JSlTVT at E U R 
 
 rUBLISIIED BY 
 
 THE BLAIR CAMERA CO. 
 
 Boston, ruiLADELPiiiA, Chicago 
 
THE 
 
 AMATEUR 
 
 GUIDE 
 
 IN 
 
 PHOTOGRAPHY 
 
 T. H. BLAIR 
 
 Revised Edition 
 
 PUBLISHED BY 
 
 THE BLAIR CAMERA CO. 
 Boston, Philadelphia, Chicago 
 1888 
 
THE GETTY RESEARCH 
 INSTITUTE LIBRARY 
 
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IV 
 
 PREFACE. 
 
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 THE AUTHOR. 
 
^Introduction. ^ 
 
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AMATEUR GUIDE 
 
 IN 
 
 PHOTOGRAPHY. 
 
 SELECTION OF TOOLS. 
 
 I T is a difficult task to advise the intending purchaser what to buy, as 
 the conditions under which the operator will be likely to labor should 
 govern this largely. 
 
 One thing more than all others which governs this selection is the 
 amount of money the purchaser desires to invest, as a first-class 
 instrument wili always do work which the cheaper grade wUl, while the 
 cheaper grades will not do that which the first-class are especially designed 
 to do. 
 
 In the higher grades of instruments there are also qualities which espe- 
 cially recommend the different styles for specific purposes ; for instance, the 
 Champion and the Improved Reversible Back Cameras. 
 
 The Champion was built to meet the demand for a Camera having all 
 the adjustments movable with rack and pinion. To accomplish this, it was 
 necessary that the Camera be made heavier, and it is recommended where 
 weight is not so much to be considered as facility of working the different 
 movements ; but where the Camera is to be carried much, the advantages 
 gained by the Rack and Pinion adjustments will not compensate for the labor 
 in carrying the extra weight. Lightness and compactness are qualities which, 
 when carried beyond correct proportions, are antagonistic to rigidity and 
 strength. Especially so when the users of Camera and Tripod demand that 
 there must be no braces or tightening screws to adjust, while the apparatus 
 must possess every known improvement, with the capability to do all kinds of 
 work. 
 
 In the manufacture of the Improved Reversible Back Cameras, fitted with 
 Feather-weight Holders and Feather-weight or Compact Tripods, The Blair 
 Camera Company feel that they have approached as near as is safe to that line 
 where strength with rigidity and lightness with compactness refuse to com- 
 bine, until aided by braces and supports, which have been embodied in the 
 English Compact Camera, and I trust I will be pardoned when I point to these 
 as models of compactness, rigidity, and good workmanship. 
 
 The Lucidograph is an outfit designed especially for outdoor and general 
 work, compactness and lightness being an important feature. Owing to its 
 
2 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 reversing on the tripod to obtain vertical or horizontal negatives, it is not as 
 convenient to use as the camera liaving Reversible Back Adjusters ; but it has 
 no equal for compactness in a camera possessing the advantages it does. I 
 can, therefore, do nothing better than advise the selection of one where the 
 purchaser desires a less expensive outfit than one embracing a Reversible Back 
 Camera. 
 
 It must be remembered that the Lucidograph Camera is designed to be 
 used only with a lens focussing at not less than six inches, nor more than 
 ten, taking as an example a 5 x 8 instrument. 
 
 TRIPODS. 
 
 On no piece of apparatus connected with photography has there been 
 more experiments tried and thought expended, to improve and condense, than 
 on this important, yet bothersome article. Yet the most satisfaetor}^ forms are 
 to-day made on the principle of those constructed ten years ago. The Feather- 
 weight and Compact Tripods are sufficiently rigid for all sizes of cameras up 
 to 6^ X above which the Combination should be used. 
 
 The English Folding Tripod is a less expensive form ; yet very rigid and 
 easily set up. It does not possess the advantage of being adjustable to 
 different heights. It is sufficiently rigid for all sizes of cameras up to 8 x 10. 
 In the selection of a Tripod, it is wise to select the best. 
 
 PLATE-HOLDERS. 
 
 Three styles of this accessory to the Camera are listed, in the attempt to 
 suit the most critical. The English being the most desirable in all sizes above 
 8 X 10, and both this pattern and the Blair Patent being somewhat heavier and 
 stronger, but the Feather-weight are much the lighter, and for small sizes the 
 most desirable. 
 
 As the Holders cannot be filled, or the Plates which they carry changed, 
 except in a dark room, it will be apparent that a liberal supply of them are 
 desirable. 
 
 Six Double Holders carry twelve plates, which will be quite as many as 
 will be likely to be used in a day’s outing ; and after nightfall the “ exposed” 
 plates can be removed, and fresh ones put in, ready for use the day following, 
 or at any time to suit the pleasure of the operator. 
 
 LENSES. 
 
 To advise on the selection of a lens is most perplexing, especially so 
 when we daily see e\ddences of the beautiful working-qualities of each of the 
 standard makes ; and as there is such a difference of opinion regarding the 
 different makes of the higher grade of lenses, I refrain from recommending 
 any special make ; further than to say that The Blair Camera Company list only 
 the most celebrated. They being the sole agents of the “ Orthographic Lenses,” 
 they have, as a matter of course, great confidence in their capabilities, and 
 think the most effective method of recommending them is to say they are 
 sent on a ten days’ trial. 
 
 For landscape viewing, it is a well-conceded fact that there is nothing 
 better than a Single Achromatic Lens, as the expression of perspective is 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 3 
 
 natural, and it gives exceedingly uniform definition. We have seen many 
 landscape pictures made with them which were all that could be asked for by 
 the most critical ; also many interiors, and even portraits, which were in 
 themselves gems ; but by the curving of straight lines on the outer edge of 
 the picture they are unfit for this latter class of work. The same curving 
 occurs in landscape views, but as the works of nature are not, as a rule, com- 
 prised of straight lines, the distortion is uunoticeable. 
 
 PLATES. 
 
 On this subject we might repeat the substance of our remarks on the 
 selection of a high grade of lens, and thus express our sentiments. Our advice 
 is, buy none but those of acknowledged standard, unless warranted by houses 
 in which you have the utmost confidence, as there is no article sold which the 
 purchaser buys so much on his faith in the seller as this. If you are success- 
 ful with a brand avoid changing, unless you wish to experiment. 
 
 DEVELOPING OUTFITS AND DEVELOPERS. 
 
 For those who possess the knowledge or have a friend to advise them, the 
 preferable way is to select such chemicals and accessories as judgment dic- 
 tates to answer your purpose. 
 
 Any of the standard formulas for development will px’oduee most any re- 
 sult which can reasonably be desired, and the wise will adhere to a formula 
 which they understand working with success. 
 
 SILVER-PRINTING AND PRINTING OUTFITS. 
 
 The printing and toning of a picture will probably be found more perplex- 
 ing to the beginners than all the other manipulations combined ; but it is one of 
 the most fascinating, and it is therefore commendable to the amateur to 
 practise this interesting branch, if he has the time in which to do it at his com- 
 mand. 
 
 The bare necessary articles for printing from a negative are, a printing- 
 frame, sensitized paper, toning solution, and Hyposulphite of Soda ; dishes in 
 ordinary domestic use can be made to answer the purpose, but those made 
 for this purpose are, as a matter of course, more convenient. 
 
 BLUE PRINTS. 
 
 Printing by using the Ferro-Prussiate Paper is a most convenient and sim- 
 ple method of making proofs of negative ; in fact, many have whole collections 
 made by this process, and are admired not only for their novelty, but their 
 beauty. A printing-frame and paper are all that is necessary to make these 
 prints from the negative. The only thing to be done after the print is taken 
 from the frame is to thoroughly wash in water. 
 
4 
 
 AMATEUR OUIDE IN PHOTOORAPHY. 
 
 In the foregoing advice it will be noticed that, in apparatus, only the 
 goods manufactured by the Company bearing my name are recommended. 
 
 Notwithstanding this, I have sought to advise honestly, as I believe the 
 goods designed and manufactured or sold by The Blair Camera Co. to be the 
 best, otherwise I would, as the Company’s Manager, aim to adopt the better 
 designs. 
 
 Unprejudiced advice cannot therefore be sought of one occupying the 
 position which I do. 
 
 The Blair Camera Co. (and of course myself as well) are in business, 
 with the usual hope of reward ; and we believe the surest and safest means of 
 gaining this is to deal honestly and frankly, and aid you in deriving the 
 greatest amount of profit from your equipment possible ; regardless whether 
 you have followed the advice given, or that of a friend who has chosen 
 goods other than those here recommended. 
 
 THE PICTURE. 
 
 The foreground should be somewhat bold and rough, possessing strong 
 contrast, harmoniously blending with the distance, and should be balanced 
 either on one side or the other (and sometimes both) by objects rising much 
 above the horizontal line, and even filling up the entire space of that portion 
 of the picture. In this you must be governed by the general arrangement of 
 the remaining parts. Marine \dews, as a rule, are unsatisfactory, unless made 
 instantaneously, from the fact that the contrasts in the water are lost by its 
 motion, and the strength of distant objects untruthfully weakened by atmos- 
 pheric effect. The picture, therefore, presents a flat, cold appearance, void 
 of light and shade ; but when combined with strong, bold landscapes, they 
 become the most beautiful pictures. 
 
 Gray rocks, old logs, stumps, and similar objects give pleasing contrasts, 
 and add greatly to the depth and brilliancy of othenvise smooth fields and 
 plains. 
 
 Probably the best subjects for photographic pictures are such as old 
 ruins, churches overgrown with ivy, cottages surrounded with shrubbery and 
 twining plants, etc. The new and bare walls of a costly residence present 
 but little charm in a picture, except to relatives and favored friends of the 
 proprietor. In taking a photograph of buildings it is best to have the sun at 
 your back, slightly to your left or right ; this gives the front in strong light 
 with deep shadows. Photography in the field should seldom be practised 
 between the hours of 11 A.M. and 2 P.M., as the position of the sun leaves no 
 shadows, except directly underneath objects. It is a difficult task to make a 
 picture with the sun directly in your face, for two reasons : 1st. The sun 
 
 striking in the lens will cause a reflection, which will so diffuse the image as to 
 “ fog” the plate and also produce what is jjhotographically called a “ ghost.” 
 2d. You get in your picture the dark side of all objects which should be most 
 prominent, and thereby lose detail in them, besides being likely to produce a 
 flat, unartistic picture as a result. As a rule, the best effects are obtainable 
 when the sun is about two hours from the meiidian, and is to your right or 
 left ; the shadows are then strong and brilliant, the sweeping cross-lights add 
 to the pei’speetive and give “snap” and vigor to the picture, which you are 
 not likely to get with the sun at the meridian or at your back. The choice 
 in position from which to take the picture, and the illumination, are the chief 
 points in landscape photography, and in these the taste of the operator will 
 
AMATEUR GUIDE IN PEOTOGRAFHY. 
 
 5 
 
 show most prominently, and characterize his works with a less or greater 
 degree of excellence. Take plenty of time, and exert your limbs to find the 
 point favoring it most. Objects which do not harmonize with the character 
 of the scene had better be avoided, or, if convenient, removed. A small twig 
 very near the camera may turn out to be a “ mighty log ” in the picture. At 
 this stage, and before leaving the subject, I will give you verbatim a few 
 rules taken from a “Treatise on Photography,” by Capt. W. DeW. Abney, 
 which, he says, should be observed in the composition of a picture, though it 
 must never be forgotten that a rigid adherence to them at all tunes is 
 impossible : — 
 
 1. If the object of interest be in the foreground, its base should occupy 
 a position of from ^ to J the height of the picture ; if it be in the dis- 
 tance, its base should be about J way up the picture. 
 
 2. In a general landscape the horizon lines should occupy a position about 
 J way from the top or the bottom of the picture ; with the latter a cloud 
 negative will probably be required. 
 
 3. It is advisable that the general line of a picture should run a diagonal 
 or take a pyramidal shape. 
 
 4. A long, obtrusive line should never be pemiitted to intersect the 
 picture ; it should be broken up as far as possible. 
 
 5. A picture should never be cut in two by a dark object against a light 
 background, or by a light object against a dark background. 
 
 6. If the general features of a picture have a wedge-like form, care 
 should be taken that the wedge is supported near the point, in order to give 
 the idea of stability. 
 
 7. The general lines of a picture should be balanced by opposing lines, 
 for the same reason as that given in Rule 6. 
 
 8. A large patch of one approximately uniform tint is distasteful to the 
 eye, and should be broken up if possible. 
 
 9. ‘The object of interest should be pictorially focussed by a general 
 sweep of light (if it be a dark object) , or of shadow (if it be a light object) , 
 thus causing the eye to fall naturally upon it. 
 
 10. Avoid monotony, whether in constant repetition of lines, lights, or 
 shades, and never allow a picture to be symmetrical on the right and left of 
 its centre. A repetition of a high light once or twice in a loioer tone is, how- 
 ever, much to be recommended. 
 
 The inexperienced operator must not, in his first attempts, expect to pro- 
 duce results equal to the student of years, who has met with many failures 
 before gaining his present knowledge of chiaro-oscuro and power of trans- 
 forming the scene before bun into a composition which will give the most 
 pleasing results, but should study the points wherein his pictures excel yours, 
 and in your next efforts adopt such as will assist you. Neither should he feel 
 discouraged should he meet with failures. In photography such will always 
 occur, and the most advisable course is to “ try again,” and find out, if pos- 
 sible, the cause of your ill-luck. 
 
 I have here given a very brief outline of the rules and principles by 
 which you may be aided. For those desiring further information and deeper 
 study I cannot do better than to refer them to the excellent work of H. P» 
 Robinson, entitled “Pictorial Effect in Photography.” 
 
6 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 PHOTOGRAPHING INTERIORS. 
 
 One of the great difficulties in this class of work, especially private apart- 
 ments and rooms of limited dimensions, is in getting sufficient distance to 
 embrace the combining points of interest, — for instance, a drawing-room or 
 library of about equal dimensions : on one side rises the ornamental mantel 
 with corresponding furniture arranged at its foot ; opposite is the richly-draped 
 window, on each side of which hangs the family portraits ; at the further end 
 is the bay-window, the draperies of which are dark brown. Bathed in sun- 
 light, streaming in the windows from the right, are white marble statues. 
 Here we have the most brilliant contrasts, and to the eye presents a hand- 
 some scene ; but can it be photographed as such ? Let us refer to the 
 camera. The first and about the only visible objects are the window statues 
 and streaming sun ; all others are in the darkest shade. To attempt to take 
 both sides (which are of equal importance), we get only the farther end of 
 each, owing to the inability of our lens (which cannot turn around with its 
 eye as do we) . But let us try a plate ; the right time for exposure being 
 decided upon, we govern ourselves accordingly, and, when completed, we 
 retreat to our dark-room and commence development ; the developer is on 
 but a short time before the window flashes out bold and strong, continuing to 
 grow more intense ; and when sufficient detail has been obtained in the darker 
 parts it has changed to an opaque mass. The reasons are plain. While the 
 interior required the prolonged exposure suggested under that heading, the 
 small views seen through the window required only sufficient for a landscape^ 
 and was therefore overtimed a hundred times or more, and in printing M'ould 
 be but a white mass, while the interior might have suffered even from under- 
 exposure. This is photography at random. Now let us proceed, and with 
 manipulation (which only care, judgment, and experience can best teach) 
 attempt to overcome the deficiencies of “ our art,” and make the best of our 
 limited quarters. 1st. As we cannot take the whole of the room in one 
 picture, let us make two ; by so doing we get both sides in full, which will 
 bring the bay-window near one corner of the picture. We therefore place 
 the camera at one side of the room, or maybe the opposite corner, arrange 
 our furniture with care, having no very large objects in front of the camera ; 
 next close the blinds to the windows in front (the bay) and darken with black 
 material, being careful that no light streaks show. The bay-window is now 
 enveloped in shade, as are also the statues, and the light is from only one 
 source, namely, the window at the side (should the sun be shining in this 
 also it might be advisable to draw down the light shade) . Less light being 
 admitted into the room, we will now lengthen our exposure accordingly ; the 
 exposui’e having been made, we recap the lens, carefully remove the dark 
 material, open the shutters, and expose just sufficient for a landscape under 
 like circumstances. Upon development we find that the interior and exterior 
 develop in harmony, and although, when printed, the latter will be lighter, 
 still the stronger outlines of the landscape are not lost. This is one of the 
 “ tricks,” and serves to show that photography is not capable of embracing 
 all that the eye observes without the aid of artifice. By these means, and by 
 a little careful study and thought, very pretty effects can be obtained. Great 
 care must be taken not to jar the instrument in capping and uncapping the 
 lens, as it will make a double impression of the lighter objects. Corners and 
 dark parts of the room should be illuminated as the means at hand will 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 7 
 
 best allow, also heavy shadows where detail is wanted. A mirror can often 
 be used to good advantage in reflecting light into such places, keeping the 
 reflector moving so as to leave no outlines of it. If individuals are to be 
 included, let them be placed a good distance from the camera, and assume 
 some easy position in which they are the least likely to move. 
 
