. 
 
 The smallest stop must never be used for snap shots or absolute failure 
 will result. 
 
 LOCATE THE IMAGE. 
 
 Holding the camera steadily, locate the image in the finder. The 
 finder gives the exadt scope of view and shows on a reduced scale just what 
 will be in the picture—no more, no less. 
 
 HOLD IT LEVEL. 
 
 The camera must be held level. 
 
 If the operator attempts to pho¬ 
 tograph a tall building, while stand¬ 
 ing near it, by pointing upward 
 (thinking thereby to center it) the 
 result will be similar to Fig. 1. 
 
 This was pointed too high. 
 
 This building should have been 
 taken from the middle story window 
 of the building opposite. 
 
 The operator should hold the 
 camera level , after withdrawing to a 
 proper distance, as indicated by the 
 image shown in the finder. Some 
 cameras are equipped with a rising 
 and sliding front to assist in taking in 
 the tops of tall buildings, etc. See 
 page 21. 
 
 All being in readiness 
 
 Hold the Camera Steady, 
 
 Hold it Level and 
 Make the Exposure. 
 
 Fig. I. 
 
MAKING THE EXPOSURES. 
 
 J 9 
 
 SECTION 3.—TIME EXPOSURES INDOORS. 
 
 First put the camera in position. The 
 diagram shows the proper position for the 
 camera. It should not be pointed diredtly at a 
 window as the glare of light will blur the picture. 
 If all the windows cannot be avoided, pull down 
 the shades of such as come within the range of 
 the camera. 
 
 To make a time exposure, place the camera 
 on some firm support, like a table or tripod, focus carefully (this, of course, 
 does not apply to fixed focus cameras) on the principal objedt and locate the 
 image in the finder. 
 
 FOCUSING ON THE GROUND GLASS. 
 
 When using plates, or cameras having a removable roll holder, the 
 focusing may be done on the ground glass if desired. The plate or roll 
 holder being removed and the shutter opened, the image may be seen 
 (reversed) upon the ground glass. Cover the head with a focusing cloth 
 of some opaque material and look on the ground glass, 7 iot through it. 
 Focus by moving the lens back and forward until the picture is sharp. 
 Then close the shutter, insert plate or roll holder and proceed as before 
 described. 
 
 If the light is poor the focusing may be done with the largest stop and 
 a smaller one put in position afterward. 
 
 Set the shutter and all being in readiness press bulb or lever, as the 
 case may be, to open shutter. Give the proper time (using a watch if more 
 than two seconds) then close the shutter. 
 
 TIME NEEDED FOR INTERIOR EXPOSURES. 
 
 The following table is an excellent guide for making interior exposures 
 and is based upon the time needed for exposures with the stop ordinarily 
 used for snap shots in single lens cameras, and with the No. 8 stop in all 
 Rapid Rectilinear lenses. When a smaller stop is used the time must be 
 increased proportionately. Where there are figures, greater softness will 
 be obtained in the faces by somewhat increasing this time and the Steadman 
 system of light measurement is recommended. See page 39. 
 
 Diagram Showing Position of 
 Camera. 
 
20 
 
 MAKING THE EXPOSURES. 
 
 White walls and more than one window : 
 
 bright sun outside, 2 seconds ; cloudy bright, 10 seconds ; 
 
 hazy sun, 5 seconds ; cloudy dull, 20 seconds. 
 
 White walls and only one window : 
 
 bright sun outside, 3 seconds ; cloudy bright, 15 seconds ; 
 
 hazy sun, 8 seconds ; cloudy dull, 30 seconds. 
 
 Medium colored walls and hangings and more than one window : 
 
 bright sun outside, 4 seconds ; cloudy bright, 20 seconds ; 
 
 hazy sun, 10 seconds ; cloudy dull, 40 seconds. 
 
 Medium colored walls and hangings and only one window : 
 
 bright sun outside, 6 seconds ; cloudy bright, 30 seconds ; 
 
 hazy sun, 15 seconds ; cloudy dull, 60 seconds. 
 
 Dark colored walls and hangings and more than one window : 
 bright sun outside, 10 seconds ; cloudy bright, 40 seconds ; 
 
 hazy sun, 20 seconds ; cloudy dull, 1 minute, 20 seconds. 
 
 Dark colored walls and hangings and only one window : 
 
 bright sun outside, 20 seconds ; cloudy bright, So seconds ; 
 
 hazy sun, 40 seconds ; cloudy dull, 2 minutes, 40 seconds. 
 
 The foregoing is calculated for rooms whose windows get the direct 
 light from the sky and for hours from 3 hours after sunrise until 3 hours 
 before sunset. 
 
 If earlier or later the time required will be longer. 
 
 As a general rule use a medium sized stop for time exposures indoors. 
 
 SECTION 4.—TIME EXPOSURES IN THE 
 
 OPEN AIR. 
 
 When the smallest stop is in the lens the light admitted is so much 
 reduced that time exposures out of doors may be made the same as interi¬ 
 ors but the exposure must be much shorter. 
 
 With Sunshine —The shutter can hardly be opened and closed 
 quickly enough to avoid over-exposure. 
 
 With Light Clouds —From ^ to 1 second will be sufficient. 
 
 With Heavy Clouds —From 2 to 5 seconds will be required. 
 
 The above is calculated for the same hours as mentioned above and for 
 objects in the open air. For other hours or for objects in the shadow 
 
MAKING THE EXPOSURES. 
 
 21 
 
 under porches or under trees, no accurate directions can be given ; experi¬ 
 ence only can teach the proper exposure to give. 
 
 Time exposures cannot be made while the camera is held in the hand. 
 Always place it upon some firm support, such as a tripod, chair or table. 
 
 PRACTICAL HINTS. 
 
 In the loregoing pages we have given a bare outline of how to make 
 snap-shots and time exposures, and further on we shall give the details of 
 development. Before, however, taking up the chemical part of picture 
 making, we propose to treat of some of the important details of exposure. 
 
 The beginner should expose a roll of film or a few plates, taking 
 both snap-shots and time exposures and developing them as per instructions 
 on pages 72 to 91, before taking up the study of the various methods of 
 portraiture, etc. 
 
 SECTION 5.—THE RISING AND SLIDING 
 
 FRONT. 
 
 Occasionally in the taking of photographs of buildings or in landscape 
 photography it is found that the subject cannot all be readily included 
 except by tilting the camera, which 
 would produce the undesirable results 
 shown on page 18. To assist in cor¬ 
 recting this fault some cameras are 
 provided with a rising front, which may 
 be utilized in cutting out an undesirable 
 foreground or to assist in taking in the 
 top of a high building, etc. To illus¬ 
 trate this we take the Screen Focus 
 Kodak, which is manipulated as follows: 
 
 Fig. 1 shows how to raise or lower 
 the front. The rising front is controlled 
 by rack and pinion operated by turning milled head, Fig. 1. To raise or 
 lower front, pull out on the milled head and it will turn easily. Letting go 
 of the milled head allows pinion to spring back and front is locked. 
 
 The front can be moved to the right or left (up and down when Kodak 
 is placed on its side for vertical exposure) by turning to right lever 
 
22 
 
 MAKING THE EXPOSURES. 
 
 beneath the shutter, Fig. II., and slid¬ 
 ing front in either direction to the 
 desired position. The front is locked 
 in position by pushing lever to left. 
 When through using, repeat operation 
 shown in Fig. II. by sliding front to 
 point in center where it catches and 
 lock it. 
 
 In order to make a sharp pi6Iure 
 when using the rising front it will be 
 fig. ii. better to use a small stop (No. 32 or 
 
 64) and as this in turn necessitates a 
 time exposure, a tripod or other firm support must be provided. Experi¬ 
 ence alone can teach the many ways in which the rising and sliding front 
 may be used for composing artistic pictures. 
 
 N. B —Do not fail to center front before closing camera as otherwise there is danger of ruining 
 bellows when folding. 
 
On Out-Door Work. 
 
 The foregoing sections have given you practical instructions in the 
 manipulation of your Kodak, the selection of stop and exposure for the 
 various lines of work. The question now arises in your mind “What shall 
 I take?” Probably like most beginners you desire to make your first 
 attempts out of doors. 
 
 It is hardly necessary for one to leave the vicinity of his own home to 
 find suitable subjects from which to make interesting pictures. This includes 
 those living in the thickly populated cities as well as those of the rural 
 districts, the former giving us as one of the most interesting subjects, “street 
 life.” This includes mostly moving objeCts, the teams drawing heavy 
 trucks, the cars loaded with their passengers, the little old woman who 
 keeps the apple stand at the corner, strange and odd characters frequently 
 seen in most cities, and the newsboy who will nearly always “give you a 
 chance” if you take him right. In the country we find the mill, the rustic 
 bridge, the pond with its bordering rushes, the old boat drawn up on the 
 bank of the creek, an occasional glimpse at a herd of cattle, all of which 
 subjects are good material for artistic pictures and offer numerous opportu¬ 
 nities for various compositions, and one to obtain the best results must 
 necessarily have an aCtive sense of perception, a quick eye and hand. 
 
 For all photographic work including rapid movement, sunlight is 
 necessary. The nearer the objeCt to be photographed is to the camera the 
 more rapid must be the working of the shutter. If the reader is of an 
 experimental turn, he has fully learned, from his experiences in development, 
 the result of making a snap-shot on a cloudy day. 
 
 PHOTOGRAPHING MOVING OBJECTS. 
 
 In most instances where the beginner attempts the photographing of 
 moving objects, the result will be disappointing, this is due solely to his lack 
 of appreciation of the circumstances and the actual conditions confronting 
 him. For example, he takes his camera to the race track to photograph a 
 friendly brush between local trotters. 
 
24 
 
 OUT-DO OR IVOR A'. 
 
 Securing a position just under the wire he waits for the finish, and as 
 the horses rush by at a 2.10 clip he snaps them broadside from a distance 
 of ten feet, and fails to understand why the negative should show nothing 
 but a blur, for he will have nothing else. The reason for his failure is this ; 
 if he has a double lens instrument with an F. P. K. automatic shutter it has 
 worked in approximately Og of a second, an apparently very short space of 
 time, but we find on figuring it out that a horse covering a mile in 2.10 
 covers 40 feet and 8 inches in one second of time or over nine inches in yg- 
 of a second, the time the shutter is open—a sufficient distance to make a 
 most decided blur. The distance the image will move on the plate during 
 exposure is to the distance the object moves, as the focal length of the 
 lens is to the distance from lens to object. In this case we will suppose the 
 focus of the lens to be six inches, and we know the distance from lens to 
 object to be ten feet (120 inches) and the distance the object moves 
 approximately nine inches. We will let X stand for distance image moves 
 on plate and it gives us the following equation : X : 9 : : 6 : I20 = 7 4 g. 
 It is obvious that if the object moves T %- of an inch on the plate the picture 
 will be ruined. We find then that in order to take pictures of moving 
 objects at right angles there are two factors of prime importance—the speed 
 of the shutter and the distance from the object. In the ordinary amateur 
 outfit the shutter speed cannot be materially increased and we must there¬ 
 fore take the picture from further away. Experiment has proven that in 
 order to successfully take pictures of rapidly moving horses, etc., from a 
 position near by and at right angles the shutter must work in from j^g to 
 of a second (Muybridge claimed to have used a shutter working in of a 
 second) and this extreme speed necessitates a special camera and lens as well 
 as a special shutter.* But there are tricks in all trades and satisfactory 
 pictures of rapidly moving objects can 
 be readily made by photographing them 
 from partly in front as well as from a 
 reasonable distance. The accompanying 
 picture of the Empire State Express, 
 moving at full speed, shows plainly what 
 can be done in this direction. It was 
 made with a Pocket Kodak and is a 
 good illustration of what can be accom¬ 
 plished by taking the picture from a 
 point at a considerable distance from 
 the object and also somewhat ahead of it. By acting on this hint the 
 amateur can soon learn to take pictures of rapidly moving objects, and in 
 such a manner as to largely avoid the disagreeable blurring. 
 
 * For this special work we recommend the use of a Graflex Camera. 
 
OUT-DOOR WORK. 
 
 25 
 
 STREET PHOTOGRAPHY. 
 
 There are a few points that are essential to all those who are about to 
 attempt street work, one of which is to work quickly, attracting as little 
 attention as possible ; another is to be able to take in a pleasing and 
 attractive situation at a glance. By combining these we are enabled to 
 make exposures without the annoyance of useless and sometimes embarrass¬ 
 ing questions and situations. This can easily be accomplished if one is 
 familiar with all the workings of his camera, can level it quickly and make 
 the exposure the instant he has the objeCt in the right position in the 
 finder. You will frequently notice upon the examination of pictures taken 
 on the street that a number of people were looking at the camera when the 
 exposure was made. For instance, take a group of boys interested in some 
 game ; notice the action, the life and intensity of the scene, which is certainly 
 one of the rare bits of street life. Now if you are aCtive without being 
 conspicuous you will be able to record that scene with all its life and reality; 
 on the other hand, should they become aware of your presence they would 
 undoubtedly lose interest in the game and you would find most of the little 
 group staring at the camera. In that case the artistic value of your 
 composition is entirely lost. 
 
 Another important point and one that must not be overlooked is the 
 holding of the camera during the exposure. Many pictures, and we must 
 include those of all classes, show that the point of view from which they 
 were taken was too low. The distance upward from the ground or objeCt 
 upon which we stand to the level of the eyes, or the point of view from 
 which we see our subjeCt will range, in most cases, from four and one-half 
 to five and one-half feet. Now if we hold the camera say ten inches above 
 our knees it can be readily seen that the point of view is radically changed, 
 and that the effeCt produced upon the eye might be entirely lost if taken 
 from that position. The proper place is against the chest, or as high as we 
 can manage it and still see what is in the finder. 
 
 COMPOSITION. 
 
 The word “composition” as applied to photography may be summed 
 up in two words, selection and arrangement. Promiscuous snap-shots are, 
 in a way, dangerous, as one gets into a careless habit and is liable to “ snap 
 shot” everything within range regardless of composition and those points 
 that go far towards making a picture, and the result is that he often wonders 
 why his pictures lack interest. 
 
26 
 
 OUT-DOOR WORK. 
 
 One must necessarily study composition, select his subjects and if it is 
 possible, arrange them in such a manner that they are pleasing to the eye. 
 Should they be immovable, such as buildings, street lines, etc., they can oe 
 arranged, in a sense, by changing the point of view and selecting that which 
 gives the most satisfactory result. One is frequently able to make pleasing 
 pictures from the most commonplace subjects by giving them attention 
 and study. 
 
 LIGHTING THE SUBJECT. 
 
 The lighting of your subjeCt is a matter of importance, having much to 
 do with the results obtained and enhancing the value of the composition. 
 Beginners, as a rule, when making exposures in the sunlight, should have 
 the sun behind the back or over the shoulder, but the advancement of the 
 amateur warrants further information on the subjeCf. Effective pictures may 
 frequently be made by having the sun to one side, and at various times the 
 value of the picture is increased by its being a trifle to the front. (In this 
 case it is necessary to shade the lens to keep out direCt sunlight while mak¬ 
 ing the exposure.) 
 
 For illustration we will take a tree in the bright sunshine ; now if you 
 will take the trouble to walk around it and closely observe the different 
 effects of light and shade you will notice that when you face the tree and the 
 sun is directly back of you that the tree has the appearance of being flat ; as 
 you move gradually to the right or left you will see that part of it is in shadow, 
 and as you arrive at an angle of 90 degrees with your first position you will 
 find that one side is in the sunlight while the opposite side is in shadow, 
 and that it stands out with the pleasing contrast of light and shade, thus 
 giving depth and roundness to the composition of your picture. The 
 shadows are also to be studied. These should be transparent to a degree, 
 always containing detail. Heavy black shadows devoid of detail are always 
 a detriment to the composition of your picture. When the sun is very 
 bright and the lights are strong while the shadows are black, the result with 
 a snap shot would be too much contrast. This can be overcome by a very, 
 very short time exposure, resulting in a softening of the high lights and an 
 added amount of detail to the shadows. 
 
 When photographing boats, the point of view to be obtained (if 
 possible) should be such that the shadow effeCts on the water are made to 
 help the composition. 
 
 The above gives one an idea of lighting from which he can work, 
 increasing or decreasing the light and shade according to his fancy. 
 
OUT-DOOR WORK. 
 
 27 
 
 LANDSCAPE PHOTOGRAPHY. 
 
 The photographic study of nature will always remain a chief source of 
 pleasure to the enthusiastic amateur, giving as it does the opportunities, 
 nowhere else obtained, to display his taste in choice of composition, and his 
 ideas of that which is most pleasing to the eye. Care in selecting the best 
 point of view from which to take a subject is of more importance than obtain¬ 
 ing sharpness of detail. A question often asked is : “ What is good composi¬ 
 tion in landscape photography?” Another question supplemental to the 
 above : ‘‘Are there any rules for composition? ” There are, and many, but 
 frequently when we attempt to make use of them they do not fit the subjeCt. 
 (There are, however, some that can be used with entire satisfaction ; of 
 those we shall speak later.) So we would say that a good composition is 
 one that is pleasing to the eye, one that leaves you with that feeling which 
 is experienced when you are convinced that you have the best that can be 
 made from the subject in hand, the feeling justified by the result obtained. 
 
 Composition needs study, continual study, and to obtain the best results 
 one must necessarily improve his knowledge of the beautiful in nature, that 
 he may be able to select those ‘‘bits” which convey to him a feeling of 
 entire satisfaction. To obtain the best results that feeling must necessarily 
 be cultivated. Frequently one fails to see that which is essential to making 
 a good picture, or he fails to distinguish the essentials from the non-essen¬ 
 tials ; he may have good ideas, but he fails to carry them out. 
 
 Do not be discouraged because upon studying the composition of a 
 picture you have made, you exclaim, “Why, that is lop-sided! ” or “ Look 
 where I have placed the tree! ” but give it some thought, convince yourself 
 that the same subjeCt taken from another point of view, perhaps taken at 
 another time of day when the sunlight would certainly change the aspeCt of 
 the scene, must turn out far different results, then try again. It will 
 frequently happen, there will exist little similarity between the two prints, 
 although both were taken from the same subjeCt, one giving entire satis¬ 
 faction, the other none. 
 
 A mistake often made by the amateur is that he tries to get too much 
 into his picture ; in other words, he covers too much field. For instance, 
 he makes a picture containing a bridge, a herd of cattle, a few trees, a small 
 body of water ; while the distance may contain a range of mountainous 
 country. A composition of this description in most cases might be divided 
 to good advantage into four or five pictures ; the placing of all in one 
 divides the picture into sections, the result is that it fails to be interesting. 
 One should seleCt some one objeCt for his picture ; this should be the main 
 point of interest, one that arrests the eye immediately the view is placed 
 
 (3) 
 
28 
 
 GUT-DOOR WORK. 
 
 before him. When this has been selected all other features of the composi¬ 
 tion should be of secondary consideration. If at times it is found necessary 
 to include something that might be a detriment, it is often possible to put 
 it slightly out of focus without destroying the principal object 
 
 The next point is placing the main objecfl of interest ; if it can be avoided 
 do not locate it in the center, but rather at one side or the other. It may 
 be the end of a road, perhaps a house in the distance, and to call attention 
 to that fa< 5 t the lines of your composition should converge towards it. You 
 will often notice upon glancing at the picture of a landscape that the eye is 
 drawn to one point. This is caused by the lines of the composition leading 
 to that point, the objefil of interest, it having been studied to produce that 
 effect. When taking the picture of a house do not get diredtly in front of it, 
 but at one side, thereby showing it in perspective. This will also apply to 
 street scenes ; do not take a view of the street from its center, but from one 
 side. 
 
 There are a few rules that can in most cases be followed with good 
 results. The horizon line, which in most landscapes is the more conspicu¬ 
 ous, should never divide the picture into two equal parts, but should be 
 - either one-third from the top or one-third from the bottom. When one has 
 subjects in the near foreground, the line should be about one-third from 
 the top, while for broad, expansive views it should be at the same distance 
 from the bottom. With the latter one should have, if possible, a clouded 
 sky. 
 
 FIGURES. 
 
 The introduction of figures into the landscape may increase its value ; 
 it may also mar its effect. Figures, to help your composition, should be in 
 action ; in other words, they should not be aware of the fact that they are 
 being photographed. Many of the most beautiful landscape effects contain 
 figures and when the pose is in harmony with the composition the result is 
 always pleasing. 
 
 CLOUDS. 
 
 Clouds, when possible to obtain, are an advantage in the composition 
 of a landscape, breaking up, as they do, the usual monotony of a blank sky, 
 and adding much to the beauty and interest of the picture. A prettily 
 clouded sky is often the redeeming feature of an otherwise poor composition. 
 Two practical methods of getting good clouds in your prints are given in 
 the special article on page 165. 
 
Pictorial Photography. 
 
 Pictorial photography may be broadly divided into two classes ; land¬ 
 scapes and figure studies. Either line is a study of itself, yet so much 
 depends upon the personality of the operator that we can only indicate a 
 few of the qualities, some at least of which are necessary in every real 
 picture, whether photograph or painting. First of all there must be a 
 
 E. W. ENFIELD. 
 
 motif, a reason for making the pidure. This motif may be one of the fol¬ 
 lowing :—to preserve a record of some interesting place or occasion, to 
 pidure the beauty of some bit of landscape under certain conditions, to tell 
 a story by means of a pidure, or to produce a pidure which shall appeal to 
 the observer by its beauty of line or tone. A successful pidure may com- 
 
30 
 
 PICTORIAL PHOTOGRAPHY. 
 
 bine more than one of these qualities, but one is always dominant and there 
 should never be any question as to the principal motif which caused its 
 being. 
 
 A picture which may be made as a record of some place interesting to 
 the photographer will be greatly enhanced if it gives evidence of good com- 
 
 Rusthall Quarry . 
 
 H. P. ROBINSON. 
 
 position and the correct rendering of beautiful tones. Such a result has 
 been attained in “Rusthall Quarry’’ by Mr. Robinson. Note the beauty 
 of composition both in the lines and the masses of light and shade. This 
 piint is what may be termed a “record of fact’’, but it is nevertheless a 
 beautiful picture, one which would appeal to the observer for its own sake. 
 
PICTORIAL PHOTOGRAPHY. 
 
 3i 
 
 Much has been written 
 about the study of the 
 rules of composition but 
 we would impress upon 
 the reader that composi¬ 
 tion is not an exact 
 science to be learned like 
 the multiplication table. 
 A few of the elementary 
 rules of composition 
 which are principally in 
 the form of “don’ts” 
 will certainly help the 
 novice but the study of 
 beautiful pictures will be 
 of far greater assistance 
 to the ambitious beginner. 
 
 The Tramp of Many Feet. Miss lillian s. ovven. ....... , 
 
 Avoid dividing the pic¬ 
 ture space (viz. all within the boundary lines of the composition) into 
 equal parts by straight lines. If your subject is such that the horizon 
 line is irregular as in “Wind 
 Swept ’’ much is gained. This 
 is a picture which interests one 
 largely because of the varying 
 gradations, both in the sky and 
 foreground. Take note of the 
 beautiful range of tone caused 
 by the play of light upon the 
 sand in the foreground. The 
 sky is not one large expanse 
 of white paper, but of delicate 
 grey tones. Such a sky gives 
 the real effect of luminosity. 
 
 The introduction of animal 
 life into the composition often 
 gives us a story telling picture. 
 
 This is well shown in “The 
 Tramp of Many Feet” where 
 the artist has not lost sight of 
 the value of beauty in the com¬ 
 position and the rendering of A Study. LAURA ADAMS ARMER. 
 
32 
 
 PICTORIAL PHOTOGRAPHY. 
 
 atmosphere. Here we have an effective example of contrasting lines ; the 
 strong vertical lines of the tree trunks in the left hand side of the picture 
 echoed by the tree trunks in the distance upon the right are beautifully con¬ 
 trasted with the curving mass of sheep straggling up the hillside. And 
 the sense of aerial perspective given by the haze over the roadway through 
 which we just see the shepherd and the hill away beyond is superb. 
 
 Landscape pictures containing figures are of two kinds ; those in which 
 
 Le Peintre . 
 
 M. M. LA1LLER. 
 
 the landscape is of greatest importance with the figures as accessories and 
 those where the landscape furnishes the setting to a figure, a group of 
 figures. “Le Peintre” by M. M. Lailler is an excellent example of the 
 latter class. The very positions of the two men at the left of the painter, so 
 busy at his canvas, denote absorbing interest. The single figure of the boy, 
 who apparently would like to get a closer view of the canvas, did he but 
 dare, standing out so prominently against the shimmer of the water, serves 
 to balance the pidure. Place your finger over the figure of the boy and 
 you will at once see how one sided the composition would be without him. 
 This pidure and ‘ ‘ A little Lunch ’ ’, show not only what can be accomplished 
 
PICTORIAL PHOTOGRAPHY. 
 
 33 
 
 with the Kodak, but' are pictures which could hardly be made with anything 
 but a hand camera. Such pictures are sometimes said to be merely acci¬ 
 dental, but in the truest sense this is not so. They may be accidental in 
 their grouping and the combination of tone and atmosphere, but it was 
 not accidental that the Kodaker grasped the opportunity nor that he was 
 able to make negatives and prints giving such evidence of artistic feeling. 
 
 In all nature, what is more beautiful than the human face and figure? 
 Artists of every age and working in every medium have striven to give voice 
 to that beauty. That 
 such work is within the 
 range of the Kodak is 
 made evident in “A 
 Study” by Laura Adams 
 Armer. Such a picture 
 may not appeal to many 
 people because it tells no 
 story in a literal sense. 
 
 But it does tell the story 
 of Beauty. Beauty of 
 Character is certainly 
 shown in the face of the 
 subjeCt as well as beauty 
 of line and tone in the 
 print. The picture is 
 decorative in its com¬ 
 position. Note how 
 effectively the oval lines 
 of the mirror are con¬ 
 trasted with the long 
 severe and almost straight 
 lines in the gown. There 
 is also much to admire 
 in the tonal qualities of 
 the picture. 
 
 Again we would say if you wish to make beautiful pictures, study 
 composition and study pictures. When you see a picture that appeals to 
 you, ask yourself the reason for its so doing. Learn to recognize the 
 qualities that make a picture successful. Remember the few following 
 simple rules of composition : Do not divide your picture space into equal 
 parts by having the unbroken horizon line across the center. Always place 
 your principal objeCt either above or below and to one side of the center. 
 Do not let your picture be one sided by having a heavy mass of shadow or 
 
 “A Little Lunch.''' 
 
 MRS. HELEN P. GATCH. 
 
34 
 
 PI CTO RIAL PHO TO GRAPHY. 
 
 tone near one edge unless there is some smaller dark spot near the opposite 
 end to balance the composition. Try to get atmosphere and correct tonal 
 values into your picture, the first by working when the conditions of light 
 are suitable, and the second by correct exposure, development and printing. 
 And finally aim for simplicity. Do not crowd your picture with meaning¬ 
 less details. In this short article we have striven to give a few ideas which 
 would start the novice in pidorial photography in the proper direction. 
 Remember no matter how good the work you may do there is always room 
 for improvement, and always something to learn in the making of pictures. 
 
Portraiture at Home. 
 
 There is no more interesting branch of picture making than portraiture, 
 and the required accessories can be found in every home. To attain good 
 results it may take a little patience and study, but for all this, the amateur 
 will be well repaid in the satisfaction brought by his first successes. Por¬ 
 traits may be made either indoors or out, in the daytime by the light of the 
 sun or by night by the aid of the flashlight. The following leCiures dealing 
 with the subjed thoroughly cover the ground and should be carefully 
 studied by those desirous of making portraits. 
 
 HOME PORTRAITURE. 
 
 By FRANK MORRIS STEADMAN. 
 
 The author of this article, in company with Mr. G. E. Trager, has 
 practiced “Home Portraiture” with a Kodak for eleven years, with the 
 most notable success. The wide difference in the light conditions in the 
 various houses where the pictures have been made, rendered it necessary to 
 have some accurate means of measuring the intensity of light, and after 
 considerable experimenting, Eastman’s Solio Paper used in connection with 
 simple tables, was adopted as the exposure meter, with such success that 
 the proper timing of negatives ceased to be one of the questions in praCtice. 
 
 During the last four years in which the Solio has been employed for 
 measuring light, not a single failure has been made in exposure, unless per¬ 
 haps through forgetfulness in placing the right diaphragm. Eastman’s 
 Transparent Film has been used entirely in this work, and during the winter 
 of 1902-3, which was spent in Merida, Yucatan, fully two thousand 
 exposures were made and the negatives developed in the Kodak Developing 
 Machine without the loss of a single one. 
 
 The term “ Solio Time" used in this book expresses the aCtinic inten¬ 
 sity of an illumination, and it should be used just as other simple terms are 
 used to express other quantities or conditions, as: “The Solio Time at 
 this head is eight seconds.” “The Solio Time of this landscape is one- 
 half second.” Just as one would say : “The length of this stick is four 
 feetor, “The temperature of this room is seventy degrees.” 
 
 The adoption and use of this term for the expression of aCtinic values 
 or intensities will do much to solve the problem of photographic exposure. 
 
36 
 
 PORTRAITURE A T HOME. 
 
 The “ Solio Time ’ ’ at any subject being once known (by measurement 
 with the Solio Paper) the exposure becomes simply some modification of 
 that time according to the color and contrast character of that subject, and 
 the selection of a certain diaphragm. 
 
 To obtain the greatest universal good from the use of this unit expres¬ 
 sion for adlinic intensity, the photographic workers should use some method 
 of counting exadt seconds, such as the one given in this article. 
 
 The most delightful phase of photography is portraiture. If in the 
 past it has been considered most difficult by the amateur, it has been 
 because of a lack of clear and concise instructions how to proceed. 
 
 Generally, the greatest difficulty in portraiture is the lighting of the 
 subject and the timing of the exposure. The object of this book is to pre¬ 
 sent a most simple, and at the same time accurate method of determining 
 the right exposure to give ; and to offer suggestions as to lighting which 
 will enable the amateur to make good portrait pictures. 
 
 LIGHT IN PORTRAITURE. 
 
 In home portraiture a window having a full view of the sky should be 
 selected if possible. It should preferably be on the shady side of the house 
 so that the sunlight will not enter it. If the window is low, pin a dark cloth 
 across it covering as high up as the subject’s head, so that light will not 
 come up from below on to the face and strike the lower part of the features 
 and spoil the modulation. See that no brightly lighted part of the room, 
 as a window or door, is in range of the lens. 
 
 PLACING THE SUBJECT. 
 
 Place the subject about the width of the window away from one of the 
 casings. Turn the face exactly toward the window and then have the sub¬ 
 ject turn the head gradually away until one side of the nose is seen to 
 become shaded and the shadow of the nose rests somewhere on the cheek. 
 The light must strike a little upon both eyes and both cheeks. The eyes 
 should look in the same general direction that the face is pointed. This is 
 the lighting with which at least ninety per cent, of all portraits, which are 
 intended as likenesses, are made, whether in painting or photography. 
 
 It is the light that best models all the features of the face, and there¬ 
 fore best reproduces the likeness of the subject. Now place the Kodak 
 so as to take in the view of the face that is desired. Reference to the 
 accompanying diagrams will help you. Adjust the Kodak at the proper 
 height. The lens should, for a bust portrait, be about on a level with the 
 
 nose. 
 
PORTRAITURE A T HOME. 
 
 37 
 
 DISTANCE AND SIZE OF PORTRAIT. 
 
 Full figures are made at about n ft. 
 
 Three-quarters figures are made at about 7 ft. 
 
 Medium busts “ “ “ “ 4 ft. 
 
 Large size busts “ “ “ “3/4 ft. 
 
 If you have one of the small fixed focus Kodaks and are using it with 
 a portrait attachment, the Kodak should always be set at exactly ft. from 
 subject ; otherwise, it will be out of focus. 
 
 If you are using a No. 3, No. 3A or No. 4 Folding Pocket Kodak, 
 No. 4A Folding Kodak or Cartridge Kodak, with the Portrait attachment, 
 the directions furnished will enable you to place the Kodak at any 
 distance desired away from the subject and obtain a portrait of any size you 
 choose. 
 
 THE STOP FOR PORTRAITURE. 
 
 In portraiture, always use the largest diaphragm there is in the lens in 
 order to diffuse the background and to gain speed in the exposure. With 
 those Kodaks which have rapid rectilinear lenses and shutters with stop 
 openings numbered on the U. S. System, use stop No. 4. With the other 
 Kodaks use the largest stop. 
 
 In the following pages are given diagrams showing the position in which 
 to place the subject with reference to the light, together with the proper 
 location of camera and reflectors. A careful study of these diagrams and of 
 the portraits accompanying them will be of the utmost advantage in home 
 portraiture work. 
 
 REFLECTORS. 
 
 With the subject placed in the position desired it will be seen that the 
 light on the window side of the face is much stronger than on the shadow 
 side. The contrast must be lessened by the aid of one or more reflectors, 
 marked “R” in the diagrams. White towels will answer the purpose well. 
 In your first experimenting, move this reflector close to and then away from 
 the face, noticing the absolute control it gives you over the strength of the 
 shadows. In the “line” lighting and the “three-quarters” view it may 
 be necessary to insert a dark cloth somewhat between the face and the 
 window so as to reduce the strength of light on the front of the face. This 
 should be done only after the reflectors are in place and it is seen that the 
 contrast is still too great. The reflectors and screens may be held in place 
 by assistants. Look at the illustrations and see what a great number of 
 different lightings may be obtained. Illustration No. 5 shows the subjed 
 
38 
 
 PORTRAITURE AT HOME. 
 
 No. t. Front View. 
 
 KODAK NEGATIVE. 
 
 IV. IV .— Window casings. 
 
 A. — Subject. The pointer indicates direc¬ 
 tion in which face is turned. 
 
 R. — Reflector. 
 
 C. — Camera. 
 
 To obtain this lighting place subject opposite 
 one of the casings and about the width of window 
 away. Set camera and reflector as indicated. 
 Have the face turned so that the side of the 
 nose away from the window is shaded, while 
 the light touches the cheek upon that side. See 
 pages 36 , 37 and 39. 
 
 Arrangement for No. i. 
 
FOR TR Air C/RE A T HOME. 
 
 39 
 
 against the casing, and Nos. 3 and 4 almost against the window glass. It is 
 seen therefore that there need be no fear of having the subject close to the 
 window. With children it is advisable to raise the lower part of the sash 
 and place them against the side of the window farthest from the Kodak. 
 Keep the direct light from the sky from shining into the lens. Never allow 
 the lower edge of the reflector to drop lower than the lower part of the face ; 
 otherwise, the reflected light coming up from below will “flatten” the 
 cheek on the shady side. Also keep the reflector well forward. 
 
 See that the position of the subject is natural and characteristic. 
 Forced positions should be avoided. Vary slightly the positions of head 
 and body. 
 
 When working with Cartridge Kodaks for busts, the Kodak cannot be 
 aimed by looking in the finder but must be “sighted.” The question of 
 height can be easily determined by standing back a few feet so as to view 
 both camera and sitter. To center the image stand behind the camera and 
 sight over the top. A pencil laid over the top of the Kodak should point 
 at the eyes. 
 
 MEASURING THE LIGHT. 
 
 TIMING THE EXPOSURE. 
 
 Now comes a very important part of the work—measuring the light— 
 in order to give the correct exposure. The system of measurement which the 
 author herewith presents has been practiced by him with the very best 
 results. The system is based upon the fact that Solio paper made by the 
 Eastman Kodak Company is constant in its sensitiveness to light. 
 
 To take the measurement of the light, expressible in seconds of time, 
 proceed as follows : 
 
 Provide a strip of thin cardboard or heavy opaque paper about two 
 inches wide and six or eight long. Fold this across the center so the card¬ 
 board will resemble the cover of a small book and near the end of one flap 
 cut a small square hole. 
 
 Place a fresh strip of Solio, with the face up, under the hole and cover 
 the opening with a coin. Hold this cardboard as near as possible to where 
 the face of the subject is to be placed and so that the hole exactly faces the 
 light. Then remove the coin, expose 32 seconds and replace ; now raise the 
 cover and look at the tint on the Solio. It will probably be very pro¬ 
 nounced. Pull the strip up slightly so as to bring it to a fresh place and 
 give an exposure of 16 seconds. If the discoloration on the Solio is still 
 very plainly visible, give another exposure of 8 seconds ; then one of 4 sec¬ 
 onds ; then one of 2 seconds in order that you may discover the shortest 
 
40 
 
 POR TRAIT UR E A T HOME. 
 
 Arrangement for No. 2. 
 THREE-QUARTER VIEW. 
 
 To secure this lighting , 
 place subject opposite one of 
 the casings , the width of the 
 window away. The position 
 of the head is the same as in 
 No. 1, front view, the camera 
 in this case being fartherfrom 
 the window; the reflector 
 occupying about the same posi¬ 
 tion as in No. 1. See page jS. 
 
 IV. IV—Window casings. 
 
 A. — Subject. The pointer indicates 
 
 direction in which face is turned. 
 
 R. — Reflector. 
 
 S. —Opaque screen to reduce slightly 
 strength of direct light. 
 
 C. — Camera. 
 
 No. 2. Three-Quarter View. 
 UNRETOUCHED NEGATIVE. MADE WITH CARTRIDGE KODAK. 
 DEVELOPED IN KODAK DEVELOPING MACHINE. 
 
PORTRAITURE AT HOME. 
 
 4i 
 
 COUNTING TIME. 
 
 It is not always prac¬ 
 tical to use a watch in 
 counting seconds. After a 
 little practice, however, one 
 can learn to count seconds 
 with great accuracy without 
 a watch by counting in the 
 following way : (Begin with 
 naught.) 
 
 Naught 
 
 one — half — and — one 
 one — half — and — two 
 one — half — and — three, etc. 
 
 number of seconds that will give a just plainly discernible discoloration to 
 the Soho. This is the “ Solio Time.” Therefore, the “Solto Time" of 
 any light is the number of seco?ids it has taken to give a barely discernible 
 tint to the Solio paper in that light. On account of the great latitude of 
 Eastman film, sufficient accuracy will be obtained by taking the Solio Time 
 in even seconds such as 1, 
 
 2, 4, 8, 16, 32 seconds; or 
 I, 2, 4, 8, minutes, etc. 
 