 GROUPS. 
 
 There is no branch of photography which offers more opportunities for 
 passing a pleasant hour with familiar souvenirs as a result than this ; the 
 excellence of which will depend largely on the operator, subjects, and artistic 
 treatment thereof. It is one on which much has been and can be written, 
 more authentic and interesting than anything original from my pen. I will, 
 therefore, again refer you to the work of Mr. Robinson, pp. 93-98. 
 
 PORTRAITURE. 
 
 When the amateur, possessing only the facilities usually at hand in ordi- 
 nary lighted rooms, attempts to make portraits which will equal those made by 
 the professional in points of effective posing, lighting, and arrangement of 
 accessories, he will doubtless be disappointed in the results of his efforts ; 
 but if he aims to produce pictures simple in arrangement, truthful in point 
 of likeness, and possessing originality of treatment, photography offers a field 
 which is sufficiently extensive for the full play of the most ambitious in this 
 direction. 
 
 It is quite impracticable to give, in this treatise, directions which will enable 
 the beginner to at once produce pictures which are likely to meet with the 
 approval of the critical ; but I trust that a few suggestions and simple rules, 
 here added, will aid many to repeat their efforts and study until they can even 
 excel the production of the professional photographer, especially from an 
 artistic point of view. 
 
 Until the operator has had sufficient practice to judge of the style of back- 
 ground most in keeping with the face or figure he is to photograph, it is the 
 best plan to adhere to as plain a surface as can be had ; the soft, neutral tints 
 of a plain wall are well suited for this purpose. If figured backgrounds must 
 be used, the subject should be placed some distance from them, so that the 
 background will be out of focus and appear indistinct, and thus softer in the: 
 picture. 
 
 One great difficulty which will be encountered in “ Portraitiu'e at Home ”■ 
 will be found to be heavy, deep shadows, especially so in rooms lighted only 
 from one side, or in those furnished or draped with dark material ; therefore, 
 reflectors will be found necessary on the shaded sides of the faces. These 
 must be used with care, and should not be placed too near the subject, or the 
 direct reflection will be noticeable. 
 
 The effect of the lighting in the picture should always be from one direc- 
 tion (except in case where it is an object of the operator to show reflected 
 light) . White papers or sheets placed on the floor (in cases where the pict- 
 ure is to be a bust or half length, and they will not be included in the 
 picture), as well as placed on the walls or chair, on the shadow side of the 
 subject, soften the shadows very greatly. 
 
8 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 Ill making bust pictures the lens should, as a rule, be about on a level 
 with the chin. In fnll or half length it should be somewhere nearly opposite 
 the chest of the subject ; but this is a matter in which deviations from this 
 rule can be made in opposite direction, and with good effect, to favor different 
 subjects, as a little experience will readily show. 
 
 If the source of light is from one or two side-windows only, the subject 
 should be at least four or five feet from the window, into the interior of the 
 room, and a foot or two beyond the most distant window. 
 
 Regarding the position of the subject, the operator must be governed by 
 his own taste, or such information as books of instruction on figure-drawing 
 or painting will give him, as anything that I should write on the subject 
 would be only such as persons of ordinary intelligence would put in practice 
 from suggestions gleaned in seeing the human form in every-day postures. 
 The head, figure, or group, whichever it may happen to be, should not be 
 made too large, or to fill the plate so that the picture looks crowded. 
 
 The length of time of exposure will vary in this class of work greatly, 
 and it is useless to give any rule to follow ; even in the most favorably lighted 
 room the exposure will require to be many times greater than in the open 
 air. Owing to the liability of the subject moving, it is desirable to make the 
 exposure as short as possible ; therefore, a rapid lens should be selected for 
 this class of work, and a large-size diaphragm used. 
 
 Portraits are most easily made in the open air, as they can be instantane- 
 ously exposed, and thus the liability of their being spoiled by the moving of 
 the subjects avoided ; but the results are likely to appear flat and without well- 
 defined high lights and shades, which expresses shape, and the true and 
 characteristic lines of the features. 
 
 Subjects should be allowed to assume natural and easy attitudes, and 
 where a prolonged exposure is to be made, positions in which there is the 
 least liability to move preferred, other advantages being equal. 
 
 The Flash Light (so called) has many advantages for Portraiture, and 
 will doubtless be developed very greatly in this direction before the lapse of 
 many months. The same general principles which are given to be followed 
 when lighting from a window, hold good with this light ; but the advantage of 
 being able to change the position of the source of light at will is very great. 
 
 Making exposures with the so-called “Detective Camera” is rapidlj" 
 growing in popularity, but evolves no new methods, therefore requires no 
 suggestions here ; the treatment of the negative after the exposure being the 
 same as in any other method of exposing the plate in the camera. 
 
 PHOTOGRAPHING MACHINERY. 
 
 BY CHARLES W. LOWELL. 
 
 Machinery, upon leaving the manufacturer’s hands, is usually in a poor 
 condition to be photographed. The priming or glossy paint commonly used, 
 and usually of the most uon-actinic colors, renders a strong contrast between 
 light and shade, and does not give an even effect. 
 
 If the machine to be photographed is constructed largely of smooth- 
 finished and tooled metal, it should be wiped clean of any oil or paint, and 
 the unfinished castings painted a mat or dull gray color, avoiding anything 
 which will leave a glossy or varnished surface to reflect the high light. 
 
AMATEUR QVIDE IN PHOTOGRAPHY. 
 
 9 
 
 Machinery made almost entirely of unfinished castings should be finished 
 as smooth as possible, and coated with a quick-drying paint, made by mixing 
 white lead with lamp-black and thinning with turpentine, — but with as little of 
 the latter as possible, — aud a small quantity of Japan as dryer. 
 
 The color should be of a light slate or drab, and present a dead surface 
 when dry. Any inequality in the surface may be stopped up or smoothed 
 over with putty. Where a machine is already set up and in use, it may not 
 be convenient to use the above paint, in which event the following may be 
 used as a substitute, which is easily wiped off : Mix whiting and lamp-black 
 with sour beer, adding a small quantity of glue-sizing to give it body. 
 
 Any machine painted a dead or glossy dead black will lack in shadows 
 and detail of construction. Bright metal parts finished, should not be painted 
 at all. 
 
 The light is a very important matter in obtaining good views of machin- 
 ery. Avoid direct sunlight upon any part, and aim to get an even illumination 
 all over. Where necessary to bring out detail of parts, shaded from light 
 above, sheets of white paper may be placed in such positions, beneath or at 
 one side, as will refiect light upon the desired points. 
 
 When convenient, a background composed of white cotton cloth stretched 
 on a wooden frame can be used to advantage, as it wUl bring out the detail and 
 outline of entire machine, thereby facilitating the painting-out process, when 
 used. Of course, if the article to be photographed is of a light color, a dark 
 background would be preferable. 
 
 Oftentimes, in focussing the image, it is difficult to find a desirable stand- 
 point ; either there is a lack of space to retire far enough from the object, or 
 it is too high. Where there is a lack of room, as in this case, a wide-angle 
 lens will be found most desirable to use. 
 
 However, to make the most satisfactory view of a machine of any large 
 proportions, a long-focus lens, a size or two larger than that of plate used, 
 is desirable, as much space as possible being placed between object and 
 camera. 
 
 In a machine of any height it would be well to have the lens as nearly 
 on level with centre of machine. Anything low, or setting close to the fioor,, 
 the camera should be lowered correspondingly. When there is any great 
 length to machine, avoid too much of an angle when focussing it from an end, 
 as the end nearest the camera will be larger in proportion to that at a distance 
 thus removing the camera at a distance from the entire object gives a more 
 natural view. 
 
 Slow plates, — lens well stopped down, — long exposure, and moderate 
 development tend to produce the best results in making photographs of 
 machinery. 
 
 THE TRIPOD. 
 
 In field-work all forms of cameras require mounting on some stand or 
 elevation, to bring the view it embraces to a height corresponding with the 
 eye, and to give ease in operating. For this purpose the well-known “ tripod ” 
 is used. In it the features most desirable are facilities for adjusting it to a 
 proper height, x’igidity when set up for use, aud compactness in transportation. 
 
10 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 DIRECTIONS FOR USING THE CAMERAS. 
 
 The process of adjustment is so simple that the subject requires but little 
 explanation ; but, for the benefit of those without knowledge of its use and 
 construction, I append the following : — 
 
 “ In most all forms of cameras manufactured at present the principles of 
 attaching the ground glass and plate-holder is similar, although they vary in 
 the form of attachment used, the idea being, in all cameras, to firmly adjust 
 the plate-holder so that the sensitive plate to be exposed will occupy the same 
 position as that occupied by the ground glass when the image was focussed 
 upon it, and, at the same time, make the interior of the camera liglit-tight. 
 
 “ Nothwithstanding this, it may be found desirable to explain the uses of 
 such cameras as are provided with such improvements and advantages as 
 the sliding fronts, the swing back, and folding-bed. The use of the sliding 
 front is to enable the operator, by moving it up and down, to get a greater 
 or less amount of foreground or sky as he may wish, rvithout tipping the 
 camera, which will cause the lines on the outer edge of the plate to converge 
 at the top or bottom. The swing back permits very near and distant objects 
 to be brought to a sharper focus by increasing or duninishing the distance 
 between one edge of the plate and the lens. The convergence of the lines, 
 as above described, can also be corrected by the use of the swing back, by 
 swinging the frame to which the plate-holder is attached. This frame, or, 
 more properly speaking, the sensitive plate, should stand in a vertical 
 position. 
 
 ‘ ‘ The folding-bed is added to make the camera more compact for trans- 
 portation.” 
 
 USE OF EXTENSIONS. 
 
 Extensions are a contrivance for placing the plate a sufficient distance 
 from the back of camera proper to allow the ra}^s to spread to the size of 
 plate to be used on the extension ; it will, therefore, be understood that an 
 extremely long or an extremely sho’d focus lens cannot be used successfully. 
 
 In completing this adjunct to photographic apparatus it was not the idea 
 of the inventor to substitute (for example) a 5 X 8 camera proper with an 
 8 X 10 extension, for an 8 X 10 camera, when the operator intended using 
 8 X 10 plates in the majority of cases, because it would be more desirable to 
 have an 8 X 10 camera proper ; but the idea was to furnish an attachment for 
 the use of the operator who used 5x8 plates as a rule, and occasionally de- 
 sired to use an 8 X 10, etc. The only disadvantages in a camera formed with 
 the extension attached is, that a very short focus lens cannot be used on account 
 of the distance between the ground glass and camera front, and the fact when 
 using a very long focus lens, the frame of camera proper prevents the rays 
 from the lens spreading to the edge of the plate. To correct the former a 
 recess front can be used. The latter can only be remedied by increasing the 
 depth of the extension. 
 
 We will now require to transfer the sensitive plates into the plate-hold- 
 ers, and, in order to enable us to do so, we will require a dark room. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 11 
 
 THE LIGHT. 
 
 The light by which the plates can be changed or developed with safety is 
 of a dark ruby, and all other should be entirely shut off, which forms what is 
 known as a “ dark room ; ” but this does not mean a room with the door 
 closed, and light coming in through cracks and openings. For convenience 
 and safety I would advise the novice to defer removing plates from the light 
 tight box until after dark, when by the aid of a suitable light the operation 
 can be carried on without the trouble of darkening windows, etc., unless a 
 very strong light is outside, in which case closing blinds or drawing shades 
 will be found safe. Electric light must be guarded against with great care. 
 
 To test the actinic power of your light, take an unexposed plate and cover 
 one-half with some opaque substance, and place the uncovered part before the 
 source of light, so as to get the benefit of its strongest rays for one or two 
 minutes, and then develop the whole plate. If the actinic rays have not been 
 fully filtered out, the exposed part will darken while the other will remain un- 
 changed. 
 
 Ha-sdng become satisfied on the safety of the light in the room, proceed 
 to open the package of plate, and place them in the Plate-holders. (See 
 Article on the Gelatine Bromide Plate, page 14.) 
 
 As the easiest and proper method of filling and emptying a Plate-holder 
 may not be at once apparent, the following instructions are given : — 
 
 ‘ ‘ To fill the Blair Patent Double Dry Plate Holder remove the slides and 
 the locking block which occupies the space between, and pull out the movable 
 bars separately (or together, as desired) , until the outer edge of the bar rests 
 against the inner portioir of the Stop. By this means the opening in the 
 holder is enlarged an eighth of an inch. Next place one end of the plate, 
 ■film side outward., underneath the projection in the opposite end of the holder, 
 when by pressing the plate against the spring on the dmsion-board until the 
 outside of the plate is below the inside of the projection of the movable bar, 
 the latter can be pushed down into its former position, which will hold the 
 plate securely in position by the projection of the holder overlapping the re- 
 spective ends of the plate, and the metallic spring pressing the same forward. 
 To fill the other side the operation is, of course, repeated. The locking block 
 and slides are then replaced, and the holder is secured against an accidental 
 shake opening it. In pressing the plate down while filling the holder the hands 
 should not touch the film, the back of the finger-nail or a dry handkerchief 
 answering the purpose best. Smaller plates are used by sliding it into the coi'- 
 responding size of nest, and the latter, with the plate in it, is placed into this 
 holder as though a full-sized plate.” 
 
 THE FEATHER-WEIGHT PLATE-HOLDER. 
 
 (WITHOUT BACK SPRINGS.) 
 
 This Holder being very compact, and the thickness of glass varying so 
 exceedingly, the springs usually employed on the dividing-board to keep the 
 plate pressed tightly to the front is not supplied ; only sufficient space having 
 been allowed to accommodate the thickest plate likely to be used. In using 
 thinner ones, a slight bedding of soft paper may be placed in the holder, and 
 in pressing the plate down it will be found that the paper, acting in combina- 
 tion with the pliable division-board, forms a very admirable spring or cushion. 
 
12 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 To fill, draw the slide of the Holder and place on end (the end from 
 which the slide is drawn being npward), put oiie end of the plate in the down- 
 ward end of the Holder, under the projecting corner ; next, if deemed desir- 
 able, place the tuft of paper bedding to hold the plate out (as before described) , 
 press the plate down until it rests against the ledge, and turn back the narrow 
 cloth flap ; replace the slide, and all is ready. 
 
 After putting into the holders as many plates as are likely to be needed 
 for a day’s work, pack the outfit so that it can be conveniently carried about. 
 
 To remove the plate, draw the slide, turn up the cloth flap, and while the 
 Holder is on end, inclined face downward, give it a slight thump on the knee 
 (or something not liable to bruise the holder) , and the plate will fall into the 
 hand. This is accomplished by the plate springing downward below the cloth 
 flap. 
 
 Feather-weight Holders, which are supplied with back springs, have 
 beneath the cloth flap a projection under which the plate rests after being- 
 pressed down as described. Holders with springs are necessarily thicker than 
 those without springs. 
 
 With the foregoing directions, holders of other styles can, I think, be 
 readily understood. 
 
 The Holder known as the “ English” opens after the form of a book, the 
 plate being placed in, and the holder closed and fastened. 
 
 DIAPHRAGMS, OR STOPS. 
 
 The revol-ving disc, or strips of brass, having different-sized openings, 
 and placed before the lens, in single lenses, and between the lens in combina- 
 tion lenses, in the mount, are called diaphragms, or stops, and are often the 
 cause of much perplexity to the amateur. His first supposition (and a very 
 natural one, too) is that the smaller opening is for smaller pictures and the 
 larger one for larger pictures, when the rule is to the contrary, as I will en- 
 deavor to explain. 
 
 By taking a lens and placing it in an open tube, corresponding with its 
 size, an image, flooded with light, will be found on the ground glass, but 
 almost entirely without sharpness or definition, more especially at the edges 
 and corners of the plate, the latter caused by the curvature of the glass in the 
 lens. It will also be found that distant and near objects cannot be brought 
 to any degree of sharpness at the same distance of the ground glass from the 
 lens. By placing a diaphragm, or stop, before it, the equality of sharpness 
 in distant and near objects is increased, as is also the definition in the edges 
 and coi-ners ; and it will be further seen that the smaller the stop the greater 
 this increase in definition. This is, however (as might be expected), at the 
 expense of the light on the plate, and necessitates longer exposure. For 
 landscapes and general work the medium stop should be used ; when the light 
 is very intense, and very fine definition is desired, the smallest can be used. 
 The largest is desirable when there is but little illumination, or short exposure 
 is required on account of moving objects, or for instantaneous work. 
 
 PREPARING TO TAKE THE PICTURE. 
 
 For field-service a camera, a number of plate-holdei’S filled with sensitive 
 plates, a lens, tripod, carrj'ing-case, and focussing cloth are needed. 'When 
 these have been taken to a place where the view looks im-itiug, fasten the 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 13 
 
 camera on the tripod, throw the focussing-cloth over your head, gather it under 
 your chin, draw out the camera, thus extending the bellows, and continue the 
 movement until the image on the ground glass appears most distinct ; then 
 fasten the back of the camera. This is called “focussing.” At the first 
 glance an inexperienced person sees no reflection on the ground glass, but the 
 eye soon becomes practised to perceiving the inverted image there. 
 
 When the image has been satisfactorily focussed tighten the clamping- 
 screw, cap the lens; remove the ground-glass frame, and in its place ad- 
 just a plate-holder, draw the inner slide, and expose the plate by uncapping 
 the lens. The nearer the camera is brought to the object to be photographed 
 the farther the camera bellows will need to be extended to obtain a sharp 
 image ; thus it is difficult to get two objects, one of which is very near, and 
 the other far distant, in focus on the same plane. 
 
 Careful and accurate focussing will repay you, as clear definition cannot 
 be obtained without it. 
 
 In instantaneous work the focus must be Obtained upon the spot where 
 the object is expected to pass, with a large diaphragm, or the full aperture of 
 the lens, before the time comes for taking the picture. Then, by looking 
 along the sides of the camera, or a pair of sights on top of it, or by a finder, 
 you will see when the object has reached the middle of the view, and will 
 release the instantaneous shutter. 
 
 When operating in strong sunlight, all cameras of whatever style or 
 manufacture should be protected by having the focussing-cloth thrown over 
 them, most especially when the plate-holder is attached and the slide has been 
 drawn. By taking this simple precaution you may save a valuable plate, 
 which might otherwise be ruined. 
 
 When you wish to make another exposure the holder is to be turned over, 
 and the plate in the opposite side exposed in a like manner. It is very 
 important to keep a memorandum of time of exposure, subject, number of 
 plate-holder, etc. ; and, if more than one plate-holder is used, they should be 
 numbered in some legible and permanent manner, the first holder one and two, 
 the second three and four, and so on. It is exceedingly annoying, while de- 
 veloping your plates, to find two of your most valued subjects consolidated 
 into one, from having exposed the same plate twice. The registering slides, 
 which are part of the plate-holder, form an admirable and convenient means 
 of avoiding all such occurrences. 
 
 COLORS PHOTOGRAPHIC. 
 
 If there is any one characteristic in photography which prevents it from 
 being a truthful portrayer of nature more than another it is the different effect 
 which colors have on the chemicals. For instance, yellow, orange, red, and 
 those of a like tint are the most non-actiuic ; blue, and its associate color, 
 the least. Now, in representing colors in a drawing, we would naturally indi- 
 cate yellow, orange, etc., as much lighter than blue; but, m photography, 
 yellow will be represented as almost, if not wholly, black, while blue, etc., the 
 direct opposite ; therefore, in making the exposure in the camera, it is well 
 to note the prevailing colors, and govern yourself accordingly. 
 
 EXPOSURE. 
 
 In this depends largely the success of your undertaking, and here your 
 judgment must be used to a large extent. As no two landscapes are exactly 
 
14 
 
 AMATEUR GUIDE IM PHOTO GRAPHT. 
 
 alike, and the same landscape on two successive days may perhaps reqim-e 
 different exposures, it is impossible to make positive rules. 
 
 Near ^■iews, groups, and machinery requu'e much longer, often triple, ex- 
 posure, when placed under the same volume of light as that of the landscape 
 just mentioned, and, of course, when the light is less, as in a budding, it must 
 be lengthened accordingly. For interiors there is but little danger of over- 
 exposmc. "Where you woidd require one second for a landscape, a moder- 
 ately well-lighted interior woidd require from two to three minutes, oudng to 
 the difference of light. 
 
 Always bear in mind the fact, that if we give 274 minutes when 25 would 
 have sufficed, we have overtimed oidj* in proportion to giving 11 seconds when 
 10 was the uirmber requued. Wlreu photographing in deep, dark ra^dues 
 lengthen the'exposme according to yorrr judgment, especially when the pre- 
 vading colors are of a non-actinic nature. 
 
 The ‘‘ exposirre” is made by rrncovering the lens to admit the idews to 
 be transferred to the sensitive plate ; by whatever means that is done, the 
 camera shordd be jarred as little as possible. This is as far as I am able to 
 assist you, and the rest must be gained by experiments. In making these, if 
 yorr are doirbtful about the proper time requh'ed, expose two or three different 
 plates, varying the time one-half. In fact, this is advisable for the beginner. 
 
 The exposures having been completed, the plate can be kept for a con- 
 venient time and place, for development. 
 
 THE GELATINE BROMIDE PLATE 
 
 Is a film of gelatine made sensitive to the action of light by bromides and 
 niti’ate of sdver, supported by glass, winch is used because of its firmness and 
 allowing the light to pass thi-ough unobstructed. The side of the glass on 
 which the film is can be discerned by being of a mat appearance : if, however, 
 there is doubt as to which is the film side, appU’ a knife to one corner, and 
 the film will scratch off. 
 
 When exposed to the image in the camera, the lighter parts are acted 
 upon most rapidly, the half-tone less, and the extreme shade but little, and 
 sometimes not at aU. Upon the application of the developer, where the 
 light has acted, a deposit is formed over the entire surface, the greater the 
 action of the light the greater the deposit; therefore, when fixed, we have a 
 semi-transparent picture, the opaque parts representing the high lights, the 
 more transparent, the half-tones and shadows. Supposing we had developed 
 this plate without exposure in the camera, no image would have appeared, the 
 plate remaining unchanged. Upon fixing, we have apparently a plain glass as 
 a result. Again, supposing we had exposed the plate to actinic light, the 
 entire surface is acted upon, and when the developer is applied, a deposit is 
 fonned over it, causing the plate to turn a dark brown, and, when fixed, 
 remain opaque. 
 
 In the use of “negative papers” or “films” the process is the same, 
 excepting that the support for the image is of other substance than glass, to 
 economize in weight and liability of breakage. 
 
 Owing to the successful manipulation of this film being more difficult 
 than with glass plates, I would advise the beginner to commence his operations 
 with the latter, even if the additional weight does enforce some little incon- 
 venience. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 15 
 
 DEVELOPING. 
 
 THE DARK-ROOM, OR PLACE OF OPERATION. 
 
 (*S'ee remarks on Light, page 11.') 
 
 The surroundings of the operator will govern largely where this will be, 
 or how constructed. When at home, the bath-room, kitchen-sink, or like con- 
 venient place is most desirable. When in the woods, if not too strong, moon- 
 light, and, in suitable weather, sitting beside a brook, is to be recommended ; 
 in fact, it is really one of the most convenient as well as poetic situations. 
 The principal points to be considered are plenty of cool water, protection from 
 actinic light, and a suitable surface on which to set your utensils, with noth- 
 ing damagable underneath, and perfect order and cleanliness. It is useless 
 to add that a room, with appliances arranged especially for this purpose, which 
 can be used night or day, is much the more desirable, especially so to busi- 
 ness firms or corporations who desire to make negatives at all times, and to 
 see at once the results. To those who can equip themselves with such facili- 
 ties we append the following suggestions : — 
 
 “Where possible it is best to have a good-sized closet, or room, with 
 walls and ceiling plastered and painted or tinted a dark color. Entrance 
 should be had by double doors, forming a vestibule between, so that upon 
 opening the outer door you step into a vestibule ; closing the first door after 
 you, open the inner door, which admits you direct to the dark-room. With 
 this arrangement you can enter or leave the dark-room when development or 
 any manipulation is being carried on, without admitting any outside light. 
 
 “ A closet can be made of thin, matched sheathing, in most any place ; 
 and, after being painted dark on inside, as a double safeguard, it should be 
 papered with black or ruby paper, light often entering where the sheathing 
 shrinks. The paper should not be pasted or glued on, merely tacked in a 
 smooth manner. 
 
 ‘ ‘ The dark-room should be ventilated in some manner without admitting 
 any light. 
 
 “The best light for a dark-room is taken through a window from out- 
 of-doors. The casing of window' should be made light-tight, and frame covered 
 either wdth a ruby or yellow post-office paper, in several thicknesses ; or, have 
 one or two thicknesses permanent and several frames covered with the paper, 
 which can be inserted in the casing, enabling the operator to have, at w'ill, a 
 weak or strong light. 
 
 “ When daylight is not possible a large lantern, arranged to take tw'o or 
 three lights of rnby or orange glass, can be used, both to illuminate the room 
 and for development. 
 
 “ A good supply of pure water is an absolute necessity, and, where unob- 
 tainable from city service, a large tank or barrel can be placed above the sink, 
 using a pipe or tube with stop-cock. A wooden sink, painted inside, w^hen 
 kept clean, is preferable to any other. Have plenty of shelf-room, conven- 
 iently arranged, a place for everything, so that you can find anjffhing at once, 
 even in the dark.” 
 
16 
 
 AMATEUR GUIDE IN PEOTOGRAPEY. 
 
 CHEMICAL SOLUTION. 
 
 When a reliable developer can be obt^,ined ready for use, it is generally 
 more satisfactory to procure the article than the chemicals, and have the 
 trouble of mixing. 
 
 I give, however, a complete formula, so that the operator may make his 
 choice. 
 
 (Instructions for using the commercial article are usually supplied with it.) 
 
 Make solutions as follows : — 
 
 Pyrogallic Acid ..... 
 
 Sulphite of Sodium Crystals 
 Sulphuric Acid, C.P. 
 
 Water ....... 
 
 IL oz. 
 
 . 6 oz. 
 
 20 to 30 drops. 
 80 oz. 
 
 Label it. Stock Solution No. 1. 
 
 
 Carbonate of Sodium .... 
 
 6 oz. 
 
 Water . . 
 
 80 oz. 
 
 Bromide of Potassium .... 
 
 15 grains. 
 
 Label this. Stock Solution No. 2. 
 
 
 Filter both solutions and keep in corked bottles. 
 
 When ready for %ise 
 
 mix equal parts No. 1 and No. 2, using, for a 5 X 8 plate, about four ounces 
 of the mixed solution. Larger and smaller size pro ratio, enough to cover the 
 plate fully is always required. 
 
 “ Keep all solutions as cool as possible, and well corked.” 
 
 A larger portion of pyrogallic acid in the developer increases the density 
 of the negative, a lesser portion decreases the density. The effect of bro- 
 mide of potassium is to give clear shadows, thus rendering greater contrasts ; 
 therefore, to increase or decrease this effect, use a lesser or greater quantity 
 of the salt (bromide of potassium) . 
 
 Alum in the fixing-bath hardens the film and prevents frilling and blister- 
 ing. A lesser quantity than given in formula will be required in cold 
 weather. 
 
 ARRANGEMENT. 
 
 After having obtained a suitable place make the following preparation r 
 Select one of the trays, and after washing it thoroughljq set it on a level sur- 
 face to your left; next, place the other tray to your rkfht^ and put therein the 
 fixing solution, made up at the rate of, water, G oz. ; hjqjosulphite soda, 
 2 oz. ; pulverized alum, a few grains. This quantity will be found sufficient 
 to cover a 5 X 8 plate. Place before you a sufficient quantity of the developer, 
 mixed, and have your ruby light in a convenient place to watch your work ; 
 also have near at hand a vial of 30-graiu solution of bromide of potassium 
 (30 grains potassium to 10 oz. water), plenty of cold water (iced if possible 
 in summer), and a convenient place to wash the plates. 
 
 Then we are ready for excluding all actinic light, and proceed to the 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 17 
 
 DEVELOPMENT OF THE IMAGE. 
 
 Lay the exposed plate, side up, in the tray at your left, and taking the 
 graduate containing the “ developer” in your right hand, tilt the tray slightly 
 to 3 "our right, and pour in an even ■wave the entire amount of the liquid, at tlie 
 same time bringing the tray back to its horizontal position, or slightly inclined 
 to the left. Now see that the tray is on a level surface, and let it remain, 
 being sure that the surface of the plate is entirely covered with the liquid. 
 The image should now appear in a few minutes (say two or three) , the high 
 lights growing dark (of a brownish color), and the shadows remaining of the 
 original color of the plate. If correctly exposed, it will gradually grow in 
 strength, the detail in the shadows becoming distinct. Allow the develop- 
 ment to continue until the image commences to fade away, or the shadows 
 change to a brown color, and the entire picture apparently lost. This gives 
 sufficient printing density to the negative. If the development is checked too 
 soon, the negative will be weak and thin. If the plate has been under-ex- 
 posed, the image will be a long time making its appearance, and after a pro- 
 longed development the shadows will still remain clear and the color of the 
 film unchanged, and when fixed the whole plate will be transparent, giving a 
 flat, dull picture, which will print very quickly. On the other hand, should 
 the plate be over-exposed, the image will flash out more quickly, and almost 
 immediately commence to fade away to the brown color above mentioned. 
 Should it be “ fogged” by light, the image -will not appear at all ; or, if at all, 
 faintly, and will rapidly turn dark. In error No. 1 the remedy is to pour the 
 developer back into graduate, and add moi’e pyro., mixing well, and flow over 
 the plate again, allowing it to remain in the developer as long as it continues 
 to have any effect. (Remember that pyro. gives the strength, and soda the 
 detail; so the more time given, the less soda needed.) If, when fixed, it is 
 then too thin, the best course to pursue is to make another trial : give from i 
 to \ longer exposnre ; if very thin, double the time, but should another ex- 
 posure be impossible, proceed according to directions in Intensification. In 
 error No. 2, after the image has flashed out, pour the developer back into the 
 graduate, and slightly rinse the plate with water, and add one or two drops of 
 the solution of bromide of potassium for every ounce of developer, or dilute 
 the developer with water. Now, again pour on the developer, as befoi-e, and 
 proceed, but only until the image is in the condition given in development 
 proper. In error No. 3, or the latter case, there is no remedy. 
 
 After development the plate is thoroughly washed and placed for a few 
 minutes in a saturated solution of alum, rinsed, and placed in the fixing-bath, 
 where it should be allowed to remain until all the bromide in the film is dis- 
 solved, i.e., all the whitish tinge to be seen when looking at the back of the 
 negative is removed (to be sure that it is entirely removed allow it to remain 
 a minute or two longer) ; it is then thoroughly washed and immersed in a satu- 
 rated solution of alum for five minutes, rinsed, placed upon the drying-rack, 
 and set away in a warm (not hot) place, free from dust, and allowed to dry, 
 which will probably take one or two hours. The time required for a properly 
 exposed plate to develop will range from five to ten minutes, sometimes fifteen 
 or even twenty will do no harm. Prolonged development causes density ; 
 shortened development, thinness. After sufficient detail and strength in the 
 shadows is gained, further development is injurious, but until then it is bene- 
 ficial. Over-development is better than under-development. 
 
18 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 AFTER FIXING, 
 
 should the negative appear too intense, or of a yellow color, pour over it the 
 following clear solution ; — 
 
 Alum, 1 oz.. Citric Acid, 1 oz.. Water, 20 oz. 
 
 Take of this solution six parts, and add saturated Solution of Iron, one 
 part. To keep the iron solution, add to each two ounces one drop of Sul- 
 phuric Acid. 
 
 This treatment gives the plate the appearance and printing quality of a 
 good wet plate, and if prolonged will reduce the intensity. 
 
 WASHING. 
 
 The negative should be thoroughly freed from the Hyposulphite of Soda 
 by washing for an hour or more in frequent changes of water, or nnder the 
 tap for from fifteen to twenty minutes. 
 
 INTENSIFICATION. 
 
 When a negative is fully developed in detail, but lacks in strength and 
 contrast, intensification is required ; but this process is one in which even the 
 expert often ruins his most valuable negative. It is well, therefore, to pro- 
 ceed with great care. To effect this, after the negative has been thoroughly 
 washed and dried prepare the following stock solution : — 
 
 Bicliloride of Mercury, saturated solution. 
 
 Iodide of Potassium, “ “ 
 
 Hyposulphite of Soda, “ “ 
 
 Pour the mercury into the iodide until it remains red after thoronghly 
 shaking, then add slowly sufficient of the Hyposulphite of Soda to clear the 
 color, being careful not to add too much ; if so, it will not intensify. In that 
 case a fresh mixture must be prepared of the iodide and mercury, and enough 
 added only to clear it. 
 
 Before using, dilute about one-third with water. 
 