 Practice counting by the 
 second hand on a watch, 
 giving the accent on the 
 words, one, two, three, etc., 
 so as to keep track of the 
 number of seconds that have 
 been counted. When the No. 3. variation of No. 6 (page 45). 
 
 ‘ ‘ Solio Time ” at a certain THE SUBJECT ’ S HEAD AGAINST THE window glass. 
 
 KODAK NEGATIVE. 
 
 point has been ascertained, 
 
 it becomes very simple and certain to give the correct exposure by reference 
 to the following tables : 
 
 Table ‘‘A’ is for use with the Kodaks having rapid rectilinear lenses 
 and the numbered stop openings on the shutter. 
 
 Table ‘‘ B is for the fixed focus Kodaks which will not work with so 
 large an opening as the others and which will therefore require a longer 
 exposure. 
 
42 
 
 POR TRAITURE A T HOME. 
 
 TABLE “A”. 
 
 Stop U. S. 4 or f -8 for Cartridge Kodaks, No. 3, No. 3A, No. 4 Fold¬ 
 ing Pocket, No. 4A Folding, and No. 4 Screen Focus Kodak. 
 
 Very fair complexion, give Solio time. 
 
 Average “ “ A “ 
 
 Very dark “ “ >4 “ 
 
 For instance, if it has taken 8 seconds to create the standard tint on 
 the Solio, the proper exposure for an average subjedl would be % of that 
 time, or 2 seconds. 
 
 TABLE “B.” 
 
 Largest stop with Single Lens Kodaks. Flexo, No. 2 Bulls-Eye, 
 No. 4 Bulls-Eye, No. 3B Quick Focus, No. o, No. 1, No. iA Folding 
 Pocket Kodaks, and the Brownie Cameras of all styles and sizes. 
 
 Very fair complexion, give % Solio time. 
 
 Average “ “ 'A “ “ 
 
 Very dark “ “ Full “ 
 
 It will be found that by carefully ascertaining the Solio Time and giving 
 accurately the exposure indicated, perfectly timed negatives will always be 
 obtained. 
 
 It is not difficult to give the exposure in just the number of seconds 
 or fractions of seconds required by the table. Suppose the worker has a 
 Kodak with a shutter having pneumatic attachment. Set the lever at “ B ” 
 and to make }£ of a second exposure, press and release the bulb as quickly 
 as possible. To give a quarter second, press and release the bulb while 
 saying “quarter” at talking speed. For half a second say “Naught— 
 One-Half”, always pressing at the first and releasing at the last syllable ; 
 and for one second, “ Naught—One-half and One ”. With the fixed focus 
 Kodaks and Brownies, work the shutter lever of course instead of press¬ 
 ing the bulb. Use a tripod or other firm support. 
 
 DEVELOPMENT OF NEGATIVES. 
 
 The most satisfactory results in development can be obtained by 
 developing film in the Kodak Tank Developer. Develop for ten or twenty 
 minutes according to the instructions in the manual. If the negatives are 
 generally too dense or too thin to suit the operator, vary the length of 
 development as desired. 
 
FOR TRAITURE A T HOME. 
 
 43 
 
 REDUCTION. 
 
 When either reducing or intensifying is to be done it is desirable to 
 use a freshly mixed hypo bath for fixing—otherwise stains may result and 
 the negatives are liable to fade after intensification. If any negative is more 
 intense than is desirable for the paper that is to be employed, it may now 
 be reduced to the desired point in the 
 
 REDUCER, 
 
 Ferri-Cyanide of Potassium, ... Volume of a pea. 
 Hyposulphite of Soda, - - 6 to io times that volume. 
 
 Water,.About a quarter of a glass. 
 
 Flow this solution 
 over the negative to be 
 reduced until the desired 
 intensity is reached, after 
 which it should be washed 
 and dried in the usual 
 
 manner. 
 
 If the bath works 
 too fast with the quantity 
 of water, add more water. 
 
 Negatives may also 
 be reduced locally by 
 applying this solution 
 (which should then be 
 mixed with less water so 
 as to work faster) to the 
 part that is too intense, 
 with a camel’s hair brush 
 or a tuft of absorbent 
 cotton. 
 
 To reduce locally, 
 lay the negative on a 
 ground glass and have 
 the light strike the glass 
 from below so that the 
 
 , , , , No. 4. Variation of No. 2. 
 
 \\ ork may De done Dy THE HEAD RESTING against the glass, kodak negative. 
 
 transmitted light. 
 
 A frame made to hold the glass will leave the hands free for the work. 
 
 14) 
 
44 
 
 FOR TRAITURE A T HOME. 
 
 No. 5. Variation of No. i. 
 
 THE SUBJECT’S HEAD AGAINST THE CASING. KODAK NEGATIVE. 
 
 An incandescent electric 
 light may be placed under 
 the glass, or a, mirror 
 may be placed in the 
 frame so as to reflect the 
 light of a lamp up against 
 the glass. 
 
 By adding only a 
 very little water to the 
 reducing agents the re¬ 
 duction may be made to 
 act in a second or less 
 and the worker, with a 
 little practice, can obtain 
 by the quantity of water 
 added just the strength 
 or speed of action that is 
 desired. 
 
 In reducing very 
 small parts, have the sur¬ 
 face of the part, as well 
 as the brush, free from 
 excess of liquid, so that 
 the reducer will not flow 
 or run to adjoining parts ; 
 have some wet cotton in 
 the left hand to pass over 
 
 the part as soon as the right intensity is reached. 
 
 If desired, a reduced negative may be intensified, after it is washed in 
 three or four clean waters. 
 
 INTENSIFICATION. 
 
 If for any reason a negative is not sufficiently intense or contrasted, it 
 may be intensified, either generally or locally, in the following solution : 
 
 No. 1. 60 grains of Bi-Chloride of Mercury (Corrosive 
 
 sublimate) Poison, in - - - - 8 oz. water. 
 
 No. 2. 75 grains of Iodide of Potassium, in - - 1 oz. water. 
 
 No. 3. 120 grains of Hypo, in - - - x oz. water. 
 
 Dissolve separately and combine No. 1 with No. 2, and the resulting 
 mixture with No. 3. 
 
PORTRAITURE AT HOME. 
 
 45 
 
 No. 6 Line Lighting. 
 
 KODAK NEGATIVE. DEVELOPED IN KODAK DEVELOPING MACHINE. 
 
 R 
 
 Arrangement for No. 6. 
 
 LINE LIGHTING. 
 
 IV. IV .— Window Casings. 
 
 A .— Subject. The pointer indi¬ 
 cates direction in which face is 
 turned. 
 
 R. — Reflectors. 
 
 S. —Opaque screen to slightly 
 reduce strength of direct light. 
 
 C. — Camera. 
 
 For this lighting note exactly the 
 position of head as shown in above 
 diagram. Be sure that the ivindow 
 does not become part of the back¬ 
 ground, as seen from camera. Two 
 reflectors are necessary, the camera 
 focusing between them. And if the 
 contrast of light on the face is still 
 excesssive, the screen S must be used 
 to diminish direct light. See page jy. 
 
FOR TRAITURE A T HOME. 
 
 No. 7. Back Lighting. 
 
 MADE WITH CARTRIDGE KODAK. DEVELOPED IN KODAK DEVELOPING MACHINE. 
 
 R 
 
 W. IV .— Window casings. 
 
 A. — Subject. The joint indicating 
 direction in which face is turned. 
 
 R. — Reflector. 
 
 C. — Camera. 
 
 In this lighting the subject is some¬ 
 what farther away from the casing than 
 the width of the window. In placing the 
 reflector , care should be taken not to have 
 it exactly in front of the face or it might 
 show a reflection in the eyes. 
 
 Arrangement for No. 7. 
 
 BACK LIGHTING. 
 
PORTRAITURE AT HOME. 
 
 47 
 
 To dissolve the mercury easily, place it together with the water, 
 slightly warmed, in a mortar and grind it. 
 
 Guard the intensifier in a wide mouth glass stopper bottle and keep it 
 in a secure place, as it is 
 extremely poisonous. 
 
 Before intensifying see 
 that the films have been 
 thorougly fixed in the fresh 
 hypo bath as recommended, 
 and then washed in four or 
 five changes of water for at 
 least five minutes. 
 
 After intensification, 
 wash and dry the films in 
 the usual manner. 
 
 To intensify negatives 
 to too great a density is 
 extremely disastrous in pro¬ 
 ducing the disagreeable 
 “black and white” effects, 
 and should be carefully 
 avoided. 
 
 Negatives should be re¬ 
 duced and intensified 
 direddly after fixation, as 
 already described, as at that 
 time the gelatine is softer 
 and more evenly and surely 
 added upon by the solutions. 
 
 If, however, it is desired to 
 treat a negative that already 
 
 has been dried, it may be done by previously soaking it for 20 minutes 
 in water. 
 
 Front View. Same as No. i. 
 
 MADE WITH CARTRIDGE KODAK. 
 DEVELOPED IN KODAK DEVELOPING MACHINE. 
 
 INTERIORS. 
 
 In taking the interiors of rooms be careful that no light, window or 
 door, lies in front of the lens. See that the Kodak is set perpendicularly. 
 
 The method of exposing by the “ Solio Time” may be followed for 
 interiors with just as satisfactory results as in portraiture. In interior work, 
 however, it is necessary to use a smaller stop. With the Kodaks having 
 the rapid rectilinear lenses and shutters with the numbered stop openings, 
 
48 
 
 FOR TRAITURE A T HOME. 
 
 stop U. S. 32 (or f. 22) is usually small enough. With the fixed focus 
 Kodaks, use the medium stop. Then, having ascertained the “Solio Time” 
 in the room, the time necessary for exposure may be easily found by refer¬ 
 ence to the accompanying table : 
 
 TABLE “C”—FOR INTERIORS. 
 
 Stop No. 32 U. S. or f. 22. 
 
 White walls,.Give Solio Time. 
 
 Medium walls, ...... Give Full Solio Time. 
 
 Dark walls and furnishings, - - Give Double Solio Time. 
 
 TABLE “D.” 
 
 For medium stop with fixed focus Kodaks. 
 
 White walls, ------- Give l / 2 Solio Time. 
 
 Medium walls,.Give Full Solio Time. 
 
 Dark walls and furnishings, - - - Give Double Solio Time. 
 
 In interior work measure the light or take the ‘‘Solio Time” at some 
 piece of furniture three or four steps from the window or main source of 
 light, or get the “ Solio Time” in the following way, if the room is rather 
 dark : 
 
 Measure the distance from the window to the nearest piece of furniture, 
 which should be placed not nearer than three or four steps from the 
 window. Take the “Solio Time” at a point ^3 the distance from the 
 window to the piece of furniture. Ten times that “Solio Time” will be 
 the working “Solio Time” for the room. Have no furniture closer than 
 about three steps from the lens and set the distance pointer at 12 or 15 feet, 
 when the whole room will be sharply focused. 
 
Out-of-Door Portraiture. 
 
 Probably no branch of the photographic art is followed by more people 
 than out-of-door portraiture. It seems to be the aim of almost every 
 novice to make portraits of his friends or family, and on account of the 
 abundance of light many beginners make their early attempts out of doors. 
 
 There is, however, a great difference between a properly made portrait 
 and the under-exposed snap shots made by so many beginners, and in fact 
 by many who are no longer such. 
 
 It is not a difficult matter to succeed in this interesting work if one will 
 but give a little time to the study of conditions and approach the subject in 
 an intelligent manner. Three things must be carefully considered— light, 
 exposure and background. Light is the first consideration. Intense sun¬ 
 light should be avoided for it produces pictures with chalky highlights and 
 unpleasant shadows. The light which you will obtain upon a shaded piazza 
 is almost sure to be satisfactory. By placing your subject near one end of 
 the piazza almost any effect of lighting may be obtained by shifting the 
 camera and turning the subjects face to or from the light. If the house is 
 painted a light color, sufficient light will usually be reflected upon the 
 shadowed side of the face without the aid of a reflector. Should it be found 
 necessary however, the reflector described on page 69 may be utilized to 
 lighten up the shadows in precisely the same way as described in the 
 article on Home Portraiture, pages 35-48. Charming pictures may 
 often be made in a garden or upon a lawn when the conditions of light 
 are favorable. By working when the sun is hidden behind fleecy white 
 clouds a very fast light is obtained and portraits may be made in any part of 
 the garden or grounds without fear of harsh lightings. Such conditions are 
 particularly desirable when photographing children, for a slow instantaneous 
 exposure may be made while holding the camera in the hand. Often a 
 picture of a child taken under such conditions is highly pleasing to the 
 parents, for it shows the child amid the most familiar surroundings. Beau¬ 
 tiful effects of lighting may sometimes be made by working in the direct 
 sunlight when the sun is low in the latter part of the day. And in the 
 numberless effects of lighting that may be obtained by the persistent worker 
 lies one of the great charms of out-door portraiture. 
 
50 
 
 O UT- OF-DO OR POR TRA1TURE. 
 
 EXPOSURE. 
 
 Portraits, whether indoors or out, should always be fully exposed. A 
 full exposure with proper development insures a truthful rendering of the 
 light and shade upon the subject. Chalky white faces and black shadows 
 which under-exposure and forced development always produce must be 
 avoided. The method of determining proper exposure for indoor portraits 
 described in Mr. Steadman’s article (pages 35-48) may be employed to 
 excellent advantage for out-door portraits as well. But whatever method 
 you employ for determining exposure, remember that it is always better to 
 over-expose than to under-expose. 
 
 BACKGROUNDS. 
 
 The beauty of a portrait always depends largely upon the selection of 
 a background. Many otherwise fine pictures are completely spoiled by an 
 ugly or inappropriate background. When working upon a piazza, a back¬ 
 ground may be provided by stretching a sheet across the end. Or for a 
 dark background a brown or red blanket may be used. A door opening 
 into the house with the figure in the doorway makes a good combination. 
 When working about the garden or grounds of a house a natural back¬ 
 ground should always be sought. Shrubbery, vines, dark shadows under 
 the trees are but a few of the many possibilities. Avoid carefully such 
 abominations as the clapboard side of a house and picket fences. 
 
 In conclusion a word might be said in regard to development. Aim 
 for gradation and softness in your negatives. If you use the Kodak Tank 
 Developer or the Developing Machine a little experience will tell you the 
 length of time which gives the most pleasing results. If you develop in the 
 dark-room by hand it is well to use a rather dilute developer and be very 
 careful not to carry development too far. 
 
Amateur Portraiture by Flashlight. 
 
 BY W. S. RITCH. 
 
 Publishers Note -The reader may be struck by the fact that Mr. Ritch uses a considerably 
 
 To say that the flash has decided 
 advantages over daylight for doing 
 really serious work in portraiture 
 would seem ridiculous to many 
 people ; but it is a fact that any 
 effect which can be had with day¬ 
 light can also be made with the flash 
 by the proper placing of the light 
 and reflector. Most beautiful work 
 has been done with the flash of late 
 years both by professionals and 
 amateurs, but the fact that the 
 pictures were made by flashlight 
 being unknown, the general public 
 believe them to have been made 
 with daylight, and the prevailing 
 idea of a flashlight picture seems to 
 be those soot and whitewash things 
 of evening party groups. 
 
 That the best work can be done 
 
 with the flash is owing to the great 
 
 superiority of lenses and flash material 
 
 made in recent years over those of 
 
 past times. By the use of the flash 
 
 the subject can be seated anywhere 
 
 in the room, which may be most 
 
 convenient, and with the camera at Wall paper , medium dark , ceiling light , Mo. 3 
 , ini L flash Sheet. 7 feet distant. Stop No. 4. Face 
 
 the proper distance, the flash can be turned toward I. Light at L. Diagram No. 1. 
 
 placed anywhere it is deemed neces¬ 
 sary to make the desired lighting. The merest beginner can make fine 
 portraits by this method, as no special apparatus is necessary and only 
 a few simple rules must be observed. To use an Eastman Flash Sheet it 
 
52 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 No. 2. 
 
 Wall paper rather light , No. j Flash Sheet , 8 feet distant , in 
 order to cover full figure and surroundings. Stop No. 8. 
 Face turned toward M. Light at 1. 
 
AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 53 
 
 is only necessary to obtain a strip of wood about eight feet long on which 
 to pin the sheet. If this strip is tied to the back of a chair in an upright 
 position, it can be moved about the room and placed in any position with¬ 
 out inconvenience. The sheets are best to use whenever the subject is one 
 who has enough self control to remain quiet during the burning of the 
 sheet, which takes about one second ; but for nervous people and little 
 children, it is necessary to use the cartridges as these are practically 
 instantaneous, and by their use we can catch the little ones in their own 
 
 No. 3. 
 
 Wall paper , rather light , No. 2 Flash Sheet , 6 feet distant. Face turned toward L. Light at J. 
 
 naturally graceful poses, at play, at work, resting or doing just as they 
 please. It is only necessary for us to have a little patience and focus and 
 arrange the light while they are interested in what they are doing. If 
 you want to make beautiful pitdures of children, do not have any pre¬ 
 conceived idea of what you want ; simply do not disturb them ; they are 
 making the pictures continually and it is only for you to catch them on your 
 film. 
 
 All flashlight cartridges should be handled with much care as the 
 contents are explosive not only by the application of heat but sometimes 
 from friaion or concussion. If handled with proper precaution, however, 
 there is very little danger. The writer uses this kind of flash a great deal 
 
54 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 as he is fond of photographing children, and he has never yet had an 
 accident of any kind. 
 
 He begs leave to offer the following suggestion in regard to the use of 
 the Eastman Spreader Cartridges in connection with the Pistol : Take a 
 strip of wood about eight feet long and fasten the pistol to the end with a 
 couple of nails or screws. Then by attaching a stout piece of pidfure wire 
 to the trigger of the pistol and letting it run down the side to the other 
 
 end of the pole, you have as handy 
 a flash machine as can be made. 
 The advantage of this machine 
 over holding the pistol in the hand 
 is that you can now sit by your 
 camera where you can watch the 
 subject from the same point of 
 view as the lens and you can put 
 the light in any position desired 
 to make the proper lighting. Be 
 careful, however, not to put it near 
 lace curtains or other inflammable 
 material as the light spreads out 
 from the cartridge and might cause 
 damage if placed too close. 
 
 Besides a light, another re¬ 
 quisite for doing good flash-light 
 work is a plate or film which is 
 rapid, orthochromatic and non¬ 
 halation. Do not try to make a 
 portrait with the flash on any plate 
 not possessing every one of these 
 qualities, and as these qualities are 
 all combined in the N. C. Film, 
 we have here a medium which is 
 ideal for this work. Of course, 
 these qualities are a great advantage in all photographic work, but it is 
 just such material as the flash sheet and N. C. Film which make flashlight 
 work so much better than we have formerly seen of the soot and whitewash 
 order. 
 
 Now for the modus operandi. We will presume that the work is being 
 done in the evening. If in the daytime, do not have too much daylight in 
 the room. Close the shutters and light the gas as if it were evening. 
 When making the exposure do not turn down the gas, but leave it lighted 
 
 No. 4. 
 
 Surroundings rather dark. No. 2 Flash Sheet , 6 feet 
 distant. Stop No. 8. Face turned toward B. 
 Light at F. 
 
AM A TEUR POR TRAITURE B Y FLASHLIGHT. 
 
 55 
 
 No. 5. 
 
 Surroundings medium to dark , No. 3 Flash Sheet, 7 feet distant. 
 Stop No. 4. Face turned toward H. Light at K. 
 
56 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 No. 6. 
 
 Spreader Flash Cartridge , 6 feet distant. Stop No. 8. 
 Face turned toward F. Light at K. 
 
AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 57 
 
 and burning brightly. Plenty of gaslight in the room will do no harm and 
 will prevent the eyes from having that stare so often seen in flashlight 
 pictures. The color and size of the room is an important factor in the 
 result, and I would much prefer a medium size room like the ordinary 
 sitting room or dining room and one with light colored walls and ceilings. 
 This will give an all around diffusion of the light which will help greatly in 
 softening the effect. 
 
 The first thing to be considered is the size of the flash sheet to be used 
 and the placing of the light. Regarding the size of the sheet we must con- 
 
 No. 7. 
 
 Spreader Flash Cartridge , S feet distant. Stop No. 16. Faces turned toward H and D. Light at J. 
 
 sider the color of the subjefit, the color of the room and the distance of the 
 light from the subjefit. For example, il our subject is quite fair, with light 
 hair and white dress, and the room is of the color and size before mentioned, 
 a No. 1 sheet would be sufficient, placed at about six feet distance. For 
 medium complexion use No. 2 sheet, and for very dark, a No. 3, or put 
 the No. 2 sheet a little closer. A greater distance of the flash from the 
 subject tends to make a softer lighting and a lesser distance a bolder and 
 stronger ; but about six feet I would consider an average distance. If it is 
 desired to place the light eight feet away, a larger sheet must be used- 
 say a No. 3 instead of a No. 2, and if it is placed closer than six feet, a 
 smaller sheet will be better. 
 
58 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT 
 
 No. 8. 
 
 Spreader Flash Cartridge , 6 feet distant. Stop No. 16. 
 Face turned toward H. Light at K. 
 
AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 59 
 
 The light can be placed anywhere except within immediate range of 
 the lens. Diagram A, page 63, illustrates where it can be placed, but 
 where it is to be placed for each subject will depend upon the wish of the 
 operator, taking into consideration the features of the subject and the style 
 of lighting desired. There 
 seems to be a general idea 
 among amateurs that the 
 light should never be 
 placed anywhere except 
 behind the camera, as it 
 might cause a reflection 
 in the lens ; but I place 
 my light anywhere, ex¬ 
 cept in the picture, and 
 have never had any 
 trouble from reflections 
 of this kind. Another 
 mistake I have noticed 
 among amateurs is that 
 they do not place the 
 light high enough. If 
 the light is six feet dis¬ 
 tant from the subject, it 
 should be about three feet 
 higher than the head of 
 the sitter so as to give 
 roundness and modeling 
 to the face. Of course, 
 this is subject to excep¬ 
 tions, as in the case of a 
 subject with deep set eyes 
 and heavy eyebrows, or 
 of a lady with a large hat 
 where it is not desired 
 that the hat should throw 
 a shadow on the face. In 
 such case the light should 
 be accordingly lower. 
 
 The illustrations presented herewith give an idea of the wide variety 
 of lightings that may be made. Each of them is lettered with direct 
 reference to Diagram A, and a careful study of the pictures in connection 
 with the diagram is well worth while. In making portraits by the light 
 
 No. 9. 
 
 Spreader Flash Cartridge , 8feet distant . Stop No. 4. Soft 
 sketchy effect secured by setting focus of Kodak at 2 l /n feet. 
 Subject being seated j feet from lens. Face turned 
 toward H. Light at K 
 
 (5) 
 
6 o 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 No. 10. 
 
 spreader Flash Cartridge. 8feel distant. Stop A T o. 4. Face turned 
 toward, L . Light at I. 
 
AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 61 
 
 from a window, the photographer cannot control his source of light to any 
 extent. He may move only his camera and his sitter—by the flashlight 
 method he has all conditions under perfect control—an especial advantage 
 where one wishes to photograph the subject with some particular surround¬ 
 ings which happen to be in a part of the room where the window light is 
 unsatisfactory, as in illustrations Nos. 2, 3 and 4. 
 
 Important helps toward 
 making good portraits with the 
 flash are a reflector and a screen. 
 
 It is perfectly evident that unless 
 some steps are taken to equalize 
 the lighting on the two sides of 
 the face the contrast will be too 
 violent and the ‘ ‘ chalk and soot 
 effects that are so undesirable will 
 be likely to result. The use of a 
 reflector to soften the contrast is 
 perfectly simple. For a bust 
 portrait where the subject is sitting 
 down, a white towel thrown over 
 the back of a high backed chair 
 will answer admirably, the reflector 
 must not be too low, however, as 
 the reflected light coming up from 
 below will have a tendency to 
 “flatten” the shady side of the 
 face. The reflector should also 
 be kept somewhat forward of the 
 sitter. Another excellent method 
 of using the reflector, and one that 
 is really necessary with standing 
 
 figures in order to get it high spreader Flash Cartridge , 6 feet distant. Stop No. 
 enough, is to pin a small sheet or 16. Face turned toward camera. Light at J. 
 
 any light colored material over a 
 
 drawing string of tape, that can be fastened across any part of the room 
 with a couple of thumb tacks or Kodak Push Pins, so that it will occupy the 
 desired position. « 
 
 The screen (or perhaps it should be called the light “ filter”) can be 
 similarly arranged on another tape. This filter should be of cheesecloth, as 
 nearly white as you can get it, and should be at least a yard square. 
 Another method of using the filter is to tack it on a frame about a yard 
 square and hold it in the left hand while the flash is lighted with the right 
 
 No. n. 
 
62 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 No. 12. 
 
 Spreader Flash Cartridge, 6 feet distant. Stop No. 8. Lady's face turned toward C. Child's 
 face turned toward F. Light at B. 
 
AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 63 
 
 —this latter method can hardly 
 be used, however, where the 8 
 foot stick suggested in the fore¬ 
 going pages is employed as a 
 flash machine. 
 
 Diagram B shows one of 
 the very many ways in which 
 the tape method may be em¬ 
 ployed for fastening screen and 
 reflector. Many houses have 
 folding doors between the 
 rooms, with portieres which 
 may be used as a back-ground, 
 attaching one end of the re¬ 
 flector and screen strings to 
 each end of the curtain pole, while the other ends are tied to the chandelier 
 which is generally in the middle of the room. Of course every room has 
 a number of window and door casings in the side of which a pin or tack 
 may be driven without harm, and these offer every opportunity for making 
 a variation of the arrangement shown in Diagram B, thereby obtaining the 
 precise lighting that may be desired. 
 
 Everything is now ready for the exposure. For a beginning, suppose 
 we have the subjedt sit with his body facing “F” (Diagram A) and 
 his face turned toward the camera. The light we will place at “ K ” about 
 six feet distant and three feet higher than the head. This will make a light¬ 
 ing like illustration No. 6. If you are using a flash sheet it is well to use a 
 candle, or, better still, one of those gas lighters having a wax taper in the 
 end of a holder. Now, open the shutter and quietly light the sheet ; as 
 soon as the sheet is burned, close the shutter. There need be no hurry 
 whatever, as the gas light is too yellow to make an impression on the plate 
 
 in this short space of time 
 even if a minute or two 
 should elapse between the 
 opening and closing of shut¬ 
 ter, especially if the lens is 
 stopped down to No. 8 or 
 No. 16, which are about the 
 openings for general use. 
 
 Development of flashlight 
 exposures is exactly the same 
 as daylight. If you think 
 your exposure has been a 
 
 a _ 
 
 V 
 
 B / 
 
 C, 
 
 D^» 
 
 BACKCR.OUXD 
 
 o 
 
 •SITTER 
 
 * 
 
 
 sK 
 
 
 \ 
 
 FA... 
 
 Q 
 
 Camera 
 "cr .Ttf 
 
 Diagram A. 
 
 / 
 
 Xj 
 
 
 
 Diagram B. 
 
6 4 
 
 AMATEUR PORTRAITURE BY FLASHLIGHT. 
 
 little below the normal, dilute the developer considerably, giving the 
 shadows time to come up before the high lights get too dense ; or if the 
 light has been on the side of over-exposure, add a few drops of ten per 
 cent, solution of Bromide of Potassium to hold back the shadows and give 
 the negative the desired contrast. When using the Kodak Tank Developer, 
 develop for ten or twenty minutes according to directions in manual, if 
 specially soft effects are desired reduce the time for development to six or 
 twelve minutes. If the Kodak Machine or Brownie Developing Box is 
 used, develop for six minutes in the solution at a temperature of 65 
 degrees. 
 
 The following summary of conditions necessary for making good por¬ 
 traits may be found useful for the serious worker, as each one of these con¬ 
 ditions must be given its proper consideration to make a successful result. 
 
 1 . GOOD LIGHTING. 
 
 a. Position of the light. c. Distance of light from subject. 
 
 1 b. Diffusion of light by screen. d. Placing of reflector. 
 
 2 . CORRECT EXPOSURE. 
 
 a. Size of flash. c. Color of subject. 
 
 b. Color and size of room. d. Distance of light from subject. 
 
 3 . PROPER DEVELOPMENT. 
 
 a. A good developing formula. b. Dilution of developer. 
 
 c. Length of time of development. 
 
 Note. The pictures illustrating this article were made on N. C. Film with a Kodak. Nos. I to 5 
 inclusive, were made with Eastman’s Flash Sheets and Nos. 6 to 12 with Eastman’s Spreader Flash 
 Cartridges. 
 
Interiors by Flashlight. 
 
 The foregoing' article by Mr. Ritch thoroughly covers the ground of 
 Flashlight Portraiture but we wish to follow it up with a few remarks upon 
 flashlight work in a general way. Aside from the making of portraits 
 there are many uses for the flash. 
 
 Frequently it is desired to take a photograph of an interior which, by 
 reason of a lack of illumination, or because some window, which cannot be 
 covered, comes within range of the camera, is impracticable by daylight. 
 In such cases a flash light solves the problem. Again, it is desired to photo¬ 
 graph a very large room which is lighted from only one side by daylight. 
 To get a full time exposure in the darkest corner of the room would cause 
 a decided over-exposure near the windows. A flash light, concealed from 
 diredl line with the lens by some article of furniture or by a screen, illumi¬ 
 nates the dark corner and gives a properly lighted exposure of the entire 
 room. 
 
 These are the ordinary uses of the flash light, and by following the 
 simple rules laid down, the amateur can make pictures with as great an 
 assurance of success as when making snap-shots out of doors. For the 
 production of unusual effeCts, however, one must study all the conditions, 
 weighing carefully cause and efteCt, and must not yield to disappointment if 
 success be not obtained at first. 
 
 There are many ways in which the flash may be made to co-operate 
 with other artificial light, or with daylight, to produce a unique or artistic 
 effect, and to the serious worker it offers another means to the end most 
 desired by all photographic workers, pictorial effect. 
 
 FLASH SHEETS. 
 
 The Eastman Flash Sheets provide a simple and effective method of 
 producing the flash. Being of great adinic power they impress the image 
 upon the sensitive surface of film or plate quickly, although the flash is less 
 blinding than that of ordinary powders. 
 
 The faCt that flash sheets burn slowly as compared with flash powder 
 makes them far safer to use—the danger from explosion by careless hand¬ 
 ling being reduced to a minimum. 
 
66 
 
 INTERIORS BY FLASHLIGHT. 
 
 DIRECTIONS FOR USING FLASH SHEETS. 
 
 Pin a flash sheet by one corner to a piece of cardboard which has pre¬ 
 viously been fixed in a perpendicular position. If the cardboard is white it 
 will adl as a refledtor and increase the strength of the pidture. All being in 
 readiness, open the camera shutter, stand at arm’s length and touch a match 
 to the lower corner of the flash sheet. 
 
 Close the camera shutter. 
 
 \\ hen two or more sheets are to be used they should be pinned to the 
 cardboard, one above the other, the corners slightly overlapping. 
 
 As a matter of precaution, place a piece of cardboard beneath as well 
 as one behind the flash sheet, so that in case a spark should fall it will do 
 no injury. 
 
 ARRANGEMENT OF THE LIGHT. 
 
 The light should be placed two feet behind and two to three feet to one 
 side of the camera. If placed in front of, or on a line with the front of 
 camera, the flash would strike the lens and blur the picture. It should be 
 placed at one side as well as behind, so as to throw a shadow and give a 
 little relief in lighting. The flash should be at the same height or a little 
 higher than the camera. 
 
 TAKING THE PICTURE. 
 
 Having the camera and flash sheets in position, set the camera shutter 
 open, as for a time exposure, but using the stop ordinarily used for snap¬ 
 shots. 
 
 Touch a match to the lower corner of the flash sheet. A bright flash 
 will follow, which will impress the pi&ure on the sensitive film. The shut¬ 
 ter should be closed quickly after the flash. Otherwise, unless the room is 
 in total darkness, objects or lights would begin to impress themselves on the 
 film even without the flash. 
 
 vSTRENGTH OF THE FLASH. 
 
 The numbei of flash sheets required to light a room varies with the 
 distance of the objecl farthest from the camera, and the color of the walls 
 and hangings. The larger the room, of course the greater will be the 
 strength of the flash required to cover it. With the flash sheets, the 
 strength of light can easily be controlled. Simply use as many of the 
 sheets, pinned together in the manner above described, as are necessary. 
 The following table will be found useful : 
 
INTERIORS BY FLASHLIGHT. 
 
 67 
 
 TABLE. 
 
 For 10 feet distance and light walls and hangings use 1 Sheet. 
 
 “ 10 “ “ “ dark “ “ “ “ 2 Sheets. 
 
 “ 15 “ “ “ light “ “ “ “ 2 
 
 “ 15 “ “ “ dark “ “ “ “ 3 “ 
 
 “ 25 “ “ “ light “ “ “ “ 3 
 
 “ 25 “ “ “ dark “ “ “ “ 4 
 
 The above table is for No. 1 Sheets. A smaller number of the larger sheets may be used if preferred. 
 
 GROUPS. 
 
 Arrange the chairs in the form of a semi-circle, facing the camera, so 
 that each chair will be exactly the same distance from the camera. Half the 
 persons composing the group should be seated and the rest should stand 
 behind the chairs. In case any of the subjeds are seated on the floor the 
 limbs should be drawn up close to the body, not extended towards the 
 camera. If this is not done the feet will appear abnormally large in the 
 picture. 
 
 It is better to leave the room lighted in the regular way while mak¬ 
 ing the flash. Arrange the persons composing the group so that no one’s 
 face will be shadowed by another’s body or head. This can be done readily 
 by looking at the group from where the flash is to be fired. 
 
 Have the flash light high enough so that shadows of heads against the 
 background will not be thrown up higher than the head. 
 
 TAKING LARGE GROUPS. 
 
 In taking large groups it is necessary to have the camera a considerable 
 distance away. In such a case, to light the group sufficiently with the 
 flash behind the camera, it would be necessary to burn a number of sheets. 
 
 This may be obviated in cases where the camera can be placed in an 
 adjoining room, where there are double parlors, for instance. Then set off 
 the flash in the room where the group is, it being shielded from the lens by 
 the projecting partition. This gets the light close to the subject. In this 
 way one sheet will answer where three or four might have to be used other¬ 
 wise. 
 
 BACKGROUND. 
 
 In making single portraits or groups, care should be taken to have a 
 suitable background against which the figures will show in relief. A light 
 background is better than a dark one, and often a single figure or two will 
 
68 
 
 INTERIORS B V FLASHLIGHT. 
 
 show up well against a lace curtain. For larger groups a medium light wall 
 will be suitable. 
 
 The finder on the camera will help the operator to compose the group 
 so as to get the best effed. In order to make the image visible in the 
 finder, the room must be well lighted with ordinary lamplight, which may 
 be left on while the picture is being made, provided none of the lights are 
 so placed that they show in the finder. 
 
 IN GENERAL. 
 
 In portrait work it is always best to have the room well lighted when 
 making the flash, if it can be done in such a way that none of the lights 
 come within the range of the lens. If the room is darkened the sudden 
 flash of the light so strains the eyes of the sitters that it almost invariably 
 gives them a staring look, whereas if the room is already well illuminated 
 by gas or lamp-light the strain is not great and the eyes will have a natural 
 expression. Of course when the room is brightly lighted the shutter should 
 not be opened until the instant before the flash is made, and should be 
 closed quickly after the flash is over. 
 
 In making portraits by flash light, the camera should not be held in 
 the hand, but should be supported as described on page 19. Before setting 
 off the flash see that no articles of furniture in range of the lens are closer 
 to the camera than the persons to be photographed. The nearer an objed 
 is to the lens, of course, the larger the picture. A chair placed too near 
 the camera might appear in the picture bigger than everything else visible. 
 
 Flash light work is usually regarded as of minor importance compared 
 with daytime photography, which may be explained by the fad that most 
 people have not made themselves familiar with it. As a matter of fad it 
 well repays considerable time and study, in view of the results that are 
 possible. Some photographers now are using the flash light extensively in 
 their regular portrait work. 
 
 When more than one flash light is to be taken, the windows should be 
 opened and time allowed between each flash to free the room thoroughly from 
 smoke, otherwise all of the pidures after the first one are liable to have a 
 “foggy” effed. The Eastman Flash Sheets give a minimum of smoke, 
 but the lens is even keener than the eye, and what will seem to be but little 
 smoke in a room will oftentimes have a decided effed upon the pidure. 
 
 When, for any reason, it is necessary that the shutter remain closed 
 until the instant the flash is discharged and be closed again instantly after¬ 
 ward, it is well to have the flash sheet hanging near so that the shutter can 
 be operated with one hand and the flash with the other and their action thus 
 made simultaneous. 
 
PORTRAITURE HELPS. 
 
 69 
 
 NOT INSTANTANEOUS. 
 
 In using the flash sheets it should be borne in mind that they are not 
 instantaneous, and in portrait work the subjects should, therefore, be 
 warned to remain still as if for a time exposure. 
 
 The flash sheets do not produce a sudden flash when they are lighted, 
 and a second or so is consumed in burning a single sheet. As compared 
 with the ordinary flash powder they give a much broader source of light, 
 which means that they do away with the harsh shadows that are so 
 objedlionable in most flashlight work. The flash from the sheets is far less 
 blinding than that from the ordinary powder, a decided advantage in 
 giving pidtures without the staring effect to the eyes so often seen. 
 
 THE REFLECTOR. 
 
 In the various articles upon 
 Portraiture is explained the use 
 of the refledlor. In practice it is 
 often inconvenient or undesirable 
 to secure an assistant for the pur¬ 
 pose of holding the cloth to be 
 used as a refledlor. Fig. 1 shows 
 a refledtor which may easily be 
 construdted and which will be 
 found very convenient in use. 
 