 Immerse the plate in the inteusifier in the same manner as when devel- 
 oping, being sure that the tray is perfectly clean. The plate should be removed 
 from the inteusifier as soon as it has attained the proper printing density, and 
 thoroughly washed or soaked before drying. 
 
 VARNISHING. 
 
 After the plate has become dry it is the custom of most photographers to 
 protect the film b}' coating it with varnish. Where many prints are desired this 
 precaution is advisable, but for proofs or a limited number of prints, with the ex- 
 ercise of a reasonable amount of caution, it is better dispensed with. In fact, in 
 my professional work I have not varnished a dozen negatives, and from many 
 uirvarnished negatives have made thousands of beautiful clean prints ; but 
 there always remains the danger of the paper becoming moist and sticking to 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 19 
 
 the gelatine film, thus practically ruining what may happen to be your most 
 valuable negative. To apply the varnish, warm the plate about the tempera- 
 ture of the body, and flow, by holding it by the lower left-hand corner firmly 
 between the left forefinger and thumb in a horizontal position ; allow the solu- 
 tion to flow first to the upper left-hand corner, next to the upper right, from 
 there to the lower left, from thence back into the bottle from the lower right ; 
 drain perfectly ; again warm, and set away to cool. 
 
 PRINTING. 
 
 We now come to the final process, which is to be the result of all our 
 care, taste, and expenditure of time, and which is to increase or dhninish our 
 photographic pride. All previous manipulations are but as the preparation of 
 the canvas and paint for the use of the artist in idealizing his thoughts into a 
 picture. To become an adept in this branch, taste and experience are 
 requisites, and a surety of excellence cannot be gained without them. With 
 good negatives, material, and light, the printing of the picture is undoubtedly 
 the most pleasant part of the amateur’s work ; but it is a discouraging fact 
 that they are attended with the least success, caused largely by lack of 
 facility, apparatus, and a constant working of the chemicals, which keep them 
 in their rich, harmonious condition. 
 
 Where a large number of prints are wanted, and the result, not the prac- 
 tice, is desired, it is without doubt cheaper and more satisfactory for the ama- 
 teur to pass his negative to an establishment that makes a specialty of this 
 class of work ; but to the true artist-amateur the novelty of truthfully making 
 the picture., which he presents to his friend for keeping or criticism, is the 
 source of the greatest satisfaction, and to do this in the simplest, easiest, and 
 yet most perfect manner, I shall endeavor to assist him. 
 
 Like the preparation of the gelatine plates, the sensitizing of the paper 
 had better be left in the hands of the professional, or those who prepare it for 
 the photographic trade, as the limited amount which the amateur is likely to 
 use makes it economy for him to buy the paper ready for use, saying nothing 
 about the freedom from stains which favors this course. 
 
 If the paper has been procured from the professional photographer, it 
 should be ascertained whether or not it has been “ fumed.” 
 
 Commercial, or what is known as “ Ready Sensitized Paper,” is not, as a 
 rule, fumed when sold. 
 
 Fuming the sensitive-paper with ammonia before printing, increases the 
 brilliancy of the print, as well as the sensitive qualities of the paper, render- 
 ing the toning easier. As it destroys the keeping qualities of the paper, fume 
 only for immediate use. 
 
 TO FUME on a small scale, proceed as follow : Over the bottom of a 
 small box (a plate box will do) spread a small quantity of absorbent cotton. 
 On the cotton sprinkle a few drops of strong ammonia water ; cut a piece of 
 blotting-paper to fit in the box and lay over the cotton ; on the blotting-paper 
 lay the sensitive-paper, and close the box. 
 
 The sensitive-paper should not come in direct contact with the liquid 
 ammonia, and if the cotton should be wet enough to cause the moisture to 
 penetrate the blotting-paper, another sheet should be added. 
 
 Where it is desirable to fume in large quantities, procure a box or drawer 
 of suitable size, and place supports across, near the top ; fasten two sheets of 
 sensitized paper together b}^ the extreme edges, and place across the sticks 
 
20 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 with faces outward ; several sheets may also be fastened by the corners to 
 the inner surfaces of the box with faces outward ; place a saucer containing 
 some stronger ammonia in the bottom of the box, and close the cover. 
 
 From fifteen minutes to a half-hour is the time required to properly fume 
 sensitized paper ; remove the paper from the fuming-box at least five 
 minutes before jjlaciug in the printing-frame. This done, cut the sensitive- 
 paper, in a darkened corner of your room, into pieces the size of print you 
 wish from the negative. If a printing- board is to be employed, laj' the 
 sensitive side of the paper on the film side of the negative, firmly hold them 
 together with the right hand on the upper part of the negative and paper ; 
 then take the board in the left hand by the narrow hinged part ; this will 
 allow the upper or wide part to fall over; by this you are enabled to lay the 
 negative on the padded lower part, and by relaxing the under fingers of the 
 left hand, and then including in its grasp the printing-board also, the right 
 hand is free to apply the spring clamps on both parts to get the pressure. 
 These clamps should be applied only on the extreme corner, so as to avoid 
 leaving a white mark on the print. 
 
 If instead of a board, a printing-frame is to be used, remove the spring 
 and pressure board, lay the negative in the frame, film side and place the 
 sensitive sheet of paper, sensitive side down, as above described, replace the 
 board and apply the springs. This presses the paper in contact with the 
 negative, which must 6e, to insure a sharp print. Now lay in the sun, allow- 
 ing the rays to strike as evenly as possible on the negative : after a few 
 moments examine the progress of the operation by unclamping one side of 
 the board and turning back the paper, which will be found to have darkened 
 in parts, and thus transforming the clean, white paper into a picture. The 
 length of time which is required to print a picture is governed bj" the density 
 of the negative and the strength of light. As you cair watch the progress 
 with ease, it is your only means of knowing when it has undergone sufficient 
 change, and even by this method the amateur will find some difficulty in 
 deciding in which stage rests the “ happy medium.” The toning process is 
 one which bleaches ; therefore,, the print requires to be many shades darker 
 than is desired in the finished picture. 
 
 This is simply an outline of the mechanical method of producing a print, 
 and the student must not feel that in once successful!}" completing this task 
 he has exhausted the subject ; it is one on which volumes have and still can 
 be written, but into the depths of Avhich this guide to the “ dusky art ” can- 
 not enter. It is my object to successfully teach the novice to make a photo- 
 graphic picture ; after ha\dng accomplished this he is then ready, if he so 
 choose, for deeper investigation into each succeeding step towards the com- 
 pletion of photograplis in which can be seen evidence of forethought, study, 
 and careful treatment of light, subject, negative, and print. To produce a 
 warm, brilliant print, a negative rich in detail and contrasts must first be 
 obtained. To make such a print from a weak, tliin negative is a difficult and 
 often impossible task for even the expert, but the printing qualities of all such 
 negatives can be greatly enriched by resorting to many artifices, such as the 
 following, which are well known to any first-class photographic printer : — 
 
 When, by intensification and other means, you have failed to get sufficient 
 contrast in your negative, and your prints show a lack of clearness in the 
 whites, and have a general “ measly ” appearance, cover the negative with 
 two or three thicknesses of tissue-i)aper (white) or ground glass ; this evi- 
 dently protects the whites, and allows a greater proportion of liglit to pass 
 through the shadows ; but be this as it may, it is a well-known fact that if 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 21 
 
 two prints be taken from a weak negative the one printed by diffused light will 
 be found the most brilliant. Parts of the picture which are too dark can be 
 greatly improved by shading with some opaque substance, keeping the shade 
 moving so as to allow no outline to be printed ; in this way skies can be light- 
 ened, and other parts of the picture shaded, while very intense portions are 
 printed deeper. For a treatise on this class of work I cannot do better than 
 refer the amateur or professional to the most excellent work of H. P. Robin- 
 son and Capt. Abney, entitled, “ The Art and Practice of Silver Printing.” 
 
 CUT-OUTS, OR MASKS, FOR PRINTING. 
 
 In a piece of opaque paper cut any size or shape opening desired, and 
 adjust it on the face of the negative until in a position to suit the taste of 
 the operator ; then trim the edges of the paper to size of the negative, while it 
 has been kept in this position. 
 
 When wanted for use the mask is placed between the negative and the 
 sensitive-paper, and this prevents that portion, usually the border coming 
 under the mask, from being changed in color while the exposed part is 
 printed. Cut-outs, or masks, in all forms, can be bought of dealers. 
 
 Vignetting the picture is done by causing the printing of the negative to 
 blend into the protected and unprinted margin, instead of in a sharp line, as 
 is the case with masks. For this purpose, there are many devices to be 
 obtained, at a small cost, of dealers, each of which are so simple to use that 
 any description is unnecessary except to add that the vignetting mask is 
 placed in front of the negative, instead of between the negative and sensitive 
 paper, and from a quarter of an inch to an inch from the face of the negative, 
 owing to the construction of the device and the effect desired. The farther 
 the mask is from the negative, the softer will be the blending from the print- 
 ing in the centre to the white border. Light must be prevented from coming 
 in on the negative from the outside of the mask. 
 
 An ounce of thought ; a spoonful of experience , seasoned with good 
 taste; manipulation by a person with ordinary intelligence, — should quickly 
 produce pleasing results. 
 
 The printing having been completed, remove the backboard and print, 
 and proceed to trim the latter by using the trimming-glass and a sharp pair of 
 shears, or the print-trimmer. It should not be the aim of the artist to get as 
 large a print on his mount as possible, for a 5x8 print which has in one por- 
 tion of it a jpiciiire measuring 4 X 5 inches, with the remaining portions unin- 
 teresting or poor, would be far more pleasing with the objectionable part 
 removed. Great taste can be exercised in this evidently simple branch. A 
 desired number of prints ha\dng been made, we now proceed to the washing, 
 toning, and fixing, or, in other words, to render permanent the temporary pict- 
 ures which we now have, and which would continue to print or grow dark in 
 all parts exposed to light. The first step is to wash out the fine salts of free 
 silver by placing the prints one by one in a dish containing w'ater, being care- 
 ful that they do not stick together until thoroughly wet ; put them into fresh 
 changes of water several tunes, or until the milky sediment which usually 
 forms has been largely washed out of the print. 
 
 A reliable coimnercial toning solution is undoubtedly the more deskable 
 
22 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 article to use, but not desuiug to confine the operator to such, I give instruc- 
 tions to prepare a solution, commonly called a toning bath, as follows : — 
 
 SOLUTION I. 
 
 Water ........ 20 oz. 
 
 Common Salt ....... 60 grains. 
 
 SOLUTION 2 . 
 
 Chloride of Gold . . . . . . 15 grains. 
 
 Water ........ 10 oz. 
 
 SOLUTION 3. 
 
 Bicarbonate of Soda . . . . . . 2 oz. 
 
 Water ........ 4 oz. 
 
 TO COMPLETE THE TONING BATH. 
 
 Into toning-tray place the entire amount of Solution No. 1, and take of 
 Solution 2, ^ an ounce. Solution 3, 15 drops, or sufficient to cause red litmus 
 paper, or test-paper, to turn purple ; this denotes that the bath is in au alkali 
 state, which must be before it will act on the prints. If the bath has been 
 freshly made it should stand at least fifteen minutes or half-an-hour, and 
 after toning kept for future use, when all that will be required is a fresh sup- 
 ply of gold, and the bath again made alkaline. In order to preserve the 
 keeping qualities of the gold it must remain in an acid condition, as when 
 alkaline the gold precipitates, and in this state of precipitation the prints only 
 can be toned : thus we are compelled to supply a fresh quantity at each 
 toning ; but the solution of itself apparently grows richer with use, and imparts 
 a deeper and more brUliaut color to the prints. 
 
 The prints, now ha^^ng had the free nitrate of silver removed from them 
 by washing, and the toning bath is awaiting the time desirable before using, we 
 will proceed to acidify the former (the prints) by soaking them for a few 
 minutes in the following solution : — 
 
 Water ........ 20 oz. 
 
 Acetic Acid ....... oz. 
 
 But this, however, is not an absolute necessity, as many photographers tone 
 the prints directly from the washing, but it has alwaj's been my constant 
 custom to acidify theirr. Before the prints are put in this solution (if from 
 good negatives aird on good paper) they should be of a rich purple color. 
 They will now soon commence turning to a reddish brown ; allow this color to 
 ripen until quite deep ; then remove and wmsh in two or three waters, or until 
 no trace of the acid is left in the water : when acid is present the water will 
 taste sour. The toning bath now being ready for use, the prints are placed 
 one bj' one therein. 
 
 Changing the prints from an alkaline to an acid state (or from a blue to a 
 red color) by the above process, is done to enable the operator to watch more 
 easily the Process of Toning, which again cliauges the print back to something 
 like its original color before acidification, and lea%fing the high lights clear and 
 pure. The proper stage at which to stop the toning is very difficult to de- 
 scribe, as prints from different negatives appear of a different color, and dif- 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 23 
 
 ' ferent brands of paper tone very differently, some requiring more toning than 
 others ; again, what one might call a rich loarm tone another will often think 
 undertoned or too red. As a general rule remove the print and place it in 
 j fresh water when it has changed to a dark blue. The rest I must leave to 
 I your judgment and taste. 
 
 I FIXING. 
 
 I This is the final chemical process through which our picture has to pass, 
 
 and, as the name implies, it is for the purpose of fixing the color or making 
 the print permanent (so to speak). Yes, it is a “fixer,” for many an 
 enthusiastic amateur has found his fondly cherished work sadly ‘•‘•fixed, ” in the 
 I most literal sense of the slang term. Hyposulphite of Soda (which forms the 
 1 fixing solution) is the friend of photography : after all other chemicals have 
 ; given their assistance to form and build the image, “Hypo.” puts forth his 
 , staying hand and arrests the escape of the “ fading reality ; ” but after he has 
 finished his work the wise photographer will drive him energetically away ; 
 
 ; yea, let no trace or vestige be left, or your feeling of love for him will be 
 
 I turned to hatred. 
 
 1 The Fixer is composed of — 
 
 Hyposulphite of Soda . . . . . 1 oz . 
 
 Water ........ 10 oz. 
 
 After the crystals have become thoroughly dissolved place the toned 
 i prints in the solution, and keep them in motion for fifteen or twenty minutes, 
 
 ' then remove to the final washing- water. Had the prints been placed in this 
 
 solution before being toned they would have turned a yellow, muddy color ; 
 therefore, if the print is undertoned it will turn and remain in this state, and if 
 overtoned it will be blue or cold gray after having been immersed a few minutes. 
 Under either circumstance they will generally assume a brownish or reddish 
 color when first immersed. 
 
 After fixing, the prints should be thoroughly washed in running water for 
 at least two hours, or if in haste, held simply under the tap for fifteen 
 or twenty minutes. They are then ready to be mounted or ortherwise 
 k disposed of. 
 
 I 
 
 — 
 
 A NEGLECTED METHOD OF SILVER PRINTING. 
 
 BY CHARLES L. MITCHELL, M.D. 
 
 [Read before the Photosrraphic Society of Philadelphia.] 
 
 During the past five or six years, and with the advent into popular use of 
 the dry-plate process of photography, considerable attention has been given 
 to different methods for producing, by photographic processes, various artistic 
 effects in printing the picture, in simulation of those obtained by the mechani- 
 cal processes of the engraver and etcher. The albumen silver print refiects 
 the general popular taste, and when artistically made is always pleasing, but 
 the gloss and brilliancy of its surface soon become monotonous and even 
 
24 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 wearying, and the eyes seek relief in the mellow tones and soft outlines of a 
 well executed etching or engraving. This has led to the introduction of the 
 various forms of bromide paper, “Alpha” paj^er, platinum prints, etc., etc., 
 all of which seek to reproduce on a dead or mat surface paper, by different 
 chemical methods, the blacks, purples, grays, and various half tones, obtained 
 by the skilful use of the engraver’s tool, and to give effects corresponding to 
 those found in a fine line engraving. 
 
 The use of these papers has led to considerable change in the styles of 
 photographic printing, and although the albumen print will probably always 
 be to a very large majority of persons “ the photograph,” and the only form 
 recognized by that title, there will remain a considerable minority, to whom 
 the other more novel and more artistic styles of photographic printing -will 
 prove most interesting and enjoyable. The use of bromide paper for pre- 
 paring pi’iuts, and particularly for enlargements, is rapidly increasing, and yet 
 the writer feels compelled to acknowledge that, after considerable experience 
 in its use, he has frequently been disappointed in the results obtained from it. 
 For enlargements, which can afterwards be worked up with the stump and 
 crayon, it leaves nothing to be desired, but for contact prints and enlarge- 
 ments of moderate size, which are to receive no further finishing, it must be 
 confessed that there is often in the finished bromide print a lack of the finer 
 details of the picture, which is rather disappointing when compared witli a 
 good albumen print prepared from the same negative. Furthermore, the 
 process is, to a certain extent, one which must be carried on in the dark — in 
 a double sense — for not until the paper is exposed, and the latent image has 
 commenced to show itself under the influence of the developing solution, does 
 the operator know whether his exposure has been properly timed so as to 
 secure the best print, and it is then too late to more than partially remedy the 
 difficulty by influencing or modifying the remainder of the already partially 
 completed development. It is true a succession of trials will soon determine 
 the proper exposure for any one negative, but this takes time and is 
 expensive, so that among photographers, and particularly amateurs, to which 
 class the writer now mainly addresses himself, the remark is often heard, 
 “ Yes, bromide prints are very beautiful when you can get them just right, 
 but I find much difficulty in doing so, and but few negatives produce fine 
 results. For general work I prefer a- good albumen print.” 
 