 Provide two pieces of wood about 
 one inch wide by one-half an inch 
 thick, one piece being about two 
 feet and the other two feet six 
 inches long. In one end of the 
 longer piece insert a screw eye 
 having a head about one half an 
 inch in diameter. Cut an open¬ 
 ing in the center of the second 
 strip so that the head of the 
 screw eye will fit it snugly. A small flat hook fastened to the strip com¬ 
 pletes the joint. Procure a piece of white cotton cloth about two feet 
 
 The Reflector. 
 
7o 
 
 PORTRAITURE HELPS. 
 
 square and fasten it to the edge of the short strip with small tacks. A large 
 elastic rubber band completes the apparatus. 
 
 For use fasten the two strips together by the joint and fasten the screen 
 by the aid of the rubber band to the back of an ordinary chair. The cloth 
 will then hang straight down and by moving the chair about and changing 
 the height of the screen by sliding the upright piece up or down the 
 refledior may readily be placed in an^ desired position. 
 
PORTRAITURE HELPS. 
 
 7 l 
 
 KODAK PORTRAIT ATTACHMENTS. 
 
 In order to give greater 
 scope to the fixed focus Kodaks 
 so that large bust portraits may 
 be made with them we have 
 devised our Portrait Attach¬ 
 ment. This is a simple little 
 device consisting of an extra 
 lens so mounted that it may be 
 instantly attached in front of the 
 regular lens, and enabling the 
 Kodaker to make sharp pictures 
 with the fixed focus Kodaks at a 
 distance of only three and one- 
 half feet from the subjedt. 
 
 With the 3*^ x 3 j 4 size this 
 gives a head about the size that 
 heads are usually made to occu¬ 
 py in an ordinary mantello pho¬ 
 tograph. The accompanying 
 half-tone illustration is repro¬ 
 duced in the exact size, from a 
 negative made with a Folding 
 Pocket Kodak and Kodak Por¬ 
 trait Attachment. 
 
 This Portrait Attachment is for use at a distance of 3^ feet from the 
 subjedt only with the fixed focus Kodaks, and its effedt is to simply make 
 the lens “ cut sharp ” pidiures at this distance. It is to be used for bust 
 portraiture only. 
 
 Portrait Attachments are also made for the larger Kodaks which are 
 fitted with focusing scale. With these instruments different sized heads or 
 busts may be obtained by altering the focus and distance from the subjedi. 
 
 BY RUDOLPH EICKEMEYER, JR. 
 
 Folding Pocket Kodak and Portrait 
 Attachment. 
 
Development. 
 
 Film photography offers two methods of development. They are : 
 
 The Kodak Tank Developer Method. 
 
 The Dark Room Method. 
 
 The tank method is comparatively new yet it has now proven its effi¬ 
 ciency and has fully demonstrated that it is not only more convenient than 
 the old method but gives a larger percentage of perfect negatives. 
 
 When, in the summer of 1902, the Kodak Developing Machine was 
 first placed upon the market it was freely criticised, but after it had been a 
 few months in operation its marked success became apparent and the photo¬ 
 graphic writers began to discover that it was correct in theory as well as 
 in practice. The Kodak Tank Developer works upon a similar principle 
 so far as the winding up of the film inside a light proof flexible apron is con¬ 
 cerned, but in the machine the film is kept constantly in motion during 
 development, while in the tank it is simply reversed a couple of times to 
 prevent streaks. 
 
 With the Kodak Tank method the dark-room is entirely eliminated. 
 
 The Dark Room method of film development is simple. So far as the 
 operations go it is as successful with film as with plates, especially since the 
 advent of the Eastman Non-Curling film, yet aside from the mere question 
 of convenience the Tank method is preferable because, as has been proven, 
 better results can be obtained by developing for a fixed time, in a fixed 
 developer, than can be obtained under the old system of watching for the 
 proper contrast and detail under the rays of the deceitful dark-room lamp. 
 
 The first question regarding tank development which will come to the 
 mind of the skeptical photographer will assuredly be ; “When there are 
 several unequal exposures on the same strip of film, how are all to be cor¬ 
 rectly developed, there being no opportunity for individual treatment?” 
 The manufacturers, before experimenting, felt that the tank might fail 
 under these conditions, but the practical results show that within any reason¬ 
 able limits it does not. The remarkable “latitude” which Kodak film 
 allows in exposure, combined with the peculiarly active properties of the 
 
DE VEL OPMENT. 
 
 73 
 
 Kodak developer powders and the entire absence of fog (ordinarily caused 
 by the dark-room lamp) upset all theories. 
 
 If the film is properly exposed the tank will develop it properly. If it 
 is not properly exposed it will never make a good negative, no matter how 
 much it be manipulated. 
 
 Time and temperature are the two factors of importance that must be 
 taken into consideration. With the temperature of the developer at a 
 specified point, development is to be continued for a certain length of time. 
 When the developer is warm (it must never be above 70 degrees Fahr.) 
 it acts rapidly ; if very cold it acts slowly. It can be readily understood, 
 therefore, that the operator must always have a knowledge of the temper¬ 
 ature of his developer, and time development accordingly, if he expects to 
 obtain the best results. 
 
 As improvements calling for slight changes in the methods of manipu¬ 
 lation are frequently made in all Kodak apparatus, the operator of a Kodak 
 Tank Developer should read carefully the manual accompanying the par¬ 
 ticular tank that he purchases. 
 
 WITH THE KODAK TANK DEVELOPER. 
 
 The Kodak Tank Developer consists of a wooden box, a light-proof 
 apron, a “ transferring reel ” and a metal “ solution cup ” in which the film 
 is developed, and a hooked rod for removing film from solution. There is 
 also a dummy film cartridge with which one should experiment before using 
 an exposed cartridge. The various parts of the outfit come packed in 
 the box itself. 
 
 SETTING UP THE TANK DEVELOPER. 
 
 Take everything out of the box. 
 Take red apron and transferring reel 
 out of solution cup. 
 
 Insert the axles marked C and D 
 in the cut, in the holes in the front of 
 box. The front will be toward you 
 when the spool carrier in end of box is 
 at your right. 
 
 The axle “D” must be pushed 
 through the hollow rod of the transferring reel, and axle “ C ” through 
 
74 
 
 DE VEL O PATENT. 
 
 the smaller apron carrier 
 to hold same in position. 
 
 The flanges at each end of 
 the Transferring Reel are marked 
 “ Y ” in the illustration. 
 
 Attach one end of 
 the apron to “C” by 
 means of the metal 
 hooks which are to be 
 engaged with the lugs on 
 the axle (Fig. 2). The 
 corrugated side of the 
 rubber bands are to be 
 beneath the apron when it 
 is attached. Turn to left 
 on axle “C” and wind 
 entire apron onto axle, 
 maintaining a slight ten¬ 
 
 sion on apron in so doing fig. 2. 
 
 by resting one hand on it. 
 
 Insert film cartridge in spool carrier (Fig. 3), close up the 
 
 movable arm tight against end of 
 spool. Ffave the black paper ( “B” 
 in Fig. 1) lead from the top. 
 
 Fig. 3. 
 
 IMPORTANT. 
 
 Film to be used in the Kodak Tank Devel¬ 
 oper must be fastened to the black paper at both 
 ends. Just bej'oreyou are ready to develop (hold¬ 
 ing spool with the imprinted side of the black paper 
 up) unroll the black paper carefully until you 
 uncover the piece of gummed paper which is fas¬ 
 tened to end of film and is to he used as a means of 
 fastening film to black paper. Moisten the gum¬ 
 med side of sticker evenly for about an inch across 
 the end and stick it down to black paper, rubbing 
 thoroughly to secure perfect adhesion. Wind end 
 of black paper on spool again and the cartridge is 
 ready to insert in transfer box. 
 
 Break the sticker that holds 
 down the end of black paper, 
 thread the paper underneath wire 
 guard on axle “D” (Fig. 4) 
 and turn slowly to right until the 
 word “stop” appears on black 
 paper. 
 
 Now hook apron to lugs on 
 
DE VEL OPMENT. 
 
 75 
 
 axle “D” in precisely the same manner that you hooked the 
 opposite end to axle “C” except that axle “D” turns to the right 
 (Fig- 5)- 
 
 Turn handle half a revolution, so that apron becomes firmly attached, 
 
 Fig. 4. 
 
 and put on cover of box. Turn axle “D” slowly and steadily until 
 black paper of cartridge, film and apron are rolled up together on 
 
 axle “D”. As soon as this 
 is completed the handle will turn 
 very freely. 
 
 The developer should now 
 be prepared and placed in the 
 solution cup. (See page 76.) 
 
 Now remove cover from 
 box and draw out axle “D” 
 ( Fig. 6 ), holding apron and 
 black paper with other hand 
 to keep end of apron from 
 loosening. 
 
 Remove entire transferring 
 reel (which now contains apron 
 
 (6) 
 
76 
 
 DE VELOPMENT. 
 
 and black paper) which is freed by pulling out axle “ D ”, and insert 
 immediately in the previously prepared developer. 
 
 Fig. t>. 
 
 USING THE SOLUTION CUP. 
 
 Having filled the solution cup as directed, lower Transferring Reel into 
 cup, either end first (Fig. 7). Let reel slide down slowly. The operation 
 of removing reel from box can be done in the light of an ordinary room, but, 
 of course, for safety it is well that the light should not be too bright. The 
 total length of time for development is twenty min¬ 
 utes. Allow development to proceed for about 
 two minutes with cover of solution cup off ; then 
 place the cover on the cup (Fig. 8), putting lugs 
 on cover into grooves and tighten cover down by 
 turning it to right. 
 
 Now turn the entire cup end for end and place in a tray 
 or saucer to catch any slight leak from 
 the cup. After seven minutes reverse 
 it so cover will be up. At fifteen min¬ 
 utes again invert the cup. Turning the 
 solution cup allows the developer to act 
 evenly and adds brilliancy and snap to fig. 7 . 
 
 _ 3 SS the negatives. 
 
 The wire lifting rod is to be used for lifting the reel out 
 ;1 of the cup. Hook on to the cross bar in one end of reel. 
 
 When the end of reel containing cross bar is at the bottom 
 Fig. 8 . of cup, the lifting rod is just long enough to catch the cross bar. 
 
DE VEL OPMENT. 
 
 77 
 
 The fixing solution should be prepared while the film is developing. 
 
 When development is completed pour out developer and fill 
 cup with clear cold water and pour off, repeating this operation three 
 times to wash the film. Then remove reel, separate film from black paper 
 and place immediately in the previously prepared Fixing Bath. 
 
 The film may be separated from black paper in light of an ordinary 
 room, if the developer is thoroughly washed out. 
 
 The operation of separating film and black paper should be done over 
 a bowl or bath tub or sink. 
 
 When the black paper does not free itself readily from back of film, 
 split the paper where possible ; this will remove the hard outer surface of 
 the paper, the remaining portion will soon become soaked and can then 
 be removed easily by rubbing gently, while immersed, with the ball of the 
 finger. This adhering of the black paper to the film is almost invariably 
 caused by the use of a too warm developer. 
 
 The operations of fixing, washing and drying are precisely the same as 
 with dark room developed negatives. See pages 79 and 80. 
 
 PREPARING THE DEVELOPING SOLUTION WITH 
 KODAK TANK DEVELOPER POWDERS. 
 
 Pour three or four ounces of lukewarm water into the Solution Cup. 
 Open the package of powder and pour in the Sodas (contained in the 
 larger package). Stir until dissolved. Now fill cup to ring with cold 
 water. Empty the contents of second package (Pyro) into the solution. 
 Stir for a few seconds or until dissolved. Developer must always be pre¬ 
 pared fresh for immediate use. Temperature 6o° to 65° Fahr. 
 
 SHORT DEVELOPMENT. 
 
 The length of development may be cut to ten minutes by the use of 
 two powders. Of course in such case the operator will dissolve the sodas 
 of both powders in the lukewarm water and will then fill the cup to ring 
 with cold water and dissolve the two papers of pyro. 
 
 For ten-minute development the film should be reversed at the end 
 of one minute and at the end of seven minutes. 
 
 FORMULAE. 
 
 On account of their purity and the accuracy with which they are pre¬ 
 pared, the Kodak Tank Developer Powders are recommended, but the 
 operator may use the following if desired. 
 
78 
 
 DE VEL OPMENT. 
 
 In case you make up your own solutions, use the following formulas 
 for 20 minute Tank Development : 
 
 BROWNIE TANK. 
 
 io grains Pyro. 
 
 30 grains Sulphite of Soda, anhydrous. 
 
 20 grains Carbonate of Soda, anhydrous. 
 
 Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold 
 water to fill tank to embossed ring. 
 
 THREE AND ONE-HALF INCH TANK. 
 
 22 grains Pyro. 
 
 66 grains Sulphite of Soda, anhydrous. 
 
 44 grains Carbonate of Soda, anhydrous. 
 
 Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold 
 water to fill tank to embossed ring. 
 
 FIVE AND SEVEN INCH TANK. 
 
 30 grains Pyro. 
 
 90 grains Sulphite of Soda, anhydrous. 
 
 60 grains Carbonate of Soda, anhydrous. 
 
 Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold 
 water to fill tank to embossed ring. 
 
 Use the following formulae for Ten Minute Tank Development. 
 
 BROWNIE TANK. 
 
 20 grains Pyro. 
 
 60 grains Sulphite of Soda, anhydrous. 
 
 40 grains Carbonate of Soda, anhydrous. 
 
 Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold 
 water to fill tank to embossed ring. 
 
 THREE AND ONE-HALF INCH TANK. 
 
 44 grains Pyro. 
 
 132 grains Sulphite of Soda, anhydrous. 
 
 88 grains Carbonate of Soda, anhydrous. 
 
 Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold 
 water to fill tank to embossed ring. 
 
 FIVE AND SEVEN INCH TANK. 
 
 60 grains Pyro. 
 
 180 grains Sulphite of Soda, anhydrous. 
 
 120 grains Carbonate of Soda, anhydrous. 
 
 Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold 
 water to fill tank to embossed ring. 
 
 Temperature of Developer, 65° Fahr. 
 
 DEVELOPING SEVERAL ROLLS OF FILM AT ONCE. 
 
 Several rolls of film may be developed at the same time if the operator 
 wishes. To do this it is necessary to have a “Duplicating Outfit” 
 
 con- 
 
DE VEL O PATENT. 
 
 79 
 
 sisting of one Solution Cup, one Transferring Reel and one Apron for each 
 additional roll of film to be developed. The extra rolls of film may then be 
 wound onto Transferring Reels as previously described and immersed in 
 the Solution Cup. 
 
 If another roll of film is to be developed, wipe the apron thoroughly. 
 
 If the Tank Developer is not to be used again immediately the apron 
 and tank should be washed and wiped dry. The apron will dry very 
 rapidly if immersed for a moment in very hot water. 
 
 Keep apron wound on Transferring Reel when not in use. Never 
 leave apron soaking in water. 
 
 FIXING BATH. 
 
 Use the Kodak Acid Fixing Bath or prepare an acid fixing bath in 
 accordance with formula given below. 
 
 Have plenty of fixing solution in a deep tray or earthen dish, so as to 
 fully cover film, using four ounces of Fixing Powder to each pint of water. 
 Fix for two or three minutes after all of the “ milky ” look has disappeared 
 from negatives. 
 
 If you use plain Hypo with N. C. Film, follow fixing by soaking for five minutes in a saturated 
 solution of common alum to remove stains. If Kodak Acid Fixing Powder is used this is unnecessary. 
 Wash and dry as per directions on page 80. 
 
 Nothing now remains to be done except to wash the film, to free it 
 from Hypo (fixing solution); wipe it with a soft cloth and pin it up to 
 dry. As soon as dry the negatives are cut apart and are ready for the 
 print making to begin. 
 
 ACID FIXING BATH. 
 
 The Acid Fixing Bath may be prepared as follows if desired : 
 
 Water,.16 ozs. 
 
 Hyposulphite of Soda, .... 4 ozs. 
 
 Sulphite of Soda (anhydrous), - - So grains. 
 
 when fully dissolved , add the following hardener : 
 
 Powdered Alum,. y % oz. 
 
 Citric Acid,. '/& oz. 
 
 This bath may be made up at any time in advance and be used so long 
 as it retains its strength, or is not sufficiently discolored by developer 
 carried into it as to stain the negatives. 
 
 WASHING AND DRYING. 
 
 The methods of washing and drying remain the same, no matter what 
 the methods of developing and fixing. 
 
8 o 
 
 DE VEL O PMENT. 
 
 WASHING. 
 
 The film may be placed in a wash bowl of cold water and 
 left to soak for five minutes each in five changes of cold water, 
 moving it about occasionally to insure this water acting evenly 
 upon it, or it may be given, say, two changes as above and then 
 left for an hour in a wash bowl or tray with a very gentle stream 
 of water running in and out. 
 
 DRYING. 
 
 When thoroughly washed, snap an Eastman Film Develop¬ 
 ing Clip on each end of the strip and hang it up to dry, being 
 sure it swings clear of the wall so that there will be no possibility 
 of either side of the film coming in contact with the latter. In 
 DR 'cups' ITH drying, N. C. Film should be cut up into strips of not more than 
 six exposures in length. 
 
 If the film has been cut up, pin by one corner to the edge of a shelf or 
 hang the negative on a stretched string by means of a bent pin, running 
 the pin through the corner of film to the head, then hooking it over the 
 string. 
 
 Always keep finished negatives flat —do not roll them up. An Eastman 
 Indexed Negative Album keeps them in perfect order. 
 
 WARNING. 
 
 Do not let either surface of N. C. Film come in contact with anything 
 while drying. 
 
 Use an Acid Fixing Bath. 
 
 If the black paper sticks to back of film and does not come off in the 
 bath, rub gently with the ball of finger while the film is immersed. 
 
DEVELOPMENT. 
 
 81 
 
 THE DARK-ROOM METHOD. 
 
 The first essential is a dark-room. By a dark-room is meant one that 
 is wholly dark—not a ray of light in it. Such a room can easily besecured 
 at night almost anywhere. The reason a dark-room is required is that the 
 film is extremely sensitive to white light, either daylight or lamplight, and 
 would be spoiled if exposed to it even for a fraction of a second. 
 
 If possible have running water, but if this is not available provide a 
 pitcher of cold water (ice water in summer), a shelf or table on which to 
 work and (for use with film) a pair of shears. 
 
 Also provide a Developing and Printing Outfit which should contain : 
 
 i Dark-Room Lamp, Package Developer Powders, 
 
 4 Developing Trays, i lb. Kodak Acid Fixing Powders, 
 
 i Glass Beaker, i Package Bromide Potassium, 
 
 i Stirring Rod, 
 
 Such an outfit need not cost more than one or two dollars and will be 
 sufficiently elaborate for your first work. 
 
 TO DEVELOP FILM. 
 
 Film is handled in much the same manner as plates except, of course, 
 that it must be cut up before printing. 
 
 For all Kodak cartridge rolls, shorter than 4x5, 12 exposure, we 
 recommend that development be done in the strip, as this method removes 
 the possibility of cutting through the negatives. The same method may 
 be used with the larger sizes, but owing to their length is, 
 perhaps, not quite so convenient as to cut up the film 
 before development is started, as described on page 84. 
 
 Having shut out all extraneous light 
 and lighted the dark-room lamp. 
 
 a. Unroll the film and detach 
 the black paper. 
 
 b. Pass the film through a 
 tray of clean, cold water, as shown 
 in the cut, holding one end in each 
 hand. Pass through the water 
 several times, that there may be 
 no bubbles remaining on the film. 
 
 When it is thoroughly wet, with 
 
82 
 
 DE VEL OP ME NT. 
 
 no air bubbles, place the strip of film in a tray of water, immersing it 
 fully but not folding tightly so as to crack it. 
 
 c. Prepare the developer as described on page 83. 
 
 d. Now pass the film through the developer in the same manner as 
 described for wetting it, and shown in cut. Keep it constantly in motion, 
 and in about one minute the high lights will begin to darken and you will 
 readily be able to distinguish the unexposed sections between the negatives, 
 and in about two minutes will be able to distinguish objects in the picture. 
 Complete development in the strip, giving sufficient length of development 
 to bring out what detail you can in the thinnest negatives. 
 
 Keep the strip which is being developed constantly in motion, allowing 
 the developer to act five to ten minutes. The progress of development 
 may be watched by holding the negatives up to the lamp from time to time. 
 
 When developing Eastman’s N. C. Film, care must be taken not to 
 hold it close to the lamp for any length of time. These films are very 
 rapid and are orthochromatic, therefore liable to fog unless handled very 
 carefully in the dark-room or developed in the Kodak Developing 
 Machine or Tank. 
 
 e. After completing development, cut the negatives apart with a pair 
 of shears, transfer to the third tray, and rinse two or three times with clear, 
 cold water. Now proceed according to paragraph 6, page 83. 
 
 This method must always be followed with the Cartridge Roll Holder 
 rolls, but they may first be cut in two at point where perforations occur in 
 the middle of strip. 
 
 ANOTHER WAY. 
 
 1. Unroll the film and cut the ex¬ 
 posures apart as shown in Fig. I. 
 
 In unrolling the film preparatory to 
 development, care must be taken that the 
 end be not allowed to roll up over the 
 paper. The exposures should be cut 
 apart with the paper on top. 
 
 Fig. II shows a cartridge unrolled 
 with the film on top. To correct this, 
 simply turn back the film as indicated by 
 the dotted lines, thus bringing the film 
 under the paper. 
 
 2. Fill one of the trays nearly full of 
 ures, one by one, face down; put them in 
 immerse them fully. 
 
 water, and put into it the expos- 
 edgewise, to avoid air bells, and 
 
DE VEL O PMEN T. 
 
 83 
 
 Cover the tray with a bit of brown 
 paper to keep out the light from the 
 lamp. 
 
 3. Open one of the developer pow¬ 
 ders, then put the contents, (two chem¬ 
 icals) into the beaker and pour in four 
 ounces of water. Stir until dissolved with 
 the stirring rod, and pour into second 
 tray. 
 
 4. Take one of the exposures from the water and immerse it, face 
 down , in the second tray. Rock it back and forth to prevent streaks and 
 air bubbles ; in about one minute the film will 
 begin to darken in spots, representing the lights 
 of the picture, and in about two minutes the 
 operator will be able to distinguish obje&s in 
 the pi&ure. The developer should be allowed 
 to a< 5 t five to ten minutes. 
 
 5. Transfer the developed film to the 
 third tray, and rinse two or three times with 
 water, leaving it to soak while the next film is being developed. 
 
 Note -Five or six 4x5 negatives can be developed, one after the other, in one portion of devel¬ 
 oper, made by use of Eastman's Special Developer Powders, then it should be thrown away and a fresh 
 portion mixed. 
 
 Only one negative should be developed at a time until the operator 
 becomes expert. 
 
 As each successive negative is developed, it should be put, with the 
 preceding negatives, in the washing tray, and the water changed twice, to 
 prevent the developer remaining in the films from staining them. 
 
 6. Prepare in the fourth tray sufficient fixing bath to fully cover the 
 negatives, use 1 ounce of Kodak Acid Fixing Powder to each 4 ounces of 
 water. 
 
 7. Immerse the negatives one by one in the fixing bath until they are 
 entirely clear of white spots and are transparent instead of milky by trans¬ 
 mitted light. This will require about ten minutes. 
 
 8. The yellow shade can be removed from the lamp as soon as all the 
 exposures have been fixed. 
 
 Wash and dry as per directions on page 80. 
 
 The fixing solution must only be used in tray No. 4, and the negatives, 
 after fixing, must not be put in either No. 1 or No. 2 trays. Neither must 
 any of the fixing solution be allowed to touch the films, through the agency 
 of the fingers, or otherwise, until they are ready to go into the fixing bath, 
 otherwise, they will be spotted or blackened, so as to be useless. 
 
8 4 
 
 DE VEL OP ME NT. 
 
 The trays and beaker should now be rinsed out and set away to drain 
 and dry. 
 
 A FEW REMARKS UPON DEVELOPMENT. 
 
 The foregoing pages fully cover the subject of development so far as 
 telling the beginner exactly what to do is concerned. If the amateur fol¬ 
 lows absolutely the directions therein given he will secure good results; but 
 a word of the theory of development will nevertheless prove interesting and 
 instructive. 
 
 An exposed and unexposed film do not differ, so far as the eye can 
 judge. It is necessary, therefore, to treat the exposed film with a solution 
 containing certain chemicals to reveal the action of the sun’s rays. 
 
 This is called development. 
 
 The chemicals are the developer. 
 
 The aCtive or developing agent, such as Pyrogallic acid (commonly 
 known as Pyro) and Hydrochinon, affeCt the latent image by reducing to 
 metallic silver those parts which have been affeCted by the light. In other 
 words, it blackens them. But these agents require the use of another sub¬ 
 stance to give them energy: 
 
 ACCELERATOR. 
 
 An alkali when mixed with the aCtive developing agent gives it a 
 greater affinity for oxygen; it therefore becomes more energetic as a reducer. 
 This alkali is called an accelerator. The alkalies most commonly used are 
 Carbonate of Soda (known as sal soda and washing soda) and Carbonate of 
 Potassium. 
 
 RESTRAINER. 
 
 A restrainer is a substance that has the power to restrain or retard the 
 action of development. Bromide of Potassium, most commonly used for 
 that purpose, has the property of dissolving a certain amount of Bromide of 
 Silver from the film, thereby forming a double salt which is less easily 
 reduced by the developer. This action having taken place, the develop¬ 
 ment is much slower; hence the name, “ restrainer.” 
 
DE VEL O PMENT. 
 
 85 
 
 PRESERVATIVE. 
 
 The preservative is a substance that will keep the developer from 
 discoloring and oxydizing when it is to be kept for future use. “Sulphite 
 of Soda ’’ is most commonly used for that purpose; it also has much to do 
 with the color of the negative. If only a very small portion be used the 
 negative will be brown, the quality being harsh and hard and one that will 
 give you a print of much contrast, while the use of a greater portion gives a 
 gray, soft negative with more detail. 
 
 FIXING THE NEGATIVE. 
 
 The fixing or clearing of a negative is due to the action of the “ Hypo¬ 
 sulphite of Soda’’ eating out the Bromide of Silver not acted upon by the 
 light, and until this has been accomplished it is still sensitive. When the 
 creamy appearance on the back of the negative disappears it may be called 
 “fixed,” and can then be taken from the bath and exposed to any light 
 without fear of injury. 
 
86 
 
 DE VEL OPMENT. 
 
 DEFECTIVE NEGATIVES. 
 
 Defective negaiives may be caused by under or over exposure or by 
 careless handling during development and subsequent operations. 
 
 Over or under-development is usually occasioned by the fa< 5 t that the 
 inexperienced operator is unable to tell, under the dark-room light, whether 
 he has carried the develop¬ 
 ment far enough or not and 
 he is extremely likely to err 
 on the side of under-develop¬ 
 ment. 
 
 A properly exposed 
 negative should be de¬ 
 veloped for five minutes. 
 
 If you feel that you have 
 under-exposed the negative 
 no harm will come from 
 developing up to eight 
 minutes. The beginner will, 
 as a rule, secure better 
 results by timing develop¬ 
 ment by the watch than he 
 
 appearance of the negative. 
 
 Fig. i shows an under¬ 
 exposed negative clear in the 
 dark parts or shadows with 
 an entire absence of detail, 
 the high lights or white parts of the subject being black, also lacking in 
 detail. This fault is caused by making snap shots indoors, or in the shade, 
 or when the light is weak, late in the day, or by closing the lens too soon 
 on time exposures. 
 
 Fig. 2 shows an over-exposed and over-developed negative, full of 
 detail but flat, lacking all contrast and brilliancy and at the same time it 
 looks black or dense. 
 
 Caused by too much light. 
 
 Negative develops evenly, shadows almost as fast as high lights. 
 
 No contrast, and no deep shadows. 
 
 If a negative is known to be over-exposed before development is begun, 
 it can be largely overcome by the addition of bromide of potassium to the 
 
 will by trying to judge the 
 
 Fig. i. 
 
DEVELOPMENT. 
 
 S 7 
 
 developer, before development 
 begins, and a bottle containing 
 
 Bromide of Potash, i oz. 
 
 Water, - - io ozs. 
 
 should always be at hand when 
 you are developing. 
 
 Use i to 4 drops for each 
 ounce of developer according 
 to amount of over-exposure. 
 
 After the Bromide has been 
 added to the developer, it 
 should not be used for another 
 negative unless it is known to 
 have been over-exposed. 
 
 OVER-DEVELOP¬ 
 MENT. 
 
 Caused by leaving the 
 negative too long in the devel¬ 
 oper. Fig. 2. 
 
 In this case the negative 
 is very strong and intense by 
 transmitted light and requires 
 a very long time to print. The 
 remedy is to reduce by the 
 following method : 
 
 REDUCER. 
 
 First soak negative 20 
 minutes in water, then immerse 
 in : 
 
 Water, - - 6 ounces. 
 
 Hypo-sulphite Soda, ounce. 
 Ferri Cyanide Potassium, 20 
 drops (saturated solution). 
 
 Rock tray gently back 
 and forth until negative has 
 been reduced to the desired 
 density, then wash ten minutes 
 in running water or in four 
 changes of water. 
 
 Fig 3. 
 
88 
 
 DE VEL OPMENT. 
 
 F1G.3B. 
 
 UNDER-DEVELOP¬ 
 
 MENT. 
 
 Caused by removal from 
 the developer too soon. 
 
 An under-developed nega¬ 
 tive differs from an under¬ 
 exposed one, in that it is apt 
 to be thin and full of detail, 
 instead of harsh and lacking 
 in detail. If the development 
 is carried on as before diredled, 
 this defedt is not liable to 
 occur. 
 
 If a mistake has been 
 made in developing and the 
 negative does not appear strong 
 enough (this can be judged 
 only by experience), the nega¬ 
 tive can be improved by 
 
 Negatives may be reduced 
 locally by applying the above 
 solution to the dense parts 
 with a camel’s hair brush, 
 rinsing off the reducer with 
 clear water occasionally to pre¬ 
 vent its running onto the parts 
 of the negative that do not 
 require reducing. 
 
 Fig. 3 shows a negative 
 correbtly timed and developed ; 
 note the brilliancy, depth, and 
 well-defined detail compared 
 with Nos. 1 and 2. 
 
 Fig. 3 B is a positive print 
 from negative No. 3. 
 
 Fig. 4 shows negative 
 under-developed, having plenty 
 of detail but thin and with very 
 slight contrast. 
 
 Fig. 4. 
 
DEVELOPMENT. 
 
 S 9 
 
 Intensification —Lay the film in one of the empty trays and pour over 
 it sufficient Intensifier to fully cover it; allow it to act until the film is all 
 of one even color and then pour the Intensifier back into the bottle and 
 wash the film in four or five changes of water for fifteen minutes 
 
 Intensifier may be purchased already prepared or the amateur may put 
 it up himself, using the following formula : 
 
 INTENSIFIER. 
 
 No. i, 75 Gr. Bi-chloride of Mercury (corrosive sublimate) 
 
 Poison, 5 oz. Water. 
 
 No. 2, H2Gr. Iodide of Potassium, - i '/ 2 “ “ 
 
 “ 3, 150 “ Hypo-sulphite of Soda - 2 y z “ “ 
 
 Dissolve separately and combine No. 1 with No. 2 and the resulting mixture 
 with No. 3. 
 
 LIGHT FOG. 
 
 This is caused by the light coming in contact with film other than that 
 which comes through the lens during the proper exposure. Frequently it 
 is caused by exposure to an unsafe light during development; also by light 
 entering the dark-room through the key-hole or a crack in the door. 
 Examine your dark-room thoroughly before developing and see that all 
 white light is excluded. Fog is often caused by the negative being exposed 
 to light after development but before fixing.* 
 
 Even the colored light from a dark-room lamp will fog film or plate if 
 they are exposed to it too long. Do not work unnecessarily close to the 
 lamp and until after negatives are thoroughly “ fixed ” keep trays in which 
 they are lying covered with brown paper to exclude all light. 
 
 SPOTS, STREAKS, ETC. 
 
 Air bells on the film in the developer or fixing bath are liable to cause 
 spots, and streaks are caused by allowing the film to remain uncovered in 
 part by the various solutions while in them. 
 
 White, milky spots are evidence that the negative has not been prop¬ 
 erly fixed, and the negative should be put back into the fixing bath, and 
 then rewashed. 
 
 Sometimes after the negative is dry you will find a deposit of small 
 crystals on its surface. This is Hyposulphite of Soda and indicates insuf¬ 
 ficient washing. 
 
 *If developer is thoroughly washed out of film, short exposure to weak light will do no harm between 
 development and fixing. 
 
9 ° 
 
 DE VEL OPMENT. 
 
 TEMPERATURE 
 
 Keep your baths during use at a uniform temperature, about 65° 
 Fahr. Much trouble is caused by the developer and fixing baths being too 
 warm or too cold. When too warm the result is frequently a weak “mealy” 
 negative. It may cause the film to fog (the casting of a haze or veil over 
 the surface). The edges may frill or loosen from the support; should the 
 temperature reach 85° the film would soften. 
 
 In hot, muggy weather keep the developer cool with a small piece of 
 ice in the tray, or better still, set the developing tray in a tray of larger 
 dimensions, filling the space between the sides and ends with chopped ice. 
 
 WHAT DEVELOPER TO USE 
 
 It is well not to try too many developers at the beginning. To under¬ 
 stand one thoroughly, or at the most two, will give you results from which 
 you will obtain more satisfaction than should you dabble with the various 
 formulas on the market to-day. Thoroughly master one before trying 
 others. One may start with “ Pyro ” or “ Hydrochinon,” which are with¬ 
 out doubt two of the best. 
 
 Pyro, the most popular, has a decided tendency to stain the fingers. 
 Should this be objected to, Hydrochinon (which is free from that objection) 
 can be used with good results. Not every photographic beginner owns a 
 pair of chemist’s scales, which are a necessity should he wish to compound 
 the formula himself. Rather than be uncertain as to correctness, we would 
 advise the use of developing powders. Eastman’s Special Developer 
 Powders are particularly desirable as they do not stain the fingers. If, how¬ 
 ever, the amateur desires to mix his own developer, the following stock 
 solution used as below will be found an excellent developer for either the 
 dark-room or the Tank. 
 
 PYRO DEVELOPING FORMULA. 
 
 PYROGALLIC ACID SOLUTION. 
 
 Metric 
 
 “ A.” 
 
 Avoirdupois. System. 
 i oz. 30 grams. 
 20 minims. 1 c. c. 
 
 Pyrogallic Acid, 
 Sulphuric Acid, 
 Water, 
 
 28 ozs. 900 c. c. 
 
 SODA SOLUTION. 
 
 “ B,” 
 
 ^Carbonate Soda (Anhydrous), 
 
 Metric 
 
 Avoirdupois. System. 
 
 ^Sulphite Soda (Anhydrous), 
 Watei, 
 
 2 ozs. 60 grams. 
 
 3 ozs 90 grams. 
 
 28 ozs. 900 c. c. 
 
 *If crystals are used, double the quantity. 
 
DE VELOPMENT. 
 
 9i 
 
 For dark-room development take 
 
 “A.” - - - - - '/i oz. ( 1 5 c. c.) 
 
 “ B,” - - - - - y z oz. ( 15 c. c.) 
 
 Water, ----- 4 ozs. (120 c. c.) 
 
 This developer will then contain 1.56 grains Pyro per ounce. 
 
 For 6 minute development in Developing Machine or 10 minute 
 development in Tank Developer use the following proportions : 
 
 “A,” - - - - - 1 oz. (30 c. c.) 
 
 “ B,” - - - - - ioz, (30 c. c.) 
 
 Water, ----- 10 ozs. (300 c. c.) 
 
 This developer will then contain 1.30 grains Pyro per ounce. 
 
 For 20 minute development in Tank Developer use the following pro¬ 
 portions : 
 
 “A,” - - - - - 1 oz. ( 30 c. c.) 
 
 “ B,” - - - - - ioz. (30 c. c.) 
 
 Water, ----- 22 ozs. (660 c. c.) 
 
 This developer will then contain .65 grains Pyro per ounce. 
 
 DEVELOPING DRY PLATES. 
 
 The foregoing directions apply to dry plates as well as films, the 
 chemical treatment being the same, except that the preliminary wetting 
 may be omitted with plates. 
 
 Plates, however, must be handled in the solutions one at a time as they 
 would scratch each other if a larger number were put into the trays simul¬ 
 taneously. They should also be developed face up. 
 
 ( 7 ) 
 
PRINTING. 
 
 Having developed the negatives, the final step in pi&ure making is 
 now in order—making the prints. For printing there are many papers— 
 grouped under two general classes, “printing out’’ papers, where the 
 image is visible after printing and “developing out’’ papers which require 
 a developing solution to make the image visible. 
 
 For the amateur there is no more satisfactory printing process than 
 that offered by the use of Velox. Prints made by this process give a rich, 
 soft Platinum effect not excelled by any other paper. 
 
 Velox can be printed by either artificial light or daylight, and like an 
 exposure on film the image is not visible and it must therefore be developed. 
 
 The process is simple, but like all others it requires some skill and 
 judgment, both of which can easily be acquired by strict adherence to the 
 given rules and formula. 
 
 ABOUT VELOX. 
 
 Velox is suitable for every class of work, as is fully demonstrated under 
 the heading of “Surfaces and Grades.’’ Velox should not be confused 
 with Bromide or any other paper ; it has distinctive qualities of its 
 own which have never been successfully imitated. Many improvements 
 have recently been made in its manufacture and to-day Velox is the perfected 
 produCt of years of experiment. 
 
 The different surfaces and grades in which it is manufactured enable 
 the user to produce good prints from almost any negative, suiting his taste 
 as well as the peculiar requirements of the negatives. 
 
 SURFACES AND GRADES. 
 
 Velox is made in six different surfaces and divided broadly into two 
 grades of papers, called “ Regular’’ and “ Special.” As these trade terms 
 have reference to speed and contrast and not surface, we could as well say 
 “slow” and “fast” or “hard” and “soft.” In each grade will be found 
 a variety of surfaces. Choose the surface which best suits you and which 
 
PRINTING. 
 