 The purpose of the writer is to call attention to a style of silver printing, 
 once quite popular but now fallen into comparative disuse, which is, while 
 probably no better in its finished result than the bromide process at its best, 
 yet considerably more certain in its result, at least, as easy in its execution, 
 and affords a variety in effect much superior to that produced by the bromide 
 process. I allude to the old method of printing on plain paper, sensitized with 
 cliloride of silver. Years ago, in the time of the old wet-plate processes, this 
 method of printing was quite popular, but of later years it seems to have 
 dropped almost completely out of sight, and there is but brief mention of it 
 made in the different technical works on photographic printing. Yet it gives 
 results which are so extremely beautiful, that it seems but proper that more 
 attention should be directed to it, and particularly by those artistic photogra- 
 phers who are always seeking new and beautiful photographic effects. In 
 portrait work it gives beautiful soft outlines and warm tones, and for land- 
 scapes, architectural studies, genre pictures, copies of old engravings, etc., it 
 gives results which for softness, delicacy, and perfection of tint cannot be sur- 
 passed by any other method with which the writer is acquainted. AYith it a 
 great variety of tones can be obtained, ranging from a sepia or a rich brown 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 25 
 
 to a deep purple or even black, capable of reproducing in many instances the 
 same soft and warm tints of an old mezzotint or copper-plate engraving. 
 Furthermore, as the process is conducted in the same manner as in ordinary 
 albumen printing, the; period of exposure is not an uncertain quantity, but the 
 printing can be watched as it goes on under the printing-frame, and the depth 
 of the print and consequently the character of the subsequent tone, regulated 
 according to the taste of the operator. 
 
 The details of the process are briefly as follows : The paper used should 
 be an ordinary plain white paper — Rives, for instance — with a moderately 
 smooth surface. This is to be salted in the usual manner with a soluble alka- 
 line chloride (sodium or ammonium), a small quantity of gelatine or albumen 
 being added to the bath, so as to give a slight size to the paper, and the paper 
 subsequently well dried. Such paper can generally be procured from the 
 dealers, already prepared. Other varieties of white paper with a rougher sur- 
 face, corresponding in grain to the “ C” Bromide paper, may be prepared in 
 a similar manner, and the writer hopes to be able to make further experiments 
 in this direction. 
 
 This prepared and salted paper is now to be sensitized. This is done by 
 floating it on a sensitizing bath composed of fifty grains each of silver nitrate 
 and amuonium nitrate to the fluid ounce of water. The bath should be kept 
 slightly alkaline by the presence of a small quantity of silver carbonate (pro- 
 duced by adding a few drops of a solution of sodium carbonate to the bath) , 
 the clear supernatant liquid being always poured or filtered off from the pre- 
 cipitated silver carbonate before the bath is used. The paper should be al- 
 lowed to float on this bath for from three to five minutes, — three in summer, five 
 in winter, — and then hung up to drain and dry. All these operations must, of 
 course, be performed in a darkened room, the same as in silvering albumen 
 paper. When thoroughly dry, the sensitized paper must be fumed with 
 ammonia for fifteen minutes, in the fuming-box, and is then ready to print. 
 This is done by exposing it, under the negative, to the sun, in the usual print- 
 ing-frame. The paper prints rapidly, and from time to time the frame must 
 be removed to a dark place and the progress of the printing inspected. Here 
 is one of the great advantages of this process over the Bromide process, for 
 the operator can see just what he is doing, and can at any time stop the print- 
 ing when the color of the print shows it to have gone far enough. The prints 
 when removed from the printing-frame are to be soaked in a bath composed 
 of acetic acid one ounce, water one pint, for about fifteen minutes, and then this 
 poured off and the prints washed with half-a-dozen different changes of water, 
 until nearly all the free silver has been removed. They are now ready for 
 toning. The toning bath used is that formulated by Dr. E. L. Wilson, and 
 is composed as follows : — 
 
 Acetate Sodium 
 Chloride Sodium 
 Chloride Gold . 
 Nitrate Uranium 
 Water 
 
 60 grains. 
 60 “ 
 
 4 “ 
 
 4 “ 
 
 32 fluid oz. 
 
 “ Neutralize the gold and uranium, previously dissolved in a little water, with 
 sufficient bicarbonate soda. Before using, add gold, to renew the bath, as 
 necessary.” 
 
 The prints are to be introduced into this bath, one or two at a time, and 
 allowed to remain there until the proper tone is reached, the dish being kept 
 
26 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 gently in motion during the operation, so as to avoid uneven toning. This 
 portion of the operation requires careful watching, as, owing to the porous 
 and absorbent character of the paper the prints tone much moi’e quickly than 
 the glossy albumen prints. A few minutes is amply sufficient, and for the 
 lighter tones of sepia and brown, it is enough to but dip them in the toning 
 bath for only a few seconds. A little experience will soon indicate the proper 
 length of time. After removal from this bath they are to be rinsed with sev- 
 eral waters and then transferred to the fixing bath. This is best made as 
 follows : — 
 
 Hyposulphite Sodimn . 
 Salt . . . . 
 
 Bicarbonate Soda 
 Water 
 
 2 oz. 
 
 1 oz. 
 i oz. 
 
 1 pint. 
 
 Any of the ordinary Hypo, baths used for fixing prints vull answer equally 
 well, however. The prints are allowed to remain in this bath for about fifteen 
 minutes, then removed, well washed in several changes of water, soaked for 
 about ten or fifteen minutes in a bath of a strong solution of alum, to remove 
 the last traces of Hypo., and then washed in running water for several hours. 
 They are now finished, and can be dried by hanging them on a line or by 
 pressing them between blotters ; the latter is best. They can then be appro- 
 priately trimmed and mounted as desired. The writer has found it to be of 
 an advantage to render them more pliable by dipping them in a 10 per cent, 
 solution of glycerine in water just previous to drying them. They dry rather 
 more slowly, but they mount much more evenly and smoothly. 
 
 Different effects can be produced by a little study of two particular parts 
 of the process, — the printing and the toning. Deep printing and quick toning 
 will give sepias and browns ; deep printing and long toning will give purples 
 and blacks ; light printing and short toning will give light sepia tints, and 
 light printing and long toning will give cool grays and slate tints. Various 
 intermediate effects between these can be produced with a little experiment- 
 ing. The process is comparatively easy, sure of good results, and not ex- 
 pensive. 
 
 TO MOUNT THE PRINT. 
 
 It is useless for me to give any rules for the size, style, or color of 
 mount. The use of the picture and taste of the operator should govern 
 this. 
 
 Make a paste by moistening in the smallest quantity of water possible a 
 teaspoouful of starch, and after it is thoroughly mixed pour on boiling hot 
 water, stirring vigorously until about to the consistency of a stiff pudding. 
 
 The prints should next be placed, face downwards, on a plate of glass 
 one on top of the other, and all surplus water removed by squeezing with the 
 hand. It is necessary to get them quite dry, or the corner’s and edges when 
 mounted will persist in curling up. Apply the paste with a flat brush, rubbing 
 on a good quantity, especially around the corners and edges. Baise one 
 edge with a penknife, pick up and lay pasted side down on the card, to your 
 liking. 
 
 With a sheet of clean white paper rub the moist print down, holding 
 firmly the lower part of paper, print, and mount together. The picture can 
 then be put aside to be dried, spotted, and burnished. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 27 
 
 Spotting is accomplished by simply touching white spots or imperfections 
 with India Ink. The burnishing, by passing the print under an iron roller, 
 and over a heated steel surface, the print being next to the heated surface. 
 
 Prints mounted with “Anti-cockling;LMounting Solution” will remain per- 
 fectly flat when dry, wUl not cockle, bend, or twist, and do not require 
 burnishing. 
 
 PRINTING WITH ROMAN BLUE PAPER. 
 
 By this process the method of exposing to the light is the same as with the 
 silver. Print until the shadows turn to a rusty color, then wash until all trace 
 of yellow is removed. Should the picture apparently wash away and leave 
 the paper quite white, it is evidence that it has not been printed sufficiently. 
 
 TO DRY A NEGATIVE QUICKLY. 
 
 Soak in alcohol for five minutes, remove, place on the rack in a warm, 
 dry place ; the alcohol displaces the water in the film, and the plate will be 
 found to dry rapidly. 
 
 PRINTING TRANSPARENT POSITIVES. 
 
 Very beautiful glass positives for hanging in windows, etc., can be made 
 by using the ordinary Gelatine Bromide Plates (a slow plate is preferable, as 
 it generally gives greater contrasts) . Place the negative from which you 
 wish to make the positive, film side up in a printing-frame having quite mild 
 springs, lay the gelatine plate film downwards on the negative, replace the 
 back press-board, spring down gently until fastened, and hold two feet from 
 a gas jet for exposure. As the progress of printing cannot be examined as 
 with the paper printing, the time of exposure must be calculated ; this depends 
 on the density of the negative, the rapidity of the plate, and the strength of 
 light. 
 
 Develop with the Oxalate of Potash formula, and fix as in negative 
 making. 
 
 CARE OF THE IMPLEMENTS. 
 
 Examine all parts of the camera from time to tune to see that it leaks no 
 light. 
 
 The interior of the camera and plate-holders should be carefully dusted 
 frequently. 
 
 When the lens becomes dusty or du’ty, remove from the mounting by un- 
 screwing the ring fianges and wipe with a silk handkerchief, — if moisture 
 is required breathe on it. In replacing the lenses be sure that the convex sides 
 are from the diaphragm. When a screw becomes loosened or lost immediately 
 make it good. 
 
 When not in use keep packed; and each article in its respective place. 
 
 CARE OF THE PLATES. 
 
 These must positively be kept in a dry place, and, after the outside cov- 
 ering is off, well protected from light. In changing or handling them be 
 careful that the hands are free from moisture, remembering that the film is 
 glutinous. In repacking always replace the separators between each plate, and 
 see also that they are perfectly dry ; likewise the plate. 
 
28 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 EXPLANATIONS. 
 
 In development the plate should be entirely ‘covered by the solution \ 
 otherwise, where it has been left uncovered, a more transparent spot will be 
 present. Also, wherever the developer stops in flowing, a streak is left. 
 
 Should the film blister and leave the glass in any of the operations in the 
 solutions, immediately remove from the tray and flow with an alum solution ; 
 allow it to remain a minute or so, and then proceed as before. When carrying 
 or setting the plate-box exposed to light, it is best to take the precaution of 
 covering it, thus avoiding the plates being damaged by any leak. It is always 
 best to somewhat shield the parts of the camera which are most apt to leak light 
 from direct sunlight. In changing or developing the sensitive plates, be sure 
 not to admit any actinic light until all developed plates are protected from it. 
 Neither should the plate be exposed to the direct rays of even a ruby, or 
 nou-actiuic light, more than is necessary. 
 
 SATURATED SOLUTION. 
 
 A solution in which the solvent has taken up, or holds in solution all of a 
 salt that it is capable of dissolving, as an example, a saturated solution of ox- 
 alate of potash, is when the water will dissolve no more of the potash. 
 
 ACIDITY, NEUTRALITY, AND ALKINITY. 
 
 All chemicals are in either of the above conditions ; by adding an alkali to 
 an acid, we may change it to a neutral ; and from thence to the alkali, and 
 vice versd; bj'^ touching with litmus paper, the color to which it will change 
 denotes the condition of the solution : red denotes acid, and blue, alkali. 
 
 ACTINIC AND NON-ACTINIC PHOTOGRAPHICALLY. 
 
 A light which will or will not act on the chemicals or films which are 
 sensitive to light. 
 
 STOCK SOLUTION. 
 
 A solution made up in quantity, from which mixtures for immediate use 
 are taken. 
 
 GENERAL REMARKS. 
 
 To produce fine, clean results, care and judgment must he used. Any par- 
 ticle of dust or dirt on the film of the plute, when exposed or developed, is 
 likely to leave its impression ; therefore, carefully remove all such with a 
 brush before putting the plate into the plate-holder, and again before it is de- 
 veloped. If found difficult to flow the plate without stains, caused by the 
 developer stopping in its flow, it can be wet, wliich is a preventive. After the 
 plate has been once wet, always freshly wet it before changing it into any of 
 the solutions ; othei’wise, small air-bubbles are likely to form on the surface. 
 
 I have found the finest negatives obtainable by a good, generous exposure 
 and. using a weak developer, but the development must be continued longer. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 29 
 
 A thorough washing or soaking after fixing is absolutely necessary to elimi- 
 nate the Hypo, from the film. Whenever a trace of it is present, the film re- 
 mains moist and “ sweaty,” causing it to turn yellow, and the image to fade 
 away ; remedy : Soak in water ten minutes, rinse, immerse in alum for a min- 
 ute or two, again rinse, and set away to dry. 
 
 Either in hot or cold weather, whether your plate frills or not, an immer- 
 sion of the plate in a strong solution of common alum is invaluable ; it 
 toughens the film and causes it to dry quicker and harder, and with clearer 
 shadows. Be sure that you use none but Light-tight Cameras and Plate- 
 Holders. 
 
 PHOTOGRAPHING AT NIGHT. 
 
 By means of the Magnesium Flash Light there is furnished an opportunity 
 for practising the art at times which are most convenient for amateurs, as a 
 class. The modus operandi is simple and interesting. Owing to the local 
 nature of the light it is more suitable for portraits and groups. Although em- 
 bodying no new discoveries, practice to any extent with this light is of recent 
 date only, and any directions which I can now give will doubtless appear in- 
 complete and crude a year hence. 
 
 DIRECTIONS FOR USING. 
 
 Focus the subject on the ground glass of the camera by suitable illumi- 
 nation with either gas or a lamp, and arrange white muslin or paper side 
 reflectors so as to illuminate the shadow side of the sitter. Place a box of 
 the flash powder on a piece of tin or iron (an old tin pie-plate will do very 
 well) , and then set this on some support or stand, arranged in such a manner 
 that it will be a foot or two above the line of the head of the sitter, and suffi- 
 ciently behind, or to one side of the camera, to keep the flash from shining 
 directly into the lens. Then ignite the charge by means of a long taper, at 
 least twelve or eighteen inches long. This is very important, for the powder, 
 when ignited, burns very quickly ; and, if a short match is used, or the face of 
 the op>erator placed near the light, severe burning might take place. . A mull 
 screen or ground glass may be placed between the light and the sitter, to 
 soften the shadows. It is also well to have a tin or glass reflector, of good 
 size, in the rear of the light. The exposure is, of course, instantaneous, and 
 no head-rest is needed. 
 
 In taking large groups, or where the sitter is at a considerable distance 
 from the camera, more than one box of the powder may be necessary. Either 
 portrait or landscape lenses can be used. Stops should be employed with 
 rapid lenses. 
 
 Employ a soft developer, as for instantaneous work, one with excess of 
 alkali. 
 
 FURTHER FORMULA. 
 
 While I cannot give anything which I could recommend as being more 
 safe and satisfactory for the beginner than that which has already been given 
 in these pages, yet, as there are at present so many different formulas for all 
 
30 AMATEUR GUIDE. IN PHOTOGRAPHY. 
 
 stages of the picture’s growth, with an equally strong army of devotees to 
 each, I append a few well-tried formula for the experimentalist. 
 
 The sulphate of iron and oxalate of potash as a developer still remains a 
 favorite with many. It may not be as energetic in its action, but the results 
 are of a clean, transparent nature, not to be obtained with any of the many 
 formulas I have tried. I have found that by commencing with a small amount 
 of iron, thp development is under perfect control, and almost any results can 
 be gained. The addition of five drops of a saturated solution of citric acid to 
 the ounce of developer, Avill help to prevent fog and pink stains. 
 
 FERROUS OXALATE DEVELOPMENT. 
 
 Make saturated solutions, with hot water, of Oxalate of Potash and Pro- 
 tosulphate of Iron. Allow them to cool and settle clear. To the Oxalate add 
 enough of a solution of Oxalic Acid to turn blue litmus red. To the Iron solu- 
 tion add about five drops of Sulphuric acid to the pint. These separate solu- 
 tions will keep indefinitely. 
 