 93 
 
 will harmonize with the subject of your piblure. Sele< 5 t your negatives, 
 remembering that the “ Regular ” papers print slowly, but develop quickly, 
 and are adapted for negatives lacking contrast, and known as “thin” or 
 “weak” negatives. “Special” papers require shorter exposure and 
 longer development (as compared with the “Regular”) and are for use 
 with “ contrasty ” negatives. Such negatives are also referred to as being 
 strong, thick, dense or hard. 
 
 Royal Velox differs from the other Velox papers in that it is coated on 
 a stock having a cream tint, just a soft mellow tone that prevents harshness 
 in the high lights. The stock is somewhat heavier than the usual Velox 
 stock, about half-way between the single and the double weight. 
 
 Royal Velox prints are delightful when developed in the ordinary way, 
 but to get their full value should be re-developed. See page ioi. 
 
 Royal Velox is furnished in both “ Regular” and “ Special.” 
 
 Any negatives which will produce good results with printing-out paper 
 should be printed on Special, while Regular Velox is adapted to negatives 
 which are too soft for other photographic papers. 
 
 To those familiar with Velox paper it is an easy matter to seledt the 
 grade which is best suited for the results desired. The novice, however, 
 is guided usually by the»advice of others and often is misled into using a 
 wrong grade of Velox, thereby failing to secure the results expected, and is 
 inclined to believe that the paper is at fault. The following table of grades 
 and weights of Velox should be an aid to those contemplating using this 
 paper : 
 
 SURFACES, WEIGHTS AND GRADES OF VELOX. 
 
 GRADE 
 
 SURFACE 
 
 SPEED 
 
 GRADE 
 
 SURFACE 
 
 SPEED 
 
 ^Velvet Velox 
 
 Semi-Gloss 
 
 Special 
 
 *Rough Velox 
 
 Matte 
 
 Special 
 
 ^Velvet Velox 
 
 Semi-Gloss 
 
 Regular 
 
 Glossy Velox 
 
 Enameled 
 
 Regular 
 
 *Portrait Velox 
 
 Smooth Matte 
 
 Special 
 
 Glossy Velox 
 
 Enameled 
 
 Special 
 
 *Carbon Velox 
 
 Matte 
 
 Regular 
 
 Royal Velox 
 
 Matte 
 
 Regular 
 
 Carbon Velox 
 
 Matte 
 
 Special 
 
 Royal Velox 
 
 Matte 
 
 Special 
 
 ^Furnished also in Double Weight Velox ; double weight papers 
 require no mount and when ‘printed under a mask which will insure a 
 white margin, afford a very artistic effect. 
 
 MANIPULATION. 
 
 Velox prints may be successfully made, using daylight for exposure. 
 Select a north window, if possible, as the light from this direction will be 
 more uniform. Owing to its sensitiveness the paper should be handled in 
 
94 
 
 PRINTING. 
 
 subdued light, otherwise it will be liable to fog. Proper precautions should 
 be taken to pull down the window shades and darken the room sufficiently 
 during the manipulation. If the light is too strong for printing it should 
 be subdued or diffused by the use of several thicknesses of white tissue 
 paper. Owing to the varying intensity of daylight uniform results are not 
 as certain as when using artificial light. In the following instructions for 
 manipulating Velox, it must be understood that artificial light, preferably 
 gas w ith a Welsbach burner, will be the light used. A kerosene lamp, 
 fitted with a round burner (known as Rochester burner), may be used, but 
 owing to the decidedly yellow light this affords, a considerably longer 
 exposure will be necessary than when using a Welsbach light. 
 
 Velox may be safely manipulated ten feet from the ordinary gas 
 flame. 
 
 The comparative exposure with Regular and Special Velox with various 
 sources of light is as follows : 
 
 
 Size of 
 Negative. 
 
 Distance 
 from light. 
 
 £ v 
 
 £ 
 
 V 3 
 
 I? 
 
 32 c. p. elec 
 trie or 6 ft. 
 gas burner. 
 
 16 c. p. elec¬ 
 
 tric or 4 ft. 
 gas burner. 
 
 Average oil 
 
 lamp. 
 
 SPECIAL 
 
 VELOX 
 
 4 x 5 or 
 smaller 
 
 7 inches 
 
 io sec. 
 
 20 sec. 
 
 30 sec. 
 
 40 sec. 
 
 REGULAR 
 
 VELOX 
 
 4 x 5 or 
 smaller 
 
 7 inches 
 
 40 sec. 
 
 80 sec. 
 
 2 min. 
 
 3 min. 
 
 PRINTING REQUISITES. 
 
 The absolute necessities for making Velox prints are few in number 
 and simple in character. Either day light or artificial light are of course 
 essential, also developing solutions and water for washing the prints. The 
 ordinary printing frame is used in making exposures. The artistic possi¬ 
 bilities of Velox make it worthy of the study of all photographers and a 
 convenient apparatus for measuring the distance from the light and for 
 adjusting each negative to the proper angle of exposure is of great assist¬ 
 ance. As an aid, we recommend the Velox Amateur Printer, not only to 
 help those who are already making good Velox prints, but to assist the 
 beginner in mastering the delightful art of Velox printing in the shortest 
 possible time. 
 
 The construction of the Velox printer is simple and it is furnished 
 with attachments for use either with gas or electricity. 
 
PRINTING. 
 
 95 
 
 Aside from suitable light and 
 work room, you will require : 
 
 3 trays, preferably enameled 
 iron (a full size larger than the prints 
 to be made). 
 
 i printing frame and glass to 
 fit, if films are to be printed. 
 
 i 4-0Z. graduate. 
 
 1 bottle Nepera Solution. 
 
 1 bottle Velox Liquid Hardener 
 
 1 lb. Crystal or Granulated 
 Hypo. 
 
 x package each Regular and 
 Special Velox. 
 
 Arrange the three trays before you on your work table in this order : 
 
 2 ozs. Nepera 
 
 
 Clean Water. 
 
 13 
 
 4 ozs. Hypo 
 
 Solution 
 
 
 
 £ 
 
 0 
 
 16 ozs. Water 
 
 4 ozs. Water. 
 
 
 
 h 
 
 1 oz. Hardener. 
 
 1 
 
 
 2 
 
 X 
 
 3 
 
 In the center of the above spaces we have indicated the solution which 
 each tray should contain for developing Regular Velox. If Special is used, 
 double the quantity of water should be added to the developer (Tray 
 No. 1). Do not be too sparing of the amount of the solutions used, 
 especially of your fixing bath (Tray No. 3); if making three or four dozen 
 prints (4 x 5) use a full pint (see formula page 99 ; see, also, note regard¬ 
 ing fixing bath for Royal Velox, page 99), and do not keep it after using, 
 as a fresh bath will give best results. 
 
 Proper temperature is important and for best results the developer 
 should be 70 degrees Fahr. and the fixing bath and wash water 50 degrees 
 Fahr. If the developer exceeds 70 degrees the prints are liable to fog and 
 the emulsion soften. If too cold, chemical action is retarded, resulting in 
 flat, weak prints. 
 
 PRINTING. 
 
 You are now ready for exposure and the printing frame should be 
 filled. Place the sensitized side of the sheet of Velox against the film side 
 of the negative, the paper curls slightly, the sensitive side being concave. 
 An absolute test is to bite the corner of the sheet, the sensitive side will 
 adhere to the teeth. 
 
 Place the printing frame the corre< 5 t distance from the artificial light 
 
9 6 
 
 PRINTING. 
 
 used, holding the frame away from the burner a distance equal to the 
 diagonal of the negative. To prove that the light is evenly diffused at the 
 point selected for exposure, take a piece of white cardboard, the size of the 
 negative, and move its position with reference to the light until you find 
 the shortest distance at which an even illumination is secured. A feu- 
 seconds exposure will be required when printing an average negative on 
 Special Velox. Regular Velox needs from four to five times as much 
 exposure as Special, if in using both grades the printing frame is held at the 
 same distance from the light. We suggest that before making the first 
 exposure the cutting of a piece of Velox paper into strips about an inch 
 wide and placing one of them over an important part of the negative, make 
 the exposure, using your best judgment as to the distance from the light 
 and the time of printing. Develop it, and if not satisfadory try another 
 strip, varying the time as indicated by the first result. When the desired 
 effect is secured, you can make any number of prints from the same nega¬ 
 tive, and if the time of exposure, distance from light as well as the time of 
 developing are identical, all the prints should be equally good. By com¬ 
 paring your other negatives with the one you have tested, you will be able 
 to make a fairly accurate estimate of exposure required by any negative. 
 
 After taking the exposed piece of paper from the printing frame, in a 
 safe place previously selected, it is ready for development. The dry print 
 should be immersed face up in the developer (Tray No. i) and quickly and 
 evenly covered with the solution. Regular Velox should be developed not 
 to exceed fifteen seconds ; Special about twice as long. No exact time can 
 be given as the strength of developer used would make a difference in the 
 time. With our prepared liquid developers, the addition of Bromide of 
 Potassium is unnecessary, the correct proportion being in the solution. As 
 soon as the image has reached the desired depth remove from the developer 
 to the tray (No. 2) and rinse for a moment, turning the print several times, 
 then place it in the acid fixing bath (Tray No. 3), keeping the print 
 moving for a few seconds, the same as was done when rinsing, so as to give 
 even and thorough fixing, preventing stains and other troubles. See page 
 99 for note regarding fixing bath for Royal Velox. Leave the print in 
 this solution until thoroughly fixed ; this will take about fifteen minutes. 
 When fixed, remove from the fixing bath and wash thoroughly for about an 
 hour in running water, then dry. After drying, prints may be trimmed 
 and mounted. 
 
 You should be systematic in working, remembering that cleanliness is 
 essential in photography. Care must be taken to prevent the Hypo in any 
 way getting into the tray containing the developer. Have a clean towel 
 when beginning the work and wipe your hands each time after you have 
 handled prints in Hypo solution. 
 
PRINTING. 
 
 97 
 
 NOTES ON DEVELOPMENT. 
 
 Various developing agents are used in the production of Velox prints 
 and are marketed under different trade names, such as Amidol, Ortol, 
 Edinol, Metol and Hydroquinone, etc. Amidol affords a very blue-black 
 tone, but owing to rapid oxidation, a fresh solution should be mixed each 
 time prints are to be made. Ortol and Edinol afford very satisfactory 
 results. It has been proved, however, that Metol and Hydroquinone in 
 combination yield the very best results on Velox when used in the propor¬ 
 tion given in our formula. Owing to the difficulty many have in securing 
 absolutely pure chemicals and the trouble and subsequent loss of material 
 to those attempting to compound their own developers, we recommend the 
 use of our liquid developers, N. A. Velox Liquid Developer and Nepera 
 Solution, for Velox papers. To those who prefer to prepare their own 
 solution, we advise the following formula : 
 
 M. 0. DEVELOPER. 
 
 (Dissolve chemicals in the order named.) 
 
 METRIC 
 
 SYSTEM. 
 
 Water,. 
 
 Metol,. 
 
 Hydroquinone, 
 
 Sulphite Soda (desiccated) 
 Carbonate Soda (desiccated) - 
 
 io ozs.=3oo c. c. 
 7 grains=>£ gramme 
 30 grains=2 grammes 
 - no grains=7 grammes 
 200 grains=i3 grammes 
 
 10 per cent, solution Bromide Potassium, 40 drops=40 drops 
 
 This solution will keep indefinitely if placed in bottles filled to the neck 
 and tightly corked. It should be used full strength for “ Regular Velox,” 
 but can be diluted with equal parts of water when “ Special” papers are 
 developed. 
 
 Note. —In England, Canada, or wherever the British Pharmacopoeia 
 is official, use 150 grains of desiccated sodium carbonate instead of 200. 
 
 N. A. VELOX LIQUID DEVELOPER. 
 
 This is an excellent ready to use, concentrated developer for Velox 
 papers. Unlike any other developer, it has certain qualities which make it 
 unique in photographic work. N. A. (non-abrasion) means that all 
 abrasion or friction marks, to which all glossy developing-out papers are 
 particularly susceptible, will be prevented by this solution. Another feature 
 is the guide it gives to thorough fixing—the print is not absolutely fixed 
 until the canary yellow color entirely disappears by fixing in a correctly 
 prepared Acid Hypo Bath. This developer yields the softest possible 
 
PRINTING. 
 
 98 
 
 prints when undiluted and it is well to remember that the stronger the 
 developer , the softer the print. 
 
 The following formula should be used for Special Velox : 
 
 N. A. Velox Liquid Developer, 
 Water. 
 
 Developer for Regular Velox : 
 
 N. A. Velox Liquid Developer, 
 Water,. 
 
 1 oz. 
 
 4 ozs. 
 
 2 ozs. 
 4 ozs. 
 
 It is important that the temperature of the developing solution should 
 be 70 degrees Fahr. In summer, if found necessary to cool the developer, 
 do not place ice in the solution, as it will dilute it. Place the tray contain¬ 
 ing developer into one of larger size, packing ice around it. N. A. 
 Developer should not be used for developing plates or films. 
 
 NEPERA SOLUTION. 
 
 This is known as the “universal developer” because it may be used 
 not only for Velox, but Azo, Bromide paper, films or plates. Like all 
 Nepera liquids, it is a concentrated solution with the combination of purest 
 chemicals which will give the best results. It differs from N. A. Velox 
 Liquid Developer in that it does not possess the non-abrasion and fixing- 
 guide properties ; but on the other hand, when used in combination with 
 Nepera Capsules, four of which accompany each 4-oz. bottle, it is excellent 
 for films or plates, giving negatives of the quality best suited for developing- 
 out paper. 
 
 For Regular Velox use : 
 
 Nepera Solution, 
 
 Water, . 
 
 For Special Velox use : 
 
 Nepera Solution, ------ 
 
 Water, . 
 
 The temperature of the bath should be 70 degrees Fahr. 
 
 2 OZS. 
 
 4 ozs. 
 
 I oz. 
 4 ozs. 
 
 For film in Rodak Tank Developer or Kodak DevelopingMachine use : 
 
 Nepera Solution, . y 2 C z. 
 
 Water, -------- 12 ozs. 
 
 Contents of one Nepera Capsule. 
 
 Develop for 20 minutes. 
 
 Without Tank or Developing Machine, using factorial system, io is 
 the factor, use : 
 
 Nepera Solution,. y 2 oz . 
 
 Water,. 8 ozs . 
 
 Contents of one Nepera Capsule. 
 
 Temperature should be 60 degrees Fahr. 
 
PRINTING. 
 
 99 
 
 FIXING. 
 
 Sodium Hypo-Sulphite (or Hypo as commercially termed) may be 
 obtained for use in either a granulated or crystal form. Its purpose is to 
 reduce the silver salts which have not been acted upon by light. The 
 importance of this chemical is evident, but it is probable that no part or 
 process of photography is more abused than that of correctly preparing a 
 fixing bath and properly fixing prints. To secure permanency prints must 
 be fixed in a fresh solution of Hypo. When Hypo is first dissolved in 
 water, the temperature of the solution is materially reduced. It is impor¬ 
 tant that the temperature of a fixing bath should be maintained as near to 
 50 degrees Fahr. as possible. Probably more prints fade from insufficient 
 fixing than lack of washing, so these points should be given attention. 
 Have plenty of solution strong enough to thoroughly fix prints in at least 
 fifteen minutes. Always use the acid hardener in the bath as it will over¬ 
 come the tendency of the fixing bath to cause blisters and stains. 
 
 Our formula for preparing the Acid Hypo fixing bath is as follows : 
 
 Water, - -- -- -- --64 ozs. 
 
 Hyposulphite of Soda (crystal or granulated), - 16 ozs. 
 
 When thoroughly dissolved, add the following hardening solution, 
 dissolving the chemicals separately and in the order named : 
 
 Water,. 5 ozs. 
 
 Sulphite of Soda (desiccated), - oz. 
 
 Acetic Acid No. 8 (containing 25 per cent, pure 
 
 acid),. 3 ozs - 
 
 Powdered Alum,. 1 oz. 
 
 This solution will keep, and one pint of it will fix at least one-half gross 
 of 4 x 5 prints. If sulphite and carbonate of soda in crystal form are 
 substituted for desiccated, double the quantities mentioned should be used. 
 
 The most accurate way of preparing a fixing bath is by using a 
 hydrometer (silver actinometer), testing the specific gravity ; 70 being the 
 correct degree. 
 
 Amateurs will find it is advisable to use our prepared solutions and the 
 concentrated Velox Liquid Hardener is especially recommended. 
 
 Water, .... ... 16 ozs. 
 
 Hyposulphite of Soda,. 4 ozs - 
 
 Velox Liquid Hardener, ----- 1 oz. 
 
 Note —Royal Velox, unlike the other grades, should be fixed in a 
 plain fixing bath. 
 
 Hypo, 
 
 Water, 
 
 3 ozs. 
 16 ozs. 
 
IOO 
 
 PRINTING . 
 
 NOTES ON WASHING. 
 
 The finished prints must be entirely free from Hypo. To wash a batch 
 of ioo 4x5 prints, using two trays of suitable size and transferring each 
 print separately from one tray to the other, changing the water at least 
 twelve times, will take a full hour for the process. In running water where 
 the prints can be kept constantly moving so that each individual print has 
 a thorough washing, from one-half to one hour, according to the number 
 of prints, will be required. Prints do not wash if piled in a bunch in a tray 
 and the water simply runs in at one end of the tray and out of the other. 
 In some localities where there is an excessive amount of iron or impurity in 
 water, the whites in the prints may have a slight yellowish tone. Prints 
 should not be allowed to wash for any length of time over one hour and 
 should never soak over night in water as this tends to soften the gelatine 
 film and entirely spoil the print. The temperature of the water in winter 
 should be kept as uniform as possible, as ice cold water will cause blistering. 
 \\ hen running water is used for washing, the stream should not be allowed 
 to fall directly on the prints, as it will cause breaks in the fiber of the paper, 
 producing blisters. Place a tumbler or graduate in the washing tray and 
 allow the water to overflow from it into the tray. To determine when the 
 print is thoroughly free from hypo, the following test formula may be 
 successfully employed. 
 
 Permanganate of Potash, - - - - 8 gr. 
 
 Caustic Soda, - - - . - 7 gr . 
 
 Water (distilled), ----- 8 ozs. 
 
 Fill a glass with pure water to which you have added 3 or 4 drops of 
 the potash solution. Then take a couple of prints from the wash-water and 
 allow the water from the prints to drip into the glass. If hypo is present, 
 the violet color of the water in the glass will change to a slight greenish 
 tint. In such case return prints to the wash-water to remain until similar 
 tests show that the hypo has been entirely eliminated. 
 
 DRYING. 
 
 After prints have been thoroughly washed, remove from the wash- 
 water and place on a clean glass in a pile face down and press out super¬ 
 fluous water. Then lay out separately, face down on cheese-cloth 
 stretchers. These may be constructed by making a frame work of light 
 wood and tacking unbleached cheese-cloth tightly over it. Prints dried in 
 this manner will curl but a trifle. 
 
 Do not dry Velox prints between blotters. They are likely to stick 
 and cause much annoyance. 
 
PRINTING. 
 
 IOI 
 
 ENAMELED SURFACE PAPER. 
 
 Glossy, Special Glossy or Velvet Velox prints can be burnished or 
 squeegeed. Take prints from the wash-water and place face down on a 
 ferrotype tin, squeegee into absolute contact and allow to become bone dry, 
 when they will peel off with the desired luster. If the tin has been in use 
 for some time, portions of prints may stick ; to prevent this, prepare the 
 tins as follows : 
 
 Dissolve ten grains of beeswax in one ounce of benzine ; allow this to 
 stand for a few hours, in which time a precipitate will be formed. The 
 clear solution should be used for polishing the tins, applying to the surface 
 of the ferrotype plate with a soft cloth (canton flannel). When the surface 
 of the tin has been thoroughly covered with this preparation, the tin should 
 be polished with a piece of dry canton flannel to remove as much of the 
 beeswax as possible. As beeswax varies in its composition to a certain 
 extent, the solution may vary somewhat in consistency so that an addition 
 of benzine may be necessary to permit polishing the tins easily. 
 
 SEPIA TONES ON VELOX. 
 
 There are occasions when it is desirable to modify the tone of Velox 
 prints, in order to secure some effect more in keeping with the subject than 
 the original color produced by development only. The sepia tone is 
 permanent and may be secured in various ways, but we will describe only 
 two of these ; the first known as the hypo-alum process, and the second, 
 Velox Re-development. The hypo-alum process is a slow and somewhat 
 uncertain way of obtaining good results and consists of a solution of hypo 
 and powdered alum in boiling water, into which, when cooled, the prints 
 are immersed and left until the desired tone has been reached. The pro¬ 
 cess requires from one to twelve hours and is uncertain in exa 61 results. 
 The Velox Re-development process will give the best results in a much 
 shorter time, yielding equally pleasing and permanent tones. Prints on 
 any grade or surface of Velox afford most pleasing tones when re-developed, 
 but re-development is perhaps specially advantageous for prints on Royal 
 Velox, as the process brings out and accentuates the full value of the soft, 
 creamy stock upon which Royal Velox is coated; the finished prints pos¬ 
 sessing an almost indescribable softness and delicacy. 
 
 Velox prints of any grade or surface which have been evenly and 
 thoroughly fixed and washed will give desirable results with the Re-de¬ 
 veloper, but some subjects, such as marines and snow scenes, are best 
 rendered in the black and white. Landscapes, autumn scenes and portraits 
 
102 
 
 PRINTING. 
 
 are given greater artistic values by the warmth of tone which the Re-de¬ 
 veloper affords. 
 
 A package of Re-developer consists of a box of 14 capsules and a 
 bottle of solution. Each capsule contains chemicals which require only 
 the addition of a certain quantity of water and a few drops pure aqua 
 ammonia to make a bleaching bath for the reduction of the print before 
 re-development. The liquid contained in the bottle is highly concentrated 
 and should be used carefully, the entire contents of a 4 oz. bottle being 
 sufficient to re-develop about four hundred 4x5 Velox prints. It is 
 important that the prints should have been thoroughly washed so that no 
 trace of hypo remains. Placing the black and white print in the bleaching 
 solution, let it remain until the deepest shadows have almost disappeared ; 
 it should then be removed and rinsed thoroughly in fresh water, then placed 
 in the re-developing solution, where the faint image immediately changes 
 to a warm brown tone, gradually deepening until all its former brilliancy 
 returns, but changed to a sepia tone instead of black and white. A final 
 washing is then given the print, the whole process requiring only a short 
 time, so the advantages of using this over the hypo-alum process are quite 
 evident. 
 
 Velox Re-developer will also produce excellent sepia tones on any 
 Bromide or gas-light paper ; the age of the print does not seemingly make 
 any difference in the tones obtainable. Best results are obtained from prints 
 which have a good bluish black tone, rather than a green or olive tone, 
 such as is produced by the use of too much bromide. Both the bleaching 
 and re-developing baths will retain their strength for some time, if kept in 
 well stoppered bottles. If the prints show a tendency to blister, it doubt¬ 
 less comes from not having used sufficient hardener in the fixing bath when 
 making the black and white prints. Too strong a solution of Re-developer 
 or too long immersion in this solution will also cause blisters. A salt bath 
 after bleaching may be used if blistering is excessive, but should not be 
 necessary if prints, when first made, are properly fixed in a fresh acid hypo 
 bath. 
 
 The use of pure aqua ammonia is recommended and the ordinary 
 household ammonia should be avoided. This chemical clears the whites 
 and does not change the tone unless an excessive amount is used. 
 
 HOW TO MAKE PRINTS FROM WET NEGATIVES. 
 
 The negative must be thoroughly washed and freed from any trace of 
 hypo. Immerse a piece of Velox paper in clear water for a few seconds, then 
 placing it on the film side of the wet negative squeegee it carefully so as not 
 
PRINTING. 
 
 103 
 
 to break the film. Expose without the use of a printing- frame. After expos¬ 
 ure place both negative and paper in water, allowing them to soak for a 
 moment before trying to separate them. Develop and fix the print in 
 the usual way. 
 
 TO REMOVE FRICTION MARKS FROM GLOSSY 
 
 VELOX PRINTS. 
 
 Rub the surface of the dry print with a tuft of cotton wet with wood- 
 alcohol. Do not rub hard enough to break the surface of the film and be 
 careful to have the print on some level surface, such as a piece of glass. 
 
 N. A. Velox Liquid Developer entirely prevents abrasion marks. 
 
 After a careful perusal of the instructions given in this Velox Book you 
 should be able to produce satisfactory results on any grade of Velox paper. 
 
 CAUSES OF NON-SUCCESS. 
 
 Prints are too Black —Negative too weak or thin. 
 
 Over-exposure. 
 
 Over-development. 
 
 Insufficient Bromide of Potassium. 
 
 Perhaps wrong grade of paper used, try Regular Velvet Velox. 
 
 Prints are too Light, Lack Detail —Under-exposure. 
 
 Negative too dense for Regular paper. 
 
 Use Special Velvet, or Special Portrait Velox. 
 
 Grayish Whites Throughout Entire Print —Chemical or light fog. 
 Insufficient Bromide of Potassium in developer. 
 
 Old paper. 
 
 Grayish Mottled or Granulated Appearance of Edges or Entire 
 Print —Under-exposure, forced development. 
 
 Old paper. 
 
 Paper kept in damp place. 
 
 Moisture. 
 
 Chemical fumes, Ammonia, etc. 
 
 Illuminating or coal gas. 
 
 Greenish or Brownish Tones Sometimes Mottled —Developer too 
 old or too weak. Excess of Bromide of Potassium. Over-exposure. 
 
 Greenish Yellow Tones Noticed When N. A. Velox Liquid 
 Developer Has Been Used —Under-exposure and forcing ; will fix 
 out if left long enough in a fresh acid Hypo bath. 
 
 Canary Yellow Tones Produced When N. A. V. L. D. Has Been 
 Used —Fixes out entirely in correctly prepared acid Hypo bath. 
 (See page 104 for formula). The entire disappearance of this color 
 insures correct fixing. 
 
io4 
 
 PRINTING. 
 
 Brown or Red Stains —Old or oxidized developer. (Never use 
 developer after it is much discolored or muddy.) Imperfect fixing. 
 Developer too warm. Fixing bath lacks sufficient acid and prints 
 were not kept moving to allow even fixing. 
 
 Purple Tones (Not Frequent) —Velox paper has been used as a 
 printing-out paper. Incomplete fixing. 
 
 Round White Spots —Air-bells on the surface of the paper. To avoid, 
 develop prints face up. 
 
 Round or Irregular Dark Spots —Caused by air-bells forming on the 
 surface of print when placed face down in fixing bath, and failing to 
 keep prints in motion. 
 
 White Deposits All Over Surface of Prints —Milky Hypo bath. 
 If print is thoroughly washed and deposit removed before drving, it 
 does no harm. Correct fixing bath by adding more No. 8 Acetic Acid. 
 
 Picture Good, But Surface Covered With Black Marks —Abrasion 
 marks. (See page 103. ) 
 
 Blisters —Prints have been creased or broken while washing. Do not 
 allow water from the tap to fall directly on the prints. Too strong 
 acetic acid used in Hardener. Too great difference between tempera¬ 
 ture of solution and wash-water. Fixing bath lacks sufficient hardener. 
 Never use a plain Hypo fixing bath (except for Royal Velox, see page 
 104), always acidify with Velox Liquid Hardener. 
 
 Blisters Occurring During Re-Development —(See page 102.) 
 
 Freaks —Picture develops irregularly and appears to be covered with 
 greasy streaks and finger marks and gives the impression that there 
 are spots on the paper that have never been coated. Of all complaints 
 received regarding Velox paper, none are caused by any condition 
 more annoying than this “freak” trouble. It is annoying to the 
 photographer because he feels sure the fault is in the paper, and 
 annoying to us because we know that the fault lies in incorrect solu¬ 
 tions. We publish herewith a half-tone of this curious effect. It is in 
 warm weather when the humidity is great that these“ freaks ” most 
 frequently occur. Undoubtedly the paper absorbs moisture unevenly 
 and in certain spots becomes repellant to the action of an incorrect 
 developer. In making up a developing solution it is absolutely essen¬ 
 tial that pure chemicals be used, and as Velox requires a bath which 
 contains nearly twice as much Carbonate of Soda as Sulphite of Soda, 
 it is easy to see that any mistake made in the proportion of either 
 chemical would be apt to cause trouble. The remedy for “freaks” 
 is to throw out your developer and mix a fresh solution, and if neces¬ 
 sary use it stronger. (See illustrations page 105.) 
 
 Yellowish Whites When Other Than N. A. Has Been Used— 
 Stain all over prints is result of under-exposure and forcing. Too 
 weak developer. Insufficient washing after fixing. Iron in wash-water 
 —may come from rust in water pipes. Sea air will affect Velox, caus- 
 
PRINTING. 
 
 105 
 
 Developed in M Q . half as strong as that 
 advised in instruction sheet. 
 
 Developed in M. Q ., strength as advised 
 in instruction sheet . 
 
 ing yellow whites, so packages should not be left open and prints 
 should be developed immediately after exposure. 
 
 Permanency— The permanency of Velox prints has never been questioned. 
 Permanency of any Velox print depends upon the thoroughness of 
 manipulation. It is beyond question that with correct developer 
 freshly prepared and with thorough fixing and washing, Velox prints 
 will be absolutely permanent. Many dealers have sample prints which 
 were sent them years ago and have exposed them continually to every 
 conceivable atmospheric condition. This is an unanswerable argument 
 in favor of Velox permanency. 
 
 AZO PAPER. 
 
 Azo may be exposed the same as Velox. 
 
 After taking prints from the printing frame, soak them for a few 
 seconds in clear cold water. This softens the paper and allows the devel¬ 
 oper to act freely and evenly over the surface of the print. Place the print 
 in the developer tray and pour on the developer. If it has been properly 
 timed or exposed, it will develop rapidly. When it is fully developed, or 
 has reached the required density, it should be dipped in water for a second, 
 to remove the greater part of the developer, then immediately transferred to 
 the Acid Fixing Bath. It is necessary at this stage to keep the print mov¬ 
 ing for a few seconds, or until the fixing has started to act evenly over 
 the surface. 
 
io6 
 
 PRINTING. 
 
 DEVELOPER. 
 
 For your developer make up a stock solution as follows : 
 
 Amidol, ----- 80 grains. 
 
 Sulphite Soda (crystals), - - - - 200 grains. 
 
 Water, - 10 ozs. 
 
 To develop take : 
 
 Stock Solution, - - - - - iK oz. 
 
 Water, ..... 3 ozs. 
 
 10 per cent. Solution Bromide of Potassium, 3 to 5 drops. 
 
 ANOTHER DEVELOPER. 
 
 The following formula may be substituted for the Amidol formula 
 recommended above when desired and will be found to give most excellent 
 results : 
 
 HYDRO-METOL DEVELOPER. 
 
 Water, - - - - - - 12 ozs. 
 
 Metol, - - - - - 7^ grains. 
 
 Hydrochinon, - - - - - 30 grains. 
 
 Sodium Sulphite, crystals pure, - - 218 grains. 
 
 Sodium Carbonate (Crys.), ... 163 grains. 
 
 Dissolve and add about 25 drops of a solution composed of Bromide of Potas¬ 
 sium, y 2 oz., water, 5 ozs. This solution is to be used without diluting. 
 
 Olive green tones may be obtained by diluting developer with two or 
 three ounces of water and adding 12 to 15 drops of the Bromide of 
 Potassium. 
 
 FIXING. 
 
 Prints should be fixed for fifteen minutes in the following bath : 
 
 HYPO BATH. 
 
 Hypo-sulphite Soda, - - - - r oz. 
 
 Acetic Acid (or Alum y oz.,) - - 4 drops. 
 
 Water, ------ 5 ozs. 
 
 After they are fixed they may be washed and dried the same as Velox. 
 
PRINTING. 
 
 107 
 
 PRINTING-OUT PAPERS. 
 
 Printing-out papers are so called because, unlike a negative, the 
 image appears without development, and they require only toning and fix¬ 
 ing. Printing-out papers are simple to handle, and are popular with both 
 professionals and amateurs. Indeed, nearly all of the paper used by pro¬ 
 fessional photographers in the United States is a printing-out paper of the 
 brands which this booklet will instruct you in using. 
 
 Solio and Kloro are Gelatino-Chloride papers. Aristo Platino and 
 Aristo Self-Toning are Collodio-Chloride. With the former the silver- 
 chloride and other salts are held in position in gelatine, while with the latter 
 they are held in position in collodion. 
 
 Of the many papers offered, one of the most desirable, for the beginner 
 at any rate, is a gelatino-chloride (chloride of silver in an emulsion of gela¬ 
 tine) printing-out paper. In the printing-out paper the image ‘ ‘ prints-out 
 at once. Before it is toned and fixed it is in the same condition as a proof 
 received from the photographer. The chemical adlion clears the high lights 
 and shadows, gives the proper tone and “fixes” the print, i. e., makes it 
 permanent. 
 
 The process of toning and fixing may be combined in one bath or may 
 be done separately. For convenience we recommend the combined bath to 
 the amateur, but care should be exercised not to overwork the bath. This 
 bath will continue to give satisfactory tones long after the gold has been 
 exhausted. This toning without gold, however, is not permanent and no 
 attempt to economize by overworking the toning bath should be made, as 
 disappointment will be the inevitable result. 
 
 THE PAPER. 
 
 Keep your paper in a dry place. Do not expose it to moisture or the 
 fumes of coal gas, it being very sensitive to either. 
 
 UNTONED PRINTS. 
 
 When you have taken the print from the printing frame it is still sen¬ 
 sitive, containing, as it does, most of the original silver chloride, and should 
 you expose it to the light it would soon blacken all over. Keep your 
 prints, after removing from the printing frame, in a dark box until you are 
 ready to tone. Handle as little as possible and do not allow the fingers to 
 come in contact with the surface of the paper. 
 
 (S) 
 
io8 
 
 PRINTING. 
 
 METHOD OF PRINTING. 
 
 The Printing Frame. 
 
 Open the printing frame and lay the negative 
 back down upon the glass* (the back is the shiny 
 side). Place upon this a piece of Solio paper, face 
 down. Replace the back of the frame and secure 
 the springs. The back is hinged to permit of 
 uncovering part of the print at a time to inspect it 
 without destroying its register with the negative. 
 
 The operation of putting in the sensitive paper must be performed in a sub¬ 
 dued light, that is to say, in an ordinary room, as far as possible from any 
 window. The paper not used must be kept covered in its envelope. 
 
 The printing frame, when filled as directed, is to be laid glass side up 
 in the strongest light possible (sunlight preferred) until the light, passing 
 through the negative into the sensitive paper, has impressed the image 
 sufficiently upon it. The progress of the printing can be examined from 
 time to time by removing the frame from the strong light and opening one- 
 half of the hinged back, keeping the other half fastened to hold the paper 
 from shifting. The printing should be continued until the print is a little 
 darker tint than the finished print should be. 
 
 As soon as the print is finished place it in a drawer or box where it will 
 be protected from the light until your batch of prints is ready for toning. 
 
 HOW DEEP TO PRINT. 
 
 For the combined bath the printing should be carried about two shades 
 deeper than you desire the finished prints to be as they will lose considerable 
 in toning and fixing. For the separate bath about one shade deeper. 
 
 Prints will keep three or four days before toning, providing they are 
 stored in a dark box. 
 
 TONING WITH THE COMBINED BATH. 
 
 For one just starting to tone prints, we would recommend the combined 
 bath. This will be by far the most simple in manipulation (the toning and 
 fixing being done in one bath) and with proper attention to the instructions 
 you should be able to secure prints of a soft, rich tone, ranging in color 
 from a warm Sepia to a dark purple. Solio Combined Toning and Fixing 
 Solution may be had of any Kodak dealer. 
 
 *When printing from glass plate negatives no glass is needed in the printing frame, the plate itself 
 fitting into rabbet of frame. 
 
PRINTING. 
 
 109 
 
 Place prints without previous washing in the following combined toning 
 and fixing bath. 
 
 2 ozs. Solio Toning Solution. 
 
 4 ozs. cold water. 
 
 Pour the toning solution into a suitable tray and immerse the prints 
 one after the other. Five or six prints can be toned together if they are 
 kept in motion and not allowed to lie in contact. Turn the prints all face 
 down and then face up and repeat this all the time they are toning. The 
 prints will begin to change color almost immediately from reddish brown to 
 reddish yellow, then to brown and finally to purple. The change will be 
 gradual from one shade to another and the toning should be stopped when 
 the print gets the shade desired. 
 
 Six ounces of the diluted toning solution will tone two dozen 4x5 
 prints ; after that a new solution should be made same as before. 
 
 When the proper shade has been attained in toning bath the prints 
 should be transferred for five minutes to the following salt solution to stop 
 the toning: 
 
 Salt, - - - - - - 1 oz. 
 
 Water, ------ 32 ozs. 
 
 Then transfer the prints to the washing tray and wash one hour in 
 running water, or in sixteen changes of water. 
 
 The prints are then ready for mounting or they can be laid out and 
 dried between blotting papers. 
 
 If desired the amateur can mix his own toning bath, but in so doing 
 should exercise great care in getting pure chemicals and using exactly the 
 
 proper proportions. 
 
 STOCK SOLUTION. 
 
 A Hypo-sulphite of Soda, 8 ozs. 
 
 Alum (crystals,) ----- 6 ozs. 
 
 Sugar (granulated), 2 ozs. 
 
 Water, - - - - - - 80 ozs. 
 
 Dissolve above in cold water, and 
 
 When dissolved add Borax, - - - 2 ozs. 
 
 Dissolve in hot water, - - - - S ozs. 
 
 Let stand over night and decant clear liquid. 
 
 STOCK SOLUTION. 
 
 B Pure Chloride of Gold, - - - 7 yi grains.* 
 
 Acetate of Lead (Sugar of Lead), - - 64 grains. 
 
 Water, ----- s ozs. 
 
 Solution B should be shaken up before using and not filtered. 
 
 *Or double the quantity of chloride of gold and sodium. 
 
no 
 
 PRINTING. 
 
 To tone fifteen 4x5 prints take : 
 
 Stock Solution A, 8 ozs. 
 
 Stock Solution B, - - - 1 oz. 
 
 Place prints without previous washing into the above. 
 
 Tone to desired color and immerse prints for 15 minutes in following 
 Salt Solution to stop the toning : 
 
 Salt, ------ 1 oz. 
 
 Water, ------ 32 ozs. 
 
 The extra fixing bath should be used to ensure thorough fixing. 
 
 After the salt bath, give one change of cold water and fix for 10 
 minutes in the 
 
 EXTRA FIXING BATH. 
 
 Hypo-sulphite of Soda, - - - - 1 oz. 
 
 Sulphite of Soda (crystals), - - - 60 grains. 
 
 Borax, - - - - - X oz. 
 
 Water, ------ 20 ozs. 
 
 Wash one hour in running cold water or in sixteen changes of cold 
 water, when prints may be mounted. 
 
 The combined bath must be started cold, not above 50° Fahr., and 
 must not be allowed to rise to temperature above 6o° Fahr. This condition 
 can be obtained by placing a piece of ice in the bath when toning. If the 
 bath is too warm, you will get yellow prints with a greenish cast in the 
 half -tones. 
 
 Use a thermometer and keep it in toning bath all the time. 
 
 The combined bath is an acid solution. The borax neutralizes only 
 the excess of acid in the alum. Any attempt to neutralize the bath will 
 precipitate the alum. 
 
 The combined bath should not be used a second time. 
 
 If troubled with white spots or blotches on prints, clean trays with 
 nitric acid or sulphuric acid and water. 
 
 TONING WITH THE SEPARATE BATH. 
 
 WASHING THE PRINTS. 
 
 After taking the prints from the print frame, immerse them one at a 
 time in a tray of running water. (When washing and toning prints use 
 trays that have never come in contact with Hypo, as the least trace of that 
 chemical will cause dark brown stains that cannot be gotten rid of.) Keep 
 them moving so that all shall receive an equal amount of washing. 
 
 When you place a print in the water the soluble silver, or that portion 
 not used to form the image, dissolves and is washed out; this forms with 
 
PRINTING. 
 
 hi 
 
 other substances in the water a new combination which can easily be 
 detected by its white, milky appearance. Prints to be properly washed 
 should remain in the running water until this has entirely disappeared. 
 Should you not have running water, they can be washed by using two trays 
 and transferring the prints (one at a time) from one to the other, changing 
 the water each time. 
 
 This should be done quickly at first but after you have washed out 
 most of the free silver, the changes may be made five minutes apart. The 
 temperature of the water should be as near 6o° Fahr. as possible. 
 
 THE TONING BATH. 
 
 Tone in a plain gold bath, using about i gr. of gold to 48 ozs. of 
 water. Neutralize by adding a saturated solution of borax, bi-carbonate of 
 soda or sal soda. 
 
 This should be made up at least one-half hour before using; this gives 
 the chemicals a chance to harmonize. When making the toning bath, first 
 measure the water and pour into the tray or dish you are to use, then add 
 the gold. Now take a piece of red Litmus paper (this is very sensitive to 
 acid or alkali) and place in the solution. Then add the borax solution drop 
 by drop (this is a strong alkali and should be kept in a bottle, the cork of 
 which has a small slit in it allowing the solution to drop, not run out) just 
 enough to turn the Litmus paper blue in five minutes. This will make the 
 bath almost neutral, i. e., slightly alkaline. The bath is now ready for use. 
 Should the prints tone fast in the high lights, or light parts of the prints, 
 leaving the shadows, or dark parts, very red, and when finished have a 
 muddy (not clear) appearance, that indicates that you have used too much 
 borax or alkali. On the other hand, had the Litmus paper remained its 
 original color (red) that would indicate that the bath was acid and that you 
 had not used sufficient alkali. With the bath in that condition your prints 
 would not tone but bleach, lose their brilliancy and become flat. 
 
 When toned, immerse prints in running water where they may remain 
 until all are ready for the fixing. 
 
 If running water cannot be had put prints into 
 
 SHORT STOP: 
 
 Salt, ------ 1 oz. 
 
 Water, ------ 1 g a l. 
 
 If there is a large batch of prints to be toned do not allow prints to lie 
 in short stop solution, but put them into a tray containing clear water where 
 they may remain until all are ready for the fixing. 
 
112 
 
 PRINTING. 
 
 FIXING BATHS. 
 
 Fix twenty minutes in 
 
 Water, - - - - - - i gal. 
 
 Hypo, ..... 13 ozs. 
 
 Solio Hardener, - - - - - yi. oz. 
 
 To mix with Hydrometer, take water 1 gal., add sufficient Hypo to 
 test 25 gr. to the oz. and add y 2 oz. of Solio Hardener. 
 
 On account of its simplicity and cheapness, we advise the Solio Hard¬ 
 ener Fixing Bath, but give the alum fixing bath for the benefit of those 
 who prefer it. 
 
 ALUM FIXING BATH: 
 
 Hypo-sulphite of Soda, 6 ozs. 
 
 Alum (Crystals), .... 2 y z ozs. 
 
 Sulphite of Soda (Crystals), - - - oz. 
 
 Water, ------ 70 ozs. 
 
 When dissolved add % oz. of borax dissolved in 10 ozs. hot water, 
 
 This fixing bath must be made about 10 hours before use. As it keeps 
 indefinitely before use it may be made up in large quantities. 
 
 After fixing in one of the foregoing baths, wash 1 hour in running cold 
 water or in 16 changes of cold water, keeping prints separated so the water 
 may have a chance to eliminate the chemicals. 
 
 DETAILS. 
 
 The toning bath should tone in 6 or 7 minutes. 
 
 Tone by transmitted light for the high lights and half tones only, pay¬ 
 ing no attention whatever to the shadows. 
 
 We recommend a neutral bath and advise the use of Squibb’s red 
 litmus to test with. 
 
 If the bath tones uneven or streaky, add water until it tones in 8 or 10 
 minutes, and make it slightly alkaline. 
 
 One gallon of fixing bath is sufficient for one gross 4x5 size Solio or 
 its equivalent. 
 
 Prints allowed to stand over night in water are liable to turn yellow ; 
 they should therefore be mounted as soon as washed. 
 
 To make Solio Hardener : 
 
 Chloride of Aluminum, 3 ozs. 
 
 Bi-Sulphite of Soda, ... - 2 y 2 ozs. 
 
 Cold Water, - - - - - 12 ozs. 
 
 Put both chemicals in the water and shake until dissolved. 
 
PRINTING. 
 
 113 
 
 GLOSSY PRINTS. 
 
 Few amateurs care to go to the expense or trouble of burnishing their 
 own prints, but they can readily obtain a beautiful glac6 finish in a simple 
 manner by drying prints on ferrotype plate in the following manner: 
 
 1. Clean the ferrotype plate with hot water each time it is used. 
 Polish with a soft cloth until plate is absolutely free from dirt or specks of 
 any description. Swab with a tuft of soft cloth or cotton batting, wet with 
 a solution composed of benzine 1 oz., paraffine 10 grs. Rub dry with a 
 clean cloth, and polish with a chamois skin or very soft cloth. Use a soft 
 brush to remove particles of dust from plate. 
 
 2. Lay the wet print on the ferrotype plate. It must be in perfe< 5 t 
 conta6I to produce a uniform glossy surface. This contact is better secured 
 by avoiding air bells in laying the print down than by endeavoring to expel 
 them by heavy pressure—light rolling with a print roller (with cloth 
 between) is all that is required—heavy pressure being liable to make prints 
 stick in spots. 
 
 3. When surface is dry brush over the back of the print (while still 
 on the plate) with a thin solution of white glue. 
 
 4. When “ bone” dry strip the print from the plate and lay the print 
 on a mount, the face of which has been well moistened with a wet sponge. 
 
 5. Rub down with a dry blotter, then dry face up, free from dust. 
 
 6. The latest and best method of mounting with Kodak Dry Mount¬ 
 ing Tissue is described on page 141. 
 
 Note.— Prints finished by the above process can be kept very nicely unmounted if so desired, the 
 glue on the backs preventing curling. 
 
PRINTING. 
 
 114 
 
 PRINTING ON MATTE COLLODION PAPER. 
 
 AMERICAN ARISTO. 
 
 PRINTING. 
 
 Print deep or until the high lights are well tinted. Pay no attention 
 to the shadows no matter how much they bronze. That will tone out. 
 
 Note. —Thin negatives should be printed in the shade, while those that are dense and have much 
 contrast can be printed in the sun. 
 
 WASHING. 
 
 Place prints in the water, one at a time, face down, pressing each print 
 to the bottom of the tray ; not in a pile, but in an irregular manner, partly 
 covering one another. This will stop all tendency of the paper to curl. 
 
 Should you use running water, prints should be handled over con¬ 
 tinually. If prints are to be washed by hand they should go through six 
 changes of clear water, taking' about five minutes for each change. During 
 that time prints must be handled same as in running water. To tone 
 properly they must be washed thoroughly. The best results are obtained 
 when water is from 65° to 75 0 Fahr. 
 
 TONING. 
 
 The toning of matte collodion paper is usually accomplished by the aid 
 of two separate baths, the gold and platinum; but should one prefer a single 
 bath, producing similar results, we recommend the “Aristo Single Toner,” 
 a toning agent combining in one the action of both the gold and platinum. 
 
 A print very slightly toned in the gold bath and toned long in the 
 platinum bath takes a greenish or olive black tone, while a print toned to a 
 purple in the gold bath and slightly toned in the platinum will give a 
 pure black. 
 
 Prints require a thorough washing when coming from the gold bath, 
 as gold precipitates platinum, and unless all the free gold is washed from 
 the prints, the platinum will be precipitated to the bottom of the tray and 
 not on the prints. 
 
 GOLD BATH. 
 
 Chloride of Gold and Sodium, - - - ■( gr. 
 
 Water, ------ 8 ozs. 
 
 Add borax to make bath slightly alkaline. Test with red litmus paper. 
 When bath is sufficiently alkaline the litmus paper will hum blue slowly. 
 
 Tone until purple, then wash in 3 changes cold water. 
 
PRINTING. 
 
 H5 
 
 PLATINUM SOLUTION. 
 
 Make up solution consisting of 
 
 Platino-Potassium, - - - - 15 grs. 
 
 Phosphoric Acid, U. S. P., - - - - 1 { oz, 
 
 Water, . 
 
 PLATINUM BATH. 
 
 To tone, take 
 
 Platinum Solution, - 
 
 Water, - 
 
 Tone until proper shade is reached. 
 
 Wash in 4 changes and immerse ten minutes in 
 
 FIXING BATH. 
 
 Saturated Solution Hypo-sulphite Soda, - y, oz. 
 
 Water, - - - - - 8 ozs. 
 
 Wash 114 hours in running water or in iS changes of water, not less 
 than five minutes in each change. 
 
 Note.—D o not use the same trav for both gold and platinum baths Have one for each. 
 
 Prints must be thoroughly washed after coming from platinum bath and before fixing. Platinum is 
 very acid, and it is necessary to entirely eliminate this from the prints, otherwise you carry it into the 
 Hypo bath, producing sulphurization and yellow spots. 
 
 WASHING AFTER FIXING. 
 
 Prints are better if washed by hand through ten or twelve changes of 
 water, about five minutes for each change. Handle the prints well during 
 that time. Do not let them mat together. When prints are washed they 
 are ready to mount. 
 
 Yz dram. 
 8 ozs. 
 
 ARISTO SELF-TONING PAPER. 
 
 This paper is a glossy collodion paper, and as its name implies, requires 
 no toning or developing solutions, all chemicals required being embodied in 
 the sensitive emulsion with which the paper is coated. 
 
 PRINTING. 
 
 Print a very little darker than you wish the finished print to be. 
 
 WASHING. 
 
 After printing, place prints one at a time, face down, in the following bath: 
 Table salt, oz. 
 
 Water, - - - - - - 32 ozs. 
 
 The above is for a small number of prints. For a gross of cabinet size 
 
ii6 
 
 PRINTING. 
 
 paper you would require one gallon (128 ounces) of solution. Allow prints 
 to remain in this bath about five minutes or until the desired tone is 
 obtained. See that prints are well separated by handling them over four 
 or five times and flatten them each time by pressing them to the bottom of 
 the tray. As prints are toned transfer them to a tray of clear water. 
 When all are toned place them in a solution of carbonate of soda, ^ dram 
 of carbonate of soda to 32 ounces of water. This will prevent bleaching 
 and will also neutralize the prints. Handle them over for about five 
 minutes in this bath ; they are then ready for the Hypo or fixing bath. 
 
 Fix and wash same as for American Aristo, page 115. 
 
PRINTING. 
 
 117 
 
 WATER DEVELOPMENT PAPERS. 
 
 W. D. PLATINUM. 
 
 Every amateur who has limited facilities and time will especially 
 appreciate a paper which requires nothing but water and acid for the entire 
 process of developing and clearing. In W. D. (water development) 
 Platinum one has a paper giving pure platinum tones and producing effedls 
 equal to any photographic process. 
 
 PRINTING. 
 
 Place paper face to face with negative (the face of paper is the yellow 
 side) and print in sunlight until shadows are a deep canary color, and the 
 high lights are slightly visible. In watching the progress of printing, care 
 should be taken not to expose to strong light, as this paper is very rapid, 
 and there is danger of fogging high lights unless due caution is observed. 
 
 DEVELOPING. 
 
 When printed to proper depth, immerse print in hot water (no 
 degrees Fahr.) face up, sliding it in edgewise to avoid air bells. Develop¬ 
 ment will require but a few seconds, after which the print is to be plunged 
 into the 
 
 CLEARING BATH. 
 
 Cold Water, ----- 15 ozs. 
 
 Muriatic Acid, c. p., - - - - % oz 
 
 Soak print face down for five minutes each in two changes of clearing 
 bath. Wash for fifteen minutes in running water or five changes of clear 
 water, five minutes in each change. 
 
 Paper should be developed as soon as possible after printing, never 
 later than the same day. 
 
 THE NEGATIVE. 
 
 The foregoing directions apply where print is made from negatives of 
 normal density. If an under-timed or weak negative is to be printed from, 
 strength can be gained by printing under blue glass. 
 
 The best results are obtained by the use of perfe&ly timed and fully 
 developed, but not “harsh” negatives. 
 
PRINTING. 
 
 118 
 
 KEEP THE PAPER DRY. 
 
 Note —To prevent injury from moisture, Eastman’s Water Development Platinum Paper is packed 
 in air-tight tubes, each tube containing a lump of preserative. 
 
 When printing, remove only as much paper as is to be immediately 
 used, keeping the balance of paper in the tube with the preservative, tightly 
 closing tube with sealing tape. During hot weather, keep the paper (in 
 the sealed tube) in an ice box. 
 
 Always keep the paper in a cool, dry place. 
 
 Keep the printing frame pads dry. 
 
 On days when the atmosphere is over-charged with moisture, especially 
 in summer, this paper will print out very rapidly in the shadows; printing 
 should, nevertheless, be continued until outlines begin to appear in the 
 high lights. 
 
 HINTS. 
 
 A novel but good method of development is to hold print over steam¬ 
 ing water until development is nearly completed, and then immerse for a 
 few seconds in hot water. This method gives particularly rich, brilliant 
 prints. 
 
 Do not use what is known as “ Commercial Muriatic Acid.” The acid 
 must be chemically pure, and should be colorless. 
 
 Use a fresh acid bath for each batch of prints. 
 
 Weak prints are caused by too cold developer, weak negatives or 
 damp paper. 
 
 Dry by removing surface water and laying prints between blotters. 
 
 Mount in usual manner with any good starch paste and bring into 
 contact with print roller. 
 
 FERRO-PRUSSIATE OR BLUE PAPER. 
 
 For certain subjects the “ Blue Print” will give much satisfadlion ; for 
 instance, negatives in which clouds predominate, certain classes of interiors, 
 winter scenes, etc. With negatives of this description the finished prints 
 will present a richness of effedl seldom equaled. Apart from those qualities 
 it possesses abundant capacity for giving detail and a wide range of tone, 
 from light to dark. It is also a ready means for making finished proofs 
 when one’s time is limited. 
 
 PRINTING. 
 
 Print until the shadows commence to bronze, a condition which will 
 be readily observed after a few trials. After printing, immerse in a tray of 
 clean water. Change the water every five minutes for half an hour or until 
 
PRINTING. 
 
 119 
 
 the whites are clear. The prints can then be dried between blotters. 
 When dry they will have obtained much brilliancy. 
 
 When washing prints, should they appear light or wash off the paper, 
 it is the sign of under exposure. 
 
 Over printing should be avoided as it has a tendency to flatness and 
 loss of detail. 
 
 EASTMAN’S SEPIA PAPER. 
 
 The rich, soft sepia tones obtained on this paper, together with the 
 simple process necessary for development make it one of the most pleasing 
 of “water developing” papers to handle. 
 
 For negatives containing bold, sketchy effedts, and those having a 
 tendency to harshness, it is particularly adapted. 
 
 PRINTING. 
 
 This paper is about three times as rapid as blue paper, and should be 
 under rather than over printed. This can easily be determined after one or 
 two trials. 
 
 DEVELOPMENT. 
 
 Prints should be thoroughly washed in six changes of water and then 
 fixed for five minutes in a very weak solution of Hyposulphite of Soda. 
 
 Hypo, ..... 5 grains. 
 
 Water, - - - - - -10 ounces. 
 
 Note.—S hort fixing gives red tones. Longer fixing produces a brown tone. 
 
 After fixing, prints should be washed thoroughly. Dry by removing 
 surface water and laying prints between blotters. 
 
 To secure brilliant prints, paper should be washed immediately after 
 printing. 
 
 This paper is put up in tubes and should be kept in a cool, dry place, 
 as it is liable to deteriorate upon contadt with moisture. Keep tubes sealed. 
 
 SPOTTING PRINTS. 
 
 Small spots showing white on the prints can be filled in or “spotted” 
 with equal parts of Indian red or India ink mixed with a little water and 
 applied with a small camel’s hair brush, or one can use the ready prepared 
 “ Aristo Spotting Colors.” 
 
Platinum Papers. 
 
 The simplicity of platinum printing will prove a revelation to the 
 amateur photographer who imagines that the process must be difficult 
 because so much employed by advanced workers. As a matter of fact, 
 platinum printing presents no more difficulties than the ordinary blue print 
 process so familiar to the novice. 
 
 With the exception of carbon, where any colored pigment may be 
 used, no printing process affords so wide a range in tone value, from a pure 
 velvety black down through all the intervening tones to a shade scarcely 
 darker than the pure white of the paper support. It is this ability to 
 preserve the most delicate half tones that affords the charming atmospheric 
 effect so evident in all good platinum prints. 
 
 Platinum prints are absolutely permanent, consisting of a deposit of 
 metallic platinum on a pure paper support, and a properly manipulated 
 print will retain its quality so long as the paper support itself exists. 
 
 Platinum paper does not demand a negative of special qualities, a 
 negative that will yield a good print on any paper will answer equally well 
 for platinum. 
 
 The fact that platinum paper is a semi-developing out paper, and that 
 the image is only partially visible when printing is complete, has lead many 
 to believe that much experience is necessary to judge of the proper printing 
 depth. As a matter of fact, a few trial exposures with negatives of varying 
 density will afford all the experience necessary and the making of prints of 
 proper and uniform quality becomes a simple matter. 
 
 All platinum papers are exceedingly sensitive to dampness and for this 
 reason are packed by the manufacturers in sealed cans or tubes, each 
 package containing a small piece of asbestos saturated with calcium chloride 
 to absorb any moisture in the tube. 
 
 Platinum paper will keep for months in a cool dry place, and in warm 
 climates, if not for immediate use, is best kept in a refrigerator. 
 
 As platinum paper is capable of rendering the slightest half tone it is 
 naturally quite sensitive to light, much more so than the gelatine and 
 collodion printing out papers, and should be handled in a subdued light, 
 not out of doors or close to a window. 
 
 When printing, remove only sufficient paper from the tube to fill the 
 frames in immediate use, packing away the remainder as received and 
 placing the cover on the can or tube. 
 
PL A TINUM PRINTING. 
 
 121 
 
 In printing, the paper is placed in contact with the negative in the 
 printing frame in the ordinary manner and exposed to daylight, direct sun¬ 
 light will do no harm and is preferred to shade printing by many prominent 
 workers. 
 
 The back of the frame may be opened to note the progress of printing, 
 but in so doing turn your back to the window to avoid sunning the print. 
 
 Moisture must be guarded against as it is the greatest enemy of plati¬ 
 num paper, and to secure clear brilliant prints, the paper, printing frame 
 and negatives must be absolutely dry. 
 
 In taking up platinum printing, follow the manufacturer’s instructions 
 exactly. 
 
 When the manipulation has been fully mastered, certain modifications 
 will suggest themselves for special purposes. 
 
 The temperature of the developing bath has a decided influence on 
 both the tonality and the color of the image. 
 
 Generally speaking, the colder the bath, the colder the image, and the 
 warmer the bath, the warmer the image, all this of course, within reasonable 
 limits as a bath exceedingly cold or hot will be apt to produce mealy flat 
 prints. 
 
 Damp paper will yield a print of a brownish black color, with a 
 tendency to mealiness. 
 
 Platinum prints may be toned in various ways. 
 
 The most common is the “ Uranium ” which changes the color to a 
 rich-brown or red-brown. The ordinary uranium intensifier may be used 
 for this purpose, the print simply being immersed in it for a time. 
 
 An excellent method for uranium toning is given by A. Horsley Hinton: 
 
 SOLUTION 1. 
 
 Uranium Nitrate, - - - 
 
 Glacial Acetic Acid, - 
 Water, - 
 
 - 
 
 48 grains. 
 48 minims. 
 1 oz. 
 
 SOLUTION 
 
 2 . 
 
 
 Potassium Ferricyanide, 
 
 Water, - 
 
 . 
 
 48 grains, 
 x oz. 
 
 SOLUTION 
 
 3. 
 
 
 Ammonium Sulphocyanide, 
 
 Water, .... 
 
 - 
 
 'A oz. 
 I oz. 
 
 For use take oz. of each, Nos. i, 2 and 3, and 25 ounces water. 
 
 A finished unmounted platinotype print, thoroughly cleared from all 
 iron salts, is placed in a flat dish and flooded with the above solution and 
 the dish rocked continuously. 
 
 The color of the print will gradually change, the toning should be 
 
122 
 
 PL A TINUM PRINTING. 
 
 carried on a little further than when the desired tint has been reached, as 
 the picture will dry out a little colder in color than it appears in the toning 
 bath. It is now brought into a dish of water containing a few drops of 
 glacial acetic acid. The water must not be alkaline, as it would dissolve 
 the uranium compounds deposited on the print and thus change its color 
 again. This property of alkaline water may be made use of in case the 
 desired color of the toned print is unsatisfactory, and one wishes to get it 
 back into its original condition. 
 
 It has, as yet, not been conclusively proven that platinum prints treated 
 with uranium are permanent. 
 
 It is possible to control this image during development and to make 
 various changes in the various tones of the picture. 
 
 This can be accomplished by using the glycerine method, referred to 
 in the platinotype instructions. 
 
 It consists essentially of painting the image by means of the oxalate 
 solution, using a brush for the purpose, the paper having first been exposed 
 to light under the negative in the ordinary way. 
 
 The method is so full of latitude, that prints have been produced by its 
 means that look like fine wash drawings. 
 
 In short, it will be seen by the various matters referred to in this short 
 resume of the platinotype process, that it is beyond doubt the printing 
 method t>ar excellence for the amateur. 
 
 AMERICAN PLATINUM PAPER. 
 
 In the production of the American Platinum Paper two very serious 
 defects in the platinum paper heretofore manufactured have been overcome. 
 First, solarizing in shadows; second, the fuzzing or abrading of surface by 
 handling. The manipulation of this paper is very simple, and with a reason¬ 
 able amount of care there should be no difficulty in obtaining good results. 
 The instructions, although simple, must be followed in every detail if the 
 best results are desired. This paper will keep in good condition for a long 
 time if not exposed to heat or dampness. The unprinted paper should be 
 stored in a cool, dry place. When paper is removed from the tube see that 
 the sheets not intended for immediate use are returned to the tube with the 
 package of preservative, and the tube carefully sealed with the tape. If the 
 tube is allowed to remain open, or the paper removed from the tube several 
 hours before using, the effect of damnpess will be noticed in the lack of 
 strength and brilliancy in the prints. Dampness will also cause high lights 
 to develop gray instead of pure white. 
 
PL A TINUM PRINTING. 
 
 123 
 
 PRINTING. 
 
 Although not absolutely necessary, it is advisable to use thin rubber 
 pads in the backs of printing frames, especially in those sections of the 
 country where the atmosphere is full of moisture. See that negatives and 
 pads used in printing frames are perfectly dry, or the result will be the same 
 as when paper is exposed to dampness before printing. In handling paper, 
 care should be taken not to expose it to strong light Put paper on nega¬ 
 tives and examine prints in weak daylight or artificial light. Care should 
 always be taken not to touch the sensitized surface of the paper with the 
 fingers. This is very important where the hands perspire freely. 
 
 Print until the image is visible in all parts, although weak and only 
 faintly outlined in the stronger portions of the negative. The exact depth 
 of printing can only be determined by a little experience. When printing 
 in bright sunlight, use one thickness of tissue or ground glass over the 
 negative. Print weak negatives in the shade or use several sheets of tissue 
 over the frames. 
 
 If prints are not to be developed immediately after printing place them 
 in a tube with a package of preservative and seal the tube carefully. 
 
 DEVELOPING. 
 
 The developer is simply neutral oxalate of potash and water; three 
 ounces of neutral oxalate of potash dissolved in twelve fluid ounces of water. 
 If tones more on the blue-black are desired, use the following developer: 
 Water, ten ounces; oxalate of potash, one ounce; phosphate of potash, 
 one-half ounce. In preparing developer containing phosphate of potash, 
 always use warm water, as this chemical does not dissolve freely in cold 
 water. Any amount of the developer may be made up and set aside for 
 future use, but should be kept in a well-stoppered bottle. Use sufficient 
 developer to cover the bottom of the tray at least one-half inch deep. 
 Develop prints face up. By sliding prints under developer face up, air-bells 
 are avoided and the development may be closely watched from the start. 
 
 Development, as a rule, only requires from twenty to thirty seconds, 
 but it will do no harm to leave a properly exposed print in the developer a 
 full minute. Prints from strong negatives are very often improved in the 
 half tones by prolonging the development a few seconds. Development 
 should be carried on in a weak light. The temperature of developer must 
 not be below 6o° F. Keep up strength of developer by adding fresh stock 
 solution from time to time. A developer which has become overcharged 
 
 ( 9 ) 
 
124 
 
 PL A TINUM PRINTING. 
 
 with chemicals from the paper will produce poor results. The development 
 should therefore be watched carefully when using old developer, and if any 
 change is noticed in the quality of prints, a new bath should be tried. 
 Weak, granular prints may result from the use of weak or too cold developer. 
 Rock the tray or stir the developer between the development of prints to 
 prevent markings caused by scum, which forms on the surface of the solu¬ 
 tion. A print which is known to be slightly under-exposed may be saved 
 by warming the developer to ioo° or iio° F. Developer, which has been 
 used should not be returned to the bottle of stock solution. Have a sepa¬ 
 rate bottle for old developer and do not allow it to stand in a strong light. 
 When using old developer, pour off the clearing solution carefully, so as not 
 to disturb the sediment which settles to the bottom of bottle. 
 
 CLEARING BATH. 
 
 As soon as prints are fully developed they are placed facedown, directly 
 into a clearing bath of muriatic acid and water; one ounce of muriatic acid 
 C. P., to sixty ounces of water. The quality of acid used is of much 
 importance. It should be chemically pure, as ordinary commercial acid 
 will cause yellow prints. Prints should have from three to four changes of 
 acid clearing bath, allowing them to remain in each bath eight to ten 
 minutes and keeping them separated. The last acid bath should be as clear 
 as pure water, showing no yellow tint. This clearing of prints is very 
 important, as permanent results depend on removing all the unacted-on 
 chemicals from the paper. A properly treated platinum print consists of 
 nothing but metallic platinum and paper. After clearing, prints are washed 
 about one-half hour in running water. If not convenient to wash prints in 
 running water, give them eight to ten changes in a tray, separating them 
 well each change. 
 
 ANGELO SEPIA PLATINUM PAPERS. 
 
 DIRECTIONS. 
 
 PRINTING. 
 
 Angelo Sepia Platinum Paper, like all pure Platinum papers, is a semi- 
 developing-out paper, the image being only partially visible when printed. 
 The full depth and brilliance is attained by immersion in the Angelo Sepia 
 Developing Solution. Place paper in printing frame with the sensitive 
 yellow side in contact with the negative. 
 
PL A TINUM PRINTING. 
 
 125 
 
 Print in sunlight until the half tones are visible. Print deep for the 
 highlights, pay no attention to the shadows. As the paper is quite sensitive, 
 it should be loaded into the frame and inspected during printing in a sub¬ 
 dued light. 
 
 The image will come up stronger, more like the ordinary printing-out 
 paper than most platinum papers, but development is slower ; this is an 
 advantage, as it affords much greater control during development. 
 
 Good results can be obtained from any good average negative. 
 
 DEVELOPING. 
 
 Immerse print face up in the cold developing bath prepared as follows : 
 
 Dissolve the contents of the package of Angelo Sepia Salts in the 
 amount of boiling water indicated on the package. 
 
 For the true Sepia tone add one ounce of Angelo Sepia Solution 
 to each ten ounces of the above bath. 
 
 For redder tones add more of the Sepia Solution. 
 
 After the Sepia Solution has been added to the developer, allow the 
 mixture to boil for a few moments. 
 
 When cold, the bath is ready for use. 
 
 Allow the prints to remain in the bath until full strength and brilliance 
 has been attained. 
 
 It is obvious that an under-exposed print will not develop full strength 
 and that an over-exposed one will develop too dark. 
 
 Retain the developing solution for future use, allowing the solution to 
 settle, and making use of the clear portion only. When the greater portion 
 of the old developer has been used, prepare a fresh solution in the usual 
 manner and add to the old one. 
 
 It is not necessary to filter the bath, so long as only the clear portion 
 is used. 
 
 CLEARING BATH. 
 
 When the print is fully developed, immerse face down in the clearing 
 bath prepared as follows : 
 
 Water,.So ozs. 
 
 Muriatic Acid, c. p., - - - - ' 2 drams. 
 
 The prints must go through two clearing baths, prepared as above, 
 remaining for at least five minutes in each bath. 
 
 Separate prints each time they are changed. 
 
 Be careful not to carry any of the acid bath on your fingers into the 
 developing bath. 
 
126 
 
 PL A TINUM PRINTING. 
 
 WASHING. 
 
 After the prints have been fully cleared, wash for one-half hour in run¬ 
 ning water, or in six changes of water, separating them one by one in each 
 change. 
 
 DRYING. 
 
 Prints may be suspended by one corner to dry, or they may be placed 
 between blotters to remove the greater part of the moisture, and then 
 replaced between clean dry blotters to dry under light pressure. 
 
 Avoid the use of the ordinary and colored blotters, use only those 
 specially made for photographic use. 
 
 NOTE. 
 
 The following are the most important points in connection with the 
 manipulation of Platinum paper and should receive careful attention. 
 
 Keep paper dry at all times before development. 
 
 When placing paper on negatives or examining prints, do not expose 
 to strong light; weak daylight or gaslight will answer. 
 
 Keep up strength of developer, and do not use it too cold. 
 
 Slide prints under developer, face up, to prevent the formation of air 
 bells. 
 
 Place prints directly from the developer into the acid clearing bath 
 without previous washing. 
 
 See that clearing of prints is thorough. The last clearing bath should 
 be free from any yellowness. 
 
 Use chemically pure muriatic acid for clearing bath. 
 
 If developer crystalizes on surface of prints, causing numerous fine, 
 dark spots to appear during development, reduce the strength of solution 
 by adding from one to two ounces of water to twelve ounces of developer. 
 
Enlarging on Bromide Paper With 
 
 the Kodak. 
 
 Most amateurs are aware that beautiful enlargements of almost any 
 size can be made from Kodak or any small negatives, but aie possessed of 
 the idea that the process of enlarging is intricate and requires a great deal' 
 of apparatus and technical skill. As a matter of fa& ‘the making of an en¬ 
 largement is simple and requires practically no apparatus beyond the Kodak. 
 
 In the following pages we clearly describe the characteristics and uses 
 of bromide papers and demonstrate how the Kodak and many of the other 
 hand cameras may be utilized for the making of enlargements. No attempt 
 is made to describe the more intricate and costly apparatus demanded by 
 the professional, but we confine ourselves to the demands of the average 
 amateur. 
 
 BROMIDE PAPER. 
 
 Bromide paper is a pure photographic paper coated with a sensitive 
 compound composed principally of pure bromide of silver and white gela¬ 
 tine and similar to the emulsion of the ordinary dry plate or film, only of 
 much less rapidity, permitting manipulation by a stronger light than would 
 be safe for plates. 
 
 Bromide of silver gives a pure black tone when exposed to the light 
 and then developed, the unexposed portions of the paper coated with this 
 emulsion remains perfectly white except with Royal bromide paper which 
 is coated on a delicate cream stock. 
 
 If the beginner will consider the sheet of bromide paper as praCiically 
 the same as a slow dry plate, and that a positive image is produced by pho¬ 
 tographing through the negative on to the sheet of bromide paper with the 
 negative and sheet of paper some distance apart instead of in contaft as in 
 making an ordinary print, a clearer understanding of the process will be 
 
 afforded. 
 
 Bromide paper has remarkable keeping qualities both befoie and a ter 
 exposure, and the developed print when carefully fixed and washed is as 
 permanent as the paper support itself. 
 
 WHAT IS AN ENLARGEMENT? 
 
 An enlargement, in the usual sense, is a positive image or pitfure ob¬ 
 tained by permitting rays of light to pass through a negative, then through 
 
128 
 
 ENLARGING ON BROMIDE RARER. 
 
 a lens and focusing on a sheet of sensitive bromide paper ; the size of the 
 projected image depending upon the distance between lens and paper, the 
 further the paper is from the lens the greater the enlargement, which will be 
 readily understood by reference to diagram below. 
 
 An enlarged negative can also be made in the same manner by using a 
 small positive, the projected image focusing on a dry plate instead of on 
 bromide paper. 
 
 UTILIZING THE KODAK FOR ENLARGING. 
 
 Most of the present models of the Kodak can be utilized for enlarging, 
 excepting only those models not permitting the removal of the back and 
 the racking back and forth of the lens. 
 
 The use of Kodaks such as the No. 2 Flexo and No. 2 Bulls-Eye for 
 enlarging is limited, as the distance between the focal plane and the lens is 
 fixed and prevents the making of enlargements beyond a certain size. 
 The Folding Pocket Kodaks (except the No. 1 and No. i-A), the4-A, and 
 the Cartridge Kodaks, including the Screen Focus Kodak, lend themselves 
 particularly well to enlarging. 
 
 The method of utilizing these instruments is shown in the following : 
 
 In enlarging by daylight with the Kodak all that is required is a room, 
 
 with a north window 
 preferred, through 
 which the light can 
 enter without obstruc¬ 
 tion from trees or near¬ 
 by buildings. 
 
 A room with one 
 window is preferable 
 as this of course lessens 
 the difficulty in exclud¬ 
 ing the white light. 
 It must be remember¬ 
 ed that although Bro¬ 
 mide paper is much 
 less sensitive than a 
 dry plate, an instant’s 
 exposure to white light 
 will ruin it. 
 
 The window should be blocked up to exclude white light by means of 
 a closely fitting wooden shutter, or any perfectly opaque substance such as 
 
ENLARGING ON BROMIDE PAPER. 
 
 129 
 
 heavy card or press board fastened in 
 place with small nails or Kodak push 
 pins. An opening will of course have 
 to be made in this shutter to receive 
 the Kodak holding frame as will appear 
 in the following diagrams : 
 
 Figure 1 illustrates the frame for 
 holding the Kodak when used as an 
 enlarging camera. This frame is sim¬ 
 ply a shelf with a projection to hold the 
 Kodak and negative firmly in position, 
 and can easily be constructed with the 
 simplest tools. 
 
 The shutter to exclude light from 
 the window, and to which the holding 
 frame is attached need be of wood only 
 where the frame is attached, the re¬ 
 mainder of the window may be blocked 
 up with heavy press board or opaque 
 cloth held in position with Kodak push 
 pins. This will lessen the expense and also 
 and removal of the frame. 
 
 Fig. 1. 
 
 facilitate the putting in place 
 
 / 
 
 Figure 2 shows 
 the Kodak and hold¬ 
 ing frame in profile and 
 illustrates method of 
 holding Kodak in po¬ 
 sition with rubber 
 bands. To place neg¬ 
 ative in position for 
 enlarging, procure two 
 pieces of plain glass, 
 the same size as the 
 negative, or that will 
 fit opening A in the 
 holding frame; see that 
 the glasses are without 
 flaws and perfeCdy 
 clean, place the nega¬ 
 tive to be enlarged 
 
 from, between the glasses, binding ends of glasses with a small piece of 
 
130 
 
 ENLARGING ON BROMIDE RARER. 
 
 adhesive binding paper to ensure the negative lying flat. Then insert glasses 
 in groove A, with the negative upside down and with the dull side facing 
 into the room. 
 
 Next remove the back from the Kodak (as it will not be used while 
 enlarging), and place the Kodak in the holding frame as shown in Figure 
 3, securing the Kodak to the frame with heavy rubber bands as shown ; by 
 using rubber bands the Kodak is held firmly in position and without dan¬ 
 ger of marring or scratching the leather covering. 
 
 Fig. 3. 
 
 When it is the intention to use one of the Folding Pocket Kodaks 
 the holding frame should be constructed so as to allow a distance of three 
 inches between negative and back of Kodak, as this will, with the Kodak 
 Portrait attachment in place, increase the focal capacity of the Kodak 
 sufficiently to permit the making of two time enlargements from the whole 
 negative. 
 
 In many instances the actual picture is contained in a comparatively 
 small portion of the negative, and in such cases all unused portions of the 
 negative may be covered with a mask of post office or black paper. 
 
 If any light enters from between the Kodak and the holding frame 
 it may be excluded by throwing an opaque cloth over the frame. 
 
ENLARGING ON BROMIDE PAPER. 
 