 For portraits and general view work, where more time can be given, one 
 ounce of the Iron solution, added to six ounces of the Oxalate, will be found 
 best. For instantaneous and very short exposures, or interiors with strong 
 contrasts, use one ounce of the Iron solution, added to three ounces of the 
 Oxalate. The development, fixing, and washing of the plate will be as 
 described before. 
 
 TO REDUCE AN OVER-DENSE NEGATIVE. 
 
 Take a solution of Hyposulphite of Soda, of about the strength of fixing 
 bath, and add Oxalate of Potash developer (an old solution answers as well), 
 until of the tint of Sherry wine. Into this put the negative, and watch until the 
 right density is obtained ; then wash well. 
 
 NOTES AND INSTRUCTIONS 
 
 GIVEN BY 
 
 M. A. SEED DRY PLATE CO., PYRO AND SAL SODA 
 
 DEVELOPER. 
 
 PYRO STOCK SOLUTION. 
 
 
 Sulphite Soda Crystals ...... 
 
 6 ounces. 
 
 (Or Granulated, 4 oz.) 
 
 
 Pyrogallic Acid ....... 
 
 1 ounce. 
 
 Water (Ice or Distilled) . . . . . 
 
 16 ounces. 
 
 SAL SODA STOCK SOLUTION. 
 
 
 * Sal Soda 
 
 4 ounces. 
 
 (Or Carbonate of Potassium, 8 oz.) 
 
 
 Water ........ 
 
 16 
 
 For Instantaneous Exposures, use, instead of Sal Soda, Carbonate of Potassium. 
 
AMATEUR GUIDE IN PHOTOGRAPIIT. 
 
 31 
 
 TO DEVELOP. 
 
 Just before development add to six, eight, or ten ounces of water, one 
 ounce of Pyro Solution, and one ounce of Sal Soda Solution, or the same of 
 Carbonate of Potassium Solution. (See foot-note, page 30.) 
 
 Note. — The amount of water used depends upon its temperature. If ice-water is used six 
 ounces will be right. If the water is over sixty degrees, eight ounces should be used ; if over 
 eighty degrees, ten ounces. We prefer cool development, as it gives the finest effect. 
 
 This developer may be used repeatedly, but will work slower and with 
 more intensity when old. Therefore, the fresh developer is best for short 
 exposure, and the old is better if the plate has been fully timed. In using 
 the Sal Soda Developer it is very important to carry the development far 
 enough, until the lights have sufficient intensity when examining the plate by 
 transmitted light. 
 
 The quantity of Pyro must be according to the density of the negative 
 wanted. 
 
 K the negative is too strong, use less Pyro ; if not strong enough, more. 
 
 FIXING BATH. 
 
 Alum . . . . 
 
 Hyposulphite of Soda . 
 Water 
 Filtei’. 
 
 i oz. 
 
 5 oz. 
 
 1 pint, 
 
 Leave the plates a few minutes longer in the bath than they require for 
 fixing. This is important, as the permanency of the negative depends upon it. 
 
 N.B. — The Sensitometer number on the box indicates the rapidity of the plate. For instance, 
 if you give one second for No. 22, No. 21 will require one and a half seconds ; No. 20, two seconds. 
 
 Defects in Dry-Plate Negatives and their 
 
 Remedies. 
 
 WANT OF DETAIL IN LIGHTS AND SHADOWS. 
 
 It is generally supposed to be due to under exposure, but this is not 
 always the case. For instance, I expose a plate four seconds. It develops 
 in from one to two and a half minutes, and the result is with the above defect. 
 It is a proof that I have used more Pyro than the plate required. Now, I will 
 try again. I take a plate out of the same box, give three seconds’ exposure, 
 use only half the amount of Pyro Stock Solution to the usual amount of Sal 
 Soda Stock Solution, and the negative will develop in three or three and a half 
 minutes ; result, a fine negative in definitions and brilliancy. On the other 
 hand, a negative may have precisely the same appearance as the foregoing one, 
 but it took from five to ten minutes to develop. Try another, and you double 
 the amount of exposure. 
 
32 
 
 AMATEUR GUIDE IN PHOTOGRAPET. 
 
 GRANULARITY OF NEGATIVE. 
 
 This defect generally appears during the -warm ■weather. There are two 
 causes, — one the result of insufficient mixing of the developer before pouring 
 over the plate, especially if too strong and too high ternperature. Eemedy. 
 — Dilute the developer with water one-third, or use ice-water without the 
 dilution. 
 
 Another cause is the fixing-bath being too milky, thi'ough containing too 
 much alum. Reseedt. — Never use a fixing-bath which is muddy. Filter it. 
 
 FLATNESS, OR WANT OF HIGH LIGHTS IN NEGATIVE. 
 
 This generally is due to overtiming. The more rapid the plate the less 
 latitude you have in time of exposure. A slower plate alwaj’s gives a wider 
 range. Too much Sal Soda produces flatness, also a developer weak in Pyro. 
 
 SMALL, ROUND, SHARPLY-DEFINED TRANSPARENT SPOTS. 
 
 Some photographers wet their plates before applying the developer. If 
 this is not thoroughly done, air bubbles will be formed on the surface, and 
 hence cause the spots above referred to. With our plates wetting is un- 
 necessary. 
 
 Another cause of similar spots is using water for the developer which 
 contains vegetable-matter, causing it to bubble more or less while pouring it 
 on the plates. Remedt. — Use only ice or distUled water. 
 
 On account of the exti’eme rapidity of our plates, great care should be 
 taken that they are developed in a suitable light. 
 
 Test. — Expose one-half of a plate three minutes to your light in 
 developing-room and develop. If the part exposed is as clear as the unex- 
 posed part yom- light is safe. 
 
 Directions for using the “ Hub ” Concentrated 
 Universal Developer. 
 
 By THE BLAIR CAMERA CO. 
 
 To Develop. — For a 5 x 8 plate take of Stock Solution No. 1 [Ptro], 
 half an oz. ; of Stock Solution No. 2 [Ar.KAi.ij, one-quarter oz. ; of water 
 [better filtered] three ounces. Flow this over the plate, and if the image does 
 not appear within twenty or thirty seconds add more of No. 2, a few drops at 
 a time, until development commences ; allow this to proceed without further 
 addition nntil the plate has reached the proper density. This developer can 
 be used repeatedly for a number of plates by occasionally strengthening it as 
 the action grows weak, by adding a drachm or two of each of the No. 1 and 
 No. 2 Solutions. When fresh it answers best for short exposures, but after 
 hartng been used once or twice it will produce more contrast, and is better for 
 over-exposed plates. 
 
 For Over-exposed Plates. — Restrain the action of the developer bj^ the 
 addition of a few drops of Bromide Solution [Bromide Potassimn, 1 oz.. 
 Water, 10 ozs.j 
 
 For Instantaneous Exposures and Under-exposed Plates. — Use a diluted 
 developer weak in Pyi’o ; for instance, two drachms of No. 2, one drachm 
 
r 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 33 
 
 No. 1, and four ounces of water; use plenty of solution, keep it cool, and 
 change it several times if the exposure has been so short as to require pro- 
 longed development. 
 
 Bear in mind these three cardinal principles of development : — 
 
 Pifro is the developer, and gives density. 
 
 Alkali is the accelerator, and gives detail. 
 
 Bromide restrains and keeps the shadows clear. 
 
 Directions for using The “Hub” Concentrated 
 Hydrokinone Developer. 
 
 By THE BLAIR CAMERA CO. 
 
 To Develop. — Take of Stock Solution No. 1 (Hydrokinone) , half an 
 oz. ; of Stock Solution No. 2 (Alkali), half an oz. ; water, 2 ounces; and 
 one or two drops of a 10-per cent. Solution of Bromide of Potassium. The 
 water should be either warm or iced, according to the season, in order to give 
 the Developer the proper temperature. The image will make its appearance 
 rather slowly, on a properly-exposed plate, in about two or three minutes ; 
 but, once started, development will proceed rapidly and pi’ogressively to the 
 attainment of the finest detail and any required density. The film will never 
 become stained under the most protracted development, and, owing to the 
 strong tanning action of the Hydrokinone, frilling, even in a warm solution, 
 is exceedingly rare. The same conditions that govern Pyro development with 
 regard to intensity and detail hold good in the case of Hydrokinone, an 
 increase giving strength and dilution producing detail. Should the action 
 proceed rather slowly toward the close of the operation, add a little more of 
 the No. 2 Solution. The plate should then be well rinsed and fixed in Hypo, 
 as usual. 
 
 This mixed Developer can be used over and over again for a number of 
 plates without any addition whatever, and is suitable for ordinary nega- 
 tives, line-work negatives for photo-engravers, transparencies, and lantern- 
 slides. For the latter, as the Developer grows older, the time of exposure 
 should be slightly lengthened. After using, this Developer can be bottled and 
 set to one side, and will serve as an excellent “starter” for several subse- 
 quent exposures. It never fogs the plates under the most protracted develop- 
 ment, and gives the most beautiful clearness and detail in the deepest 
 shadows. Although the first cost is greater than that of the Pyro and Soda 
 Developer, it is really more economical, owing to the extended use that can be 
 made of a single mixture. 
 
 Formulas and Directions for Working the 
 Cramer Lightning Plates. 
 
 By G. CRAMER. 
 
 Bear in mind that very rapid plates are sensitive to light of any color. 
 The safest light is a combination of a ruby and yellow, just strong enough to 
 enable you to judge of the intensity of negative and progress of develop- 
 ment, and the plate should not be held close to the light for examination for 
 more than a few seconds. 
 
34 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 The following combinations make a safe light : — 
 
 Orange-colored Paper with Ruby Glass. 
 
 Orange glass with Cherry fabric. 
 
 Ruby glass with Canary fabric. 
 
 Orange and Ruby Glass combined with Ground Glass. 
 
 Green is not as non-actinic as ruby and yellow combined, and it has 
 furthermore the disadvantage, that with it the intensity of a negative cannot 
 be judged so well as with the ruby light. 
 
 DEVELOPER. 
 
 (Formula No. ii.) 
 ALKALINE SOLUTION. 
 
 Sulphite of Sodium Crystals ..... 
 Carbonate of Sodium Crystals (Sal Soda) 
 
 W ater ......... 
 
 64 
 
 ounces. 
 
 The Alkaline Solution as well as the Sulphite of Sodium must be kept in 
 well-stoppered bottles. If old and decomposed it will cause yellow stain. 
 
 If dried or granular Sulphite of Sodium is used, 3 ounces will be found 
 equal to 6 ounces Crystals. . ^ 
 
 Twelve drachms Carbonate of Sodium Crystals (Sal Soda) are equivalent 
 to 5 drachms Carbonate of Sodium dried or 6 drachms Carbonate of Potassium. 
 
 PYRO SOLUTION. 
 
 Distilled or pure Ice-water ....... 6 ounces. 
 
 Sulphuric Acid . . . . . . . . .15 minims. 
 
 Sulphite of Sodium Crystals ....... 1 drachm. 
 
 After this is dissolved — add Pyrogallic Acid ... 1 ounce. 
 
 The solution should have a bright yellow color and smell like burning 
 sulphur, owing to the liberation of Sulphurous Acid, which preserves the 
 Pyro. 
 
 TO DEVELOP. 
 
 DURING COLD WEATHER use 8 ounces Alkaline Solution and from 
 2 to 5 drachms Pyro Solution ; keep moderately warm (from 65 to 70 degrees 
 Fahrenheit) . 
 
 IN HOT WEATHER add to 4 ounces Alkaline Solution 4 ounces cold 
 water and from 2 to 4 drachms Pyro Solution, and keep it cool (below 60 
 degrees Fahrenheit) . 
 
 Developer which is too warm or contains too much Carbonate of 
 Soda or Potassiuji will work foggy. 
 
 Three drachms Pyro Solution will generally be found sufllcieut for 8 
 ounces Developer to produce good intensity, if the plates are not over- 
 exposed AND IF THE DEVELOPMENT IS CARRIED ON FAR ENOUGH. 
 
 Tlie Developer can be used repeatedly. 
 
 When fresh, it answers best for short exposures. 
 
 After having been used once or twice, it will work with more contrast and 
 clearness ; therefore it is well to add a little old Developer to the new. For 
 over-exposed plates old Developer should be used, and if much over-exposed, 
 restrain by adding to the Developer a few drops of Bromide Solution (1 ounce 
 Bromide of Potassium to 10 ounces of water). 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 35 
 
 An under-exposed plate should be treated with diluted Developer, weak in 
 Pyro, for instance: 4 ounces Alkaline Solution, 1 drachm Pyro Solution, and 
 8 ounces of water ; use plenty of Solution, keep it cool, and change it several 
 times if the exposure has been so short as to require prolonged development. 
 
 FIXING-BATH. 
 
 1 pound Hyposulphite of Soda. 
 
 1 gallon of Water. 
 
 Do not expose the plate to the light before it is fixed, and leave it in the 
 bath a few minutes longer than apparently necessary, to insure thorough 
 fixing. 
 
 To PREVENT Yellow Staining of Negatives it is of the utmost Im- 
 portance TO RENEW THE HyPO BaTH AS SOON AS THE SOLUTION TURNS DARK. 
 
 After fixing, place the negative in dish containing cold Alum Solution ; 
 let it remain about 15 minutes to harden the film, then wash thoroughly. 
 
 In hot weather, when there is danger of frilling or softening of the 
 film, use the following : — 
 
 FIXING-BATH FOR HOT WEATHER. 
 
 Dissolve 2 pounds Hyposulphite of Soda 1 
 
 J pound Bicarbonate of Soda > in 2 gallons of water. 
 
 2 pounds powdered Alum J 
 
 Allow it to stand a couple of days until settled, then decant the clear solu- 
 tion for use. This Bath will fix somewhat slower than the plain Hypo Bath, 
 but will produce very clear negatives and will harden the film so thoroughly 
 as to allow subsequent washing without the use of ice. It should be used in 
 tropical climates. 
 
 If the Development was in Harmony with the Exposure, the 
 Negative will not need any Intensifying or Reducing. 
 
 If too thin from insufficient Developing, the negative should first 
 be well washed to eliminate all traces of Hypo, and can then be strengthened 
 with 
 
 INTENSIFYING SOLUTION. 
 
 Prepare a saturated solution of Bichloride of Mercury in water, and 
 pour of this a sufficient quantity gradually into a solution of 1^ ounces Iodide 
 of Potassium in 6 ounces water, until the point is reached when the forming 
 red precipitate will no longer dissolve by shaking, but be careful not to add 
 more mercury than just enough to make the solution very slightly turbid. 
 Now add one ounce of Hyposulphite of Soda in crystals, dissolve and fill up 
 with water to make 20 ounces solution. This should be diluted with about 
 three parts of water for use and strengthened from the stock solution as 
 required. If traces of Hypo are left in the film, the application of intensify- 
 ing solution will produce yellow stains, which may be removed by soaking the 
 plate in weak Hypo (1 Hypo to 20 water). Be careful not to overdo the 
 intensifying. Should it have gone too far, the negative can be reduced again 
 by placing in fixing-bath for a short time. 
 
 Intensifying should be avoided, as the desired results can be obtained by 
 proper delvelopment. 
 
36 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 FOR REDUCING INTENSITY. 
 
 Dissolve one ounce of Red Prussiate of Potash in a pint of water. 
 Wrap the bottle in yellow wrapping-paper, as the solution is affected by light 
 and will not keep long. Immerse the negative in Hypo Solution, one ounce 
 Hypo to a pint of water, to which has been added a little of the above im- 
 mediately before use. 
 
 When reduced enough wash thoroughly. 
 
 THE FINAL WASHING 
 
 should be a thorough one, as the chemicals, especially the Hypo, are more 
 difficult to eliminate from a gelatine film than from a collodion plate. To in- 
 sure perfect washing, would recommend the use of a Washing Tank, with 
 slanting grooves for the plates, which rest on strips placed about an inch 
 above the bottom of tank, allowing a free circulation of water underneath and 
 around the plates. The water should enter at the bottom and overflow on top. 
 Let the plates remain in the tank for at least half an hour in running water. 
 If no hydrant is at hand wash an hour by changing the water often. If, 
 through imperfect washing, the Hypo has not been thoroughly eliminated it 
 will cause the negative to turn brown, and fade more or less rapidly, and 
 sometimes show crystallization of the Hypo on the film when dry. 
 
 After the washing of the negative is completed, pass a clean tuft of cotton 
 or a soft camel-hair brush over the surface, to remove any sediment from the 
 water adhering to the film, and set aside to dry without heat. After the nega- 
 tive is perfectly dry it may be heated and varnished with any good negative 
 varnish. 
 
 FAILURES. 
 