 I 3 i 
 
 The Cartridge Kodaks and the Screen Focus Kodak may be utilized 
 in praftically the same manner as will appear by referring to Figure 4. 
 The Kodak is easily held firmly in place by the 
 use of Kodak Push Pins as shown in the diagram. 
 
 Any Plate Camera of the so-called cycle type 
 may be used for enlarging by making use of the 
 holding frame. 
 
 The negative in such cases is best secured in 
 position by utilizing an old plate holder with the 
 center septum and dark slides removed, insert the 
 negative in the plate holder upside down and with 
 the dull side toward the lens, placing the holder in 
 the back of the camera in the usual manner. 
 
 If ground glass in the back of the camera inter¬ 
 cepts too much light it should be removed. 
 
 Unless the window you intend to use com¬ 
 mands an unobstructed view of the horizon, a piece 
 of heavy white cardboard about 15 inches long and 
 12 inches wide or larger should be placed just out¬ 
 side the window, at an angle of 45 0 to refleCt the 
 light from the sky. (See Fig. 2.) 
 
 To ascertain if the refle&or is in the proper 
 position, place a sheet of ground glass over the opening in the holding 
 frame. If properly placed the ground glass will be evenly illuminated. 
 No harm will result if the sun shines on the ground glass and refleCior, pro¬ 
 vided it strikes evenly ; if the light is too strong the lens can be stopped 
 down. 
 
 The easel or copy-board for holding the bromide paper may be con¬ 
 structed as shown in Figure 3 or it may be modified to suit individual needs 
 or conditions. 
 
 In cases where the window is some distance from the floor, or the 
 window surface is exceedingly large, the Kodak holding frame may be 
 placed directly on the lower sill and the light excluded by covering the 
 balance of the window as previously suggested. 
 
 The whole apparatus is so exceedingly simple that modifications to suit 
 individual requirements can easily be made. 
 
 Care must be observed to keep the easel front exactly parallel with the 
 negative. 
 
 The best negative for enlarging from is one not too dense or too weak 
 but with good detail in the shadows and transparent in the high lights. 
 
 Fig. 4. 
 
I3 2 
 
 ENLARGING ON BROMIDE PAPER. 
 
 THE SIZE OF THE ENLARGEMENT 
 
 depends upon the focus of the lens and the distance of the easel or copy 
 board from the negative. 
 
 Even when using the No. 4-A Folding Kodak with its lens of 8 J 4 inch 
 equivalent focus a six times enlargement will only require a distance of five 
 feet from the lens to the bromide paper, so it will be seen that only a small 
 space is necessary for all ordinary requirements. 
 
 THE LENS. 
 
 Any lens that will make a good negative may be used for enlarging. 
 The proper size (focal length) of the lens depends entirely upon the size of 
 the negative to be enlarged from and not at all upon the size of the enlarge¬ 
 ment to be made. 
 
 The lens that made the negative will be suitable for enlarging from that 
 negative. If the lens will cover the negative it will make an enlargement 
 from it of any size. Any Kodak lens is suitable for enlarging from nega¬ 
 tives made with the Kodak to which it is fitted. 
 
 MAKING THE EXPOSURE. 
 
 Having placed the negative in position, and taking care that the pack¬ 
 age of bromide paper is well protected, set the shutter for time and press 
 the release to open same, an image more or less blurred will appear on the 
 easel, now move the easel back and forth until the desired size of the enlarge¬ 
 ment is secured, then focus the image sharply by racking the lens back and 
 forth. 
 
 The nearer the lens is placed to the negative the greater the size of the 
 enlargement and the copy board will have to be moved back correspond¬ 
 ingly to obtain sharp focus. 
 
 Focus with the lens fully open, then stop down to at least stop .16. 
 This not only insures good definition but by lengthening the time of expos¬ 
 ure permits greater control during exposure, affording time to shade or 
 locally increase the exposure on any portion of the image. 
 
 After having obtained the desired size and correct focus close the shut¬ 
 ter and place the sheet of bromide paper in position on the easel or copy 
 board. Before capping the lens or closing the shutter the correct position 
 for placing the sheet of bromide paper should be marked on the copy board. 
 
 A deep colored ray screen may be utilized as a lens cap, as the light 
 coming through this screen will not affect the bromide paper for a few 
 minutes, and the operator can by this means see just where to fasten the 
 
ENLARGING ON BROMIDE RARER. 
 
 133 
 
 sheet of bromide. It is perhaps unnecessary to state that the coated or 
 emulsion side of the paper should be out. (The coated side is slightly 
 concave). 
 
 Before opening the package of Bromide paper see that no white light 
 enters the room. It is well to provide a good sized box with a hinged, light 
 tight cover to keep the Bromide paper in until needed, with also a compart¬ 
 ment to hold the exposed sheets when making a number of enlargements 
 to be developed later. 
 
 TEST EXPOSURES. 
 
 After the corre< 5 I size and focus have been obtained the next step is the 
 exposure. 
 
 Provision should have been made for a non-a6linic yellow or orange 
 dark-room lamp, or a small window opening outside covered with several 
 thicknesses of yellow or post office paper. 
 
 In first attempting the making of enlargements, test strips for deter¬ 
 mining the accuracy of focus and proper duration of the exposure should be 
 employed. 
 
 A strip one or two inches wide and long enough to extend diagonally 
 across the focused image will be sufficient. 
 
 Correct exposure depends on several fadors ; the intensity of the light, 
 density of the negative, size of the enlargement, and aperture of lens. 
 
 The first test exposure will be purely arbitrary ; if the light be good 
 and the negative of average density, say ten seconds. 
 
 Cover up two-thirds of the strip with a piece of cardboard, and expose 
 for five seconds, move the cardboard and give the next portion five seconds, 
 making ten for the first, then remove the cardboard entirely and expose the 
 remainder of the strip five seconds, the fully exposed strip will now contain 
 three different exposures, one of five seconds, one of ten and one of fifteen 
 seconds. 
 
 While the exa <51 time for the developement of a correfflly exposed bro¬ 
 mide enlargement cannot be given, the proper exposure may be readily de¬ 
 termined by appearance as the image will appear gradually, developing 
 brilliantly and attaining full strength in about one minute. Develop this 
 test strip (see page 134 for directions.) If these test exposures are all very 
 much over or under exposed make another set of test exposures, being 
 guided as to time by the first strip. If the image comes up rapidly but 
 dull and full of detail in the highlights it has been over-exposed ; if weak 
 and without detail, it is under-timed. Under different conditions the time 
 required for exposure varies from five seconds to five or ten minutes, 
 according to the light, density of the negative, etc. However, a few trials 
 
134 
 
 ENLARGING ON BROMIDE RARER. 
 
 will narrow the exercise of judgment down to the intensity of the light, and 
 the making of correct exposures becomes a simple matter. 
 
 In making enlargements of different sizes it must be remembeied that 
 light intensity decreases as the easel is moved further away from the lens. 
 As an example : If an enlargement eight by ten in size requires ten sec¬ 
 onds, one sixteen by twenty (which is four times as great in area) would 
 require four times ten or forty seconds exposure. Do not attempt to count 
 seconds ; use a watch or clock. 
 
 No printing process affords so many opportunities for modifying in the 
 print the charaaeristics of the original negative as bromide enlarging. 
 
 Stop down the lens so as to afford plenty of time during the exposure, 
 and we can shade a little here, give a little longer exposure there and pb- 
 tain just the result desired, bringing out detail in the shadows or softening 
 a highlight at will. 
 
 In shading any portion during exposure, hold the shade nearer the 
 lens than the copy board to avoid sharp lines and obtain the proper 
 diffusion. 
 
 DEVELOPMENT. 
 
 After the exposure has been made the next step is development, which 
 is accomplished in practically the same manner as in the development of a 
 plate or film. 
 
 Provide a ruby or orange lamp, graduate, stirring rod and three trays, 
 preferably of hard rubber, or rubber lined, at least an inch larger each way 
 then your sheets of bromide paper, to facilitate handling. 
 
 A rubber lined tray of any size is easily constructed by glueing a sheet 
 of gossamer rubber cloth into a wooden box or tray. 
 
 As the bromide paper is not as sensitive to light as a dry plate or film 
 a stronger light may be employed for developing. A small window opening 
 outside, covered with two thicknesses of yellow post office paper will serve, 
 or the ruby glass may be removed from the dark room lamp. The remain¬ 
 ing orange glass will be ample protection against fog and allow the process 
 of development to be observed with greater ease. 
 
 Use developer at a temperature of about 70° Fahr. After exposure, 
 soak the paper in water until limp and brush lightly over the surface while 
 wet, with a tuft of cotton and flow developer over the print. 
 
 The image should appear slowly and should develop up strong- , clear, 
 and brilliant. When the shadows are sufficiently black, pour off the devel¬ 
 oper and rinse the print thoroughly with pure water. Increasing the 
 amounts of Bromide of Potassium given in our formulae is sometimes neces¬ 
 sary to prevent grayish high-lights. 
 
ENLARGING ON BROMIDE PARER. 
 
 135 
 
 After development is complete the print should be placed in clean water 
 for a few seconds and then immersed in the fixing bath. Do not attempt 
 to develop too many prints in one portion of developer. After five or six 
 have been developed mix up a fresh portion. 
 
 There are a number of developers that will produce good results on 
 Bromide papers, when used by experienced hands, understanding their 
 limitations. The professional photographer enlarges from a uniform quality 
 of negative and for a certain effect ; on the other hand, the amateur, from 
 the wide diversity of his attempts, finds his negatives varying in density and 
 quality, and the best developer for him to use is the one affording the great¬ 
 est latitude in exposure and development, and one that keeps well in 
 solution. 
 
 Without question Nepera Solution is the best developer for this pur¬ 
 pose. Nepera Solution is known as the universal developer, as it may also 
 be used for plates, films and Velox papers. 
 
 For use with Bromide paper, take 
 
 Nepera Solution,.1 ounce. 
 
 Water, - -- -- -- - -6 ounces. 
 
 Do not add Bromide of Potassium, as the correct amount is contained 
 in the solution. The capsules accompanying each package should not be 
 used for developing Bromide paper, as they are intended for use with films 
 and plates. Six ounces of the prepared solution will develop twelve five by 
 seven prints or their equivalent, after which a fresh solution should be pre¬ 
 pared. When Nepera Solution is not obtainable, the following formula 
 should be used : 
 
 METOL HYDRO DEVELOPER. 
 
 Hot Water, - 8 ounces. Sulphite of Soda, - 264 grains. 
 
 Metol, - - - 20 grains. Carbonate of Soda, - 437 grains. 
 
 Hydrochinon, - 72 grains. Bromide of Potassium, xo grains. 
 
 The above formula should be prepared with Mallinckrodt’s desiccated 
 sodas ; if crystals are used, double the quantity of both sulphite and car¬ 
 bonate of soda. 
 
 This concentrated developer will keep indefinitely in full bottles well 
 stoppered. 
 
 TO DEVELOP. 
 
 Take in a suitable tray— 
 
 Concentrated Solution, 1 ounce. | Water, - - 6 ounces. 
 
 This amount is sufficient to develop twelve 5x7 prints or their 
 equivalent. 
 
136 
 
 ENLARGING ON BROMIDE RARER. 
 
 FIXING. 
 
 If Bromide prints are fixed in the fixing bath prepared according to the 
 following formula, there will be no evidence of blisters or frilling. 
 
 Hyposulphite of Soda, \} 4 . ounces. | Water, - 16 ounces. 
 
 A fresh fixing bath made up as above, should fix twelve 5x7 prints 
 or their equivalent, after which the bath should be discarded. 
 
 The prints should remain in the fixing bath for at least fifteen minutes, 
 and should be moved one over the other occasionally to insure even fixing 
 and to avoid staining. 
 
 After all prints have remained in the fixing bath for a few minutes, the 
 yellow shade may be removed from the light and the balance of the oper¬ 
 ation continued by ordinary light. Before permitting white light to enter, 
 be sure that any unexposed or undeveloped sheets of the bromide paper 
 have been carefully protected from the light. 
 
 After fixing, immerse prints for about ten minutes in a hardening bath 
 composed of water, 16 ozs. ; Alum, 1 oz. When removed from hardening 
 bath, the prints should be washed for at least one hour in running water, or 
 in at least twelve changes of water, in a tray sufficiently large to permit the 
 water to reach all portions of each print. 
 
 Move the prints one over the other occasionally to ensure the full eli¬ 
 mination of the fixing solution. 
 
 DRYING. 
 
 After the prints have been thoroughly washed, they may be suspended 
 by means of Kodak Push Pins from the edge of a table or shelf. Upon 
 removal, when dry, they will curl but slightly and can be made to lie per¬ 
 fectly flat when required, by moistening the back only and re-drying 
 between blotters under heavy pressure. 
 
 Do not use the ordinary commercial blotter as it usually contains a 
 large percentage of hypo and other injurious chemicals. 
 
 Avoid also the use of colored blotters and those containing printed 
 matter as both the coloring and printers’ ink are apt to impress themselves 
 unpleasantly on the print. 
 
ENLARGING ON BROMIDE RARER. 
 
 137 
 
 HINTS. 
 
 Mealy Mottled Prints —Over-exposure and short development. 
 
 Greenish Tones are obtained by over-exposure and too much 
 bromide. 
 
 hACE of Permanent Bromide Paper can always be distinguished 
 by its curling in. Convex side is always the back. 
 
 Fixing —The operator can tell when a bromide print is fixed by look¬ 
 ing through it or upon it in a good light ; unfixed portions will be a green¬ 
 ish yellow. 
 
 Yellow Prints— Prolonged development will cause yellow prints. 
 The exposure must be correct so as to allow of quick development. 
 
 Forcing Development does not give good results for the above 
 reason. 
 
 Running Water is not so sure a means for washing prints as chang¬ 
 ing them from one tray to another, allowing them to soak at least ten 
 minutes in each fresh water ; twelve changes are sufficient ; no less. 
 
 Retouching 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, unless they have been 
 five minutes in a solution of alum, 4 ounces.; Water, 1 quart. 
 
 Don’t fail to rock the tray well while developing. 
 
 Don’t rock in one direction only, unless you want streaky prints. 
 
 Don’t let a jet of water play on the paper while washing ; it will cause 
 blisters. 
 
 Don’t use old developer on large prints for the sake of economy ; use 
 it fresh every time. 
 
 Don’t say you can’t work Bromide paper because 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 wall will be 
 sufficient for enlarging. Unless your enlarging window has an unbroken 
 horizon use a reflector. 
 
 Don’t suppose that a Permanent Bromide print is liable to fade 
 because the paper turns yellow. All paper will become yellow after 
 exposure to light and air. For example, see any old engraving or etching. 
 This yellowing or mellowing of the paper has nothing whatever to do with 
 fading. 
 
138 
 
 ENLARGING ON BROMIDE PAPER. 
 
 WHAT PAPER TO USE. 
 
 VELVET BROMIDE. 
 
 Suited to negatives having broad shadows, the slight sheen of the semi¬ 
 gloss surface giving to enlargements from such negatives a life and brilliancy 
 which is highly pleasing. Velvet Bromide is especially appreciated by 
 those who enlarge from amateur or landscape negatives. 
 
 ROYAL BROMIDE PAPER 
 
 is particularly recommended for use where 14 x 17 or larger prints are to be 
 made. When enlarged through bolting cloth and sepia toned, prints on this 
 paper have the breadth and softness of rare old etchings. This paper is 
 not adapted for use when vignetted prints are wanted, but gives a richness 
 obtainable on no other paper when used with negatives having dark, sketchy 
 backgrounds, deep shadows and snappy high lights. When using bolting 
 cloth screen, the time of exposure should be increased about one-third. 
 
 STANDARD BROMIDE PAPER 
 
 is a natural surface Bromide paper, which is especially adapted to all kinds of 
 enlargements, particularly copies on which crayon or pastel work is to be done. 
 
 The emulsion is coated on three different weights of paper—A, thin 
 smooth—B, heavy smooth—C, heavy rough. 
 
 PLATINO-BROMIDE PAPER. 
 
 Platino-Bromide is a new argentic bromide paper, giving soft, rich 
 effects, velvety blacks, absolutely pure whites, and having a dead surface 
 like platinum. Unlike platinum paper, however, it will keep before and 
 after exposure, and can be printed by lamplight. Pictures made on it are 
 permanent as the paper itself. 
 
 ENAMELED BROMIDE PAPER. 
 
 Prints on Enameled Bromide paper when untoned combine the soft 
 effects of a platinum or bromide tone with a highly enameled surface. This 
 paper has a slightly pink tint which especially commends itself to those 
 who object to the coldness of an ordinary bromide tone. 
 
 Prints on enameled Bromide paper when toned with the hypo toning 
 bath given further on, and dried on ferrotype plates, are in no wise inferior 
 to the best aristo prints in richness of tone and depth of detail and gloss, 
 hence enlargements made in this way from good negatives are fully equal 
 to contact prints and require no finishing. 
 
ENLARGING ON BROMIDE BARER. 
 
 139 
 
 MATTE-ENAMEL BROMIDE PAPER. 
 
 This paper combines the brilliancy of an enameled paper with rich 
 carbon blacks. Like the enameled, it is lent warmth by its slightly pink 
 tint and is capable of taking a beautiful sepia tone. 
 
 SEPIA TONES WITH ROYAL, VELVET, ENAMELED, 
 MATTE-ENAMEL, OR PLATINO BROMIDE PAPER. 
 
 By using the following formula rich brown and sepia tones can be 
 readily obtained with prints on Royal, Enameled, Matte-Enamel or Platino 
 Bromide paper after they have been developed and fixed. The tones 
 produced are permanent and not subject to the bronzing in the shadows 
 which occur in bromides toned in Uranium. 
 
 FORMULA. 
 
 Hyposulphite of Soda, - 
 Ground Alum, - 
 Hot Water, - 
 
 20 ozs. 
 4 ozs. 
 2 gals. 
 
 Dissolve the Hypo in the water first, then add the alum slowly ; when 
 all is dissolved the solution should be milk white. Allow it to settle, then 
 decant the clear solution and use cold. 
 
 TO TONE. 
 
 After prints are developed and fixed wash in three or four changes of 
 water and then immerse in the cold toning bath, being careful to remove all 
 air bells. The print or prints should be handled over occasionally during 
 the fiist four or five hours and may then be left in the bath over night or 
 until the desired tone is acquired. 
 
 After toning wash thoroughly two hours and hang up to dry. 
 
 DETAILS. 
 
 Be sure and fix thoroughly before toning. 
 
 Prints should be toned face up. 
 
 Solution may be used repeatedly by adding fresh bath occasionally. 
 
 A number of prints can be toned in the same bath at the same time. 
 Spots or unevenness in the tone will disappear if print is left in the bath 
 and occasionally moved. 
 
 The toning takes from 15 to 20 hours. 
 
140 
 
 ENLARGING ON BROMIDE RARER . 
 
 SEPIA TONES WITH ROYAL RE-DEVELOPING 
 
 SOLUTION. 
 
 Bromide enlargements may be toned with Royal Re-Developing 
 solution. Prints on Matte-Enamel or Platino Bromide paper attain a much 
 better color with this method than with the Hypo Alum bath. Prints on 
 Royal Bromide toned in this way are considerably warmer in color than 
 when toned in the Hypo Alum bath. Bromide prints should be handled in 
 the same manner as described for Velox on page ior. 
 
 GLOSSY PRINTS WITHOUT A BURNISHER. 
 
 Beautiful glossy prints may be made on Enameled Bromide paper by 
 following directions given for using Ferrotype plates with Solio paper on 
 page 113. 
 
 ANOTHER METHOD. 
 
 A fine gloss may be given Enameled Bromide Prints by coating the 
 mounted print with a solution of gum arabic 1 oz., water 4 ozs.; filter 
 through chamois skin each time before using. Apply smoothly with a 
 camel’s hair brush. If too thick to spread smoothly, thin with water to 
 proper consistency. 
 
 CLEANING THE PRINTS. 
 
 The surface of Enameled Bromide Paper is extremely delicate and 
 liable to abrasion, which shows in hair-like lines like pencil marks after 
 development. F'ortunately they can be easily removed from the dry print 
 before mounting by rubbing with a tuft of wet cotton. 
 
Mounting. 
 
 The most satisfactory method for 
 mounting prints of any size is by the 
 use of Kodak Dry Mounting Tissue, as 
 by the use of this tissue the print lies 
 perfectly flat in absolute contact even 
 on the thinnest mount, and absolutely 
 without curl. 
 
 The tissue comes in flat sheets, 
 dry, not sticky, and easy to handle, 
 and being water-proof, protects the 
 print from any impurities in the mount 
 stock. The process of mounting is as 
 
 Tacking Tissue to Mount. . 
 
 follows : Lay the print on its face 
 and tack to the back a piece of the tissue of the same size as the print by 
 applying the point of a hot flatiron to small spots at opposite ends. Turn 
 the print face up and trim to size desired, place in proper position on the 
 mount, cover the print with a piece of smooth paper and press the whole 
 surface with a hot flatiron.— Press, don't rub. The iron should be just hot 
 enough to siss when touched with the wet finger. If the iron is too hot the 
 tissue will stick to the mount and not to the print, if too cold the tissue will 
 stick to the print and not to the mount. 
 
 Remedy : Lower or raise the temperature of the iron and apply again. 
 
 WITH PASTE. 
 
 After prints are trimmed, immerse them in a tray of clean water, allow¬ 
 ing them to soak long enough to become thoroughly limp. Remove to a 
 good sized piece of clean glass, placing them in a pile face down. Cover 
 with a piece of clean blotting paper and with a roller squeegee press all the 
 superfluous water from the pile. Then with a good bristle paste brush 
 apply a thin even coating of starch paste. Raise the print by taking hold 
 of the two opposite corners and turning it over, place in position on the 
 mount. Lay a clean dry blotter over the print and with a roller press into 
 contact. Any lint or fuzz from the blotter or any paste on the surface of 
 the print should be immediately removed with a soft sponge or dampened 
 cloth. When dry, shape the mounted print by running it through a cold 
 burnisher. Any imperfections in the finished print may be corrected by 
 spotting, using a fine sable brush and spotting color or India ink. Care 
 should be exercised to select mounts which harmonize with the tone of the 
 print. If Sepia prints are to be mounted, any shade of brown or some of 
 the deeper reds may be used, but these same mounts would not be suitable 
 for black and white tones. For the black and white prints any shade of 
 gray, carbon black, buff or cream color may be successfully used. 
 
Making Lantern Slides. 
 
 There is no pleasanter part of the art photographic than the making of 
 lantern slides. Permanent Bromide lantern slide plates are coated with an 
 emulsion similar to that used on Bromide paper and are developed in 
 exactly the same manner. Lantern slides can be made by contact printing 
 from 2,% x 4^ or smaller negatives, and from 4x5 negatives, except when 
 it is necessary to retain everything shown clear up to the edges of the orig¬ 
 inal negative. From larger negatives the lantern slides are made by 
 reduction, a process similar to that of enlarging except that the Bromide 
 slide plate must be nearer the lens than the negative—the reverse of the 
 enlarging process where the further from the lens the paper is, the greater 
 the enlargement. By either the contact or enlarging process the operation 
 of slide making is very simple. If the operator is provided with a develop¬ 
 ing and printing outfit, the only extras required for contact printing will be 
 
 1 doz. Permanent Bromide Transparency Plates. 
 
 1 doz. Cover Glasses with Masks. 
 
 TO PREPARE THE NEGATIVES. 
 
 Take a negative and fasten it in position over the paper mask by means 
 of a bit of gummed paper, and lay the mask with the negative on the clean 
 glass plate in the printing frame with the negative between the mask and the 
 glass. Lay one of the plates coated side down, on the negative in the frame, 
 fasten the back of frame and expose as directed in the following paragraph. 
 
 EXPOSURE. 
 
 The exposure 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 transparent film negative as will make a good print, one- 
 quarter second by diffused daylight, or ten seconds at a distance of one foot 
 from a number two kerosene burner. Very thin 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 slide 
 may be obtained from a negative that would otherwise be too thin and flat. 
 Strong, intense negatives are best printed by daylight. 
 
MAKING LANTERN SLIDES. 
 
 143 
 
 DEVELOPING THE SLIDE. 
 
 Take the plate out of the frame and lay it on one of the trays, and 
 cover it with either of the developers recommended for bromide paper on 
 Page 135- 
 
 The image will appear in a few seconds. The development should be 
 continued until the black parts begin to get opaque by transmitted light, or 
 about one or two minutes, then the developer should be poured off and the 
 plate flooded with clean, cold water. After rinsing it three or four times it 
 should be put into another tray and covered with the 
 
 FIXING BATH. 
 
 Hypo-sulphite Soda,.4 ozs. 
 
 Water, - .16 ozs. 
 
 This should be allowed to act for five minutes, or until the plate is clear 
 and free from milkiness. Then the plate should be soaked in four changes 
 clean water for twenty minutes and stood upon edge to dry, when it will be 
 ready for mounting. 
 
 Notes.— The only experience needed to make good lantern slides by this process, is to learn just how 
 long to expose in the priming frame. Negatives vary somewhat in density, and the time given in the 
 directions is for the average density. Thicker negatives require more, and thinner less time. Enough 
 time must be given for the light to strike through all but the densest parts of the negatives. A few trials 
 with a good slide for a guide will enable the learner to judge correctly what time to give the different 
 negatives. The developer should be used fresh mixed for each slide. Enough of the fixing bath should 
 be used to fill the tray half full; it should be thrown away at the end of the evening's operations. 
 
 MOUNTING THE SLIDE. 
 
 When dry, lay the slide face down on one side of the prepared covers 
 having the mask on it, so as to have it come between the glasses. Then 
 moisten the gummed edges and fold them over the slide. 
 
 PREPARED COVER GLASSES. 
 
 Eastman’s prepared cover glasses have mats and gummed binders 
 attached, and will be found a great convenience. 
 
Some Practical Hints on Winter 
 
 Photography. 
 
 BY RUDOLF EICKEMEYER, JR. 
 
 Serving as judge at the various photographic exhibitions and competi¬ 
 tions—as it has quite often been my lot—it has always excited my wonder ; 
 why the majority of amateurs so utterly fail to comprehend the beauties of 
 a season which has always seemed the loveliest one to me. 
 
 No other season lends itself so well to pictorial interpretations as that 
 of the “ inverted year.” In the months of spring the scenes of nature are 
 
 so tender and fragile, 
 that they nearly always 
 elude the grasp of the 
 camera. Who for in¬ 
 stance has ever suc¬ 
 ceeded in giving a true 
 depiction of the burst of 
 tree blossoms in early 
 spring? Summer with 
 its heavy foliage, its 
 dense light and shadow 
 has proven a despair to 
 many a pictorialist. And 
 autumn with its intense 
 coloring cannot be re¬ 
 corded accurately as its 
 charm dependstoo 
 much on color values, 
 which are exceedingly 
 difficult to render in 
 toned gradations. 
 
 Also the sterner 
 aspects of nature, rain 
 and storm in their mani- 
 
 The Path thro' the Sheep Pasture. RUDOLF eickemeyer, jr. 
 
 By courtesy of Harper & Brothers. Copyright IQOJ, by Harper & Brothers. fold phclSCS cHlQ VcHTcl- 
 
SOME PRACTICAL HINTS ON WINTER PHOTOGRAPHY. 145 
 
 dons can only under rare circumstances be successfully treated during 
 these seasons. 
 
 But in winter every difficulty seems to fade away. From the time 
 when the first snowflakes flutter noiselessly to the ground, to the last thaw, 
 when the hepatica timidly blooms amidst patches of melting snow, every 
 wood, every change of atmosphere, every vagary of form which the snow- 
 covered earth is subjected to, can be held by the camera. It is the season 
 for realistic interpretations. 
 
 True realism always enhances the pictorial and aesthetic qualities as well, 
 and by aesthetic interpretations I mean a combination of all those elements 
 which change the ordinary photograph into a revelation of pictorial beauty. 
 
 Golden Rod. rudolf eickemeyer, jr. 
 
 By courtesy 0/ Harper & Brothers. Copyright upoj, by Harper & Brothers. 
 
 In winter, nature appears to the experienced eye like a delightful composi¬ 
 tion in monochrome. The whole gamut of tones is there, from purest white 
 to deepest black, imperceptibly blended into each other, even those where 
 the contrasts are strongest. And it is for this reason that the rendering of 
 winter scenes, in my opinion, can be handled with equal skill and success by 
 the photographer as by the colorist, or the illustrator who uses black and 
 white as a medium. 
 
 The fault of amateurs, on the whole, is that they strive too much for 
 extraordinary effects, they insist on strange snow formations and queerly 
 shaped icicles, and depieft rather the idiosyncrasies than the poetical moods 
 of winter. 
 
 And yet beauty is lurking everywhere in all of winter's multitudinous 
 phases. Nearly all my pictures were taken in the vicinity of my own home. 
 
146 SOME PRACTICAL HINTS ON WINTER PHOTOGRAPHY. 
 
 The simplest scene, when the ground is only covered by a light snowfall, has 
 its intrinsic pictorial value. The white snow cover blends everything into a 
 perfedl harmony. Look for instance at the path through the sheep pasture 
 after the first snowfall. You hardly recognize the old familiar scenes. And 
 yet every detail has been preserved. The snow has fallen evenly all over 
 the landscape and not obliterated a single feature. Every undulation can 
 be traced, but everything is softened, as seen through a veil. The twigs 
 
 and branches are still 
 bare, but even while 
 deprived of all their 
 emerald glow, they are 
 not lacking in beauty, 
 and their structural 
 forms are now seen to 
 their best advantage and 
 the long exaggerated sil¬ 
 houettes of their shad¬ 
 ows lend a peculiar 
 weird and primitive 
 character to the scene. 
 
 Those who are fond 
 of broad effedls, will 
 find ample material after 
 a heavy snowfall. As 
 soon as the snow is 
 deep, all details practic¬ 
 ally vanish and every¬ 
 thing is seen in masses, 
 which enable the pictor- 
 ialist to suggest desola¬ 
 tion and immensity 
 more easily than 
 through any other 
 medium. 
 
 Some of my most successful pictures have been taken in heavy snow 
 storms, and under very trying circumstances. More than once I have been 
 obliged to brush the snow flakes out of the lens before setting the shutter 
 and drawing the slide. But all these little inconveniences turn into a 
 delight if we consider how favorable the conditions really are for making a 
 good negative. The luminosity of the atmosphere is remarkable. Even to 
 one experienced in such matters I find it a new source of wonder each time 
 I venture out on a snowy winter’s day. The whole landscape may be 
 
 The Shadows of the Trees. rudolk eickemeyer, jr. 
 
 By courtesy of Harper & Brothers. Copyright IOOJ, by Harper &• Brothers. 
 
SOME PRACTICAL HINTS ON WINTER PHOTOGRAPHY , 147 
 
 obscured by snow flakes and the sun invisible and yet it is possible to take 
 snapshots, even with a lens of moderate speed. 
 
 But for the amateur in quest of pidlorial beauties it is not absolutely 
 necessary to brave the inclemency of the winter’s storms. The play of sun¬ 
 light, of the winter landscape, and these efforts can be studied on a quiet 
 day when it is only moderately cold. 
 
 How clear every stem and stalk is outlined against the snow. Never 
 was there a greater opportunity to study the structural forms of trees and 
 shrubbery. Everything seems to be crowded with detail, even the simplest 
 weeds gain a pictorial significance, and the golden rod, mere fragments of 
 their former beauty, 
 charm every student of 
 nature by their white, 
 flowery appearance. 
 
 What is most neces¬ 
 sary to make a success¬ 
 ful pidlure is to seledf 
 a view which does not 
 embrace too wade a field, 
 and so run the chance 
 of being over-crowded 
 with detail. 
 
 “The Shadows of 
 the Trees’’ depidts a 
 favorite spot near my 
 home. It is beautiful 
 at all times of the year, 
 but never more so than 
 in winter. And it is 
 during the late after¬ 
 noon hours when it is 
 seen to the best advan¬ 
 tage. The picturesque 
 formations of snow at 
 the edge of the brook, 
 the slanting shadows, 
 and the cluster of the trees in the distance, with the refledlion in the water, 
 would appeal to every nature lover. 
 
 I show this pidture to impress the reader with the fadl that in winter, 
 as in the other seasons, there is a time of day when a landscape appears at 
 its best, and to successfully interpret it one should be there at that time. 
 
 Beautiful things can be found even at one’s very door. I only need to 
 
 My Garden. rudolf eickemeyer, jr. 
 
 By courtesy of Harper & Brothers. Copyright 1903, by Harper & Brothers. 
 
148 SOME PRACTICAL HINTS ON WINTER PHOTOGRAPHY. 
 
 step into my garden. Even there the activity of winter has been in full 
 play, and changed it into a fairy land. Each branch is encased in a sheet 
 of pure crystal, which glows and glistens in the early morning sun. 
 
 Skies are usually one of the greatest difficulties the beginner has to 
 encounter and are usually lost in developing, in the effort to bring out the 
 rest of the landscape. In his winter negatives, however, he will be generally 
 agreeably surprised at the truthful rendering of his skies. This is easy 
 enough to explain. In summer, on account of increased adlinic adtivity, the 
 sky requires only a fradlion of the exposure which the foreground and 
 objedts demand. But in winter, sky and snow are for all pradtical purposes 
 of the same adtinic quality, and their relative values are therefore compara¬ 
 tively easy to express. 
 
 As to the technical methods to be pursued in snow photography, a few 
 words will be gladly accepted by all beginners. The first qualification is to be 
 comfortably clothed. My attire is such that I can, if necessary, go into the 
 wet places and come home dry shod. My camera is 8 x 10 in size, which I 
 have used with admirable success, always with a tripod. 1 he camera, plate 
 holder and tripod are of leather, to protedt them from moisture. As an 
 additional safeguard, the plate holders are encased in felt covers. Occasion¬ 
 ally I have made use of a No. 3 Kodak, and found it a very handy instru¬ 
 ment, especially in stormy weather ; the results were all that could be 
 desired, and were it not that my photographs are largely for exhibition and 
 book and magazine illustrations, I should not burden myself with any other 
 apparatus. It answers all pradtical purposes, and is capable of producing 
 any effedt possible with a larger camera. 
 
 I have found the films backed with paper a decided advantage, espe¬ 
 cially when photographing toward the sun. 
 
 I am frequently asked what developer I use to produce my effedts. 
 My developer is a simple Pyro-Soda solution. In nine out of ten cases 
 when a negative is faulty, it is not the fault of the developer. It is gener¬ 
 ally a case of under-exposure or the fact that the plate has been over¬ 
 exposed and not carried far enough in development. I have also used one- 
 solution developers, and after becoming acquainted with their peculiarities, 
 have found them pradlically as good as the one I am in the habit of using. 
 School yourself to time your exposures properly, then your normal devel¬ 
 oper will give you good results. 
 
 But I cannot repeat often enough. Don’t imagine that everything 
 depends on the lens or developer. Remember what Emerson, the Father 
 of Pidtorial Photography, has so pertinently said, “ that we were born blind 
 and we must educate ourselves to see.” I am prone to believe that he has 
 uttered a great truth in these simple words. Among the thousands of 
 photographs that have passed through my hands, I have seen many that 
 
SOME PRACTICAL HINTS ON WINTER PHOTOGRAPHY. 149 
 
 failed in becoming good compositions, merely because the photographer 
 had just missed the proper point of view, which would have eliminated some 
 objectionable objeCt. Therefore educate yourselves to see , and you will 
 suddenly discover the beauties inherent in the amplest winter scene. And 
 no matter what weather you experience, nor how small the patch of ground 
 may be to which you are confined, you will always find more than ample 
 material to make a good picture. 
 
 "The Brook." rudolf eickkmeyer, jr. 
 
 By courtesy of /forper Sr Brothers. Copyright tg03, by Harper Sr Brothers. 
 
Nature With A Kodak. 
 
 BY A. RADCLYFFE DUGMORE. 
 
 PART I. 
 
 FLOWERS, CUT AND GROWING. 
 
 CUT FLOWERS. 
 
 Perhaps few branches of photography are more neglected than the 
 picturing of cut flowers. Why it should be so is not easy to say. The 
 difficulties are not so very great and every owner of a Kodak can be sure of 
 success after a little careful experimenting. With 34x5 Kodak, pictures 
 suitable for lantern slides can readily be made. In few ways can the work 
 of the camera be made more delightful than by means of the lantern slide, 
 and certainly flowers better than any other subject lend themselves to slides, 
 especially when they are to be colored. The accessories necessary in 
 photographing cut flowers are, first, several backgrounds of suitable shades 
 ranging from very dark green to white. An absolutely black background 
 is not to be recommended as it makes the contrast too strong. Second, a 
 few well shaped vases for the more slender plants. Third, a flat dish about 
 one or two inches deep, with a few strips of lead, one inch wide and four or 
 five inches long. These bent in zig-zag form can be used to support many 
 kinds of flowers that have fairly rigid stems, by simply pressing the lead 
 against the stem, and allow of very decorative arrangement. It will be 
 found extremely difficult to support such delicate flowers as anemones, and 
 I would advise the use of a piece of glass laid at a slight incline so that the 
 flower will rest on it. Then the camera may be tipped until at right angles 
 to the glass. The background can be placed at a distance of not less than 
 18 inches back of the flowers. Very dark backgrounds will show reflections 
 cast on the glass, so they cannot be recommended. Should you wish a 
 dark effect it may be procured by using a fairly light non-actinic color such 
 as orange. In selecting backgrounds be sure they are free from noticeable 
 texture so far as possible, and to render them still softer in quality place 
 them at considerable distance from the subject, that is, entirely out of focus, 
 remembering that the further they are from the subject upon which the 
 camera is focused, the daiker they will appear in the picture. 
 
NA TURK WITH A KODAK. 
 
 The ray filter or color screen is occasionally advisable even with films 
 which have orthochromatic qualities. Probably no part of the amateur’s 
 outfit is less understood than the ray filter, so let me say that when photo¬ 
 graphing an orange flower with dark green leaves, the filter is absolutely 
 unnecessary ; it simply prolongs the exposure without accomplishing any¬ 
 thing, but when the subject is a white flower of delicate form and texture 
 with dark leaves, then 
 use the lemon colored 
 filter in order to hold 
 back the white, which 
 would otherwise be 
 over-exposed if the 
 green leaves secured 
 their correct exposure ; 
 in other words, only use 
 the ray filter when there 
 are extreme differences 
 in color. Blue flowers 
 will appear lighter than 
 they really are unless 
 the color screen is used. 
 
 In placing the flowers 
 do not be afraid of trying 
 different effects of light. 
 
 Even sunlight may be 
 used at times with 
 pleasing results. White 
 flowers should seldom 
 have the light from the 
 direction of the camera, 
 whereas rich red or 
 orange ones need all the 
 
 light they can get. Bear kodak. a. radclyffe wgmore. 
 
 in mind that flowers of 
 
 nearly all kinds tremble at the least movement of air or vibration, so stand 
 absolutely still during the exposure and have all the windows closed. 
 These precautions will save many failures. In gathering wild flowers for 
 photographic use place them in a cool cellar over night either in water or 
 in a box containing wet cloth or paper, and cover with some wet material 
 which should not be in contact with the flowers. Don’t use cotton batting, 
 as small particles adhere to the plants and show with startling clearness in 
 the picture. 
 
J52 
 
 NA TURE WITH A KODAK. 
 
 GROWING FLOWERS. 
 
 In order to be successful in photographing growing flowers, it is 
 absolutely essential to choose only days when there is no wind. The 
 slightest breeze makes the work unsatisfactory, if not impossible. Clear 
 sunlight or cloudy days are both good for the work, the latter giving in 
 most cases the best results. In nearly all cases where growing flowers are 
 to be photographed, it is necessary to use a small diaphragm, owing to the 
 nearness of the subject and to the fact that so great a range has to be in 
 focus. This particularly applies to flowers growing near the ground, such as 
 violets, hepatica, anemones, etc. 
 
 Any ordinary good lens will answer for this work almost as well as the 
 newest lens of wonderful speed. Depth of focus is what is wanted, and the 
 more rapid the lens the less its depth of focus, so that it has to be stopped 
 down until it works at the same speed as the cheaper lens. This fact is 
 mentioned simply because the writer has been frequently asked “Whether 
 pictures of growing flowers can be made with the regular lens supplied with 
 the Kodaks. ’ ’ Snap shots at growing flowers are usually out of the question, 
 a time exposure being necessary in nearly every case, therefore it will be 
 seen that for this branch of work the tripod is necessary to support the 
 camera, or it may be advisable to use stones or other convenient support so 
 that the lens will be about level with the middle of the plant. In cases of 
 this kind it may be found desirable to employ a background. For this 
 purpose use a roll of gray cloth supported by two sticks, which may be 
 gathered when needed, or better still have two light rods fitted with metal 
 points. It is occasionally necessary to accentuate the fact that the flower is 
 near the ground, as in the case of the trailing arbutus. For this purpose an 
 acorn or chestnut placed in an unobtrusive position will answer, and the 
 picture will give the correct idea of the flower’s form of growth, which, after 
 ail, is the object in photographing flowers in situ. Large plants will be 
 found easier to photograph than small ones, as the camera does not have to 
 be so near, and consequently the depth of the focus is greater. 
 
 PART II. 
 
 BIRDS. 
 
 With the growing interests in birds, there is the desire by many camera 
 owners to go in for bird photography, and we see the results of this fasci¬ 
 nating work throughout the country. For the beginner I would not advise 
 
NATURE WITH A KODAK. 
 
 153 
 
 launching directly into photographing the wild birds, but start at the easiest 
 part, which is the nest, first without the young birds, and gradually work 
 up to taking the parent birds feeding their young in the nest, and so on 
 from that to picturing the adult birds in their wild state away from the nest. 
 The road is a long one and will require great patience and perseverance. 
 These few hints are the result of many years of really hard work on the 
 part of the writer, and are offered with the hope that they may shorten the 
 beginner’s road of experience. 
 
 THE NEST. 
 
 For nest photography a tripod is in nearly all cases necessary, other¬ 
 wise you have under-exposed films through trying to make snap shots when 
 a time exposure is demanded. In selecting your point of view, place the 
 camera so that if possible the eggs are just visible. Do not, however, move 
 the eggs to suit your convenience, and do not try to get a full view of every 
 egg and all the nest. Let the photograph show decidedly the environ¬ 
 ments of the nest, even if you have to introduce something to accentuate it. 
 Just as with the low growing flowers, the fact that a ground nest is on the 
 ground is made evident by the introduction of a chestnut burr or some such 
 object. If the nest is in a very low bush, perhaps within twelve or fourteen 
 inches of the ground, then a daisy (if the nest is in the open) will make this 
 fact clear. Avoid cutting away vegetation about the nest, as it will expose 
 it to possible thieves as well as the elements. Bend such twigs as are in 
 your way. When the nest to be photographed is above the reach of a 
 tripod you may find it necessary to secure the camera to a branch, to do 
 which a ball and socket clamp device is most convenient. We frequently 
 find nests placed towards the outward end of a branch just beyond the 
 height of the camera. If the branch is not too stiff it may be drawn down 
 by means of a cord, but as this has the effect of tilting the nest to an 
 unnatural angle, it is well to prop up the branch with a forked stick placed 
 between the nest and where the cord is fastened. Always be careful to 
 notice whether the wind sways the branch containing the nest. If it does, 
 secure the branch in one position, either by cord or prop, before focusing. 
 To make a successful picture of a ground nest, let the camera be very near 
 the ground, within a foot if necessary. 
 
 NESTS CONTAINING YOUNG BIRDS. 
 
 From the nest with its motionless contents of eggs, we turn to portray¬ 
 ing the fledglings, and here we have a suggestion of what troubles are 
 before us. The constant movement of the young birds (due to their rapid 
 respiration) makes it necessary to give a very short exposure. This sounds 
 
154 
 
 NA TURE WITH A ROD AH. 
 
 easy enough until you realize that nests are usually in well shaded places 
 where even with the lens wide open a time exposure would be needed. It 
 does not do to bend back the surrounding foliage in order to admit sunlight, 
 because the young birds cannot endure the heat of the sun, and even though 
 they are half grown they would scamper out of the nest, and frequently 
 refuse to remain in it after being replaced, with the result that they would 
 probably die. Have everything entirely ready, then at the moment of 
 making the exposure, try to get some light on the nest by bending back 
 the overshading twigs for just an instant. By using white cloth reflectors 
 beneath the nests the dense shadows may be somewhat softened. If you 
 find you can get enough light to allow of an instantaneous exposure, it is 
 interesting to photograph the fledglings with their heads raised. This can 
 usually be effected by making a note more or less like the parent bird’s, 
 though frequently the mere moving of a twig will be sufficient to cause the 
 youngsters to open their mouths and raise their heads in anticipation of 
 food. Be sure to focus on the birds that are nearest the camera, so they, at 
 least, will be sharply defined. 
 
 THE PARENT BIRD ON THE NEST. 
 
 Here we have a phase of bird photography in which the actual photo¬ 
 graphic skill needed is not so very great, that is, there are not great 
 photographic difficulties to overcome, but one’s success depends almost 
 entirely upon the will of the bird. Some birds (either individual or species) 
 are afraid of the camera and others are not. Those that are afraid of it will 
 sometimes abandon their young rather than approach the nest while the 
 camera is near. I have devoted a whole week in unsuccessful endeavor to 
 secure a photograph of a towhee on its nest. Even if the camera is care¬ 
 fully concealed with leaves and a long tube used for the shutter, the chance 
 of getting the picture must still depend on the bird’s disposition. Taking 
 a bird of average tameness, the easiest way is to still hunt with the camera, 
 approaching very gently and making no certain movements. In this way 
 I have taken a 6)4 x8 )4 camera on its tripod to within three feet of the 
 bird and secured the picture. Do not attempt to make instantaneous 
 exposures, as they are unnecessary, and even if light is sufficiently clear to 
 allow an exposure of a quarter or half a second, it is better to use a smaller 
 diaphragm and a much longer exposure, because at the click of the shutter 
 the bird will usually move its head. This movement would show in half 
 second exposure, but not in one of say ten seconds. At the moment of 
 taking the picture, attract the bird’s attention by holding a handkerchief or 
 some conspicuous object perfectly still in such a position that the bird can 
 see it. 
 
NA TURE WITH A KOjDAK. 
 
 155 
 
 YOUNG AND OLD BIRDS TOGETHER. 
 
 It is at this stage in bird photography that one’s troubles really begin. 
 And yet to make one success gives so much satisfaction that the cost of 
 failures is easily forgotten. When the young birds are in their nest they 
 are of course entirely dependent upon their parents for food, and the parents, 
 according to their natural instinct, will usually face almost any danger rather 
 than let their young starve (though some individual birds will never visit 
 their nests in the presence of a person or even a camera). Taking advantage 
 of this well known fact, we can usually count on seeing the old and young 
 together about the nest at frequent intervals during the day, but to see 
 them and photograph them are two very different things. The difficulties 
 are many, so many indeed, that only the enthusiast braves them after the 
 first few attempts. Owing to the constant movement of the birds, both old 
 and young, only the shortest exposure may be given, and as the nests are 
 almost always in shaded places, the result is under-exposure. Once the 
 birds have become accustomed to your presence, they will not be easily 
 frightened, and will allow the use of white cloths as reflectors or even as 
 backgrounds, thus avoiding the splotchy black and white backgrounds that 
 one usually sees in bird pictures. Certain writers advocate moving the nest 
 containing the young to a well lighted place where instantaneous exposures 
 can be made. This method would lead to the destruction of so much bird 
 life that under no condition should it be done for the mere pleasure of 
 getting pictures, or by persons not thoroughly conversant with the ways of 
 the birds. Rather than risk injuring the birds, accept the situation as it is, 
 and do the best you can, for there can be no satisfaction in securing even 
 really good pictures if it is done at the cost of the lives of the birds. If you 
 intend to give anything over one-tenth of a second’s exposure, it is a good 
 plan to make a clicking noise, rather louder than that made by the shutter, 
 for many seconds before making the actual exposure. By this means the 
 birds will become accustomed to the noise and will not be so apt to make a 
 quick movement when the shutter is released. 
 
 BIRDS ON THE WING. 
 
 If you would gain the greatest pleasure to be found in nature photog¬ 
 raphy, try coaxing the wild birds on to your hand, and then secure photo¬ 
 graphs of them. It is not so difficult as it sounds. First, get the birds 
 accustomed to you. Then when the young are about to leave their nests, 
 take one or more on your hand, and you will be surprised how soon the 
 parents will come to feed them. If you are alone, focus your camera on some 
 object about where you expect to place your hand, then at the moment 
 when the bird is in the position you wish, release the shutter by means of a 
 
 (id 
 
NA TURK WITH A KODAK. 
 
 156 
 
 long rubber tube. In this, as in all other bird photography, the individuality 
 of the bird counts for a great deal. I have always found that chickadees, 
 chipping sparrows and blue winged warblers would always come with a 
 little coaxing, while towhees, chats and Maryland yellow throats and many 
 others have never shown the slightest confidence. 
 
 OLD AND YOUNG AWAY FROM THE NEST. 
 
 Once the young have left their nest, there are about two days before 
 they learn to fly well enough to keep out of one’s reach. This is the ideal 
 time for getting photographs of them, as they are just as dependent on their 
 parents for food as they were while in the nest. The first thing to do is to 
 catch one (or more if you can) of the brood. Let him fly if he wishes until 
 he is tired ; then place him on a suitable twig and after you have your 
 camera ready, call the parents. Sometimes they will come and sometimes 
 they won’t, but after they have once come you may make pictures to your 
 heart’s content. They will, as I haveoften seen them, perch on the camera 
 without the slightest fear, even on one’s shoulder or hand while in motion. 
 Be sure in arranging the camera to have plenty of room on either side of 
 the youngsters for the adult bird. It is better to have too much than too 
 little room. Make a mark on the twig to show just how much the camera 
 covers, bearing in mind that in feeding the young the bird frequently 
 perches above the twig upon which are her fledglings, if there is any pos¬ 
 sible perching place. 
 
 While you have the young in your power is a good time to make 
 portraits of the parents alone, using the young as the lure, of course. 
 Select a place where there is but little brush and no conspicuous twig except 
 the one on which you have placed the young birds. Then place a twig a 
 few feet away from them, and the chances are that the parent bird in coming 
 with food will stop each time for a moment or so on this perching place. 
 If you would make still more sure of her hesitating, stand or arrange the 
 camera quite near the young birds. This frequently has the effect of 
 preventing the parent bird from coming too readily. Focus the camera on 
 the part of the twig on which she most frequently alights and watch your 
 chance. When I say focus on the twig I mean on a point an inch or so 
 nearer than the twig. This will allow for the size of the bird, whose head 
 will project at least that distance. 
 
 BIRDS IN CAPTIVITY. 
 
 Strange as it may seem a bird in captivity is seldom an easy subject for 
 the camera ; little less difficult in fact than the bird in its wild state. A pet 
 blue bird which I once owned was absolutely tame and would go to sleep in 
 
NATURE WITH A KODAK. 
 
 i57 
 
 my partly-closed hand, and yet after he was six weeks old, I was never able 
 to get a good photograph of the little rascal during the two years that I 
 kept him. After having tried various schemes I think the most satisfactory 
 one (though very far from perfect) is a long cone-shaped cage made of 
 mosquito netting or bobbinnet, the bottom and laiger end being of wood. 
 This wooden end is for the background. At the other or smaller end the 
 netting is attached to the lens by means of a tape or rubber band. There 
 must be an opening at one side of the netting so that you can arrange the 
 necessary perch with the twig and manipulate the bird. The whole con¬ 
 trivance can be supported on two wooden horses and placed so that the 
 sun will come from any desired direction. 
 
 KoDAli. 
 
 Cool Comfort. a. radclyffe dugmore. 
 
 PART III. 
 
 ANIMALS. 
 
 As a sport, wild animal photography should enjoy a far greater popu¬ 
 larity than it does, for anything more exciting than stalking a wild animal 
 with the camera is hard to imagine. Usually it is impossible to approach 
 as near as one wishes to animals in their native haunts, and it is astonishing 
 
158 
 
 NA TURE WITH A KODAK. 
 
 how close one needs to be to a deer for instance, with the lens of ordinary- 
 focal length, in order to secure an image of appreciable size. Every year 
 hundreds, almost thousands, of Kodak photographs of deer are made, and 
 in nearly every instance the owner of the camera is surprised, often disgusted, 
 at the insignificance of the animal, frequently a magnifying glass being 
 necessary before its whereabouts can be discovered, so the first thing to 
 remember is, not to press the button too soon. Wait until you are near 
 enough to have a picture of the animal. Before going off to the woods 
 
 Kodak. 
 
 Gray Squirrel. A. radclyffe dugmore. 
 
 make a few experimental pictures of a calf at different distances and notice 
 the results. Then you will have an idea of what you may expect when 
 photographing a deer. The hand camera telephoto lens can be used when 
 conditions are favorable, that is to say when there is plenty of light, for they 
 are very slow, and instantaneous exposures can only be made under most 
 favorable conditions. Practically speaking, it is not possible to make 
 instantaneous exposures with a telephoto, giving a magnification of more 
 than four diameters. In using a telephoto for hand camera work it is of the 
 utmost importance that the lens should be extremely rapid, nothing slower 
 than f. 6.8 being of any real use. 
 
NA TURE WITH A KODAK. 
 
 *59 
 
 In all wild animal 
 photography, the cam¬ 
 era has to be kept in 
 complete readiness, fre¬ 
 quently for many hours 
 at a time, sometimes for 
 an entire day, therefore 
 it is advisable to keep 
 the camera sheltered 
 from the sun as much 
 as possible, and as a 
 further precaution, the 
 lens should be capped 
 until you are about to 
 make the exposure. Do 
 not be tempted to make 
 instantaneous exposures 
 of animals in the woods, 
 especially if there is 
 much foliage. Even in 
 
 winter, when the ground is covered with snow, snap shots in heavily 
 timbered woods are not as a rule satisfactory. 
 
 Small animals, such as squirrels, mice, rabbits and others are all inter¬ 
 esting subjects for the camera, but to give any idea of the methods employed, 
 would be to give a life history of each animal. Experience alone must be 
 the teacher. 
 
 Kodak. 
 
 Snapping Turtle . 
 
 A. RADCLYFFK DUGMORE. 
 
 PART IIII. 
 
 FISH. 
 
 Here we have the easiest branch of nature photography. Beautiful fish 
 pictures can be made by any one having ordinary skill with the Kodak. 
 All that is necessary is an aquarium which may be made in the form of a 
 box with one glass side and a movable glass partition set in grooves of about 
 three, four and six inches from the front glass. This allows you to keep 
 the fish near the front so that it will be in focus. It also prevents the back¬ 
 ground of vegetation being disturbed by the rapid movements of the fish 
 when it is first placed in the restricted space. This vegetation should, of 
 course, be selected according to the habitat of the fish you wish to photo- 
 
i6o 
 
 NA TURE WITH A KODAK. 
 
 graph, surface fish requiring nothing in the way of accessories, while those 
 that live among the aquatic plants should have plants as accessories. 
 
 The aquarium should be white inside, a lining of white oil cloth being 
 about the most satisfactory material, as it reflects a great deal of light and 
 is easily cleaned. Good pictures can only be obtained by using absolutely 
 clear water, having plenty of sunlight, and by keeping the glass clean and 
 dry. The slightest moisture on the glass (due to condensation) will com¬ 
 pletely spoil the picture. The water in the aquarium must be kept con¬ 
 stantly changed or aerated by vegetation, or the fish will die. The tempera¬ 
 ture of the water also is very important. With fish such as trout, accustomed 
 to cold water, ice should be used so that the temperature will not be over 
 45 degrees. Avoid handling the fish more than is absolutely necessary. 
 If you have to take them in your hand, grasp them firmly with both hands 
 so that they cannot wriggle, but the better way is to use a small landing net. 
 Place your camera exactly at right angles to the glass, and if you have 
 bright sunlight, give short exposures, t |-q- of a second being sufficient with 
 an ordinary flat lens, unless the vegetation is very dark. 
 
Simplicity in Composition. 
 
 BY ALFRED STIEGLITZ. 
 
 The request of the publishers of this book to write for them an article of 
 fifteen hundred words upon Simplicity in Composition, reminds me of 
 the college professor who was accustomed to call upon his students for 
 extempore dissertations upon subjects which he would suddenly propound. 
 Unconscious of the humor of his demand, he one day called upon one 
 of his favorite scholars in the following terms : “ Mr. Thompson,” he said, 
 “your time will be five minutes and your subject, ‘The Immortality of 
 the Soul.’ ” I, too, can sympathize with the feelings of Mr. Thompson, 
 for the subject of Simplicity in Composition is as difficult and complex as is 
 often the most simple appearing pictorial composition. 
 
 The popular conception of a simple pictorial composition is apparently 
 not one in which the elements are reduced to the fewest possible terms, 
 but one in which such elements are so subtly arranged as to impress 
 the beholder so direCUy and forcibly with the central or dominant idea 
 of the picture that everything else, even though covering a goodly portion 
 of the picture area, is so subordinated as to appear of but little moment. 
 To achieve such a result, presents to the artist a problem which becomes 
 more complex in proportion to the so-called simplicity of the composition. 
 In fad, one can truthfully say that the ratio of difficulty varies dire&ly 
 as the square of the simplicity. Just as in music we find that the simpler the 
 theme, the more thorough must be the knowledge of the musician in order 
 to compose acceptable variations thereon. So, in fact, in every art this 
 rule obtains, and the simpler the apparent result—assuming, of course, that 
 such result is really beautiful—the greater are the care, knowledge and taste 
 required. 
 
 The problem that is presented is practically one of elimination. To 
 include all that is necessary for the elucidation of the composition and 
 to exclude everything that is unessential to a clear statement of the 
 dominant underlying idea, taxes the abilities of even the best artists to their 
 utmost. I must not be misunderstood to say that every great work of art 
 must necessarily be simple in its composition, for many of the great master¬ 
 pieces in painting are built up upon very complex geometric lines. In fact, 
 the nature of the composition is largely dependent upon the subjeCt and the 
 manner in which it is intended to be represented. I am now alluding 
 mainly to linear compositions, there being also tonal compositions, mass 
 compositions, color compositions and combinations of ail these. This holds 
 true in varying degree in photography as well as in painting. Those 
 
162 
 
 SIMPLICITY IN COMPOSITION. 
 
 modern pidtorial photographs which have attracted so much attention, 
 especially in Europe, because of their composition and tonal treatment, have 
 been subjected in their development to the same influences that have 
 affedled the modern painter generally. Their keynote is simplicity in 
 arrangement and the true rendering of tonal values. 
 
 The one element absolutely essential in every composition is balance, 
 without which no picture can ever be satisfying. Lacking this, a picture 
 becomes restless and irritating and the beholder turns from it with a sense 
 of relief. 
 
 No formula can be drawn up for the simplification of the course 
 of study necessary to an understanding of what constitutes good composi¬ 
 tion. To a natural taste must be added a careful and understanding study 
 of the best accepted work of all forms of art, old and new. In photography 
 this is even more essential, if possible, than in painting, for the photog¬ 
 rapher, usually working in monochrome, has not the resource of color 
 upon which the painter can draw. Consequently, the only advice is 
 to study the best pictures in all media—from painting to photography—and 
 to study them again and again, analyze them, steep yourself in them until 
 they unconsciously become part of your esthetic being. Then, if there be 
 any trace of originality within you, you will intuitively adapt what you have 
 thus made a part of yourself, and tindlured by your personality you will 
 evolve that which is called style. 
 
 The ultimate result of the before-mentioned elimination will bring us to 
 a representation in which there appears one single, simple objedt w'hich 
 the average photographer would say was incapable of composition because 
 it stood in no relation to anything else. In this he is woefully mistaken. 
 It first of all stands in relation to the boundary lines of his print; and in the 
 position it occupies, it divides the surface into spaces. This relation con¬ 
 stitutes space composition. Next it stands in relation to its background 
 and here ends the problem of aerial composition. Again it must be illumi¬ 
 nated from some source of light and this brings in the problem of light and 
 shade or chiaroscuro. Given a single subject, to produce with these 
 elements alone a truly big picture calls for the display of the greatest 
 art. So apparently simple and yet important are the elements that a slight 
 error in any one particular assumes the proportion of a gigantic fault and 
 the whole composition falls to pieces. Herein lies one of the fascinations of 
 Steichen’s photographs. In his direct and simple handling of light and 
 shade and spacing there is a subtlety of which even the average photog¬ 
 rapher is conscious without being able to analyze why. This lack of 
 understanding is often due to all lack of art schooling and above all to his 
 want of proper association. Nothing educates and refines more than proper 
 association. 
 
SIMPLICITY IN COMPOSITION. 
 
 163 
 
 Taking now our single, simple object and introducing another simple 
 object into the composition, there immediately springs up a more complex 
 sense of relation. The newly introduced object must now be studied not 
 only in its relation to the three factors previously enumerated and to object 
 No. 1, but its relation to each one of the three factors operating upon our 
 first object. This becomes thus a geometric progressive and so ad infinitum. 
 The more involved these relations become, the less important are errors in 
 these minor relations—yet should all these relations be harmonious the 
 
 The Hand of Man. 
 
 ALFRED STIEGLITZ. 
 
 result, though seemingly simple, is wonderfully fascinating to the nature 
 student of composition. An instance of this can be found in Whistler’s 
 “ Piano Room ”. 
 
 I have often been told that one of the main characteristicts of my own 
 photographs lay in their simplicity of composition, and ‘ ‘ The Hand of Man ’ ’ 
 is frequently instanced as an example of this quality. As the lines of 
 composition in this picture are anything but simple, I have come to the 
 conclusion that the average person confounds simplicity and directness 
 of subject with the totally different quality of simplicity in composition. 
 
SIMPLICITY IN COMPOSITION. 
 
 164 
 
 Had “ Gossip-Katwyk ” been instanced as a picture showing simplicity in 
 composition, it would have been nearer the truth—yet this picture presented 
 to me in its composition one of the hardest nuts I ever tried to crack. 
 Given a homelike, everyday subject presenting familiar objects, the tendency 
 is to cry : How charmingly simple in its composition ! Unconscious of 
 the fact that the subject appeals to us and not its linear or even pictorial 
 treatment. 
 
 And now I must return to my anecdote with which I began. So com¬ 
 plex is the simple subject “ Simplicity in Composition ” that these stray and 
 random thoughts have not begun even to outline it. There is one piece of 
 
 Gossip-Katwyk. 
 
 ALFRED STIEGLITZ. 
 
 simple and direct advice which I wish to iterate and re-iterate—for I believe 
 this is written for one who has mastered the A B C of the technique of 
 photography and is about ready to dive into the mysterious deep of art : 
 Observe the work of recognized artists—I do not mean look at it, but 
 observe it—make it your own. Then study the appearance of nature more 
 closely than ever before— everywhere. And there is also one simple and 
 direct warning I would like to give : Avoid books on composition as you 
 would the plague, lest they destroy in your mind all other considerations 
 than the formulae which they lay down. If you must be taught by others, 
 not being able to teach yourself, seek out a broad-minded teacher, but 
 guard your originality as the one precious possession which may save you 
 from turning out machine-made work. 
 
Clouds and the Landscape. 
 
 The subject of clouds in photography is one that, although given some 
 thought by advanced amateurs, has not been given the attention which it 
 deserves. It is not alone an interesting study, but it is necessary that one 
 understand how to produce clouds in his pictures when he is unable to 
 obtain them direCtly in the negative. Frequently we pick up a landscape ; 
 both the composition and lighting are good but there is something lacking 
 in order to give that harmony which is so essential in landscape work. 
 Above the landscape we see a blank white space and a second thought sug¬ 
 gests that a cloudy sky would have given a finish to the picture that could 
 be obtained in no other way. 
 
 There are two methods of obtaining clouds : First, to photograph the 
 landscape when there are clouds in the sky ; second, to obtain the clouds 
 by the printing-in process. Both have their advantages. With the former 
 the great difficulty lies in being able to give an exposure that will allow of 
 obtaining a negative having a sky and foreground of proper relative print¬ 
 ing densities. In most cases we expose for detail in the foreground and by 
 so doing we over-expose the sky, and the result is that that portion of the 
 negative is strong or dense and lacks almost entirely in detail. If we 
 expose for the clouds, we under-time the foreground. 
 
 Kodoid Plates and N. C. Film are particularly adapted to this class of 
 work because of their orthochromatic qualities, which make it possible to 
 obtain better color values. This results in a negative having more even 
 density. We may also use the color screen, or filter, which in a large 
 degree compensates for the want of agreement between the sensitiveness of 
 film or plate and the sensitiveness of the eye relative to color. 1 he best 
 results, however, are obtained by the combination of Kodoid Plates or N. C. 
 Film and the color screen. Occasionally, even when using orthochromatic 
 film or plates in connection with a color screen, we obtain a dense sky, due 
 to over-exposure and sometimes to over-development. It then becomes 
 necessary to reduce the strength of that portion of the negative if we would 
 obtain detail in our prints. 
 
 The following formula for reducing will be found to give very satis¬ 
 factory results if the instructions are properly carried out : 
 
 To i oz. of Red Prussiate of Potash add 16 ozs. of water. Dissolve 
 and keep from the light in a tightly corked bottle. Then make a separate 
 
166 
 
 CLOUDS AND THE LANDSCAPE. 
 
 solution composed of i oz. of Hypo-Sulphite of Soda to 12 ozs. of water, 
 to be kept in a separate bottle. With the above solutions, a couple of 
 trays, plenty of water and several tufts of absorbent cotton you are pre¬ 
 pared to do the work. 
 
 After placing 4 ozs. of the Hypo solution in a tray, add about 60 drops, 
 or one teaspoonful of the Potassium solution. This is known as the reducer. 
 If, after a trial, this is found to be too weak, add more of the Potassium ; 
 if too strong, add water. After thoroughly washing your film or plate, 
 place it against a sheet of ground glass (sky down) which has been inclined 
 at an angle of 45 degrees, over a tray that will catch the drip, and before a 
 light that will enable you to see through the negative. Now take a tuft of 
 cotton soaked in the solution and gently rub that portion of the negative 
 that you wish to reduce. You should also go over the surface every three 
 or four minutes with a second tuft of cotton kept saturated with clear water 
 in order that the negative reduce evenly. Be sure to keep the reducer off 
 any portion of the negative that you do not wish it to a6t upon. Watch 
 the action of the solution closely so that it does not go too far. When the 
 negative is reduced to the proper density, place it in running water for an 
 hour or so in order to stop all action of the reducer. 
 
 THE PRINTING-IN METHOD. 
 
 Before attempting to add clouds to your landscapes by the printing-in 
 process, it would be well to obtain a collection of cloud negatives in order 
 that you may be able to select one that will fit each case, for it must be 
 remembered that the clouded sky needed in each instance depends almost 
 entirely upon the conditions existing at the time the landscape negative was 
 obtained. For instance, should you piffure a landscape when the sun is 
 diredtly back of the camera and then print-in from a negative, the clouds of 
 which have received their illumination from immediately in front of the 
 instrument, you can readily imagine the result, due to cross lights through¬ 
 out the picture. 
 
 Then again, if the landscape is illuminated from the left, see that the 
 clouds in the negative used are illuminated from the same point. Do not 
 combine clouds taken on a sunless, lowry day with a landscape taken when 
 illuminated by the diredt rays of the sun, or vice versa. 
 
 Cloud negatives that are to be used for printing-in should be thin. 
 They should, however, have sufficient strength to give brilliancy to the 
 print. There are several advantages in using a cloud negative which is 
 more or less transparent, as you can see through it and better judge as to 
 its adjustment over the print to which you propose to add the clouds. 
 
CLOUDS AND THE LANDSCAPE. 
 
 167 
 
 THE NEGATIVE. 
 
 When obtaining negatives for printing-in, it is necessary to make very 
 short exposures because if we over-expose, even very slightly, we destroy the 
 delicate contrasts that exist between the high-lights and shadows and thereby 
 flatten the negative. For instance, if we make an exposure of of a 
 second with stop U. S. 8 for an ordinary landscape fully illuminated by the 
 direft rays of the sun, we in most cases properly time the foreground but 
 overtime the sky, destroying its beauty, and for that reason, when exposing 
 for the sky alone, T V or even too of a second with stop U. S. 32 will in most 
 cases give perfect detail. 
 
 An exposure thus obtained should be carefully developed, too much 
 contrast avoided and development stopped the moment that full detail 
 appears. You will then have a negative that will print rapidly and give you 
 all the gradations of light and shade that were impressed upon the eye at 
 the time the exposure was made. It would be well to add ihat if a light 
 color screen is used, it will improve your negative somewhat but will 
 increase the length of the exposure required. 
 
 THE PROCESS. 
 
 In the first place, it is necessary, when printing the foreground, to 
 obtain a white sky. In order to do so you must mask that portion of the 
 negative in order that the light may not penetrate the film and affebt that 
 part of the print underneath it. First, take a sheet of thin strawboard and 
 roughly sketch across its surface (about midway between the top and 
 bottom) a mark to correspond as nearly as possible with the sky line of 
 your negative ; then cut your board along this line. Save both halves 
 because you will need them later. Now procure a print frame (containing 
 a sheet of glass) somewhat larger than the negative you are to print from 
 and after locating said negative in the proper position, fasten it to the glass 
 with small stickers, then tack the upper half of the cardboard to the face of 
 the frame so that only that portion of the negative which you wish to print 
 from will show. Now cover the entire face of the frame with tissue paper 
 and you are ready to print. After removing the print from the frame, if 
 you use printing-out paper, you will find a properly printed foreground 
 with a pure, white sky. 
 
 Now place your cloud negative in the print-frame and properly locate 
 the print over it, using the lower half of the cardboard to cover up the fore¬ 
 ground so that the light will reach the sky only. It should be borne in 
 
168 
 
 CLOUDS AND THE LANDSCAPE. 
 
 mind that the cardboard (which we will call a mask, or vignetter) when 
 tacked on the frame should be raised up from the glass about one-quarter 
 of an inch, so that, when printing, the light will diffuse and not produce a 
 sharp line on your print. When using Velox, as the image does not 
 show before development, it will be necessary to mark the paper at the edge 
 in order to tell just where the sky line comes : otherwise you will be unable 
 to properly locate your cloud negative. When using developing papers it 
 would be well to paste two or three thicknesses of tissue paper over your 
 frame. 
 
Fig. I. 
 
 Trim, Trim, Trim. 
 
 Trim your prints mercilessly. It is safe to say that three pictures out 
 of every four can be improved by a judicious use of the shears. One 
 picture has too much sky, another too much foreground and another one a 
 whole side with nothing in it worth keeping. When a portion of a picture 
 has nothing in it that is interesting or necessary to the balance of the picture 
 
 Fig. II 
 
170 
 
 TRIM, TRIM, TRIM. 
 
 cut it out. Note, if you please, the improvement made by cutting off the 
 foreground in the accompanying illustration. Left untrimmed, as in Fig. 
 i, the picture-has little to recommend it, but with a snip of the shears we 
 have cut out the flat and uninteresting foreground and have secured a pic¬ 
 ture of far more than the usual interest and beauty (Fig. 2). Take two 
 cards and experiment with your photographs if you have not the heart to 
 attack them with the shears, laying the cards on them in such a way as to 
 cut out from view what seem to be undesirable parts. An experiment 
 of this kind will soon satisfy you that the shears can be used to advantage. 
 
 HELPFUL HINTS. 
 
 Don’t use your hypo tray for anything but hypo. 
 
 Look on your ground glass, not through it. 
 
 Keep films, plates and paper in a cool, dry place. 
 
 Label your chemical bottles and keep them well stoppered. 
 
 Always dust out your plate holders and dust plates well before loading. 
 A speck of dirt on the plate will leave a transparent spot which will in turn 
 leave a black spot on the print. 
 
 Film cartridges are dirt as well as light proof and so the film requires 
 no dusting. Dust will, however, sometimes settle on the sections of film in 
 place in the focal plane inside the camera if a long time elapses between 
 winding the film into position and making the exposure. A famous lecturer 
 and photographer overcomes this difficulty when cycling over very dusty 
 roads by not turning the key until he sees a picture he wants to take—a 
 very good idea provided you don't forget to turn the key. 
 
 Dust on the film after exposure does little harm as it cuts off no light. 
 
 When in doubt, over-expose. It is easier to restrain than to force 
 development. 
 
 Do not develop in warm water as it is likely to cause frilling. The 
 developer should be about 6o° Fahr. 
 
 A Saturated Solution is one in which the liquid has taken up all of the 
 solid which it will. 
 
 USEFUL TABLES. 
 
 AVOIRDUPOIS WEIGHT. 
 
 27.34 Grains=i Dram=27.34 Grains. 
 16 Drams=i Ounce=437.5 Grains. 
 
 16 Ounces=i pound=7ooo Grains. 
 
 LIQUID MEASURE. 
 60 Minims=i Dram. 
 8 Drams=r ounce. 
 16 Ounces=i pint. 
 
 In purchasing or weighing chemicals it is always safe to use grains as 
 the standard of weight, as they are alike in Avoirdupois, Troy and Apothe¬ 
 caries’ tables, while the other terms vary. 
 
Stereoscopic Photography. 
 
 The stereoscope is an optical instrument for giving to pictures the 
 appearance of solid form as seen in nature. In other words, it combines in 
 one, through a blending of the rays of light, two pictures taken for the 
 purpose from two points of view. We might say that all objects seen with 
 both eyes are viewed stereoscopically, as each eye sees the subject from 
 different points, but these two views blend as one on the mind's eye. In 
 order to produce pictures that are stereoscopic, we must first have a camera 
 with two lenses placed at from 3 to 3^ inches apart. We can then make 
 two negatives of the same subject, side by side, differing slightly as to point 
 of view just exactly as our two eyes differ as to point of view. Now if we 
 make a print from the negatives at they are obtained in the camera and view 
 them in the stereoscope, they would appear blurred to the eye, because the 
 right eye would view the subject as taken by the lens at the left of the 
 camera and vice versa. This is due to the picture being taken upside down. 
 It, therefore, becomes necessary to transpose the views (reverse their position) 
 in order that they appear as if coming from an intermediate point. Thus 
 they impress themselves upon the eye as one and give the idea of solidity 
 and perspective. When making the exposures, be sure that the camera is 
 held level ; otherwise the two pictures will not be on the same horizontal 
 plane. 
 
 TRANSPOSING NEGATIVES. 
 
 If you wish to make a quantity of prints from one set of negatives, it 
 would be advisable to transpose the negatives themselves in order that the 
 prints therefrom be identical. A Stereo Kodak Cutting Guide is furnished 
 with each stereoscopic Kodak. This guide may be used to trim both 
 negatives and prints. If the camera produces negatives three inches or 
 more in width, it would be necessary to trim the prints exactly three 
 inches wide, which with one or two exceptions is the width of a single 
 stereoscopic print. In order to obtain prints which are perfectly stereo¬ 
 scopic, it is first necessary to select some particular point of interest near 
 the center of each negative. For instance, place the film on an easel in 
 contact with a sheet of glass in such a manner that you will be able to view 
 it by transmitted light, the film side toward you. Place the guide on the 
 
 (n}« 
 
172 
 
 STEREOSCOPIC PHOTOGRAPHY, 
 
 right hand negative, the straight edge in the center over some particular 
 point of interest in the middle distance. If margins remain on both sides, 
 trim the negative at the right of the guide. It may then be removed to 
 the left hand negative, the straight edge in the center being placed over the 
 same point of interest as was selected in the right hand exposure. When 
 in this position, trim the negative on the left. The negatives should then be 
 separated and transposed, the cut edges brought together so that they will 
 be even at top and bottom and fastened to a sheet of glass (which will fit in 
 your frame) by means of small stickers. \\ hen using glass plates, they 
 may be marked and then cut and transposed the same as films, the two 
 halves being supported upon an extra sheet of glass. The negatives are 
 then in a condition to print from. When printing, it would be advisable to 
 use Solio, Kloro or Glossy Velox, which may be obtained the proper size 
 for ordinary stereoscopic views. If the center of the sheet of paper is placed 
 directly over that point where the films are matched together, after the print 
 has been toned and washed, it may be mounted on the regular 3^ x 7 
 stereoscopic mount without further trimming. 
 