 Foggy Negatives. — Caused by over-exposure ; white light entering 
 camera or dark-room ; too much light during development ; decomposed 
 Pyro ; introduction of Hypo or Nitrate of Silverin to the developing solution 
 from the fingers or from tablets used for wet plates ; Developer too warm or 
 containing too much Carbonate of Soda or Potassium. 
 
 Weak Negatives with Clear Shadows. — Under-development. 
 
 Too Strong with Clear Shadows. — Under-exposure. 
 
 Weak Negatives with Plenty of Detail in the Shadows. — Want 
 OF Intensity, caused by over-exposure. Shorter exposure with longer devel- 
 opment will, in most cases, produce sufficient intensity, and an addition of 
 more Pyro Stock solution to the Developer will seldom be necessary. 
 
 Fine Transparent Lines. — Using too stiff a brush in dusting off the 
 plates. 
 
 Transparent Spots. — Dust on the plate, or air-bubbles while devel- 
 oping. 
 
 Crystallizations on the Negative and Fading of Image. — Imperfect 
 elimination of the Hypo. 
 
 Yellow-colored Negatives are caused by not using enough Sulphite 
 of Sodium in developer, or if the article used is old and decomposed. 
 
 Yellow Stains are caused by using old Hypo Bath which has assumed a 
 dark color, or by not leaving plate in Hypo Bath long enough. 
 
 Mottled Appearance of negative is caused by precipitation from Fixing- 
 Bath containing alum, if the solution becomes old, or if it is turbid. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 37 
 
 WEIGHTS AND MEASURES. 
 
 APOTHECARY’S WEIGHT. 
 
 SOLID MEASURE. 
 
 20 Grains 
 3 Scruples 
 8 Drachms 
 12 Ounces 
 
 = 1 Scruple = 
 
 = 1 Drachm = 
 
 = 1 Ounce = 480 
 = 1 Pound = 5760 
 
 20 Grains. 
 60 “ 
 
 60 Minims 
 8 Drachms 
 20 Ounces 
 8 Pints 
 
 FLUID. 
 
 = 1 Fluid Drachm 
 
 - 1 Ounce 
 . : 1 Pint 
 
 - 1 Gallon 
 
 Symbol. 
 
 f.3. 
 
 f.§. 
 
 O.3. 
 
 gall. 
 
 The above weights are those usually adopted in formulae. 
 
 All Chemicals are usually sold by 
 
 AVOIRDUPOIS WEIGHT. 
 
 27-|-| Grains 1 Drachm = 
 
 16 Drachms — 1 Ounce = 
 
 16 Ounces = 1 Pound = 7000 
 
 27^|- Grains. 
 
 437 | 
 
 Precious MetalS' are usually sold by 
 
 TROY WEIGHT. 
 
 24 Grains = 1 Pennyweight = 24 Grains. 
 
 20 Pennyweights = 1 Ounce = 480 “ 
 
 12 Ounces = 1 Pound = 5760 “ 
 
 Note. — An ounce of metallic sliver contains 480 grains, but an ounce of 
 nitrate of silver contains only 43 7|^ grains. 
 
 FRENCH WEIGHTS AND MEASURES. 
 
 
 AND THEIR EQUIVALENTS IN ENGLISH. 
 
 Cubic Centimetre = 17 minims nearly. 
 
 = 1 draclim. 
 
 = 1 ounce. 
 
 = 1 ounce 6 drachms 5 minims. 
 
 = 3 ounces 4 drachms 0 minims. 
 
 = 35 ounces 1 drachm 36 minims. 
 
 28.4 “ “ 
 
 50 “ “ 
 
 100 “ “ 
 
 1000 “ “ 
 
 or 1 litre, 
 
 = to 61 cubic inches 
 The unit of French liquid measures is a cubic centimHre. 
 
 A cubic centimUre of water measures nearly 17 minims (16.896) ; it 
 weighs 15.4 grains, or 1 gramme. A cubic inch of water weighs 252.5 grains. 
 
 The unit of French weights is the gramme = to 15.4 grains; thus, a 
 drachm (60 grains) is nearly 4 grammes (3.88). An easy way to convert 
 grammes into English weight is to divide the sum by 4, which gives the equiva- 
 lent in drachms very nearly thus : — 
 
 Grammes. Drachms. Oz. Drachm. Grains. 
 
 100 -h 4: = 25 = 3 . 1 -f 43 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 38 
 
 Contact Printing with Permanent Bromide 
 
 Paper. 
 
 Bt G-eo. Eastman, op the Eastman Dry Plate and Film Co. 
 
 Light. — In contact printing with Permanent Bromide Paper the ex- 
 posnre is preferably made by artificial light, to insure uniformity and to avoid 
 over-exposure. 
 
 The Darh-Room. — Yellow post-office paper is the best medium for filter- 
 ing the light through for working Permanent Bromide Paper ; two thicknesses 
 should be used for daylight, and one for gas or kerosene. 
 
 Sensitiveness. — Permanent Bromide Paper is about one-half as sensitive 
 as a Collodion wet plate, or one-twentieth as sensitive as a good dry plate, 
 and should be exposed accordingly. 
 
 Exposure. — The exposure varies with the intensity of the negative and 
 the quality and intensity of the light, but may be approximately stated to be, 
 using as thin a glass or American film negative as will make a good print, 
 one-quarter second by diffused daylight, or ten seconds at a distance of one 
 foot from a No. 2 kerosene burner ; with an oiled paper negative it requires 
 twice as much, and with an nnoiled paper negative’about three to five times 
 as much exposure. Vei’y thin negatives should be printed by weak yellow 
 light, like that obtained from a kerosene lamp turned down a little below the 
 normal intensity. In this way a strong, vigorous print may be obtained from 
 a negative that would otherwise be too thin and flat. Strong, intense nega- 
 tives are best printed by daylight. 
 
 THE DEVELOPER. 
 
 FORMULA. 
 
 No. 2. 
 
 1 lb. Proto- Sulphate of Iron . . 1 lb. 
 
 48 oz. Hot Water 32 oz. 
 
 3 drams. Acetic (or Citric Acid, \ oz.), | dram. 
 
 No. 3. 
 
 Bromide Potassium . . 1 ounce. Water 1 quart. 
 
 These solutions keep separately, but must be mixed only for immediate 
 
 use. 
 
 To Develop. — Take in a suitable ti’ay — No. 1, 6 ounces; No. 2, 1 
 ounce ; No. 3, dram. 
 
 Soak the exposed print in clean water until limp, then pour off tlie water 
 and flood with the developer, taking care to avoid bubbles. 
 
 The image should appear slowly, and should develop up strong, clear, 
 and brilliant. When the shadows are sufficiently black, pour off the developer 
 and flood the print with the 
 
 No. 1. 
 
 Oxalate of Potash . 
 Hot Water . . . . 
 Acetic Acid . . . . 
 
 CLEARING SOLUTION. 
 
 Acetic Acid 1 dram. Water 32 oz. 
 
 Do not ivash the print after pouring off the developer and before applying 
 the clearing solution. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 39 
 
 Use a sufficient quantity to flow over the print, say 2 ounces for an 8x10. 
 Allow it to act for one minute, and then pour it off and apply a fresh portion ; 
 repeat the operation a third time, then rinse in four changes of pure water, 
 and immerse for ten minutes in the 
 
 FIXING— BATH. 
 
 Hyposulphite Soda . . 3 ounces. Water 16 ounces. 
 
 After fixing, wash thoroughly two hours, in at least twelve changes of 
 water, and hang up to dry. Use fresh developer for each batch of prints. 
 With a glass-bottomed tray, seven ounces of developer are sufficient for a 
 25 X 30 print. 
 
 Object of Clearing Solution. — The object of the clearing solution is to pre- 
 vent the precipitation of the iron from the developer in the fibre of the paper. 
 This can only be done by keeping the paper acid while washing out the 
 developer. 
 
 Citric Acid may be used instead of Acetic in the clearing solution, in 
 which case use ounce to the quart of water. Citric Acid is less liable to 
 cause blisters. 
 
 Blisters sometimes appear in Bromide Paper, and may be avoided by 
 using a little common salt in the first washing-water after fixing. The Hypo 
 must not be stronger than three ounces to the pint of water. 
 
 No Toning Required. — With the Permanent Bromide Paper the final 
 tones are obtained entirely by development, and range from a soft gray to a 
 rich, velvety blacky depending somewhat upon the density of the negative 
 and the quality of the light used in printing. 
 
 Clean Dishes, Clean Hands. — The faintest trace of Hyposulphite of 
 Soda or of Pyrogallic Acid is fatal to good results with Bromide Paper, and 
 the operator cannot be too careful to avoid any contamination. The tray used 
 for developing with oxalate should never be used for anything else. 
 
 To avoid Yellow Prints four things are absolutely necessary : — 
 
 First. — The developer must be acid. 
 
 Second. — The clearing solution must be used as directed. 
 
 Third. — Fresh Hypo solution is required for fixing each batch of 
 prints. 
 
 Fourth. — The washing must be thorough after fixing. 
 
 Mounting on Card. — Permanent Bromide Prints may be mounted wet or 
 dry ; the prints should not be dried between blotters like albumenized paper, 
 but should be hung over a line, or laid, back down, upon glass or clean paper. 
 To mount, brush over the back with thin starch paste, laj^ the print on the 
 mount, and rub into contact with a soft cloth. 
 
 Enamelling. — Prints on smooth paper may be given a beautiful polished 
 surface, superior to that obtained by burnishing, in the following manner : 
 Sprinkle the surface of a glass plate with powdered French chalk, rub it 
 evenly over the surface with a tuft of cotton wool, continuing to lightly rub 
 it until the chalk is all removed, then coat the glass with the following 
 
 Soluble Gun-Cotton 
 
 COEEODION. 
 
 48 grains. 
 
 Alcohol 
 
 
 4 ounces. 
 
 Sulphuric Ether . 
 
 . 
 
 , . 4 ounces. 
 
40 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 As soon as the collodion is well set, wash until all greasiness disappears ; 
 then slide the plate, face up, into a tray of water, in which is floating, face 
 down, the permanent bromide print, which has just been fixed and washed ; 
 grasp the plate and print by one end, and lift together from the water, avoid- 
 ing bubbles, and draining the water from the opposite end ; squeegee the print 
 into contact with the plate, and set away to dry. Before the print is quite 
 dry apply a coat of starch paste to the back. After drying, the print can be 
 peeled off from the glass by cutting through to the star, near the margin of 
 the paper, all round, and lifting one corner, and the face will present a polish 
 almost as high as the surface of the glass from which it has been removed. 
 
 The print is then ready to mount, as follows : Moisten the face of the mount 
 with a damp sponge and lay upon it the print ; rub down with a soft cloth 
 and put under pressure to dry. 
 
 The addition of five per cent, of glycerine to the paste will prevent the 
 print peeling off the glass as it dries. 
 
 Another Method. — Squeegee the wet print, face down, on a polished 
 piece of hard rubber or ebonite ; when dry, the print will peel off with a fine 
 polished surface. The print should be slipped on to the rubber plate under 
 water to avoid air-bells. This method will answer where prints are not to be 
 mounted. 
 
 Flexible Prints. — Permanent Bromide prints soaked in a mixture of 
 glycerine, five ounces, and water, twenty-five ounces, and dried, will not curl, 
 and may be used for book illustrations unmounted. The heavier papers are 
 especially adapted for this pur-pose. 
 
 Straightening Unmounted Prints. — After drying, prints may be straight- 
 ened by the scraping action of a sharp-edged ruler applied to the back ; the 
 corner behind the ruler being lifted as the ruler is passed along. 
 
 ENLARGING APPARATUS. 
 
 The operation of enlarging on Permanent Bromide Paper involves the 
 same principles as making a negative ; it is simply photographing, on a large 
 scale, the negative instead of the original. To avoid the necessity of using 
 a large camera the dark-room itself is made to take the place of the camera I 
 
 body, and the negative is placed in an opening in the dark-room shutter, so 
 that all the light will come through it to the lens. See Fig. 1. 
 
 Fie. 1. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 41 
 
 AN IMPROVISED APPARATUS. 
 
 Fig. 1 represents an enlarging apparatus that any photographer can 
 improvise from ordinary apparatus and material, with the expenditure of a 
 few hours’ time. To construct it proceed as follows : — 
 
 Cut a hole in the dark-room shutter two sizes larger than the largest 
 negative to be enlarged from ; fit into the opening a frame about two or three 
 inches deep, glazed on the outside with a sheet of ground glass. On the in- 
 side edges of the frame, top and bottom, arrange grooves in which to slide 
 
 the negative ; when the negative is in position it will be brilliantly illuminated 
 against the ground glass. Now, on a table or shelf, adjusted in front of the 
 negative box, place an ordinary camera having the ground glass removed, 
 point the lens toward the negative, and connect the lens and negative-box by 
 means of a bag of opaque cloth, open at both ends and provided with elastic 
 bands to close it tight around the lens and negative-box. This will prevent 
 any light coming into the dark-room except through the lens. See Figs. 1 
 and 2. 
 
 In this apparatus the camera body serves no useful purpose ; all that is 
 required is to support the lens. In case a portrait-lens is used it should be 
 put in position so that the back lens will be next the negative instead of as 
 shown in the cut. 
 
 The easel to hold the sensitive-paper is the next requisite, and this may 
 be constructed by fastening a large, flat board in an upright position, upon a 
 box of suitable size to serve as a base, so that the whole may be moved to and 
 fro to regulate the size of the enlargement. The face of the easel should be 
 covered with white paper. Now, if the easel is put in position, facing the 
 camera, the image can be focussed on the screen by sliding the camera back- 
 ward or forward on the shelf. 
 
 The size of the enlargement will depend upon the length of focus of the 
 lens, and the distance the easel is set from the negative. The following table 
 will give an approximate idea of the distance required for the apparatus to 
 work in : — 
 
 Fig. 2. 
 
42 
 
 AMATEUR GUIDE IN PHOTOGRAPHT. 
 
 TIMES OF ENLARGEMENT. 
 
 TOTAL DISTANCES FROM NEGATIVE, IN INCHES. 
 
 
 2 
 
 times. 
 
 3 times. 
 
 4 times. 
 
 5 times. 
 
 Focus of 
 
 To 
 
 To 
 
 To 
 
 To 
 
 To 
 
 To 
 
 To 
 
 To 
 
 Lens 
 
 Easel. 
 
 Camera. 
 
 Easel. 
 
 Camera. 
 
 Easel. 
 
 Camera. 
 
 Easel. 
 
 Camera. 
 
 6 inches. 
 
 27 
 
 9 
 
 32 
 
 8 
 
 374 
 
 74 
 
 49 
 
 7 
 
 8 “ 
 
 36 
 
 12 
 
 42| 
 
 101 
 
 50 
 
 10 
 
 654 
 
 9J 
 
 10 “ 
 
 45 
 
 15 
 
 531 
 
 13i 
 
 624 
 
 124 
 
 81| 
 
 m 
 
 12 “ 
 
 54 
 
 18 
 
 64 
 
 16 
 
 75 
 
 15 
 
 98 
 
 14 
 
 From the above table it will be seen that the total distance requb-ed for 
 woi’king the easel when making a six-times enlargement and using a 12-incb 
 lens, is less then ten feet. For heads from cabinet negatives a six-inch focus 
 lens is quite large enough, and when such a lens is used for life-size heads, 
 they can be made in a space of less than five feet. 
 
 THE LENS. 
 
 Any lens that will make a negative can be used for enlarging, and the 
 proper size for the lens depends wholly upon the negative to be enlarged from, 
 and not at all upon the enlargement to be made. If the lens will cover the 
 negative, it will make an enlargement from it of anj^ size. 
 
 For enlarging from negatives 5x8 inches and under, a half-size portrait 
 lens is suitable. It can be worked nearly wide open to heads, but will liave to 
 be stopped down for half and full-length figures. Rapid rectilinear lenses are 
 also suitable, but, of course, do not work quite as quick on lieads as portrait 
 lenses, because they have not as large aperture, but they should be used in pref- 
 erence to others for enlarging groups, landscapes, mechanical drawings, etc. 
 For full and half-length figures they are quite as rapid, because for this pur- 
 pose the portrait lens requires to be stopped down as far as the rapid recti- 
 linear. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 48 
 
 A COMPLETE APPARATUS. 
 
 Fig. 3. 
 
 While the foregoing directions will enable any one to construct a practical 
 apparatus for enlarging, many will prefer a more convenient and finished outfit, 
 and for such the following apparatus has been devised. See Figs. 3 and 4. 
 
 The Camera. — The Camera is simi- 
 lar to an ordinary “front focus” View 
 Camera, except in the back, which has a 
 fixed ground glass and a carrier for the 
 negative, w'hich slides into the camera 
 inside the ground glass. This carrier is 
 adjustable so that it will take any nega- 
 tive from X 4^ inches, or smaller, up 
 to and including 8 X 10 inches. Piwdsion 
 is made in the back for making a light- 
 tight joint around the opening of the 
 dark-room shutter, into which the camera 
 fits. 
 
 The Easel consists of a base, support- 
 ing two uprights, in which slides the ex- 
 posing screen. On the face of the screen 
 sM'ings a hinged frame, which clamps the 
 sensitive-paper flat in position. The swing- 
 ing frame is arranged to receive smaller 
 frames or kits, adapted to clamping any 
 size of paper. On the top of the screen 
 is a light-tight box, provided with bear- 
 ings, in which revolves the spool, carrying 
 the roll of sensitive-paper. Each box is 
 supplied with a wooden spool, and the 
 paper is wound for the market upon a 
 
44 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 strong paper tube, which slides on to the wood spool. Thus, a tube carrying 
 any width of paper, not above the capacity of the easel, can be used with 
 the same box. 
 
 THE LIGHT. 
 
 Daylight. — A long series of experiments, with various kinds of light, 
 have proven that except in eases where a large number of enlargements are 
 to be made each day, daylight is the best. 
 
 The only drawbacks to daylight are, that it is not available at iright, and 
 that it varies in its intensity, rendering the timing of the exposure somewhat 
 difficult. This last objection can be overcome, however, by always trying a 
 small piece of paper on each subject before making a large print. 
 
 The use of daylight requires no expensive condensers, and the apparatus 
 is less elaborate than for artificial light. 
 
 A mirror 30 inches long by 24 wide, at an angle of 45°, will reflect the 
 sky, and give a much more uniform, and even light, than any opaque reflector, 
 being very nearly equal to having the negative looking directly to the sky. 
 
 When the camera is set up for daylight, unless it commands an unob- 
 structed view of the horizon, a reflector of white cloth or paper, or better 
 still, the mirror, as suggested before, should be arranged outside the window, 
 so as to throw the light from above on to the ground glass. In Fig. 1 the 
 reflector is shown rather small in proportion, and too close to the outside wall ; 
 it is shown better in Fig. 2. To ascertain whether it is in its proper place take 
 out the lens and examine the ground glass from inside the dark-room ; if it 
 appears evenly illuminated it is sufficient. No harm will result if the sun 
 shines on the ground glass and reflector, provided it strikes evenly ; if the 
 light is too strong, the lens can be stopped down ; when a mirror is used, it 
 should be covered with white paper when the sun strikes it. 
 
 Electric Light. — When a large quantity of work is to be provided for, 
 the arc electric-light is most convenient, as it is powerful and (practically) 
 uniform. Any artiflcial light requires a pair of double condensers, and they 
 should be arranged as in Figs. 5 and 6. 
 
 Fio. 6. 
 
AMATEUR GUIDE IN PHOTOGRAPET. 
 
 45 
 
 ENLARGING APPARATUS FOR ELECTRIC LIGHT IN USE IN THE 
 
 EASTMAN FACTORY. 
 
 Large condensers if made of fine glass are very expensive, but an inferior 
 grade chat cost only a moderate sum may be used if a sheet of very fine 
 ground glass be mounted between the convex surfaces of the two lenses. 
 (See Fig. 6.) 
 
 Some may object that, theoretically, this is not the proper way to use con- 
 densers, to which we would reply that for this particular purpose it is the 
 practical way, as we know by extended experience. It is suggested, of course, 
 only for large condensers. 
 
 The electric-light giving a stronger light than is actually required, the 
 loss caused by the ground glass is no detriment. A concave refieetor may be 
 used behind the light if required. It is seldom found necessary in practice, 
 except with very dense negatives. It is obvious that the condensers must be 
 large enough to cover the negative, or, in other words, the diameter of the 
 condensers must be greater than the diagonal measurement of the negative. 
 
 All artificial light produces a harsher chemical effect than daylight. 
 
 Oxyhydrogen Light. — This light may be employed instead of the arc 
 electric-light, and it gives about the same results. 
 
 Gas and Kerosene are not powerful enough for enlarging, except on a 
 small scale. 
 
 Magic Lanterns with oil-burners will answer for enlai’ging from card 
 negatives up to three or four times, but no lantern is suitable unless it has 
 double condensers and a powerful burner. 
 
 Ha^'ing described the apparatus employed, we will now proceed with the 
 
 OPERATION OF ENLARGING. 
 
 The Image. — Shut out all extraneous light from the dark-room, slide the 
 negative (upside down, face toward the lens) into its place near the ground 
 glass, adjust the easel at the proper distance, and without any stop in the lens, 
 focus the image upon the white paper on the face of the easel. ( A. sheet of 
 white paper should be pasted on the face of the easel when it is set up.) 
 The image should show plainly on the screen ; if too large, move the easel 
 closer and focus again ; if too small, vice versd. The image should be made 
 
46 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 to register properly in the frame on the easel by sliding the negative in the 
 carrier crosswise, and by raising or lowering the front of the camera carrying 
 the lens. In case condensers are being used, the lens must remain in the axis 
 of the condensers and the vertical adjustment obtained by raising and lowering 
 the easel board. 
 
 Trial Exposures. — For example, we will suppose that the negative is a 
 cabinet head, and it is desired to make a life-size print from it, using a half- 
 size portrait lens : in this case no stop will be required in the lens, unless the 
 light is very strong. To proceed to the exposure, cap the lens and pin upon 
 the screen where the head comes a small piece of the Permanent Bromide 
 Paper. Provision should be made for a uon-actinic yellow light in the dark- 
 room at this time ; screen the yellow light, uncap the lens, and allow the 
 exposure, if the day is clear, to continue for, say fifty seconds. Cap the lens, 
 and develop the trial exposure as directed for contact printing. If the image 
 comes up dull and full of detail it is over-timed ; if weak and without detail, 
 it is under-timed ; in either case try another piece, and give more or less time 
 as required. Under different conditions the tune required varies from five 
 seconds to five or ten minutes, depending on the light, the density of the 
 negative, the aperture of the lens, and upon the size of the enlargement. 
 These conditions all vary with each operator, but a few trials will narrow the 
 exercise of judgment down to the intensity of the light, and usually one trial 
 exposure will give a guide to that. 
 
 A strip of paper eight or nine inches wide, cut off from the end of a 
 twenty-inch roll, will make three trial pieces large enough for the purpose. 
 
 Vignetting. — Having ascertained the exposure required, swing open the 
 frame on the face of the easel, open the roll-box and pull out sufficient paper 
 to reach half an inch below the inside edge of the bottom rail of the frame, 
 hold the paper with one hand and close the frame on to it with the other — ■ 
 the clasp will hold it when firmly closed. Next turn outward the button stops 
 in the roll-box and shut down the cover. The stops prevent the cover creasing 
 the paper where it leaves the box. The sensitive-paper will now be protected, 
 except inside the frame where the image falls. 
 
 The operator standing at the left of and half facing the easel should screen 
 the lens with a piece of straw board about 16 X 20 iuches, having a hole of 
 proper shape for the vignette, cut in the centre. Having uncapped the lens 
 the vignetter should be moved back and forth from the lens toward the easel, 
 so as to allow the head and shoulders of the image to appear on the screen. 
 The movement out should be sufficient to show the image almost to the edge 
 of the kit, and in far enough to cut close to the head and shoulders. This 
 movement to and fro should continue through the entire exposure, which 
 should not be less thau twenty or thirty seconds, the lens being stopped down, 
 if necessary, to get sufficient time to operate the vignetter. 
 
 To get a soft, evenly blended vignette requires some little practice, but the 
 knack once acquired it becomes quite easy. 
 
 Extra, Printing. — Faces and light drapery often require, to get detail, extra 
 time in exposure. This is accomplished by using a card having a smaller hole 
 after vignetting, and passing it over the portions requiring the extra time. By 
 keeping the spot of light moving, almost anj’^ amount of additional detail may 
 be obtained locally. Occasionally in a half or full-length subject a hand may 
 require less exposure than the rest of the picture ; in this case a small piece of 
 card-board, cut to the proper shape and stuck on the end of a knitting-needle, 
 can be used to screen that part of the image. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 4.1 
 
 The paper lends itself to innumerable dodges, which maybe practised in a 
 similar manner, the operator being able to see just what he is doing from his 
 position near the easel. 
 
 The develo])ment is the same as has been described for contact printing. 
 
 Mounting on Cloth. — Cover an artist’s stretcher-frame with a piece of 
 common white muslin, by stretching it tightly while dry and tacking it on the 
 outside edges. Give the cloth a coat of starch paste, rubbing it well in and 
 avoiding streaks and lumps, lay over a smooth table a piece of rubber sheeting, 
 lay the wet print on the rubber cloth, face down, and with a rubber squeegee 
 scrape off the water. Give the back of the print, as it lies on the rubber 
 cloth, a coat of the paste, and then lay the stretcher, face down, upon it, and 
 rub the muslin into contact with the back of the print, using a thin paper- 
 knife to reach under the edges of the frame. Lift the frame and rubber-cloth 
 from the table together, and peel the rubber off from the face of the print. 
 This will leave the print on the stretcher smooth and flat. When dry it will 
 be as tight as a drum-head. 
 
 Mounting on Card. — Employ the same method as that used in mounting 
 contact prints. 
 
 HINTS. 
 
 Mealy Mottled Prints. — Over-exposure and short development. 
 
 Greenish Tones are obtained by over-exposure and too much bromide. 
 
 Forcing Development does not give good results for the above reason. 
 
 Face 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 looking 
 through it or upon it in a good light, unfixed portions will be greenish yellow. 
 
 Yellow Prints. — Prolonged development will cause yellow prints by 
 depositing iron in the paper. 'Fhe Exposure must be correct so as to allow of 
 quick development. 
 
 Running Water is not so sure a means for washing prints as changing 
 them from one tray to another, allowing them to soak at least ten minutes in 
 each fresh water ; twelve changes are sufficient ; no less. 
 
 Retouching Negatives. — Coarse grinding for retouching should be avoided, 
 and the retouching ‘ ‘ burned in ” to the varnish over a spirit lamp to avoid 
 having the scratches show in the enlargement. 
 
 DON’T. 
 
 Don’t use old Hypo for fixing. 
 
 Don’t use the developing dish for fixing. 
 
 Don’t put the prints between blotters to dry. 
 
 Don’t fail to rock the tray well while developing. 
 
 Don’t rock in one direction only, unless you want streaky prints. 
 
 Don’t fail to lift the print up and turn it over in the clearing solution. 
 
 Don’t let a jet of water play on the paper while washing ; it will cause 
 blisters. 
 
 Don’t use old developer on large prints for the sake of economy ; use it 
 fresh every time. 
 
 Don’t use twice as much acid as directed in the developer or clearing 
 solution ; enough is enough. 
 
 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. Figs. 1 and 2. 
 
48 
 
 AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 TRANSFEROTYPE PAPER. 
 
 Contact or enlarged prints are made upon this paper in precisely the same 
 manner as upon the “ Permanent Bromide Paper.” 
 
 By this process opals, window, and lantern transparencies can be made at 
 a trifling cost. 
 
 DIRECTIONS FOR USING TRANSFEROTYPE PAPER. 
 
 Expose, develop, fix, and wash the print on Transferotype Paper the same 
 as directed for Permanent Bromide Paper, taking care that no alum is allowed 
 in any of the solutions, as that would prevent the transfer. After washing 
 the print is ready for 
 
 Transferring. — Lay the wet print face down upon the object to which 
 it is desired to transfer the print. The surface may be polished or ground 
 glass, porcelain, wood, prepared canvas, ivory, or any substance which 
 will withstand the action of hot water, and allow the image to adhere. It 
 must be perfectly clean and free from grease or oil. Squeegee the wet print 
 carefully into contact with the surface, and put it under a blotter and weight 
 to dry. When dry pour hot w'ater upon the back of the picture until the 
 paper blisters, or until one corner can be lifted with a pin ; then gently pull 
 the paper away. After removing the paper, gently rub the surface of the 
 picture with a tuft of cotton, moistened with warm water, and set away out of 
 reach of dust to dry. 
 
 The paper may be stripped any time after it has been thirty minutes under 
 the blotter, but it is safer to allow it to thoroughly dry. 
 
 The proper temperature for the hot water depends greatly upon whether 
 the paper is dry or not ; if dry it should be about 180° Fahr. ; if only thirty 
 minutes has elapsed after squeegeeing down, the water should be about 130° 
 Fahr., and the temperature gradually raised by the addition of boiling water 
 until the paper blisters. 
 
 Thirty Minutes is the least time that should be allowed for drying ; other- 
 wise there is danger of the picture leaving the support. 
 
 Clean Dishes, Clean Hands. — The faintest trace of Hyposulphite of 
 Soda or of Pyrogallic Acid is fatal to good results in developing Transferotype 
 paper, and the operator cannot be too careful to avoid any contamination. 
 The tray used for developing with oxalate should never be used for anything 
 else. 
 
 Glac4 Prints. — Contact prints made on Transferotype Paper have a bril- 
 liant, glossy surface, and may be mounted and used as ordinary bromide prints 
 without burnishing. 
 
 Lantern Slides may be printed by contact, using lamp or gas-light, or in 
 the camera using daylight. 
 
 Prints intended for transparencies should be developed fnrtlier than a 
 print that is to be viewed by reflected light ; in the former case the progress 
 of development must be examined by looking through the print, and in the 
 latter by looking down upon it as it lies in the tray. Many photographers 
 have a large amount of lantern slide-glass remaining from failures in making 
 slides on dry plates, this glass can be made use of in this process. 
 
 Window Transparencies, enlarged or contact prints, should be transferred 
 to a clear glass, and backed up by a piece of ground glass. 
 
AMATEUR GUIDE IN PHOTOGRAPHY. 
 
 49 
 
 Opals for framing, or for window transparencies, are made by transferring 
 the picture to the ground surface of opal glass. 
 
 Placques, Tile, Lamp) Shades, and various articles may in a like manner 
 be decorated either as a basis for water-color work or simply for the photo- 
 graphic eifect ; such articles when given a coat of damar varnish and heated 
 in an ordinary oven will bear washing. 
 
 Engraver's Blocks. — Transferotypes can be put on wood blocks for 
 engraving. The film being only 1-4000 of an inch thick it does not interfere 
 with the graver. For very fine work the image may be ground still thinner 
 by means of dry powdered pumice-stone. The image being stronger and 
 clearer than produced by any other process, the results are correspondingly 
 better. 
 
 After the transfer has been dried on the block, a little glycerine wiped 
 over it with the finger will cause it to cut smoothly under the graver and 
 with no tendency to chip. 
 
7y9U 
 
1(EA^QM^ Why BLAII(’^ 1(EVE1(^IBLE baci^ i\w\4 
 ]^I(E ^npEI(I01( TO ALL OTjlEl^^. 
 
 They are constructed to receive our Patent Extension 
 for making negatives larger than the Camera proper. No 
 fitting or extra charge is made as is the case when putting 
 our Patent Extension on Cameras of other’s make. 
 
 OUR ADJUSTER AND PLATE-HOLDERS 
 
 are attached by a system of grooves and springs which 
 leave no screw or pin sticking out above the surface to 
 scratch and injure the polish or hands. These Cameras 
 are fitted with our popular Patent Reversible Adjuster, 
 having 
 
 SPRING ACTUATED GROUND-GLASS FRAME. 
 
 This’ method of removing the ground-glass frame from 
 contact with the Camera, and keeping the Plate-Holder in 
 position during exposure, is superior to all other methods. 
 No better evidence of this fact is needed than the attempts 
 of other manufacturers to copy it. 
 
 All Spring Actuated Ground-Glass Frames movably fixed 
 to allow the Plate-Holder to be placed behind the frame 
 are infringements on our patents, and persons manufact- 
 uring, or causing to be manufactured, or selling adjust- 
 ers, or adapters (so called) other than those bearing our 
 stamp, will be held responsible for such infringement. 
 
 OUR CAMERAS 
 
 possess a greater focussing capacity (length of bellows) 
 than any others, thus enabling the operator to use any make 
 or style of lens without Extension fronts. Dealers in photo- 
 graphic apparatus say they are not asked to exchange 
 our Cameras, because they are found to meet all the re- 
 quirements of the photographer, whether amateur or pro- 
 fessional. 
 
 OUR APPARATUS 
 
 is made on a system of interchangeable parts which are 
 never found to vary. The above facts of superiority in 
 utility in connection with the beauty of style, designs, and 
 finish, and superior quality of workmanship, place Blair’s 
 Cameras ahead of all others. 
 
 Ask to be shown the latest styles, and insist upon see- 
 ing them. BLAIR CAMERA CO.