 If only a few sets of prints are to be made from the negatives and you 
 do not care to go to unnecessary trouble, prints may be obtained from the 
 negatives without cutting them and after being toned and dried may be 
 trimmed and transposed. When making prints from the negatives before 
 they are transposed, it would be necessary to mark each print so that there 
 would be no chance of getting them mixed before mounting. To trim 
 prints requires care. The same guide used for trimming the film may be 
 used for the prints by simply selecting the same point of interest in each 
 print and then trimming on both sides. A very slight difference would ruin 
 your picture, so be very particular in locating the guide. Pay no attention 
 to the difference in the appearance of objects at each side of the print ; as 
 they will differ owing to the two negatives having been made from different 
 points of view. When trimming the bottom and top of the prints, select 
 some prominent object in the foreground and place the edge of the guide 
 across the bottom of the print, trimming at right angles with the upright 
 line. After the bottoms of both prints have been trimmed at exactly the 
 same point, then trim the top so as to bring the print to the proper size, 
 3x3^. Prints must be identical in size and must be trimmed by measure¬ 
 ment from a common point at or near their centers, otherwise they will not 
 be stereoscopic 
 
 When trimming and transposing Stereo-Brownie* negatives, the above 
 instructions may be followed, but due to the fact that the camera is of 
 different size, the Cutting Guide is a trifle smaller and it is, therefore, 
 
 *Note. —There is now manufactured in the No. 2 Stereo Brownie size an Automatic Stereo Printing 
 Frame by means of which the prints are transposed with absolute accuracy without cutting . 
 
STEREOSCOPIC PHO TOGRAPHY. 
 
 173 
 
 necessary to separate the prints after they have been properly trimmed and 
 mount them T 5 g- of an inch apart in order to obtain the proper stereoscopic 
 effect. This may be easily accomplished by marking the mount in the 
 center and placing each print at an equal distance from it. 
 
 For the benefit of those who are not in possession of a Stereo guide we 
 would suggest, as a substitute, a sheet of glass of the proper width with an 
 upright mark drawn through its center. 
 
 THE SUBJECT. 
 
 In obtaining the best stereoscopic effect, much depends upon the choice 
 of the subject. When all objects in your picture are at a distance, the view 
 appears flat. As we judge distance by perspective, it is necessary to have 
 rather a strong foreground, some figures or a tree or two will answer this 
 purpose nicely. To thoroughly understand this, look at a distant landscape 
 devoid of foreground, first with one eye and then with the other ; both 
 appear the same. Now place a figure of some kind directly ahead of you, 
 say 10 feet, then view the same subject with the left eye closed, and you 
 will see more of the view on the right hand side of the figure. Then close 
 the right eye and note the difference. When we bring together in the 
 stereoscope the two views made from different points, we find perspective 
 and solidity of form, just as we do when we view it with both eyes. 
 
The Sensitizing and Use of Plain 
 
 Papers. 
 
 BERNARD ALFIERI. 
 
 When I say plain papers I mean, of course, papers without a superficial 
 coating of gelatine or albumen. In the choice of these for salting and 
 sensitizing there is no restriction except that of chemical purity, and no 
 difficulties in manipulation greater than will be met with in any other 
 printing-out process. 
 
 Bromide “matt” papers do not come under this heading, since the 
 gelatine surface is only made “matt,” or free from glaze, by the use of 
 starch, resin or other admixture in the coating of the paper. Platinotype 
 is a typical example of a “plain” paper, and similar results may be 
 obtained by the use of silver salts instead of platinum, with the additional 
 advantage of a far wider range of color and texture than is possible in that 
 process. 
 
 CHOICE OF PAPERS. 
 
 Your paper should be chemically pure and particularly free from iron 
 spots (which, when the paper is sensitized, will spread out like asterisks,) 
 and at the same time it should be selected with your ultimate aim as to 
 effect well in view. The purest I have found, next to “ Rives,” on which 
 platinotype is coated, and for the matter of that most silver papers, too, is 
 Whatman, which is sold in three grades, viz.: H. P., hot pressed or 
 smooth ; N., not, and R., rough, and then come Arnold, Harding and 
 Hollingworth, all of which may be obtained from the principal Artists’ 
 Colormen without any difficulty and in various sizes. “ Royal ” measures 
 24 x 20 in. and Imperial 31 x 22 in.; and costs from 3d. to 6d. a sheet, 
 according to its weight. These sheets can be cut up to the sizes you wish 
 to print, allowing a little margin to handle them by in salting and sensitizing. 
 
 SALTING AND SIZING. 
 
 Having decided upon the paper you wish to use, a salting bath is 
 made up as follows : 
 
 Common Salt, - - - 5° to 100 grains. 
 
 Gelatine,. . grains. 
 
 Water, - 10 ounces. 
 
THE SENSITIZING AND USE OF PLAIN PAPERS. 175 
 
 But this again is a variable quantity, soft and porous papers requiring more 
 gelatine to size them than hard, rough surfaces will take up. The bath 
 should be used hot, so that it is thoroughly absorbed. The exact time of 
 immersion foi the paper is put in bodily, not floated—does not matter, 
 and it will be often found necessary to let the first sizing dry and then to 
 give a second bath later on, that the pores of the paper may be well filled up. 
 
 ^ ou can salt half a dozen or more sheets at once, turning them over 
 from time to time and then hanging them up by American or other wood 
 clips to dry. 
 
 At this stage the paper will keep indefinitely, but it is as well to keep 
 it under pressure that it may be easier to manipulate in the subsequent 
 process of sensitizing. The stronger the salting the weaker may be the 
 sensitizing, and there is room for considerable variation in both according 
 to the character of the negative you are going to print from and the result 
 you want to get. 
 
 The paper is now ready for sensitizing, and this is done on any of the 
 ordinary silver baths used for albumenized papers, the standard being 
 
 60 grains Nitrate of Silver, 
 to 
 
 1 oz. of Waterfpreferably distilled) 
 and 
 
 15 grains of Citric Acid. 
 
 This, with occasional strengthening, will last for a long time kept in a dark 
 place in a stoppered bottle. 
 
 SENSITIZING. 
 
 Take your salted paper by the right hand corner and float it on the 
 bath, using gentle pressure at the same time to exclude air bubbles, (which 
 would come out as insensitive spots in printing), leave it floating for 2 or 3 
 minutes, then hang up to dry in a moderately dark room until it is ready 
 for use. 
 
 I have found it always better to sensitize paper slightly damp, since 
 one can get a more even coating, and the edges do not curl up in the 
 provoking manner common to papers when dry, but care should be 
 exercised to avoid the sensitizing solution coming on to the back of the 
 paper. 
 
 PRINTING. 
 
 This is done in the ordinary manner in a pressure frame, but the image 
 may be taken rather darker than with ordinary albumenized papers to com¬ 
 pensate for subsequent loss in toning and fixing. But be sure to varnish 
 
 (12) 
 
176 
 
 THE SENSITIZING AND USE OF PLAIN PAPERS. 
 
 your negatives before printing, to avoid staining them. I cannot explain 
 it, but the fact remains that although I have never had staining occur with 
 albumenized papers, with the use of strongly salted and sensitized drawing 
 papers, such an occurrence has been frequent, and although there are 
 several reputed cures for such staining, I never yet found a satisfactory one. 
 
 TONING. 
 
 Any bath that will tone albumenized prints will act perfectly well with 
 plain salted papers, but to obtain a rich red brown with what are called 
 “juicy” depths in the shadows and undegraded whites in the high lights, 
 use the following stock solution : 
 
 15 grains Chloro-platinite of Potassium 
 in 
 
 Yt oz. of Water. 
 
 Then, when you have prints to tone, take from it one dram mixed with 4 
 oz. of water with a few drops, say 5 or 6, of Nitric Acid. 
 
 This bath will be found to tone very rapidly and it will keep fairly well. 
 Toning being completed, wash for a minute or two and neutralize your 
 prints in a weak bath of Carbonate of Soda, they are then ready for fixing 
 in the usual way. 
 
 FIXING. 
 
 Hypo-Sulphite of Soda, - - - - 4 oz. 
 
 Water, - - - - - - 20 oz. 
 
 I look upon thorough fixing as necessary to ensure permanency as is 
 thorough washing in running water afterwards, and prints should be left in 
 the fixing bath for at least 15 minutes before they are put in the washing 
 trough, where they remain for at least a couple of hours. 
 
 I came across a print on plain “ Saxe” paper done by my father at 
 least 30 years ago and it is as fresh and bright as on the day it was made. 
 It was a point with him to dab each separate print with a sponge under 
 running water, back and front, for a considerable length of time, and I have 
 never seen such little change in color of silver prints as are to be noticed in 
 his. 
 
 When your prints are well washed, I take it that you have got as near 
 to permanency as that unstable metal, silver, will allow, and although the 
 directions for the manipulation of plain paper seem formidable enough, they 
 are not really more so than would be required for the intelligent use and 
 practice of any other printing-out process. 
 
 Still, for those who do not want the bother of preparing their own 
 
THE SENSITIZING AND USE OF PLAIN PAPERS. 
 
 177 
 
 paper, there is one very much of the same grain and texture as platinotype, 
 sold under the title of the “ Blackfriars Matt.” 
 
 I mention it with diffidence, since I am interested in it to some slight 
 extent, but, as a matter of fact, I know of no other on the market, as that 
 prepared by my old friend, Valentine Blanchard, has been withdrawn for 
 some years, and another, known as 1 ‘ Mezzotype ” which was issued by the 
 Carlotype Co., has suffered a similar fate. With this paper, which is a 
 chemically pure one of French manufacture, any tone, from warm red to 
 black, can be obtained by the use of the platinum bath, and its approximate 
 permanency is tolerably certain. 
 
 There is another method of obtaining prints on plain paper, which has 
 been duly laid down by Lyonel Clark in his contributions to the Camera 
 Club Journal of a few years ago, by developing an under-printed picture 
 with a saturated solution of Gallic Acid or Pyrogallol Solution acidified with 
 Acetic Acid. Mr. Clark also recommends the use of Arnold’s pure 
 unbleached paper in preference to any other. This is made of linen fibre 
 instead of cotton rags and is free from chlorine or bleach in any form. 
 Besides “Arnold” there is imitation “Creswick,” which is rather more 
 expensive, but of a fine color and texture for this kind of work. Being a 
 heavy and thick paper ( 110 lbs. to the ream Royal) it requires considerably 
 more gelatine in the sizing than Whatman, and I have sometimes found 
 double sensitizing advantageous in obtaining strong prints. 
 
 There are again Joynson, Michallet and Ingres papers, all of which are 
 suitable for salting, and some of the latter being in delicate tints open up 
 new ground for photographic workers. 
 
Carbon Printing. 
 
 JAMES A. SINCLAIR. 
 
 It is very doubtful whether any process so completely fills the require¬ 
 ments of the artistic photographer as does the carbon process. Its long 
 scale, reproducing perfectly every gradation of the original negative, its 
 permanence, its great variety of color, its wonderful transparency in the 
 deepest shadows, and its adaptability to any surface, all combine to render 
 it the most perfect of photographic printing methods. Sometimes, indeed, 
 its very perfection is a barrier to its use. If we have to print from a flat, 
 thin negative in carbon, we shall certainly obtain a flat, thin result, but for 
 a negative with a very full scale of gradation, especially large and enlarged 
 negatives, it is the process par excellence. Year by year it gains steadily in 
 favor, and our exhibitions have greatly improved in general appearance by 
 the variety of color it has given to their walls. In this short article it is my 
 intention to give a brief outline of the process, embodying the salient points, 
 which, if followed by the tyro, should ensure his success, but at the same 
 time I would recommend him, after he has mastered the initial difficulties, 
 to read some text book and make himself thoroughly acquainted with all 
 the details and higher branches of the subject. Carbon Printing, as we 
 know it to-day, is based on the fact that a mixture of gelatine with a 
 chromic salt is gradually hardened and rendered insoluble on exposure to 
 light. If, therefore, paper is coated with such a mixture of sensitized 
 gelatine, containing any permanent pigment—Carbon was originally used, 
 hence the name of the process—and if this paper is placed underneath a 
 negative and exposed to actinic light, we shall have a positive image formed, 
 consisting of soluble and insoluble gelatine; insoluble in exact proportion as 
 the light has reached the surface of the pigmented compound. Develop¬ 
 ment consists in washing away with hot water those portions of gelatine 
 which the light has not affected sufficiently to render insoluble. Now, 
 without going more minutely into details at this stage, and perhaps frighten¬ 
 ing the beginner with imaginary difficulties, I would assure him that the 
 process only needs care, cleanliness and exactness at every stage in order to 
 ensure success. 
 
 To those taking up Carbon Printing for the first time, a start should be 
 made with the “ Single Transfer Process ”. This is the simplest form and 
 
CARBON PRINTING. 
 
 179 
 
 has some advantages over the “ double transfer” because less manipulation 
 is required, and, moreover, it is easier to produce prints on rough drawing 
 papers by its means. The only objection to it is that everything becomes 
 reversed; what was on the right hand side of the original is now on the left 
 hand side of the print, but this is of little moment for purely artist’c work. 
 Of course, where enlarged negatives are required, specially for Carbon 
 Printing, they are usually made reversed, and such will give a true result 
 after printing by the single transfer process. Eastman films may be printed 
 through the film itself, i. e., with the celluloid side in contact with the 
 “ tissue ”—as the pigmented printing paper is technically called—and the 
 resulting print will render the picture in its correct aspect. 
 
 REQUIREMENTS FOR THE SINGLE TRANSFER PROCESS. 
 
 Carbon Tissue, 
 
 Black Varnish or Lantern Slide Binders, 
 Single Transfer Paper, a little larger than 
 the negative. 
 
 A Flat Squeegee—not roller. 
 
 Squeegeeing Board. 
 
 Bichromate of Potash. 
 
 Camel’s Hair Mop Brush. 
 
 Thermometer. 
 
 Alum. 
 
 Actinometer. 
 
 Blotting Paper. 
 
 3 Dishes (2 for cold water and one for 
 Alum Solution). 
 
 1 Developing Tank or large basin to hold 
 hot water. 
 
 SENSITIZING THE CARBON TISSUE. 
 
 Carbon Tissue is the name given to the paper coated with pigmented 
 gelatine and may be purchased from the photographic stock dealers in 
 almost any desired color. When insensitive, it will keep in a dry place 
 almost indefinitely. Should the beginner be able to purchase it ready sensi¬ 
 tized, he is advised to do so, because tissue sensitized in the making is 
 usually manufactured from softer gelatine and consequently development is 
 easier and quicker. Sensitizing is, however, a very simple operation, and 
 if done at night the tissue is ready for use when dry the following morning 
 and will keep in good condition for about a fortnight, although, when 
 preserved in a calcium tin, such as is used for platinotype paper, its longevity 
 is very greatly prolonged. 
 
 The sensitizing solution is made as follows: 
 
 Potassium bichromate, - -- -- --1 oz. 
 
 Water, 20 ozs. 
 
 Ammonia, . ..5 drops. 
 
 The temperature of this solution should not be over 65°F. In summer 
 it may be necessary to cool it with ice. A dish, somewhat larger than the 
 tissue, should be filled to the depth of about one inch with solution. The 
 tissue is now immersed in it, care being taken to avoid air bubbles as much 
 as possible; but, should they occur, either on the back or front of the tissue, 
 
i8o 
 
 CARBON PRINTING. 
 
 they must be quickly removed by lightly brushing the surface with the 
 camel’s hair mop. The usual time for immersion is about three minutes, 
 but this varies greatly according to the temperature of the solution. A good 
 plan is to remove the tissue immediately it becomes limp, placing it surface 
 side downwards on a squeegeeing board—a plain board covered with sheet 
 zinc—and then removing the surplus moisture with a stroke of the squeegee. 
 Should a squeegeeing board not be available, a sheet of plate glass forms an 
 efficient substitute. The tissue is now raised from the board and hung up 
 to dry by means of clips. The tissue does not become sensitive till nearly 
 dry. 
 
 DRYING THE TISSUE. 
 
 The greatest care must be taken that this operation is carried out under 
 suitable conditions, for after success depends very largely upon it. It is 
 advisable to dry the tissue as quickly as possible and in an atmosphere free 
 from all impurities. A properly constructed drying cupboard is very useful 
 for the purpose, although an ordinary room in which the fire has been burn¬ 
 ing during the day and which has been darkened to prevent the entrance of 
 white light, will do just as well, and tissue left there at night will be ready 
 for use the following morning. Care should be taken not to expose the 
 tissue to even the weakest actinic light, because it is more sensitive than 
 silver paper, and, moreover, any light action set up, continues when the 
 tissue is placed in a dark place. The tissue being quite dry, it is stored in 
 a pressure box ready for use. 
 
 PREPARING THE NEGATIVE. 
 
 Negatives for carbon printing should be vigorous and full of gradation. 
 Do not attempt your first print from a flat, thin negative. Each negative 
 must be provided with what is termed a “safe edge.” This is made by 
 painting round the edge of the negative with black varnish, or by sticking 
 a strip of black or yellow paper round the negative on the glass side. 
 Commercial lantern slide binders are very convenient for this purpose 
 because they can be affixed in a few moments. Without this safe edge 
 there is great danger of the insoluble gelatine picture leaving its support 
 during development. 
 
 PRINTING-THE ACTINOMETER. 
 
 The negative being prepared we have only to place it in a printing 
 frame, with a piece of the sensitized tissue in contact, and expose to day¬ 
 light as in any ordinary printing process. Now as we are printing on a dark 
 
CARBON PRINTING. 
 
 181 
 
 colored surface it is evident that we must have some means for calculating 
 the necessary exposure. Instruments for this purpose are known as 
 Actinometers, and any of the commercial forms will be found quite simple 
 in use after one or two trials. An alternative to their use is to take a nega¬ 
 tive of equal density to that we are printing in carbon, and, placing it in a 
 frame with a small strip of Solio paper, expose the frames simultaneously to 
 daylight. When the strip of Solio paper is printed to the “ pretty ” stage, 
 i e., lighter than it would be for toning, we may consider our carbon print 
 is finished and ready for development. 
 
 If we pause for a moment to think of what has taken place during 
 printing, w'e shall see that the image of insoluble gelatine lies on the surface 
 of the pigmented film instead of in contact with the paper supporting it. 
 It follows, therefore, that if we place the “ tissue” in hot water, the gelatine 
 between the image and the paper will be dissolved and the insoluble film 
 forming the picture will float away and be lost. Of course this difficulty 
 might be overcome by printing through the paper, but this procedure would 
 give rise to other troubles. The grain of the paper, the long time taken in 
 printing—even when the paper is oiled as suggested by Mr. Blanchard— 
 and the loss in definition, are serious obstacles to the success of this method. 
 The difficulty has been met in a simple manner. If the printed tissue is 
 placed in water for a few moments and then brought into contact with a flat 
 surface excluding air, it will adhere during development. We, therefore, 
 prepare wood, paper or other material on which we desire to transfer our 
 image, by coating it with a layer of insoluble gelatine. Single transfer 
 papers, smooth or rough, white or tinted, may be obtained ready for use, 
 but probably the ideas of the photographer lead him to sometimes require 
 something different to the commercial article and he will prefer to prepare 
 his own. For this purpose take : 
 
 Nelson’s No. i Gelatine,.i oz. 
 
 Water, -------- 2 ozs. 
 
 and after letting it soak for some hours, dissolve by gentle heat. Add to 
 this solution very gradually 
 
 Chrome Alum, - 20 grains dissolved in 2 ozs. water, 
 
 stirring vigorously all the time. 
 
 With a stiff brush or sponge the chromated gelatine is applied to the 
 surface of the wood or paper and allowed to dry. Ordinary papers require 
 two coats, but Whatman and other rough drawing papers should have three. 
 Should Nelson’s Gelatine not be procurable, any other make may be used 
 in its place, but if they are harder the alum must be greatly reduced. 
 Should Heinrich’s Hard Gelatine be used, about four grains of Alum would 
 be sufficient. A larger quantity might cause coagulation during mixing. 
 
182 
 
 CARBON PRINTING. 
 
 DEVELOPMENT. 
 
 The print being ready for development, we prepare two dishes of cold 
 water, one dish of five per cent. Alum Solution, a tank or basin of hot 
 water about ioo° F., a squeegee and squeegeeing board. Taking a piece of 
 the single transfer paper, rather larger than the print, we immerse it in one 
 of the dishes of cold water for a few minutes. (Whatman and other rough 
 drawing papers should soak for hours, or else be placed in the hot water 
 developing tank for half an hour before use.) The printed tissue is taken 
 from the frame and placed in the dish of cold water which contains the 
 transfer paper, bubbles being carefully avoided. It usually commences to 
 curl up and then gradually unfolds itself again. When nearly unfolded it 
 should be brought into position, film downwards into contact with the 
 prepared surface of the transfer paper. Lifting both tissue and transfer 
 paper by the one edge, drag them out of the water over the end of the dish 
 and lay them “tissue” side uppermost on the squeegeeing board. Now' 
 apply the squeegee vigorously to the back of the tissue in order to expel 
 all the water between the two surfaces. The transfer paper with the 
 adhering tissue is now gently lifted and placed between blotting boards and 
 kept under slight pressure for about twenty minutes. At the end of this 
 time, the transfer paper with the adhering tissue is placed in the tank of 
 hot water at ioo° F. In a few minutes we shall see small quantities of 
 soluble gelatine exuding round the edges of the tissue. We now take one 
 corner of the tissue and lift it right away from the transfer paper. Unless 
 it comes quite easily and without force, it should be allowed to soak longer. 
 The tissue being removed, a dirty mass is seen on the single transfer paper. 
 All we have to do is to leave this mass with the hot water till development 
 is complete. It is well to have a sheet of zinc or glass on which to support 
 the picture during this operation, or the paper support may get damaged. 
 Errors of exposure may be partially compensated at this point. Over¬ 
 exposed prints may be reduced by raising the temperature of the hot water 
 to 120° or I30°F ; while under-exposed ones should be left to automatically 
 develop, face downwards, at a temperature of 90°F. When the print is 
 developed, it only requires a rinse in cold water, immersion in the 5$ Alum 
 Solution for 10 minutes to harden the film and remove the bichromate salt, 
 a final wash to remove the alum, and the print is then hung up to dry by 
 means of clips. When dry the prints may be mounted with any good 
 mountant or starch paste. 
 
CARBON PRINTING 
 
 183 
 
 DOUBLE TRANSFER PROCESS. 
 
 As pointed out earlier in this article, the foregoing method reverses 
 the picture unless a negative has been specially made for single transfer in 
 the first instance. For direct prints where reversal would be objectionable, 
 we must use the double transfer process, which is quite as easy to work as 
 the single transfer, but involves one more operation. 
 
 The additional materials required are, 
 
 Temporary Support, Final Support, Waxing Solution. 
 
 With this process the procedure is exactly the same as regards the 
 printing and development, the only difference being that a temporary 
 support takes the place of the single transfer paper. A flexible temporary 
 support is manufactured specially for this purpose. If it cannot be pro¬ 
 cured, a sheet of finely ground opal will serve the purpose equally well, 
 provided the print is to be finally transferred to paper or other flexible 
 surface. Whichever is used, the surface must be first prepared with waxing 
 solution. This is composed of : 
 
 Yellow resin,.36 grains. 
 
 Pure bees-wax, ------ 12 grains. 
 
 Ether, - -- -- -- - 2 ozs. 
 
 After melting the wax, add the resin and thoroughly mix, remove from 
 the fire and add the Ether. 
 
 A small pool of the waxing solution must be poured in the center of the 
 opal or flexible temporary support, and this is then rubbed all over the 
 surface with a piece of clean flannel. Allow to stand for a few minutes and 
 then lightly polish with another piece of flannel. Directly the smell of the 
 Ether has gone, the support is ready for use and may be kept in this 
 condition. 
 
 The print being developed, alumed, washed and dried, on the temporary 
 support, is ready for the final operation. We cut a piece of the final 
 support, a paper somewhat similar to single transfer paper, but coated with a 
 thicker couch of more soluble gelatine, and place it in a 2% Alum Solution 
 about an hour before required for use. The print on its temporary support 
 is now immersed in tepid water, 7o 0 F.; the final support is withdrawn from 
 the Alum Solution, lowered into the tepid water, avoiding bubbles, so that 
 the gelatinous side comes in contacfl with the print. The temporary and 
 final supports are now withdrawn from the w r ater together, placed on the 
 squeegeeing board, the final support being uppermost, and brought into 
 perfect contact by the vigorous action of the squeegee. When perfectly 
 dry, the print will leave the temporary support without difficulty, indeed if 
 dried in a warm current of air it will probably fall off without our aid. 
 
CARBON PRINTING. 
 
 184 
 
 Where opal is used, it may be necessary to insert a knife at the edge 
 of the print. The temporary supports are not damaged by these operations 
 and may be used for a large number of times, if waxed after each time of 
 using. 
 
 In conclusion, I would urge every serious photographer to master this 
 fascinating process, for, till he has done so, he must be unaware of many 
 of the possibilities of his art. 
 
The Gum-Bichromate Process. 
 
 ROBERT DEMACHY. 
 
 When a photographer has had the courage to go through some 
 technical article on the working of a new printing process, he feels the 
 joyous conviction that on following closely the author’s instructions he will 
 be able to produce a good print by the process as described ; at any rate he 
 knows beforehand what qualities this standard print ought to have. I do 
 not see the way to produce this happy confidence in the present case, for 
 although I think I am capable of giving a definition of what a good albumen 
 or gelatino-chloride print ought to be, by comparison with a bad one, I am 
 quite unable to define the good gum-bichromate print, and no instructions 
 of mine will enable even an ardent worker to produce what a true artist will 
 call a good gum-bichromate print. All that I can do is to enable him to 
 produce a sheet of coated paper, the coating of which will dissolve and 
 disappear in the places where light has not caused insolubility, while in other 
 parts this coating will remain more or less adherent, according to the 
 quantity of light admitted. 
 
 This is the definition of the process in a nut-shell : What we want is 
 a film—a colored coating which, after exposure to light under a negative, 
 will give us a surface quite soluble in some parts, partly soluble in others, 
 totally insoluble in the rest. If we succeed in manufacturing this sheet of 
 coated paper we shall have in our hands the foundation of a good gum- 
 bichromate print—it rests with us to make a picture out of this, or a daub, 
 or simply a common-place, faithful, photographic print. 
 
 For in the gum-bichromate process we cannot work with the same 
 standards as in other processes. For example, in the silver printing 
 process, under-exposure gives a very bad print of a dirty color without 
 strength or contrast. With gum-bichromate, considerable under-exposure 
 means total absence of image. One cannot say that the print is a bad one, 
 for in this case there is no print whatever, all the coating will disappear in 
 the developing. Similar with great over-exposure ; in this case the paper 
 remains just as it was before printing—a dull surface of black, brown or red. 
 But whenever an image has been developed and has remained on the paper 
 the resulting print may be good, for it can be made into a picture, and a 
 fine picture, too, if the man who works at it is an artist and knows what he 
 is about. 
 
186 
 
 THE GUM-BICHROMATE PROCESS. 
 
 My meaning is that if the color used for coating is well chosen and 
 sufficiently deep, its nature will not be affected subsequently as it is by 
 toning or developing from white to black in other printing processes, so 
 most of the conditions which cause failure in silver chloride, bromide or in 
 platinum papers are not to be taken into account with this special method, 
 for color and depth of color have both been chosen before printing and 
 development. In other words, as we work from dark to light, the condi¬ 
 tions of ordinary printing are naturally reversed. What we aim at is to 
 keep the color that we have already applied instead of striving to build it up. 
 
 The materials are simple : Gum Arabic, Bichromate of Potash, and 
 the cheapest of all pigments—earths. The gum need not be pure white 
 gum, the ordinary red Gum Arabic works just as well as the purer samples. 
 I have tried both and found no difference whatever in the results. Bichro¬ 
 mate of Potash can be had of any druggist. Any sort of paper is suitable 
 provided it is sized ; all drawing and water-color papers are good, so are 
 most writing papers, but highly glazed paper is most difficult to coat 
 properly, though it works well when this difficulty has been surmounted. 
 
 Powdered colors may be used successfully—they are cheaper than 
 moist tubes, but they are not ground so fine. To make the three conven¬ 
 tional tints of monochrome work, the following colors are necessary : 
 
 Lampblack, umber and burnt umber, sienna and burnt sienna, Vandyke 
 brown, bistre, yellow and brown ocre, red ocre, brown red, Venetian red, 
 indigo. These colors are permanent. They can be mixed in different 
 proportions according to the taste of the worker. No colors should be 
 used pure, the result is generally displeasing. 
 
 A saturated solution of Bichromate of Potash (10$) is made with hot 
 water, and another of gum arabic and cold water which has to be worked up 
 to a density marking i8to 20 degrees by the saccharometer or densitometer. 
 The Bichromate solution keeps indefinitely. The gum solution turns acid 
 after a few days and seems to give better results in this state. If it thickens 
 by evaporation or gets thinner by fermentation, a small quantity of water or 
 a denser solution must be added until it registers a new 18 to 20 degrees. 
 Ten cubic centimetres of this gum solution are mixed with pigment and four 
 cubic centimetres of Bichromate are added to the gum and pigment. It 
 must be understood that these measures are purely approximate. According 
 to the depth of color or to the nature of die pigment, more or less gum or 
 more or less Bichromate will have to be added. The photographer will 
 be guided by the behavior of the sensitive mixture, which must allow of 
 rapid and even coating. For example, if he uses Venetian red as pigment 
 the resulting mixture will be thin compared to a mixture prepared with 
 Vandyke brown, for the coloring power of the first pigment is greatly 
 superior to that of the latter, consequently there will be much more pigment 
 
THE GUM-BICHROMATE PROCESS. 
 
 187 
 
 in bulk in the second case than in the first and a few drops of Bichromate 
 and one or two drops of thin gum will have to be added. In reality every 
 proportion is constantly varying in this process, the only important and 
 unvarying factor should be the thickness of the sensitive mixture, for smooth 
 and even coating is a necessity, and only a certain thickness will allow of 
 proper coating. This is a matter of experience to be acquired by a few 
 preliminary trials, though I have worked at the process for several years 
 and it is rare indeed when I do not find it necessary to thicken or dilute the 
 sensitive mixture before beginning to coat. 
 
 Now two methods of working are open to the photographer, either he 
 may sensitize his paper in a ten per cent, solution of Bichromate by 
 immersion during one or two minutes, dry, and then coat with gum and 
 pigment, adding to the mixture a proportion of water equal to the quantity 
 of fluid that the Bichromate solution would have brought if it had been 
 added to the gum and pigment, or he may coat his paper direct with gum, 
 pigment and Bichromate in the proportions described above. In both cases 
 the degree of thickness of the mixture must be tried before coating, and this 
 operation must only be performed when the mixture has shown a satisfactory 
 behavior under this preliminary trial. It is not difficult to judge. A 
 mixture clinging to the brush and forming ridges which cannot be softened 
 by’repeated brushings must be diluted—while if it runs over the paper, 
 refuses to set and follows the brush in waves, gum must be added. 
 
 I do not say anything about the proportion of pigment—this is a 
 question of personal taste. 
 
 Coat your paper in full diffused light or by bright gas light. Pin the 
 dry sheet on a drawing board, take a flat hog’s-hair brush (the fan shape 
 seems to be the most convenient) smear the surface roughly with the sen¬ 
 sitive mixture, taking care not to use more than is necessary for the 
 complete covering of the sheet, or else the coating will be too thick. This 
 rough coating is covered with ridges and irregular brush marks; do not let 
 the marks set but take up a goat’s-hair softener and give a few strong down¬ 
 ward vertical strokes which will change the irregular ridges into vertical 
 parallel lines—break these lines by several horizontal strokes perpendicular 
 to the first—the lines will merge into one another and disappear. A few 
 rapid and light touches here and there will finish the operation, which 
 ought to be rapid and decisive. 
 
 Pin the paper up to dry in a dark place—absolute darkness is not 
 necessary—and when bone dry, expose. 
 
 Correct exposure, I mean the right exposure for the desired effect, is 
 the delicate point of the process. It can only be got at by comparative 
 trials. I have seen men disgusted by their constant failures, who, as I 
 found out later on, had never made these comparative trials on the same 
 
i88 
 
 THE GUM-BICHROMATE PROCESS. 
 
 negative. They had tried every possible change in their way of coating 
 and their proportions of mixture, but had never had the idea of trying two 
 exposures—one of ten minutes and one of two hours—to ascertain how 
 gum-bichromate paper acted under extremes. It is, notwithstanding, the 
 only sure way. An actinometer is necessary, of course, and the bands, 
 numbered, may be kept for future reference. 
 
 The average exposure in summer by diffused light for a thin negative 
 would be twenty minutes to half an hour. Length of exposure is influenced 
 not only by the quality of the light, the color and density of the negative, 
 but also by the thickness of the sensitive coating. It is of course in direct 
 ratio to this thickness. 
 
 To be able to fully understand the importance of control in the devel¬ 
 opment of a gum-bichromate print we must realize that the film or coating 
 on which we are going to operate is composed of a substance uniform in 
 appearance, but entirely soluble or semi-soluble in some parts, and insoluble, 
 or nearly, in others. If we immerse this coated paper in a dish of water 
 and let the solvent act undisturbed on the whole surface of this coating, it 
 will dissolve it proportionately to the extent it has previously been rendered 
 insoluble, and it will give us a positive duplicate of the original negative. 
 If, on the contrary, we apply the solvent irregularly to different parts of the 
 coated paper, if we use hot water there and cold water there; if, going even 
 further in our personal intervention, we add local friction to the dissolving 
 action of water locally applied, we produce a positive which has not been 
 developed in proportion to its solubility, but proportionately to the temper¬ 
 ature of the agent used in developing and to the force and frequency of its 
 application—consequently it is not a duplicate of the original negative as to 
 tone and values, but the result, good or bad, of our own judgment. 
 
 In reality the technical or photographical part of the process is at an 
 •end when development begins. Development requires no chemicals, and 
 no formulae to mix them. All you have to do is to wash away, rub away, 
 or scrape away, according to your mood, the more or less soft pigment 
 attached to the paper. You can develop in ten minutes or several hours, 
 wash away one side of your picture before developing the other, work with 
 a brush, a spurt of water, or a gentle flow. So there are no rules for devel¬ 
 oping save those by which artists of all crafts ought to be guided. 
 
 The only indications which could be useful to a beginner are the fol¬ 
 lowing: Always develop the print out of the bath of water; if it is 
 immersed it stands to reason that local development is impossible. Place 
 the sheet of paper on a glass plate propped up at one end by some sort of 
 wooden contrivance, the other resting on the bottom of the developing 
 tray. Always begin by cold water, and never use higher temperatures 
 until you have ascertained that a low temperature has no effect whatever. 
 
THE GUM-BICHROMATE PROCESS. 
 
 189 
 
 Develop slowly, and do not let an ounce of water flow over the film without 
 a definite intention calculated to produce a definite effect. If hot water 
 does not reduce the heaviest shadows use a very soft, flat sable brush, but 
 not until the print is completely developed in other parts—then work care¬ 
 fully, and bear in mind that the deepest blacks are the foundation of your 
 picture, and that should they be over-reduced the whole balance of the 
 composition will be upset. Do not imagine that after having successfully 
 (from a technical point of view) developed a gum-bichromate print you 
 have got all that you can get out of the negative; print another proof and 
 yet another—try different exposures, modify the temperature of your bath, 
 change the scheme of tone, use another batch of paper coated with a mix¬ 
 ture of different proportions, and you will be astonished at the variety of 
 effects thus obtained—each one, though quite different from the others, 
 being able to give a true and pleasing impression if the relative values have 
 been kept in harmony in the various schemes of tones adopted. 
 
 Failures may be divided into four classes : 
 
 1. The coating is completely washed away in a few minutes or after 
 being successfully developed, seems to lose all cohesion and instead of 
 drying, melts and spreads, ruining the print absolutely—cause, under¬ 
 exposure. 
 
 2. The coating is absolutely insoluble or only a trace of image is 
 visible—over-exposure. 
 
 3. Development proceeds normally but the whites are stained or 
 marked with granular spots of color.—(1st case) color-stained whites, 
 cause: excess of liquid, Bichromate or water in the sensitive mixture. (2nd 
 case), granular deposit, cause: excess of pigment. 
 
 4. The coating, on developing, breaks into scales. Cause: extra 
 thick film to which extra exposure has not been given. We must not forget 
 that the time of exposure is regulated not only by the color and the density 
 of the negative and the amount of actinic light, but also by the degree of 
 thickness of the coating. A thick coating will always produce scaly devel¬ 
 opment when the same exposure has been given as if the coating was of 
 normal thickness. 
 
 Gum-bichromate prints may be dried before a fire or over a gas stove, 
 if the color does not exhibit any symptoms of spreading. If it is in the 
 least tender, accelerate evaporation by fanning. As a rule, however, I 
 prefer to let the print dry naturally, for many successful alterations in value 
 can be made when the coating has thickened somewhat and is less delicate 
 under the brush. 
 
 The prints when quite dry must be passed for a few minutes in a 
 clearing bath of water and bi-sulphite of soda (1 fo) to eliminate the last 
 traces of Bichromate. 
 
190 
 
 THE GUM-BICHROMATE PROCESS. 
 
 Is it useless to add, before finishing, that we do not consider a photo¬ 
 graphic print to be beautiful simply because it is printed by the gum- 
 bichromate method. We like the process and we are doing our utmost to 
 popularize it, only because it allows of great control over tones and values 
 and because in the hands of men who have acquired and cultivated artistic 
 ''sion it can give an astonishing range of varied effects. The opening 
 paragraph of this article may have seemed paradoxical to the reader at 
 first sight; if he has gone through the whole of it he will acknowledge 
 that success in the technical part of the process lies solely in the manu¬ 
 facturing of a sheet of coated paper, the coating of which is able to 
 disappear in certain parts only under the action of washing or friction, 
 while other parts retain their color. This paper will give us an image, but 
 it is the artist who will “do the rest’’. He will make the picture. 
 

 
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